worth quoting as summing up in brief and incisive words the view he held, and had held all his life, of the function and excellence of the painter's art.
"In considering such an exhibition it is necessary to have a clear idea of what the aims of a painter should be. Something like this, I think, will embrace them all:1st. The embodiment in art of some vision which has forced itself on the artist's brain.2nd. The creation of some lovely combination of colour and form.3rd. The setting forth a faithful portraiture of some beautiful, characteristic, or historical place, or of some living person worthy to be so portrayed; in either case so as to be easily recognizable by a careless observer, and yet to have a reserve of more intimate facts for a careful one. 4th. Mastery over material; the production of a finished and workmanlike piece, as perfect in all ways as the kind of work admits of.
"Success in any of the three first of these aims, together with the last, will give a picture existence as a work of art. Most pictures that impress us seriously have achieved success in more than one of the three joined to the fourth, while great works of art have all the four qualities united, yet in due subordination to the master one of them, whichever it may be, which produces the greatest impression on us; this subordination is what is meant by the word 'style.'
"Skill of execution is the first thing we must seek for, since without it a picture is incapable of expressing anything, is a failure and not a picture. Well, there are signs here and there on the walls of the Academy of skill of a certain kind, but what does it amount to? does it give us any reasonable hope of establishing by our present method of artistic life a workmanlike traditional skill, continuous and progres-
