Particularly in Italy, where the
municipal feeling has been so strong, the partisans of each school were
greatly prejudiced. Each people also very naturally prefers its own to
another's art, and does not always question its motives of preference.
The Florentines have overlooked the merits of their rivals, the
Venetians and Sienese,--who, in turn, have reciprocated; while Italy,
as a whole, has had but small regard for the works of other nations.
England has been slow to recognize the great merits of the Southern
schools; and France, Holland, and Germany are equally in the bondage of
local tastes or transitory fashions. But true criticism is cosmopolitan.
It tests merit according to the standard of the nature on which it is
founded, not overlooking excellence in whatever respect or degree. A
truly catholic view of art is the result only of its universal study.
The critic may be just to all inspirations, and yet enjoy his own
preferences. But, as Blackwood observes, too many "are self-endowed with
the capacity to judge all matters relating to the fine arts just in
proportion to the extent of their ignorance, because it is not difficult
to condemn in general terms and to attain notoriety by shallow
pretence." Neither "the narrowness of sect nor the noise of party"
should be heard in this matter. As a great gallery should represent
all phases of art through their several stages of progress and decay,
meeting all wants and tastes, so criticism should be based upon a
foundation equally broad,--not proud of its erudition nor dictatorial,
but with due humility uttering its opinions, prompt to sustain them, and
yet ever ready to listen and learn.
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