ite for its
practice, or the soaring and loving genius required to fill the form
when mastered with glowing life. All honor to the savant! but let him
not fail to acknowledge the artist-brother at his side, who labors on
for humanity with no hope of learned professorships to crown his career,
nor venerable diplomas to assure him of social honor and position. Let
him not be regarded as an idler by the wayside, nor let 'La Boheme' be
any longer considered as his especial type and insignia! The useful and
the beautiful should stand banded in the closest fellowship, since Truth
must be the soul of both! Honor then the pure artist, while he still
lives, nor keep the laurel only for his tomb!

In order to examine scientifically, the mind is generally forced to
consider its object as deprived of life; indeed, the functions of living
creatures cannot be fully analyzed without being first deprived of life.
Science gives us its subject with the most rigorous exactitude, with the
most scrupulous fidelity; but, alas! often without that magical kindler
of love and sympathy, life. Art gives us its subject with vivid
coloring, motion, palpitating life--often, indeed, by associative moral
symbolism adding a still higher life to simple being, filling it, as in
Burns's lines to the Daisy, with a purer flame.

Science daguerreotypes, art paints its objects. Science is necessarily
abstract, discrete; art necessarily concrete. So true is this, that when
art begins to decline, it manifests a tendency to pass from the concrete
to the discrete, abstract; it becomes self-conscious, reflective,
scientific. Body, form, is mistaken for soul, spirit. A discrete idea
fails to move us, because it gives us only _successively_ the relations
subsisting between it and the First Cause, as its facts must be
isolated, its elements decomposed, and presented to us in an inverse
order to that in which they reveal themselves to the mind in the
spontaneous and natural use of its powers. Science never appeals to our
emotional faculties spontaneously; when it does speak to the heart, it
is because the mind, linking together the successive ideas given by
science, at last seizes upon the UNITY of the whole, supplying by its
own conceptions the voids of science. When the savant possesses the
creative power in a high degree, as did Kepler, he becomes prophet and
artist. The concrete ideas of art appeal immediately to our feelings;
emotions excited by them are spontan