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shape for my own guidance I arrive at the following conclusion : 
The artist does not copy nature except for instruction ; but by 
loving, unwearied, unceasing observation, he gradually sets up in 
the mind a certain ideal—which is Nature’s and also his own— 
by which he is guided. He does not copy, therefore, but he 
works in the spirit of this ideal, and by reference to it he knows 
when he is falling into error no less than when he is eminently 
true. In time the highest and the best in nature, the loftiest 
moods and the most perfect harmonies that he is capable of 
comprehending or assimilating, come to be something by which 
he even helps or corrects the lower manifestations. It is mere 
fanaticism when men hold that for art purposes every indis- 
criminate aspect of nature is right and good. 
While speaking of truti to nature, I wish to add two things : 
First, how careful we should be in our judgments to distinguish 
inadequacy of representation or of treatment from absolute error. 
I am never inclined to complain because a work is slight; but 
only because it is false, perverse, or idle—false, when from igno- 
rance it conforms to no standard, either material or ideal ; 
perverse, when it persistently sins against knowledge ; idle, when 
it is habitually below the level of the artist’s known power. And, 
second, I wish to urge a more accurate and thorough study of 
nature upon those who venture to criticise the art either of the 
poet or the painter. Nothing is more disheartening to the artist 
than the uncertainty, the wilfulness, the uninformed audacity of 
Criticism. Here is universal nature, a region where all things 
are Protean and subtle ; where the impossible is that which is for 
ever happening ; where no two shapes are alike; where effects 
are legion, and developments infinite. Yet it is here that your 
critic will dogmatize and condemn upon the slightest and most 
casual study. I think I am justified in saying that both the critic 
and the painter in this matter should learn of the poet. From 
two men especially the lesson may be got—William Cowper and 
William Wordsworth. Opinion will always be divided as to how 
much of what is valuable these have taught, or may hereafter be 
able to teach us; but this one thing is indisputable—they have 
shown us better than any others in what spirit Nature should be 
approached, after what manner she should be studied, and with 
what kind of unswerving faithfulness she should be served. And 
the secret of their power as teachers in this regard will be found 
in the fact that their love for Nature—a rare thing, indeed—was 
entirely without affectation, and their devotion to her wholly 
without hypocrisy. If we would really understand that which is 
the ground of art we must have the same affection for Nature 
which Cowper expressed when he said—‘‘ Oh! I could spend 
whole days and nights in gazing upon a lovely prospect! My 
eyes drink the rivers as they flow.”” We must understand with 
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