Page 56, note 1.
Whilst love and terror laid the tiles."The Problem," Poems.
Journal, 1848. "I believe in the admirableness of art. I expect it to be miraculous, and find it so. The combinations of the Gothic building are not now attainable, and the Phidian friezes with reason affect us as the forest does."
I copy from a later journal, as appropriate here, the definition of Beauty by Mr. Emerson's friend, Mr. James Elliot Cabot: "The complete incarnation of spirit, which is the definition of Beauty, demands equally that there be no point it does not inhabit, and none in which it abides."
Page 56, note 2. Journal, 1863. "The measure in art and in intellect is one: To what end? Is it yours to do? Are you bound by character and conviction to that part you take?… But the forsaking the design to produce effects by showy details is the ruin of any work. Then begins shallowness of effect; intellectual bankruptcy of the artist. All goes wrong. Artist and public corrupt each other."
Page 57, note 1. Here Mr. Emerson states again the doctrine of the Trinity, older than the Christian Church. It appears in many places in his writings, especially in "The Transcendentalist," page 354, in Nature, Addresses and Lectures, and in "The Poet," page 6, in the second series of Essays.
John Sterling, the friend and correspondent of Carlyle and Emerson, wrote a noble poem on Greek Art, under the title of "Daedalus." It is included in Mr. Emerson's Parnassus. Some lines from it might fitly end this chapter:—
"Ever thy phantoms arise before us,Our loftier brothers, but one in blood;By bed and table they lord it o'er us,With looks of beauty and words of good.
