the author of Modern Painters say, that his chief error in earlier days was not in over-estimating, but in too slightly acknowledging the merit of living men.  The great painter whose power, while he was yet among us, I was able to perceive,[172] was the first to reprove me for my disregard of the skill of his fellow-artists; and, with this inauguration of the study of the art of all time,—­a study which can only by true modesty end in wise admiration,—­it is surely well that I connect the record of these words of his, spoken then too truly to myself, and true always more or less for all who are untrained in that toil,—­“You don’t know how difficult it is.”

You will not expect me, within the compass of this lecture, to give you any analysis of the many kinds of excellent art (in all the three great divisions) which the complex demands of modern life, and yet more varied instincts of modern genius, have developed for pleasure or service.  It must be my endeavour, in conjunction with my colleagues in other Universities, hereafter to enable you to appreciate these worthily; in the hope that also the members of the Royal Academy, and those of the Institute of British Architects, may be induced to assist, and guide, the efforts of the Universities, by organizing such a system of art education for their own students, as shall in future prevent the waste of genius in any mistaken endeavours; especially removing doubt as to the proper substance and use of materials; and requiring compliance with certain elementary principles of right, in every picture and design exhibited with their sanction.  It is not indeed possible for talent so varied as that of English artists to be compelled into the formalities of a determined school; but it must certainly be the function of every academical body to see that their younger students are guarded from what must in every school be error; and that they are practised in the best methods of work hitherto known, before their ingenuity is directed to the invention of others.

I need scarcely refer, except for the sake of completeness in my statement, to one form of demand for art which is wholly unenlightened, and powerful only for evil;—­namely, the demand of the classes occupied solely in the pursuit of pleasure, for objects and modes of art that can amuse indolence or excite passion.  There is no need for any discussion of these requirements, or of their forms of influence, though they are very deadly at present in their operation on sculpture, and on jewellers’ work.  They cannot be checked by blame, nor guided by instruction; they are merely the necessary results of whatever defects exist in the temper and principles of a luxurious society; and it is only by moral changes, not by art-criticism, that their action can be modified.