ence of this clear vision they are enabled to
arrange and modify the materials so as to produce new results. The
Primary Class is composed of men of genius; the Secondary Class of men
of talent. It not unfrequently happens, especially in philosophy and
science, that the man of talent may confer a lustre on the original
invention; he takes it up a nugget and lays it down a coin. Finally,
there is the largest class of all, comprising the Imitators in Art, and
the Compilers in Philosophy. These bring nothing to the general stock.
They are sometimes (not often) useful; but it is as cornfactors, not as
corn-growers. They sometimes do good service by distributing knowledge
where otherwise it might never penetrate; but in general their work is
more hurtful than beneficial: hurtful, because it is essentially bad
work, being insincere work, and because it stands in the way of better
work.

Even among Imitaters and Compilers there are almost infinite degrees of
merit and demerit: echoes of echoes reverberating echoes in endless
succession; compilations of all degrees of worth and worthlessness.
But, as will be shown hereafter, even in this lower sphere the worth of
the work is strictly proportional to the Vision, Sincerity, and Beauty;
so that an imitator whose eye is keen for the forms he imitates, whose
speech is honest, and whose talent has grace, will by these very
virtues rise almost to the Secondary Class, and will secure an
honourable success.

I have as yet said but little, and that incidentally, of the part
played by the Principle of Vision in Art. Many readers who will admit
the principle in Science and Philosophy, may hesitate in extending it
to Art, which, as they conceive, draws its inspirations from the
Imagination. Properly understood there is no discrepancy between the
two opinions; and in the next chapter I shall endeavour to show how
Imagination is only another form of this very Principle of Vision which
we have been considering.

EDITOR.

CHAPTER III

OF VISION IN ART.

There are many who will admit, without hesitation, that in Philosophy
what I have called the Principle of Vision holds an important rank,
because the mind must necessarily err in its speculations unless it
clearly sees facts and relations; but there are some who will hesitate
before admitting the principle to a similar rank in Art, because, as
they conceive, Art is independent of the truth of facts, and is swayed
by the autocratic powe