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found principle of culture, and this made their art so noble; and 
it is this by which, in presence of their serious sculptures, our spirits 
grow calm, and we feel the truth and moral power of the Greek 
conception of beauty, raising us above our littleness into a region 
of higher thought and feeling. 
So there are other laws of nature besides truth which enter into 
art, such, for example, as order, which belongs not only to the 
structure of the world, but of the mind and its structures ; as unity, 
or that consistency of parts with the whole which gives delight in 
a beautiful object ; as proportion, which is the outcome of a sym- 
metric mind; moderation, which is the continence of conscious 
spiritual strength; grace, which flows from inward sympathy and 
freedom ; character, or individuality, or expression, so variously 
named, which, indeed, is much the same as ideality, by which the 
artist expresses his own thought and personality, and by which also 
a distinctive spirit of the period and history of the work is stamped 
on it ; and not to mention more of these laws, above all, the great 
law of form, to which everything in art comes, which is the highest 
intellectual expression of art, so that sculpture, perhaps, is the pur- 
est art manifestation ; and it is by studying these laws that we come 
at the principles of art criticism, and through the ignorance of 
which there is often shown a want of judgment in matters of art, 
betokening false standards drawn, it may be, from metaphysics or 
political economy rather than nature, making to be measures of 
art productions such qualities as logic, difficulty, cost, prettiness, 
melodramatic effect, bulk, warm coloring, elaborate though sense- 
less detail—instead of the true and invariable standards of nature, 
by a return to which through the clear instinct of zsthetic genius 
lies the only road to reform and advancement. 
4, Art in its source is divine. ‘The divine ideal has not been 
perfectly attained, but ever beckons on like a star. Nature is a 
projection of divine ideas of beauty into time and space; and the 
human mind, which could know nothing objectively unless the same 
existed subjectively in itself, can read these types of beauty, or, as 
Ruskin calls them, ‘‘ the eternal canons of loveliness,’’ in its con- 
sciousness. Ruskin classes among spiritual ideas typical of divine 
attributes such purely zsthetic conceptions as unity, perfection, in- 
finity, order, repose, moderation, purity, truth. These are moral 
as weil as zsthetic qualities; and I was greatly pleased to come 
PROC. AMER. PHILOS. SOC. XXXII. 143. J. PRINTED NOV. 28, 1893. 
