R. L. Nettleship’s Uncollected Works

Excepting translations from German, letters to Thring and Bosanquet published in volumes of selected letters of those men, and edited volumes of Green’s works, the publications of Richard Lewis Nettleship not included in the two-volume Remains are, I think, as follows.

“An Italian Study of Bunyan’s ‘Pilgrim’s Progress,’” Macmillan’s Magazine XXXIX (November 1878–April 1879), pp. 23–31.

“The Theory of Education in the Republic of Plato,” in Evelyn Abbott (ed.), Hellenica (London: Rivington’s, 1880), pp. 67–180. Reissued as The Theory of Education in Plato’s Republic (Oxford: Clarendon Press, 1935).

“Professor T. H. Green: In Memoriam,” The Contemporary Review XLI (January–June 1882), pp. 857–77.

Introductory memoir in Works of Thomas Hill Green vol. 3 (London: Longmans, Green and Co., 1888), pp. xi–clxi.

Infinite cheers to archive.org for the facsimiles! If there’s anything I’ve left out, please do say.

A. W. Dow on Appreciation

We know from Plato (Republic, 601d–2a) that the “quality, beauty and fitness” (transl. Lee, 1974 [1955]) of an object, or its “excellence or beauty or rightness” (transl. Cornford, 1941)—or, better, its “excellence or virtue”—depends upon its use. Thus, an object’s user, having gained the most thorough acquaintance with it, best knows its use. Its manufacturer, wishing to make a good (“virtuous”) object, should consult its user; thereby, he comes to believe rightly about the object and its virtues.

Knowledge by acquaintance is proper to the user qua user, and (true) belief to the manufacturer qua manufacturer.

Nicolas Poussin provided the following definition of painting in a 1665 letter to the Sieur de Chambray:

C’est une Imitation faicte auec lignes et couleurs en quelque superficie de tout ce qui se voit dessoubs le Soleil, sa fin est la Délectation [Correspondance (Paris: Jean Schemit, 1911), p. 462].

Painting’s “end,” purpose, or use is delectation. Its user is the art lover, who delights in it. if a painter wishes to make a good painting, he must consult the art lover, its user. This inner dilettante, “inner critic,” or assimilation by maker-as-such of user-as-such—is, according to Arthur Wesley Dow, “the divine gift APPRECIATION” (Composition [New York: Doubleday, 1913], p.128).