[80] _W. P._, Vol. II, p. 277: "The greatness of an artist is not to be measured by the beautiful feelings which he evokes: let this belief be left to the girls. It should be measured according to the extent to which he approaches the grand style, according to the extent to which he is capable of the grand style. This style and great passion have this in common--that they scorn to please; that they forget to persuade; that they command; that they will...." See also p. 241. [81] This was first brought to my notice by my friend, Dr. Wrench. See _The Grammar of Life_, by G. T. Wrench (Heinemann, 1908), p. 218. Although the development of this idea really belongs to a special treatise on the laws of Style in painting, it is interesting to note here that this excellent principle is quickly grasped if the powerfully alliterative phrases: "Where there's a will there's a way," or "Goodness gracious!" or "To-morrow, to-morrow, and not to-day," be spoken before certain pictures, or written beneath them. The first phrase, for instance, written beneath the "Aldobrindini Marriage," or Botticelli's "Birth of Venus," is seen immediately to be next of kin to these pictures as an art-form; and the same holds good of the second written beneath Reynolds's "John Dunning (First Lord Ashburton) and his Sister," or Manet's "Olympia." [82] _W. P._, Vol. II, p. 277. [83] _W. P._, Vol. II. p. 288. "The most convincing artists are those who make harmony ring out of every discord, and who benefit all things by the gift of their power and their inner harmony: in every work of art they merely reveal the symbol of their inmost experiences--their creation is gratitude for their life." See also p. 307. [84] _W. P._, Vol. II, p. 280: "In regard to all æsthetic values I now avail myself of this fundamental distinction: in every individual case I ask myself has hunger or has superabundance been creative here?" [85] _W. P._, Vol. II, p. 281. Part III LANDSCAPE AND PORTRAIT PAINTING "He causeth the grass to grow for the cattle, and herb for the service of man: that he may bring forth fruit out of the earth."--Psalms civ. 14. 1. The Value "Ugly" in the Mouth of the Creator. In the last section of this lecture, I told you of three kinds of ugliness. I said there was the ugliness of chaos and disorder, which provokes the hate of the layman, and which the artist overcomes. I spoke of the ugliness of form in Art, which appeared when the artist had failed in his endeavour to master disorder, or when he had selected a subject already ordered, in which he has left himself no scope for manifesting his power; and I also pointed to that ugliness of subject in Art, in which the ordinary beholder, as well as the artist, recognizes the degeneration of his type or a low example of it.