signature, the autograph; it is not the mere cross-mark of a clown, nor the imprint of the thumb of a savage. It is not superseded by the Great Seal, for it represents even more than the decisions of law-makers. It puts into tangible form the affections and restraints of a people in varying but ever just balance. It is not servilely imitative, it is selective as is all poetry; therefore it is not strictly imitative at all, for everything in nature changes like summer vapour, and the purview of the searching eye is unlimited, while a picture is the epitome of the glory of a scene not present in any given moment or in any limit of space. A literal transcript is not a picture. Indeed, Art as seen in a decorative design is often infinitely higher than it is in a painted canvas; Art expressed in form and colour embraces every kind of design, every manufactured shape, for the humblest as well as those intended for the most royal purposes. When there is no sense of national design in common utensils, you may be sure that the art of pictures is not in a healthy condition.
You recognize a Chinese article by the device it has upon it; the barbarous extravagance and self-assertion of the Celestial Empire serve as a striking example of what with attention we see in more modest form on the face of every product from ancient Egypt, Greece, Rome, Byzantium, Italy, early Germany, and Holland. You identify each invention, whether it be a temple, a statue, a painting, an ornamental panel, a coin, a bust, or a jar containing perfumes, as the one particular nation's work, distinct at first sight from all others, just as the penmanship of one friend from another's is clear. You
