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g of a master's facility and decision, can never be graceful. The artist who prefers grace to truth will never be remarkable either for grace or truth, while the one who clings to truth at all sacrifices will finally reach the expression of the highest degree of beauty which his soul is capable of conceiving; for the lines of highest beauty and supremest truth are coincident. The Ideal meets the Actual finally in the Real.
If there be one point of feeling in which the Pre-Raphaelites can be said to be more than in all others antagonistic to the schools of painting which preceded them, it would be that indicated by this distinction,--that the new school is one which in all cases places truth before beauty, while the old esteems beauty above truth. The tendency of the one is towards a severe and truth-seeking Art, one in all its characteristics essentially religious in the highest sense of the term, holding truth dearer than all success in popular estimation, or than all attractions of external beauty, reverent, self-forgetting, and humble before Nature; that of the other is towards an Art Epicurean and atheistic, holding the truth as something to be used or neglected at its pleasure, and of no more value than falsehood which is equally beautiful,--making Nature, indeed, something for weak men to lean on and for superstitious men to be enslaved by. This distinction is radical; it cuts the world of Art, as the equator does the earth, with an unswerving line, on one side or the other of which every work of Art falls, and which permits no neutral ground, no chance of compromise;--he who is not for the truth is against it. We will not be so illiberal as to say that Art lies only on one side of this line; to do so were to shut out works which have given us exceeding delight;--so neither could we exclude Epicurus and his philosophy from the company of doers of good;--but the distinction is as inexorable as the line Christ drew between his and those not his; it lies not in the product, which may be mixed good and e