William Hazlitt is read to-day as an essayist and a critic of literature. His art-criticism, except for a few papers preserved in his best known books, is familiar to few readers, and to them it will probably remain a matter of curious interest rather than of serious concern. Before Hazlitt's day even, the foundations had been laid, in the works of Wincklemann and Lessing, of a more precise study of aesthetic principles, which was destined to make obsolete most of the eighteenth-century treatises on art; with their works Hazlitt was, like most other English writers of his day, unacquainted. He was thus so far removed from the best thought of his time that his opinions on art have, for the student of aesthetic theory, little historical importance. The archaeological discoveries of the nineteenth century, the rise of impressionism in painting, the spread in all quarters of art and criticism of what may be somewhat roughly termed the naturalistic movement, and especially the development of a more strict and comprehensive study of aesthetic principles, have combined to make large sections of Hazlitt's theoretic discussions unacceptable to-day.
FROM HUME’S “DELICACY” TO CONTEMPORARY ART
