uctures. On these two first arts
follow building in stone,--sculpture,--metal work,--and painting; every
art being properly called "fine" which demands the exercise of the full
faculties of heart and intellect. For though the fine arts are not
necessarily imitative or representative, for their essence is in being
+peri genesin+--occupied in the actual _production_ of beautiful
form or colour,--still, the highest of them are appointed also to relate
to us the utmost ascertainable truth respecting visible things and moral
feelings: and this pursuit of _fact_ is the vital _element_ of the art
power;--that in which alone it can develop itself to its utmost. And I
will anticipate by an assertion which you will at present think too
bold, but which I am willing that you should think so, in order that you
may well remember it,--THE HIGHEST THING THAT ART CAN DO IS TO SET
BEFORE YOU THE TRUE IMAGE OF THE PRESENCE OF A NOBLE HUMAN BEING. IT HAS
NEVER DONE MORE THAN THIS, AND IT OUGHT NOT TO DO LESS.

32. The great arts--forming thus one perfect scheme of human skill, of
which it is not right to call one division more honourable, though it
may be more subtle, than another--have had, and can have, but three
principal directions of purpose:--first, that of enforcing the religion
of men; secondly, that of perfecting their ethical state; thirdly, that
of doing them material service.

33. I do not doubt but that you are surprised at my saying the arts can
in their second function only be directed to the perfecting of ethical
state, it being our usual impression that they are often destructive of
morality. But it is impossible to direct fine art to an immoral end,
except by giving it characters unconnected with its fineness, or by
addressing it to persons who cannot perceive it to be fine. Whosoever
recognises it is exalted by it. On the other hand, it has been commonly
thought that art was a most fitting means for the enforcement of
religious doctrines and emotions; whereas there is, as I must presently
try to show you, room for grave doubt whether it has not in this
function hitherto done evil rather than good.

34. In this and the two next following lectures, I shall endeavour
therefore to show you the grave relations of human art, in these three
functions, to human life. I can do this but roughly, as you may well
suppose--since each of these subjects would require for its right
treatment years instead of hours. Only, remembe