hor of "Modern
Painters," and expressed by him in a lecture delivered at Edinburgh,
that past ages are to be studied only in the records which they have
themselves left,--letters, contemporary memoirs, and the like sources.
Works built upon these he calls "restorations," weak and servile
copies, from which the spirit of the original has fled. He accordingly
advises every one who would make himself really acquainted with the
manners and events of a former period to go at once to the
fountain-head and learn what that period said for itself in its own
dialect and style. It might be sufficient mildly to warn any person who
thinks of adopting this advice, that, unless the field of his intended
researches be very limited, or the amount of time which he proposes to
devote to the study very great, the result can scarcely be of a
satisfactory nature. But there is another answer to Mr. Ruskin, which
has more force when addressed to one so renowned as a critic and
exponent of Art. The eye of Genius seizes what escapes ordinary
observation. The province of Art is to _reveal_ Nature, to elucidate
her obscurities, to present her, not otherwise than as she _is_, but
more truthfully and more completely than she _appears_ to the common
eye. Of what use were landscape-painting, if it did not teach us how to
look for beauty in the real landscape? Who has not seen in a good
portrait an expression which he then for the first time recognized as
that which best represented the character of the original? When we
applaud the personations of a great actor, we exclaim, as the highest
praise, "How true to Nature!" We must, therefore, have seen before the
look and gesture, and heard the tone, which we thus acknowledge as
appropriate to the passion and the scene. And yet they had never
stamped themselves upon our minds, when witnessed in actual life, from
which the actor himself had copied them, with half that force and
vividness which they receive from his delineation. In like manner, the
historian--one to whom history is a genuine vocation--applies to the
facts with which he has to deal, to the evidence which he has to sift,
to the relations which he has to peruse, a faculty which shall detect a
meaning where the common reader would find none,--which shall conceive
a whole picture, a complete view, where another would see but
fragments,--which shall combine and reproduce in one distinct and
living image the relics of a past age, which lie broken, s