to the
happiness of society, that I will rather run the risk of tediousness
than of deficiency, in their illustration and enforcement.

In examining the nature of Gothic, we concluded that one of the chief
elements of power in that, and in _all good_ architecture, was the
acceptance of uncultivated and rude energy in the workman. In examining
the nature of Renaissance, we concluded that its chief element of
weakness was that pride of knowledge which not only prevented all
rudeness in expression, but gradually quenched all energy which could
only be rudely expressed; nor only so, but, for the motive and matter of
the work itself, preferred science to emotion, and experience to
perception.

Sec. V. The modern mind differs from the Renaissance mind in that its
learning is more substantial and extended, and its temper more humble;
but its errors, with respect to the cultivation of art, are precisely
the same,--nay, as far as regards execution, even more aggravated. We
require, at present, from our general workmen, more perfect finish than
was demanded in the most skilful Renaissance periods, except in their
very finest productions; and our leading principles in teaching, and in
the patronage which necessarily gives tone to teaching, are, that the
goodness of work consists primarily in firmness of handling and accuracy
of science, that is to say, in hand-work and head-work; whereas
heart-work, which is the _one_ work we want, is not only independent of
both, but often, in great degree, inconsistent with either.

Sec. VI. Here, therefore, let me finally and firmly enunciate the
great principle to which all that has hitherto been stated is
subservient:--that art is valuable or otherwise, only as it expresses
the personality, activity, and living perception of a good and great
human soul; that it may express and contain this with little help from
execution, and less from science; and that if it have not this, if it
show not the vigor, perception, and invention of a mighty human spirit,
it is worthless. Worthless, I mean, as _art_; it may be precious in some
other way, but, as art, it is nugatory. Once let this be well understood
among us, and magnificent consequences will soon follow. Let me repeat
it in other terms, so that I may not be misunderstood. All art is great,
and good, and true, only so far as it is distinctively the work of
_manhood_ in its entire and highest sense; that is to say, not the work
of limbs and finge