Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Emptiness of Picture Galleries (1860)

One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation, until the colors fade and blacken out of sight, or the canvas rot entirely away. For the rest, let them be piled in garrets, just as the tolerable poets are shelved, when their little day is over. Is a painter more sacred than a poet?
And as for these galleries of Roman palaces, they were to Hilda, —though she still trod them with the forlorn hope of getting back her sympathies,—they were drearier than the whitewashed walls of a prison corridor.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Emptiness of Picture Galleries (1860)

A picture, however admirable the painter's art, and wonderful his power, requires of the spectator a surrender of himself, in due proportion with the miracle which has been wrought. Let the canvas glow as it may, you must look with the eye of faith, or its highest excellence escapes you. There is always the necessity of helping out the painter's art with your own resources of sensibility and imagination.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — The Emptiness of Picture Galleries (1860)

This hallowed work of genius shows what pictorial art, devoutly exercised, might effect in behalf of religious truth; involving, as it does, deeper mysteries of revelation, and bringing them closer to man's heart, and making him tenderer to be impressed by them, than the most eloquent words of preacher or prophet.
It is not of pictures like the above that galleries, in Rome or elsewhere, are made up, but of productions immeasurably below them, and requiring to be appreciated by a very different frame of mind. Few amateurs are endowed with a tender susceptibility to the sentiment of a picture
Source: Wikisource

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