§92,93. THE BEAUTIFUL. 327 



more regard to form than colour ; but it is difficult to decide 

 this from our limited acquaintance with the subject. From 

 the little that remains of their colour, we see that they 

 neither disregarded nor misunderstood it ; of their paintings 

 we can form no adequate appreciation from the imperfect and 

 inferior specimens which have been preserved ; and if they 

 considered their painting equal to their sculpture, we can 

 scarcely venture to oppose an opinion, founded upon a want 

 of evidence, to the judgment of men of unquestionable taste. 



93. It has often been asked, '-'What is the beautiful V 

 and various definitions of it have been attempted ; all equally 

 unsatisfactory. Nor does Winckelmann's remark, that it is 

 easier to say what it is not, than what it is, assist in the 

 solution. But it is not only difficult, it is useless, to attempt 

 a definition. " The beautiful " may be felt and perceived, 

 not explained by words ; and he who does not understand it 

 without a definition will never understand it with one. Is it 

 necessary to define what we perceive by the senses ? As well 

 might we attempt to define colour to the colour-blind as 

 beauty to one who cannot perceive it. 



It has also been a question whether the beautiful in art 

 must be a reproduction of the beautiful in nature ; and some 

 have concluded it to be so, without perceiving how far it is 

 influenced by the imagination ; and how necessary ideal 

 beauty is for carrying it to perfection. Besides, many beau- 

 tiful creations of the imagination, as conventional forms, ar- 

 chitectural and ornamental designs, combinations of colours, 

 &c, are not derived from nature. That the beautiful is often 

 based on nature's works is true ; as in painting and sculpture ; 

 but even then it is not sufficient merely to copy what is seen ; 

 the true feeling of the original must be given ; and the 

 imitative power of the artist is only one of the means he 

 employs for conveying his impressions of the scene he repre- 

 sents. " He makes use of imitation," as M. Topffer observes ; 



v 4 



