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case the artist must decide for himself, and decide afresh and yet
afresh for each succeeding work and new creation; yet one thing may
be generally said, that we of the last quarter of the nineteenth
century, breathing as we do the intellectual atmosphere of our age,
are more apt to err upon the side of realism than to sin in quest
of the ideal. Upon that theory it may be well to watch and correct
our own decisions, always holding back the hand from the least
appearance of irrelevant dexterity, and resolutely fixed to begin
no work that is not philosophical, passionate, dignified, happily
mirthful, or, at the last and least, romantic in design.
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