University of Virginia Library

THE AMATEUR.

As the chief intellectual influence of Italy is that of
the fine arts, one of their prominent intellectual
results is to render us amateurs. Observation is
engrossed with forms and sounds; the eye and ear
evince a hitherto inexperienced capacity for enjoyment.
The music—the universal, metaphysical music
of the land—invites to the cultivation of the
hearing powers, and the ever-present forms of art
lead to a practised attention of the visual organs; so
that we find ourselves insensibly drawn from the
study of social circumstances, to that of influences
far more abstract, but from their intimate connexion
with humanity, with genius, taste and feeling, not
less rich in overpowering interest. It is indeed
remarkable under how many different aspects the

studious observation of the productions of art ministers
to mental gratification. They may be regarded
with the eye of an artist, solely as illustrative of the
various schools, or as embodying the true principles
of his profession; or, by the student of human
nature, as affording a beautiful exposition of the
several epochs in the history of the development of
mind; while the tasteful votary of letters delights
in comparing their distinctive characteristics with
those of the master-spirits of our race, whose
thoughts are embodied in literature. The bold and
sublime efforts of M. Angelo, the beautiful expressiveness
of Raphael, the mellow and rich pencillings
of Claude, the wild genius of Salvator, and the
highly finished style of Leonardo, present to him
striking and interesting analogies with what is
familiar in the sister art of writing. It has been
well observed, that the bases of these arts touch
each other.

The genuine amateur, won by the attractions,
and attached by a spontaneous and intelligent sympathy
with the delicate dependencies and distinctions
which enter into the composition of external
symmetry, beauty and grandeur, gives himself to
the study and enjoyment of the abstract and embodied
principles of art. In such an one, the first emotions
of simple pleasure have expanded into profound
and inspiring interest, and the lights of
acquired knowledge and improving judgment have
redoubled the primitive sentiment of pleasure, derived

from these sources. Versed in the laws,
according to which all physical grace and beauty
exist, accustomed to find pleasure in every object
which developes these, and ever quick to detect
them wherever existent, the world is to him full of
enjoyment. Art's most glorious products are as
cherished friends, ever awakening satisfaction, and
affording consolation; blest with innumerable visions
of beauty, garnered from imagination's pencillings,
under nature's tuition, and glowing with a deliberate
enthusiasm, which has become an instinctive
principle, himself is his greatest resource. Nor are
such enjoyments without a favourable moral, as well
as intellectual benefit. The student and admirer of
the noblest human productions, who has become
such from native sentiment and discriminating taste,
is allied to his race by a new and interesting bond;
he may be said, with peculiar truth, to love in humanity,
what is truly worthy of devoted affection—
her capacity of exalted effort. And however vague
and ill-sustained such a feeling may be abstractly,
no regard can be more intelligent and vivid, when
cherished through the medium of mind's most hallowed
fruits. These give life to and sustain, in the
devoted mind, a free and grateful respect, the legitimate
spring of genuine philanthropy.

The true amateur, then, least of all men, deserves
the charge of unworthy selfishness; few obtain their
ends with less expense to their fellow beings, or in
the process of self-gratification diffuse happier influences.

Perception and taste, in some form or other,
are universal, and if uncorrupted, whatever be their
peculiarities, co-exist with a high and pure moral
sense.

Every magnanimous spirit is rendered happy by
the just appreciation of the results of mind, whatever
be their character or origin. A mere general
sentiment of approbation or censure in relation to
remarkable works of human art, is unworthy a good
understanding; and while we rejoice in liberal
judgments on such subjects, discriminating views
are alone satisfactory. Hence the acknowledged
moral beauty of just criticism; it is the only true
praise, the only improving censure. Happy, therefore,
is it, that there are men so constituted as to
find much of their happiness in the noble duties of a
genuine amateur; men who rejoice in the deliberate
indulgence of their intellectual tastes more than in
devoting them, with a fatal exclusiveness, to the purposes
of ambition; who become, as it were, the high
priests of art, and in their studious and sincere devotion,
waft the most acceptable incense to the
spirit of genius.