Foreword
art in Russia, it has produced very few phenomena of a purely artistic character. To dwell on the merits solely of this element would mean to narrow the task of the historian to a paradoxical degree. On the other hand, the most indulgent historian in his studies of Russian painting must not let slip through his fingers a definite ideal standard, by means of which alone he can clear up the purely artistic significance of each phenomenon. Only when assisted by such an ideal measure will he be able, after giving due credit to the local and temporary significance of a number of artistic productions, to single out and shed light on those phases of Russian artistic life, on which rests the reflection of the eternal and all-human enchantment of beauty.
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