Chapter CCXVIII: Section CXIV: The reader will forgive my quitting our more immediate

subject, in order briefly to explain the causes and the nature of this destruction; for the matter is simply the most important of all that can be brought under our present consideration respecting the state of art in Europe.

The fact is, that the greater number of persons or societies throughout Europe, whom wealth, or chance, or inheritance has put in possession of valuable pictures, do not know a good picture from a bad one, and have no idea in what the value of a picture really consists. [Footnote: Many persons, capable of quickly sympathizing with any excellence, when once pointed out to them, easily deceive themselves into the supposition that they are judges of art. There is only one real test of such power of judgment. Can they, at a glance, discover a good picture obscured by the filth, and confused among the rubbish, of the pawnbroker's or dealer's garret?] The reputation of certain work is raised partly by accident, partly by the just testimony of artists, partly by the various and generally bad taste of the public (no picture, that I know of, has ever, in modern times, attained popularity, in the full sense of the term, without having some exceedingly bad qualities mingled with its good ones), and when this reputation has once been completely established, it little matters to what state the picture may be reduced: few minds are so completely devoid of imagination as to be unable to invest it with the beauties which they have heard attributed to it.