ured on this wise.

In the presentation of a subject through given pictorial elements, the
critic will know whether the most has been made of the opportunity. If
the composition prove satisfactory and the theme as presented still fails
to move the critic, he must shift from the scientific analysis to those
qualities governing the artist subjectively. He is lacking in
"temperament," and without temperament who in art has a chance? With
years in the schools and a technique of mechanical perfection he lacks the
divine fire and leaves us cold. It is for the critic to say this, and
herein he becomes a teacher to public and artist.

The patron who agreed that a picture under discussion had every quality
which the salesman mentioned and patiently heard him through but quietly
remarked, "It hasn't that," as he snapped his finger, is the sort of a
critic who does not need to know the names of things in art. He felt a
picture should have snap, and if it did not, it was lacking.

But beyond the presentation of a theme having in it the mark of genius, is
that of workmanlike technique. The demand of the present age is for this.
If a subject is _not painted_ it will scarce hold as art. Ideas,
composition, even color and harmony plead in vain; the spirit of the times
sits thus in judgment.

The presentation also should be individual, the unmistakable sign of
distinction. To be able to tell at a glance by this mark puts us on the
footing of intimate acquaintance. A difference exists between this and
the well-known mannerisms of individuals. The latter applies to special
items in pictures, the former to the individual style of expression. An
artist may have one way of seeing all trees, or the similarity of one
picture with another may be because there is only one sort of tree that
interests him, or one time of day when all trees attract his brush. In
the first case he is a mannerist, in the other a worker in a chosen
groove. It cannot be denied that many artists making a success in a
limited range of subject consent to stop, and go no further, under
pressure of dealers or the public. The demand for specialists has much
more reason in science and mechanics than in art, which is or should be a
result of impulse.(17)

Corot declared he preferred the low sweet music of early dawn and to him
there was enough variety in it to keep him employed as long as he could
paint; but the thralldom of an artist who follows in the groov