SHAFTESBURY'S WRITINGS ON ART.*
THE editor of the present work discovered in the Record Office a manuscript by Shaftesbury, which was published in 1900 with the title of Philosophical Regimen. At the same time another manuscript was found, which was the plan of a work intended as a complement to the writer's Characteristics. These Second Characteristics would have consisted of four parts. Three of them had been completed, and were published shortly after the author's death ; but the fourth, the treatise on "Plastic Art," remained as a sketch in manuscript. It is this last which is now printed for the first time. The great drawback of all writing on aesthetics is that the general principles are so easy to agree upon, but the application of them is so difficult. It is hard to believe in the truth of a theory expounded by an author, however reasonable it may appear, when a practical example which is given is found to be wholly unconvincing. For instance, many of Shaftesbury's general principles, which appear quite unexceptionable, lead him to declare that Domenichino'a picture of St. Jerome is "the best picture in the world"—a judgment from which modern taste revolts. Here is the eternal difficulty of the so-called science of aesthetics. But if we leave the applications of the theories on one side, it is interesting to note Shaftesbury's constant return to the idea of simplicity in art. Harmony, proportion, absence of violence or affectation, are the qualities he extols. With such leanings, it is natural to find classic art exalted above modern ; anti in antiquity none of the faults he con- demns is to, be found, as will be seen in the following quotation : "This an eternal distinction between ancient and modern. The first ever without affectation. The latter (except Raphael, Poussin, and in statuary Michel Angelo) all give into it more or less. And the cavalier Bernini in this respect an apostate in statuary." To this passage this note is added : "Memd: Bernini wicked. There- fore all the harder on him as on Spaniolet, Caravagio, atc. throwing in a word on behalf of M. Angelo and Salvator Rosa." Why the painting of Michel Angelo should be specially excluded it is difficult to imagine, as is-' the inclusion of Salvator Rosa among those who are unaffected. We wonder how be would have explained away the Pergamon altar. But throughout the treatise there is not much evidence that Shaftesbury had any very profound plastic sense, when it comes to the impression made upon his nature by actual pictures. It is the abstract philosophical ideas which interest him. His emotions do not seem to respond to the call of the painter. Pictures to him make no personal appeal, but are only material for philosophic theories.
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