areappealswhichshouldbemadetothepublic.Theartwhichhasfulfilledtheconditionsofbeautyhasfulfilledallconditions：
itisforthecritictoteachthepeoplehowtofindinthecalmofsuchartthehighestexpressionoftheirownmoststormypassions.
’Ihavenoreverence，’saidKeats，’forthepublic，norforanythinginexistencebuttheEternalBeing，thememoryofgreatmenandtheprincipleofBeauty.’
SuchthenistheprinciplewhichIbelievetobeguidingandunderlyingourEnglishRenaissance，aRenaissancemany—sidedandwonderful，productiveofstrongambitionsandloftypersonalities，yetforallitssplendidachievementsinpoetryandinthedecorativeartsandinpainting，foralltheincreasedcomelinessandgraceofdress，andthefurnitureofhousesandthelike，notcomplete.Fortherecanbenogreatsculpturewithoutabeautifulnationallife，andthecommercialspiritofEnglandhaskilledthat;nogreatdramawithoutanoblenationallife，andthecommercialspiritofEnglandhaskilledthattoo.
Itisnotthattheflawlessserenityofmarblecannotbeartheburdenofthemodernintellectualspirit，orbecomeinstinctwiththefireofromanticpassion—thetombofDukeLorenzoandthechapeloftheMedicishowusthat—butitisthat，asTheophileGautierusedtosay，thevisibleworldisdead，LEMONDEVISIBLEA