[b] His Fifth Discourse at the Royal Academy.
That the judgment of the public upon a work of art is final seems to have been recognized by all the ancient writers who dealt with the matter, and that the Greeks generally held this view is evident from many incidents, notably the reference to public judgment in the great competition between Phidias and Alcamenes. During the Renaissance also the opinion held good, and it is worth noting that the suggestion sometimes made that Michelangelo did not conform to this view is unsupported by evidence. Vasari relates the following anecdote[a]:
He [Michelangelo] went to see a work of sculpture which was about to be sent out because it was finished, and the sculptor was taking much trouble to arrange the lights from the windows to the end that it might show up well; whereupon Michelangelo said to him: "Do not trouble yourself, the important thing will be the light of the piazza"; meaning to infer that when works are in public places, the people must judge whether they are good or bad.
Lionardo went so far as to advise artists to hear any man's opinion on his work, "for," he said, "we know very well that though a man may not be a painter, he has a true conception of the form of another man."[b] It is a common misconception with the general public, though not among serious artists, that by reason of their profession artists are better judges of works of art than other men. Obviously the recognition of beauty in art is apart altogether from the means by which it is created, and subject to the exceptions noted elsewhere, all men are alike able to appreciate high beauty. Winckelmann even advised his readers against the judgment of artists on the ground that they generally preferred what is difficult to what is beautiful,[c] but experience with the great art bodies in Europe who hold exhibitions does not support this view. It is only the weaker artists who are liable to be prejudiced in such matters, and when the judges are of high attainments in art, they almost invariably make the same choice in competitions that would be made if general opinion were solicited. But although artists cannot be better judges of high-class works of art (as beautiful things) than other men of equal intelligence, their training usually enables them to distinguish obscure forms of beauty which would be unrecognized by the general public, and in matters of colour to differentiate between ephemeral and more or less permanent harmonies. Hence while the public interests would not suffer from the introduction of the lay element in judging high class sculpture and painting, it is obvious that the consideration of works where the lower forms of beauty only are produced, as in formal decoration, should be confined to the profession.