I used a metaphor in one of the foregoing paragraphs to indicate the
presence of the vital spirit, the essential element of thought or
feeling, in the work of art. I said it radiated through the form, as
lamplight through an alabaster vase. Now the skill of the artist is
displayed in modelling that vase, in giving it shape, rich and rare,
and fashioning its curves with subtlest workmanship. In so far as he
is a craftsman, the artist's pains must be bestowed upon this precious
vessel of the animating theme. In so far as he has power over beauty,
he must exert it in this plastic act. It is here that he displays
dexterity; here that he creates; here that he separates himself from
other men who think and feel. The poet, more perhaps than any other
artist, needs to keep this steadily in view; for words being our daily
vehicle of utterance, it may well chance that the alabaster vase of
language should be hastily or trivially modelled. This is the true
reason why 'neither gods nor men nor the columns either suffer
mediocrity in singers.' Upon the poet it is specially incumbent to see
that he has something rare to say and some rich mode of saying it. The
figurative arts need hardly be so cautioned. They run their risk in
quite a different direction. For sculptor and for painter, the danger
is lest he should think that alabaster vase his final task. He may too
easily be satisfied with moulding a beautiful but empty form.
* * * * *
The last word on the topic of the arts is given in one sentence. Let
us remember that every work of art enshrines a spiritual subject, and
that the artist's power is shown in finding for that subject a form of
ideal loveliness. Many kindred points remain to be discussed; as what
we mean by beauty, which is a condition indispensable to noble art;
and what are the relations of the arts to ethics. These questions
cannot now be raised. It is enough in one essay to have tried to
vindicate the spirituality of art in general.
* * * * *
_A VENETIAN MEDLEY_