human artists, reason does not supersede instinct, but is added to an instinct as much more divine than that of the lower animals as the human body is more beautiful than theirs; that a great singer sings not with less instinct than the nightingale, but with more only more various, applicable, and governable; that a great architect does not build with less instinct than the beaver or the bee, but with more-with an innate cunning of proportion that embraces all beauty, and a divine ingenuity of skill that improvises all construction. But be that as it may be the instinct less or more than that of inferior animals-like or unlike theirs, still the human art is dependent on that first, and then upon an amount of practice, of science,—and of imagination disciplined by thought, which the true possessor of it knows to be incommunicable, and the true critic of it, inexplicable, except through long process of

laborious years. That journey of life's conquest, in which hills over hills, and Alps on Alps arose, and sank, do you think you can make another climb it painlessly, by talking? Why you cannot even carry us up an Alp with talking. You can guide us up it, step by step, no otherwise—even so, best silently. You girls who have been among the hills know how the bad guide chatters and gesticulates, and it is "put your foot here," and "mind how you balance yourself there;" but the good guide walks on quietly, without a word, only with his eyes on you when need is, and his arm like an iron bar, if need be. In that slow way, also, art can be taught-if you have

faith in your guide, and will let his arm be to you as an iron bar when need is. But in what teacher of art have you such faith? Certainly not in me; for, as I told you at first, I know well enough it is only because you think I can talk, not because you think I know my business, that you let me speak to you at all. If I were to tell you anything that seemed to you strange, you would not believe it, and yet it would only be in telling you strange things that I could be of use to you. I could be of great use to you--infinite use, with brief saying, if you would believe it; but you would not, just because the thing that would be of real use would go against the grain with you. You are all wild, for instance, with admiration of Gustave Dorè. Well, suppose I were to tell you, in the strongest terms I could use, that Gustave Dore's art was bad-bad, not in weakness, not in failure, but bad with dreadful power-the power of the Furies and the Harpies mingled, enraging, and polluting; that, so long as you looked at it, no perception of pure or beautiful art was possible for you. Suppose I were to tell you that! What would be the use? Would you look at Gustave Dorè less? Rather, more, I fancy. On the other hand, I could soon put you into good humour with me, if I chose. I know well enough what you like, and how to praise it, to your better liking. I could talk to you about moonlight, and twilight, and spring flowers, and autumn leaves, and the Madonnas of Raphael-how motherly! and the Sibyls of Michael Angelo-how majestic and the Saints of Angelico-how pious!

and the Cherubs of Correggio-how delicious! Old as I am, I could play you a tune on the harp yet, that you would dance to. But neither you nor I should be a bit the better or wiser; or, if we were, our increased wisdom could be of no practical effect. For, indeed, the arts, as regards teachableness, differ from the sciences also in this, that their power is founded not merely on facts which can be communicated, but on dispositions which require to be created. Art is neither to be achieved by effort of thinking, nor explained by accuracy of speaking. It is the instinctive and necessary result of powers which can only be developed through the mind of successive generations, and which finally burst into life under social conditions as slow of growth as the faculties they regulate. Whole æras of mighty history are summed, and the passions of dead myriads are concentrated, in the existence of a noble art; and if that noble art were among us, we should feel it and rejoice, and not care to hear lectures on it; and since it is not among us, be assured we have to go back to the root of it, or, at least, to the place where the stock of it is yet alive, and the branches began to die.

And now, may I have your pardon for pointing out, partly with reference to matters which are at this time of greater moment than the arts-that if we undertook such recession to the vital germ of national arts that have decayed, we should find a more singular arrest of their power in Ireland than in any other European country. For in the eighth

century, Ireland possessed a school of illumination, in many of its qualities-apparently in all essential qualities of invention and refinement-quite without rival; seeming as if it might have advanced to the highest triumphs in architecture and in painting. But there was one fatal flaw in its nature, by which it was stayed, and stayed with a conspicuousness of pause to which there is no parallel; so that long ago, in tracing for the students of Kensington, the progress of European schools from infancy to strength, I chose for them, in a lecture since published, two characteristic examples of early art, of equal skill; but in the one case, skill which was progressive-in the other, skill which was at pause; in the one case, it was work necessarily receptive of correction--hungry for correction-and in the other, work which inherently rejected correction. I chose for them a corrigible Eve, and an incorrigible Angel, and I grieve to say, that the incorrigible Angel was also an Irish Angel!

And the fatal difference lay wholly in this. In both pieces of art there was an equal falling short of the needs of fact; but the Lombardic Eve knew she was in the wrong, and the Irish Angel thought himself all right. The eager Lombardic sculptor, though firmly insisting on his childish idea, yet showed in the irregular broken touches of the features, and the imperfect struggle for softer lines in the form, a perception of beauty and law that he could not render; there was the strain of effort under conscious imperfection in every line. But the Irish missal painter had drawn

his angel with no sense of failure, in happy complacency, and put red dots into the palms of each hand, and rounded the eyes into perfect circles, and, I regret to say, left the mouth out altogether, with perfect satisfaction to himself.

May I, without offence, ask you to consider whether this mode of arrest in ancient Irish art may not be indicative of points of character which even yet, in some measure, arrest your national power? I have seen much of Irish character, and have watched it closely, for I have also much loved it. And I think the form of failure to which it is most liable is this, that being generous-hearted, and wholly intending always to do right, it does not attend to the external laws of right, but thinks it must necessarily do right because it means to do so, and therefore does wrong without finding it out; and then when the consequences of its wrong come upon it, or upon others connected with it, it cannot conceive that the wrong is in any wise of its causing or of its doing, but flies into wrath, and a strange agony of desire for justice, as feeling itself wholly innocent, which leads it farther astray, until there is nothing that it is not capable of doing with a good conscience.

But mind, I do not mean to say that in past or present relations between Ireland and England you have been wrong, and we right. Far from that, I believe that in all great questions of principle, and in all de. tails of administration of law, you have been usually right and we wrong, sometimes in misunderstanding you, sometimes in resolute iniquity to you. Never