perpetually recurs to those interested in any sort of aesthetic endeavor.
Mr. John Addington Symonds, in a chapter of 'The Renaissance in Italy'
treating of the Bolognese school of painting, which once had so great
cry, and was vaunted the supreme exemplar of the grand style, but which
he now believes fallen into lasting contempt for its emptiness and
soullessness, seeks to determine whether there can be an enduring
criterion or not; and his conclusion is applicable to literature as to
the other arts. "Our hope," he says, "with regard to the unity of taste
in the future then is, that all sentimental or academical seekings after
the ideal having been abandoned, momentary theories founded upon
idiosyncratic or temporary partialities exploded, and nothing accepted
but what is solid and positive, the scientific spirit shall make men
progressively more and more conscious of these 'bleibende Verhaltnisse,'
more and more capable of living in the whole; also, that in proportion as
we gain a firmer hold upon our own place in the world, we shall come to
comprehend with more instinctive certitude what is simple, natural, and
honest, welcoming with gladness all artistic products that exhibit these
qualities. The perception of the enlightened man will then be the task
of a healthy person who has made himself acquainted with the laws of
evolution in art and in society, and is able to test the excellence of
work in any stage from immaturity to decadence by discerning what there
is of truth, sincerity, and natural vigor in it."