nly it is the rightest possible. It is not to be hoped that
the student should imitate works of the most exalted merit, but much to
be desired that he should be guided by those which have fewest faults.

164. Perhaps, therefore, the most serviceable examples which could be
set before youth might be found in the studies or drawings, rather than
in the pictures, of first-rate masters; and the art of photography
enables us to put renderings of such studies, which for most practical
purposes are as good as the originals, on the walls of every school in
the kingdom. Supposing (I merely name these as examples of what I mean),
the standard of manner in light-and-shade drawing fixed by Leonardo's
study, No. 19, in the collection of photographs lately published from
drawings in the Florence Gallery; the standard of pen drawing with a
wash, fixed by Titian's sketch, No. 30 in the same collection; that of
etching, fixed by Rembrandt's spotted shell; and that of point work with
the pure line, by Duerer's crest with the cock; every effort of the
pupil, whatever the instrument in his hand, would infallibly tend in a
right direction, and the perception of the merits of these four works,
or of any others like them, once attained thoroughly, by efforts,
however distant or despairing, to copy portions of them, would lead
securely in due time to the appreciation of other modes of excellence.

165. I cannot, of course, within the limits of this paper, proceed to
any statement of the present requirements of the English operative as
regards art education. But I do not regret this, for it seems to me very
desirable that our attention should for the present be concentrated on
the more immediate object of general instruction. Whatever the public
demand the artist will soon produce; and the best education which the
operative can receive is the refusal of bad work and the acknowledgment
of good. There is no want of genius among us, still less of industry.
The least that we do is laborious, and the worst is wonderful. But there
is a want among us, deep and wide, of discretion in directing toil, and
of delight in being led by imagination. In past time, though the masses
of the nation were less informed than they are now, they were for that
very reason simpler judges and happier gazers; it must be ours to
substitute the gracious sympathy of the understanding for the bright
gratitude of innocence. An artist can always paint well for those who
are