We have often thought, that the power of the mere form could not be more strongly exemplified than at a common paint-shop. Among the annual importations from the various marts of Europe, how many beautiful faces, without an atom of meaning, attract the passengers,--stopping high and low, people of all descriptions, and actually giving pleasure, if not to every one, at least to the majority; and very justly, for they have beauty, and _nothing else_. But let another artist, some man of genius, copy the same faces, and add character,--breathe into them souls: from that moment the passers-by would see as if with other eyes; the affections and the imagination then become the spectators; and, according to the quickness or dulness, the vulgarity or refinement, of these, would be the impression. Thus a coarse mind may feel the beauty in the hard, soulless forms of Van der Werf, yet turn away with apathy from the sanctified loveliness of a Madonna by Raffaelle.

But to return to the individual bias, which is continually inclining to, or repelling, What is more common, especially with women, than a high admiration of a plain person, if connected with wit, or a pleasing address? Can we have a stronger case in point than that of the celebrated Wilkes, one of the ugliest, yet one of the most admired men of his time? Even his own sex, blinded no doubt by their sympathetic bias, could see no fault in him, either in mind or person; for, when it was objected to the latter, that "he squinted confoundedly," the reply was, "No, Sir, not more than a gentleman ought to squint."

Lectures on Art — Part 19

Of the tendency to particular pursuits,--to art, science, or any particular course of life,--we do not speak; the bias we allude to is in the more personal disposition of the man,--in that which gives a tone to his internal character; nor is it material of what proportions compounded, of the affections, or the intellect, or the senses,--whether of some only, or the whole; that these form the ground of every man's bias is no less certain, than the fact that there is scarcely any secret which men are in the habit of guarding with such sedulous care. Nay, it would seem as if every one were impelled to it by some superstitious instinct, that every one might have it to say to himself, There is one thing in me which is all _my own_. Be this as it may, there are few things more hazardous than to pronounce with confidence on any man's bias. Indeed, most men would be puzzled to name it to themselves; but its existence in them is not the less a fact, because the form assumed may be so mixed and complicated as to be utterly undefinable. It is enough, however, that every one feels, and is more or less led by it, whether definite or not.

Lectures on Art — Part 19