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ficial, a clanger to be guardecl against by understanding 

 the real character and scope of art. 



Art was defined as the offspring from the poetic yearn- 

 ings and emotions suggested by aspirations- after the true, 

 the good, and the beautiful. In the strict meaning of the 

 term, it is the appeal to the imagination through the eye, 

 by means of external forms. Religious architecture has 

 been in the past the first of the arts to receive attention. 

 Sculpture follows and then the arts of design. Only the 

 highest art is cosmopolitan. The criticism was passed 

 upon French art that it confines itself to the expression 

 of the beautiful, while the Germanic races make place for 

 the moral element. The IDEAL, is the ultimate aim of 

 art, and no technical excellences can atone for its absence. 

 The fine arts and the industrial arts, it was claimed, stand 

 on the same level, when the expression of the beautiful is 

 the common aim. Cellini is no more an artist when he ex- 

 ecutes his silver statue of Perseus, than when he designs 

 his silver salt cellar for Francis First. The limitations 

 and modes of art were next discussed. The plastic arts, 

 and the arts of design constitute the two grand divisions. 

 The three grand limitations arc form, light and shade, 

 and color. The arts of design include .form, color, and 

 light and shade, and, requiring for their perfection the 

 whole art triad, deservedly take the highest rank. 



Color was declared to be the EMOTIONAL element in 

 painting. In some people it awakens the same feelings 

 as music. Scarlet is the emblem of rage. Turner added 

 awful significance to his picture of the slave ship, throw- 

 ing slaves overboard, by representing the sun, the hue of 

 blood, sinking low down over a gray waste of angry sea. 

 Black and white are hues in harmony with our more 

 solemn emotions. Color appeals more to the soul than 

 to the intellect. A scientific knowledge of chromatic 



