Modern Painters Volume I

ion of their own. Obloquy so universal is not lightly to be risked, and the few who make an effort to stem the torrent, as it is made commonly in favor of their own works, deserve the contempt which is their only reward. Nor is this to be regretted, in its influence on the progress and preservation of things technical and communicable. Respect for the ancients is the salvation of art, though it sometimes blinds us to its ends. It increases the power of the painter, though it diminishes his liberty; and if it be sometimes an incumbrance to the essays of invention, it is oftener a protection from the consequences of audacity. The whole system and discipline of art, the collected results of the experience of ages, might, but for the fixed authority of antiquity, be swept away by the rage of fashion, or lost in the glare of novelty; and the knowledge which it had taken centuries to accumulate, the principles which mighty minds had arrived at only in dying, might be overthrown by the frenzy of a faction,