n; but, after all, whatever the
importance of the moment in Crusoe's history, the picture can show us
nothing more than a man in a white shirt and dark pantaloons, in an
attitude of surprise; and the imagination ought to be able to compass so
much as this without help. And if so laborious aid be given, much more
ought to be given. The virtue of Art, as of life, is that no line shall
be in vain. Now the number of lines in this vignette, applied with full
intention of thought in every touch, as they would have been by Holbein
or Duerer, are quite enough to have produced,--not a merely deceptive
dash of local color, with evanescent background,--but an entirely
perfect piece of chiaroscuro, with its lights all truly limited and
gradated, and with every form of leaf and rock in the background
entirely right, complete,--and full not of mere suggestion, but of
accurate information, exactly such as the fancy by itself cannot
furnish. A work so treated by any man of power and sentiment such as the
designer of this vignette possesses, would be an eternal thing; ten in
the volume, for real enduring and educational power, were worth two
hundred in imperfect development, and would have been a perpetual
possession to the reader; whereas one certain result of the
multiplication of these lovely but imperfect drawings, is to increase
the feverish thirst for excitement, and to weaken the power of attention
by endless diversion and division. This volume, beautiful as it is, will
be forgotten; the strength in it is, in final outcome, spent for naught;
and others, and still others, following it, will "come like shadows, so
depart."

91. There is, however, a quite different disadvantage, but no less
grave, to be apprehended from this rich multiplication of private
possession. The more we have of books, and cabinet pictures, and cabinet
ornaments, and other such domestic objects of art, the less capable we
shall become of understanding or enjoying the lofty character of work
noble in scale, and intended for public service. The most practical and
immediate distinction between the orders of "mean" and "high" Art, is
that the first is private,--the second public; the first for the
individual, the second for all. It may be that domestic Art is the only
kind which is likely to flourish in a country of cold climate, and in
the hands of a nation tempered as the English are; but it is necessary
that we should at least understand the disadvantage unde