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The Classic Point of View, published three years ago, I endeavored to give a clear and definitive statement of the principles on which all my criticism of art is based. The papers here gathered together, whether earlier or later than that volume, may be considered as the more detailed application of those principles to particular artists, to whole schools and epochs, even, in one case, to the entire history of the arts. The essay on Raphael, for instance, is little else than an illustration of the chapter on
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Design ; that on Millet illustrates the three chapters on
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The Subject in Art, on
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Design, and on
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Drawing ; while
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Two Ways of Painting
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The Illusion of Progress elaborates a point more slightly touched upon in
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Artist and Public ; the careers of Raphael and Millet are capital instances of the happy productiveness of an artist in sympathy with his public or of the difficulties, nobly conquered in this case, of an artist without public appreciation; the greatest merit attributed to
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The American School