IS INAUGURAL ADDRESS. 



principles, only, can make the kindled emotion intelli- 

 gent, inspiring, satisfying. 



The perusal of any competent treatise, like Taine's 

 Lectures on the Philosophy of Art, shows ns what is 

 involved in the mastery of any system of interpretation, 

 which shall enable ns to discern real artistic merit, dis- 

 tinguish the true from the false, and with equal justice 

 approve or condemn the work subject to our criticism. 



It must be immediately apparent, that if the " art in- 

 stinct," as it has been called, i. e., the popular taste of a 

 community, which is compounded of desire for and ap- 

 preciation of art, is to become influential in elevating 

 the standard of art, and compelling the betterment of 

 artists, and so grow into an established principle, whose 

 power shall refine individual character and ennoble the 

 public life, this must result from genuine educational 

 agencies. 



"What is art," asks Taine, "and in what does its 

 nature consist? " and then after thirty pages of masterly 

 discussion, apt illustration and advancing definition, — 

 all of which cast clearer light on his train of thought, — he 

 reaches the answer ' ' that the aim of art is to manifest a 

 predominant character, some salient principal quality, 

 some important point of view, some essential condition 

 of being in the object." This is comprehensible. And 

 we easily infer, that according to the artist's success in 

 achieving this aim, his productions are true exemplifi- 

 cations of art. 



It is the misfortune of learners in a general way, that 

 so much of what writers and speakers on art give us, 

 seems the affectation of an enthusiasm, which they are 

 helpless to explain or impart. 



It may be possible, " that in the visible common place 

 of every day," as one says, the artist may find " the 

 means for impassioned expressions of emotional impulse 

 addressing the moral sense through the sensibility" — 



