Note 46 — Chapter X

People of any sense, however, confined themselves to wonder. I think it was only in the Art Journal of September 1st, 1854, that any writer had the meanness to charge me with insincerity. "The pictures of Turner and the works of the Pre-Raphaelites are the very antipodes of each other; it is, therefore, impossible that one and the same individual can with any show of sincerity [Note, by the way, the Art-Union has no idea that real sincerity is a thing existent or possible at all. All that it expects or hopes of human nature is, that it should have show of sincerity,] stand forth as the thick and thin [I perceive the writer intends to teach me English, as well as honesty,] eulogist of both. With a certain knowledge of art, such as may be possessed by the author of English Painters, [Note, farther, that the eminent critic does not so much as know the title of the book he is criticising,] it is not difficult to praise any bad or mediocre picture that may be qualified with extravagance or mysticism. This author owes the public a heavy debt of explanation, which a lifetime spent in ingenious reconciliations would not suffice to discharge. A fervent admiration of certain pictures by Turner, and, at the same time, of some of the severest productions of the Pre-Raphaelites, presents an insuperable problem to persons whose taste in art is regulated by definite principles."