initial commit of ebook 18653HEADmain

17 files changed, 15520 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/18653-8.txt b/18653-8.txt
new file mode 100644
index 0000000..ceb7686
--- /dev/null
+++ b/18653-8.txt
@@ -0,0 +1,5096 @@
+The Project Gutenberg EBook of The Mind of the Artist, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mind of the Artist
+       Thoughts and Sayings of Painters and Sculptors on Their Art
+
+Author: Various
+
+Commentator: George Clausen
+
+Release Date: June 22, 2006 [EBook #18653]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+
+
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+THE MIND OF THE ARTIST
+
+[Illustration: _Rembrandt_ THE POLISH RIDER _Berlin Photographic Co_]
+
+THOUGHTS AND SAYINGS OF PAINTERS
+AND SCULPTORS ON THEIR ART
+
+COLLECTED & ARRANGED BY
+MRS. LAURENCE BINYON
+
+
+WITH A PREFACE BY GEORGE CLAUSEN, R.A.
+
+LONDON
+CHATTO & WINDUS
+1909
+
+_All rights reserved_
+
+
+
+
+PREFACE
+
+
+It is always interesting and profitable to get the views of workmen on
+their work, and on the principles which guide them in it; and in
+bringing together these sayings of artists Mrs. Binyon has done a very
+useful thing. A great number of opinions are presented, which, in their
+points of agreement and disagreement, bring before us in the most
+charming way the wide range of the artist's thought, and enable us to
+realise that the work of the great ones is not founded on vague caprice
+or so-called inspiration, but on sure intuitions which lead to definite
+knowledge; not merely the necessary knowledge of the craftsman, which
+many have possessed whose work has failed to hold the attention of the
+world, but also a knowledge of nature's laws.
+
+"The Mind of the Artist" speaks for itself, and really requires no word
+of introduction. These opinions as a whole, seem to me to have a harmony
+and consistency, and to announce clearly that the directing impulse must
+be a desire for expression, that art is a language, and that the thing
+to be said is of more importance than the manner of saying it. This
+desire for expression is the driving-force of the artist; it informs,
+controls, and animates his method of working; it governs the hand and
+eye. That figures should give the impression of life and spontaneity,
+that the sun should shine, trees move in the wind, and nature be felt
+and represented as a living thing--this is the firm ground in art; and
+in those who have this feeling every effort will, consciously or
+unconsciously, lead towards its realisation. It should be the
+starting-point of the student. It does not absolve him from the need of
+taking the utmost pains, from making the most searching study of his
+model; rather it impels him, in the examination of whatever he feels
+called on to represent, to look for the vital and necessary things: and
+the artist will carry his work to the utmost degree of completion
+possible to him, in the desire to get at the heart of his theme.
+
+"Truth to nature," like a wide mantle, shelters us all, and covers not
+only the outward aspect of things, but their inner meanings and the
+emotions felt through them, differently by each individual. And the
+inevitable differences of point of view, which one encounters in this
+book, are but small matters compared with the agreement one finds on
+essential things; I may instance particularly the stress laid on the
+observation of nature. Whether the artist chooses to depict the present,
+the past, or to express an abstract ideal, he must, if his work is to
+live, found it on his own experience of nature. But he must at every
+step also refer to the past. He must find the road that the great ones
+have made, remembering that the problems they solved were the same that
+he has before him, and that now, no less than in Dürer's time, "art is
+hidden in nature: it is for the artist to drag her forth."
+
+     GEORGE CLAUSEN.
+
+
+
+
+NOTE
+
+
+This little volume, it need hardly be said, does not aim at being
+complete, in the sense of representing all the artists who have written
+on art. It is hoped, however, that the sayings chosen will be found
+fairly representative of what painters and sculptors, typical of their
+race and time, have said about the various aspects of their work. In
+making the collection, I have had recourse less to famous comprehensive
+treatises and expositions of theory like those of Leonardo and of
+Reynolds, than to the more intimate avowals and working notes contained
+in letters and diaries, or recorded in memoirs. The selection of these
+has entailed considerable research; and in tracing what was often by no
+means easy to find, I wish to acknowledge the kind assistance,
+especially, of M. Raphael Petrucci, M. Louis Dimier, and Mr. Tancred
+Borenius. I have also to thank Lady Burne-Jones, Miss Birnie Philip,
+Mrs. Watts, Mrs. C. W. Furse, Mr. W. M. Rossetti, Mr. J. G. Millais, Mr.
+Samuel Calvert, and Mr. Sydney Cockerell, for permission to make
+quotations from Burne-Jones, Whistler, Watts, Furse, D. G. Rossetti,
+Madox Brown, Millais, Edward Calvert, and William Morris; also Sir
+Martin Conway, Sir Charles Holroyd, Mrs. Herringham, Mr. E. McCurdy,
+and Mr. Everard Meynell, for allowing me to use their translations from
+Dürer, Francisco d'Ollanda (conversations with Michael Angelo), Cennino
+Cennini, Leonardo, and Corot, respectively.
+
+Thankful acknowledgment is also made to the authors of any other
+quotations whose names may inadvertently have been omitted.
+
+Above all, I thank my husband for his advice and help.
+
+C. M. B.
+
+
+
+
+ILLUSTRATIONS
+
+
+THE POLISH RIDER. Rembrandt        _Frontispiece_
+_Tarnowski Collection, Dzikow_
+
+                                               FACING PAGE
+
+THE CASTLE IN THE PARK. Rubens. (_Detail_)       28
+_Vienna_
+
+LOVE. Millais                                    48
+_The Victoria and Albert Museum_
+
+THE MUSIC OF PAN. Signorelli                     74
+_Berlin_
+
+PORTRAIT OF THE ARTIST'S WIFE. J. Van Eyck       96
+_Bruges_
+
+HOPE. Puvis de Chavannes                        102
+_By permission of Messrs. Durand-Revel_
+
+THE MASS OF BOLSENA. Raphael. (_Detail_)        118
+_The Vatican_
+
+THE CHILDREN AND THE BUTTERFLY. Gainsborough    134
+_National Gallery_
+
+
+
+
+THE MIND OF THE ARTIST
+
+
+I
+
+An able painter by his power of penetration into the mysteries of his
+art is usually an able critic.
+
+_Alfred Stevens._[1]
+
+[Footnote 1: The Belgian painter, not the English sculptor.]
+
+
+II
+
+Art, like love, excludes all competition, and absorbs the man.
+
+     _Fuseli._
+
+
+III
+
+A good painter has two chief objects to paint, namely, man, and the
+intention of his soul. The first is easy, the second difficult, because
+he has to represent it through the attitudes and movements of the limbs.
+This should be learnt from the dumb, who do it better than any other
+sort of person.
+
+_Leonardo da Vinci._
+
+
+IV
+
+In my judgment that is the excellent and divine painting which is most
+like and best imitates any work of immortal God, whether a human figure,
+or a wild and strange animal, or a simple and easy fish, or a bird of
+the air, or any other creature. And this neither with gold nor silver
+nor with very fine tints, but drawn only with a pen or a pencil, or with
+a brush in black and white. To imitate perfectly each of these things in
+its species seems to me to be nothing else but to desire to imitate the
+work of immortal God. And yet that thing will be the most noble and
+perfect in the works of painting which in itself reproduced the thing
+which is most noble and of the greatest delicacy and knowledge.
+
+_Michael Angelo._
+
+
+V
+
+The art of painting is employed in the service of the Church, and by it
+the sufferings of Christ and many other profitable examples are set
+forth. It preserveth also the likeness of men after their death. By aid
+of delineations the measurements of the earth, the waters, and the stars
+are better to be understood; and many things likewise become known unto
+men by them. The attainment of true, artistic, and lovely execution in
+painting is hard to come unto; it needeth long time and a hand practised
+to almost perfect freedom. Whosoever, therefore, falleth short of this
+cannot attain a right understanding (in matters of painting) for it
+cometh alone by inspiration from above. The art of painting cannot be
+truly judged save by such as are themselves good painters; from others
+verily is it hidden even as a strange tongue. It were a noble occupation
+for ingenious youths without employment to exercise themselves in this
+art.
+
+_Dürer._
+
+
+
+
+AIMS AND IDEALS
+
+
+VI
+
+Give thou to God no more than he asketh of thee; but to man also, that
+which is man's. In all that thou doest, work from thine own heart,
+simply; for his heart is as thine, when thine is wise and humble; and he
+shall have understanding of thee. One drop of rain is as another, and
+the sun's prism in all: and shalt not thou be as he, whose lives are the
+breath of One? Only by making thyself his equal can he learn to hold
+communion with thee, and at last own thee above him. Not till thou lean
+over the water shalt thou see thine image therein: stand erect, and it
+shall slope from thy feet and be lost. Know that there is but this means
+whereby thou mayst serve God with man.... Set thine hand and thy soul to
+serve man with God....
+
+Chiaro, servant of God, take now thine Art unto thee, and paint me thus,
+as I am, to know me; weak, as I am, and in the weeds of this time; only
+with eyes which seek out labour, and with a faith, not learned, yet
+jealous of prayer. Do this; so shall thy soul stand before thee always,
+and perplex thee no more.
+
+_Rossetti._
+
+
+VII
+
+I know that this world is a world of imagination and vision. I see
+everything I paint in this world, but everybody does not see alike. To
+the eyes of a miser a guinea is far more beautiful than the sun, and a
+bag worn with the use of money has more beautiful proportions than a
+vine filled with grapes. The tree which moves some to tears of joy, is
+in the eyes of others only a green thing which stands in the way.... To
+the eye of the man of imagination, Nature is Imagination itself.
+
+_Blake._
+
+
+VIII
+
+Painting is nothing but the art of expressing the invisible by the
+visible.
+
+_Fromentin._
+
+
+IX
+
+The picture I speak of is a small one, and represents merely the figure
+of a woman, clad to the hands and feet with a green and grey raiment,
+chaste and early in its fashion, but exceedingly simple.
+
+She is standing: her hands are held together lightly, and her eyes set
+earnestly open.
+
+The face and hands in this picture, though wrought with great delicacy,
+have the appearance of being painted at once, in a single sitting: the
+drapery is unfinished. As soon as I saw the figure, it drew an awe upon
+me, like water in shadow. I shall not attempt to describe it more than I
+have already done, for the most absorbing wonder of it was its
+literality. You knew that figure, when painted, had been seen; yet it
+was not a thing to be seen of men.
+
+_Rossetti._
+
+
+X
+
+A great work of high art is a noble theme treated in a noble manner,
+awakening our best and most reverential feelings, touching our
+generosity, our tenderness, or disposing us generally to seriousness--a
+subject of human endurance, of human justice, of human aspiration and
+hope, depicted worthily by the special means art has in her power to
+use. In Michael Angelo and Raphael we have high art; in Titian we have
+high art; in Turner we have high art. The first appeals to our highest
+sensibilities by majesty of line, the second mainly by dignified
+serenity, the third by splendour especially, the Englishman by a
+combination of these qualities, but, lacking the directly human appeal
+to human sympathies, his work must be put on a lower level.
+
+_Watts._
+
+
+XI
+
+THE SIX CANONS OF ART
+
+Rhythmic vitality, anatomical structure, conformity with nature,
+suitability of colouring, artistic composition, and finish.
+
+_Hsieh Ho_ (Chinese, sixth century A.D.).
+
+
+XII
+
+In painting, the most troublesome subject is man, then landscape, then
+dogs and horses, then buildings, which being fixed objects are easy to
+manage up to a certain point, but of which it is difficult to get
+finished pictures.
+
+_Ku K'ai-Chih_ (Chinese, fourth century A.D.).
+
+
+XIII
+
+First it is necessary to know what this sort of imitation is, and to
+define it.
+
+Definition:
+
+It is an imitation made with lines and with colours on some plane
+surface of everything that can be seen under the sun. Its object is to
+give delight.
+
+Principles which may be learnt by all men of reason:
+
+No visible object can be presented without light.
+
+No visible object can be presented without a transparent medium.
+
+No visible object can be presented without a boundary.
+
+No visible object can be presented without colour.
+
+No visible object can be presented without distance.
+
+No visible object can be presented without an instrument.
+
+What follows cannot be learnt, it is born with the painter.
+
+_Nicholas Poussin._
+
+
+XIV
+
+"In painting, and above all in portraiture," says Madame Cavé in her
+charming essay, "it is soul which speaks to soul: and not knowledge
+which speaks to knowledge."
+
+This observation, more profound perhaps than she herself was aware, is
+an arraignment of pedantry in execution. A hundred times I have said to
+myself, "Painting, speaking materially, is nothing but a bridge between
+the soul of the artist and that of the spectator."
+
+_Delacroix._
+
+
+XV
+
+The art of painting is perhaps the most indiscreet of all the arts. It
+is an unimpeachable witness to the moral state of the painter at the
+moment when he held the brush. The thing he willed to do he did: that
+which he only half-heartedly willed can be seen in his indecisions: that
+which he did not will at all is not to be found in his work, whatever
+he may say and whatever others may say. A distraction, a moment's
+forgetfulness, a glow of warmer feeling, a diminution of insight,
+relaxation of attention, a dulling of his love for what he is studying,
+the tediousness of painting and the passion for painting, all the shades
+of his nature, even to the lapses of his sensibility, all this is told
+by the painter's work as clearly as if he were telling it in our ears.
+
+_Fromentin._
+
+
+XVI
+
+The first merit of a picture is to feast the eyes. I don't mean that
+the intellectual element is not also necessary; it is as with fine
+poetry ... all the intellect in the world won't prevent it from being bad
+if it grates harshly on the ear. We talk of having an ear; so it is not
+every eye which is fitted to enjoy the subtleties of painting. Many people
+have a false eye or an indolent eye; they can see objects literally, but
+the exquisite is beyond them.
+
+_Delacroix._
+
+
+XVII
+
+I would like my work to appeal to the eye and mind as music appeals to
+the ear and heart. I have something that I want to say which may be
+useful to and touch mankind, and to say it as well as I can in form and
+colour is my endeavour; more than that I cannot do.
+
+_Watts._
+
+
+XVIII
+
+Give me leave to say, that to paint a very beautiful Woman, I ought to
+have before me those that are the most so; with this Condition, that
+your Lordship might assist me in choosing out the greatest Beauty. But
+as I am under a double Want, both of good Judgment and fine Women, I am
+forced to go by a certain Idea which I form in my own Mind. Whether this
+hath any Excellence of Art in it, I cannot determine; but 'tis what I
+labour at.
+
+_Raphael._
+
+
+XIX
+
+I mean by a picture a beautiful romantic dream of something that never
+was, never will be--in a light better than any light that ever shone--in
+a land no one can define or remember, only desire--and the forms
+divinely beautiful--and then I wake up with the waking of Brynhild.
+
+_Burne-Jones._
+
+
+XX
+
+I love everything for what it is.
+
+_Courbet._
+
+
+XXI
+
+I look for my tones; it is quite simple.
+
+_Courbet._
+
+
+XXII
+
+Many people imagine that art is capable of an indefinite progress toward
+perfection. This is a mistake. There is a limit where it must stop. And
+for this reason: the conditions which govern the imitation of nature are
+fixed. The object is to produce a picture, that is to say, a plane
+surface either with or without a border, and on this surface the
+representation of something produced by the sole means of different
+colouring substances. Since it is obliged to remain thus circumscribed,
+it is easy to foresee the limit of perfectibility. When the picture has
+succeeded in satisfying our minds in all the conditions imposed on its
+production, it will cease to interest. Such is the fate of everything
+which has attained its end: we grow indifferent and abandon it.
+
+In the conditions governing the production of the picture, every means
+has been explored. The most difficult problem was that of complete
+relief, depth of perspective carried to the point of perfect illusion.
+The stereoscope has solved the problem. It only remains now to combine
+this perfection with the other kinds of perfection already found. Let no
+man imagine that art, bound by these conditions of the plane surface,
+can ever free itself from the circle which limits it. It is easy to
+foresee that its last word will soon have been said.
+
+_Wiertz._
+
+
+XXIII
+
+In his admirable book on Shakespeare, Victor Hugo has shown that there
+is no progress in the arts. Nature, their model, is unchangeable; and
+the arts cannot transcend her limits. They attain completeness of
+expression in the work of a master, on whom other masters are formed.
+Then comes development, and then a lapse, an interval. By-and-by, art is
+born anew under the stimulus of a man who catches from Light a new
+convention.
+
+_Bracquemond._
+
+
+XXIV
+
+The painter ... does not set his palette with the real hues of the
+rainbow. When he pictures to us the character of a hero, or paints some
+scene of nature, he does not present us with a living man in the
+character of the hero (for this is the business of dramatic art); nor
+does he make up his landscape of real rocks, or trees, or water, but
+with fictitious resemblances of these. Yet in these figments he is as
+truly bound by the laws of the appearance of those realities, of which
+they are the copy (and very much to the same extent), as the musician is
+by the natural laws and properties of sound.
+
+In short, the whole object of physical science, or, in other words, the
+whole of sensible nature, is included in the domain of imitative art,
+either as the subjects, the objects, or the materials of imitation:
+every fine art, therefore, has certain physical sciences collateral to
+it, on the abstractions of which it builds, more or less, according to
+its nature and purpose. But the drift of the art itself is something
+totally distinct from that of the physical science to which it is
+related; and it is not more absurd to say that physiology or anatomy
+constitute the science of poetry or dramatic art than that acoustics and
+harmonics are the science of music; optics, of painting; mechanics, or
+other branches of physical science, that of architecture.
+
+_Dyce._
+
+
+XXV
+
+After all I have seen of Art, with nothing am I more impressed than with
+the necessity, in all great work, for suppressing the workman and all
+the mean dexterity of practice. The result itself, in quiet dignity, is
+the only worthy attainment. Wood-engraving, of all things most ready for
+dexterity, reads us a good lesson.
+
+_Edward Calvert._
+
+
+XXVI
+
+Shall Painting be confined to the sordid drudgery of facsimile
+representations of merely mortal and perishing substances, and not be as
+poetry and music are, elevated into its own proper sphere of invention
+and visionary conception? No, it shall not be so! Painting, as well as
+poetry and music, exists and exults in immortal thoughts.
+
+_Blake._
+
+
+XXVII
+
+If any man has any poetry in him, he should paint, for it has all been
+said and written, and they have scarcely begun to paint it.
+
+_William Morris._
+
+
+XXVIII
+
+Long live conscience and simplicity! there lies the only way to the true
+and the sublime.
+
+_Corot._
+
+
+XXIX
+
+All the young men of this school of Ingres have something of the pedant
+about them; they seem to think that merely to be enrolled among the
+party of serious painters is a merit in itself. Serious painting is
+their party cry. I told Demay that a crowd of people of talent had done
+nothing worth speaking of because of all these factious dogmas that they
+get enslaved to, or that the prejudice of the moment imposes on them.
+So, for example, with this famous cry of _Beauty_, which is, according
+to the world's opinion, the goal of the arts: if it is the one and only
+goal, what becomes of men who, like Rubens, Rembrandt, and northern
+natures in general, prefer other qualities? Demand of Puget purity,
+beauty in fact, and it is good-bye to his verve. Speaking generally, men
+of the North are less attracted to beauty; the Italian prefers
+decoration; this applies to music too.
+
+_Delacroix._
+
+
+XXX
+
+At the present time the task is easier. It is a question of allowing to
+everything its own interest, of putting man back in his place, and, if
+need be, of doing without him. The moment has come to think less, to aim
+less high, to look more closely, to observe better, to paint as well but
+differently. This is the painting of the crowd, of the townsman, the
+workman, the parvenu, the man in the street; done wholly for him, done
+from him. It is a question of becoming humble before humble things,
+small before small things, subtle before subtle things; of gathering
+them all together without omission and without disdain, of entering
+familiarly into their intimacy, affectionately into their way of being;
+it is a matter of sympathy, attentive curiosity, patience. Henceforth,
+genius will consist in having no prejudice, in not being conscious of
+one's knowledge, in allowing oneself to be taken by surprise by one's
+model, in asking only from him how he shall be represented. As for
+beautifying--never! ennobling--never! correcting--never! These are lies
+and useless trouble. Is there not in every artist worthy of the name a
+something which sees to this naturally and without effort?
+
+_Fromentin._
+
+
+XXXI
+
+I send you also some etchings and a "Woman drinking Absinthe," drawn
+this winter from life in Paris. It is a girl called Marie Joliet, who
+used every evening to come drunk to the Bal Bullier, and who had a look
+in her eyes of death galvanised into life. I made her sit to me and
+tried to render what I saw. This is my principle in the task I have set
+before me. I am determined to make no book-illustration but it shall be
+a means of contributing towards an _effect of life_ and nothing more. A
+patch of colour and it is sufficient; we must leave these childish
+thoughts behind us. Life! we must try to render life, and it is hard
+enough.
+
+_Félicien Rops._
+
+
+XXXII
+
+So this damned Realism made an instinctive appeal to my painter's
+vanity, and deriding all traditions, cried aloud with the confidence of
+ignorance, "Back to Nature!" _Nature!_ ah, my friend, what mischief that
+cry has done me. Where was there an apostle apter to receive this
+doctrine, so convenient for me as it was--beautiful Nature, and all that
+humbug? It is nothing but that. Well, the world was watching; and it saw
+"The Piano," the "White Girl," the Thames subjects, the marines ...
+canvases produced by a fellow who was puffed up with the conceit of
+being able to prove to his comrades his magnificent gifts, qualities
+which only needed a rigorous training to make their possessor to-day a
+master, instead of a dissipated student. Ah, why was I not a pupil of
+Ingres? I don't say that out of enthusiasm for his pictures; I have
+only a moderate liking for them. Several of his canvases, which we have
+looked at together, seem to me of a very questionable style, not at all
+Greek, as people want to call it, but French, and viciously French. I
+feel that we must go far beyond this, that there are far more beautiful
+things to be done. Yet, I repeat, why was I not his pupil? What a master
+he would have been for us! How salutary would have been his guidance!
+
+_Whistler._
+
+
+XXXIII
+
+It has been said, "Who will deliver us from the Greeks and Romans?" Soon
+we shall be saying, "Who will deliver us from realism?" Nothing is so
+tiring as a constant close imitation of life. One comes back inevitably
+to imaginative work. Homer's fictions will always be preferred to
+historical truth, Rubens' fabulous magnificence to all the frippery
+copied exactly from the lay figure.
+
+The painter who is a machine will pass away, the painter who is a mind
+will remain; the spirit for ever triumphs over matter.
+
+_Wiertz._
+
+
+XXXIV
+
+A little book by the Russian soldier and artist Verestchagin is
+interesting to the student. As a realist, he condemns all art founded on
+the principles of picture-makers, and depends only on exact imitation,
+and the conditions of accident. In our seeking after truth, and
+endeavour never to be unreal or affected, it must not be forgotten that
+this endeavour after truth is to be made with materials altogether
+unreal and different from the object to be imitated. Nothing in a
+picture is real; indeed, the painter's art is the most unreal thing in
+the whole range of our efforts. Though art must be founded on nature,
+art and nature are distinctly different things; in a certain class of
+subjects probability may, indeed must, be violated, provided the
+violation is not disagreeable.
+
+Everything in a work of art must accord. Though gloom and desolation
+would deepen the effects of a distressing incident in real life, such
+accompaniments are not necessary to make us feel a thrill of horror or
+awaken the keenest sympathy. The most awful circumstances may take place
+under the purest sky, and amid the most lovely surroundings. The human
+sensibilities will be too much affected by the human sympathies to heed
+the external conditions; but to awaken in a picture similar impressions,
+certain artificial aids must be used; the general aspect must be
+troubled or sad.
+
+_Watts._
+
+
+XXXV
+
+The remarks made on my "Man with the Hoe" seem always very strange to
+me, and I am obliged to you for repeating them to me, for once more it
+sets me marvelling at the ideas they impute to me. In what club have my
+critics ever encountered me? A Socialist, they cry! Well, really, I
+might answer the charge as the commissary from Auvergne did when he
+wrote home: "They have been saying that I am a Saint-Simonian: it's not
+true; I don't know what a Saint-Simonian is."
+
+Can't they then simply admit such ideas as may occur to the mind in
+looking at a man doomed to gain his living by the sweat of his brow?
+There are some who tell me that I deny the charm of the country. I find
+in the country much more than charm; I find infinite splendour; I look
+on everything as they do on the little powers of which Christ said, "I
+say unto you, that Solomon in all his glory was not arrayed like one of
+these." I see and note the aureole on the dandelion, and the sun which,
+far away, beyond the stretching country, spends his glory on the clouds.
+I see just as much in the flat plain; in the horses steaming as they
+toil; and then in a stony place I see a man quite exhausted, whose gasps
+have been audible since morning, who tries to draw himself up for a
+moment to take breath. The drama is surrounded by splendours. This is no
+invention of mine; and it is long since that expression "the cry of the
+earth" was discovered. My critics are men of learning and taste, I
+imagine; but I cannot put myself into their skins, and since I have
+never in my life seen anything but the fields, I try to tell, as best I
+can, what I have seen and experienced as I worked.
+
+_Millet._
+
+
+XXXVI
+
+One of the hardest things in the world is to determine how much realism
+is allowable in any particular picture. It is of so many different kinds
+too. For instance, I want a shield or a crown or a pair of wings or what
+not, to look real. Well, I make what I want, or a model of it, and then
+make studies from that. So that what eventually gets on to the canvas is
+a reflection of a reflection of something purely imaginary. The three
+Magi never had crowns like that, supposing them to have had crowns at
+all, but the effect is realistic because the crown from which the
+studies were made is real--and so on.
+
+_Burne-Jones._
+
+
+XXXVII
+
+Do you understand now that all my intelligence rejects is in immediate
+relation to all my heart aspires to, and that the spectacle of human
+blunders and human vileness is an equally powerful motive for action in
+the exercise of art with springs of tranquil contemplation that I have
+felt within me since I was a child?
+
+We have come far, I hope, from the shadowy foliage crowning the humble
+roof of the primitive human dwelling, far from the warbling of the birds
+that brood among the branches; far from all these tender things. We left
+them, notwithstanding, the other day; and even if we had stayed, do you
+think we should have continued to enjoy them?
+
+Believe me, everything comes from the universal; we must embrace to give
+life.
+
+Whatever interest one may get from material offered by a period,
+religion, manners, history, &c., in representing a particular type, it
+will avail nothing without an understanding of the universal agency of
+atmosphere, that modelling of infinity; it shall come to pass that a
+stone fence, about which the air seems to move and breathe, shall be, in
+a museum, a grander conception than any ambitious work which lacks this
+universal element and expresses only something personal. All the
+personal and particular majesty of a portrait of Louis XIV. by Lebrun or
+by Rigaud shall be as nothing beside the simplicity of a tuft of grass
+shining clear in a gleam of sunlight.
+
+_Rousseau._
+
+
+XXXVIII
+
+Of all the things that is likely to give us back popular art in England,
+the cleaning of England is the first and the most necessary. Those who
+are to make beautiful things must live in a beautiful place.
+
+_William Morris._
+
+
+XXXIX
+
+On the whole, one must suppose that beauty is a marketable quality, and
+that the better the work is all round, both as a work of art and in its
+technique, the more likely it is to find favour with the public.
+
+_William Morris._
+
+
+
+
+ART AND SOCIETY
+
+
+XL
+
+With the language of beauty in full resonance around him, art was not
+difficult to the painter and sculptor of old as it is with us. No
+anatomical study will do for the modern artist what habitual
+acquaintance with the human form did for Pheidias. No Venetian painted a
+horse with the truth and certainty of Horace Vernet, who knew the animal
+by heart, rode him, groomed him, and had him constantly in his studio.
+Every artist must paint what he sees, rather every artist must paint
+what is around him, can produce no great work unless he impress the
+character of his age upon his production, not necessarily taking his
+subjects from it (better if he can), but taking the impress of its life.
+The great art of Pheidias did not deal with the history of his time, but
+compressed into its form the qualities of the most intellectual period
+the world has seen; nor were any materials to be invented or borrowed,
+he had them all at hand, expressing himself in a natural language
+derived from familiarity with natural objects. Beauty is the language of
+art, and with this at command thoughts as they arise take visible form
+perhaps almost without effort, or (certain technical difficulties
+overcome) with little more than is required in writing--this not
+absolving the artist or the poet from earnest thought and severe study.
+In many respects the present age is far more advanced than preceding
+times, incomparably more full of knowledge; but the language of great
+art is dead, for general, noble beauty, pervades life no more. The
+artist is obliged to return to extinct forms of speech if he would speak
+as the great ones have spoken. Nothing beautiful is seen around him,
+excepting always sky and trees and sea; these, as he is mainly a dweller
+in cities, he cannot live enough with. But it is, perhaps, in the real
+estimation in which art is held that we shall find the reason for
+failure. If the world cared for her language, art could not help
+speaking, the utterance being, perhaps, simply beautiful. But even in
+these days when we have ceased to prize this, if it were demanded that
+art should take its place beside the great intellectual outflow of the
+time, the response would hardly be doubtful.
+
+_Watts._
+
+
+XLI
+
+You refer to the use and purpose of the liberal arts; not a city in
+Europe, at present, is fulfilling them. And if any one in Melbourne were
+now to produce, even on a small scale, a picture fulfilling the
+conditions of liberal art, then Melbourne might take the lead of
+civilised cities. But it is not the ambition of leading, nor the
+restlessness of a competitive spirit that may accomplish this.
+
+A good poem, whether painted or written, whether large or small, should
+represent _beautiful life_. Are you able to name any one who has
+conceived this beauty of the life of men? I will not complicate the
+requirements of painted poesy by speaking of the music of colour with
+which it should be clothed; black and white were enough. The very
+attempt to express the confession of love were fulfilment sufficient.
+
+_Edward Calvert._
+
+
+XLII
+
+So art has become foolishly confounded with education, that all should
+be equally qualified. Whereas, while polish, refinement, culture, and
+breeding are in no way arguments for artistic result, it is also no
+reproach to the most finished scholar or greatest gentleman in the land
+that he be absolutely without eye for painting or ear for music--that in
+his heart he prefer the popular print to the scratch of Rembrandt's
+needle, or the songs of the hall to Beethoven's "C Minor Symphony."
+
+Let him have but the wit to say so, and not let him feel the admission a
+proof of inferiority.
+
+Art happens--no hovel is safe from it, no prince may depend on it, the
+vastest intelligence cannot bring it about, and puny efforts to make it
+universal end in quaint comedy and coarse farce.
+
+This is as it should be; and all attempts to make it otherwise are due
+to the eloquence of the ignorant, the zeal of the conceited.
+
+_Whistler._
+
+
+XLIII
+
+Art will not grow and flourish, nay it will not long exist, unless it be
+shared by all people; and for my part I don't wish that it should.
+
+_William Morris._
+
+
+XLIV
+
+No, art is not an element of corruption. The man who drinks from a
+wooden bowl is nearer to the brute that drinks from a stone trough than
+he who quenches his thirst from a crystal cup; and the artist who gave
+the glass its shape, impressed as in a mould of bronze by the simple
+means of a second's breath and yet more cheaply than the fashioning of
+the wooden bowl, has done more to ennoble and improve his neighbour than
+any inventor of a system: in his work he gives him the use and the
+enjoyment of things for which orators can only create a craving.
+
+_Jules Klagmann._
+
+
+XLV
+
+The improviser never makes fine poetry.
+
+_Titian._
+
+
+XLVI
+
+Agatharcus said to Zeuxis--For my part I soon despatch my Pictures. You
+are a happy Man, replies Zeuxis; I do mine with Time and application,
+because I would have them good, and I am satisfyed, that what is soon
+done, will soon be forgotten.
+
+
+XLVII
+
+Art is not a pleasure trip. It is a battle, a mill that grinds.
+
+_Millet._
+
+
+
+
+STUDY AND TRAINING
+
+
+XLVIII
+
+Raphael and Michael Angelo owe that immortal fame of theirs, which has
+gone out into the ends of the earth, to the passion of curiosity and
+delight with which this noble subject inspired them.
+
+No man who has not studied the sciences can make a work that shall bring
+him great praise, save from ignorant and easily satisfied persons.
+
+_Jean Goujon._
+
+
+XLIX
+
+He that would be a painter must have a natural turn thereto.
+
+Love and delight therein are better teachers of the Art of Painting than
+compulsion is.
+
+If a man is to become a really good painter he must be educated thereto
+from his very earliest years. He must copy much of the work of good
+artists until he attain a free hand.
+
+To paint is to be able to portray upon a flat surface any visible thing
+whatsoever that may be chosen.
+
+It is well for any one first to learn how to divide and reduce to
+measure the human figure, before learning anything else.
+
+_Dürer._
+
+
+L
+
+The painter requires such knowledge of mathematics as belongs to
+painting, and severance from companions who are not in sympathy with
+his studies, and his brain should have the power of adapting itself to
+the tenor of the objects which present themselves before it, and he
+should be freed from all other cares. And if, while considering and
+examining one subject, a second should intervene, as happens when an
+object occupies the mind, he ought to decide which of these subjects
+presents greater difficulties in investigation, and follow that until it
+becomes entirely clear, and afterwards pursue the investigation of the
+other. And above all he should keep his mind as clear as the surface of
+a mirror, which becomes changed to as many different colours as are
+those of the objects within it, and his companions should resemble him
+in a taste for these studies; and if he fail to find any such, he should
+accustom himself to be alone in his investigations, for in the end he
+will find no more profitable companionship.
+
+_Leonardo._
+
+
+LI
+
+If you are fond of copying other Men's Work, as being Originals more
+constant to be seen and imitated than any living Object, I should rather
+advise to copy anything moderately carved than excellently painted: For
+by imitating a Picture, we only habituate our Hand to take a mere
+Resemblance; whereas by drawing from a carved Original, we learn not
+only to take this Resemblance, but also the true Lights.
+
+_Leon Battista Alberti._
+
+
+LII
+
+There are a thousand proofs that the old masters and all good painters
+from Raphael onwards executed their frescoes from cartoons and their
+little easel pictures from more or less finished drawings.... Your model
+gives you exactly what you want to paint neither in character of drawing
+nor in colour, but at the same time you cannot do without him.
+
+To paint Achilles the most goodly of men, though you had for your model
+the most abject you must depend on him, and can depend on him for the
+structure of the human body, for its movement and poise. The proof of
+this is that Raphael used his pupils in his studies for the movements of
+the figures in his divine pictures.
+
+Whatever your talents may be, if you paint not from your studies after
+nature, but directly from the model, you will always be a slave and your
+pictures will show it. Raphael, on the contrary, had so completely
+mastered nature and had his mind so full of her, that instead of being
+ruled by her, one might say that she obeyed him and came at his command
+to place herself in his pictures.
+
+_Ingres._
+
+
+LIII
+
+No one can ever design till he has learned the language of Art by making
+many finished copies both of Nature, Art, and of whatever comes in his
+way, from earliest childhood. The difference between a bad artist and a
+good is, that the bad artist _seems_ to copy a great deal, the good one
+_does_ copy a great deal.
+
+_Blake._
+
+
+LIV
+
+If you deprive an artist of all he has borrowed from the experience of
+others the originality left will be but a twentieth part of him.
+
+Originality by itself cannot constitute a remarkable talent.
+
+_Wiertz._
+
+
+LV
+
+I am convinced that to reach the highest degree of perfection as a
+painter, it is necessary, not only to be acquainted with the ancient
+statues, but we must be inwardly imbued with a thorough comprehension of
+them.
+
+_Rubens._
+
+
+LVI
+
+First of all copy drawings by a good master made by his art from nature
+and not as exercises; then from a relief, keeping by you a drawing done
+from the same relief; then from a good model, and of this you ought to
+make a practice.
+
+_Leonardo._
+
+
+LVII
+
+I wish to do something purely Greek; I feed my eyes on the antique
+statues, I mean even to imitate some of them. The Greeks never
+scrupled to reproduce a composition, a movement, a type already received
+and used. They put all their care, all their art, into perfecting an
+idea which had been used by others before them. They thought, and
+thought rightly, that in the arts the manner of rendering and expressing
+an idea matters more than the idea itself.
+
+[Illustration: _Rubens_ THE CASTLE IN THE PARK _Hanfstaengl_]
+
+To give a clothing, a perfect form to one's thought is to be an
+artist ... it is the only way.
+
+Well, I have done my best and I hope to attain my object.
+
+_L. David._
+
+
+LVIII
+
+Who amongst us, if he were to attempt in reality to represent a
+celebrated work of Apelles or Timanthus, such as Pliny describes them,
+but would produce something absurd, or perfectly foreign to the
+exalted greatness of the ancients? Each one, relying on his own powers,
+would produce some wretched, crude, unfermented stuff, instead of an
+exquisite old wine, uniting strength and mellowness, outraging those
+great spirits whom I endeavour reverently to follow, satisfied, however,
+to honour the marks of their footsteps, instead of supposing--I
+acknowledge it candidly--that I can ever attain to their eminence even
+in mere conception.
+
+_Rubens._
+
+
+LIX
+
+[You have stated that you thought these Marbles had great truth and
+imitation of nature; do you consider that that adds to their value?]
+
+It considerably adds to it, because I consider them as united with grand
+form. There is in them that variety that is produced in the human form,
+by the alternate action and repose of the muscles, that strike one
+particularly. I have myself a very good collection of the best casts
+from the antique statues, and was struck with that difference in them,
+in returning from the Elgin Marbles to my own house.
+
+_Lawrence._
+
+
+LX
+
+It is absolutely necessary that at some moment or other in one's career
+one should reach the point, not of despising all that is outside
+oneself, but of abandoning for ever that almost blind fanaticism which
+impels us all to imitate the great masters, and to swear only by their
+works. It is necessary to say to oneself, That is good for Rubens, this
+for Raphael, Titian, or Michael Angelo. What they have done is their own
+business; I am not bound to this master or to that. It is necessary to
+learn to make what one has found one's own: a pinch of personal
+inspiration is worth everything else.
+
+_Delacroix._
+
+
+LXI
+
+From Phidias to Clodion, from Correggio to Fragonard, from the greatest
+to the least of those who have deserved the name of master, Art has been
+pursuing the Chimæra, attempting to reconcile two opposites--the most
+slavish fidelity to nature and the most absolute independence of her, an
+independence so absolute that the work of art may claim to be a
+creation. This is the persistent problem offered by the unstable
+character of the point of view at which it is approached; the whole
+mystery of art. The subject, as presented in nature, cannot keep the
+place which art with its transforming instinct would assign it; and
+therefore a single formula can never be adequate to the totality of
+nature's manifestations; the draughtsman will talk of its form, a
+colourist of its effect.
+
+Considered in this light, nature is nothing more than one of the
+instruments of the arts, in the same category with their principles,
+elements, formulas, conventions, tools.
+
+_Bracquemond._
+
+
+LXII
+
+One must copy nature always, and learn how to see her rightly. It is for
+this that one should study the antique and the great masters, not in
+order to imitate them, but, I repeat, to learn to see.
+
+Do you think I send you to the Louvre to find there what people call
+"le beau idéal," something which is outside nature?
+
+It was stupidity like this which in bad periods led to the decadence of
+art. I send you there to learn from the antique how to see nature,
+because they themselves are nature: therefore one must live among them,
+and absorb them.
+
+It is the same in the painting of the great ages. Do you think, when I
+tell you to copy, that I want to make copyists of you? No, I want you to
+take the sap from the plant.
+
+_Ingres._
+
+
+LXIII
+
+The strict copying of nature is not art; it is only a means to an end,
+an element in the whole. Art, while presenting nature, must manifest
+itself in its own essence. It is not a mirror, uncritically reflecting
+every image; it is the artist who must mould the image to his will; else
+his work is not performed.
+
+_Bracquemond._
+
+
+LXIV
+
+Nature contains the elements, in colour and form, of all pictures, as
+the keyboard contains the notes of all music. But the artist is born to
+pick, and choose, and group with science, these elements, that the
+result may be beautiful; as the musician gathers his notes, and forms
+his chords, until he bring forth from chaos glorious harmony.
+
+To say to the painter that Nature is to be taken as she is, is to say to
+the player that he may sit on the piano.
+
+_Whistler._
+
+
+LXV
+
+When you have thoroughly learnt perspective, and have fixed in your
+memory all the various parts and forms of things, you should often amuse
+yourself when you take a walk for recreation, in watching and taking
+note of the attitudes and actions of men as they talk and dispute, or
+laugh or come to blows one with another, both their actions and those of
+the bystanders who either intervene or stand looking on at these things;
+noting these down with rapid strokes in this way, in a little
+pocket-book, which you ought always to carry with you. And let this be
+of tinted paper, so that it may not be rubbed out; but you should change
+the old for a new one, for these are not things to be rubbed out but
+preserved with the utmost diligence; for there is such an infinite
+number of forms and actions of things that the memory is incapable of
+preserving them, and therefore you should keep those (sketches) as your
+patterns and teachers.
+
+_Leonardo._
+
+
+LXVI
+
+Two men stop to talk together: I pencil them in detail, beginning at the
+head, for example; they separate and I have nothing but a fragment on my
+paper. Some children are sitting on the steps of a church; I begin,
+their mother calls them; my sketch-book becomes filled with tips of
+noses and locks of hair. I make a resolution not to go home without a
+whole figure, and I try for the first time to draw in mass, to draw
+rapidly, which is the only possible way of drawing, and which is to-day
+one of the chief faculties of our moderns. I put myself to draw in the
+winking of an eye the first group that presents itself; if it moves on I
+have at least put down the general character; if it stops, I can go on
+to the details. I do many such exercises, and have even gone so far as
+to cover the lining of my hat with lightning sketches of opera-ballets
+and opera scenery.
+
+_Corot._
+
+
+LXVII
+
+There is my model (the artist pointed to the crowd which thronged a
+market-place); art lives by studying nature, not by imitating any
+artist.
+
+_Eupompus._
+
+
+LXVIII
+
+When you have clearly and distinctly learned in what good colouring
+consists, you cannot do better than have recourse to nature herself, who
+is always at hand, and in comparison of whose true splendour the best
+coloured pictures are but faint and feeble.
+
+However, as the practice of copying is not entirely to be excluded,
+since the mechanical practice of painting is learned in some measure by
+it, let those choice parts only be selected which have recommended the
+work to notice. If its excellence consists in its general effect, it
+would be proper to make slight sketches of the machinery and general
+management of the picture. Those sketches should be kept always by you
+for the regulation of your style. Instead of copying the touches of
+those great masters, copy only their conceptions. Instead of treading in
+their footsteps, endeavour only to keep the same road. Labour to invent
+on their general principles and way of thinking. Possess yourself with
+their spirit. Consider with yourself how a Michael Angelo or a Raffaelle
+would have treated this subject; and work yourself into a belief that
+your picture is to be seen and criticised by them when completed. Even
+an attempt of this kind will rouse your powers.
+
+_Reynolds._
+
+
+LXIX
+
+What do you mean--that you have been working, but without success? Do
+you mean that you cannot get the price you ask? then sell it for less,
+till, by practice, you shall improve, and command a better price. Or do
+you only mean that you are not satisfied with your work? nobody ever was
+that I know, except J---- W----. Peg away! While you're at work you must
+be improving. Do something from Nature indoors when you cannot get out,
+to keep your hand and eye in practice. Don't get into the way of working
+too much at your drawings away from Nature.
+
+_Charles Keene._
+
+
+LXX
+
+The purpose of art is no other than to delineate the form and express
+the spirit of an object, animate or inanimate, as the case may be. The
+use of art is to produce copies of things; and if an artist has a
+thorough knowledge of the properties of the thing he paints he can
+assuredly make a name. Just as a writer of profound erudition and good
+memory has ever at his command an inexhaustible supply of words and
+phrases which he freely makes use of in writing, so can a painter, who
+has accumulated experience by drawing from nature, paint any object
+without a conscious effort. The artist who confines himself to copying
+from models painted by his master, fares no better than a literatus who
+cannot rise above transcribing others' compositions. An ancient critic
+says that writing ends in describing a thing or narrating an event, but
+painting can represent the actual forms of things. Without the true
+depiction of objects, there can be no pictorial art. Nobility of
+sentiment and such-like only come after a successful delineation of the
+external form of an object. The beginner in art should direct his
+efforts more to the latter than to the former. He should learn to paint
+according to his own ideas, not to slavishly copy the models of old
+artists. Plagiarism is a crime to be avoided not only by men of letters
+but also by painters.
+
+_Okio_ (Japanese, eighteenth century).
+
+
+LXXI
+
+I remember Dürer the painter, who used to say that, as a young man, he
+loved extraordinary and unusual designs in painting, but that in his old
+age he took to examining Nature, and strove to imitate her as closely as
+he possibly could; but he found by experience how hard it is not to
+deviate from her.
+
+_Dürer_ (quoted by Melancthon).
+
+
+LXXII
+
+I have heard painters acknowledge, though in that acknowledgment no
+degradation of themselves was intended, that they could do better
+without Nature than with her; or, as they expressed it themselves, _that
+it only put them out_. A painter with such ideas and such habits, is
+indeed in a most hopeless state. _The art of seeing Nature_, or, in
+other words, the art of using models, is in reality the great object,
+the point to which all our studies are directed. As for the power of
+being able to do tolerably well, from practice alone, let it be valued
+according to its worth. But I do not see in what manner it can be
+sufficient for the production of correct, excellent, and finished
+pictures. Works deserving this character never were produced, nor ever
+will arise, from memory alone; and I will venture to say, that an artist
+who brings to his work a mind tolerably furnished with the general
+principles of art, and a taste formed upon the works of good artists,
+in short, who knows in what excellence consists, will, with the
+assistance of models, which we will likewise suppose he has learnt the
+art of using, be an over-match for the greatest painter that ever lived
+who should be debarred such advantages.
+
+_Reynolds._
+
+
+LXXIII
+
+Do not imitate; do not follow others--you will always be behind them.
+
+_Corot._
+
+
+LXXIV
+
+Never paint a subject unless it calls insistently and distinctly upon
+your eye and heart.
+
+_Corot._
+
+
+LXXV
+
+I should never paint anything that was not the result of an impression
+received from the aspect of nature, whether in landscape or figures.
+
+_Millet._
+
+
+LXXVI
+
+You must interpret nature with entire simplicity and according to your
+personal sentiment, altogether detaching yourself from what you know of
+the old masters or of contemporaries. Only in this way will you do work
+of real feeling. I know gifted people who will not avail themselves of
+their power. Such people seem to me like a billiard-player whose
+adversary is constantly giving him good openings, but who makes no use
+of them. I think that if I were playing with that man, I would say,
+"Very well, then, I will give you no more." If I were to sit in
+judgment, I would punish the miserable creatures who squander their
+natural gifts, and I would turn their hearts to work.
+
+_Corot._
+
+
+LXXVII
+
+Sensation is rude and false unless _informed_ by intellection; and,
+however delicate be the touch in obedience to remote gradation, yet
+knowledge of the genus necessarily invests the representation with
+perspicuous and truthful relations that ignorance could not possibly
+have observed. Hence--Paint what you see; but know what you see.
+
+_Only paint what you love in what you see_, and discipline yourself to
+separate this essence from its dumb accompaniments, so that the accents
+fall upon the points of passion. Let that which must be expressed of the
+rest be merged, syncopated in the largeness of the _modulation_.
+
+Boldly dare to omit the impertinent or irrelevant, and let the features
+of the passion be modulated in _fewness_.
+
+Not a touch without its meaning or its significance throughout the
+courses. There is no disgrace, but on the contrary, honour, be the
+touches never so few, if studied. By determined refusal to touch
+vaguely, and with persistence in the slowness of thoughtful work, a
+noble style may be at length obtained: swift as sublime.
+
+_Edward Calvert._
+
+
+LXXVIII
+
+I started on Monday, 25th August, for Honfleur, where I stayed till 5th
+September in the most blessed condition of spirit.
+
+There I worked with my head, with my eyes, harvesting effects in the
+mind; then, going over everything again, I called up within myself the
+figures desired for the completion of the composition. Once I had evoked
+all this world from nothingness, and envisaged it, and had found where
+each thing was to be, I had to return to Paris to ask for nature's
+authorisation and make sure of my advance. Nature justified me, and, as
+she is kind to those who approach her reverentially, gave me of her
+grace without stint.
+
+_Puvis de Chavannes._
+
+
+LXXIX
+
+I wish to tell you, Francisco d'Ollanda, of an exceedingly great beauty
+in this science of ours, of which perhaps you are aware, and which, I
+think, you consider the highest, namely, that what one has most to work
+and struggle for in painting, is to do the work with a great amount of
+labour and study in such a way that it may afterwards appear, however
+much it was laboured, to have been done almost quickly and almost
+without any labour, and very easily, although it was not. And this is a
+very excellent beauty. At times some things are done with little work in
+the way I have said, but very seldom; most are done by dint of hard work
+and appear to have been done very quickly.
+
+_Michael Angelo._
+
+
+
+
+METHODS OF WORK
+
+
+LXXX
+
+Every successful work is rapidly performed; quickness is only execrable
+when it is empty--small. No one condemns the swiftness of an eagle.
+
+To him who knows not the burden of process--the attributes that are to
+claim attention with every epocha of the performance--all attempt at
+swiftness will be mere pretence.
+
+_Edward Calvert._
+
+
+LXXXI
+
+I am planning a large picture, and I regard all you say, but I do not
+enter into that notion of varying one's plans to keep the public in good
+humour. Change of weather and effect will always afford variety. What if
+Van der Velde had quitted his sea-pieces, or Ruysdael his waterfalls, or
+Hobbema his native woods? The world would have lost so many features in
+art. I know that you wish for no material alteration, but I have to
+combat from high quarters--even from Lawrence--the plausible argument
+that _subject_ makes the picture. Perhaps you think an evening effect
+might do; perhaps it might start me some new admirers, but I should lose
+many old ones. I imagine myself driving a nail; I have driven it some
+way, and by persevering I may drive it home; by quitting it to attack
+others, though I may amuse myself, I do not advance beyond the first,
+while that particular nail stands still. No man who can do any one thing
+well will be able to do any other different thing equally well; and this
+is true of Shakespeare, the greatest master of variety.
+
+_Constable._
+
+
+LXXXII
+
+To work on the _Ladye_. Found part of the drapery bad, rubbed it out,
+heightened the seat she sits on, mended the heads again; did a great
+deal, but not finished yet. Any one might be surprised to read how I
+work whole days on an old drawing done many years since, and which I
+have twice worked over since it was rejected from the Royal Academy in
+'47, and now under promise of sale to White for £20. But I cannot help
+it. When I see a work going out of my hands, it is but natural, if I see
+some little defect, that I should try to mend it, and what follows is
+out of my power to direct: if I give one touch to a head, I give myself
+three days' work, and spoil it half-a-dozen times over.
+
+_Ford Madox Brown._
+
+
+LXXXIII
+
+In literature as in art the rough sketches of the masters are made for
+connoisseurs, not for the vulgar crowd.
+
+_A. Préault._
+
+
+LXXXIV
+
+It is true sketches, or such drawings as painters generally make for
+their works, give this pleasure of imagination to a high degree. From a
+slight, undetermined drawing, where the ideas of the composition and
+character are, as I may say, only just touched upon, the imagination
+supplies more than the painter himself, probably, could produce; and we
+accordingly often find that the finished work disappoints the
+expectation that was raised from the sketch; and this power of the
+imagination is one of the causes of the great pleasure we have in
+viewing a collection of drawings by great painters.
+
+_Reynolds._
+
+
+LXXXV
+
+I have just been examining all the sketches I have used in making this
+work. How many there are which fully satisfied me at the beginning, and
+which seem feeble, inadequate, or ill-composed, now that the paintings
+are advanced. I cannot tell myself often enough that it means an immense
+deal of labour to bring a work to the highest pitch of impressiveness
+of which it is capable. The oftener I revise it, the more it will gain
+in expressiveness.... Though the touch disappear, though the fire of
+execution be no longer the chief merit of the painting, there is no
+doubt about this; and again how often does it happen that after this
+intense labour, which has turned one's thought back on itself in every
+direction, the hand obeys more swiftly and surely in giving the desired
+lightness to the last touches.
+
+_Delacroix._
+
+
+LXXXVI
+
+Let us agree as to the meaning of the word "finished." What finishes a
+picture is not the quantity of detail in it, but the rightness of the
+general effect. A picture is not limited only by its frame. Whatever be
+the subject, there must be a principal object on which your eyes rest
+continually: the other objects are only the complement of this, they are
+less interesting to you; and after that there is nothing more for your
+eye.
+
+There is the real limit of your picture. This principal object must seem
+so to the spectator of your work. Therefore, one must always return to
+this, and state its colour with more and more decision.
+
+_Rousseau._
+
+
+LXXXVII
+
+ON PROTOGENES
+
+He was a great Master, but he often spoil'd his Pieces by endeavouring
+to make them Perfect; he did not know when he had done well; a Man may
+do too much as well as too little; and he is truly skilful, who knew
+what was sufficient.
+
+_Apelles._
+
+
+
+
+FINISH
+
+
+LXXXVIII
+
+A picture must always be a little spoilt in the finishing of it. The
+last touches, which are intended to draw the picture together, take off
+from its freshness. To appear before the public one must cut out all
+those happy accidents which are the joy of the artist. I compare these
+murderous retouchings to those banal flourishes with which all airs of
+music end, and to those insignificant spaces which the musician is
+forced to put between the interesting parts of his work in order to lead
+on from one motive to another or to give them their proper value.
+
+Re-touching, however, is not so fatal to a picture as one might think,
+when the picture has been well thought out and worked at with deep
+feeling. Time, in effacing the touches, old as well as new, gives back
+to the work its complete effect.
+
+_Delacroix._
+
+
+LXXXIX
+
+A picture, the effect of which is true, is finished.
+
+_Goya._
+
+
+XC
+
+You please me much, by saying that no other fault is found in your
+picture than the roughness of the surface; for that part being of use
+in giving force to the effect at a proper distance, and what a judge of
+painting knows an original from a copy by--in short, being the touch of
+the pencil which is harder to preserve than smoothness, I am much better
+pleased that they should spy out things of that kind, than to see an eye
+half an inch out of its place, or a nose out of drawing when viewed at a
+proper distance. I don't think it would be more ridiculous for a person
+to put his nose close to the canvas and say the colours smelt offensive,
+than to say how rough the paint lies; for one is just as material as the
+other with regard to hurting the effect and drawing of a picture.
+
+_Gainsborough._
+
+
+XCI
+
+The picture[2] will be seen to the greatest advantage if it is hung in a
+strong light, and in such a manner that the spectator can stand at some
+distance from it.
+
+_Rembrandt._
+
+[Footnote 2: Probably the "Blinding of Samson."]
+
+
+XCII
+
+Don't look at a picture close, it smells bad.
+
+_Rembrandt._
+
+
+XCIII
+
+Try to be frank in drawing and in colour; give things their full relief;
+make a painting which can be seen at a distance; this is indispensable.
+
+_Chassériau._
+
+
+XCIV
+
+If I might point out to you another defect, very prevalent of late, in
+our pictures, and one of the same contracted character with those you so
+happily illustrate, it would be that of the _want of breadth_, and in
+others a perpetual division and subdivision of parts, to give what their
+perpetrators call space; add to this a constant disturbing and torturing
+of everything whether in light or in shadow, by a niggling touch, to
+produce fulness of subject. This is the very reverse of what we see in
+Cuyp or Wilson, and even, with all his high finishing, in Claude. I have
+been warning our friend Collins against this, and was also urging young
+Landseer to beware of it; and in what I have been doing lately myself
+have been studying much from Rembrandt and from Cuyp, so as to acquire
+what the great masters succeeded so well in, namely, that power by which
+the chief objects, and even the minute finishing of parts, tell over
+everything that is meant to be subordinate in their pictures. Sir Joshua
+had this remarkably, and could even make _the features of the face_ tell
+over everything, however strongly painted. I find that repose and
+breadth in the shadows and half-tints do a great deal towards it.
+Zoffany's figures derive great consequence from this; and I find that
+those who have studied light and shadow the most never appear to fail in
+it.
+
+_Wilkie._
+
+
+XCV
+
+The commonest error into which a critic can fall is the remark we so
+often hear that such-and-such an artist's work is "careless," and "would
+be better had more labour been spent upon it." As often as not this is
+wholly untrue. As soon as the spectator can _see_ that "more labour has
+been spent upon it," he may be sure that the picture is to that extent
+incomplete and unfinished, while the look of freshness that is
+inseparable from a really successful picture would of necessity be
+absent. If the high finish of a picture is so apparent as immediately to
+force itself upon the spectator, he may _know_ that it is not as it
+should be; and from the moment that the artist feels his work is
+becoming a labour, he may depend upon it it will be without freshness,
+and to that extent without the merit of a true work of art. Work should
+always look as though it had been done with ease, however elaborate;
+what we see should appear to have been done without effort, whatever may
+be the agonies beneath the surface. M. Meissonier surpasses all his
+predecessors, as well as all his contemporaries, in the quality of high
+finish, but what you see is evidently done easily and without labour. I
+remember Thackeray saying to me, concerning a certain chapter in one of
+his books that the critics agreed in accusing of carelessness;
+"Careless? If I've written that chapter once I've written it a dozen
+times--and each time worse than the last!" a proof that labour did not
+assist in his case. When an artist fails it is not so much from
+carelessness: to do his best is not only profitable to him, but a joy.
+But it is not given to every man--not, indeed, to any--to succeed
+whenever and however he tries. The best painter that ever lived never
+entirely succeeded more than four or five times; that is to say, no
+artist ever painted more than four or five _masterpieces_, however high
+his general average may have been, for such success depends on the
+coincidence, not only of genius and inspiration, but of health and mood
+and a hundred other mysterious contingencies. For my own part, I have
+often been laboured, but whatever I am I am never careless. I may
+honestly say that I never consciously placed an idle touch upon canvas,
+and that I have always been earnest and hard-working; yet the worst
+pictures I ever painted in my life are those into which I threw most
+trouble and labour, and I confess I should not grieve were half my works
+to go to the bottom of the Atlantic--if I might choose the half to go.
+Sometimes as I paint I may find my work becoming laborious; but as soon
+as I detect any evidence of that labour I paint the whole thing out
+without more ado.
+
+_Millais._
+
+[Illustration: _Millais_ LOVE _By permission of F. Warne & Co._]
+
+
+XCVI
+
+I think that a work of art should not only be careful and sincere, but
+that the care and sincerity should also be evident. No ugly smears
+should be allowed to do duty for the swiftness which comes from long
+practice, or to find excuse in the necessity which the accomplished
+artist feels to speak distinctly. That necessity must never receive
+impulse from a desire to produce an effect on the walls of a gallery:
+there is much danger of this working _un_consciously in the accomplished
+artist, _consciously_ in the student.
+
+_Watts._
+
+
+XCVII
+
+Real effect is making out the parts. Why are we to be told that masters,
+who could think, had not the judgment to perform the inferior parts of
+art? (as Reynolds artfully calls them); that we are to learn to _think_
+from great masters, and to perform from underlings--to learn to design
+from Raphael, and to execute from Rubens?
+
+_Blake._
+
+
+XCVIII
+
+If I knew that my portrait was still at Antwerp, I would have it kept
+back for the case to be opened, so that one could see that it had not
+been hurt by so long a time spent in a case without being exposed to the
+air, and that, as often happens to colours freshly put on, it has not
+turned rather yellow, thereby losing all its first effect. The remedy,
+if this has happened, is to expose it repeatedly to the sun, the rays of
+which absorb the superfluity of oil which causes this change; and if at
+any time it still turns brown, it must be exposed afresh to the sun.
+Warmth is the only remedy for this serious mischief.
+
+_Rubens._
+
+
+
+
+EFFECTS OF TIME ON PAINTING
+
+
+XCIX
+
+The only way to judge of the treasures the Old Masters of whatever age
+have left us--whether in architecture, sculpture, or painting--with any
+hope of sound deduction, is to look at the work and ask oneself--"What
+was that like when it was new?" The Elgin Marbles are allowed by common
+consent to be the perfection of art. But how much of our feeling of
+reverence is inspired by time? Imagine the Parthenon as it must have
+looked with the frieze of the mighty Phidias fresh from the chisel.
+Could one behold it in all its pristine beauty and splendour we should
+see a white marble building, blinding in the dazzling brightness of a
+southern sun, the figures of the exquisite frieze in all probability
+painted--there is more than a suspicion of that--and the whole standing
+out against the intense blue sky; and many of us, I venture to think,
+would cry at once, "How excessively crude." No; Time and Varnish are two
+of the greatest of Old Masters, and their merits and virtues are too
+often attributed by critics--I do not of course allude to the
+professional art-critics--to the painters of the pictures they have
+toned and mellowed. The great artists all painted in _bright_ colours,
+such as it is the fashion nowadays for men to decry as crude and vulgar,
+never suspecting that what they applaud in those works is merely the
+result of what they condemn in their contemporaries. Take a case in
+point--the "Bacchus and Ariadne" in the National Gallery, with its
+splendid red robe and its rich brown grass. You may rest assured that
+the painter of that bright red robe never painted the grass brown. He
+saw the colour as it was, and painted it as it was--distinctly green;
+only it has faded with time to its present beautiful mellow colour. Yet
+many men nowadays will not have a picture with green in it; there are
+even buyers who, when giving a commission to an artist, will stipulate
+that the canvas shall contain none of it. But God Almighty has given us
+green, and you may depend upon it it's a fine colour.
+
+_Millais._
+
+
+C
+
+I must further dissent from any opinion that beauty of surface and what
+is technically called "quality" are mainly due to time. Sir John himself
+has quoted the early pictures of Rembrandt as examples of hard and
+careful painting, devoid of the charm and mystery so remarkable in his
+later work. The early works of Velasquez are still more remarkable
+instances, being, as they are, singularly tight and disagreeable--time
+having done little or nothing towards making them more agreeable.
+
+_Watts._
+
+
+CI
+
+I am painting for thirty years hence.
+
+_Monticelli._
+
+
+CII
+
+Sir John Millais is certainly right in his estimate of strong and even
+bright colour, but it seems to me that he is mistaken in believing that
+the colour of the Venetians was ever crude, or that time will ever turn
+white into colour. The colour of the best-preserved pictures by Titian
+shows a marked distinction between light flesh tones and white drapery.
+This is most distinctly seen in the small "Noli Me Tangere" in our
+National Gallery, in the so-called "Venus" of the Tribune and in the
+"Flora" of the Uffizi, both in Florence, and in Bronzino's "All is
+Vanity," also in the National Gallery. In the last-named picture, for
+example, the colour is as crude and the surface as bare of mystery as if
+it had been painted yesterday. As a matter of fact, white unquestionably
+tones down, but never becomes colour; indeed, under favourable
+conditions, and having due regard to what is underneath, it changes very
+little. In the "Noli Me Tangere" to which I have referred, the white
+sleeve of the Magdalen is still a beautiful white, quite different from
+the white of the fairest of Titian's flesh--proving that Titian never
+painted his flesh white.
+
+The so-called "Venus" in the Tribune at Florence is a more important
+example still, as it is an elaborately painted picture owing nothing to
+the brightness that slight painting often has and retains, the colours
+being untormented by repeated re-touching. This picture is a proof that
+when the method is good and the pigments pure, the colours change very
+little. More than three hundred years have passed, and the white sheet
+on which the figure lies is still, in effect, white against the flesh.
+The flesh is most lovely in colour--neither violent by shadows or strong
+colour--but beautiful flesh. It cannot be compared to ivory or snow, or
+any other substance or material; it is simply beautiful lustre on the
+surface with a circulation of blood underneath--an absolute triumph
+never repeated except by Titian himself.
+
+It is probable that the pictures by Reynolds are often lower in tone
+than they were, but it is doubtful whether the Strawberry Hill portraits
+are as much changed as may be supposed. Walpole, no doubt, called them
+"white and pinky," but it must be remembered that, living before the
+days of picture cleaning, he was accustomed to expect them to be brown
+and dark, probably even to associate colour with dirt in the Old
+Masters. The purer, clearer, and richer the colours are, the better a
+picture will be; and I think this should be especially insisted upon,
+since white is so effective in a modern exhibition that young artists
+are naturally prompted to profit by the means cheaply afforded and
+readily at hand.
+
+I think it is probable that where Titian has used brown-green he
+intended it, since in many of the Venetian pictures we find green
+draperies of a beautiful colour. Sir John seems to infer that the
+colours used in the decoration of the Parthenon (no doubt used) were
+crude. The extraordinary refinements demonstrated in a lecture by Mr.
+Penrose on the spot last year, at which I had the good fortune to be
+present, forbid such a conclusion. A few graduated inches in the
+circumference of the columns, and deflection from straight line in the
+pediment and in the base-line, proved by measurement and examination to
+be carefully intentional, will not permit us for a moment to believe
+this could have been the case; so precise in line, rhythmical in
+arrangement, lovely in detail, and harmonious in effect, it could never
+have been crude in colour. No doubt the marble was white, but
+illuminated by such a sun, and set against such a sky and distance, the
+white, with its varieties of shadow, aided by the colours employed,
+could have gleaned life and flame in its splendour. Colour was certainly
+used, and the modern eye might at first have something to get over, but
+there could have been nothing harsh and crude. The exquisite purity of
+line and delicacy of edge could never have been matched with crudity or
+anything like harshness of colour. To this day the brightest colours may
+be seen on the columns at Luxor and Philae with beautiful effect.
+
+_Watts._
+
+
+CIII
+
+I am getting on with my pictures, and have now got them all three into a
+fairly forward state of _under_ painting; completion, however, will only
+be reached in the course of next winter, for I intend to execute them
+with minute care. I have simplified my method of painting, and forsworn
+all _tricks_. I endeavour to advance from the beginning as much as
+possible, and equally try to mix the right tint, and slowly and
+carefully to put it on the right spot, and _always_ with the model
+before me; what does not exactly suit has to be adapted; one can derive
+benefit from every head. Schwind says that he cannot work from models,
+they _worry_ him! A splendid teacher for his pupils! Nature worries
+every one at first, but one must so discipline oneself that, instead of
+checking and hindering, she shall illuminate and help, and solve all
+doubts. Has Schwind, with his splendid and varied gifts, ever been able
+to model a head with a brush? Those who place the brush behind the
+pencil, under the pretence that _form_ is before all things, make a very
+great mistake. Form _is certainly all-important_; one cannot study it
+enough; _but_ the greater part of _form_ falls within the province of
+the tabooed _brush_. The ever-lasting hobby of _contour_ which belongs
+to the drawing material is first the _place_ where the _form_ comes in;
+what, however, reveals true knowledge of form, is a powerful, organic,
+refined finish of modelling, full of feeling and knowledge--and that is
+the affair of the brush.
+
+_Leighton._
+
+
+
+
+MANNER
+
+
+CIV
+
+Manner is always seductive. It is more or less an imitation of what has
+been done already, therefore always plausible. It promises the short
+road, the near cut to present fame and emolument, by availing ourselves
+of the labours of others. It leads to almost immediate reputation,
+because it is the wonder of the ignorant world. It is always accompanied
+by certain blandishments, showy and plausible, and which catch the eye.
+As manner comes by degrees, and is fostered by success in the world,
+flattery, &c., all painters who would be really great should be
+perpetually on their guard against it. Nothing but a close and continual
+observance of nature can protect them from the danger of becoming
+mannerists.
+
+_Constable._
+
+
+CV
+
+Have a holy horror of useless impasto, which gets sticky and dull, turns
+blue and heavy. When you have painted a bit of which you are doubtful,
+wait till the moment when it will be possible for you to take it out.
+Judge it; and if it is condemned, remove it firmly with your
+palette-knife, without rubbing by rags which spoil the limpidity of the
+pigment. You will have left a delicate foundation, to which you can
+return and finish with little labour, because your canvas will have
+received a first coating. Loading and massing the pigment is an
+abomination. In twenty-four hours gold turns to lead.
+
+_Puvis de Chavannes._
+
+
+CVI
+
+From the age of six I began to draw, and for eighty-four years I have
+worked independently of the schools, my thoughts all the time being
+turned towards drawing.
+
+It being impossible to express everything in so small a space, I wished
+only to teach the difference between vermilion and crimson lake, between
+indigo and green, and also in a general way to teach how to handle round
+shapes and square, straight lines and curved; and if one day I make a
+sequel to this volume, I shall show children how to render the violence
+of ocean, the rush of rapids, the tranquillity of still pools, and among
+the living beings of the earth, their state of weakness or strength.
+There are in nature birds that do not fly high, flowering trees that
+never fruit; all these conditions of the life we live among are worth
+studying thoroughly; and if I ever succeed in convincing artists of
+this, I shall have been the first to show the way.
+
+_Hokusai._
+
+
+CVII
+
+Let every man who is here understand this well: design, which by another
+name is called drawing, and consists of it, is the fount and body of
+painting and sculpture and architecture and of every other kind of
+painting, and the root of all sciences. Let whoever may have attained to
+so much as to have the power of drawing know that he holds a great
+treasure; he will be able to make figures higher than any tower, either
+in colours or carved from the block, and he will not be able to find a
+wall or enclosure which does not appear circumscribed and small to his
+brave imagination. And he will be able to paint in fresco in the manner
+of old Italy, with all the mixtures and varieties of colour usually
+employed in it. He will be able to paint in oils very suavely with more
+knowledge, daring, and patience than painters. And finally, on a small
+piece of parchment he will be most perfect and great, as in all other
+manners of painting. Because great, very great is the power of design
+and drawing.
+
+_Michael Angelo._
+
+
+
+
+DRAWING AND DESIGN
+
+
+CVIII
+
+Pupils, I give you the whole art of sculpture when I tell you--_draw!_
+
+_Donatello._
+
+
+CIX
+
+Drawing is the probity of art.
+
+_Ingres._
+
+
+CX
+
+To draw does not mean only to reproduce an outline, drawing does not
+consist only of line; drawing is more than this, it is expression, it is
+the inner form, the structure, the modelling. After that what is left?
+Drawing includes seven-eighths of what constitutes painting. If I had to
+put a sign above my door I would write on it "School of Drawing," and I
+am sure that I should turn out painters.
+
+_Ingres._
+
+
+CXI
+
+Draw with a pure but ample line. Purity and breadth, that is the secret
+of drawing, of art.
+
+_Ingres._
+
+
+CXII
+
+Continue to draw for long before you think of painting. When one builds
+on a solid foundation one can sleep at ease.
+
+_Ingres._
+
+
+CXIII
+
+The great painters like Raphael and Michael Angelo insisted on the
+outline when finishing their work. They went over it with a fine brush,
+and thus gave new animation to the contours; they impressed on their
+design force and fire.
+
+_Ingres._
+
+
+CXIV
+
+The first thing to seize in an object, in order to draw it, is the
+contrast of the principal lines. Before putting chalk to paper, get this
+well into the mind. In Girodet's work, for example, one sometimes sees
+this admirably shown, because through intense preoccupation with his
+model he has caught, willy-nilly, something of its natural grace; but it
+has been done as if by accident. He applied the principle without
+recognising it as such. X---- seems to me the only man who has
+understood it and carried it out. That is the whole secret of his
+drawing. The most difficult thing is to apply it, like him, to the whole
+body. Ingres has done it in details like hands, &c. Without mechanical
+aids to help the eye, it would be impossible to arrive at the principle;
+aids such as prolonging a line, &c., drawing often on a pane of glass.
+All the other painters, not excepting Michael Angelo and Raphael, draw
+by instinct, by inspiration, and found beauty by being struck with it in
+nature; but they did not know X----'s secret, accuracy of eye. It is
+not at the moment of carrying out a design that one ought to tie oneself
+down to working with measuring-rules, perpendiculars, &c.; this accuracy
+of eye must be an acquired habit, which in the presence of nature will
+spontaneously assist the imperious need of rendering her aspect. Wilkie,
+again, has the secret. In portraiture it is indispensable. When, for
+example, one has made out the _ensemble_ of a design, and when one knows
+the lines by heart, so to speak, one should be able to reproduce them
+geometrically, in a fashion, on the picture. Above all with women's
+portraits; the first thing to seize is to seize the grace of the
+_ensemble_. If you begin with the details, you will be always heavy. For
+instance: if you have to draw a thoroughbred horse, if you let yourself
+go into details, your outline will never be salient enough.
+
+_Delacroix._
+
+
+CXV
+
+Drawing is the means employed by art to set down and imitate the light
+of nature. Everything in nature is manifested to us by means of light
+and its complementaries, reflection and shadow. This it is which drawing
+verifies. Drawing is the counterfeit light of art.
+
+_Bracquemond._
+
+
+CXVI
+
+It won't do to begin painting heads or much detail in this picture till
+it's all settled. I do so believe in getting in the bones of a picture
+properly first, then putting on the flesh and afterwards the skin, and
+then another skin; last of all combing its hair and sending it forth to
+the world. If you begin with the flesh and the skin and trust to getting
+the bones right afterwards, it's such a slippery process.
+
+_Burne-Jones._
+
+
+CXVII
+
+The creative spirit in descending into a pictorial conception must take
+upon itself organic structure. This great imaginative scheme forms the
+bony system of the work; lines take the place of nerves and arteries,
+and the whole is covered with the skin of colour.
+
+_Hsieh Ho_ (Chinese, sixth century).
+
+
+CXVIII
+
+Simplicity in composition or distinctness of parts is ever to be
+attended to, as it is one part of beauty, as has been already said: but
+that what I mean by distinctness of parts in this place may be better
+understood it will be proper to explain it by an example.
+
+When you would compose an object of a great variety of parts, let
+several of those parts be distinguished by themselves, by their
+remarkable difference from the next adjoining, so as to make each of
+them, as it were, one well-shaped quantity or part (these are like what
+they call passages in music, and in writing paragraphs) by which means
+not only the whole, but even every part, will be better understood by
+the eye: for confusion will hereby be avoided when the object is seen
+near, and the shapes will seem well varied, though fewer in number, at a
+distance.
+
+The parsley-leaf, in like manner, from whence a beautiful foliage in
+ornament was originally taken, is divided into three distinct passages;
+which are again divided into other odd numbers; and this method is
+observed, for the generality, in the leaves of all plants and flowers,
+the most simple of which are the trefoil and cinquefoil.
+
+Observe the well-composed nosegay, how it loses all distinctness when it
+dies; each leaf and flower then shrivels and loses its distinct shape,
+and the firm colours fade into a kind of sameness; so that the whole
+gradually becomes a confused heap.
+
+If the general parts of objects are preserved large at first, they will
+always admit of further enrichments of a small kind, but then they must
+be so small as not to confound the general masses or quantities; thus,
+you see, variety is a check upon itself when overdone, which of course
+begets what is called a _petit taste_ and a confusion to the eye.
+
+_Hogarth._
+
+
+CXIX
+
+Drawing includes everything except the tinting of the picture.
+
+_Ingres._
+
+
+CXX
+
+One must always be drawing, drawing with the eye when one cannot draw
+with the pencil. If observation does not keep step with practice you
+will do nothing really good.
+
+_Ingres._
+
+
+CXXI
+
+As a means of practising this perspective of the variation and loss or
+diminution of the proper essence of colours, take at distances, a
+hundred braccia apart, objects standing in the landscape, such as trees,
+houses, men, and places, and in front of the first tree fix a piece of
+glass so that it is quite steady, and then let your eye rest upon it and
+trace out a tree upon the glass above the outline of the tree; and
+afterwards remove the glass so far to one side that the actual tree
+seems almost to touch the one that you have drawn. Then colour your
+drawing in such a way that the two are alike in colour and form, and
+that if you close one eye both seem painted on the glass and the same
+distance away. Then proceed in the same way with a second and a third
+tree, at distances of a hundred braccia from each other. And these will
+always serve as your standards and teachers when you are at work on
+pictures where they can be applied, and they will cause the work to be
+successful in its distance. But I find it is a rule that the second is
+reduced to four-fifths the size of the first when it is twenty braccia
+distant from it.
+
+_Leonardo._
+
+
+CXXII
+
+The great and golden rule of art, as well as of life, is this: That the
+more distinct, sharp, and wiry the bounding line, the more perfect the
+work of art.... Great inventors in all ages knew this: Protogenes and
+Apelles knew each other by this line; Raphael and Michael Angelo, and
+Albert Dürer, are known by this and this alone. The want of this
+determinate and bounding form evidences the idea of want in the artist's
+mind.
+
+_Blake._
+
+
+CXXIII
+
+My opinion is that he who knows how to draw well and merely does a foot
+or a hand or a neck, can paint everything created in the world; and yet
+there are painters who paint everything there is in the world so
+impatiently and so much without worth that it would be better not to do
+it at all. One recognises the knowledge of a great man in the fear with
+which he does a thing the more he understands it; and, on the contrary,
+the ignorance of others in the foolhardy daring with which they fill
+pictures with what they know nothing about. There may be an excellent
+master who has never painted more than a single figure, and without
+painting anything more deserves more renown and honour than those who
+have painted a thousand pictures: he knows better how to do what he has
+not done than the others know what they do.
+
+_Michael Angelo._
+
+
+CXXIV
+
+It is known that bodies in motion always describe some line or other in
+the air, as the whirling round of a firebrand apparently makes a circle,
+the waterfall part of a curve, the arrow and bullet, by the swiftness of
+their motions, nearly a straight line; waving lines are formed by the
+pleasing movement of a ship on the waves. Now, in order to obtain a just
+idea of action, at the same time to be judiciously satisfied of being in
+the right in what we do, let us begin with imagining a line formed in
+the air by any supposed point at the end of a limb or part that is
+moved, or made by the whole part or limb, or by the whole body together.
+And that thus much of movements may be conceived at once is evident, on
+the least recollection; for whoever has seen a fine Arabian war-horse,
+unbacked and at liberty, and in a wanton trot, cannot but remember what
+a large waving line his rising, and at the same time pressing forward
+cuts through the air, the equal continuation of which is varied by his
+curveting from side to side; whilst his long mane and tail play about in
+serpentine movements.
+
+_Hogarth._
+
+
+CXXV
+
+Distinguish the various planes of a picture by circumscribing them each
+in turn; class them in the order in which they present themselves to the
+daylight; before beginning to paint, settle which have the same value.
+Thus, for example, in a drawing on tinted paper make the parts that
+glitter gleam out with your white, then the lights, rendered also with
+white, but fainter; afterwards those of the half-tones that can be
+managed by means of the paper, then a first half-tone with the chalk,
+&c. When at the edge of a plane which you have accurately marked, you
+have a little more light than at the centre of it, you give so much more
+definition of its flatness or projection. This is the secret of
+modelling. It will be of no use to add black; that will not give the
+modelling. It follows that one can model with very slight materials.
+
+_Delacroix._
+
+
+CXXVI
+
+Take a style of silver or brass, or anything else provided the point is
+silver, sufficiently fine (sharp) and polished and good. Then to acquire
+command of hand in using the style, begin to draw with it from a copy as
+freely as you can, and so lightly that you can scarcely see what you
+have begun to do, deepening your strokes little by little, and going
+over them repeatedly to make the shadows. Where you would make it
+darkest go over it many times; and, on the contrary, make but few
+touches on the lights. And you must be guided by the light of the sun,
+and the light of your eye, and your hand; and without these three things
+you can do nothing properly. Contrive always when you draw that the
+light is softened, and that the sun strikes on your left hand; and in
+this manner you should begin to practise drawing only a short time every
+day, that you may not become vexed or weary.
+
+_Cennino Cennini._
+
+
+CXXVII
+
+_Charcoal._ You can't draw, you paint with it.
+
+_Pencil._ It is always touch and go whether I can manage it even now.
+Sometimes knots will come in it, and I never can get them out--I mean
+little black specks. If I have once india-rubbered it, it doesn't make a
+good drawing. I look on a perfectly successful drawing as one built
+upon a groundwork of clear lines till it is finished. It's the same kind
+of thing with red chalk--it mustn't be taken out: rubbing with the
+finger is all right. In fact you don't succeed with any process until
+you find out how you may knock it about and in what way you must be
+careful. Slowly built-up texture in oil-painting gives you the best
+chance of changing without damage when it is necessary.
+
+_Burne-Jones._
+
+
+CXXVIII
+
+The simpler your lines and forms are the stronger and more beautiful
+they will be. Whenever you break up forms you weaken them. It is as with
+everything else that is split and divided.
+
+_Ingres._
+
+
+CXXIX
+
+The draperies with which you dress figures ought to have their folds so
+accommodated as to surround the parts they are intended to cover; that
+in the mass of light there be not any dark fold, and in the mass of
+shadows none receiving too great a light. They must go gently over,
+describing the parts; but not with lines across, cutting the members
+with hard notches, deeper than the part can possibly be; at the same
+time, it must fit the body, and not appear like an empty bundle of
+cloth; a fault of many painters, who, enamoured of the quantity and
+variety of folds, have encumbered their figures, forgetting the
+intention of clothes, which is to dress and surround the parts
+gracefully wherever they touch; and not to be filled with wind, like
+bladders puffed up where the parts project. I do not deny that we ought
+not to neglect introducing some handsome folds among these draperies,
+but it must be done with great judgment, and suited to the parts, where,
+by the actions of the limbs and position of the whole body, they gather
+together. Above all, be careful to vary the quality and quantity of your
+folds in compositions of many figures; so that, if some have large
+folds, produced by thick woollen cloth, others being dressed in thinner
+stuff, may have them narrower; some sharp and straight, others soft and
+undulating.
+
+_Leonardo._
+
+
+CXXX
+
+Do not spare yourself in drawing from the living model, draped as well
+as undraped; in fact, draw drapery continually, for remember that the
+beauty of your design must largely depend on the design of the drapery.
+What you should aim at is to get so familiar with all this that you can
+at last make your design with ease and something like certainty, without
+drawing from models in the first draught, though you should make studies
+from nature afterwards.
+
+_William Morris._
+
+
+CXXXI
+
+A woman's shape is best in repose, but the fine thing about a man is
+that he is such a splendid machine, so you can put him in motion, and
+make as many knobs and joints and muscles about him as you please.
+
+_Burne-Jones._
+
+
+CXXXII
+
+I want to draw from the nude this summer as much as I possibly can; I am
+sure that it is the only way to keep oneself up to the standard of
+draughtsmanship that is so absolutely necessary to any one who wishes to
+become a craftsman in preference to a glorified amateur.
+
+_C. W. Furse._
+
+
+CXXXIII
+
+Always when you draw make up your mind definitely as to what are the
+salient characteristics of the object, and express those as personally
+as you can, not minding whether your view is or is not shared by your
+relatives and friends. Now this is not _carte blanche_ to be capricious,
+nor does it intend to make you seek for novelty; but if you are true to
+your own vision, as heretofore you have been, you will always be
+original and personal in your work. In stating your opinion on the
+structural character of man, bird, or beast, always wilfully caricature;
+it gives you something to prune, which is ever so much more
+satisfactory than having constantly to fill gaps which an unincisive
+vision has caused, and which will invariably make work dull and mediocre
+and wooden.
+
+_C. W. Furse._
+
+
+CXXXIV
+
+In Japanese painting form and colour are represented without any attempt
+at relief, but in European methods relief and illusion are sought for.
+
+_Hokusai._
+
+
+CXXXV
+
+It is indeed ridiculous that most of our people are disposed to regard
+Western paintings as a kind of Uki-ye. As I have repeatedly remarked, a
+painting which is not a faithful copy of nature has neither beauty nor
+is worthy of the name. What I mean to say is this: be the subject what
+it may, a landscape, a bird, a bullock, a tree, a stone, or an insect,
+it should be treated in a way so lifelike that it is instinct with life
+and motion. Now this is beyond the possibility of any other art save
+that of the West. Judged from this point of view, Japanese and Chinese
+paintings look very puerile, hardly deserving the name of art. Because
+people have been accustomed to such daub-like productions, whenever they
+see a master painting of the West, they merely pass it by as a mere
+curiosity, or dub it a Uki-ye, a misconception which betrays sheer
+ignorance.
+
+_Shiba Kokan_ (Japanese, eighteenth century).
+
+
+CXXXVI
+
+These accents are to painting what melody is to the harmonic base, and
+more than anything else they decide victory or defeat. A method is of
+little account at those moments when the final effect is at hand; one
+uses any means, even diabolical invocations, and when the need comes,
+when I have exhausted the resources of pigment, I use a scraper,
+pumice-stone, and if nothing else serves, the handle of my brush.
+
+_Rousseau._
+
+
+CXXXVII
+
+The noblest relievo in painting is that which is resultant from the
+treatment of the masses, not from the vulgar swelling and rounding of
+the bodies; and the noble Venetian massing is excellent in this quality.
+Those parts in which there is necessity for salient quality of relief
+must be expressed with a certain quadrature, a certain varied grace of
+accent like that which the bony ridge develops in beautiful wrists and
+ankles, also in some of the tunic-folds that fall behind the arm of the
+recumbent Fate over the middle of the figure of the Newlands Titian; and
+again in some of the happiest passages in the graceful women of Lodovico
+Caracci, and in their vesture folds, _e.g._ the bosom and waist of the
+St. Catherine.
+
+Doubtless there is a choice, or design were vain. There must be courage
+to _reject_ no less than to _gather_. A man is at liberty to neglect
+things that are repugnant to his disposition. He may, if he please, have
+nothing to do with thistle or thorn, with bramble or brier....
+Nevertheless sharp and severe things are yet dear to some souls. Nor
+should I understand the taste that would reject the wildness of the
+thorn and holly, or the child-loving labyrinths of the bramble, or
+wholesome ranges of the downs and warrens fragrant with gorse.
+
+No one requires of the painter that he even attempt to render the
+multitude and infinitude of Nature; but that he _represent_ it through
+the chastened elements of his proper instrument, with a performance
+rendered distinctive and facile by study and genial impulse.
+
+_Edward Calvert._
+
+
+CXXXVIII
+
+Modelling is parent of the art of chasing, as of the art of sculpturing.
+Skilful as he was in these arts, he executed nothing which he had not
+modelled.
+
+_Pasiteles._
+
+
+CXXXIX
+
+Don't _invent_ arrangements, select them, leaving out what you consider
+to be unimportant, and above all things don't be influenced in the
+arrangements you select by any pictures you may see, except perhaps the
+Japanese.
+
+_C. W. Furse._
+
+
+CXXXIXa
+
+He alone can conceive and compose who sees the whole at once before him.
+
+_Fuseli._
+
+
+
+
+COLOUR
+
+
+CXL
+
+He who desires to be a painter must learn to rule the black, and red,
+and white.
+
+_Titian._
+
+
+CXLI
+
+There is the black which is old and the black which is fresh, lustrous
+black and dull black, black in sunlight and black in shadow. For the old
+black, one must use an admixture of red; for the fresh black, an
+admixture of blue; for the dull black, an admixture of white; for
+lustrous black, gum must be added; black in sunlight must have grey
+reflections.
+
+_Hokusai._
+
+
+CXLII
+
+When you are painting put a piece of black velvet between your eye and
+nature; by this means you will easily convince yourself that in nature
+everything is blond, even the dark trunks of trees relieved against the
+sky. Black, when it is in shadow, is strong in tone, but ceases to be
+black.
+
+_Dutilleux._
+
+
+CXLIII
+
+The Variation of Colour in uneven Superficies, is what confounds an
+unskilful Painter; but if he takes Care to mark the Outlines of his
+Superficie, and the Seat of his Lights, he will find the true Colouring
+no such difficult matter: For first he will alter the Superficies
+properly as far as the Line of Separation, either with White or Black
+sparingly as only with gentle Dew; then he will in the same Manner bedew
+the other Side of the Line, if I may be allowed the expression, then
+this again and so on by turns, till the light Side is brightened with
+more transparent Colour, and the same Colour on the other Side dies away
+like Smoak into an easy Shade. But you should always remember, that no
+Superficie should ever be made so white that you cannot make it still
+brighter: Even in Painting the whitest Cloaths you should abstain from
+coming near the strongest of that Colour; because the Painter has
+nothing but White wherewith to imitate the Polish of the most shining
+Superficie whatsoever, as I know of none but Black with which he can
+represent the utmost Shade and Obscurity of Night. For this Reason, when
+he paints a white Habit, he should take one of the four Kinds of Colours
+that are clear and open; and so again in painting any black Habit, let
+him use another Extream, but not absolute Black, as for Instance, the
+Colour of the Sea where it is very deep, which is extreamly dark. In a
+Word, this Composition of Black and White has so much Power, that when
+practised with Art and Method, it is capable of representing in Painting
+the Superficie either of Gold or of Silver, and even of the clearest
+Glass. Those Painters, therefore, are greatly to be condemned, who make
+use of White immoderately and of Black without Judgment; for which
+reason I could wish that the Painters were obliged to buy their White at
+a greater Price than the most costly Gems, and that both White and
+Black were to be made of those Pearls which Cleopatra dissolved in
+Vinegar; that they might be more chary of it.
+
+_Leon Battista Alberti._
+
+[Illustration: _Signorelli_ THE MUSIC OF PAN _Hanfstaengl_]
+
+
+CXLIV
+
+A word as to colour. One can only give warnings against possible faults;
+it is clearly impossible to teach colour by words, even ever so little
+of it, though it can be taught in a workshop, at least partially. Well,
+I should say, be rather restrained than over-luxurious in colour, or you
+weary the eye. Do not attempt over-refinements in colour, but be frank
+and simple. If you look at the pieces of colouring that most delight you
+in ornamental work, as, _e.g._ a Persian carpet, or an illuminated book
+of the Middle Ages, and analyse its elements, you will, if you are not
+used to the work, be surprised at the simplicity of it, the few tints
+used, the modesty of the tints, and therewithal the clearness and
+precision of all boundary lines. In all fine flat colouring there are
+regular systems of dividing colour from colour. Above all, don't attempt
+iridescent blendings of colour, which look like decomposition. They are
+about as much as possible the reverse of useful.
+
+_William Morris._
+
+
+CXLV
+
+After seeing all the fine pictures in France, Italy, and Germany, one
+must come to this conclusion--that _colour_, if not the first, is at
+least an essential quality in painting. No master has as yet maintained
+his ground beyond his own time without it. But in oil painting it is
+richness and depth alone that can do justice to the material. Upon this
+subject every prejudice with which I left home is, if anything, not only
+confirmed but increased. What Sir Joshua wrote, and what our friend Sir
+George so often supported, _was right_; and after seeing what I have
+seen, I am not now to be _talked_ out of it.
+
+With us, as you know, every young exhibitor with pink, white, and blue,
+thinks himself a colourist like Titian; than whom perhaps no painter is
+more misrepresented or misunderstood. I saw myself at Florence his
+famous Venus upon an easel, with Kirkup and Wallis by me. This picture,
+so often copied, and every copy a fresh mistake, is, what I expected it
+to be, deep yet brilliant; indescribable in its hues, yet simple beyond
+example in its execution and its colouring. Its flesh (O how our friends
+at home would stare!) is a simple, sober, mixed-up tint, and apparently,
+like your skies, completed while wet. No scratchings, no hatchings, no
+scumbling nor multiplicity of repetitions--no ultramarine lakes nor
+vermilions--not even a mark of the brush visible; all seemed melted in
+the fat and glowing mass, solid yet transparent, giving the nearest
+approach to life that the painter's art has ever yet reached.
+
+_Wilkie._
+
+
+CXLVI
+
+In painting, get the main tones first. Do not forget that white by
+itself should be used very sparingly; to make anything of a beautiful
+colour, accentuate the tones clearly, lay them fresh and in facets; no
+compromise with ambiguous and false tones; colour in nature is a mixture
+of single tones adapted to one another.
+
+_Chassériau._
+
+
+CXLVII
+
+A thing to remember always: avoid greenish tones.
+
+_Chassériau._
+
+
+CXLVIII
+
+One is a colourist by values, by colour and light; there are colourists
+who are luminarists as there are colourists pure and simple. Titian is a
+colourist but not a luminarist, while Correggio is a colourist and a
+luminarist.
+
+The simple colourists are those who content themselves with representing
+the tones in their value and colour without troubling about the magic of
+light; they also give to tones all their intensity.
+
+The luminarists, as the word indicates, make light the most important
+thing. Three names will make you understand; Rembrandt, Correggio, and
+Claude Lorraine.
+
+Claude, taking the light of the sun for a starting-point, justifies his
+method by nature: you know that he starts from a luminous point, and
+that point is the sun. To make this brilliant you must make great
+sacrifices, for you have no doubt remarked that we painters always begin
+with a half-tint; as our paintings are not brightened by the light of
+the sun, and start with a half-tint, it is necessary by the magic of
+tones to make this half-tint shine like a luminous thing. You see that
+it is a difficult problem to solve; how does Claude do it? He does not
+copy the exact tones of nature, since beginning with a dull one, he is
+obliged to make it luminous. He transposes as in music; he observes all
+things constituting light, remarks that the rays prevent us from seizing
+the outline of a bright object, that then the flame is enveloped by a
+bright halo; then by a second one less vivid, and so on until the tones
+become dull and sombre. In short, to make myself understood, his picture
+seen from distance represents a flame.
+
+Correggio also works in this way. Take for example his picture of
+Antiope.
+
+The woman, enveloped in a panther skin, is as bright as a flame. The
+soft red tone forms the first halo, then the light blue draperies with a
+slight greenish tint form the second halo. The Satyr has a value a few
+degrees below that of the draperies, making it the third halo. When the
+bouquet is thus formed, Correggio surrounds it with beautiful dark
+leaves, shading towards the extremities of the canvas. These gradations
+are so well observed, that if you put the picture at so great a distance
+that you cannot see the figures, you will still have the representation
+of light.
+
+_Couture._
+
+
+CXLIX
+
+Painters who are not colourists make illuminations and not paintings.
+Painting, properly speaking--unless one wants to produce a
+monochrome--implies the idea of colour as one of its fundamental
+elements, together with chiaroscuro, proportion, and perspective.
+Proportion applies to sculpture as to painting. Perspective determines
+the outline; chiaroscuro produces relief by the arrangement of shadow
+and light in relation to the background; colour gives the appearance of
+life, &c.
+
+The sculptor does not begin his work with an outline; he builds up with
+his material a likeness of the object which, rough at first, establishes
+from the beginning the essential conditions of relief and solidity.
+
+Colourists, being those who unite all the qualities of painting, must,
+in a single process and at first setting to work, secure the conditions
+peculiar and essential to their art.
+
+They have to mass with colour, as the sculptor with clay, marble, or
+stone; their sketch, like the sculptor's, must show proportion,
+perspective, effect, and colour.
+
+Outline is as ideal and conventional in painting as in sculpture; it
+should result naturally from the good arrangement of the essential
+parts. The combined preparation of effect which implies perspective and
+colour will approach more or less the actual aspect of things, according
+to the degree of the painter's skill; but this foundation will contain
+potentially everything included in the final result.
+
+_Delacroix._
+
+
+CL
+
+I believe colour to be a quite indispensable quality in the _highest_
+art, and that no picture ever belonged to the highest order without it;
+while many, by possessing it--as the works of Titian--are raised
+certainly into the highest _class_, though not to the very highest grade
+of that class, in spite of the limited degree of their other great
+qualities. Perhaps the _only_ exception which I should be inclined to
+admit exists in the works of Hogarth, to which I should never dare to
+assign any but the very highest place, though their colour is certainly
+not a prominent feature in them. I must add, however, that Hogarth's
+colour is seldom other than pleasing to myself, and that for my own part
+I should almost call him a colourist, though not aiming at colour. On
+the other hand, there are men who, merely on account of bad colour,
+prevent me from thoroughly enjoying their works, though full of other
+qualities. For instance, Wilkie or Delaroche (in nearly all his works,
+though the Hémicycle is fine in colour). From Wilkie I would at any time
+prefer a thoroughly fine engraving--though of course he is in no respect
+even within hail of Hogarth. Colour is the physiognomy of a picture;
+and, like the shape of the human forehead, it cannot be perfectly
+beautiful without proving goodness and greatness. Other qualities are in
+its life exercised; but this is the body of its life, by which we know
+and love it at first sight.
+
+_Rossetti._
+
+
+CLI
+
+In regard to the different modes of painting the flesh, I belief it is
+of little consequence which is pursued, if you only keep the colours
+distinct; too much mixing makes them muddy and destroys their
+brilliancy, you know. Sir Joshua was of opinion that the grey tints in
+the flesh of Titian's pictures were obtained by scumbling cool tints
+over warm ones; and others prefer commencing in a cool grey manner, and
+leaving the greys for the middle tints, whilst they paint upon the
+lights with warmer colours, also enriching the shadows with warmer and
+deeper colours too. But for my own part, I have always thought it a good
+way to consider the flesh as composed of different coloured network laid
+over each other, as is really the case in nature, and may be seen by
+those who will take the pains to look carefully into it.
+
+_Northcote._
+
+
+CLII
+
+The utmost beauty of colouring depends on the great principle of varying
+by all the means of varying, and on the proper and artful union of that
+variety.
+
+I am apt to believe that the not knowing nature's artful and intricate
+method of uniting colours for the production of the variegated
+composition, or prime tint of flesh, hath made colouring, in the art of
+painting, a kind of mystery in all ages; insomuch, that it may fairly be
+said, out of the many thousands who have labour'd to attain it, not
+above ten or twelve painters have happily succeeded therein; Correggio
+(who lived in a country village, and had nothing but the life to study
+after) is said almost to have stood alone for this particular
+excellence. Guido, who made beauty his chief aim, was always at a loss
+about it. Poussin scarce ever obtained a glimpse of it, as is manifest
+by his many different attempts: indeed France hath not produced one
+remarkable good colourist.
+
+Rubens boldly, and in a masterly manner, kept his bloom tints bright,
+separate, and distinct, but sometimes too much so for easel or cabinet
+pictures; however, his manner was admirably well calculated for great
+works, to be seen at a considerable distance, such as his celebrated
+ceiling at Whitehall Chapel: which upon a nearer view will illustrate
+what I have advanc'd with regard to the separate brightness of the
+tints; and shew, what indeed is known to every painter, that had the
+colours there seen so bright and separate been all smooth'd and
+absolutely blended together, they would have produced a dirty grey
+instead of flesh-colour. The difficulty then lies in bringing _blue_,
+the third original colour, into flesh, on account of the vast variety
+introduced thereby; and this omitted, all the difficulty ceases; and a
+common sign-painter that lays his colours smooth, instantly becomes, in
+point of colouring, a Rubens, a Titian, or a Correggio.
+
+_Hogarth._
+
+
+CLIII
+
+COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA
+
+It seems painted in (their) juicy, fat colour, the parts completed one
+after another upon the bare pannel, the same as frescoes upon the
+flattened wall. Simplicity of tint and of colour prevails; no staining
+or mottled varieties: the flesh, both in light and shadow, is produced
+by one mixed up tint so melted that no mark of the brush is seen. There
+is here no scratching or scumbling--no repetitions; all seems prepared
+at once for the glaze, which, simple as the painting is, gives to it
+with fearless hand the richness and glow of Correggio. All imitations of
+this master are complicated compared to this, and how complicated and
+abstruse does it make all attempts of the present day to give similar
+effects in colouring! Here is one figure in outline upon the prepared
+board, with even the finger-marks in colour of the painter himself. Here
+is the preparation of the figures painted up at once, and, strange to
+say, with solid and even sunny colours. Here are the heads of a woman
+and of a naked child, completed with the full zest and tone of
+Correggio, in texture fine, and in expression rich and luxurious, and as
+fine an example of his powers as any part to be found in his most
+celebrated work.
+
+_Wilkie._
+
+
+CLIV
+
+In a modern exhibition pictures lose by tone at first glance, but in the
+Louvre pictures gained, and Titian, Correggio, Rubens, Cuyp, and
+Rembrandt combated everything by the depth of their tones; and one still
+hopes that, when toning is successfully done, it will prevail.
+
+You have now got your exhibition open in Edinburgh: do you find tone and
+depth an advantage there or not? Painting bright and raw, if one can
+find in his heart to lower and glaze it afterwards, is always
+satisfactory; but unless strength can be combined with this, it will
+never be the fashion in our days.
+
+_Wilkie._
+
+
+CLV
+
+I went into the National Gallery and refreshed myself with a look at the
+pictures. One impression I had was of how much more importance the tone
+of them is than the actual tint of any part of them. I looked close into
+the separate colours and they were all very lovely in their quality--but
+the whole colour-effect of a picture then is not very great. It is the
+entire result of the picture that is so wonderful. I peered into the
+whites to see how they were made, and it is astonishing how little white
+there would be in a white dress--none at all, in fact--and yet it looks
+white. I went again and looked at the Van Eyck, and saw how clearly the
+like of it is not to be done by me. But he had many advantages. For one
+thing, he had all his objects in front of him to paint from. A nice,
+clean, neat floor of fair boards well scoured, pretty little dogs and
+everything. Nothing to bother about but making good portraits--dresses
+and all else of exactly the right colour and shade of colour. But the
+tone of it is simply marvellous, and the beautiful colour each little
+object has, and the skill of it all. He permits himself extreme darkness
+though. It's all very well to say it's a purple dress--very dark brown
+is more the colour of it. And the black, no words can describe the
+blackness of it. But the like of it is not for me to do--can't be--not
+to be thought of.
+
+As I walked about there I thought if I had my life all over again, what
+would I best like to do in the way of making a new start once more; it
+would be to try and paint more like the Italian painters. And that's
+rather happy for a man to feel in his last days--to find that he is
+still true to his first impulse, and doesn't think he has wasted his
+life in wrong directions.
+
+_Burne-Jones._
+
+
+CLVI
+
+All painting consists of sacrifices and _parti-pris_.
+
+_Goya._
+
+
+CLVII
+
+In nature, colour exists no more than line,--there is only light and
+shade. Give me a piece of charcoal, and I will paint your portrait for
+you.
+
+_Goya._
+
+
+CLVIII
+
+It requires much more observation and study to arrive at perfection in
+the shadowing of a picture than in merely drawing the lines of it. The
+proof of this is, that the lines may be traced upon a veil or a flat
+glass placed between the eye and the object to be imitated. But that
+cannot be of any use in shadowing, on account of the infinite gradation
+of shades, and the blending of them which does not allow of any precise
+termination; and most frequently they are confused, as will be
+demonstrated in another place.
+
+_Leonardo._
+
+
+
+
+LIGHT AND SHADE
+
+
+CLIX
+
+Forget not therefore that the principal part of Painting or Drawing
+after the life consisteth in the truth of the line, as one sayeth in a
+place that he hath seen the picture of her Majesty in four lines very
+like, meaning by four lines but the plain lines, as he might as well
+have said in one line, but best in plain lines without shadowing; for
+the line without shadow showeth all to a good Judgement, but the shadow
+without line showeth nothing, as, for example, though the shadow of a
+man against a white wall sheweth like a man, yet it is not the shadow
+but the line of the shadow, which is so true that it resembleth
+excellently well, as drawn by that line about the shadow with a coal,
+and when the shadow is gone it will resemble better than before, and
+may, if it be a fair face, have sweet countenance even in the line; for
+the line only giveth the countenance, but both line and colour giveth
+the lively likeness, and shadows shew the roundness and the effect or
+Defect of the light wherein the picture was drawn. This makes me to
+remember the words also and reasoning of her Majesty when first I came
+in her highness' presence to draw, who after shewing me how she noted
+great difference of shadowing in the works and Diversity of Drawers of
+sundry nations, and that the Italians who had the name to be cunningest
+and to Draw best, shadowed not. Requiring of me the reason of it, seeing
+that best to shew oneself needeth no shadow of place but rather the open
+light, to which I granted, affirmed that shadows in pictures were indeed
+caused by the shadow of the place or coming in of the light at only one
+way into the place at some small or high window, which many workmen
+covet to work in for ease to their sight, and to give unto them a
+grosser line and a more apparent line to be deserved, and maketh the
+work imborse well and show very well afar off, which to Limning work
+needeth not, because it is to be viewed of necessity in hand near unto
+the Eye. Here her Majesty conceived the reason, and therefore chose her
+place to sit in for that purpose in the open alley of a goodly garden,
+where no tree was near nor any shadow at all, save that as the Heaven is
+lighter than the earth, so must that little shadow that was from the
+earth; this her Majesty's curious Demand hath greatly bettered my
+Judgement, besides divers other like questions in Art by her most
+excellent Majesty, which to speak or write of were fitter for some
+better clerk. This matter only of the light let me perfect that no wise
+man longer remain in Error of praising much shadows in pictures which
+are to be viewed in hand; great pictures high or far off Require hard
+shadows to become the better then nearer in story work better than
+pictures of the life; for beauty and good favour is like clear truth,
+which is not shadowed with the light nor made to be obscured, as a
+picture a little shadowed may be borne withal for the rounding of it,
+but so greatly smutted or Darkened as some use Disgrace it, and in like
+truth ill told, if a very well favoured woman show in a place where is
+great shadow, yet showeth she lovely not because of the shadow but
+because of her sweet favour consisting in the line or proportion, even
+that little which the light scarcely showeth greatly pleaseth, proving
+the Desire to see more.
+
+_Nicholas Hilliard._
+
+
+CLX
+
+The lights cast from small windows also present a strong contrast of
+light and shadow, more especially if the chamber lit by them is large;
+and this is not good to use in painting.
+
+_Leonardo._
+
+
+CLXI
+
+When you are drawing from nature the light should be from the north, so
+that it may not vary; and if it is from the south keep the window
+covered with a curtain so that though the sun shine upon it all day long
+the light will undergo no change. The elevation of the light should be
+such that each body casts a shadow on the ground which is of the same
+length as its height.
+
+_Leonardo._
+
+
+CLXII
+
+Above all let the figures that you paint have sufficient light and from
+above, that is, all living persons whom you paint, for the people whom
+you see in the streets are all lighted from above; and I would have you
+know that you have no acquaintance so intimate but that if the light
+fell on him from below you would find it difficult to recognise him.
+
+_Leonardo._
+
+
+CLXIII
+
+If by accident it should happen, that when drawing or copying in
+chapels, or colouring in other unfavourable places, you cannot have the
+light on your left hand, or in your usual manner, be sure to give relief
+to your figures or design according to the arrangement of the windows
+which you find in these places, which have to give you light, and thus
+accommodating yourself to the light on which side soever it may be, give
+the proper lights and shadows. Or if it were to happen that the light
+should enter or shine right opposite or full in your face, make your
+lights and shades accordingly; or if the light should be favourable at a
+window larger than the others in the above-mentioned places, adopt
+always the best light, and try to understand and follow it carefully,
+because, wanting this, your work would be without relief, a foolish
+thing without mastery.
+
+_Cennino Cennini._
+
+
+CLXIV
+
+You have heard about Merlin's magic art; here in Venice you may _see_
+that of Titian, Giorgione, and all the others. In the Palazzo Barbarigo
+we went to the room which is said to have been Titian's studio for some
+time. The window faces the south, and the sun is shining on the floor by
+two o'clock. This made us think, whether you should not, after all, let
+the sun be there while you are painting. A temperate sunlight in the
+room makes the lights golden, and through the many, crossing, warm
+reflections the shadows get clearer and more transparent. But the
+difficulty is to know how to deal with such a shimmer; it is easier to
+paint with the light coming from the north. On the other hand, you see
+that the Venetians never tried to render in painting the impression of
+real, open sunlight. Their delicate sense of colour found a greater
+delight in looking at the fine fused tones and shades which are seen
+when the sunlight is only reflected under the clear blue sky and between
+the high palaces. Therefore, you often think that you see, for instance,
+groups of gondoliers on the Piazzetta in gay silvery notes, as in any
+painting by Paolo Veronese; and in the warm daylight in the great,
+gorgeous halls of the Palazzo Ducale there are still figures walking
+about in a colour as golden and fresh as if they were paintings by
+Titian.
+
+_E. Lundgren._
+
+
+
+
+PORTRAITURE
+
+
+CLXV
+
+Painting the face of a pretty young girl is like carving a portrait in
+silver. There may be great elaboration, but no likeness will be
+forthcoming. It is better to put the elaboration into the young lady's
+clothes, and trust to a touch here and a stroke there to bring out her
+beauty as it really is.
+
+_Ku K'ai-Chih_ (Chinese, fourth century).
+
+
+CLXVI
+
+Portraiture may be great art. There is a sense, indeed, in which it is
+perhaps the greatest art of any. And portraiture involves expression.
+Quite true, but expression of what? Of a passion, an emotion, a mood?
+Certainly not. Paint a man or a woman with the damned "pleasing
+expression," or even the "charmingly spontaneous" so dear to the
+"photographic artist," and you see at once that the thing is a mask, as
+silly as the old tragic and comic mask. The only expression allowable in
+great portraiture is the expression of character and moral quality, not
+of anything temporary, fleeting, and accidental. Apart from portraiture
+you don't want even so much, or very seldom: in fact, you only want
+types, symbols, suggestions. The moment you give what people call
+expression, you destroy the typical character of heads and degrade them
+into portraits which stand for nothing.
+
+_Burne-Jones._
+
+
+CLXVII
+
+It produces a magnificent effect to place whole figures and groups,
+which are in shade, against a light field. The contrary, _i.e._ figures
+that are in light against a dark field, cannot be so perfectly
+expressed, because every illuminated figure, with or without a side
+light, will have some shade. The nearest approach to this is when the
+object so treated happen to be very fair, with other objects reflecting
+into their shades.
+
+     Shade against shade is indefinite. Light and shade against shade
+     are mediate. Light against shade is perspicuous. Light and shade
+     against light is mediate. Light against light is indefinite or
+     indistinct.
+
+_Edward Calvert._
+
+
+CLXVIII
+
+Most of the masters have had a way, slavishly imitated by their schools
+and following, of exaggerating the darkness of the backgrounds which
+they give their portraits. They thought in this way to make the heads
+more interesting, but this darkness of background, in conjunction with
+faces lighted as we see them in nature, deprives these portraits of that
+character of simplicity which should be dominant in them. This darkness
+places the objects intended to be thrown into relief in quite abnormal
+conditions. Is it natural that a face seen in light should stand out
+against a really dark background--that is to say, one which receives no
+light? Ought not the light which falls on the figure to fall also on the
+wall, or the tapestry against which the figure stands? Unless it should
+happen that the face stands out against drapery of an extremely dark
+tone--but this condition is very rare, or against the entrance of a
+cavern or cellar entirely deprived of daylight--a circumstance still
+rarer--the method cannot but appear factitious.
+
+The chief charm in a portrait is simplicity. I do not count among true
+portraits those in which the aim has been to idealise the features of a
+famous man when the painter has to reconstruct the face from traditional
+likenesses; there, invention rightly plays a part. True portraits are
+those painted from contemporaries. We like to see them on the canvas as
+we meet them in daily life, even though they should be persons of
+eminence and fame.
+
+_Delacroix._
+
+
+CLXIX
+
+Verestchagin says the old-fashioned way of setting a portrait-head
+against a dark ground is not only unnecessary, but being usually untrue
+when a person is seen by daylight, should be exploded as false and
+unreal. But it is certain a light garish background behind a painted
+head will not permit that head to have the importance it should have in
+reality, when the actual facts, solidity, movement, play of light and
+shadow, personal knowledge of the individual or his history, joined to
+the effects of different planes, distances, materials, &c., will combine
+to invest the reality with interests the most subtle and dexterous
+artistic contrivances cannot compete with, and which certainly the
+artist cannot with reason be asked to resign. A sense of the power of an
+autocrat, from whose lips one might be awaiting consignment to a dungeon
+or death, would be as much felt if he stood in front of the commonest
+wall-paper, in the commonest lodging-house, in the meanest
+watering-place, but no such impressions could be conveyed by the painter
+who depicted such surroundings. Lastly, I must strongly dissent from the
+opinion recently expressed by some, that seems to imply that a
+portrait-picture need have no interest excepting in the figure, and that
+the background had better be without any. This may be a good principle
+for producing an effect on the walls of an exhibition-room, where the
+surroundings are incongruous and inharmonious; an intellectual or
+beautiful face should be more interesting than any accessories the
+artist could put into the background. No amount of elaboration in the
+background could disturb the attention of any one looking at the
+portrait of Julius the Second by Raphael, also in the Tribune, which I
+cannot help thinking is _the_ finished portrait in the world. A portrait
+is _the most truly historical picture_, and this the most monumental and
+historical of portraits. The longer one looks at it the more it demands
+attention. A superficial picture is like a superficial character--it may
+do for an acquaintance, but not for a friend. One never gets to the
+end of things to interest and admire in many old portrait-pictures.
+
+_Watts._
+
+[Illustration: _J. Van Eyck_ PORTRAIT OF THE ARTIST'S WIFE _Bruckmann_]
+
+
+CLXX
+
+There is one point that has always forced itself upon me strongly in
+comparing the portrait-painting qualities of Rembrandt and Velasquez. In
+Rembrandt I see a delightful human sympathy between himself and his
+sitters; he is always more interested in that part of them which
+conforms to some great central human type, and is comparatively
+uninterested in those little distinctions which delight the caricaturist
+and are the essence of that much applauded quality, "the catching of a
+likeness." I don't believe he was a very good catcher of likenesses, but
+I am sure his rendering was the biggest and fullest side of that
+man--there is always a fine ironical appreciation of character moulded
+by circumstance; whereas in Velasquez I find the other thing.
+
+_C. W. Furse._
+
+
+CLXXI
+
+I have wished to oblige the beholder, on looking at the portrait, to
+think wholly of the face in front of him, and nothing of the man who
+painted it. And it is my opinion that the artist who paints portraits in
+this way need have no fear of the pitfall of _mannerism_ either in
+treatment or touch.
+
+_Watts._
+
+
+CLXXII
+
+Let us ... examine modern portraits. I shut my eyes and think of those
+full lengths in the New Gallery and the Academy, which I have not seen
+this year, but whose every detail is familiar to me. You will find that
+a uniform light stretches from their chins to their toes; in all
+probability the background is a slab of grey into whose insensitive
+surface neither light nor air penetrates; or perhaps that most offensive
+portrait-painter's property, a sham room in which none of the furniture
+has been seen in its proper relation of light to the face, but has been
+muzzed in with slippery insincerity, and with an amiable hope that it
+may take its place behind the figure. The face, in all but one or two
+portraits, will lack definition of plane--will be flat and flabby. A
+white spot on the nose and high light on the forehead will serve for
+modelling; little or no attempt will have been made to get a light which
+will help the observer to concentrate on the head, or give the head its
+full measure of rotundity--your eyes will wander aimlessly from cheek to
+chiffon, from glinting satin to the pattern on the floor, forgetful of
+the purpose of the portrait, and only arrested by some dab of pink or
+mauve, which will remind you that the artist is developing a somewhat
+irrelevant colour scheme.
+
+For solidity, for the realisation of the great constructive planes of
+things, for that element of sculpture which exists in all good painting,
+you will look in vain. I am sure that in an average Academy there are
+not three real attempts to get the values--that is, the inevitable
+relation of objects in light and shade that must exist under any
+circumstances--and not one attempt to contrive an artificial composition
+of light and shade which shall concentrate the attention of the
+spectator on the crucial point, and shall introduce these delightful
+effects of dark things against light and light against dark, which lend
+such richness and variety of tone and such vitality of construction to
+Titian, Rembrandt, and Reynolds. If we turn for a moment to the National
+Gallery and look at Gainsborough's "Baillie Family," or Reynolds' "Three
+Ladies decorating the Term of Hymen," we see at once the difference; in
+Gainsborough's case the group is in a mellow flood of light, there are
+no strong shadows on any of the faces, and none of the figures are used
+to cast shadows on other figures in the group; and yet as you look you
+see the whole light of the picture culminating in the central head of
+the mother, the sides and bottom of the picture fade off into artificial
+shadow, exquisitely used, without which that glorious light would have
+been dissipated over the picture, losing all its effectiveness and
+carrying power. See how finely he has understood the reticent tones of
+the man behind, and how admirably the loosely painted convention of
+landscape background is made to carry on the purely artificial
+arrangement of light and shade. In the Reynolds the shadowed figure on
+the left, and the shadows that flit across the skirts of the other two
+figures, and the fine relief of the dark trees, give a wonderful
+richness of design to a picture that is not in other respects of the
+highest interest.
+
+_C. W. Furse._
+
+
+CLXXIII
+
+Why have I not before now finished the miniature I promised to Mrs.
+Butts? I answer I have not till now in any degree pleased myself, and
+now I must entreat you to excuse faults, for portrait painting is the
+direct contrary to designing and historical painting in every respect.
+If you have not nature before you for every touch, you cannot paint
+portrait; and if you have nature before you at all, you cannot paint
+history. It was Michael Angelo's opinion and is mine.
+
+_Blake._
+
+
+CLXXIV
+
+I often find myself wondering why people are so frequently dissatisfied
+with their portraits, but I think I have discovered the principal
+reason--they are not pleased with themselves, and therefore cannot
+endure a faithful representation. I find it is the same with myself. I
+cannot bear any portraits of myself, except those of my own painting,
+where I have had the opportunity of coaxing them, so as to suit my own
+feelings.
+
+_Northcote._
+
+
+
+
+LIGHT AND SHADE
+
+
+CLXXV
+
+Don't be afraid of splendour of effect; nothing is more brilliant,
+nothing more radiant than nature. Painting tends to become confused and
+to lose its power to strike hard. Make things monumental and yet real;
+set down the lights and the shadows as in reality. Heads which are all
+in a half-tone flushed with colour from a strong sun; heads in the
+light, full of air and freshness; these should be a delight to paint.
+
+_Chassériau._
+
+
+CLXXVI
+
+The first object of a painter is to make a simple flat surface appear
+like a relievo, and some of its parts detached from the ground; he who
+excels all others in that part of the art deserves the greatest praise.
+This perfection of the art depends on the correct distribution of lights
+and shades called _Chiaro-scuro_. If the painter, then, avoids shadows,
+he may be said to avoid the glory of the art, and to render his work
+despicable to real connoisseurs, for the sake of acquiring the esteem of
+vulgar and ignorant admirers of fine colours, who never have any
+knowledge of relievo.
+
+_Leonardo._
+
+
+CLXXVII
+
+Chiaroscuro, to use untechnical language and to speak of it as it is
+employed by all the schools, is the art of making atmosphere visible
+and painting objects in an envelope of air. Its aim is to create all the
+picturesque accidents of the shadows, of the half-tones and the light,
+of relief and distance, and to give in consequence more variety, more
+unity of effect, of caprice, and of relative truth, to forms as to
+colours. The opposite conception is one more ingenuous and abstract, a
+method by which one shows objects as they are, seen close, the
+atmosphere being suppressed, and in consequence without any perspective
+except the linear perspective, which results from the diminution in the
+size of objects and their relation to the horizon. When we talk of
+aeriel perspective we presuppose a certain amount of chiaroscuro.
+
+_Fromentin._
+
+
+CLXXVIII
+
+A painter must study his picture in every degree of light; it is all
+little enough. You know, I suppose, that this period of the day between
+daylight and darkness is called "the painter's hour"? There is, however,
+this inconvenience attending it, which allowance must be made for--the
+reds look darker than by day, indeed almost black, and the light blues
+turn white, or nearly so. This low, fading light also suggests many
+useful hints as to arrangement, from the circumstance of the dashings of
+the brush in a picture but newly commenced, suggesting forms that were
+not originally intended, but which often prove much finer ones. Ah,
+sometimes I see something very beautiful in these forms; but then I have
+such coaxing to do to get it fixed!--for when I draw near the canvas
+the vision is gone, and I have to go back and creep up to it again and
+again, and, at last, to hold my brush at the utmost length of my arm
+before I can fix it, so that I can avail myself of it the next day. The
+way to paint a really fine picture is first to paint it in the mind, to
+imagine it as strongly and distinctly as possible, and then to sketch it
+while the impression is strong and vivid.
+
+[Illustration: _Puvis de Chavannes_ HOPE]
+
+I have frequently shut myself up in a dark room for hours, or even days,
+when I have been endeavouring to imagine a scene I was about to paint,
+and have never stirred till I had got it clear in my mind; then I have
+sketched it as quickly as I could, before the impression has left me.
+
+_Northcote._
+
+
+
+
+DECORATIVE ART
+
+
+CLXXIX
+
+Decoration is the activity, the life of art, its justification, and its
+social utility.
+
+_Bracquemond._
+
+
+CLXXX
+
+The true function of painting is to animate wall-spaces. Apart from
+this, pictures should never be larger than one's hand.
+
+_Puvis de Chavannes._
+
+
+CLXXXI
+
+I want big things to do and vast spaces, and for common people to see
+them and say Oh!--only Oh!
+
+_Burne-Jones._
+
+
+CLXXXII
+
+I insist upon mural painting for three reasons--first, because it is an
+exercise of art which demands the absolute knowledge only to be obtained
+by honest study, the value of which no one can doubt, whatever branch of
+art the student might choose to follow afterwards; secondly, because the
+practice would bring out that gravity and nobility deficient in the
+English school, but not in the English character, and which being latent
+might therefore be brought out; and, thirdly, for the sake of action
+upon the public mind. For public improvement it is necessary that works
+of sterling but simple excellence should be scattered abroad as widely
+as possible. At present the public never see anything beautiful
+excepting in exhibition rooms, when the novelty of sight-seeing
+naturally disturbs the intellectual perceptions. It is a melancholy fact
+that scarcely a single object amongst those that surround us has any
+pretension to real beauty, or could be put simply into a picture with
+noble effect. And as I believe the love of beauty to be inherent in the
+human mind, it follows that there must be some unfortunate influence at
+work; to counteract this should be the object of a fine-art institution,
+and I feel assured if really good things were scattered amongst the
+people, it would not be long before satisfactory results exhibited
+themselves.
+
+_G. F. Watts._
+
+
+CLXXXIII
+
+I have ... gone for great masses of light and shade, relieved against
+one another, the only bright local colour being the blue of the
+workmens' coats and trousers. I have intentionally avoided the whole
+business of "flat decoration" by "making the things part of the walls,"
+as one is told is so important. On the contrary, I have treated them as
+pictures and have tried to make holes in the wall--that is, as far as
+relief of strong light and shade goes; in the figures I have struggled
+to keep a certain quality of bas-relief--that is, I have avoided distant
+groups--and have woven my compositions as tightly as I can in the very
+foreground of the pictures, as without this I felt they would lose their
+weight and dignity, which does seem to me the essential business in a
+mural decoration, and which makes Puvis de Chavannes a great decorator
+far more than his flat mimicry of fresco does.... Tintoretto, in S.
+Rocco, is my idea of the big way to decorate a building; great clustered
+groups sculptured in light and shade filling with amazing ingenuity of
+design the architectural spaces at his disposal: a far richer and more
+satisfying result to me than the flat and unprofitable stuff which of
+late years has been called "decoration."...
+
+Above all, I thoroughly disbelieve in the cant of mural decorations
+preserving the flatness of a wall. I see no merit in it whatever. Let
+them be massive as sculpture, but let every quality of value and colour
+lend them depth and vitality, and I am sure the hall or room will be
+richer and nobler as a result.
+
+_C. W. Furse._
+
+
+CLXXXIV
+
+People usually declare that landscape is an easy matter. I think it a
+very difficult one. For whenever you wish to produce a landscape, it is
+necessary to carry about the details, and work them out in the mind for
+some days before the brush may be applied. Just as in composition: there
+is a period of bitter thought over the theme; and until this is
+resolved, you are in the thrall of bonds and gyves. But when inspiration
+comes, you break loose and are free.
+
+_A Chinese Painter_ (about 1310 A.D.).
+
+
+CLXXXV
+
+One word: there are _tendencies_, and it is these which are meant by
+_schools_. Landscape, above all, cannot be considered from the point of
+view of a school. Of all artists the landscape painter is the one who is
+in most direct communion with nature, with nature's very soul.
+
+_Paul Huet._
+
+
+CLXXXVI
+
+From what motives springs the love of high-minded men for landscapes? In
+his very nature man loves to be in a garden with hills and streams,
+whose water makes cheerful music as it glides among the stones. What a
+delight does one derive from such sights as that of a fisherman
+engaging in his leisurely occupation in a sequestered nook, or of a
+woodman felling a tree in a secluded spot, or of mountain scenery with
+sporting monkeys and cranes!... Though impatient to enjoy a life amidst
+the luxuries of nature, most people are debarred from indulging in such
+pleasures. To meet this want artists have endeavoured to represent
+landscapes so that people may be able to behold the grandeur of nature
+without stepping out of their houses. In this light, painting affords
+pleasures of a nobler sort by removing from one the impatient desire of
+actually observing nature.
+
+_Kuo Hsi_ (Chinese, eleventh century A.D.).
+
+
+
+
+LANDSCAPE
+
+
+CLXXXVII
+
+Landscape is a big thing, and should be viewed from a distance in order
+to grasp the scheme of hill and stream. The figures of men and women are
+small matters, and may be spread out on the hand or on a table for
+examination, when they will be taken in at a glance. Those who study
+flower-painting take a single stalk and put it into a deep hole, and
+then examine it from above, thus seeing it from all points of view.
+Those who study bamboo-painting take a stalk of bamboo, and on a
+moonlight night project its shadow on to a piece of white silk on a
+wall; the true form of the bamboo is thus brought out. It is the same
+with landscape painting. The artist must place himself in communion with
+his hills and streams, and the secret of the scenery will be solved....
+Hills without clouds look bare; without water they are wanting in
+fascination; without paths they are wanting in life; without trees they
+are dead; without depth-distance they are shallow; without
+level-distance they are near; and without height-distance they are low.
+
+_Kuo Hsi_ (Chinese, eleventh century A.D.).
+
+
+CLXXXVIII
+
+I have brushed up my "Cottage" into a pretty look, and my "Heath" is
+almost safe, but I must stand or fall by my "House." I had on Friday a
+long visit from M---- alone; but my pictures do not come into his rules
+or whims of the art, and he said I had "lost my way." I told him that I
+had "perhaps other notions of art than picture admirers have in general.
+I looked on pictures as _things to be avoided_, connoisseurs looked on
+them as things to be _imitated_; and that, too, with such a deference
+and humbleness of submission, amounting to a total prostration of mind
+and original feeling; as must serve only to fill the world with
+abortions." But he was very agreeable, and I endured the visit, I trust,
+without the usual courtesies of life being violated.
+
+What a sad thing it is that this lovely art is so wrested to its own
+destruction! Used only to blind our eyes, and to prevent us from seeing
+the sun shine, the fields bloom, the trees blossom, and from hearing the
+foliage rustle; while old--black--rubbed out and dirty canvases take the
+place of God's own works. I long to see you. I love to cope with you,
+like Jaques, in my "sullen moods," for I am not fit for the present
+world of art.... Lady Morley was here yesterday. On seeing the "House,"
+she exclaimed, "How fresh, how dewy, how exhilarating!" I told her half
+of this, if I could think I deserved it, was worth all the talk and cant
+about pictures in the world.
+
+_Constable._
+
+
+CLXXXIX
+
+A wood all powdered with sunshine, all the tones of the trees
+illuminated and delicate, the whole in a mist of sun, and high lights
+only on the stems; a delicious, new, and rich effect.
+
+_Chassériau._
+
+
+CXC
+
+The forests and their trees give superb strong tones in which violet
+predominates--above all, in the shadows--and give value to the green
+tones of the grass. The upright stems show bare with colours as of
+stones and of rocks--grey, tawny, flushed, always very luminous (like an
+agate) in the reflections: the whole takes a sombre colour which vies in
+vigour with the foreground.
+
+A magnificent spectacle is that of mountains covered with ice and snow,
+towards evening, when the clouds roll up and hide their base. The
+summits may stand out in places against the sky. The blue background at
+such a time emphasises the warm gold colour of the shadows, and the
+lower parts are lost in a deep and sinister grey. We have seen this
+effect at Kandersteg.
+
+_Dutilleux._
+
+
+CXCI
+
+In your letter you wish me to give you my opinion of your picture. I
+should have liked it better if you had made it more of a whole--that is,
+the trees stronger, the sky running from them in shadow up to the
+opposite corner; that might have produced what, I think, it wanted, and
+have made it much less a two-picture effect.... I cannot let your sky go
+off without some observation. I think the character of your clouds too
+affected, that is, too much of some of our modern painters, who mistake
+some of our great masters; because they sometimes put in some of those
+round characters of clouds, they must do the same; but if you look at
+any of their skies, they either assist in the composition or make some
+figure in the picture--nay, sometimes play the first fiddle....
+
+Breadth must be attended to if you paint; but a muscle, give it breadth.
+Your doing the same by the sky, making parts broad and of a good shape,
+that they may come in with your composition, forming one grand plan of
+light and shade--this must always please a good eye and keep the
+attention of the spectator, and give delight to every one.
+
+Trifles in nature must be overlooked that we may have our feelings
+raised by seeing the whole picture at a glance, not knowing how or why
+we are so charmed. I have written you a long rigmarole story about
+giving dignity to whatever you paint--I fear so long that I should be
+scarcely able to understand what I mean myself. You will, I hope, take
+the will for the deed.
+
+_Old Crome._
+
+
+CXCII
+
+I am most anxious to get into my London painting-room, for I do not
+consider myself at work unless I am before a six-foot canvas. I have
+done a good deal of skying, for I am determined to conquer all
+difficulties, and that among the rest. And now, talking of skies, it is
+amusing to us to see how admirably you fight my battles; you certainly
+take the best possible ground for getting your friend out of a scrape
+(the example of the Old Masters). That landscape painter who does not
+make his skies a very material part of his composition neglects to avail
+himself of one of his greatest aids. Sir Joshua Reynolds, speaking of
+the landscapes of Titian, of Salvator, and of Claude, says: "Even their
+_skies_ seem to sympathise with their subjects." I have often been
+advised to consider my sky as "_a white sheet thrown behind the
+objects_." Certainly, if the sky is obtrusive, as mine are, it is bad;
+but if it is evaded, as mine are not, it is worse; it must and always
+shall with me make an effectual part of the composition. It will be
+difficult to name a class of landscape in which the sky is not the
+keynote, the standard of scale, and the chief organ of sentiment. You
+may conceive, then, what a "white sheet" would do for me, impressed as I
+am with these notions, and they cannot be erroneous. The sky is the
+source of light in nature, and governs everything; even our common
+observations on the weather of every day are altogether suggested by it.
+The difficulty of skies in painting is very great, both as to
+composition and execution; because, with all their brilliancy, they
+ought not to come forward, or, indeed, be hardly thought of any more
+than extreme distances are; but this does not apply to phenomena or
+accidental effects of sky, because they always attract particularly. I
+may say all this to you, though _you_ do not want to be told that I know
+very well what I am about, and that my skies have not been neglected,
+though they have often failed in execution, no doubt, from an
+over-anxiety about them which will alone destroy that easy appearance
+which nature always has in all her movements.
+
+_Constable._
+
+
+CXCIII
+
+He was looking at a seventy-four gun ship, which lay in the shadow under
+Saltash. The ship seemed one dark mass.
+
+"I told you that would be the effect," said Turner, referring to some
+previous conversation. "Now, as you perceive, it is all shade!"
+
+"Yes, I perceive it; and yet the ports are there."
+
+"We can only take what is visible--no matter what may be there. There
+are people in the ship; we don't see them through the planks."
+
+_Turner._
+
+
+CXCIV
+
+Looked out for landscapes this evening; but although all around one is
+lovely, how little of it will work up into a picture! that is, without
+great additions and alterations, which is a work of too much time to
+suit my purpose just now. I want little subjects that will paint off at
+once. How despairing it is to view the loveliness of nature towards
+sunset, and know the impossibility of imitating it!--at least in a
+satisfactory manner, as one could do, would it only remain so long
+enough. Then one feels the want of a life's study, such as Turner
+devoted to landscape; and even then what a botch is any attempt to
+render it! What wonderful effects I have seen this evening in the
+hay-fields! The warmth of the uncut grass, the greeny greyness of the
+unmade hay in furrows or tufts with lovely violet shadows, and long
+shades of the trees thrown athwart all, and melting away one tint into
+another imperceptibly; and one moment more a cloud passes and all the
+magic is gone. Begin to-morrow morning, all is changed: the hay and the
+reapers are gone most likely; the sun too, or if not, it is in quite the
+opposite quarter, and all that _was_ loveliest is all that is tamest
+now, alas! It is better to be a poet; still better a mere lover of
+Nature; one who never dreams of possession....
+
+_Ford Madox Brown._
+
+
+CXCV
+
+You should choose an old tumbledown wall and throw over it a piece of
+white silk. Then morning and evening you should gaze at it, until at
+length you can see the ruin through the silk--its prominences, its
+levels, its zigzags, and its cleavages, storing them up in the mind and
+fixing them in the eye. Make the prominences your mountains, the lower
+parts your water, the hollows your ravines, the cracks your streams, the
+lighter parts your nearer points, the darker parts your more distant
+points. Get all these thoroughly into you, and soon you will see men,
+birds, plants, and trees, flying and moving among them. You may then ply
+your brush according to your fancy, and the result will be of heaven,
+not of men.
+
+_Sung Ti_ (Chinese, eleventh century).
+
+
+CXCVI
+
+By looking attentively at old and smeared walls, or stones and veined
+marble of various colours, you may fancy that you see in them several
+compositions--landscapes, battles, figures in quick motion, strange
+countenances, and dresses, with an infinity of other objects. By these
+confused lines the inventive genius is excited to new exertions.
+
+_Leonardo._
+
+
+CXCVII
+
+Out by a quarter to eight to examine the river Brent at Hendon; a mere
+brooklet, running in most dainty sinuosity under overshadowing oaks and
+all manner of leafiness. Many beauties, and hard to choose amongst, for
+I had determined to make a little picture of it. However, Nature, that
+at first sight appears so lovely, is on consideration almost always
+incomplete; moreover, there is no painting intertangled foliage without
+losing half its beauties. If imitated exactly it can only be done as
+seen from one eye, and quite flat and confused therefore.
+
+_Ford Madox Brown._
+
+
+CXCVIII
+
+To gaze upon the clouds of autumn, a soaring exaltation in the soul; to
+feel the spring breeze stirring wild exultant thoughts;--what is there
+in the possession of gold and jewels to compare with delights like
+these? And then, to unroll the portfolio and spread the silk, and to
+transfer to it the glories of flood and fell, the green forest, the
+blowing winds, the white water of the rushing cascade, as with a turn of
+the hand a divine influence descends upon the scene. These are the joys
+of painting.
+
+_Wang Wei_ (Chinese, fifth century).
+
+
+CXCIX
+
+In the room where I am writing there are hanging up two beautiful small
+drawings by Cozens: one, a wood, close, and very solemn; the other, a
+view from Vesuvius looking over Portici--very lovely. I borrowed them
+from my neighbour, Mr. Woodburn. Cozens was all poetry, and your drawing
+is a lovely specimen.
+
+_Constable._
+
+
+CXCIXa
+
+Selection is the invention of the landscape painter.
+
+_Fuseli._
+
+
+CC
+
+Don't imagine that I do not like Corot's picture, _La Prairie avec le
+fossé_; on the contrary we thought, Rousseau and I, that it would be a
+pity to have one picture without the other, each makes so lively an
+impression of its own. You are perfectly right in liking the picture
+very much. What particularly struck us in the other one was that it has
+in an especial degree the look of being done by some one who knew
+nothing about painting but who had done his best, filled with a great
+longing to paint. In fact, a spontaneous discovery of the art! These are
+both very beautiful things. We will talk about them, for in writing one
+never gets to the end.
+
+_Millet._
+
+
+CCI
+
+TO ROUSSEAU
+
+The day after I left you I went to see your exhibition.... To-day I
+assure you that in spite of knowing your studies of Auvergne and those
+earlier ones, I was struck once more in seeing them all together by the
+fact that a force is a force from its first beginnings.
+
+With the very earliest you show a freshness of vision which leaves no
+doubt as to the pleasure you took in seeing nature, and one sees that
+she spoke directly to you, and that you saw her through your own eyes.
+
+Your work is your own _et non de l'aultruy_, as Montaigne says. Don't
+think I mean to go through everything of yours bit by bit, down to the
+present moment. I only wish to mention the starting point, which is the
+important thing, because it shows that a man is born to his calling.
+
+From the beginning you were the little oak which will grow into a big
+oak. There! I must tell you once more how much it moved me to see all
+this.
+
+_Millet._
+
+
+CCII
+
+I don't know if Corot is not greater than Delacroix. Corot is the father
+of modern landscape. There is no landscape painter of to-day
+who--knowingly or not--does not derive from him. I have never seen a
+picture of Corot's which was not beautiful, or a line which did not mean
+something.
+
+Among modern painters it is Corot who as a colourist has most in common
+with Rembrandt. The colour scheme is golden with the one and grey with
+the other throughout the whole harmony of tones. In appearance their
+methods are the opposite of each other, but the desired result is the
+same. In a portrait by Rembrandt all details melt into shadow in order
+that the spectator's gaze may be concentrated on a single part, often
+the eyes, and this part is handled more caressingly than the rest.
+
+Corot, on the other hand, sacrifices the details which are in the
+light--the extremities of trees, and so on--and brings us always to the
+spot which he has chosen for his main appeal to the spectator's eye.
+
+_Dutilleux._
+
+
+CCIII
+
+Landscape has taken refuge in the theatre; scene-painters alone
+understand its true character and can put it into practice with a happy
+result. But Corot?
+
+Oh that man's soul rebounds like a steel spring; he is no mere landscape
+painter, but an artist--a real artist, and rare and exceptional genius.
+
+_Delacroix._
+
+
+CCIV
+
+TO VERWÉE
+
+There is an International Exhibition at Petit's now, and I am showing
+some sea-pieces there with great success. The exhibition is made up,
+with one or two exceptions, of young men. They are very clever, but
+all alike; they follow a fashion--there is no more individuality.
+Everybody paints, everybody is clever.
+
+[Illustration: _Raphael_ THE MASS OF BOLSENA (Detail) _Anderson_]
+
+We shall end by adoring J. Dupré. I don't always like him, but he has
+individuality.
+
+Too many painters, my dear fellow, and too many exhibitions! But you
+see, at my age, I'm not afraid of showing my pictures among the young
+men's sometimes.
+
+Yet I hate exhibitions; one can hardly ever judge of a picture there.
+
+_Alfred Stevens._
+
+
+
+
+ITALIAN MASTERS
+
+
+CCV
+
+There is something ... in those deities of intellect in the Sistine
+Chapel that converts the noblest personages of Raphael's drama into the
+audience of Michael Angelo, before whom you know that, equally with
+yourself, they would stand silent and awe-struck.
+
+_Lawrence._
+
+
+CCVI
+
+My only disagreement with you would be in the estimate of his
+comparative excellence in sculpture and painting. He called himself
+sculptor, but we seldom gauge rightly our own strength and weakness. The
+paintings in the Sistine Chapel are to my mind entirely beyond criticism
+or praise, not merely with reference to design and execution, but also
+for colour, right noble and perfect in their place. I was never more
+surprised than by this quality, to which I do not think justice has ever
+been done; nothing in his sculpture comes near to the perfection of his
+Adam or the majesty of the Dividing the Light from Darkness; his
+sculpture lacks the serene strength that is found in the Adam and many
+other figures in the great frescoes. Dominated by the fierce spirit of
+Dante, he was less influenced by the grave dignity of the Greek
+philosophy and art than might have been expected from the contemporary
+and possible pupil of Poliziano. In my estimate of him as a Sculptor in
+comparison with him as Painter, I am likely to be in a minority of one!
+but _I_ think that when he is thought of as a painter his earlier
+pictures are thought of, and these certainly are unworthy of him, but
+the Prophets and Sibyls are the greatest things ever painted. As a rule
+he certainly insists too much upon the anatomy; some one said admirably,
+"Learn anatomy, and forget it"; Michael Angelo did the first and not the
+second, and the fault of almost all his work is, that it is too much an
+anatomical essay. The David is an example of this, besides being very
+faulty in proportion, with hands and feet that are monstrous. It is, I
+think, altogether bad. The hesitating pose is good, and goes with the
+sullen expression of the face, but is not that of the ardent heroic boy!
+
+This seems presumptuous criticism; and you might, considering my
+aspirations and efforts, say to me: "Do better!" but I am not Michael
+Angelo, but I am a pupil of the greatest sculptor of all, Pheidias (a
+master the great Florentine knew nothing of), and, so far, feel a right
+to set up judgment on the technique only.
+
+_Watts._
+
+
+CCVII
+
+ITALIAN ART IN FLANDERS
+
+As to Italian art, here at Brussels there is nothing but a reminiscence
+of it. It is an art which has been falsified by those who have tried to
+acclimatise it, and even the specimens of it which have passed into
+Flanders lose by their new surroundings. When in a part of the gallery
+which is least Flemish, one sees two portraits by Tintoret, not of the
+first rank, sadly retouched, but typical--one finds it difficult to
+understand them side by side with Memling, Martin de Vos, Van Orley,
+Rubens, Van Dyck, and even Antonio More. It is the same with Veronese.
+He is out of his element; his colour is lifeless, it smacks of the
+tempera painter; his style seems frigid, his magnificence unspontaneous
+and almost bombastic. Yet the picture is a superb piece, in his finest
+manner; a fragment of an allegorical triumph taken from a ceiling in the
+Ducal Palace, and one of his best; but Rubens is close by, and that is
+enough to give the Rubens of Venice an accent which is not of this
+country. Which of the two is right? And listening merely to the language
+so admirably spoken by the two men, who shall decide between the correct
+and learned rhetoric of Venetian speech, and the emphatic, warmly
+coloured, grandiose incorrectness of the Antwerp idiom? At Venice one
+leans to Veronese; in Flanders one has a better ear for Rubens.
+
+Italian art has this in common with all powerful traditions, that it is
+at the same time very cosmopolitan because it has penetrated everywhere,
+and very lofty because it has been self-sufficient. It is at home, in
+all Europe, except in two countries; Belgium, the genius of which it has
+appreciably affected without ever dominating it; and Holland, which once
+made a show of consulting it but which has ended by passing it by; so
+that, while it is on neighbourly terms with Spain, while it is enthroned
+in France, where, at least in historical painting, our best painters
+have been Romans, it encounters in Flanders two or three men, great men
+of a great race, sprung from the soil, who hold sway there and have no
+mind to share their empire with any other.
+
+_Fromentin._
+
+
+CCVIII
+
+I am never tired of looking at Titian's pictures; they possess such
+extreme breadth, which to me is so delightful a quality. In my opinion
+there never will, to the end of time, arise a portrait-painter superior
+to Titian. Next to him in this kind of excellence is Raphael. There is
+this difference between Raphael and Titian: Raphael, with all his
+excellence, possessed the utmost gentleness; it was as if he had said,
+"If another person can do better, _I_ have no objections." But Titian
+was a man who would keep down every one else to the uttermost; he was
+determined that the art should come in and go out with himself; the
+expression in all the portraits of him told as much. When any
+stupendous work of antiquity remains with us--say, a building or a
+bridge--the common people cannot account for it, and they say it was
+erected _by the devil_. Now I feel this same thing in regard to the
+works of Titian;--they seem to me as if painted by a devil, or at any
+rate from inspiration; I cannot account for them.
+
+_Northcote._
+
+
+
+
+NORTHERN MASTERS
+
+
+CCIX
+
+Raphael, to be plain with you--for I like to be candid and
+outspoken--does not please me at all. In Venice are found the good and
+the beautiful; to their brush I give the first place; it is Titian that
+bears the banner.
+
+_Velasquez._
+
+
+CCX
+
+Perhaps some day the world will discover that Rembrandt is a much
+greater painter than Raphael. I write this blasphemy--one to make the
+hair of the Classicists stand on end--without definitely taking a side;
+only I seem to find as I grow older that the most beautiful and most
+rare thing in the world is truth.
+
+Let us say, if you will, that Rembrandt has not Raphael's nobility. Yet
+perhaps this nobility which Raphael manifests in his line is shown by
+Rembrandt in the mysterious conception of his subjects, in the profound
+naïveté of his expressions and gestures. However much one may prefer the
+majestic emphasis of Raphael, which answers perhaps to the grandeur
+inherent in certain subjects, one might assert, without being stoned by
+men of taste--I mean men whose taste is real and sincere--that the great
+Dutchman was more a born painter than the studious pupil of Perugino.
+
+_Delacroix._
+
+
+CCXI
+
+Rembrandt's principle was to extract from things one element among the
+rest, or rather to abstract every element in order to concentrate on the
+seizure of one only. Thus in all his works he has set himself to
+analyse, to distil; or, in better phrase, has been metaphysician even
+more than poet. Reality never appealed to him by its general effects.
+One might doubt, from his way of treating human forms, whether their
+"envelope" interested him. He loved women, and never saw them otherwise
+than unshapely; he loved textures, and did not imitate them; but then,
+if he ignored grace and beauty, purity of line and the delicacy of the
+skin, he expressed the nude body by suggestions of suppleness,
+roundness, elasticity, with a love of material substance, a sense of the
+live being, which enchant the practical painter. He resolved everything
+into its component parts, colour as well as light, so that, by
+eliminating the complicated and condensing the scattered elements from a
+given scene, he succeeded in drawing without outline, in painting a
+portrait almost without strokes that show, in colouring without colour,
+in concentrating the light of the solar system into a sunbeam. It would
+be impossible in a plastic art to carry the curiosity for the essential
+to an intenser pitch. For physical beauty he substitutes expression of
+character; for the imitation of things, their almost complete
+transformation; for studious scrutiny, the speculation of the
+psychologist; for precise observation, whether trained or natural, the
+visions of a seer and apparitions of such vividness that he himself is
+deceived by them. By virtue of this faculty of second sight, of
+intuitions like those of a somnambulist, he sees farther into the
+supernatural world than any one else whatever. The life that he
+perceives in dream has a certain accent of the other world, which makes
+real life seem pale and almost cold. Look at his "Portrait of a Woman in
+the Louvre," two paces from "Titian's Mistress." Compare the two women,
+study closely the two pictures, and you will understand the difference
+between the two brains. Rembrandt's ideal, sought as in a dream with
+closed eyes, is Light: the nimbus around objects, the phosphorescence
+that comes against a black background. It is something fugitive and
+uncertain, formed of lineaments scarce perceptible, ready to disappear
+before the eye has fixed them, ephemeral and dazzling. To arrest the
+vision, to set it on the canvas, to give it its shape and moulding, to
+preserve the fragility of its texture, to render its brilliance, and yet
+achieve in the result a solid, masculine, substantial painting, real
+beyond any other master's work, and able to hold its own with a Rubens,
+a Titian, a Veronese, a Giorgione, a Van Dyck--this is Rembrandt's aim.
+Has he succeeded? The testimony of the world answers for him.
+
+_Fromentin._
+
+
+CCXII
+
+The painting of Flanders will generally satisfy any devout person more
+than the painting of Italy, which will never cause him to shed many
+tears; this is not owing to the vigour and goodness of that painting,
+but to the goodness of such devout person; women will like it,
+especially very old ones or very young ones. It will please likewise
+friars and nuns, and also some noble persons who have no ear for true
+harmony. They paint in Flanders, only to deceive the external eye,
+things that gladden you and of which you cannot speak ill, and saints
+and prophets. Their painting is of stuffs--bricks and mortar, the grass
+of the fields, the shadows of trees, and bridges and rivers, which they
+call landscapes, and little figures here and there; and all this,
+although it may appear good to some eyes, is in truth done without
+reasonableness or art, without symmetry or proportion, without care in
+selecting or rejecting, and finally, without any substance or verve; and
+in spite of all this, painting in some other parts is worse than it is
+in Flanders. Neither do I speak so badly of Flemish painting because it
+is all bad, but because it tries to do so many things at once (each of
+which alone would suffice for a great work), so that it does not do
+anything really well.
+
+Only works which are done in Italy can be called true painting, and
+therefore we call good painting Italian; for if it were done so well in
+another country, we should give it the name of that country or
+province. As for the good painting of this country, there is nothing
+more noble or devout; for with wise persons nothing causes devotion to
+be remembered, or to arise, more than the difficulty of the perfection
+which unites itself with and joins God; because good painting is nothing
+else but a copy of the perfections of God and a reminder of His
+painting. Finally, good painting is a music and a melody which intellect
+only can appreciate, and with great difficulty. This painting is so rare
+that few are capable of doing or attaining to it.
+
+_Michael Angelo._
+
+
+CCXIII
+
+All Dutch painting is concave: what I mean is that it is composed of
+curves described about a point determined by the pictorial interest;
+circular shadows round a dominant light. Design, colouring, and lighting
+fall into a concave scheme, with a strongly defined base, a retreating
+ceiling, and corners rounded and converging on the centre; whence it
+follows that the painting is all depth, and that it is far from the eye
+to the objects represented. No type of painting leads with more certain
+directness from the foreground to the background, from the frame to the
+horizon. One can live in it, walk in it, see to the uttermost ends of
+it; one is tempted to raise one's head to measure the distance of the
+sky. Everything conspires to this illusion: the exactness of the aerial
+perspective, the perfect harmony of colour and tones with the plane on
+which the object is placed. The rendering of the heights of space, of
+the envelope of atmosphere, of the distant effect, which absorbs this
+school makes the painting of all other schools seem flat, something laid
+upon the surface of the canvas.
+
+_Fromentin._
+
+
+CCXIV
+
+In Van Eyck there is more structure, more muscle, more blood in the
+veins; hence the impressive virility of his faces and the strong style
+of his pictures. Altogether he is a portrait-painter of Holbein's
+kin--exact, shrewd, and with a gift of penetration that is almost cruel.
+He sees things with more perfect rightness than Memling, and also in a
+bigger and some summary way. The sensations which the aspect of things
+evokes in him are more powerful; his feeling for their colour is more
+intense; his palette has a fullness, a richness, a distinctness, which
+Memling's has not. His colour schemes are of more even power, better
+held together, composed of values more cunningly found. His whites are
+fatter, his purple richer, and the indigo blue--that fine blue as of old
+Japanese enamel, which is peculiar to him--has more depth of dye, more
+solidity of texture. The splendour and the costliness of the precious
+things, of which the superb fashions of his time were so lavish,
+appealed to him more strongly.
+
+_Fromentin._
+
+
+CCXV
+
+Van Eyck saw with his eyes, Memling begins to see with his soul. The one
+had a good and a right vein of thought; the other does not seem to
+think so much, but he has a heart which beats in a quite different way.
+The one copied and imitated, the other copies too and imitates, but
+transfigures. The former reproduced--without any preoccupation with the
+ideal types of humanity--above all, the masculine types, which passed
+before his eyes in every rank of the society of his time; the latter
+contemplates nature in a reverie, translates her with imagination,
+dwells upon everything which is most delicate and lovely in human forms,
+and creates, above all, in his type of woman a being exquisite and
+elect, unknown before and lost with him.
+
+_Fromentin_
+
+
+CCXVI
+
+BRUGES, 1849
+
+This is a most stunning place, immeasurably the best we have come to.
+There is a quantity of first-rate architecture, and very little or no
+Rubens.
+
+But by far the best of all are the miraculous works of Memling and Van
+Eyck. The former is here in a strength that quite stunned us--and
+perhaps proves himself to have been a greater man even than the latter.
+In fact, he was certainly so intellectually, and quite equal in
+mechanical power. His greatest production is a large triptych in the
+Hospital of St. John, representing in its three compartments: firstly,
+the "Decollation of St. John Baptist"; secondly, the "Mystic Marriage of
+St. Catherine to the Infant Saviour"; and thirdly, the "Vision of St.
+John Evangelist in Patmos." I shall not attempt any description; I
+assure you that the perfection of character and even drawing, the
+astounding finish, the glory of colour, and, above all, the pure
+religious sentiment and ecstatic poetry of these works is not to be
+conceived or described. Even in seeing them the mind is at first
+bewildered by such godlike completeness; and only after some while has
+elapsed can at all analyse the causes of its awe and admiration; and
+then finds these feelings so much increased by analysis that the last
+impression left is mainly one of utter shame at its own inferiority.
+
+Van Eyck's picture at the Gallery may give you some idea of the style
+adopted by Memling in these great pictures; but the effect of light and
+colour is much less poetical in Van Eyck's; partly owing to _his_ being
+a more sober subject and an interior, but partly also, I believe, to the
+intrinsic superiority of Memling's intellect. In the background of the
+first compartment there is a landscape more perfect in the abstract
+lofty feeling of nature than anything I have ever seen. The visions of
+the third compartment are wonderfully mystic and poetical.
+
+_Rossetti._
+
+
+CCXVII
+
+VAN DYCK
+
+Van Dyck completed Rubens by adding to his achievement portraits
+absolutely worthy of his master's brush, better than Rubens' own. He
+created in his own country an art which was original, and consequently
+he has his share in the creation of a new art. Besides this he did yet
+more: he begot a whole school in a foreign country, the English
+school--Reynolds, Lawrence, Gainsborough, and I would add to them nearly
+all the genre painters who are faithful to the English tradition, and
+the most powerful landscape painters issue directly from Van Dyck, and
+indirectly from Rubens through Van Dyck. These are high claims. And so
+posterity, always just in its instincts, gives Van Dyck a place apart
+between the men of the first and those of the second rank. The world has
+never decided the exact precedence which ought to be his in the
+procession of the masters, and since his death, as during his life, he
+seems to have held the privilege of being placed near the throne and of
+making a stately figure there.
+
+_Fromentin._
+
+
+
+
+SPANISH PAINTING
+
+
+CCXVIII
+
+VELASQUEZ
+
+What we are all trying to do with great labour, he does at once.
+
+_Reynolds._
+
+
+CCXIX
+
+Saw again to-day the Spanish school in the Museum,--Velasquez, a
+surprising fellow! The "Hermits in a Rocky Desert" pleased me much; also
+a "Dark Wood at Nightfall." He is Teniers on a large scale: his handling
+is of the most sparkling kind, owing much of its dazzling effect to the
+flatness of the ground it is placed upon.
+
+The picture of "Children in Grotesque Dresses," in his painting-room, is
+a surprising piece of handling. Still he would gain, and indeed does
+gain, when he glazes his pictures. He makes no use of his ground; lights
+and shadows are opaque. Chilliness and blackness are sometimes the
+result; and often a cold blue or green prevails, requiring all his
+brilliancy of touch and truth of effect to make tolerable. Velasquez,
+however, may be said to be the origin of what is now doing in England.
+His feeling they have caught almost without seeing his works; which
+here seem to anticipate Reynolds, Romney, Raeburn, Jackson, and even Sir
+Thomas Lawrence. Perhaps there is this difference: he does at once what
+we do by repeated and repeated touches.
+
+It may truly be said, that wheresoever Velasquez is admired, the
+paintings of England must be acknowledged and admired with him.
+
+_Wilkie._
+
+
+CCXX
+
+VELASQUEZ
+
+Never did any one think less of a style or attain it more consummately.
+He was far too much occupied with the divining of the qualities of light
+and atmosphere that enveloped his subjects, and with stating those
+truths in the most direct and poignant way to have time to spare on mere
+adornments and artifices that amuse us in the work of lesser men. Every
+stroke in Velasquez means something, records an observation. You never
+see a splodge of light that entertains you for a moment and relapses
+into _chic_ as you analyse it; even the most elusive bits of painting
+like the sword-hilt in the "Admiral Pulido" are utterly just, and
+observed as the light flickers and is lost over the steel shapes. No one
+ever had the faculty of observing the true character of two diverse
+forms at the same time as he did. If you look at any quilted sleeve you
+will feel the whole texture of the material and recognise its own shape,
+and yet under it and through it each nuance of muscle and arm-form
+reveals itself. It is no light praise, mind you, when one says that
+every touch is the record of a tireless observation--you have only to
+look at a great Sir Joshua to see that quite half of every canvas is
+merely a recipe, a painted yawn in fact, as the intensity of his vision
+relaxed; but in a Velasquez your attention is riveted by the passionate
+search of the master and his ceaseless absorption in the thing before
+him--and this is all the more astounding because the work is hardly ever
+conceived from a point of view of bravura; there is nothing
+over-enthusiastic, insincerely impetuous, but a quiet suave dignity
+informing the whole, and penetrating into the least detail of the
+canvas.
+
+There is one quality Velasquez never falters in; from earliest days he
+is master of his medium; he understands its every limitation, realises
+exactly how far his palette is capable of rendering nature; and so you
+are never disturbed in your appreciation of his pictures by a sense that
+he is battling against insuperable difficulties, severely handicapped by
+an unsympathetic medium; but rather that here is the consummate workman
+who, gladly recognising the measure of his freedom within the four walls
+of his limitations, illustrates for you that fine old statement, "Whose
+service is perfect freedom."
+
+_C. W. Furse._
+
+
+CCXXI
+
+ON GAINSBOROUGH
+
+We must not forget, whilst we are on this subject, to make some remarks
+on his custom of painting by night, which confirms what I have already
+mentioned,--his great affection to his art; since he could not amuse
+himself in the evening by any other means so agreeable to himself. I am
+indeed much inclined to believe that it is a practice very advantageous
+and improving to an artist: for by this means he will acquire a new and
+a higher perception of what is great and beautiful in nature. By
+candlelight not only objects appear more beautiful, but from their being
+in a greater breadth of light and shadow, as well as having a greater
+breadth and uniformity of colour, nature appears in a higher style; and
+even the flesh seems to take a higher and richer tone of colour.
+Judgment is to direct us in the use to be made of this method of study;
+but the method itself is, I am very sure, advantageous. I have often
+imagined that the two great colourists, Titian and Correggio, though I
+do not know that they painted by night, formed their high ideas of
+colouring from the effects of objects by this artificial light.
+
+_Reynolds._
+
+[Illustration: _Gainsborough_ THE CHILDREN AND THE BUTTERFLY _Mansell_]
+
+
+
+
+MODERN PAINTING
+
+
+CCXXII
+
+ON REYNOLDS
+
+Damn him! how various he is!
+
+_Gainsborough._
+
+
+CCXXIII
+
+I shall take advantage of Sir John's[3] mention of Reynolds and
+Gainsborough to provoke some useful refutation, by stating that it seems
+to me the latter is by no means the rival of the former; though in this
+opinion I should expect to find myself in a minority of one. Reynolds
+knew little about the human structure, Gainsborough nothing at all;
+Reynolds was not remarkable for good drawing, Gainsborough was
+remarkable for bad; nor did the latter ever approach Reynolds in
+dignity, colour, or force of character, as in the portraits of John
+Hunter and General Heathfield for example. It may be conceded that more
+refinement, and perhaps more individuality, is to be found in
+Gainsborough, but his manner (and both were mannerists) was scratchy and
+thin, while that of Reynolds was manly and rich. Neither Reynolds nor
+Gainsborough was capable of anything ideal; but the work of Reynolds
+indicates thought and reading, and I do not know of anything by
+Gainsborough conveying a like suggestion.
+
+_Watts._
+
+[Footnote 3: Sir John Millais.]
+
+
+CCXXIV
+
+I was thinking yesterday, as I got up, about the special charm of the
+English school. The little I saw of it has left me memories. They have a
+real sensitiveness which triumphs over all the studies in concoction
+which appear here and there, as in our dismal school; with us that
+sensitiveness is the rarest thing: everything has the look of being
+painted with clumsy tools, and what is worse, by obtuse and vulgar
+minds. Take away Meissonier, Decamps, one or two others, and some of the
+youthful pictures of Ingres, and all is tame, nerveless, without
+intention, without fire. One need only cast one's eye over that stupid,
+commonplace paper _L'Illustration_, manufactured by pettifogging artists
+over here, and compare it with the corresponding English publication to
+realise how wretchedly flat, flabby, and insipid is the character of
+most of our productions. This supposed home of drawing shows really no
+trace of it, and our most pretentious pictures show as little as any. In
+these little English designs nearly every object is treated with the
+amount of interest it demands; landscapes, sea-pieces, costumes,
+incidents of war, all these are delightful, done with just the right
+touch, and, above all, well drawn.... I do not see among us any one to
+be compared with Leslie, Grant, and all those who derive partly from
+Wilkie and partly from Hogarth, with a little of the suppleness and ease
+introduced by the school of forty years back, Lawrence and his comrades,
+who shone by their elegance and lightness.
+
+_Delacroix._
+
+
+CCXXV
+
+THE ENGLISH SCHOOL
+
+I shall never care to see London again. I should not find there my old
+memories, and, above all, I should not find the same men to enjoy with
+me what there is to be seen now. Perhaps I might find myself obliged to
+break a lance for Reynolds, or for that adorable Gainsborough, whom you
+are indeed right to love. Not that I am the opponent of the present
+movement in the painting of England. I am even struck by the prodigious
+conscientiousness that these people can bring to bear even on work of
+the imagination; it seems that in coming back to excessive detail they
+are more in their own element than when they imitated the Italian
+painters and the Flemish colourists. But what does the skin matter?
+Under this seeming transformation they are always English. Thus instead
+of making imitations pure and simple of the primitive Italians, as the
+fashion has been among us, they mix with this imitation of the manner of
+the old schools an infinitely personal sentiment; they put into it the
+interest which is generally missing in our cold imitations of the
+formulas and the style of schools which have had their day. I am writing
+without pulling myself up, and saying everything that comes into my
+head. Perhaps the impressions I received at that former time might be a
+little modified to-day. Perhaps I should find in Lawrence an
+exaggeration of methods and effects too closely reminiscent of the
+school of Reynolds; but his amazing delicacy of drawing, and the air of
+life he gives to his women, who seem almost to be talking with one, give
+him, considered as a portrait-painter, a certain superiority over Van
+Dyck, whose admirable figures are immobile in their pose. Lustrous eyes
+and parted lips are admirably rendered by Lawrence. He welcomed me with
+much kindness; he was a man of most charming manners, except when you
+criticised his pictures.... Our school has need of a little new blood.
+Our school is old, and the English school seems young. They seem to seek
+after nature while we busy ourselves with imitating other pictures.
+Don't get me stoned by mentioning abroad these opinions, which alas! are
+mine.
+
+_Delacroix._
+
+
+CCXXVI
+
+There are only two occasions, I conceive, on which a foreign artist
+could with propriety be invited to execute a great national work in this
+country, namely, in default of our having any artist at all competent to
+such an undertaking, or for the purpose of introducing a superior style
+of art, to correct a vicious taste prevalent in the nation. The
+consideration of the first parts of this statement I leave to those who
+have witnessed with what ability Mr. Flaxman, Mr. Westmacott, and the
+other candidates have designed their models, and with respect to the
+style and good taste of the English school. I dare, and am proud, to
+assert its superiority over any that has appeared in Europe since the
+age of the Caracci.
+
+_Hoppner._
+
+
+CCXXVII
+
+(Watts is) the only man who understands great art.
+
+_Alfred Stevens._
+
+
+CCXXVIII
+
+There is only Puvis de Chavannes who holds his place; as for all the
+others, one must gild their monuments.
+
+_Meissonier._
+
+
+CCXXIX
+
+PRUDHON
+
+In short, he has his own manner; he is the Boucher, the Watteau of our
+day. We must let him do as he will; it can do no harm at the present
+time, and in the state the school is in. He deceives himself, but it is
+not given to every one to deceive themselves like him; his talent has a
+sure foundation. What I cannot forgive him is that he always draws the
+same heads, the same arms, and the same hands. All his faces have the
+same expression, and this expression is always the same grimace. It is
+not thus we should envisage nature, we who are disciples and admirers of
+the ancients.
+
+_L. David._
+
+
+CCXXX
+
+ON DELACROIX
+
+Delacroix (except in two pictures, which show a kind of savage genius)
+is a perfect beast, though almost worshipped here.
+
+_Rossetti (1849)._
+
+
+CCXXXI
+
+Delacroix is one of the mighty ones of the earth, and Ingres misses
+being so creditably.
+
+_Rossetti (1856)._
+
+
+CCXXXII
+
+ON DELACROIX
+
+Must I say that I prefer Delacroix with his exaggerations, his mistakes,
+his obvious falls, because he belongs to no one but himself, because he
+represents the spirit, the time, and the idiom of his time? Sickly, too
+highly strung, perhaps, since his art has the melodies of our
+generation, since in the strained note of his lamentations as in his
+resounding triumphs, there is always a gasp of the breath, a cry, a
+fever that are alike our own and his.
+
+We are no longer in the Olympian Age, like Raphael, Veronese, and
+Rubens; and Delacroix's art is powerful, as a voice from Dante's
+Inferno.
+
+_Rousseau._
+
+
+CCXXXIII
+
+A DELACROIX EXHIBITION
+
+Feminine painting is invading us; and if our time, of which Delacroix is
+the true representative, _has not dared enough_, what will the enervated
+art of the future be like?
+
+Only paintings are exhibited just now. Two rooms scarcely hold his
+riches; and when one thinks that there are here but the elements of
+Delacroix's production, one is bewildered. What strikes one above all
+in his sketches is the note of nervous, contained intensity, which
+during all his full career he never lost; neither fashion nor the
+influence of others affected it; never was there a more sincere note.
+Plenty of incorrectness, I grant you, but with a great feeling for
+drawing. Whatever one may say, if drawing is an instrument of
+expression, Delacroix was a draughtsman. A great style, a marvellous
+invention, passion expressed in form as well as in colour, Delacroix is
+typically the artist, and not a professor of drawing who fills out
+weakness and mediocrity by rhetoric.
+
+_Paul Huet._
+
+
+CCXXXIV
+
+COROT'S METHOD OF WORK
+
+Corot is a true artist. One must see a painter in his home to have an
+idea of his merit. I saw again there, and with a quite new appreciation
+of them, pictures which I had seen at the museum and only cared for
+moderately. His great "Baptism of Christ" is full of naïve beauties; his
+trees are superb. I asked him about the tree I have to do in the
+"Orpheus." He told me to walk straight ahead, giving myself up to
+whatever might come in my way; usually this is what he does. He does not
+admit that taking infinite pains is lost labour. Titian, Raphael,
+Rubens, &c., worked easily. They only attempted what they knew; only
+their range was wider than that of the man who, for instance, only
+paints landscapes or flowers. Notwithstanding this facility, labour too
+is indispensable. Corot broods much over things. Ideas come to him, and
+he adds as he works. It is the right way.
+
+_Delacroix._
+
+
+CCXXXV
+
+From the age of six, I had the passion for drawing the forms of things.
+By the age of fifty, I had published an infinity of designs; but all
+that I produced before the age of seventy is of no account. Only when I
+was seventy-three had I got some sort of insight into the real structure
+of nature--animals, plants, trees, birds, fish, and insects.
+Consequently, at the age of eighty I shall have advanced still further;
+at ninety, I shall grasp the mystery of things; at a hundred, I shall be
+a marvel, and at a hundred and ten every blot, every line from my brush
+shall be alive!
+
+_Hokusai._
+
+
+CCXXXVI
+
+It takes an artist fifty years to learn to do anything, and fifty years
+to learn what not to do--and fifty years to sift and find what he simply
+desires to do--and 300 years to do it, and when it is done neither
+heaven nor earth much needs it nor heeds it. Well, I'll peg away; I can
+do nothing else, and wouldn't if I could.
+
+_Burne-Jones._
+
+
+CCXXXVII
+
+If the Lord lets me live two years longer, I think that I can paint
+something beautiful.
+
+_Corot at 77._
+
+
+
+
+ARS LONGA
+
+
+CCXXXVIII
+
+If Heaven would give me ten years more ... if Heaven would give me only
+five years more ... I might become a really great painter.
+
+_Hokusai._
+
+
+CCXXXIX
+
+I will have my Bed to be a Bed of Honour, and cannot die in a better
+Posture than with my Pencil in my Hand.
+
+_Lucas of Leyden._
+
+
+CCXL
+
+Adieu! I go above to see if friend Corot has found me new landscapes to
+paint.
+
+_Daubigny_ (on his death-bed).
+
+
+CCXLI
+
+Leaving my brush in the city of the East, I go to gaze on the divine
+landscapes of the Paradise of the West.
+
+_Hiroshige_ (on his death-bed).
+
+
+CCXLII
+
+Much will hereafter be written about subjects and refinements of
+painting. Sure am I that many notable men will arise, all of whom will
+write both well and better about this art and will teach it better than
+I. For I myself hold my art at a very mean value, for I know what my
+faults are. Let every man therefore strive to better these my errors
+according to his powers. Would to God it were possible for me to see
+the work and art of the mighty masters to come, who are yet unborn, for
+I know that I might be improved. Ah! how often in my sleep do I behold
+great works of art and beautiful things, the like whereof never appear
+to me awake, but so soon as I awake even the remembrance of them leaveth
+me. Let none be ashamed to learn, for a good work requireth good
+counsel. Nevertheless, whosoever taketh counsel in the arts let him take
+it from one thoroughly versed in those matters, who can prove what he
+saith with his hand. Howbeit any one _may_ give thee counsel; and when
+thou hast done a work pleasing to thyself, it is good for thee to show
+it to dull men of little judgment that they may give their opinion of
+it. As a rule, they pick out the most faulty points, whilst they
+entirely pass over the good. If thou findest something they say true,
+thou mayest thus better thy work.
+
+_Dürer._
+
+
+CCXLIII
+
+I should be sorry if I had any earthly fame, for whatever natural glory
+a man has is so much detracted from his spiritual glory. I wish to do
+nothing for profit; I want nothing; I am quite happy.
+
+_Blake._
+
+
+
+
+INDEX OF ARTISTS
+
+
+Agatharcus, 46
+Alberti Leon Battista, 51, 143
+Anon (Chinese), 184
+Apelles, 87
+
+Blake, 7, 26, 53, 97, 122, 173, 243
+Bracquemond, 23, 61, 63, 115, 179
+Brown, Ford Madox, 82, 194, 197
+Burne-Jones, 19, 36, 116, 127, 131, 155, 166, 181, 236
+
+Calvert, Edward, 25, 41, 77, 80, 137, 167
+Cennini, Cennino, 126, 163
+Chassériau, 93, 146, 147, 175, 189
+Constable, 81, 104, 188, 192, 199
+Corot, 28, 66, 73, 74, 76, 237
+Crome, 191
+Courbet, 20, 21
+Couture, 148
+
+Daubigny, 240
+David, Louis, 57, 229
+Delacroix, 14, 16, 29, 60, 85, 88, 114, 125, 149, 168, 203, 210,
+  224, 225, 234
+Donatello, 108
+Dürer, 5, 49, 71, 242
+Dutilleux, 142, 190, 202
+Dyce, 24
+
+Eupompus, 67
+
+Fromentin, 8, 15, 30, 177, 207, 211, 213, 214, 215, 217
+Furse, 132, 133, 139, 170, 172, 183, 197, 220
+Fuseli, 2, 139A, 199A
+
+Gainsborough, 90, 222
+Goujon, 48
+Goya, 89, 156, 157
+
+Hilliard, 159
+Hiroshige, 241
+Hogarth, 118, 124, 141, 152
+Hokusai, 106, 134, 141, 235, 238
+Hoppner, 226
+Hsieh Ho, 11, 117
+Huet, 185, 233
+
+Ingres, 52, 62, 109, 110, 111, 112, 113, 119, 120, 128
+
+Keene, 69
+Klagmann, 44
+Ku K'ai-Chih, 12, 165
+Kuo Hsi, 186, 187
+
+Lawrence, 59, 205
+Leighton, 103
+Leonardo, 3, 50, 56, 65, 121, 129, 158, 160, 161, 162, 176, 196
+Lucas of Leyden, 239
+Lundgren, E., 164
+
+Meissonier, 228
+Michael Angelo, 4, 79, 107, 123, 212
+Millais, 95, 99
+Millet, 35, 47, 75, 200, 201
+Monticelli, 101
+Morris, William, 27, 38, 39, 43, 130, 144
+
+Northcote, 151, 174, 178, 208
+
+Okio, 70
+
+Pasiteles, 138
+Poussin, N., 13
+Préault, 83
+Puvis de Chavannes, 78, 105, 180
+
+Raphael, 18
+Rembrandt, 91, 92
+Reynolds, 68, 72, 84, 218, 221
+Rops, 31
+Rossetti, 6, 9, 150, 216, 230, 231
+Rousseau, 37, 86, 136, 232
+Rubens, 55, 58, 98
+
+Shiba Kokan, 135
+Stevens, A. (the Belgian painter), 1, 204
+Stevens, A. (the English sculptor), 227
+Sung Ti, 195
+
+Titian, 45, 140
+Turner, 193
+
+Velasquez, 209
+
+Wang Wei, 198
+Watts, 10, 17, 34, 40, 96, 100, 102, 169, 171, 182, 206, 223
+Whistler, 32, 42, 64
+Wiertz, 22, 33, 54
+Wilkie, 94, 145, 153, 154, 219
+
+Zeuxis, 46
+
+
+
+Printed by Ballantyne, Hanson & Co.
+
+Edinburgh & London
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mind of the Artist, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+***** This file should be named 18653-8.txt or 18653-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/8/6/5/18653/
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/18653-8.zip b/18653-8.zip
new file mode 100644
index 0000000..6f2286d
--- /dev/null
+++ b/18653-8.zip
diff --git a/18653-h.zip b/18653-h.zip
new file mode 100644
index 0000000..fe75db1
--- /dev/null
+++ b/18653-h.zip
diff --git a/18653-h/18653-h.htm b/18653-h/18653-h.htm
new file mode 100644
index 0000000..268fa70
--- /dev/null
+++ b/18653-h/18653-h.htm
@@ -0,0 +1,5312 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Mind of the Artist, by Mrs. Laurence Binyon
+    </title>
+            <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 65%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{
+		margin-left: 10%;
+        margin-right: 10%;}
+a:link {text-decoration: none}
+a:visited {text-decoration: none}
+a:hover {text-decoration: none}
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .u        {text-decoration: underline;}
+
+    .caption  {font-weight: bold;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: .8em; text-decoration: none;}
+
+    .style1 {font-size: small}
+.style2 {left: 92%; text-align: right; position: absolute;}
+-->
+    /* XML end  ]]>*/
+            </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Mind of the Artist, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mind of the Artist
+       Thoughts and Sayings of Painters and Sculptors on Their Art
+
+Author: Various
+
+Commentator: George Clausen
+
+Release Date: June 22, 2006 [EBook #18653]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+
+
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1>THE MIND OF THE ARTIST</h1>
+<a name="frontis" id="frontis"></a><table summary="title page" width="90%" border="0">
+  <tr>
+    <td><div class="figleft" style="width: 400px;">
+<img src="images/frontis.jpg" width="400" height="379" alt="Rembrandt THE POLISH RIDER Berlin Photographic Co." /></div></td>
+    <td><div align="center" class="style1">THOUGHTS AND SAYINGS OF PAINTERS<br />
+AND SCULPTORS ON THEIR ART<br /><br />
+
+COLLECTED &amp; ARRANGED BY<br />
+MRS. LAURENCE BINYON<br />
+<br />
+<br />
+WITH A PREFACE BY GEORGE CLAUSEN, R.A.<br />
+<br />
+LONDON<br />
+CHATTO &amp; WINDUS<br />
+1909<br />
+<br />
+<i>All rights reserved</i></div>
+<p class="style1"><!-- Page v --><span class='style2'><a name="Page_v" id="Page_v">[Pg v]</a></span></p></td>
+  </tr>
+</table>
+
+
+
+<div align="center">
+  <!-- Autogenerated TOC. Not seen in original. -->
+</div>
+<table summary="toc" width="80%" border="0">
+  <tr>
+    <td><a href="#PREFACE" class="style1"><b>PREFACE</b></a></td>
+    <td><a href="#EFFECTS_OF_TIME_ON_PAINTING" class="style1"><b>EFFECTS OF TIME ON PAINTING</b></a></td>
+    <td><a href="#LANDSCAPE" class="style1"><b>LANDSCAPE</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#NOTE" class="style1"><b>NOTE</b></a></td>
+    <td><a href="#MANNER" class="style1"><b>MANNER</b></a></td>
+    <td><a href="#ITALIAN_MASTERS" class="style1"><b>ITALIAN MASTERS</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#THE_MIND_OF_THE_ARTIST" class="style1"><b>THE MIND OF THE ARTIST</b></a></td>
+    <td><a href="#DRAWING_AND_DESIGN" class="style1"><b>DRAWING AND DESIGN</b></a></td>
+    <td><a href="#NORTHERN_MASTERS" class="style1"><b>NORTHERN MASTERS</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#AIMS_AND_IDEALS" class="style1"><b>AIMS AND IDEALS</b></a></td>
+    <td><a href="#COLOUR" class="style1"><b>COLOUR</b></a></td>
+    <td><a href="#SPANISH_PAINTING" class="style1"><b>SPANISH PAINTING</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#ART_AND_SOCIETY" class="style1"><b>ART AND SOCIETY</b></a></td>
+    <td><a href="#LIGHT_AND_SHADE1" class="style1"><b>LIGHT  AND  SHADE</b></a></td>
+    <td><a href="#MODERN_PAINTING" class="style1"><b>MODERN PAINTING</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#STUDY_AND_TRAINING" class="style1"><b>STUDY AND TRAINING</b></a></td>
+    <td><a href="#PORTRAITURE" class="style1"><b>PORTRAITURE</b></a></td>
+    <td><a href="#ARS_LONGA" class="style1"><b>ARS LONGA</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#METHODS_OF_WORK" class="style1"><b>METHODS OF WORK</b></a></td>
+    <td><a href="#LIGHT_AND_SHADE2" class="style1"><b>LIGHT AND SHADE</b></a></td>
+    <td><a href="#INDEX_OF_ARTISTS" class="style1"><b>INDEX OF ARTISTS</b></a></td>
+  </tr>
+  <tr>
+    <td><a href="#FINISH" class="style1"><b>FINISH</b></a></td>
+    <td><a href="#DECORATIVE_ART" class="style1"><b>DECORATIVE ART</b></a></td>
+    <td>&nbsp;</td>
+  </tr>
+</table>
+<!-- End Autogenerated TOC. -->
+
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>It is always interesting and profitable to get the views of workmen on
+their work, and on the principles which guide them in it; and in
+bringing together these sayings of artists Mrs. Binyon has done a very
+useful thing. A great number of opinions are presented, which, in their
+points of agreement and disagreement, bring before us in the most
+charming way the wide range of the artist's thought, and enable us to
+realise that the work of the great ones is not founded on vague caprice
+or so-called inspiration, but on sure intuitions which lead to definite
+knowledge; not merely the necessary knowledge of the craftsman, which
+many have possessed whose work has failed to hold the attention of the
+world, but also a knowledge of nature's laws.</p>
+
+<p>&quot;The Mind of the Artist&quot; speaks for itself, and really requires no word
+of introduction. These opinions as a whole, seem to me to have a harmony
+and consistency, and to announce clearly that the directing impulse must
+<!-- Page vi --><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>be a desire for expression, that art is a language, and that the thing
+to be said is of more importance than the manner of saying it. This
+desire for expression is the driving-force of the artist; it informs,
+controls, and animates his method of working; it governs the hand and
+eye. That figures should give the impression of life and spontaneity,
+that the sun should shine, trees move in the wind, and nature be felt
+and represented as a living thing&mdash;this is the firm ground in art; and
+in those who have this feeling every effort will, consciously or
+unconsciously, lead towards its realisation. It should be the
+starting-point of the student. It does not absolve him from the need of
+taking the utmost pains, from making the most searching study of his
+model; rather it impels him, in the examination of whatever he feels
+called on to represent, to look for the vital and necessary things: and
+the artist will carry his work to the utmost degree of completion
+possible to him, in the desire to get at the heart of his theme.</p>
+
+<p>&quot;Truth to nature,&quot; like a wide mantle, shelters us all, and covers not
+only the outward aspect of things, but their inner meanings and the
+emotions felt through them, differently by each individual. And the
+inevitable differences of point of view, which one encounters in this
+book, are but small matters compared with the agreement one finds on
+essential things; I may instance particularly the stress laid on the
+observation of nature. Whether the artist chooses to depict the present,
+<!-- Page vii --><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span>the past, or to express an abstract ideal, he must, if his work is to
+live, found it on his own experience of nature. But he must at every
+step also refer to the past. He must find the road that the great ones
+have made, remembering that the problems they solved were the same that
+he has before him, and that now, no less than in D&uuml;rer's time, &quot;art is
+hidden in nature: it is for the artist to drag her forth.&quot;</p>
+
+<div align="right">GEORGE CLAUSEN.</div>
+<p><!-- Page ix --><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+
+
+
+<h2><a name="NOTE" id="NOTE"></a>NOTE</h2>
+
+
+<p>This little volume, it need hardly be said, does not aim at being
+complete, in the sense of representing all the artists who have written
+on art. It is hoped, however, that the sayings chosen will be found
+fairly representative of what painters and sculptors, typical of their
+race and time, have said about the various aspects of their work. In
+making the collection, I have had recourse less to famous comprehensive
+treatises and expositions of theory like those of Leonardo and of
+Reynolds, than to the more intimate avowals and working notes contained
+in letters and diaries, or recorded in memoirs. The selection of these
+has entailed considerable research; and in tracing what was often by no
+means easy to find, I wish to acknowledge the kind assistance,
+especially, of M. Raphael Petrucci, M. Louis Dimier, and Mr. Tancred
+Borenius. I have also to thank Lady Burne-Jones, Miss Birnie Philip,
+Mrs. Watts, Mrs. C. W. Furse, Mr. W. M. Rossetti, Mr. J. G. Millais, Mr.
+Samuel Calvert, and Mr. Sydney Cockerell, for permission to make
+quotations from Burne-Jones, Whistler, Watts, Furse, D. G. Rossetti,
+Madox Brown, Millais, Edward Calvert, and William Morris; also Sir
+<!-- Page x --><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span>Martin Conway, Sir Charles Holroyd, Mrs. Herringham, Mr. E. McCurdy,
+and Mr. Everard Meynell, for allowing me to use their translations from
+D&uuml;rer, Francisco d'Ollanda (conversations with Michael Angelo), Cennino
+Cennini, Leonardo, and Corot, respectively.</p>
+
+<p>Thankful acknowledgment is also made to the authors of any other
+quotations whose names may inadvertently have been omitted.</p>
+
+<p>Above all, I thank my husband for his advice and help.</p>
+
+<p>C. M. B.<!-- Page xi --><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+
+<h2>ILLUSTRATIONS</h2>
+<table  summary="illos" border="0" align="center">
+  <tr>
+    <td><a href="#frontis">THE POLISH RIDER. Rembrandt<br />
+<i>Tarnowski Collection, Dzikow</i></a></td>
+    <td><a href="#frontis"><i>Frontispiece</i></a></td>
+  </tr>
+  <tr>
+    <td>&nbsp;</td>
+    <td>FACING PAGE</td>
+  </tr>
+  <tr>
+    <td><a href="#fp28">THE CASTLE IN THE PARK. Rubens. (<i>Detail</i>)<br />
+<i>Vienna</i></a></td>
+    <td><a href="#fp28">28</a></td>
+  </tr>
+  <tr>
+    <td><a href="#fp48">LOVE. Millais<br />
+<i>The Victoria and Albert Museum</i></a></td>
+    <td><a href="#fp48">48</a></td>
+  </tr>
+  <tr>
+    <td><a href="#fp74">THE MUSIC OF PAN. Signorelli<br />
+<i>Berlin</i></a></td>
+    <td><a href="#fp74">74</a></td>
+  </tr>
+  <tr>
+    <td><a href="#fp96">PORTRAIT OF THE ARTIST'S WIFE. J. Van Eyck<br />
+<i>Bruges</i></a></td>
+    <td><a href="#fp96">96</a></td>
+  </tr>
+  <tr>
+    <td><a href="#fp102">HOPE. Puvis de Chavannes<br />
+<i>By permission of Messrs. Durand-Revel</i></a></td>
+    <td><a href="#fp102">102</a></td>
+  </tr>
+  <tr>
+    <td><a href="#fp118">THE MASS OF BOLSENA. Raphael. (<i>Detail</i>)<br />
+<i>The Vatican</i></a></td>
+    <td><a href="#fp118">118</a></td>
+  </tr>
+  <tr>
+    <td><p><a href="#fp134">THE CHILDREN AND THE BUTTERFLY. Gainsborough<br />
+<i> National Gallery</i></a></p></td>
+    <td><a href="#fp134">134</a></td>
+  </tr>
+</table>
+
+<h2><a name="THE_MIND_OF_THE_ARTIST" id="THE_MIND_OF_THE_ARTIST"></a>THE MIND OF THE ARTIST</h2>
+
+
+<a name="loc1" id="loc1"></a><p align="center"><strong>I</strong></p>
+
+<p>An able painter by his power of penetration into the mysteries of his
+art is usually an able critic.</p>
+
+<p align="right"><i>Alfred Stevens.</i><a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The Belgian painter, not the English sculptor.</p></div>
+
+
+<a name="loc2" id="loc2"></a><p align="center"><strong>II</strong></p>
+
+<p>Art, like love, excludes all competition, and absorbs the man.</p>
+
+<p align="right"><i>Fuseli.</i></p>
+
+
+<a name="loc3" id="loc3"></a><p align="center"><strong>III</strong></p>
+
+<p>A good painter has two chief objects to paint, namely, man, and the
+intention of his soul. The first is easy, the second difficult, because
+he has to represent it through the attitudes and movements of the limbs.
+This should be learnt from the dumb, who do it better than any other
+sort of person.</p>
+
+<p align="right"><i>Leonardo da Vinci.</i></p>
+
+<p><!-- Page 2 --><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+<a name="loc4" id="loc4"></a><p align="center"><strong>IV</strong></p>
+
+<p>In my judgment that is the excellent and divine painting which is most
+like and best imitates any work of immortal God, whether a human figure,
+or a wild and strange animal, or a simple and easy fish, or a bird of
+the air, or any other creature. And this neither with gold nor silver
+nor with very fine tints, but drawn only with a pen or a pencil, or with
+a brush in black and white. To imitate perfectly each of these things in
+its species seems to me to be nothing else but to desire to imitate the
+work of immortal God. And yet that thing will be the most noble and
+perfect in the works of painting which in itself reproduced the thing
+which is most noble and of the greatest delicacy and knowledge.</p>
+
+<p align="right"><i>Michael Angelo.</i></p>
+
+
+<a name="loc5" id="loc5"></a><p align="center"><strong>V</strong></p>
+
+<p>The art of painting is employed in the service of the Church, and by it
+the sufferings of Christ and many other profitable examples are set
+forth. It preserveth also the likeness of men after their death. By aid
+of delineations the measurements of the earth, the waters, and the stars
+are better to be understood; and many things likewise become known unto
+men by them. The attainment of true, artistic, and lovely execution in
+painting is hard to come unto; it needeth long time and a hand practised
+to almost perfect freedom. Who<!-- Page 3 --><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span>soever, therefore, falleth short of this
+cannot attain a right understanding (in matters of painting) for it
+cometh alone by inspiration from above. The art of painting cannot be
+truly judged save by such as are themselves good painters; from others
+verily is it hidden even as a strange tongue. It were a noble occupation
+for ingenious youths without employment to exercise themselves in this
+art.</p>
+
+<p align="right"><i>D&uuml;rer.</i></p>
+
+
+
+
+<h2><a name="AIMS_AND_IDEALS" id="AIMS_AND_IDEALS"></a>AIMS AND IDEALS</h2>
+
+
+<a name="loc6" id="loc6"></a><p align="center"><strong>VI</strong></p>
+
+<p>Give thou to God no more than he asketh of thee; but to man also, that
+which is man's. In all that thou doest, work from thine own heart,
+simply; for his heart is as thine, when thine is wise and humble; and he
+shall have understanding of thee. One drop of rain is as another, and
+the sun's prism in all: and shalt not thou be as he, whose lives are the
+breath of One? Only by making thyself his equal can he learn to hold
+communion with thee, and at last own thee above him. Not till thou lean
+over the water shalt thou see thine image therein: stand erect, and it
+shall slope from thy feet and be lost. Know that there is but this means
+whereby thou mayst serve God with man.... Set thine hand and thy soul to
+serve man with God....</p>
+
+<p>Chiaro, servant of God, take now thine Art unto thee, and paint me thus,
+as I am, to know me; weak, as I am, and in the weeds of this time; only
+with eyes which seek out labour, and with a faith, not<!-- Page 4 --><span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> learned, yet
+jealous of prayer. Do this; so shall thy soul stand before thee always,
+and perplex thee no more.</p>
+
+<p align="right"><i>Rossetti.</i></p>
+
+
+<a name="loc7" id="loc7"></a><p align="center"><strong>VII</strong></p>
+
+<p>I know that this world is a world of imagination and vision. I see
+everything I paint in this world, but everybody does not see alike. To
+the eyes of a miser a guinea is far more beautiful than the sun, and a
+bag worn with the use of money has more beautiful proportions than a
+vine filled with grapes. The tree which moves some to tears of joy, is
+in the eyes of others only a green thing which stands in the way.... To
+the eye of the man of imagination, Nature is Imagination itself.</p>
+
+<p align="right"><i>Blake.</i></p>
+
+
+<a name="loc8" id="loc8"></a><p align="center"><strong>VIII</strong></p>
+
+<p>Painting is nothing but the art of expressing the invisible by the
+visible.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc9" id="loc9"></a><p align="center"><strong>IX</strong></p>
+
+<p>The picture I speak of is a small one, and represents merely the figure
+of a woman, clad to the hands and feet with a green and grey raiment,
+chaste and early in its fashion, but exceedingly simple.</p>
+
+<p>She is standing: her hands are held together lightly, and her eyes set
+earnestly open.<!-- Page 5 --><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+<p>The face and hands in this picture, though wrought with great delicacy,
+have the appearance of being painted at once, in a single sitting: the
+drapery is unfinished. As soon as I saw the figure, it drew an awe upon
+me, like water in shadow. I shall not attempt to describe it more than I
+have already done, for the most absorbing wonder of it was its
+literality. You knew that figure, when painted, had been seen; yet it
+was not a thing to be seen of men.</p>
+
+<p align="right"><i>Rossetti.</i></p>
+
+
+<a name="loc10" id="loc10"></a><p align="center"><strong>X</strong></p>
+
+<p>A great work of high art is a noble theme treated in a noble manner,
+awakening our best and most reverential feelings, touching our
+generosity, our tenderness, or disposing us generally to seriousness&mdash;a
+subject of human endurance, of human justice, of human aspiration and
+hope, depicted worthily by the special means art has in her power to
+use. In Michael Angelo and Raphael we have high art; in Titian we have
+high art; in Turner we have high art. The first appeals to our highest
+sensibilities by majesty of line, the second mainly by dignified
+serenity, the third by splendour especially, the Englishman by a
+combination of these qualities, but, lacking the directly human appeal
+to human sympathies, his work must be put on a lower level.</p>
+
+<p align="right"><i>Watts.</i></p>
+<p><!-- Page 6 --><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+
+<a name="loc11" id="loc11"></a><p align="center"><strong>XI</strong></p>
+
+<p align="center"><strong>THE SIX CANONS OF ART</strong></p>
+
+<p>Rhythmic vitality, anatomical structure, conformity with nature,
+suitability of colouring, artistic composition, and finish.</p>
+
+<p align="right"><i>Hsieh Ho</i> (Chinese, sixth century A.D.).</p>
+
+
+<a name="loc12" id="loc12"></a><p align="center"><strong>XII</strong></p>
+
+<p>In painting, the most troublesome subject is man, then landscape, then
+dogs and horses, then buildings, which being fixed objects are easy to
+manage up to a certain point, but of which it is difficult to get
+finished pictures.</p>
+
+<p align="right"><i>Ku K'ai-Chih</i> (Chinese, fourth century A.D.).</p>
+
+
+<a name="loc13" id="loc13"></a><p align="center"><strong>XIII</strong></p>
+
+<p>First it is necessary to know what this sort of imitation is, and to
+define it.</p>
+
+<p>Definition:</p>
+
+<p>It is an imitation made with lines and with colours on some plane
+surface of everything that can be seen under the sun. Its object is to
+give delight.</p>
+
+<p>Principles which may be learnt by all men of reason:</p>
+
+<p>No visible object can be presented without light.</p>
+
+<p>No visible object can be presented without a transparent medium.<!-- Page 7 --><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+
+<p>No visible object can be presented without a boundary.</p>
+
+<p>No visible object can be presented without colour.</p>
+
+<p>No visible object can be presented without distance.</p>
+
+<p>No visible object can be presented without an instrument.</p>
+
+<p>What follows cannot be learnt, it is born with the painter.</p>
+
+<p align="right"><i>Nicholas Poussin.</i></p>
+
+
+<a name="loc14" id="loc14"></a><p align="center"><strong>XIV</strong></p>
+
+<p>&quot;In painting, and above all in portraiture,&quot; says Madame Cav&eacute; in her
+charming essay, &quot;it is soul which speaks to soul: and not knowledge
+which speaks to knowledge.&quot;</p>
+
+<p>This observation, more profound perhaps than she herself was aware, is
+an arraignment of pedantry in execution. A hundred times I have said to
+myself, &quot;Painting, speaking materially, is nothing but a bridge between
+the soul of the artist and that of the spectator.&quot;</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc15" id="loc15"></a><p align="center"><strong>XV</strong></p>
+
+<p>The art of painting is perhaps the most indiscreet of all the arts. It
+is an unimpeachable witness to the moral state of the painter at the
+moment when he held the brush. The thing he willed to do he did: that
+which he only half-heartedly willed can be seen in his indecisions: that
+which he did not will at all<!-- Page 8 --><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> is not to be found in his work, whatever
+he may say and whatever others may say. A distraction, a moment's
+forgetfulness, a glow of warmer feeling, a diminution of insight,
+relaxation of attention, a dulling of his love for what he is studying,
+the tediousness of painting and the passion for painting, all the shades
+of his nature, even to the lapses of his sensibility, all this is told
+by the painter's work as clearly as if he were telling it in our ears.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc16" id="loc16"></a><p align="center"><strong>XVI</strong></p>
+
+<p>The first merit of a picture is to feast the eyes. I don't mean that
+the intellectual element is not also necessary; it is as with fine
+poetry ... all the intellect in the world won't prevent it from being bad
+if it grates harshly on the ear. We talk of having an ear; so it is not
+every eye which is fitted to enjoy the subtleties of painting. Many people
+have a false eye or an indolent eye; they can see objects literally, but
+the exquisite is beyond them.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc17" id="loc17"></a><p align="center"><strong>XVII</strong></p>
+
+<p>I would like my work to appeal to the eye and mind as music appeals to
+the ear and heart. I have something that I want to say which may be
+useful to and touch mankind, and to say it as well as I can in form and
+colour is my endeavour; more than that I cannot do.</p>
+
+<p align="right"><i>Watts.</i></p>
+<p><!-- Page 9 --><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+
+<a name="loc18" id="loc18"></a><p align="center"><strong>XVIII</strong></p>
+
+<p>Give me leave to say, that to paint a very beautiful Woman, I ought to
+have before me those that are the most so; with this Condition, that
+your Lordship might assist me in choosing out the greatest Beauty. But
+as I am under a double Want, both of good Judgment and fine Women, I am
+forced to go by a certain Idea which I form in my own Mind. Whether this
+hath any Excellence of Art in it, I cannot determine; but 'tis what I
+labour at.</p>
+
+<p align="right"><i>Raphael.</i></p>
+
+
+<a name="loc19" id="loc19"></a><p align="center"><strong>XIX</strong></p>
+
+<p>I mean by a picture a beautiful romantic dream of something that never
+was, never will be&mdash;in a light better than any light that ever shone&mdash;in
+a land no one can define or remember, only desire&mdash;and the forms
+divinely beautiful&mdash;and then I wake up with the waking of Brynhild.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc20" id="loc20"></a><p align="center"><strong>XX</strong></p>
+
+<p>I love everything for what it is.</p>
+
+<p align="right"><i>Courbet.</i></p>
+
+
+<a name="loc21" id="loc21"></a><p align="center"><strong>XXI</strong></p>
+
+<p>I look for my tones; it is quite simple.</p>
+
+<p align="right"><i>Courbet.</i></p>
+<p><!-- Page 10 --><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+
+<a name="loc22" id="loc22"></a><p align="center"><strong>XXII</strong></p>
+
+<p>Many people imagine that art is capable of an indefinite progress toward
+perfection. This is a mistake. There is a limit where it must stop. And
+for this reason: the conditions which govern the imitation of nature are
+fixed. The object is to produce a picture, that is to say, a plane
+surface either with or without a border, and on this surface the
+representation of something produced by the sole means of different
+colouring substances. Since it is obliged to remain thus circumscribed,
+it is easy to foresee the limit of perfectibility. When the picture has
+succeeded in satisfying our minds in all the conditions imposed on its
+production, it will cease to interest. Such is the fate of everything
+which has attained its end: we grow indifferent and abandon it.</p>
+
+<p>In the conditions governing the production of the picture, every means
+has been explored. The most difficult problem was that of complete
+relief, depth of perspective carried to the point of perfect illusion.
+The stereoscope has solved the problem. It only remains now to combine
+this perfection with the other kinds of perfection already found. Let no
+man imagine that art, bound by these conditions of the plane surface,
+can ever free itself from the circle which limits it. It is easy to
+foresee that its last word will soon have been said.</p>
+
+<p align="right"><i>Wiertz.</i></p>
+<p><!-- Page 11 --><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+
+<a name="loc23" id="loc23"></a><p align="center"><strong>XXIII</strong></p>
+
+<p>In his admirable book on Shakespeare, Victor Hugo has shown that there
+is no progress in the arts. Nature, their model, is unchangeable; and
+the arts cannot transcend her limits. They attain completeness of
+expression in the work of a master, on whom other masters are formed.
+Then comes development, and then a lapse, an interval. By-and-by, art is
+born anew under the stimulus of a man who catches from Light a new
+convention.</p>
+
+<p align="right"><i>Bracquemond.</i></p>
+
+
+<a name="loc24" id="loc24"></a><p align="center"><strong>XXIV</strong></p>
+
+<p>The painter ... does not set his palette with the real hues of the
+rainbow. When he pictures to us the character of a hero, or paints some
+scene of nature, he does not present us with a living man in the
+character of the hero (for this is the business of dramatic art); nor
+does he make up his landscape of real rocks, or trees, or water, but
+with fictitious resemblances of these. Yet in these figments he is as
+truly bound by the laws of the appearance of those realities, of which
+they are the copy (and very much to the same extent), as the musician is
+by the natural laws and properties of sound.</p>
+
+<p>In short, the whole object of physical science, or, in other words, the
+whole of sensible nature, is included in the domain of imitative art,
+either as the subjects, the objects, or the materials of imitation:
+every fine<!-- Page 12 --><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> art, therefore, has certain physical sciences collateral to
+it, on the abstractions of which it builds, more or less, according to
+its nature and purpose. But the drift of the art itself is something
+totally distinct from that of the physical science to which it is
+related; and it is not more absurd to say that physiology or anatomy
+constitute the science of poetry or dramatic art than that acoustics and
+harmonics are the science of music; optics, of painting; mechanics, or
+other branches of physical science, that of architecture.</p>
+
+<p align="right"><i>Dyce.</i></p>
+
+
+<a name="loc25" id="loc25"></a><p align="center"><strong>XXV</strong></p>
+
+<p>After all I have seen of Art, with nothing am I more impressed than with
+the necessity, in all great work, for suppressing the workman and all
+the mean dexterity of practice. The result itself, in quiet dignity, is
+the only worthy attainment. Wood-engraving, of all things most ready for
+dexterity, reads us a good lesson.</p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc26" id="loc26"></a><p align="center"><strong>XXVI</strong></p>
+
+<p>Shall Painting be confined to the sordid drudgery of facsimile
+representations of merely mortal and perishing substances, and not be as
+poetry and music are, elevated into its own proper sphere of invention
+and visionary conception? No, it shall not be so! Painting, as well as
+poetry and music, exists and exults in immortal thoughts.</p>
+
+<p align="right"><i>Blake.</i></p>
+<p><!-- Page 13 --><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+
+<a name="loc27" id="loc27"></a><p align="center"><strong>XXVII</strong></p>
+
+<p>If any man has any poetry in him, he should paint, for it has all been
+said and written, and they have scarcely begun to paint it.</p>
+
+<p align="right"><i>William Morris.</i></p>
+
+
+<a name="loc28" id="loc28"></a><p align="center"><strong>XXVIII</strong></p>
+
+<p>Long live conscience and simplicity! there lies the only way to the true
+and the sublime.</p>
+
+<p align="right"><i>Corot.</i></p>
+
+
+<a name="loc29" id="loc29"></a><p align="center"><strong>XXIX</strong></p>
+
+<p>All the young men of this school of Ingres have something of the pedant
+about them; they seem to think that merely to be enrolled among the
+party of serious painters is a merit in itself. Serious painting is
+their party cry. I told Demay that a crowd of people of talent had done
+nothing worth speaking of because of all these factious dogmas that they
+get enslaved to, or that the prejudice of the moment imposes on them.
+So, for example, with this famous cry of <i>Beauty</i>, which is, according
+to the world's opinion, the goal of the arts: if it is the one and only
+goal, what becomes of men who, like Rubens, Rembrandt, and northern
+natures in general, prefer other qualities? Demand of Puget purity,
+beauty in fact, and it is good-bye to his verve. Speaking generally, men
+of the North are less attracted to beauty; the Italian prefers
+decoration; this applies to music too.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 14 --><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+
+<a name="loc30" id="loc30"></a><p align="center"><strong>XXX</strong></p>
+
+<p>At the present time the task is easier. It is a question of allowing to
+everything its own interest, of putting man back in his place, and, if
+need be, of doing without him. The moment has come to think less, to aim
+less high, to look more closely, to observe better, to paint as well but
+differently. This is the painting of the crowd, of the townsman, the
+workman, the parvenu, the man in the street; done wholly for him, done
+from him. It is a question of becoming humble before humble things,
+small before small things, subtle before subtle things; of gathering
+them all together without omission and without disdain, of entering
+familiarly into their intimacy, affectionately into their way of being;
+it is a matter of sympathy, attentive curiosity, patience. Henceforth,
+genius will consist in having no prejudice, in not being conscious of
+one's knowledge, in allowing oneself to be taken by surprise by one's
+model, in asking only from him how he shall be represented. As for
+beautifying&mdash;never! ennobling&mdash;never! correcting&mdash;never! These are lies
+and useless trouble. Is there not in every artist worthy of the name a
+something which sees to this naturally and without effort?</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc31" id="loc31"></a><p align="center"><strong>XXXI</strong></p>
+
+<p>I send you also some etchings and a &quot;Woman drinking Absinthe,&quot; drawn
+this winter from life in<!-- Page 15 --><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> Paris. It is a girl called Marie Joliet, who
+used every evening to come drunk to the Bal Bullier, and who had a look
+in her eyes of death galvanised into life. I made her sit to me and
+tried to render what I saw. This is my principle in the task I have set
+before me. I am determined to make no book-illustration but it shall be
+a means of contributing towards an <i>effect of life</i> and nothing more. A
+patch of colour and it is sufficient; we must leave these childish
+thoughts behind us. Life! we must try to render life, and it is hard
+enough.</p>
+
+<p align="right"><i>F&eacute;licien Rops.</i></p>
+
+
+<a name="loc32" id="loc32"></a><p align="center"><strong>XXXII</strong></p>
+
+<p>So this damned Realism made an instinctive appeal to my painter's
+vanity, and deriding all traditions, cried aloud with the confidence of
+ignorance, &quot;Back to Nature!&quot; <i>Nature!</i> ah, my friend, what mischief that
+cry has done me. Where was there an apostle apter to receive this
+doctrine, so convenient for me as it was&mdash;beautiful Nature, and all that
+humbug? It is nothing but that. Well, the world was watching; and it saw
+&quot;The Piano,&quot; the &quot;White Girl,&quot; the Thames subjects, the marines ...
+canvases produced by a fellow who was puffed up with the conceit of
+being able to prove to his comrades his magnificent gifts, qualities
+which only needed a rigorous training to make their possessor to-day a
+master, instead of a dissipated student. Ah, why was I not a pupil of
+Ingres? I don't say that out of enthusiasm for his pictures; I have
+only<!-- Page 16 --><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> a moderate liking for them. Several of his canvases, which we have
+looked at together, seem to me of a very questionable style, not at all
+Greek, as people want to call it, but French, and viciously French. I
+feel that we must go far beyond this, that there are far more beautiful
+things to be done. Yet, I repeat, why was I not his pupil? What a master
+he would have been for us! How salutary would have been his guidance!</p>
+
+<p align="right"><i>Whistler.</i></p>
+
+
+<a name="loc33" id="loc33"></a><p align="center"><strong>XXXIII</strong></p>
+
+<p>It has been said, &quot;Who will deliver us from the Greeks and Romans?&quot; Soon
+we shall be saying, &quot;Who will deliver us from realism?&quot; Nothing is so
+tiring as a constant close imitation of life. One comes back inevitably
+to imaginative work. Homer's fictions will always be preferred to
+historical truth, Rubens' fabulous magnificence to all the frippery
+copied exactly from the lay figure.</p>
+
+<p>The painter who is a machine will pass away, the painter who is a mind
+will remain; the spirit for ever triumphs over matter.</p>
+
+<p align="right"><i>Wiertz.</i></p>
+
+
+<a name="loc34" id="loc34"></a><p align="center"><strong>XXXIV</strong></p>
+
+<p>A little book by the Russian soldier and artist Verestchagin is
+interesting to the student. As a realist, he condemns all art founded on
+the principles of picture-makers, and depends only on exact imitation,
+and the conditions of accident. In our seeking after truth, and<!-- Page 17 --><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+endeavour never to be unreal or affected, it must not be forgotten that
+this endeavour after truth is to be made with materials altogether
+unreal and different from the object to be imitated. Nothing in a
+picture is real; indeed, the painter's art is the most unreal thing in
+the whole range of our efforts. Though art must be founded on nature,
+art and nature are distinctly different things; in a certain class of
+subjects probability may, indeed must, be violated, provided the
+violation is not disagreeable.</p>
+
+<p>Everything in a work of art must accord. Though gloom and desolation
+would deepen the effects of a distressing incident in real life, such
+accompaniments are not necessary to make us feel a thrill of horror or
+awaken the keenest sympathy. The most awful circumstances may take place
+under the purest sky, and amid the most lovely surroundings. The human
+sensibilities will be too much affected by the human sympathies to heed
+the external conditions; but to awaken in a picture similar impressions,
+certain artificial aids must be used; the general aspect must be
+troubled or sad.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+
+<a name="loc35" id="loc35"></a><p align="center"><strong>XXXV</strong></p>
+
+<p>The remarks made on my &quot;Man with the Hoe&quot; seem always very strange to
+me, and I am obliged to you for repeating them to me, for once more it
+sets me marvelling at the ideas they impute to me. In what club have my
+critics ever encountered me? A<!-- Page 18 --><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> Socialist, they cry! Well, really, I
+might answer the charge as the commissary from Auvergne did when he
+wrote home: &quot;They have been saying that I am a Saint-Simonian: it's not
+true; I don't know what a Saint-Simonian is.&quot;</p>
+
+<p>Can't they then simply admit such ideas as may occur to the mind in
+looking at a man doomed to gain his living by the sweat of his brow?
+There are some who tell me that I deny the charm of the country. I find
+in the country much more than charm; I find infinite splendour; I look
+on everything as they do on the little powers of which Christ said, &quot;I
+say unto you, that Solomon in all his glory was not arrayed like one of
+these.&quot; I see and note the aureole on the dandelion, and the sun which,
+far away, beyond the stretching country, spends his glory on the clouds.
+I see just as much in the flat plain; in the horses steaming as they
+toil; and then in a stony place I see a man quite exhausted, whose gasps
+have been audible since morning, who tries to draw himself up for a
+moment to take breath. The drama is surrounded by splendours. This is no
+invention of mine; and it is long since that expression &quot;the cry of the
+earth&quot; was discovered. My critics are men of learning and taste, I
+imagine; but I cannot put myself into their skins, and since I have
+never in my life seen anything but the fields, I try to tell, as best I
+can, what I have seen and experienced as I worked.</p>
+
+<p align="right"><i>Millet.</i></p>
+<p><!-- Page 19 --><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+
+
+<a name="loc36" id="loc36"></a><p align="center"><strong>XXXVI</strong></p>
+
+<p>One of the hardest things in the world is to determine how much realism
+is allowable in any particular picture. It is of so many different kinds
+too. For instance, I want a shield or a crown or a pair of wings or what
+not, to look real. Well, I make what I want, or a model of it, and then
+make studies from that. So that what eventually gets on to the canvas is
+a reflection of a reflection of something purely imaginary. The three
+Magi never had crowns like that, supposing them to have had crowns at
+all, but the effect is realistic because the crown from which the
+studies were made is real&mdash;and so on.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc37" id="loc37"></a><p align="center"><strong>XXXVII</strong></p>
+
+<p>Do you understand now that all my intelligence rejects is in immediate
+relation to all my heart aspires to, and that the spectacle of human
+blunders and human vileness is an equally powerful motive for action in
+the exercise of art with springs of tranquil contemplation that I have
+felt within me since I was a child?</p>
+
+<p>We have come far, I hope, from the shadowy foliage crowning the humble
+roof of the primitive human dwelling, far from the warbling of the birds
+that brood among the branches; far from all these tender things. We left
+them, notwithstanding, the other day; and even if we had stayed, do you
+think we should have continued to enjoy them?<!-- Page 20 --><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+
+<p>Believe me, everything comes from the universal; we must embrace to give
+life.</p>
+
+<p>Whatever interest one may get from material offered by a period,
+religion, manners, history, &amp;c., in representing a particular type, it
+will avail nothing without an understanding of the universal agency of
+atmosphere, that modelling of infinity; it shall come to pass that a
+stone fence, about which the air seems to move and breathe, shall be, in
+a museum, a grander conception than any ambitious work which lacks this
+universal element and expresses only something personal. All the
+personal and particular majesty of a portrait of Louis XIV. by Lebrun or
+by Rigaud shall be as nothing beside the simplicity of a tuft of grass
+shining clear in a gleam of sunlight.</p>
+
+<p align="right"><i>Rousseau.</i></p>
+
+
+<a name="loc38" id="loc38"></a><p align="center"><strong>XXXVIII</strong></p>
+
+<p>Of all the things that is likely to give us back popular art in England,
+the cleaning of England is the first and the most necessary. Those who
+are to make beautiful things must live in a beautiful place.</p>
+
+<p align="right"><i>William Morris.</i></p>
+
+
+<a name="loc39" id="loc39"></a><p align="center"><strong>XXXIX</strong></p>
+
+<p>On the whole, one must suppose that beauty is a marketable quality, and
+that the better the work is all round, both as a work of art and in its
+technique, the more likely it is to find favour with the public.</p>
+
+<p align="right"><i>William Morris.</i></p>
+<p><!-- Page 21 --><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+
+
+
+<h2><a name="ART_AND_SOCIETY" id="ART_AND_SOCIETY"></a>ART AND SOCIETY</h2>
+
+
+<a name="loc40" id="loc40"></a><p align="center"><strong>XL</strong></p>
+
+<p>With the language of beauty in full resonance around him, art was not
+difficult to the painter and sculptor of old as it is with us. No
+anatomical study will do for the modern artist what habitual
+acquaintance with the human form did for Pheidias. No Venetian painted a
+horse with the truth and certainty of Horace Vernet, who knew the animal
+by heart, rode him, groomed him, and had him constantly in his studio.
+Every artist must paint what he sees, rather every artist must paint
+what is around him, can produce no great work unless he impress the
+character of his age upon his production, not necessarily taking his
+subjects from it (better if he can), but taking the impress of its life.
+The great art of Pheidias did not deal with the history of his time, but
+compressed into its form the qualities of the most intellectual period
+the world has seen; nor were any materials to be invented or borrowed,
+he had them all at hand, expressing himself in a natural language
+derived from familiarity with natural objects. Beauty is the language of
+art, and with this at command thoughts as they arise take visible form
+perhaps almost without effort, or (certain technical difficulties
+overcome) with little more than is required in writing&mdash;this not
+absolving the artist or the poet from earnest thought and severe study.
+In many respects the present age is far more advanced than preceding
+times, incomparably more full of knowledge; but the language of great
+art<!-- Page 22 --><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> is dead, for general, noble beauty, pervades life no more. The
+artist is obliged to return to extinct forms of speech if he would speak
+as the great ones have spoken. Nothing beautiful is seen around him,
+excepting always sky and trees and sea; these, as he is mainly a dweller
+in cities, he cannot live enough with. But it is, perhaps, in the real
+estimation in which art is held that we shall find the reason for
+failure. If the world cared for her language, art could not help
+speaking, the utterance being, perhaps, simply beautiful. But even in
+these days when we have ceased to prize this, if it were demanded that
+art should take its place beside the great intellectual outflow of the
+time, the response would hardly be doubtful.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+
+<a name="loc41" id="loc41"></a><p align="center"><strong>XLI</strong></p>
+
+<p>You refer to the use and purpose of the liberal arts; not a city in
+Europe, at present, is fulfilling them. And if any one in Melbourne were
+now to produce, even on a small scale, a picture fulfilling the
+conditions of liberal art, then Melbourne might take the lead of
+civilised cities. But it is not the ambition of leading, nor the
+restlessness of a competitive spirit that may accomplish this.</p>
+
+<p>A good poem, whether painted or written, whether large or small, should
+represent <i>beautiful life</i>. Are you able to name any one who has
+conceived this beauty of the life of men? I will not complicate the
+requirements of painted poesy by speaking of the music of colour with<!-- Page 23 --><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+which it should be clothed; black and white were enough. The very
+attempt to express the confession of love were fulfilment sufficient.</p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc42" id="loc42"></a><p align="center"><strong>XLII</strong></p>
+
+<p>So art has become foolishly confounded with education, that all should
+be equally qualified. Whereas, while polish, refinement, culture, and
+breeding are in no way arguments for artistic result, it is also no
+reproach to the most finished scholar or greatest gentleman in the land
+that he be absolutely without eye for painting or ear for music&mdash;that in
+his heart he prefer the popular print to the scratch of Rembrandt's
+needle, or the songs of the hall to Beethoven's &quot;C Minor Symphony.&quot;</p>
+
+<p>Let him have but the wit to say so, and not let him feel the admission a
+proof of inferiority.</p>
+
+<p>Art happens&mdash;no hovel is safe from it, no prince may depend on it, the
+vastest intelligence cannot bring it about, and puny efforts to make it
+universal end in quaint comedy and coarse farce.</p>
+
+<p>This is as it should be; and all attempts to make it otherwise are due
+to the eloquence of the ignorant, the zeal of the conceited.</p>
+
+<p align="right"><i>Whistler.</i></p>
+
+
+<a name="loc43" id="loc43"></a><p align="center"><strong>XLIII</strong></p>
+
+<p>Art will not grow and flourish, nay it will not long exist, unless it be
+shared by all people; and for my part I don't wish that it should.</p>
+
+<p align="right"><i>William Morris.</i></p>
+<p><!-- Page 24 --><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+
+
+<a name="loc44" id="loc44"></a><p align="center"><strong>XLIV</strong></p>
+
+<p>No, art is not an element of corruption. The man who drinks from a
+wooden bowl is nearer to the brute that drinks from a stone trough than
+he who quenches his thirst from a crystal cup; and the artist who gave
+the glass its shape, impressed as in a mould of bronze by the simple
+means of a second's breath and yet more cheaply than the fashioning of
+the wooden bowl, has done more to ennoble and improve his neighbour than
+any inventor of a system: in his work he gives him the use and the
+enjoyment of things for which orators can only create a craving.</p>
+
+<p align="right"><i>Jules Klagmann.</i></p>
+
+
+<a name="loc45" id="loc45"></a><p align="center"><strong>XLV</strong></p>
+
+<p>The improviser never makes fine poetry.</p>
+
+<p align="right"><i>Titian.</i></p>
+
+
+<a name="loc46" id="loc46"></a><p align="center"><strong>XLVI</strong></p>
+
+<p>Agatharcus said to Zeuxis&mdash;For my part I soon despatch my Pictures. You
+are a happy Man, replies Zeuxis; I do mine with Time and application,
+because I would have them good, and I am satisfyed, that what is soon
+done, will soon be forgotten.</p>
+
+
+<a name="loc47" id="loc47"></a><p align="center"><strong>XLVII</strong></p>
+
+<p>Art is not a pleasure trip. It is a battle, a mill that grinds.</p>
+
+<p align="right"><i>Millet.</i></p>
+<p><!-- Page 25 --><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+
+
+
+<h2><a name="STUDY_AND_TRAINING" id="STUDY_AND_TRAINING"></a>STUDY AND TRAINING</h2>
+
+
+<a name="loc48" id="loc48"></a><p align="center"><strong>XLVIII</strong></p>
+
+<p>Raphael and Michael Angelo owe that immortal fame of theirs, which has
+gone out into the ends of the earth, to the passion of curiosity and
+delight with which this noble subject inspired them.</p>
+
+<p>No man who has not studied the sciences can make a work that shall bring
+him great praise, save from ignorant and easily satisfied persons.</p>
+
+<p align="right"><i>Jean Goujon.</i></p>
+
+
+<a name="loc49" id="loc49"></a><p align="center"><strong>XLIX</strong></p>
+
+<p>He that would be a painter must have a natural turn thereto.</p>
+
+<p>Love and delight therein are better teachers of the Art of Painting than
+compulsion is.</p>
+
+<p>If a man is to become a really good painter he must be educated thereto
+from his very earliest years. He must copy much of the work of good
+artists until he attain a free hand.</p>
+
+<p>To paint is to be able to portray upon a flat surface any visible thing
+whatsoever that may be chosen.</p>
+
+<p>It is well for any one first to learn how to divide and reduce to
+measure the human figure, before learning anything else.</p>
+
+<p align="right"><i>D&uuml;rer.</i></p>
+
+
+<a name="loc50" id="loc50"></a><p align="center"><strong>L</strong></p>
+
+<p>The painter requires such knowledge of mathematics as belongs to
+painting, and severance from companions<!-- Page 26 --><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> who are not in sympathy with
+his studies, and his brain should have the power of adapting itself to
+the tenor of the objects which present themselves before it, and he
+should be freed from all other cares. And if, while considering and
+examining one subject, a second should intervene, as happens when an
+object occupies the mind, he ought to decide which of these subjects
+presents greater difficulties in investigation, and follow that until it
+becomes entirely clear, and afterwards pursue the investigation of the
+other. And above all he should keep his mind as clear as the surface of
+a mirror, which becomes changed to as many different colours as are
+those of the objects within it, and his companions should resemble him
+in a taste for these studies; and if he fail to find any such, he should
+accustom himself to be alone in his investigations, for in the end he
+will find no more profitable companionship.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc51" id="loc51"></a><p align="center"><strong>LI</strong></p>
+
+<p>If you are fond of copying other Men's Work, as being Originals more
+constant to be seen and imitated than any living Object, I should rather
+advise to copy anything moderately carved than excellently painted: For
+by imitating a Picture, we only habituate our Hand to take a mere
+Resemblance; whereas by drawing from a carved Original, we learn not
+only to take this Resemblance, but also the true Lights.</p>
+
+<p align="right"><i>Leon Battista Alberti.</i></p>
+<p><!-- Page 27 --><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+
+<a name="loc52" id="loc52"></a><p align="center"><strong>LII</strong></p>
+
+<p>There are a thousand proofs that the old masters and all good painters
+from Raphael onwards executed their frescoes from cartoons and their
+little easel pictures from more or less finished drawings.... Your model
+gives you exactly what you want to paint neither in character of drawing
+nor in colour, but at the same time you cannot do without him.</p>
+
+<p>To paint Achilles the most goodly of men, though you had for your model
+the most abject you must depend on him, and can depend on him for the
+structure of the human body, for its movement and poise. The proof of
+this is that Raphael used his pupils in his studies for the movements of
+the figures in his divine pictures.</p>
+
+<p>Whatever your talents may be, if you paint not from your studies after
+nature, but directly from the model, you will always be a slave and your
+pictures will show it. Raphael, on the contrary, had so completely
+mastered nature and had his mind so full of her, that instead of being
+ruled by her, one might say that she obeyed him and came at his command
+to place herself in his pictures.</p>
+
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc53" id="loc53"></a><p align="center"><strong>LIII</strong></p>
+
+<p>No one can ever design till he has learned the language of Art by making
+many finished copies both of Nature, Art, and of whatever comes in his
+way, from<!-- Page 28 --><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> earliest childhood. The difference between a bad artist and a
+good is, that the bad artist <i>seems</i> to copy a great deal, the good one
+<i>does</i> copy a great deal.</p>
+
+<p align="right"><i>Blake.</i></p>
+
+
+<a name="loc54" id="loc54"></a><p align="center"><strong>LIV</strong></p>
+
+<p>If you deprive an artist of all he has borrowed from the experience of
+others the originality left will be but a twentieth part of him.</p>
+
+<p>Originality by itself cannot constitute a remarkable talent.</p>
+
+<p align="right"><i>Wiertz.</i></p>
+
+
+<a name="loc55" id="loc55"></a><p align="center"><strong>LV</strong></p>
+
+<p>I am convinced that to reach the highest degree of perfection as a
+painter, it is necessary, not only to be acquainted with the ancient
+statues, but we must be inwardly imbued with a thorough comprehension of
+them.</p>
+
+<p align="right"><i>Rubens.</i></p>
+
+
+<a name="loc56" id="loc56"></a><p align="center"><strong>LVI</strong></p>
+
+<p>First of all copy drawings by a good master made by his art from nature
+and not as exercises; then from a relief, keeping by you a drawing done
+from the same relief; then from a good model, and of this you ought to
+make a practice.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc57" id="loc57"></a><p align="center"><strong>LVII</strong></p>
+
+<p>I wish to do something purely Greek; I feed my eyes on the antique
+statues, I mean even to imitate<!-- Page 29 --><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> some of them. The Greeks never
+scrupled to reproduce a composition, a movement, a type already received
+and used. They put all their care, all their art, into perfecting an
+idea which had been used by others before them. They thought, and
+thought rightly, that in the arts the manner of rendering and expressing
+an idea matters more than the idea itself.</p>
+
+<a name="fp28" id="fp28"></a><div class="figright" style="width: 550px;">
+<img src="images/fp28.jpg" width="550" height="430" alt="Rubens THE CASTLE IN THE PARK Hanfstaengl" /></div>
+
+<p>To give a clothing, a perfect form to one's thought is to be an
+artist ... it is the only way.</p>
+
+<p>Well, I have done my best and I hope to attain my object.</p>
+
+<p align="right"><i>L. David.</i></p>
+
+
+<a name="loc58" id="loc58"></a><p align="center"><strong>LVIII</strong></p>
+
+<p>Who amongst us, if he were to attempt in reality to represent a
+celebrated work of Apelles or Timanthus, such as Pliny describes them,
+but would produce something absurd, or perfectly foreign to the
+exalted greatness of the ancients? Each one, relying on his own powers,
+would produce some wretched, crude, unfermented stuff, instead of an
+exquisite old wine, uniting strength and mellowness, outraging those
+great spirits whom I endeavour reverently to follow, satisfied, however,
+to honour the marks of their footsteps, instead of supposing&mdash;I
+acknowledge it candidly&mdash;that I can ever attain to their eminence even
+in mere conception.</p>
+
+<p align="right"><i>Rubens.</i></p>
+<p><!-- Page 30 --><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+
+<a name="loc59" id="loc59"></a><p align="center"><strong>LIX</strong></p>
+
+<p>[You have stated that you thought these Marbles had great truth and
+imitation of nature; do you consider that that adds to their value?]</p>
+
+<p>It considerably adds to it, because I consider them as united with grand
+form. There is in them that variety that is produced in the human form,
+by the alternate action and repose of the muscles, that strike one
+particularly. I have myself a very good collection of the best casts
+from the antique statues, and was struck with that difference in them,
+in returning from the Elgin Marbles to my own house.</p>
+
+<p align="right"><i>Lawrence.</i></p>
+
+
+<a name="loc60" id="loc60"></a><p align="center"><strong>LX</strong></p>
+
+<p>It is absolutely necessary that at some moment or other in one's career
+one should reach the point, not of despising all that is outside
+oneself, but of abandoning for ever that almost blind fanaticism which
+impels us all to imitate the great masters, and to swear only by their
+works. It is necessary to say to oneself, That is good for Rubens, this
+for Raphael, Titian, or Michael Angelo. What they have done is their own
+business; I am not bound to this master or to that. It is necessary to
+learn to make what one has found one's own: a pinch of personal
+inspiration is worth everything else.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 31 --><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+
+<a name="loc61" id="loc61"></a><p align="center"><strong>LXI</strong></p>
+
+<p>From Phidias to Clodion, from Correggio to Fragonard, from the greatest
+to the least of those who have deserved the name of master, Art has been
+pursuing the Chim&aelig;ra, attempting to reconcile two opposites&mdash;the most
+slavish fidelity to nature and the most absolute independence of her, an
+independence so absolute that the work of art may claim to be a
+creation. This is the persistent problem offered by the unstable
+character of the point of view at which it is approached; the whole
+mystery of art. The subject, as presented in nature, cannot keep the
+place which art with its transforming instinct would assign it; and
+therefore a single formula can never be adequate to the totality of
+nature's manifestations; the draughtsman will talk of its form, a
+colourist of its effect.</p>
+
+<p>Considered in this light, nature is nothing more than one of the
+instruments of the arts, in the same category with their principles,
+elements, formulas, conventions, tools.</p>
+
+<p align="right"><i>Bracquemond.</i></p>
+
+
+<a name="loc62" id="loc62"></a><p align="center"><strong>LXII</strong></p>
+
+<p>One must copy nature always, and learn how to see her rightly. It is for
+this that one should study the antique and the great masters, not in
+order to imitate them, but, I repeat, to learn to see.</p>
+
+<p>Do you think I send you to the Louvre to find there<!-- Page 32 --><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> what people call
+&quot;le beau id&eacute;al,&quot; something which is outside nature?</p>
+
+<p>It was stupidity like this which in bad periods led to the decadence of
+art. I send you there to learn from the antique how to see nature,
+because they themselves are nature: therefore one must live among them,
+and absorb them.</p>
+
+<p>It is the same in the painting of the great ages. Do you think, when I
+tell you to copy, that I want to make copyists of you? No, I want you to
+take the sap from the plant.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc63" id="loc63"></a><p align="center"><strong>LXIII</strong></p>
+
+<p>The strict copying of nature is not art; it is only a means to an end,
+an element in the whole. Art, while presenting nature, must manifest
+itself in its own essence. It is not a mirror, uncritically reflecting
+every image; it is the artist who must mould the image to his will; else
+his work is not performed.</p>
+
+<p align="right"><i>Bracquemond.</i></p>
+
+
+<a name="loc64" id="loc64"></a><p align="center"><strong>LXIV</strong></p>
+
+<p>Nature contains the elements, in colour and form, of all pictures, as
+the keyboard contains the notes of all music. But the artist is born to
+pick, and choose, and group with science, these elements, that the
+result may be beautiful; as the musician gathers his notes, and forms
+his chords, until he bring forth from chaos glorious harmony.<!-- Page 33 --><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+
+<p>To say to the painter that Nature is to be taken as she is, is to say to
+the player that he may sit on the piano.</p>
+
+<p align="right"><i>Whistler.</i></p>
+
+
+<a name="loc65" id="loc65"></a><p align="center"><strong>LXV</strong></p>
+
+<p>When you have thoroughly learnt perspective, and have fixed in your
+memory all the various parts and forms of things, you should often amuse
+yourself when you take a walk for recreation, in watching and taking
+note of the attitudes and actions of men as they talk and dispute, or
+laugh or come to blows one with another, both their actions and those of
+the bystanders who either intervene or stand looking on at these things;
+noting these down with rapid strokes in this way, in a little
+pocket-book, which you ought always to carry with you. And let this be
+of tinted paper, so that it may not be rubbed out; but you should change
+the old for a new one, for these are not things to be rubbed out but
+preserved with the utmost diligence; for there is such an infinite
+number of forms and actions of things that the memory is incapable of
+preserving them, and therefore you should keep those (sketches) as your
+patterns and teachers.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc66" id="loc66"></a><p align="center"><strong>LXVI</strong></p>
+
+<p>Two men stop to talk together: I pencil them in detail, beginning at the
+head, for example; they separate and I have nothing but a fragment on my
+paper. Some<!-- Page 34 --><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> children are sitting on the steps of a church; I begin,
+their mother calls them; my sketch-book becomes filled with tips of
+noses and locks of hair. I make a resolution not to go home without a
+whole figure, and I try for the first time to draw in mass, to draw
+rapidly, which is the only possible way of drawing, and which is to-day
+one of the chief faculties of our moderns. I put myself to draw in the
+winking of an eye the first group that presents itself; if it moves on I
+have at least put down the general character; if it stops, I can go on
+to the details. I do many such exercises, and have even gone so far as
+to cover the lining of my hat with lightning sketches of opera-ballets
+and opera scenery.</p>
+
+<p align="right"><i>Corot.</i></p>
+
+
+<a name="loc67" id="loc67"></a><p align="center"><strong>LXVII</strong></p>
+
+<p>There is my model (the artist pointed to the crowd which thronged a
+market-place); art lives by studying nature, not by imitating any
+artist.</p>
+
+<p align="right"><i>Eupompus.</i></p>
+
+
+<a name="loc68" id="loc68"></a><p align="center"><strong>LXVIII</strong></p>
+
+<p>When you have clearly and distinctly learned in what good colouring
+consists, you cannot do better than have recourse to nature herself, who
+is always at hand, and in comparison of whose true splendour the best
+coloured pictures are but faint and feeble.</p>
+
+<p>However, as the practice of copying is not entirely to be excluded,
+since the mechanical practice of painting is learned in some measure by
+it, let those choice parts<!-- Page 35 --><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> only be selected which have recommended the
+work to notice. If its excellence consists in its general effect, it
+would be proper to make slight sketches of the machinery and general
+management of the picture. Those sketches should be kept always by you
+for the regulation of your style. Instead of copying the touches of
+those great masters, copy only their conceptions. Instead of treading in
+their footsteps, endeavour only to keep the same road. Labour to invent
+on their general principles and way of thinking. Possess yourself with
+their spirit. Consider with yourself how a Michael Angelo or a Raffaelle
+would have treated this subject; and work yourself into a belief that
+your picture is to be seen and criticised by them when completed. Even
+an attempt of this kind will rouse your powers.</p>
+
+<p align="right"><i>Reynolds.</i></p>
+
+
+<a name="loc69" id="loc69"></a><p align="center"><strong>LXIX</strong></p>
+
+<p>What do you mean&mdash;that you have been working, but without success? Do
+you mean that you cannot get the price you ask? then sell it for less,
+till, by practice, you shall improve, and command a better price. Or do
+you only mean that you are not satisfied with your work? nobody ever was
+that I know, except J&mdash;&mdash; W&mdash;&mdash;. Peg away! While you're at work you must
+be improving. Do something from Nature indoors when you cannot get out,
+to keep your hand and eye in practice. Don't get into the way of working
+too much at your drawings away from Nature.</p>
+
+<p align="right"><i>Charles Keene.</i></p>
+<p><!-- Page 36 --><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+
+
+<a name="loc70" id="loc70"></a><p align="center"><strong>LXX</strong></p>
+
+<p>The purpose of art is no other than to delineate the form and express
+the spirit of an object, animate or inanimate, as the case may be. The
+use of art is to produce copies of things; and if an artist has a
+thorough knowledge of the properties of the thing he paints he can
+assuredly make a name. Just as a writer of profound erudition and good
+memory has ever at his command an inexhaustible supply of words and
+phrases which he freely makes use of in writing, so can a painter, who
+has accumulated experience by drawing from nature, paint any object
+without a conscious effort. The artist who confines himself to copying
+from models painted by his master, fares no better than a literatus who
+cannot rise above transcribing others' compositions. An ancient critic
+says that writing ends in describing a thing or narrating an event, but
+painting can represent the actual forms of things. Without the true
+depiction of objects, there can be no pictorial art. Nobility of
+sentiment and such-like only come after a successful delineation of the
+external form of an object. The beginner in art should direct his
+efforts more to the latter than to the former. He should learn to paint
+according to his own ideas, not to slavishly copy the models of old
+artists. Plagiarism is a crime to be avoided not only by men of letters
+but also by painters.</p>
+
+<p align="right"><i>Okio</i> (Japanese, eighteenth century).</p>
+<p><!-- Page 37 --><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+
+<a name="loc71" id="loc71"></a><p align="center"><strong>LXXI</strong></p>
+
+<p>I remember D&uuml;rer the painter, who used to say that, as a young man, he
+loved extraordinary and unusual designs in painting, but that in his old
+age he took to examining Nature, and strove to imitate her as closely as
+he possibly could; but he found by experience how hard it is not to
+deviate from her.</p>
+
+<p align="right"><i>D&uuml;rer</i> (quoted by Melancthon).</p>
+
+
+<a name="loc72" id="loc72"></a><p align="center"><strong>LXXII</strong></p>
+
+<p>I have heard painters acknowledge, though in that acknowledgment no
+degradation of themselves was intended, that they could do better
+without Nature than with her; or, as they expressed it themselves, <i>that
+it only put them out</i>. A painter with such ideas and such habits, is
+indeed in a most hopeless state. <i>The art of seeing Nature</i>, or, in
+other words, the art of using models, is in reality the great object,
+the point to which all our studies are directed. As for the power of
+being able to do tolerably well, from practice alone, let it be valued
+according to its worth. But I do not see in what manner it can be
+sufficient for the production of correct, excellent, and finished
+pictures. Works deserving this character never were produced, nor ever
+will arise, from memory alone; and I will venture to say, that an artist
+who brings to his work a mind tolerably furnished with the general
+principles of art, and a taste formed upon the works of good artists,
+in<!-- Page 38 --><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> short, who knows in what excellence consists, will, with the
+assistance of models, which we will likewise suppose he has learnt the
+art of using, be an over-match for the greatest painter that ever lived
+who should be debarred such advantages.</p>
+
+<p align="right"><i>Reynolds.</i></p>
+
+
+<a name="loc73" id="loc73"></a><p align="center"><strong>LXXIII</strong></p>
+
+<p>Do not imitate; do not follow others&mdash;you will always be behind them.</p>
+
+<p align="right"><i>Corot.</i></p>
+
+
+<a name="loc74" id="loc74"></a><p align="center"><strong>LXXIV</strong></p>
+
+<p>Never paint a subject unless it calls insistently and distinctly upon
+your eye and heart.</p>
+
+<p align="right"><i>Corot.</i></p>
+
+
+<a name="loc75" id="loc75"></a><p align="center"><strong>LXXV</strong></p>
+
+<p>I should never paint anything that was not the result of an impression
+received from the aspect of nature, whether in landscape or figures.</p>
+
+<p align="right"><i>Millet.</i></p>
+
+
+<a name="loc76" id="loc76"></a><p align="center"><strong>LXXVI</strong></p>
+
+<p>You must interpret nature with entire simplicity and according to your
+personal sentiment, altogether detaching yourself from what you know of
+the old masters or of contemporaries. Only in this way will you do work
+of real feeling. I know gifted people who will not avail themselves of
+their power. Such<!-- Page 39 --><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> people seem to me like a billiard-player whose
+adversary is constantly giving him good openings, but who makes no use
+of them. I think that if I were playing with that man, I would say,
+&quot;Very well, then, I will give you no more.&quot; If I were to sit in
+judgment, I would punish the miserable creatures who squander their
+natural gifts, and I would turn their hearts to work.</p>
+
+<p align="right"><i>Corot.</i></p>
+
+
+<a name="loc77" id="loc77"></a><p align="center"><strong>LXXVII</strong></p>
+
+<p>Sensation is rude and false unless <i>informed</i> by intellection; and,
+however delicate be the touch in obedience to remote gradation, yet
+knowledge of the genus necessarily invests the representation with
+perspicuous and truthful relations that ignorance could not possibly
+have observed. Hence&mdash;Paint what you see; but know what you see.</p>
+
+<p><i>Only paint what you love in what you see</i>, and discipline yourself to
+separate this essence from its dumb accompaniments, so that the accents
+fall upon the points of passion. Let that which must be expressed of the
+rest be merged, syncopated in the largeness of the <i>modulation</i>.</p>
+
+<p>Boldly dare to omit the impertinent or irrelevant, and let the features
+of the passion be modulated in <i>fewness</i>.</p>
+
+<p>Not a touch without its meaning or its significance throughout the
+courses. There is no disgrace, but on the contrary, honour, be the
+touches never so few, if studied. By determined refusal to touch
+vaguely,<!-- Page 40 --><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> and with persistence in the slowness of thoughtful work, a
+noble style may be at length obtained: swift as sublime.</p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc78" id="loc78"></a><p align="center"><strong>LXXVIII</strong></p>
+
+<p>I started on Monday, 25th August, for Honfleur, where I stayed till 5th
+September in the most blessed condition of spirit.</p>
+
+<p>There I worked with my head, with my eyes, harvesting effects in the
+mind; then, going over everything again, I called up within myself the
+figures desired for the completion of the composition. Once I had evoked
+all this world from nothingness, and envisaged it, and had found where
+each thing was to be, I had to return to Paris to ask for nature's
+authorisation and make sure of my advance. Nature justified me, and, as
+she is kind to those who approach her reverentially, gave me of her
+grace without stint.</p>
+
+<p align="right"><i>Puvis de Chavannes.</i></p>
+
+
+<a name="loc79" id="loc79"></a><p align="center"><strong>LXXIX</strong></p>
+
+<p>I wish to tell you, Francisco d'Ollanda, of an exceedingly great beauty
+in this science of ours, of which perhaps you are aware, and which, I
+think, you consider the highest, namely, that what one has most to work
+and struggle for in painting, is to do the work with a great amount of
+labour and study in such a way that it may afterwards appear, however
+much it was<!-- Page 41 --><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> laboured, to have been done almost quickly and almost
+without any labour, and very easily, although it was not. And this is a
+very excellent beauty. At times some things are done with little work in
+the way I have said, but very seldom; most are done by dint of hard work
+and appear to have been done very quickly.</p>
+
+<p align="right"><i>Michael Angelo.</i></p>
+
+
+
+
+<h2><a name="METHODS_OF_WORK" id="METHODS_OF_WORK"></a>METHODS OF WORK</h2>
+
+
+<a name="loc80" id="loc80"></a><p align="center"><strong>LXXX</strong></p>
+
+<p>Every successful work is rapidly performed; quickness is only execrable
+when it is empty&mdash;small. No one condemns the swiftness of an eagle.</p>
+
+<p>To him who knows not the burden of process&mdash;the attributes that are to
+claim attention with every epocha of the performance&mdash;all attempt at
+swiftness will be mere pretence.</p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc81" id="loc81"></a><p align="center"><strong>LXXXI</strong></p>
+
+<p>I am planning a large picture, and I regard all you say, but I do not
+enter into that notion of varying one's plans to keep the public in good
+humour. Change of weather and effect will always afford variety. What if
+Van der Velde had quitted his sea-pieces, or Ruysdael his waterfalls, or
+Hobbema his native woods? The world would have lost so many features in
+art. I know that you wish for no material alteration, but I have to
+combat from high quarters&mdash;even from Lawrence&mdash;the plausible argument
+that <i>subject</i> makes the picture.<!-- Page 42 --><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> Perhaps you think an evening effect
+might do; perhaps it might start me some new admirers, but I should lose
+many old ones. I imagine myself driving a nail; I have driven it some
+way, and by persevering I may drive it home; by quitting it to attack
+others, though I may amuse myself, I do not advance beyond the first,
+while that particular nail stands still. No man who can do any one thing
+well will be able to do any other different thing equally well; and this
+is true of Shakespeare, the greatest master of variety.</p>
+
+<p align="right"><i>Constable.</i></p>
+
+
+<a name="loc82" id="loc82"></a><p align="center"><strong>LXXXII</strong></p>
+
+<p>To work on the <i>Ladye</i>. Found part of the drapery bad, rubbed it out,
+heightened the seat she sits on, mended the heads again; did a great
+deal, but not finished yet. Any one might be surprised to read how I
+work whole days on an old drawing done many years since, and which I
+have twice worked over since it was rejected from the Royal Academy in
+'47, and now under promise of sale to White for &pound;20. But I cannot help
+it. When I see a work going out of my hands, it is but natural, if I see
+some little defect, that I should try to mend it, and what follows is
+out of my power to direct: if I give one touch to a head, I give myself
+three days' work, and spoil it half-a-dozen times over.</p>
+
+<p align="right"><i>Ford Madox Brown.</i></p>
+<p><!-- Page 43 --><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+
+
+<a name="loc83" id="loc83"></a><p align="center"><strong>LXXXIII</strong></p>
+
+<p>In literature as in art the rough sketches of the masters are made for
+connoisseurs, not for the vulgar crowd.</p>
+
+<p align="right"><i>A. Pr&eacute;ault.</i></p>
+
+
+<a name="loc84" id="loc84"></a><p align="center"><strong>LXXXIV</strong></p>
+
+<p>It is true sketches, or such drawings as painters generally make for
+their works, give this pleasure of imagination to a high degree. From a
+slight, undetermined drawing, where the ideas of the composition and
+character are, as I may say, only just touched upon, the imagination
+supplies more than the painter himself, probably, could produce; and we
+accordingly often find that the finished work disappoints the
+expectation that was raised from the sketch; and this power of the
+imagination is one of the causes of the great pleasure we have in
+viewing a collection of drawings by great painters.</p>
+
+<p align="right"><i>Reynolds.</i></p>
+
+
+<a name="loc85" id="loc85"></a><p align="center"><strong>LXXXV</strong></p>
+
+<p>I have just been examining all the sketches I have used in making this
+work. How many there are which fully satisfied me at the beginning, and
+which seem feeble, inadequate, or ill-composed, now that the paintings
+are advanced. I cannot tell myself often enough that it means an immense
+deal of labour to bring a work to the highest pitch of impressiveness
+of<!-- Page 44 --><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> which it is capable. The oftener I revise it, the more it will gain
+in expressiveness.... Though the touch disappear, though the fire of
+execution be no longer the chief merit of the painting, there is no
+doubt about this; and again how often does it happen that after this
+intense labour, which has turned one's thought back on itself in every
+direction, the hand obeys more swiftly and surely in giving the desired
+lightness to the last touches.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc86" id="loc86"></a><p align="center"><strong>LXXXVI</strong></p>
+
+<p>Let us agree as to the meaning of the word &quot;finished.&quot; What finishes a
+picture is not the quantity of detail in it, but the rightness of the
+general effect. A picture is not limited only by its frame. Whatever be
+the subject, there must be a principal object on which your eyes rest
+continually: the other objects are only the complement of this, they are
+less interesting to you; and after that there is nothing more for your
+eye.</p>
+
+<p>There is the real limit of your picture. This principal object must seem
+so to the spectator of your work. Therefore, one must always return to
+this, and state its colour with more and more decision.</p>
+
+<p align="right"><i>Rousseau.</i></p>
+
+
+<a name="loc87" id="loc87"></a><p align="center"><strong>LXXXVII</strong></p>
+
+<p align="center">ON PROTOGENES</p>
+
+<p>He was a great Master, but he often spoil'd his Pieces by endeavouring
+to make them Perfect; he did not<!-- Page 45 --><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> know when he had done well; a Man may
+do too much as well as too little; and he is truly skilful, who knew
+what was sufficient.</p>
+
+<p align="right"><i>Apelles.</i></p>
+
+
+
+
+<h2><a name="FINISH" id="FINISH"></a>FINISH</h2>
+
+
+<a name="loc88" id="loc88"></a><p align="center"><strong>LXXXVIII</strong></p>
+
+<p>A picture must always be a little spoilt in the finishing of it. The
+last touches, which are intended to draw the picture together, take off
+from its freshness. To appear before the public one must cut out all
+those happy accidents which are the joy of the artist. I compare these
+murderous retouchings to those banal flourishes with which all airs of
+music end, and to those insignificant spaces which the musician is
+forced to put between the interesting parts of his work in order to lead
+on from one motive to another or to give them their proper value.</p>
+
+<p>Re-touching, however, is not so fatal to a picture as one might think,
+when the picture has been well thought out and worked at with deep
+feeling. Time, in effacing the touches, old as well as new, gives back
+to the work its complete effect.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc89" id="loc89"></a><p align="center"><strong>LXXXIX</strong></p>
+
+<p>A picture, the effect of which is true, is finished.</p>
+
+<p align="right"><i>Goya.</i></p>
+
+
+<a name="loc90" id="loc90"></a><p align="center"><strong>XC</strong></p>
+
+<p>You please me much, by saying that no other fault is found in your
+picture than the roughness of the<!-- Page 46 --><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> surface; for that part being of use
+in giving force to the effect at a proper distance, and what a judge of
+painting knows an original from a copy by&mdash;in short, being the touch of
+the pencil which is harder to preserve than smoothness, I am much better
+pleased that they should spy out things of that kind, than to see an eye
+half an inch out of its place, or a nose out of drawing when viewed at a
+proper distance. I don't think it would be more ridiculous for a person
+to put his nose close to the canvas and say the colours smelt offensive,
+than to say how rough the paint lies; for one is just as material as the
+other with regard to hurting the effect and drawing of a picture.</p>
+
+<p align="right"><i>Gainsborough.</i></p>
+
+
+<a name="loc91" id="loc91"></a><p align="center"><strong>XCI</strong></p>
+
+<p>The picture<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> will be seen to the greatest advantage if it is hung in a
+strong light, and in such a manner that the spectator can stand at some
+distance from it.</p>
+
+<p align="right"><i>Rembrandt.</i></p>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Probably the &quot;Blinding of Samson.&quot;</p></div>
+
+
+<a name="loc92" id="loc92"></a><p align="center"><strong>XCII</strong></p>
+
+<p>Don't look at a picture close, it smells bad.</p>
+
+<p align="right"><i>Rembrandt.</i></p>
+
+
+<a name="loc93" id="loc93"></a><p align="center"><strong>XCIII</strong></p>
+
+<p>Try to be frank in drawing and in colour; give things their full relief;
+make a painting which can be seen at a distance; this is indispensable.</p>
+
+<p align="right"><i>Chass&eacute;riau.</i></p>
+<p><!-- Page 47 --><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<a name="loc94" id="loc94"></a><p align="center"><strong>XCIV</strong></p>
+
+<p>If I might point out to you another defect, very prevalent of late, in
+our pictures, and one of the same contracted character with those you so
+happily illustrate, it would be that of the <i>want of breadth</i>, and in
+others a perpetual division and subdivision of parts, to give what their
+perpetrators call space; add to this a constant disturbing and torturing
+of everything whether in light or in shadow, by a niggling touch, to
+produce fulness of subject. This is the very reverse of what we see in
+Cuyp or Wilson, and even, with all his high finishing, in Claude. I have
+been warning our friend Collins against this, and was also urging young
+Landseer to beware of it; and in what I have been doing lately myself
+have been studying much from Rembrandt and from Cuyp, so as to acquire
+what the great masters succeeded so well in, namely, that power by which
+the chief objects, and even the minute finishing of parts, tell over
+everything that is meant to be subordinate in their pictures. Sir Joshua
+had this remarkably, and could even make <i>the features of the face</i> tell
+over everything, however strongly painted. I find that repose and
+breadth in the shadows and half-tints do a great deal towards it.
+Zoffany's figures derive great consequence from this; and I find that
+those who have studied light and shadow the most never appear to fail in
+it.</p>
+
+<p align="right"><i>Wilkie.</i></p>
+<p><!-- Page 48 --><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+
+<a name="loc95" id="loc95"></a><p align="center"><strong>XCV</strong></p>
+
+<p>The commonest error into which a critic can fall is the remark we so
+often hear that such-and-such an artist's work is &quot;careless,&quot; and &quot;would
+be better had more labour been spent upon it.&quot; As often as not this is
+wholly untrue. As soon as the spectator can <i>see</i> that &quot;more labour has
+been spent upon it,&quot; he may be sure that the picture is to that extent
+incomplete and unfinished, while the look of freshness that is
+inseparable from a really successful picture would of necessity be
+absent. If the high finish of a picture is so apparent as immediately to
+force itself upon the spectator, he may <i>know</i> that it is not as it
+should be; and from the moment that the artist feels his work is
+becoming a labour, he may depend upon it it will be without freshness,
+and to that extent without the merit of a true work of art. Work should
+always look as though it had been done with ease, however elaborate;
+what we see should appear to have been done without effort, whatever may
+be the agonies beneath the surface. M. Meissonier surpasses all his
+predecessors, as well as all his contemporaries, in the quality of high
+finish, but what you see is evidently done easily and without labour. I
+remember Thackeray saying to me, concerning a certain chapter in one of
+his books that the critics agreed in accusing of carelessness;
+&quot;Careless? If I've written that chapter once I've written it a dozen
+times&mdash;and each time worse than the last!&quot; a proof that labour did not
+assist in his <!-- Page 49 --><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>case. When an artist fails it is not so much from
+carelessness: to do his best is not only profitable to him, but a joy.
+But it is not given to every man&mdash;not, indeed, to any&mdash;to succeed
+whenever and however he tries. The best painter that ever lived never
+entirely succeeded more than four or five times; that is to say, no
+artist ever painted more than four or five <i>masterpieces</i>, however high
+his general average may have been, for such success depends on the
+coincidence, not only of genius and inspiration, but of health and mood
+and a hundred other mysterious contingencies. For my own part, I have
+often been laboured, but whatever I am I am never careless. I may
+honestly say that I never consciously placed an idle touch upon canvas,
+and that I have always been earnest and hard-working; yet the worst
+pictures I ever painted in my life are those into which I threw most
+trouble and labour, and I confess I should not grieve were half my works
+to go to the bottom of the Atlantic&mdash;if I might choose the half to go.
+Sometimes as I paint I may find my work becoming laborious; but as soon
+as I detect any evidence of that labour I paint the whole thing out
+without more ado.</p>
+
+<p align="right"><i>Millais.</i></p>
+
+<a name="fp48" id="fp48"></a><div class="figright" style="width: 385px;">
+<img src="images/fp48.jpg" width="385" height="550" alt="Millais LOVE By permission of F. Warne &amp; Co." /></div>
+
+<a name="loc96" id="loc96"></a><p align="center"><strong>XCVI</strong></p>
+
+<p>I think that a work of art should not only be careful and sincere, but
+that the care and sincerity should also be evident. No ugly smears
+should be allowed to do duty for the swiftness which comes from long
+practice,<!-- Page 50 --><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> or to find excuse in the necessity which the accomplished
+artist feels to speak distinctly. That necessity must never receive
+impulse from a desire to produce an effect on the walls of a gallery:
+there is much danger of this working <i>un</i>consciously in the accomplished
+artist, <i>consciously</i> in the student.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+
+<a name="loc97" id="loc97"></a><p align="center"><strong>XCVII</strong></p>
+
+<p>Real effect is making out the parts. Why are we to be told that masters,
+who could think, had not the judgment to perform the inferior parts of
+art? (as Reynolds artfully calls them); that we are to learn to <i>think</i>
+from great masters, and to perform from underlings&mdash;to learn to design
+from Raphael, and to execute from Rubens?</p>
+
+<p align="right"><i>Blake.</i></p>
+
+
+<a name="loc98" id="loc98"></a><p align="center"><strong>XCVIII</strong></p>
+
+<p>If I knew that my portrait was still at Antwerp, I would have it kept
+back for the case to be opened, so that one could see that it had not
+been hurt by so long a time spent in a case without being exposed to the
+air, and that, as often happens to colours freshly put on, it has not
+turned rather yellow, thereby losing all its first effect. The remedy,
+if this has happened, is to expose it repeatedly to the sun, the rays of
+which absorb the superfluity of oil which causes this change; and if at
+any time it still turns brown, it must be exposed afresh to the sun.
+Warmth is the only remedy for this serious mischief.</p>
+
+<p align="right"><i>Rubens.</i></p>
+<p><!-- Page 51 --><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+
+
+
+
+<h2><a name="EFFECTS_OF_TIME_ON_PAINTING" id="EFFECTS_OF_TIME_ON_PAINTING"></a>EFFECTS OF TIME ON PAINTING</h2>
+
+
+<a name="loc99" id="loc99"></a><p align="center"><strong>XCIX</strong></p>
+
+<p>The only way to judge of the treasures the Old Masters of whatever age
+have left us&mdash;whether in architecture, sculpture, or painting&mdash;with any
+hope of sound deduction, is to look at the work and ask oneself&mdash;&quot;What
+was that like when it was new?&quot; The Elgin Marbles are allowed by common
+consent to be the perfection of art. But how much of our feeling of
+reverence is inspired by time? Imagine the Parthenon as it must have
+looked with the frieze of the mighty Phidias fresh from the chisel.
+Could one behold it in all its pristine beauty and splendour we should
+see a white marble building, blinding in the dazzling brightness of a
+southern sun, the figures of the exquisite frieze in all probability
+painted&mdash;there is more than a suspicion of that&mdash;and the whole standing
+out against the intense blue sky; and many of us, I venture to think,
+would cry at once, &quot;How excessively crude.&quot; No; Time and Varnish are two
+of the greatest of Old Masters, and their merits and virtues are too
+often attributed by critics&mdash;I do not of course allude to the
+professional art-critics&mdash;to the painters of the pictures they have
+toned and mellowed. The great artists all painted in <i>bright</i> colours,
+such as it is the fashion nowadays for men to decry as crude and vulgar,
+never suspecting that what they applaud in those works is merely the
+result of what they condemn in their contemporaries. Take a case in
+point&mdash;the &quot;Bacchus and Ariadne&quot; in the National<!-- Page 52 --><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> Gallery, with its
+splendid red robe and its rich brown grass. You may rest assured that
+the painter of that bright red robe never painted the grass brown. He
+saw the colour as it was, and painted it as it was&mdash;distinctly green;
+only it has faded with time to its present beautiful mellow colour. Yet
+many men nowadays will not have a picture with green in it; there are
+even buyers who, when giving a commission to an artist, will stipulate
+that the canvas shall contain none of it. But God Almighty has given us
+green, and you may depend upon it it's a fine colour.</p>
+
+<p align="right"><i>Millais.</i></p>
+
+
+<a name="loc100" id="loc100"></a><p align="center"><strong>C</strong></p>
+
+<p>I must further dissent from any opinion that beauty of surface and what
+is technically called &quot;quality&quot; are mainly due to time. Sir John himself
+has quoted the early pictures of Rembrandt as examples of hard and
+careful painting, devoid of the charm and mystery so remarkable in his
+later work. The early works of Velasquez are still more remarkable
+instances, being, as they are, singularly tight and disagreeable&mdash;time
+having done little or nothing towards making them more agreeable.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+
+<a name="loc101" id="loc101"></a><p align="center"><strong>CI</strong></p>
+
+<p>I am painting for thirty years hence.</p>
+
+<p align="right"><i>Monticelli.</i></p>
+<p><!-- Page 53 --><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+
+
+<a name="loc102" id="loc102"></a><p align="center"><strong>CII</strong></p>
+
+<p>Sir John Millais is certainly right in his estimate of strong and even
+bright colour, but it seems to me that he is mistaken in believing that
+the colour of the Venetians was ever crude, or that time will ever turn
+white into colour. The colour of the best-preserved pictures by Titian
+shows a marked distinction between light flesh tones and white drapery.
+This is most distinctly seen in the small &quot;Noli Me Tangere&quot; in our
+National Gallery, in the so-called &quot;Venus&quot; of the Tribune and in the
+&quot;Flora&quot; of the Uffizi, both in Florence, and in Bronzino's &quot;All is
+Vanity,&quot; also in the National Gallery. In the last-named picture, for
+example, the colour is as crude and the surface as bare of mystery as if
+it had been painted yesterday. As a matter of fact, white unquestionably
+tones down, but never becomes colour; indeed, under favourable
+conditions, and having due regard to what is underneath, it changes very
+little. In the &quot;Noli Me Tangere&quot; to which I have referred, the white
+sleeve of the Magdalen is still a beautiful white, quite different from
+the white of the fairest of Titian's flesh&mdash;proving that Titian never
+painted his flesh white.</p>
+
+<p>The so-called &quot;Venus&quot; in the Tribune at Florence is a more important
+example still, as it is an elaborately painted picture owing nothing to
+the brightness that slight painting often has and retains, the colours
+being untormented by repeated re-touching. This picture<!-- Page 54 --><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> is a proof that
+when the method is good and the pigments pure, the colours change very
+little. More than three hundred years have passed, and the white sheet
+on which the figure lies is still, in effect, white against the flesh.
+The flesh is most lovely in colour&mdash;neither violent by shadows or strong
+colour&mdash;but beautiful flesh. It cannot be compared to ivory or snow, or
+any other substance or material; it is simply beautiful lustre on the
+surface with a circulation of blood underneath&mdash;an absolute triumph
+never repeated except by Titian himself.</p>
+
+<p>It is probable that the pictures by Reynolds are often lower in tone
+than they were, but it is doubtful whether the Strawberry Hill portraits
+are as much changed as may be supposed. Walpole, no doubt, called them
+&quot;white and pinky,&quot; but it must be remembered that, living before the
+days of picture cleaning, he was accustomed to expect them to be brown
+and dark, probably even to associate colour with dirt in the Old
+Masters. The purer, clearer, and richer the colours are, the better a
+picture will be; and I think this should be especially insisted upon,
+since white is so effective in a modern exhibition that young artists
+are naturally prompted to profit by the means cheaply afforded and
+readily at hand.</p>
+
+<p>I think it is probable that where Titian has used brown-green he
+intended it, since in many of the Venetian pictures we find green
+draperies of a beautiful colour. Sir John seems to infer that the
+colours used in the decoration of the Parthenon (no doubt used)<!-- Page 55 --><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> were
+crude. The extraordinary refinements demonstrated in a lecture by Mr.
+Penrose on the spot last year, at which I had the good fortune to be
+present, forbid such a conclusion. A few graduated inches in the
+circumference of the columns, and deflection from straight line in the
+pediment and in the base-line, proved by measurement and examination to
+be carefully intentional, will not permit us for a moment to believe
+this could have been the case; so precise in line, rhythmical in
+arrangement, lovely in detail, and harmonious in effect, it could never
+have been crude in colour. No doubt the marble was white, but
+illuminated by such a sun, and set against such a sky and distance, the
+white, with its varieties of shadow, aided by the colours employed,
+could have gleaned life and flame in its splendour. Colour was certainly
+used, and the modern eye might at first have something to get over, but
+there could have been nothing harsh and crude. The exquisite purity of
+line and delicacy of edge could never have been matched with crudity or
+anything like harshness of colour. To this day the brightest colours may
+be seen on the columns at Luxor and Philae with beautiful effect.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+
+<a name="loc103" id="loc103"></a><p align="center"><strong>CIII</strong></p>
+
+<p>I am getting on with my pictures, and have now got them all three into a
+fairly forward state of <i>under</i> painting; completion, however, will only
+be reached<!-- Page 56 --><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> in the course of next winter, for I intend to execute them
+with minute care. I have simplified my method of painting, and forsworn
+all <i>tricks</i>. I endeavour to advance from the beginning as much as
+possible, and equally try to mix the right tint, and slowly and
+carefully to put it on the right spot, and <i>always</i> with the model
+before me; what does not exactly suit has to be adapted; one can derive
+benefit from every head. Schwind says that he cannot work from models,
+they <i>worry</i> him! A splendid teacher for his pupils! Nature worries
+every one at first, but one must so discipline oneself that, instead of
+checking and hindering, she shall illuminate and help, and solve all
+doubts. Has Schwind, with his splendid and varied gifts, ever been able
+to model a head with a brush? Those who place the brush behind the
+pencil, under the pretence that <i>form</i> is before all things, make a very
+great mistake. Form <i>is certainly all-important</i>; one cannot study it
+enough; <i>but</i> the greater part of <i>form</i> falls within the province of
+the tabooed <i>brush</i>. The ever-lasting hobby of <i>contour</i> which belongs
+to the drawing material is first the <i>place</i> where the <i>form</i> comes in;
+what, however, reveals true knowledge of form, is a powerful, organic,
+refined finish of modelling, full of feeling and knowledge&mdash;and that is
+the affair of the brush.</p>
+
+<p align="right"><i>Leighton.</i></p>
+<p><!-- Page 57 --><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+
+
+
+<h2><a name="MANNER" id="MANNER"></a>MANNER</h2>
+
+
+<a name="loc104" id="loc104"></a><p align="center"><strong>CIV</strong></p>
+
+<p>Manner is always seductive. It is more or less an imitation of what has
+been done already, therefore always plausible. It promises the short
+road, the near cut to present fame and emolument, by availing ourselves
+of the labours of others. It leads to almost immediate reputation,
+because it is the wonder of the ignorant world. It is always accompanied
+by certain blandishments, showy and plausible, and which catch the eye.
+As manner comes by degrees, and is fostered by success in the world,
+flattery, &amp;c., all painters who would be really great should be
+perpetually on their guard against it. Nothing but a close and continual
+observance of nature can protect them from the danger of becoming
+mannerists.</p>
+
+<p align="right"><i>Constable.</i></p>
+
+
+<a name="loc105" id="loc105"></a><p align="center"><strong>CV</strong></p>
+
+<p>Have a holy horror of useless impasto, which gets sticky and dull, turns
+blue and heavy. When you have painted a bit of which you are doubtful,
+wait till the moment when it will be possible for you to take it out.
+Judge it; and if it is condemned, remove it firmly with your
+palette-knife, without rubbing by rags which spoil the limpidity of the
+pigment. You will have left a delicate foundation, to which you can
+return and finish with little labour, because your canvas will have
+received a first coating. Loading and massing the pigment is an
+abomination. In twenty-four hours gold turns to lead.</p>
+
+<p align="right"><i>Puvis de Chavannes.</i></p>
+<p><!-- Page 58 --><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+
+<a name="loc106" id="loc106"></a><p align="center"><strong>CVI</strong></p>
+
+<p>From the age of six I began to draw, and for eighty-four years I have
+worked independently of the schools, my thoughts all the time being
+turned towards drawing.</p>
+
+<p>It being impossible to express everything in so small a space, I wished
+only to teach the difference between vermilion and crimson lake, between
+indigo and green, and also in a general way to teach how to handle round
+shapes and square, straight lines and curved; and if one day I make a
+sequel to this volume, I shall show children how to render the violence
+of ocean, the rush of rapids, the tranquillity of still pools, and among
+the living beings of the earth, their state of weakness or strength.
+There are in nature birds that do not fly high, flowering trees that
+never fruit; all these conditions of the life we live among are worth
+studying thoroughly; and if I ever succeed in convincing artists of
+this, I shall have been the first to show the way.</p>
+
+<p align="right"><i>Hokusai.</i></p>
+
+
+<a name="loc107" id="loc107"></a><p align="center"><strong>CVII</strong></p>
+
+<p>Let every man who is here understand this well: design, which by another
+name is called drawing, and consists of it, is the fount and body of
+painting and sculpture and architecture and of every other kind of
+painting, and the root of all sciences. Let whoever may have attained to
+so much as to have the power of drawing know that he holds a great
+treasure; he will be able to make figures higher than any tower, either
+in colours or<!-- Page 59 --><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> carved from the block, and he will not be able to find a
+wall or enclosure which does not appear circumscribed and small to his
+brave imagination. And he will be able to paint in fresco in the manner
+of old Italy, with all the mixtures and varieties of colour usually
+employed in it. He will be able to paint in oils very suavely with more
+knowledge, daring, and patience than painters. And finally, on a small
+piece of parchment he will be most perfect and great, as in all other
+manners of painting. Because great, very great is the power of design
+and drawing.</p>
+
+<p align="right"><i>Michael Angelo.</i></p>
+
+
+
+
+<h2><a name="DRAWING_AND_DESIGN" id="DRAWING_AND_DESIGN"></a>DRAWING AND DESIGN</h2>
+
+
+<a name="loc108" id="loc108"></a><p align="center"><strong>CVIII</strong></p>
+
+<p>Pupils, I give you the whole art of sculpture when I tell you&mdash;<i>draw!</i></p>
+
+<p align="right"><i>Donatello.</i></p>
+
+
+<a name="loc109" id="loc109"></a><p align="center"><strong>CIX</strong></p>
+
+<p>Drawing is the probity of art.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc110" id="loc110"></a><p align="center"><strong>CX</strong></p>
+
+<p>To draw does not mean only to reproduce an outline, drawing does not
+consist only of line; drawing is more than this, it is expression, it is
+the inner form, the structure, the modelling. After that what is left?
+Drawing includes seven-eighths of what constitutes painting. If I had to
+put a sign above my door I would write on it &quot;School of Drawing,&quot; and I
+am sure that I should turn out painters.</p>
+
+<p align="right"><i>Ingres.</i></p>
+<p><!-- Page 60 --><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
+
+
+<a name="loc111" id="loc111"></a><p align="center"><strong>CXI</strong></p>
+
+<p>Draw with a pure but ample line. Purity and breadth, that is the secret
+of drawing, of art.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc112" id="loc112"></a><p align="center"><strong>CXII</strong></p>
+
+<p>Continue to draw for long before you think of painting. When one builds
+on a solid foundation one can sleep at ease.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc113" id="loc113"></a><p align="center"><strong>CXIII</strong></p>
+
+<p>The great painters like Raphael and Michael Angelo insisted on the
+outline when finishing their work. They went over it with a fine brush,
+and thus gave new animation to the contours; they impressed on their
+design force and fire.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc114" id="loc114"></a><p align="center"><strong>CXIV</strong></p>
+
+<p>The first thing to seize in an object, in order to draw it, is the
+contrast of the principal lines. Before putting chalk to paper, get this
+well into the mind. In Girodet's work, for example, one sometimes sees
+this admirably shown, because through intense preoccupation with his
+model he has caught, willy-nilly, something of its natural grace; but it
+has been done as if by accident. He applied the principle without
+recognising it as such. X&mdash;&mdash; seems to me the only<!-- Page 61 --><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> man who has
+understood it and carried it out. That is the whole secret of his
+drawing. The most difficult thing is to apply it, like him, to the whole
+body. Ingres has done it in details like hands, &amp;c. Without mechanical
+aids to help the eye, it would be impossible to arrive at the principle;
+aids such as prolonging a line, &amp;c., drawing often on a pane of glass.
+All the other painters, not excepting Michael Angelo and Raphael, draw
+by instinct, by inspiration, and found beauty by being struck with it in
+nature; but they did not know X&mdash;&mdash;'s secret, accuracy of eye. It is
+not at the moment of carrying out a design that one ought to tie oneself
+down to working with measuring-rules, perpendiculars, &amp;c.; this accuracy
+of eye must be an acquired habit, which in the presence of nature will
+spontaneously assist the imperious need of rendering her aspect. Wilkie,
+again, has the secret. In portraiture it is indispensable. When, for
+example, one has made out the <i>ensemble</i> of a design, and when one knows
+the lines by heart, so to speak, one should be able to reproduce them
+geometrically, in a fashion, on the picture. Above all with women's
+portraits; the first thing to seize is to seize the grace of the
+<i>ensemble</i>. If you begin with the details, you will be always heavy. For
+instance: if you have to draw a thoroughbred horse, if you let yourself
+go into details, your outline will never be salient enough.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 62 --><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+
+<a name="loc115" id="loc115"></a><p align="center"><strong>CXV</strong></p>
+
+<p>Drawing is the means employed by art to set down and imitate the light
+of nature. Everything in nature is manifested to us by means of light
+and its complementaries, reflection and shadow. This it is which drawing
+verifies. Drawing is the counterfeit light of art.</p>
+
+<p align="right"><i>Bracquemond.</i></p>
+
+
+<a name="loc116" id="loc116"></a><p align="center"><strong>CXVI</strong></p>
+
+<p>It won't do to begin painting heads or much detail in this picture till
+it's all settled. I do so believe in getting in the bones of a picture
+properly first, then putting on the flesh and afterwards the skin, and
+then another skin; last of all combing its hair and sending it forth to
+the world. If you begin with the flesh and the skin and trust to getting
+the bones right afterwards, it's such a slippery process.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc117" id="loc117"></a><p align="center"><strong>CXVII</strong></p>
+
+<p>The creative spirit in descending into a pictorial conception must take
+upon itself organic structure. This great imaginative scheme forms the
+bony system of the work; lines take the place of nerves and arteries,
+and the whole is covered with the skin of colour.</p>
+
+<p align="right"><i>Hsieh Ho</i> (Chinese, sixth century).</p>
+<p><!-- Page 63 --><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+
+<a name="loc118" id="loc118"></a><p align="center"><strong>CXVIII</strong></p>
+
+<p>Simplicity in composition or distinctness of parts is ever to be
+attended to, as it is one part of beauty, as has been already said: but
+that what I mean by distinctness of parts in this place may be better
+understood it will be proper to explain it by an example.</p>
+
+<p>When you would compose an object of a great variety of parts, let
+several of those parts be distinguished by themselves, by their
+remarkable difference from the next adjoining, so as to make each of
+them, as it were, one well-shaped quantity or part (these are like what
+they call passages in music, and in writing paragraphs) by which means
+not only the whole, but even every part, will be better understood by
+the eye: for confusion will hereby be avoided when the object is seen
+near, and the shapes will seem well varied, though fewer in number, at a
+distance.</p>
+
+<p>The parsley-leaf, in like manner, from whence a beautiful foliage in
+ornament was originally taken, is divided into three distinct passages;
+which are again divided into other odd numbers; and this method is
+observed, for the generality, in the leaves of all plants and flowers,
+the most simple of which are the trefoil and cinquefoil.</p>
+
+<p>Observe the well-composed nosegay, how it loses all distinctness when it
+dies; each leaf and flower then shrivels and loses its distinct shape,
+and the firm colours fade into a kind of sameness; so that the whole
+gradually becomes a confused heap.<!-- Page 64 --><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+<p>If the general parts of objects are preserved large at first, they will
+always admit of further enrichments of a small kind, but then they must
+be so small as not to confound the general masses or quantities; thus,
+you see, variety is a check upon itself when overdone, which of course
+begets what is called a <i>petit taste</i> and a confusion to the eye.</p>
+
+<p align="right"><i>Hogarth.</i></p>
+
+
+<a name="loc119" id="loc119"></a><p align="center"><strong>CXIX</strong></p>
+
+<p>Drawing includes everything except the tinting of the picture.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc120" id="loc120"></a><p align="center"><strong>CXX</strong></p>
+
+<p>One must always be drawing, drawing with the eye when one cannot draw
+with the pencil. If observation does not keep step with practice you
+will do nothing really good.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc121" id="loc121"></a><p align="center"><strong>CXXI</strong></p>
+
+<p>As a means of practising this perspective of the variation and loss or
+diminution of the proper essence of colours, take at distances, a
+hundred braccia apart, objects standing in the landscape, such as trees,
+houses, men, and places, and in front of the first tree fix a piece of
+glass so that it is quite steady, and then let your eye rest upon it and
+trace out a tree upon the glass above the outline of the tree; and
+afterwards remove the glass so far to one side that the actual tree
+seems almost to touch the one<!-- Page 65 --><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> that you have drawn. Then colour your
+drawing in such a way that the two are alike in colour and form, and
+that if you close one eye both seem painted on the glass and the same
+distance away. Then proceed in the same way with a second and a third
+tree, at distances of a hundred braccia from each other. And these will
+always serve as your standards and teachers when you are at work on
+pictures where they can be applied, and they will cause the work to be
+successful in its distance. But I find it is a rule that the second is
+reduced to four-fifths the size of the first when it is twenty braccia
+distant from it.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc122" id="loc122"></a><p align="center"><strong>CXXII</strong></p>
+
+<p>The great and golden rule of art, as well as of life, is this: That the
+more distinct, sharp, and wiry the bounding line, the more perfect the
+work of art.... Great inventors in all ages knew this: Protogenes and
+Apelles knew each other by this line; Raphael and Michael Angelo, and
+Albert D&uuml;rer, are known by this and this alone. The want of this
+determinate and bounding form evidences the idea of want in the artist's
+mind.</p>
+
+<p align="right"><i>Blake.</i></p>
+
+
+<a name="loc123" id="loc123"></a><p align="center"><strong>CXXIII</strong></p>
+
+<p>My opinion is that he who knows how to draw well and merely does a foot
+or a hand or a neck, can paint everything created in the world; and yet
+there are painters who paint everything there is in the world so<!-- Page 66 --><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+impatiently and so much without worth that it would be better not to do
+it at all. One recognises the knowledge of a great man in the fear with
+which he does a thing the more he understands it; and, on the contrary,
+the ignorance of others in the foolhardy daring with which they fill
+pictures with what they know nothing about. There may be an excellent
+master who has never painted more than a single figure, and without
+painting anything more deserves more renown and honour than those who
+have painted a thousand pictures: he knows better how to do what he has
+not done than the others know what they do.</p>
+
+<p align="right"><i>Michael Angelo.</i></p>
+
+
+<a name="loc124" id="loc124"></a><p align="center"><strong>CXXIV</strong></p>
+
+<p>It is known that bodies in motion always describe some line or other in
+the air, as the whirling round of a firebrand apparently makes a circle,
+the waterfall part of a curve, the arrow and bullet, by the swiftness of
+their motions, nearly a straight line; waving lines are formed by the
+pleasing movement of a ship on the waves. Now, in order to obtain a just
+idea of action, at the same time to be judiciously satisfied of being in
+the right in what we do, let us begin with imagining a line formed in
+the air by any supposed point at the end of a limb or part that is
+moved, or made by the whole part or limb, or by the whole body together.
+And that thus much of movements may be conceived at once is evident, on
+the least recollection;<!-- Page 67 --><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> for whoever has seen a fine Arabian war-horse,
+unbacked and at liberty, and in a wanton trot, cannot but remember what
+a large waving line his rising, and at the same time pressing forward
+cuts through the air, the equal continuation of which is varied by his
+curveting from side to side; whilst his long mane and tail play about in
+serpentine movements.</p>
+
+<p align="right"><i>Hogarth.</i></p>
+
+
+<a name="loc125" id="loc125"></a><p align="center"><strong>CXXV</strong></p>
+
+<p>Distinguish the various planes of a picture by circumscribing them each
+in turn; class them in the order in which they present themselves to the
+daylight; before beginning to paint, settle which have the same value.
+Thus, for example, in a drawing on tinted paper make the parts that
+glitter gleam out with your white, then the lights, rendered also with
+white, but fainter; afterwards those of the half-tones that can be
+managed by means of the paper, then a first half-tone with the chalk,
+&amp;c. When at the edge of a plane which you have accurately marked, you
+have a little more light than at the centre of it, you give so much more
+definition of its flatness or projection. This is the secret of
+modelling. It will be of no use to add black; that will not give the
+modelling. It follows that one can model with very slight materials.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 68 --><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+
+<a name="loc126" id="loc126"></a><p align="center"><strong>CXXVI</strong></p>
+
+<p>Take a style of silver or brass, or anything else provided the point is
+silver, sufficiently fine (sharp) and polished and good. Then to acquire
+command of hand in using the style, begin to draw with it from a copy as
+freely as you can, and so lightly that you can scarcely see what you
+have begun to do, deepening your strokes little by little, and going
+over them repeatedly to make the shadows. Where you would make it
+darkest go over it many times; and, on the contrary, make but few
+touches on the lights. And you must be guided by the light of the sun,
+and the light of your eye, and your hand; and without these three things
+you can do nothing properly. Contrive always when you draw that the
+light is softened, and that the sun strikes on your left hand; and in
+this manner you should begin to practise drawing only a short time every
+day, that you may not become vexed or weary.</p>
+
+<p align="right"><i>Cennino Cennini.</i></p>
+
+
+<a name="loc127" id="loc127"></a><p align="center"><strong>CXXVII</strong></p>
+
+<p><i>Charcoal.</i> You can't draw, you paint with it.</p>
+
+<p><i>Pencil.</i> It is always touch and go whether I can manage it even now.
+Sometimes knots will come in it, and I never can get them out&mdash;I mean
+little black specks. If I have once india-rubbered it, it doesn't make a
+good drawing. I look on a perfectly successful draw<!-- Page 69 --><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>ing as one built
+upon a groundwork of clear lines till it is finished. It's the same kind
+of thing with red chalk&mdash;it mustn't be taken out: rubbing with the
+finger is all right. In fact you don't succeed with any process until
+you find out how you may knock it about and in what way you must be
+careful. Slowly built-up texture in oil-painting gives you the best
+chance of changing without damage when it is necessary.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc128" id="loc128"></a><p align="center"><strong>CXXVIII</strong></p>
+
+<p>The simpler your lines and forms are the stronger and more beautiful
+they will be. Whenever you break up forms you weaken them. It is as with
+everything else that is split and divided.</p>
+
+<p align="right"><i>Ingres.</i></p>
+
+
+<a name="loc129" id="loc129"></a><p align="center"><strong>CXXIX</strong></p>
+
+<p>The draperies with which you dress figures ought to have their folds so
+accommodated as to surround the parts they are intended to cover; that
+in the mass of light there be not any dark fold, and in the mass of
+shadows none receiving too great a light. They must go gently over,
+describing the parts; but not with lines across, cutting the members
+with hard notches, deeper than the part can possibly be; at the same
+time, it must fit the body, and not appear like an empty bundle of
+cloth; a fault of many painters, who, enamoured of the quantity and
+variety of folds, have<!-- Page 70 --><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> encumbered their figures, forgetting the
+intention of clothes, which is to dress and surround the parts
+gracefully wherever they touch; and not to be filled with wind, like
+bladders puffed up where the parts project. I do not deny that we ought
+not to neglect introducing some handsome folds among these draperies,
+but it must be done with great judgment, and suited to the parts, where,
+by the actions of the limbs and position of the whole body, they gather
+together. Above all, be careful to vary the quality and quantity of your
+folds in compositions of many figures; so that, if some have large
+folds, produced by thick woollen cloth, others being dressed in thinner
+stuff, may have them narrower; some sharp and straight, others soft and
+undulating.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc130" id="loc130"></a><p align="center"><strong>CXXX</strong></p>
+
+<p>Do not spare yourself in drawing from the living model, draped as well
+as undraped; in fact, draw drapery continually, for remember that the
+beauty of your design must largely depend on the design of the drapery.
+What you should aim at is to get so familiar with all this that you can
+at last make your design with ease and something like certainty, without
+drawing from models in the first draught, though you should make studies
+from nature afterwards.</p>
+
+<p align="right"><i>William Morris.</i></p>
+<p><!-- Page 71 --><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+
+
+<a name="loc131" id="loc131"></a><p align="center"><strong>CXXXI</strong></p>
+
+<p>A woman's shape is best in repose, but the fine thing about a man is
+that he is such a splendid machine, so you can put him in motion, and
+make as many knobs and joints and muscles about him as you please.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc132" id="loc132"></a><p align="center"><strong>CXXXII</strong></p>
+
+<p>I want to draw from the nude this summer as much as I possibly can; I am
+sure that it is the only way to keep oneself up to the standard of
+draughtsmanship that is so absolutely necessary to any one who wishes to
+become a craftsman in preference to a glorified amateur.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc133" id="loc133"></a><p align="center"><strong>CXXXIII</strong></p>
+
+<p>Always when you draw make up your mind definitely as to what are the
+salient characteristics of the object, and express those as personally
+as you can, not minding whether your view is or is not shared by your
+relatives and friends. Now this is not <i>carte blanche</i> to be capricious,
+nor does it intend to make you seek for novelty; but if you are true to
+your own vision, as heretofore you have been, you will always be
+original and personal in your work. In stating your opinion on the
+structural character of man, bird, or beast, always wilfully caricature;
+it gives you something to prune, which is ever<!-- Page 72 --><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> so much more
+satisfactory than having constantly to fill gaps which an unincisive
+vision has caused, and which will invariably make work dull and mediocre
+and wooden.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc134" id="loc134"></a><p align="center"><strong>CXXXIV</strong></p>
+
+<p>In Japanese painting form and colour are represented without any attempt
+at relief, but in European methods relief and illusion are sought for.</p>
+
+<p align="right"><i>Hokusai.</i></p>
+
+
+<a name="loc135" id="loc135"></a><p align="center"><strong>CXXXV</strong></p>
+
+<p>It is indeed ridiculous that most of our people are disposed to regard
+Western paintings as a kind of Uki-ye. As I have repeatedly remarked, a
+painting which is not a faithful copy of nature has neither beauty nor
+is worthy of the name. What I mean to say is this: be the subject what
+it may, a landscape, a bird, a bullock, a tree, a stone, or an insect,
+it should be treated in a way so lifelike that it is instinct with life
+and motion. Now this is beyond the possibility of any other art save
+that of the West. Judged from this point of view, Japanese and Chinese
+paintings look very puerile, hardly deserving the name of art. Because
+people have been accustomed to such daub-like productions, whenever they
+see a master painting of the West, they merely pass it by as a mere
+curiosity, or dub it a Uki-ye, a misconception which betrays sheer
+ignorance.</p>
+
+<p align="right"><i>Shiba Kokan</i> (Japanese, eighteenth century).</p>
+<p><!-- Page 73 --><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+
+<a name="loc136" id="loc136"></a><p align="center"><strong>CXXXVI</strong></p>
+
+<p>These accents are to painting what melody is to the harmonic base, and
+more than anything else they decide victory or defeat. A method is of
+little account at those moments when the final effect is at hand; one
+uses any means, even diabolical invocations, and when the need comes,
+when I have exhausted the resources of pigment, I use a scraper,
+pumice-stone, and if nothing else serves, the handle of my brush.</p>
+
+<p align="right"><i>Rousseau.</i></p>
+
+
+<a name="loc137" id="loc137"></a><p align="center"><strong>CXXXVII</strong></p>
+
+<p>The noblest relievo in painting is that which is resultant from the
+treatment of the masses, not from the vulgar swelling and rounding of
+the bodies; and the noble Venetian massing is excellent in this quality.
+Those parts in which there is necessity for salient quality of relief
+must be expressed with a certain quadrature, a certain varied grace of
+accent like that which the bony ridge develops in beautiful wrists and
+ankles, also in some of the tunic-folds that fall behind the arm of the
+recumbent Fate over the middle of the figure of the Newlands Titian; and
+again in some of the happiest passages in the graceful women of Lodovico
+Caracci, and in their vesture folds, <i>e.g.</i> the bosom and waist of the
+St. Catherine.</p>
+
+<p>Doubtless there is a choice, or design were vain. There must be courage
+to <i>reject</i> no less than to <i>gather</i>. A man is at liberty to neglect
+things that are repugnant to his disposition. He may, if he please, have
+nothing<!-- Page 74 --><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> to do with thistle or thorn, with bramble or brier....
+Nevertheless sharp and severe things are yet dear to some souls. Nor
+should I understand the taste that would reject the wildness of the
+thorn and holly, or the child-loving labyrinths of the bramble, or
+wholesome ranges of the downs and warrens fragrant with gorse.</p>
+
+<p>No one requires of the painter that he even attempt to render the
+multitude and infinitude of Nature; but that he <i>represent</i> it through
+the chastened elements of his proper instrument, with a performance
+rendered distinctive and facile by study and genial impulse.</p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc138" id="loc138"></a><p align="center"><strong>CXXXVIII</strong></p>
+
+<p>Modelling is parent of the art of chasing, as of the art of sculpturing.
+Skilful as he was in these arts, he executed nothing which he had not
+modelled.</p>
+
+<p align="right"><i>Pasiteles.</i></p>
+
+
+<a name="loc139" id="loc139"></a><p align="center"><strong>CXXXIX</strong></p>
+
+<p>Don't <i>invent</i> arrangements, select them, leaving out what you consider
+to be unimportant, and above all things don't be influenced in the
+arrangements you select by any pictures you may see, except perhaps the
+Japanese.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc139a" id="loc139a"></a><p align="center"><strong>CXXXIXa</strong></p>
+
+<p>He alone can conceive and compose who sees the whole at once before him.</p>
+
+<p align="right"><i>Fuseli.</i></p>
+<p><!-- Page 75 --><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+
+
+
+<h2><a name="COLOUR" id="COLOUR"></a>COLOUR</h2>
+
+
+<a name="loc140" id="loc140"></a><p align="center"><strong>CXL</strong></p>
+
+<p>He who desires to be a painter must learn to rule the black, and red,
+and white.</p>
+
+<p align="right"><i>Titian.</i></p>
+
+
+<a name="loc141" id="loc141"></a><p align="center"><strong>CXLI</strong></p>
+
+<p>There is the black which is old and the black which is fresh, lustrous
+black and dull black, black in sunlight and black in shadow. For the old
+black, one must use an admixture of red; for the fresh black, an
+admixture of blue; for the dull black, an admixture of white; for
+lustrous black, gum must be added; black in sunlight must have grey
+reflections.</p>
+
+<p align="right"><i>Hokusai.</i></p>
+
+
+<a name="loc142" id="loc142"></a><p align="center"><strong>CXLII</strong></p>
+
+<p>When you are painting put a piece of black velvet between your eye and
+nature; by this means you will easily convince yourself that in nature
+everything is blond, even the dark trunks of trees relieved against the
+sky. Black, when it is in shadow, is strong in tone, but ceases to be
+black.</p>
+
+<p align="right"><i>Dutilleux.</i></p>
+
+
+<a name="loc143" id="loc143"></a><p align="center"><strong>CXLIII</strong></p>
+
+<p>The Variation of Colour in uneven Superficies, is what confounds an
+unskilful Painter; but if he takes Care to mark the Outlines of his
+Superficie, and the Seat of his Lights, he will find the true Colouring
+no such difficult matter: For first he will alter the Super<!-- Page 76 --><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>ficies
+properly as far as the Line of Separation, either with White or Black
+sparingly as only with gentle Dew; then he will in the same Manner bedew
+the other Side of the Line, if I may be allowed the expression, then
+this again and so on by turns, till the light Side is brightened with
+more transparent Colour, and the same Colour on the other Side dies away
+like Smoak into an easy Shade. But you should always remember, that no
+Superficie should ever be made so white that you cannot make it still
+brighter: Even in Painting the whitest Cloaths you should abstain from
+coming near the strongest of that Colour; because the Painter has
+nothing but White wherewith to imitate the Polish of the most shining
+Superficie whatsoever, as I know of none but Black with which he can
+represent the utmost Shade and Obscurity of Night. For this Reason, when
+he paints a white Habit, he should take one of the four Kinds of Colours
+that are clear and open; and so again in painting any black Habit, let
+him use another Extream, but not absolute Black, as for Instance, the
+Colour of the Sea where it is very deep, which is extreamly dark. In a
+Word, this Composition of Black and White has so much Power, that when
+practised with Art and Method, it is capable of representing in Painting
+the Superficie either of Gold or of Silver, and even of the clearest
+Glass. Those Painters, therefore, are greatly to be condemned, who make
+use of White immoderately and of Black without Judgment; for which
+reason I could wish that the Painters were obliged to buy their White at
+a greater <!-- Page 77 --><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>Price than the most costly Gems, and that both White and
+Black were to be made of those Pearls which Cleopatra dissolved in
+Vinegar; that they might be more chary of it.</p>
+
+<p align="right"><i>Leon Battista Alberti.</i></p>
+
+<a name="fp74" id="fp74"></a><div class="figright" style="width: 550px;">
+<img src="images/fp74.jpg" width="550" height="440" alt="Signorelli THE MUSIC OF PAN Hanfstaengl" /></div>
+
+
+<a name="loc144" id="loc144"></a><p align="center"><strong>CXLIV</strong></p>
+
+<p>A word as to colour. One can only give warnings against possible faults;
+it is clearly impossible to teach colour by words, even ever so little
+of it, though it can be taught in a workshop, at least partially. Well,
+I should say, be rather restrained than over-luxurious in colour, or you
+weary the eye. Do not attempt over-refinements in colour, but be frank
+and simple. If you look at the pieces of colouring that most delight you
+in ornamental work, as, <i>e.g.</i> a Persian carpet, or an illuminated book
+of the Middle Ages, and analyse its elements, you will, if you are not
+used to the work, be surprised at the simplicity of it, the few tints
+used, the modesty of the tints, and therewithal the clearness and
+precision of all boundary lines. In all fine flat colouring there are
+regular systems of dividing colour from colour. Above all, don't attempt
+iridescent blendings of colour, which look like decomposition. They are
+about as much as possible the reverse of useful.</p>
+
+<p align="right"><i>William Morris.</i></p>
+
+
+<a name="loc145" id="loc145"></a><p align="center"><strong>CXLV</strong></p>
+
+<p>After seeing all the fine pictures in France, Italy, and Germany, one
+must come to this conclusion&mdash;that<!-- Page 78 --><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> <i>colour</i>, if not the first, is at
+least an essential quality in painting. No master has as yet maintained
+his ground beyond his own time without it. But in oil painting it is
+richness and depth alone that can do justice to the material. Upon this
+subject every prejudice with which I left home is, if anything, not only
+confirmed but increased. What Sir Joshua wrote, and what our friend Sir
+George so often supported, <i>was right</i>; and after seeing what I have
+seen, I am not now to be <i>talked</i> out of it.</p>
+
+<p>With us, as you know, every young exhibitor with pink, white, and blue,
+thinks himself a colourist like Titian; than whom perhaps no painter is
+more misrepresented or misunderstood. I saw myself at Florence his
+famous Venus upon an easel, with Kirkup and Wallis by me. This picture,
+so often copied, and every copy a fresh mistake, is, what I expected it
+to be, deep yet brilliant; indescribable in its hues, yet simple beyond
+example in its execution and its colouring. Its flesh (O how our friends
+at home would stare!) is a simple, sober, mixed-up tint, and apparently,
+like your skies, completed while wet. No scratchings, no hatchings, no
+scumbling nor multiplicity of repetitions&mdash;no ultramarine lakes nor
+vermilions&mdash;not even a mark of the brush visible; all seemed melted in
+the fat and glowing mass, solid yet transparent, giving the nearest
+approach to life that the painter's art has ever yet reached.</p>
+
+<p align="right"><i>Wilkie.</i></p>
+<p><!-- Page 79 --><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+
+<a name="loc146" id="loc146"></a><p align="center"><strong>CXLVI</strong></p>
+
+<p>In painting, get the main tones first. Do not forget that white by
+itself should be used very sparingly; to make anything of a beautiful
+colour, accentuate the tones clearly, lay them fresh and in facets; no
+compromise with ambiguous and false tones; colour in nature is a mixture
+of single tones adapted to one another.</p>
+
+<p align="right"><i>Chass&eacute;riau.</i></p>
+
+
+<a name="loc147" id="loc147"></a><p align="center"><strong>CXLVII</strong></p>
+
+<p>A thing to remember always: avoid greenish tones.</p>
+
+<p align="right"><i>Chass&eacute;riau.</i></p>
+
+
+<a name="loc148" id="loc148"></a><p align="center"><strong>CXLVIII</strong></p>
+
+<p>One is a colourist by values, by colour and light; there are colourists
+who are luminarists as there are colourists pure and simple. Titian is a
+colourist but not a luminarist, while Correggio is a colourist and a
+luminarist.</p>
+
+<p>The simple colourists are those who content themselves with representing
+the tones in their value and colour without troubling about the magic of
+light; they also give to tones all their intensity.</p>
+
+<p>The luminarists, as the word indicates, make light the most important
+thing. Three names will make you understand; Rembrandt, Correggio, and
+Claude Lorraine.</p>
+
+<p>Claude, taking the light of the sun for a starting-point, justifies his
+method by nature: you know that he starts from a luminous point, and
+that point is the sun.<!-- Page 80 --><span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> To make this brilliant you must make great
+sacrifices, for you have no doubt remarked that we painters always begin
+with a half-tint; as our paintings are not brightened by the light of
+the sun, and start with a half-tint, it is necessary by the magic of
+tones to make this half-tint shine like a luminous thing. You see that
+it is a difficult problem to solve; how does Claude do it? He does not
+copy the exact tones of nature, since beginning with a dull one, he is
+obliged to make it luminous. He transposes as in music; he observes all
+things constituting light, remarks that the rays prevent us from seizing
+the outline of a bright object, that then the flame is enveloped by a
+bright halo; then by a second one less vivid, and so on until the tones
+become dull and sombre. In short, to make myself understood, his picture
+seen from distance represents a flame.</p>
+
+<p>Correggio also works in this way. Take for example his picture of
+Antiope.</p>
+
+<p>The woman, enveloped in a panther skin, is as bright as a flame. The
+soft red tone forms the first halo, then the light blue draperies with a
+slight greenish tint form the second halo. The Satyr has a value a few
+degrees below that of the draperies, making it the third halo. When the
+bouquet is thus formed, Correggio surrounds it with beautiful dark
+leaves, shading towards the extremities of the canvas. These gradations
+are so well observed, that if you put the picture at so great a distance
+that you cannot see the figures, you will still have the representation
+of light.</p>
+
+<p align="right"><i>Couture.</i></p>
+<p><!-- Page 81 --><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+
+<a name="loc149" id="loc149"></a><p align="center"><strong>CXLIX</strong></p>
+
+<p>Painters who are not colourists make illuminations and not paintings.
+Painting, properly speaking&mdash;unless one wants to produce a
+monochrome&mdash;implies the idea of colour as one of its fundamental
+elements, together with chiaroscuro, proportion, and perspective.
+Proportion applies to sculpture as to painting. Perspective determines
+the outline; chiaroscuro produces relief by the arrangement of shadow
+and light in relation to the background; colour gives the appearance of
+life, &amp;c.</p>
+
+<p>The sculptor does not begin his work with an outline; he builds up with
+his material a likeness of the object which, rough at first, establishes
+from the beginning the essential conditions of relief and solidity.</p>
+
+<p>Colourists, being those who unite all the qualities of painting, must,
+in a single process and at first setting to work, secure the conditions
+peculiar and essential to their art.</p>
+
+<p>They have to mass with colour, as the sculptor with clay, marble, or
+stone; their sketch, like the sculptor's, must show proportion,
+perspective, effect, and colour.</p>
+
+<p>Outline is as ideal and conventional in painting as in sculpture; it
+should result naturally from the good arrangement of the essential
+parts. The combined preparation of effect which implies perspective and
+colour will approach more or less the actual aspect of things, according
+to the degree of the painter's skill; but this foundation will contain
+potentially everything included in the final result.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 82 --><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+
+<a name="loc150" id="loc150"></a><p align="center"><strong>CL</strong></p>
+
+<p>I believe colour to be a quite indispensable quality in the <i>highest</i>
+art, and that no picture ever belonged to the highest order without it;
+while many, by possessing it&mdash;as the works of Titian&mdash;are raised
+certainly into the highest <i>class</i>, though not to the very highest grade
+of that class, in spite of the limited degree of their other great
+qualities. Perhaps the <i>only</i> exception which I should be inclined to
+admit exists in the works of Hogarth, to which I should never dare to
+assign any but the very highest place, though their colour is certainly
+not a prominent feature in them. I must add, however, that Hogarth's
+colour is seldom other than pleasing to myself, and that for my own part
+I should almost call him a colourist, though not aiming at colour. On
+the other hand, there are men who, merely on account of bad colour,
+prevent me from thoroughly enjoying their works, though full of other
+qualities. For instance, Wilkie or Delaroche (in nearly all his works,
+though the H&eacute;micycle is fine in colour). From Wilkie I would at any time
+prefer a thoroughly fine engraving&mdash;though of course he is in no respect
+even within hail of Hogarth. Colour is the physiognomy of a picture;
+and, like the shape of the human forehead, it cannot be perfectly
+beautiful without proving goodness and greatness. Other qualities are in
+its life exercised; but this is the body of its life, by which we know
+and love it at first sight.</p>
+
+<p align="right"><i>Rossetti.</i></p>
+<p><!-- Page 83 --><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
+
+
+<a name="loc151" id="loc151"></a><p align="center"><strong>CLI</strong></p>
+
+<p>In regard to the different modes of painting the flesh, I belief it is
+of little consequence which is pursued, if you only keep the colours
+distinct; too much mixing makes them muddy and destroys their
+brilliancy, you know. Sir Joshua was of opinion that the grey tints in
+the flesh of Titian's pictures were obtained by scumbling cool tints
+over warm ones; and others prefer commencing in a cool grey manner, and
+leaving the greys for the middle tints, whilst they paint upon the
+lights with warmer colours, also enriching the shadows with warmer and
+deeper colours too. But for my own part, I have always thought it a good
+way to consider the flesh as composed of different coloured network laid
+over each other, as is really the case in nature, and may be seen by
+those who will take the pains to look carefully into it.</p>
+
+<p align="right"><i>Northcote.</i></p>
+
+
+<a name="loc152" id="loc152"></a><p align="center"><strong>CLII</strong></p>
+
+<p>The utmost beauty of colouring depends on the great principle of varying
+by all the means of varying, and on the proper and artful union of that
+variety.</p>
+
+<p>I am apt to believe that the not knowing nature's artful and intricate
+method of uniting colours for the production of the variegated
+composition, or prime tint of flesh, hath made colouring, in the art of
+painting, a kind of mystery in all ages; insomuch, that it may fairly be
+said, out of the many thousands who have<!-- Page 84 --><span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> labour'd to attain it, not
+above ten or twelve painters have happily succeeded therein; Correggio
+(who lived in a country village, and had nothing but the life to study
+after) is said almost to have stood alone for this particular
+excellence. Guido, who made beauty his chief aim, was always at a loss
+about it. Poussin scarce ever obtained a glimpse of it, as is manifest
+by his many different attempts: indeed France hath not produced one
+remarkable good colourist.</p>
+
+<p>Rubens boldly, and in a masterly manner, kept his bloom tints bright,
+separate, and distinct, but sometimes too much so for easel or cabinet
+pictures; however, his manner was admirably well calculated for great
+works, to be seen at a considerable distance, such as his celebrated
+ceiling at Whitehall Chapel: which upon a nearer view will illustrate
+what I have advanc'd with regard to the separate brightness of the
+tints; and shew, what indeed is known to every painter, that had the
+colours there seen so bright and separate been all smooth'd and
+absolutely blended together, they would have produced a dirty grey
+instead of flesh-colour. The difficulty then lies in bringing <i>blue</i>,
+the third original colour, into flesh, on account of the vast variety
+introduced thereby; and this omitted, all the difficulty ceases; and a
+common sign-painter that lays his colours smooth, instantly becomes, in
+point of colouring, a Rubens, a Titian, or a Correggio.</p>
+
+<p align="right"><i>Hogarth.</i></p>
+<p><!-- Page 85 --><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p>
+
+
+<a name="loc153" id="loc153"></a><p align="center"><strong>CLIII</strong></p>
+
+<p align="center">COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA</p>
+
+<p>It seems painted in (their) juicy, fat colour, the parts completed one
+after another upon the bare pannel, the same as frescoes upon the
+flattened wall. Simplicity of tint and of colour prevails; no staining
+or mottled varieties: the flesh, both in light and shadow, is produced
+by one mixed up tint so melted that no mark of the brush is seen. There
+is here no scratching or scumbling&mdash;no repetitions; all seems prepared
+at once for the glaze, which, simple as the painting is, gives to it
+with fearless hand the richness and glow of Correggio. All imitations of
+this master are complicated compared to this, and how complicated and
+abstruse does it make all attempts of the present day to give similar
+effects in colouring! Here is one figure in outline upon the prepared
+board, with even the finger-marks in colour of the painter himself. Here
+is the preparation of the figures painted up at once, and, strange to
+say, with solid and even sunny colours. Here are the heads of a woman
+and of a naked child, completed with the full zest and tone of
+Correggio, in texture fine, and in expression rich and luxurious, and as
+fine an example of his powers as any part to be found in his most
+celebrated work.</p>
+
+<p align="right"><i>Wilkie.</i></p>
+<p><!-- Page 86 --><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+
+
+<a name="loc154" id="loc154"></a><p align="center"><strong>CLIV</strong></p>
+
+<p>In a modern exhibition pictures lose by tone at first glance, but in the
+Louvre pictures gained, and Titian, Correggio, Rubens, Cuyp, and
+Rembrandt combated everything by the depth of their tones; and one still
+hopes that, when toning is successfully done, it will prevail.</p>
+
+<p>You have now got your exhibition open in Edinburgh: do you find tone and
+depth an advantage there or not? Painting bright and raw, if one can
+find in his heart to lower and glaze it afterwards, is always
+satisfactory; but unless strength can be combined with this, it will
+never be the fashion in our days.</p>
+
+<p align="right"><i>Wilkie.</i></p>
+
+
+<a name="loc155" id="loc155"></a><p align="center"><strong>CLV</strong></p>
+
+<p>I went into the National Gallery and refreshed myself with a look at the
+pictures. One impression I had was of how much more importance the tone
+of them is than the actual tint of any part of them. I looked close into
+the separate colours and they were all very lovely in their quality&mdash;but
+the whole colour-effect of a picture then is not very great. It is the
+entire result of the picture that is so wonderful. I peered into the
+whites to see how they were made, and it is astonishing how little white
+there would be in a white dress&mdash;none at all, in fact&mdash;and yet it looks
+white. I went again and looked at the Van Eyck, and saw how clearly the
+like of it is not to be done by me. But he had many<!-- Page 87 --><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> advantages. For one
+thing, he had all his objects in front of him to paint from. A nice,
+clean, neat floor of fair boards well scoured, pretty little dogs and
+everything. Nothing to bother about but making good portraits&mdash;dresses
+and all else of exactly the right colour and shade of colour. But the
+tone of it is simply marvellous, and the beautiful colour each little
+object has, and the skill of it all. He permits himself extreme darkness
+though. It's all very well to say it's a purple dress&mdash;very dark brown
+is more the colour of it. And the black, no words can describe the
+blackness of it. But the like of it is not for me to do&mdash;can't be&mdash;not
+to be thought of.</p>
+
+<p>As I walked about there I thought if I had my life all over again, what
+would I best like to do in the way of making a new start once more; it
+would be to try and paint more like the Italian painters. And that's
+rather happy for a man to feel in his last days&mdash;to find that he is
+still true to his first impulse, and doesn't think he has wasted his
+life in wrong directions.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc156" id="loc156"></a><p align="center"><strong>CLVI</strong></p>
+
+<p>All painting consists of sacrifices and <i>parti-pris</i>.</p>
+
+<p align="right"><i>Goya.</i></p>
+
+
+<a name="loc157" id="loc157"></a><p align="center"><strong>CLVII</strong></p>
+
+<p>In nature, colour exists no more than line,&mdash;there is only light and
+shade. Give me a piece of charcoal, and I will paint your portrait for
+you.</p>
+
+<p align="right"><i>Goya.</i></p>
+<p><!-- Page 88 --><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+
+<a name="loc158" id="loc158"></a><p align="center"><strong>CLVIII</strong></p>
+
+<p>It requires much more observation and study to arrive at perfection in
+the shadowing of a picture than in merely drawing the lines of it. The
+proof of this is, that the lines may be traced upon a veil or a flat
+glass placed between the eye and the object to be imitated. But that
+cannot be of any use in shadowing, on account of the infinite gradation
+of shades, and the blending of them which does not allow of any precise
+termination; and most frequently they are confused, as will be
+demonstrated in another place.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+
+
+<h2><a name="LIGHT_AND_SHADE1" id="LIGHT_AND_SHADE1"></a>LIGHT  AND  SHADE</h2>
+
+
+<a name="loc159" id="loc159"></a><p align="center"><strong>CLIX</strong></p>
+
+<p>Forget not therefore that the principal part of Painting or Drawing
+after the life consisteth in the truth of the line, as one sayeth in a
+place that he hath seen the picture of her Majesty in four lines very
+like, meaning by four lines but the plain lines, as he might as well
+have said in one line, but best in plain lines without shadowing; for
+the line without shadow showeth all to a good Judgement, but the shadow
+without line showeth nothing, as, for example, though the shadow of a
+man against a white wall sheweth like a man, yet it is not the shadow
+but the line of the shadow, which is so true that it resembleth
+excellently well, as drawn by that line about the shadow with a coal,
+and when the shadow is gone it will resemble better than before, and
+may, if it be a fair face, have sweet countenance even in the line; for
+the line<!-- Page 89 --><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> only giveth the countenance, but both line and colour giveth
+the lively likeness, and shadows shew the roundness and the effect or
+Defect of the light wherein the picture was drawn. This makes me to
+remember the words also and reasoning of her Majesty when first I came
+in her highness' presence to draw, who after shewing me how she noted
+great difference of shadowing in the works and Diversity of Drawers of
+sundry nations, and that the Italians who had the name to be cunningest
+and to Draw best, shadowed not. Requiring of me the reason of it, seeing
+that best to shew oneself needeth no shadow of place but rather the open
+light, to which I granted, affirmed that shadows in pictures were indeed
+caused by the shadow of the place or coming in of the light at only one
+way into the place at some small or high window, which many workmen
+covet to work in for ease to their sight, and to give unto them a
+grosser line and a more apparent line to be deserved, and maketh the
+work imborse well and show very well afar off, which to Limning work
+needeth not, because it is to be viewed of necessity in hand near unto
+the Eye. Here her Majesty conceived the reason, and therefore chose her
+place to sit in for that purpose in the open alley of a goodly garden,
+where no tree was near nor any shadow at all, save that as the Heaven is
+lighter than the earth, so must that little shadow that was from the
+earth; this her Majesty's curious Demand hath greatly bettered my
+Judgement, besides divers other like questions in Art by her most
+excellent Majesty, which to speak or write of were fitter for some
+better clerk. This matter only of the light let me perfect<!-- Page 90 --><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> that no wise
+man longer remain in Error of praising much shadows in pictures which
+are to be viewed in hand; great pictures high or far off Require hard
+shadows to become the better then nearer in story work better than
+pictures of the life; for beauty and good favour is like clear truth,
+which is not shadowed with the light nor made to be obscured, as a
+picture a little shadowed may be borne withal for the rounding of it,
+but so greatly smutted or Darkened as some use Disgrace it, and in like
+truth ill told, if a very well favoured woman show in a place where is
+great shadow, yet showeth she lovely not because of the shadow but
+because of her sweet favour consisting in the line or proportion, even
+that little which the light scarcely showeth greatly pleaseth, proving
+the Desire to see more.</p>
+
+<p align="right"><i>Nicholas Hilliard.</i></p>
+
+
+<a name="loc160" id="loc160"></a><p align="center"><strong>CLX</strong></p>
+
+<p>The lights cast from small windows also present a strong contrast of
+light and shadow, more especially if the chamber lit by them is large;
+and this is not good to use in painting.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc161" id="loc161"></a><p align="center"><strong>CLXI</strong></p>
+
+<p>When you are drawing from nature the light should be from the north, so
+that it may not vary; and if it is from the south keep the window
+covered with a curtain so that though the sun shine upon it all day long
+the light will undergo no change. The elevation of the<!-- Page 91 --><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> light should be
+such that each body casts a shadow on the ground which is of the same
+length as its height.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc162" id="loc162"></a><p align="center"><strong>CLXII</strong></p>
+
+<p>Above all let the figures that you paint have sufficient light and from
+above, that is, all living persons whom you paint, for the people whom
+you see in the streets are all lighted from above; and I would have you
+know that you have no acquaintance so intimate but that if the light
+fell on him from below you would find it difficult to recognise him.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc163" id="loc163"></a><p align="center"><strong>CLXIII</strong></p>
+
+<p>If by accident it should happen, that when drawing or copying in
+chapels, or colouring in other unfavourable places, you cannot have the
+light on your left hand, or in your usual manner, be sure to give relief
+to your figures or design according to the arrangement of the windows
+which you find in these places, which have to give you light, and thus
+accommodating yourself to the light on which side soever it may be, give
+the proper lights and shadows. Or if it were to happen that the light
+should enter or shine right opposite or full in your face, make your
+lights and shades accordingly; or if the light should be favourable at a
+window larger than the others in the above-mentioned places, adopt
+always the best light, and try to understand and follow it carefully,
+because, wanting this, your work would be without relief, a foolish
+thing without mastery.</p>
+
+<p align="right"><i>Cennino Cennini.</i></p>
+<p><!-- Page 92 --><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+
+
+<a name="loc164" id="loc164"></a><p align="center"><strong>CLXIV</strong></p>
+
+<p>You have heard about Merlin's magic art; here in Venice you may <i>see</i>
+that of Titian, Giorgione, and all the others. In the Palazzo Barbarigo
+we went to the room which is said to have been Titian's studio for some
+time. The window faces the south, and the sun is shining on the floor by
+two o'clock. This made us think, whether you should not, after all, let
+the sun be there while you are painting. A temperate sunlight in the
+room makes the lights golden, and through the many, crossing, warm
+reflections the shadows get clearer and more transparent. But the
+difficulty is to know how to deal with such a shimmer; it is easier to
+paint with the light coming from the north. On the other hand, you see
+that the Venetians never tried to render in painting the impression of
+real, open sunlight. Their delicate sense of colour found a greater
+delight in looking at the fine fused tones and shades which are seen
+when the sunlight is only reflected under the clear blue sky and between
+the high palaces. Therefore, you often think that you see, for instance,
+groups of gondoliers on the Piazzetta in gay silvery notes, as in any
+painting by Paolo Veronese; and in the warm daylight in the great,
+gorgeous halls of the Palazzo Ducale there are still figures walking
+about in a colour as golden and fresh as if they were paintings by
+Titian.</p>
+
+<p align="right"><i>E. Lundgren.</i></p>
+<p><!-- Page 93 --><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+
+
+
+<h2><a name="PORTRAITURE" id="PORTRAITURE"></a>PORTRAITURE</h2>
+
+
+<a name="loc165" id="loc165"></a><p align="center"><strong>CLXV</strong></p>
+
+<p>Painting the face of a pretty young girl is like carving a portrait in
+silver. There may be great elaboration, but no likeness will be
+forthcoming. It is better to put the elaboration into the young lady's
+clothes, and trust to a touch here and a stroke there to bring out her
+beauty as it really is.</p>
+
+<p align="right"><i>Ku K'ai-Chih</i> (Chinese, fourth century).</p>
+
+
+<a name="loc166" id="loc166"></a><p align="center"><strong>CLXVI</strong></p>
+
+<p>Portraiture may be great art. There is a sense, indeed, in which it is
+perhaps the greatest art of any. And portraiture involves expression.
+Quite true, but expression of what? Of a passion, an emotion, a mood?
+Certainly not. Paint a man or a woman with the damned &quot;pleasing
+expression,&quot; or even the &quot;charmingly spontaneous&quot; so dear to the
+&quot;photographic artist,&quot; and you see at once that the thing is a mask, as
+silly as the old tragic and comic mask. The only expression allowable in
+great portraiture is the expression of character and moral quality, not
+of anything temporary, fleeting, and accidental. Apart from portraiture
+you don't want even so much, or very seldom: in fact, you only want
+types, symbols, suggestions. The moment you give what people call
+expression, you destroy the typical character of heads and degrade them
+into portraits which stand for nothing.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+<p><!-- Page 94 --><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+
+
+<a name="loc167" id="loc167"></a><p align="center"><strong>CLXVII</strong></p>
+
+<p>It produces a magnificent effect to place whole figures and groups,
+which are in shade, against a light field. The contrary, <i>i.e.</i> figures
+that are in light against a dark field, cannot be so perfectly
+expressed, because every illuminated figure, with or without a side
+light, will have some shade. The nearest approach to this is when the
+object so treated happen to be very fair, with other objects reflecting
+into their shades.</p>
+
+<p><span style="margin-left: 2.5em;">Shade against shade is indefinite. Light and shade against shade</span><br />
+<span style="margin-left: 2.5em;">are mediate. Light against shade is perspicuous. Light and shade</span><br />
+<span style="margin-left: 2.5em;">against light is mediate. Light against light is indefinite or</span><br />
+<span style="margin-left: 2.5em;">indistinct.</span></p>
+
+<p align="right"><i>Edward Calvert.</i></p>
+
+
+<a name="loc168" id="loc168"></a><p align="center"><strong>CLXVIII</strong></p>
+
+<p>Most of the masters have had a way, slavishly imitated by their schools
+and following, of exaggerating the darkness of the backgrounds which
+they give their portraits. They thought in this way to make the heads
+more interesting, but this darkness of background, in conjunction with
+faces lighted as we see them in nature, deprives these portraits of that
+character of simplicity which should be dominant in them. This darkness
+places the objects intended to be thrown into relief in quite abnormal
+conditions. Is it natural that a face<!-- Page 95 --><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> seen in light should stand out
+against a really dark background&mdash;that is to say, one which receives no
+light? Ought not the light which falls on the figure to fall also on the
+wall, or the tapestry against which the figure stands? Unless it should
+happen that the face stands out against drapery of an extremely dark
+tone&mdash;but this condition is very rare, or against the entrance of a
+cavern or cellar entirely deprived of daylight&mdash;a circumstance still
+rarer&mdash;the method cannot but appear factitious.</p>
+
+<p>The chief charm in a portrait is simplicity. I do not count among true
+portraits those in which the aim has been to idealise the features of a
+famous man when the painter has to reconstruct the face from traditional
+likenesses; there, invention rightly plays a part. True portraits are
+those painted from contemporaries. We like to see them on the canvas as
+we meet them in daily life, even though they should be persons of
+eminence and fame.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc169" id="loc169"></a><p align="center"><strong>CLXIX</strong></p>
+
+<p>Verestchagin says the old-fashioned way of setting a portrait-head
+against a dark ground is not only unnecessary, but being usually untrue
+when a person is seen by daylight, should be exploded as false and
+unreal. But it is certain a light garish background behind a painted
+head will not permit that head to have the importance it should have in
+reality, when the actual facts, solidity, movement, play of light and
+shadow,<!-- Page 96 --><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> personal knowledge of the individual or his history, joined to
+the effects of different planes, distances, materials, &amp;c., will combine
+to invest the reality with interests the most subtle and dexterous
+artistic contrivances cannot compete with, and which certainly the
+artist cannot with reason be asked to resign. A sense of the power of an
+autocrat, from whose lips one might be awaiting consignment to a dungeon
+or death, would be as much felt if he stood in front of the commonest
+wall-paper, in the commonest lodging-house, in the meanest
+watering-place, but no such impressions could be conveyed by the painter
+who depicted such surroundings. Lastly, I must strongly dissent from the
+opinion recently expressed by some, that seems to imply that a
+portrait-picture need have no interest excepting in the figure, and that
+the background had better be without any. This may be a good principle
+for producing an effect on the walls of an exhibition-room, where the
+surroundings are incongruous and inharmonious; an intellectual or
+beautiful face should be more interesting than any accessories the
+artist could put into the background. No amount of elaboration in the
+background could disturb the attention of any one looking at the
+portrait of Julius the Second by Raphael, also in the Tribune, which I
+cannot help thinking is <i>the</i> finished portrait in the world. A portrait
+is <i>the most truly historical picture</i>, and this the most monumental and
+historical of portraits. The longer one looks at it the more it demands
+attention. A superficial picture is like a superficial character&mdash;it may
+do for an acquaint<!-- Page 97 --><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>ance, but not for a friend. One never gets to the
+end of things to interest and admire in many old portrait-pictures.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+<a name="fp96" id="fp96"></a><div class="figright" style="width: 415px;">
+<img src="images/fp96.jpg" width="415" height="550" alt="J. Van Eyck PORTRAIT OF THE ARTIST&#39;S WIFE Bruckmann" /></div>
+
+
+<a name="loc170" id="loc170"></a><p align="center"><strong>CLXX</strong></p>
+
+<p>There is one point that has always forced itself upon me strongly in
+comparing the portrait-painting qualities of Rembrandt and Velasquez. In
+Rembrandt I see a delightful human sympathy between himself and his
+sitters; he is always more interested in that part of them which
+conforms to some great central human type, and is comparatively
+uninterested in those little distinctions which delight the caricaturist
+and are the essence of that much applauded quality, &quot;the catching of a
+likeness.&quot; I don't believe he was a very good catcher of likenesses, but
+I am sure his rendering was the biggest and fullest side of that
+man&mdash;there is always a fine ironical appreciation of character moulded
+by circumstance; whereas in Velasquez I find the other thing.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc171" id="loc171"></a><p align="center"><strong>CLXXI</strong></p>
+
+<p>I have wished to oblige the beholder, on looking at the portrait, to
+think wholly of the face in front of him, and nothing of the man who
+painted it. And it is my opinion that the artist who paints portraits in
+this way need have no fear of the pitfall of <i>mannerism</i> either in
+treatment or touch.</p>
+
+<p align="right"><i>Watts.</i></p>
+<p><!-- Page 98 --><span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span></p>
+
+
+<a name="loc172" id="loc172"></a><p align="center"><strong>CLXXII</strong></p>
+
+<p>Let us ... examine modern portraits. I shut my eyes and think of those
+full lengths in the New Gallery and the Academy, which I have not seen
+this year, but whose every detail is familiar to me. You will find that
+a uniform light stretches from their chins to their toes; in all
+probability the background is a slab of grey into whose insensitive
+surface neither light nor air penetrates; or perhaps that most offensive
+portrait-painter's property, a sham room in which none of the furniture
+has been seen in its proper relation of light to the face, but has been
+muzzed in with slippery insincerity, and with an amiable hope that it
+may take its place behind the figure. The face, in all but one or two
+portraits, will lack definition of plane&mdash;will be flat and flabby. A
+white spot on the nose and high light on the forehead will serve for
+modelling; little or no attempt will have been made to get a light which
+will help the observer to concentrate on the head, or give the head its
+full measure of rotundity&mdash;your eyes will wander aimlessly from cheek to
+chiffon, from glinting satin to the pattern on the floor, forgetful of
+the purpose of the portrait, and only arrested by some dab of pink or
+mauve, which will remind you that the artist is developing a somewhat
+irrelevant colour scheme.</p>
+
+<p>For solidity, for the realisation of the great constructive planes of
+things, for that element of sculpture which exists in all good painting,
+you will look in<!-- Page 99 --><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> vain. I am sure that in an average Academy there are
+not three real attempts to get the values&mdash;that is, the inevitable
+relation of objects in light and shade that must exist under any
+circumstances&mdash;and not one attempt to contrive an artificial composition
+of light and shade which shall concentrate the attention of the
+spectator on the crucial point, and shall introduce these delightful
+effects of dark things against light and light against dark, which lend
+such richness and variety of tone and such vitality of construction to
+Titian, Rembrandt, and Reynolds. If we turn for a moment to the National
+Gallery and look at Gainsborough's &quot;Baillie Family,&quot; or Reynolds' &quot;Three
+Ladies decorating the Term of Hymen,&quot; we see at once the difference; in
+Gainsborough's case the group is in a mellow flood of light, there are
+no strong shadows on any of the faces, and none of the figures are used
+to cast shadows on other figures in the group; and yet as you look you
+see the whole light of the picture culminating in the central head of
+the mother, the sides and bottom of the picture fade off into artificial
+shadow, exquisitely used, without which that glorious light would have
+been dissipated over the picture, losing all its effectiveness and
+carrying power. See how finely he has understood the reticent tones of
+the man behind, and how admirably the loosely painted convention of
+landscape background is made to carry on the purely artificial
+arrangement of light and shade. In the Reynolds the shadowed figure on
+the left, and the shadows that flit across the skirts of the other two
+figures, and the fine<!-- Page 100 --><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> relief of the dark trees, give a wonderful
+richness of design to a picture that is not in other respects of the
+highest interest.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc173" id="loc173"></a><p align="center"><strong>CLXXIII</strong></p>
+
+<p>Why have I not before now finished the miniature I promised to Mrs.
+Butts? I answer I have not till now in any degree pleased myself, and
+now I must entreat you to excuse faults, for portrait painting is the
+direct contrary to designing and historical painting in every respect.
+If you have not nature before you for every touch, you cannot paint
+portrait; and if you have nature before you at all, you cannot paint
+history. It was Michael Angelo's opinion and is mine.</p>
+
+<p align="right"><i>Blake.</i></p>
+
+
+<a name="loc174" id="loc174"></a><p align="center"><strong>CLXXIV</strong></p>
+
+<p>I often find myself wondering why people are so frequently dissatisfied
+with their portraits, but I think I have discovered the principal
+reason&mdash;they are not pleased with themselves, and therefore cannot
+endure a faithful representation. I find it is the same with myself. I
+cannot bear any portraits of myself, except those of my own painting,
+where I have had the opportunity of coaxing them, so as to suit my own
+feelings.</p>
+
+<p align="right"><i>Northcote.</i></p>
+<p><!-- Page 101 --><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+
+
+
+
+<h2><a name="LIGHT_AND_SHADE2" id="LIGHT_AND_SHADE2"></a>LIGHT AND SHADE</h2>
+
+
+<a name="loc175" id="loc175"></a><p align="center"><strong>CLXXV</strong></p>
+
+<p>Don't be afraid of splendour of effect; nothing is more brilliant,
+nothing more radiant than nature. Painting tends to become confused and
+to lose its power to strike hard. Make things monumental and yet real;
+set down the lights and the shadows as in reality. Heads which are all
+in a half-tone flushed with colour from a strong sun; heads in the
+light, full of air and freshness; these should be a delight to paint.</p>
+
+<p align="right"><i>Chass&eacute;riau.</i></p>
+
+
+<a name="loc176" id="loc176"></a><p align="center"><strong>CLXXVI</strong></p>
+
+<p>The first object of a painter is to make a simple flat surface appear
+like a relievo, and some of its parts detached from the ground; he who
+excels all others in that part of the art deserves the greatest praise.
+This perfection of the art depends on the correct distribution of lights
+and shades called <i>Chiaro-scuro</i>. If the painter, then, avoids shadows,
+he may be said to avoid the glory of the art, and to render his work
+despicable to real connoisseurs, for the sake of acquiring the esteem of
+vulgar and ignorant admirers of fine colours, who never have any
+knowledge of relievo.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+
+
+<a name="loc177" id="loc177"></a><p align="center"><strong>CLXXVII</strong></p>
+
+<p>Chiaroscuro, to use untechnical language and to speak of it as it is
+employed by all the schools, is the art of<!-- Page 102 --><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> making atmosphere visible
+and painting objects in an envelope of air. Its aim is to create all the
+picturesque accidents of the shadows, of the half-tones and the light,
+of relief and distance, and to give in consequence more variety, more
+unity of effect, of caprice, and of relative truth, to forms as to
+colours. The opposite conception is one more ingenuous and abstract, a
+method by which one shows objects as they are, seen close, the
+atmosphere being suppressed, and in consequence without any perspective
+except the linear perspective, which results from the diminution in the
+size of objects and their relation to the horizon. When we talk of
+aeriel perspective we presuppose a certain amount of chiaroscuro.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc178" id="loc178"></a><p align="center"><strong>CLXXVIII</strong></p>
+
+<p>A painter must study his picture in every degree of light; it is all
+little enough. You know, I suppose, that this period of the day between
+daylight and darkness is called &quot;the painter's hour&quot;? There is, however,
+this inconvenience attending it, which allowance must be made for&mdash;the
+reds look darker than by day, indeed almost black, and the light blues
+turn white, or nearly so. This low, fading light also suggests many
+useful hints as to arrangement, from the circumstance of the dashings of
+the brush in a picture but newly commenced, suggesting forms that were
+not originally intended, but which often prove much finer ones. Ah,
+sometimes I see something very beautiful in these forms; but then I have
+such <!-- Page 103 --><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>coaxing to do to get it fixed!&mdash;for when I draw near the canvas
+the vision is gone, and I have to go back and creep up to it again and
+again, and, at last, to hold my brush at the utmost length of my arm
+before I can fix it, so that I can avail myself of it the next day. The
+way to paint a really fine picture is first to paint it in the mind, to
+imagine it as strongly and distinctly as possible, and then to sketch it
+while the impression is strong and vivid.</p>
+
+<a name="fp102" id="fp102"></a><div class="figright" style="width: 550px;">
+<img src="images/fp102.jpg" width="550" height="510" alt="Puvis de Chavannes HOPE" /></div>
+
+<p>I have frequently shut myself up in a dark room for hours, or even days,
+when I have been endeavouring to imagine a scene I was about to paint,
+and have never stirred till I had got it clear in my mind; then I have
+sketched it as quickly as I could, before the impression has left me.</p>
+
+<p align="right"><i>Northcote.</i></p>
+
+
+
+
+<h2><a name="DECORATIVE_ART" id="DECORATIVE_ART"></a>DECORATIVE ART</h2>
+
+
+<a name="loc179" id="loc179"></a><p align="center"><strong>CLXXIX</strong></p>
+
+<p>Decoration is the activity, the life of art, its justification, and its
+social utility.</p>
+
+<p align="right"><i>Bracquemond.</i></p>
+
+
+<a name="loc180" id="loc180"></a><p align="center"><strong>CLXXX</strong></p>
+
+<p>The true function of painting is to animate wall-spaces. Apart from
+this, pictures should never be larger than one's hand.</p>
+
+<p align="right"><i>Puvis de Chavannes.</i></p>
+
+
+<a name="loc181" id="loc181"></a><p align="center"><strong>CLXXXI</strong></p>
+
+<p>I want big things to do and vast spaces, and for common people to see
+them and say Oh!&mdash;only Oh!</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+<p><!-- Page 104 --><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+
+<a name="loc182" id="loc182"></a><p align="center"><strong>CLXXXII</strong></p>
+
+<p>I insist upon mural painting for three reasons&mdash;first, because it is an
+exercise of art which demands the absolute knowledge only to be obtained
+by honest study, the value of which no one can doubt, whatever branch of
+art the student might choose to follow afterwards; secondly, because the
+practice would bring out that gravity and nobility deficient in the
+English school, but not in the English character, and which being latent
+might therefore be brought out; and, thirdly, for the sake of action
+upon the public mind. For public improvement it is necessary that works
+of sterling but simple excellence should be scattered abroad as widely
+as possible. At present the public never see anything beautiful
+excepting in exhibition rooms, when the novelty of sight-seeing
+naturally disturbs the intellectual perceptions. It is a melancholy fact
+that scarcely a single object amongst those that surround us has any
+pretension to real beauty, or could be put simply into a picture with
+noble effect. And as I believe the love of beauty to be inherent in the
+human mind, it follows that there must be some unfortunate influence at
+work; to counteract this should be the object of a fine-art institution,
+and I feel assured if really good things were scattered amongst the
+people, it would not be long before satisfactory results exhibited
+themselves.</p>
+
+<p align="right"><i>G. F. Watts.</i></p>
+<p><!-- Page 105 --><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+
+<a name="loc183" id="loc183"></a><p align="center"><strong>CLXXXIII</strong></p>
+
+<p>I have ... gone for great masses of light and shade, relieved against
+one another, the only bright local colour being the blue of the
+workmens' coats and trousers. I have intentionally avoided the whole
+business of &quot;flat decoration&quot; by &quot;making the things part of the walls,&quot;
+as one is told is so important. On the contrary, I have treated them as
+pictures and have tried to make holes in the wall&mdash;that is, as far as
+relief of strong light and shade goes; in the figures I have struggled
+to keep a certain quality of bas-relief&mdash;that is, I have avoided distant
+groups&mdash;and have woven my compositions as tightly as I can in the very
+foreground of the pictures, as without this I felt they would lose their
+weight and dignity, which does seem to me the essential business in a
+mural decoration, and which makes Puvis de Chavannes a great decorator
+far more than his flat mimicry of fresco does.... Tintoretto, in S.
+Rocco, is my idea of the big way to decorate a building; great clustered
+groups sculptured in light and shade filling with amazing ingenuity of
+design the architectural spaces at his disposal: a far richer and more
+satisfying result to me than the flat and unprofitable stuff which of
+late years has been called &quot;decoration.&quot;...</p>
+
+<p>Above all, I thoroughly disbelieve in the cant of mural decorations
+preserving the flatness of a wall. I see no merit in it whatever. Let
+them be massive as sculpture, but let every quality of value and colour
+lend them depth<!-- Page 106 --><span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> and vitality, and I am sure the hall or room will be
+richer and nobler as a result.</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc184" id="loc184"></a><p align="center"><strong>CLXXXIV</strong></p>
+
+<p>People usually declare that landscape is an easy matter. I think it a
+very difficult one. For whenever you wish to produce a landscape, it is
+necessary to carry about the details, and work them out in the mind for
+some days before the brush may be applied. Just as in composition: there
+is a period of bitter thought over the theme; and until this is
+resolved, you are in the thrall of bonds and gyves. But when inspiration
+comes, you break loose and are free.</p>
+
+<p align="right"><i>A Chinese Painter</i> (about 1310 A.D.).</p>
+
+
+<a name="loc185" id="loc185"></a><p align="center"><strong>CLXXXV</strong></p>
+
+<p>One word: there are <i>tendencies</i>, and it is these which are meant by
+<i>schools</i>. Landscape, above all, cannot be considered from the point of
+view of a school. Of all artists the landscape painter is the one who is
+in most direct communion with nature, with nature's very soul.</p>
+
+<p align="right"><i>Paul Huet.</i></p>
+
+
+<a name="loc186" id="loc186"></a><p align="center"><strong>CLXXXVI</strong></p>
+
+<p>From what motives springs the love of high-minded men for landscapes? In
+his very nature man loves to be in a garden with hills and streams,
+whose water makes cheerful music as it glides among the stones. What a
+delight does one derive from such sights as that of<!-- Page 107 --><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> a fisherman
+engaging in his leisurely occupation in a sequestered nook, or of a
+woodman felling a tree in a secluded spot, or of mountain scenery with
+sporting monkeys and cranes!... Though impatient to enjoy a life amidst
+the luxuries of nature, most people are debarred from indulging in such
+pleasures. To meet this want artists have endeavoured to represent
+landscapes so that people may be able to behold the grandeur of nature
+without stepping out of their houses. In this light, painting affords
+pleasures of a nobler sort by removing from one the impatient desire of
+actually observing nature.</p>
+
+<p align="right"><i>Kuo Hsi</i> (Chinese, eleventh century A.D.).</p>
+
+
+
+
+<h2><a name="LANDSCAPE" id="LANDSCAPE"></a>LANDSCAPE</h2>
+
+
+<a name="loc187" id="loc187"></a><p align="center"><strong>CLXXXVII</strong></p>
+
+<p>Landscape is a big thing, and should be viewed from a distance in order
+to grasp the scheme of hill and stream. The figures of men and women are
+small matters, and may be spread out on the hand or on a table for
+examination, when they will be taken in at a glance. Those who study
+flower-painting take a single stalk and put it into a deep hole, and
+then examine it from above, thus seeing it from all points of view.
+Those who study bamboo-painting take a stalk of bamboo, and on a
+moonlight night project its shadow on to a piece of white silk on a
+wall; the true form of the bamboo is thus brought out. It is the same
+with landscape painting. The artist must place himself in communion with
+his hills and streams, and the secret of the scenery will be solved....
+Hills without clouds look bare; without water they are<!-- Page 108 --><span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> wanting in
+fascination; without paths they are wanting in life; without trees they
+are dead; without depth-distance they are shallow; without
+level-distance they are near; and without height-distance they are low.</p>
+
+<p align="right"><i>Kuo Hsi</i> (Chinese, eleventh century A.D.).</p>
+
+
+<a name="loc188" id="loc188"></a><p align="center"><strong>CLXXXVIII</strong></p>
+
+<p>I have brushed up my &quot;Cottage&quot; into a pretty look, and my &quot;Heath&quot; is
+almost safe, but I must stand or fall by my &quot;House.&quot; I had on Friday a
+long visit from M&mdash;&mdash; alone; but my pictures do not come into his rules
+or whims of the art, and he said I had &quot;lost my way.&quot; I told him that I
+had &quot;perhaps other notions of art than picture admirers have in general.
+I looked on pictures as <i>things to be avoided</i>, connoisseurs looked on
+them as things to be <i>imitated</i>; and that, too, with such a deference
+and humbleness of submission, amounting to a total prostration of mind
+and original feeling; as must serve only to fill the world with
+abortions.&quot; But he was very agreeable, and I endured the visit, I trust,
+without the usual courtesies of life being violated.</p>
+
+<p>What a sad thing it is that this lovely art is so wrested to its own
+destruction! Used only to blind our eyes, and to prevent us from seeing
+the sun shine, the fields bloom, the trees blossom, and from hearing the
+foliage rustle; while old&mdash;black&mdash;rubbed out and dirty canvases take the
+place of God's own works. I long to see you. I love to cope with you,
+like<!-- Page 109 --><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> Jaques, in my &quot;sullen moods,&quot; for I am not fit for the present
+world of art.... Lady Morley was here yesterday. On seeing the &quot;House,&quot;
+she exclaimed, &quot;How fresh, how dewy, how exhilarating!&quot; I told her half
+of this, if I could think I deserved it, was worth all the talk and cant
+about pictures in the world.</p>
+
+<p align="right"><i>Constable.</i></p>
+
+
+<a name="loc189" id="loc189"></a><p align="center"><strong>CLXXXIX</strong></p>
+
+<p>A wood all powdered with sunshine, all the tones of the trees
+illuminated and delicate, the whole in a mist of sun, and high lights
+only on the stems; a delicious, new, and rich effect.</p>
+
+<p align="right"><i>Chass&eacute;riau.</i></p>
+
+
+<a name="loc190" id="loc190"></a><p align="center"><strong>CXC</strong></p>
+
+<p>The forests and their trees give superb strong tones in which violet
+predominates&mdash;above all, in the shadows&mdash;and give value to the green
+tones of the grass. The upright stems show bare with colours as of
+stones and of rocks&mdash;grey, tawny, flushed, always very luminous (like an
+agate) in the reflections: the whole takes a sombre colour which vies in
+vigour with the foreground.</p>
+
+<p>A magnificent spectacle is that of mountains covered with ice and snow,
+towards evening, when the clouds roll up and hide their base. The
+summits may stand out in places against the sky. The blue background at
+such a time emphasises the warm gold colour of<!-- Page 110 --><span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> the shadows, and the
+lower parts are lost in a deep and sinister grey. We have seen this
+effect at Kandersteg.</p>
+
+<p align="right"><i>Dutilleux.</i></p>
+
+
+<a name="loc191" id="loc191"></a><p align="center"><strong>CXCI</strong></p>
+
+<p>In your letter you wish me to give you my opinion of your picture. I
+should have liked it better if you had made it more of a whole&mdash;that is,
+the trees stronger, the sky running from them in shadow up to the
+opposite corner; that might have produced what, I think, it wanted, and
+have made it much less a two-picture effect.... I cannot let your sky go
+off without some observation. I think the character of your clouds too
+affected, that is, too much of some of our modern painters, who mistake
+some of our great masters; because they sometimes put in some of those
+round characters of clouds, they must do the same; but if you look at
+any of their skies, they either assist in the composition or make some
+figure in the picture&mdash;nay, sometimes play the first fiddle....</p>
+
+<p>Breadth must be attended to if you paint; but a muscle, give it breadth.
+Your doing the same by the sky, making parts broad and of a good shape,
+that they may come in with your composition, forming one grand plan of
+light and shade&mdash;this must always please a good eye and keep the
+attention of the spectator, and give delight to every one.</p>
+
+<p>Trifles in nature must be overlooked that we may have our feelings
+raised by seeing the whole picture<!-- Page 111 --><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> at a glance, not knowing how or why
+we are so charmed. I have written you a long rigmarole story about
+giving dignity to whatever you paint&mdash;I fear so long that I should be
+scarcely able to understand what I mean myself. You will, I hope, take
+the will for the deed.</p>
+
+<p align="right"><i>Old Crome.</i></p>
+
+
+<a name="loc192" id="loc192"></a><p align="center"><strong>CXCII</strong></p>
+
+<p>I am most anxious to get into my London painting-room, for I do not
+consider myself at work unless I am before a six-foot canvas. I have
+done a good deal of skying, for I am determined to conquer all
+difficulties, and that among the rest. And now, talking of skies, it is
+amusing to us to see how admirably you fight my battles; you certainly
+take the best possible ground for getting your friend out of a scrape
+(the example of the Old Masters). That landscape painter who does not
+make his skies a very material part of his composition neglects to avail
+himself of one of his greatest aids. Sir Joshua Reynolds, speaking of
+the landscapes of Titian, of Salvator, and of Claude, says: &quot;Even their
+<i>skies</i> seem to sympathise with their subjects.&quot; I have often been
+advised to consider my sky as &quot;<i>a white sheet thrown behind the
+objects</i>.&quot; Certainly, if the sky is obtrusive, as mine are, it is bad;
+but if it is evaded, as mine are not, it is worse; it must and always
+shall with me make an effectual part of the composition. It will be
+difficult to name a class of landscape in which the sky is not the
+keynote, the<!-- Page 112 --><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> standard of scale, and the chief organ of sentiment. You
+may conceive, then, what a &quot;white sheet&quot; would do for me, impressed as I
+am with these notions, and they cannot be erroneous. The sky is the
+source of light in nature, and governs everything; even our common
+observations on the weather of every day are altogether suggested by it.
+The difficulty of skies in painting is very great, both as to
+composition and execution; because, with all their brilliancy, they
+ought not to come forward, or, indeed, be hardly thought of any more
+than extreme distances are; but this does not apply to phenomena or
+accidental effects of sky, because they always attract particularly. I
+may say all this to you, though <i>you</i> do not want to be told that I know
+very well what I am about, and that my skies have not been neglected,
+though they have often failed in execution, no doubt, from an
+over-anxiety about them which will alone destroy that easy appearance
+which nature always has in all her movements.</p>
+
+<p align="right"><i>Constable.</i></p>
+
+
+<a name="loc193" id="loc193"></a><p align="center"><strong>CXCIII</strong></p>
+
+<p>He was looking at a seventy-four gun ship, which lay in the shadow under
+Saltash. The ship seemed one dark mass.</p>
+
+<p>&quot;I told you that would be the effect,&quot; said Turner, referring to some
+previous conversation. &quot;Now, as you perceive, it is all shade!&quot;</p>
+
+<p>&quot;Yes, I perceive it; and yet the ports are there.&quot;<!-- Page 113 --><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+
+<p>&quot;We can only take what is visible&mdash;no matter what may be there. There
+are people in the ship; we don't see them through the planks.&quot;</p>
+
+<p align="right"><i>Turner.</i></p>
+
+
+<a name="loc194" id="loc194"></a><p align="center"><strong>CXCIV</strong></p>
+
+<p>Looked out for landscapes this evening; but although all around one is
+lovely, how little of it will work up into a picture! that is, without
+great additions and alterations, which is a work of too much time to
+suit my purpose just now. I want little subjects that will paint off at
+once. How despairing it is to view the loveliness of nature towards
+sunset, and know the impossibility of imitating it!&mdash;at least in a
+satisfactory manner, as one could do, would it only remain so long
+enough. Then one feels the want of a life's study, such as Turner
+devoted to landscape; and even then what a botch is any attempt to
+render it! What wonderful effects I have seen this evening in the
+hay-fields! The warmth of the uncut grass, the greeny greyness of the
+unmade hay in furrows or tufts with lovely violet shadows, and long
+shades of the trees thrown athwart all, and melting away one tint into
+another imperceptibly; and one moment more a cloud passes and all the
+magic is gone. Begin to-morrow morning, all is changed: the hay and the
+reapers are gone most likely; the sun too, or if not, it is in quite the
+opposite quarter, and all that <i>was</i> loveliest is all that is tamest
+now, alas! It is better to be a poet; still better a mere lover of
+Nature; one who never dreams of possession....</p>
+
+<p align="right"><i>Ford Madox Brown.</i></p>
+<p><!-- Page 114 --><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+
+
+<a name="loc195" id="loc195"></a><p align="center"><strong>CXCV</strong></p>
+
+<p>You should choose an old tumbledown wall and throw over it a piece of
+white silk. Then morning and evening you should gaze at it, until at
+length you can see the ruin through the silk&mdash;its prominences, its
+levels, its zigzags, and its cleavages, storing them up in the mind and
+fixing them in the eye. Make the prominences your mountains, the lower
+parts your water, the hollows your ravines, the cracks your streams, the
+lighter parts your nearer points, the darker parts your more distant
+points. Get all these thoroughly into you, and soon you will see men,
+birds, plants, and trees, flying and moving among them. You may then ply
+your brush according to your fancy, and the result will be of heaven,
+not of men.</p>
+
+<p align="right"><i>Sung Ti</i> (Chinese, eleventh century).</p>
+
+
+<a name="loc196" id="loc196"></a><p align="center"><strong>CXCVI</strong></p>
+
+<p>By looking attentively at old and smeared walls, or stones and veined
+marble of various colours, you may fancy that you see in them several
+compositions&mdash;landscapes, battles, figures in quick motion, strange
+countenances, and dresses, with an infinity of other objects. By these
+confused lines the inventive genius is excited to new exertions.</p>
+
+<p align="right"><i>Leonardo.</i></p>
+<p><!-- Page 115 --><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+
+<a name="loc197" id="loc197"></a><p align="center"><strong>CXCVII</strong></p>
+
+<p>Out by a quarter to eight to examine the river Brent at Hendon; a mere
+brooklet, running in most dainty sinuosity under overshadowing oaks and
+all manner of leafiness. Many beauties, and hard to choose amongst, for
+I had determined to make a little picture of it. However, Nature, that
+at first sight appears so lovely, is on consideration almost always
+incomplete; moreover, there is no painting intertangled foliage without
+losing half its beauties. If imitated exactly it can only be done as
+seen from one eye, and quite flat and confused therefore.</p>
+
+<p align="right"><i>Ford Madox Brown.</i></p>
+
+
+<a name="loc198" id="loc198"></a><p align="center"><strong>CXCVIII</strong></p>
+
+<p>To gaze upon the clouds of autumn, a soaring exaltation in the soul; to
+feel the spring breeze stirring wild exultant thoughts;&mdash;what is there
+in the possession of gold and jewels to compare with delights like
+these? And then, to unroll the portfolio and spread the silk, and to
+transfer to it the glories of flood and fell, the green forest, the
+blowing winds, the white water of the rushing cascade, as with a turn of
+the hand a divine influence descends upon the scene. These are the joys
+of painting.</p>
+
+<p align="right"><i>Wang Wei</i> (Chinese, fifth century).</p>
+<p><!-- Page 116 --><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+
+
+<a name="loc199" id="loc199"></a><p align="center"><strong>CXCIX</strong></p>
+
+<p>In the room where I am writing there are hanging up two beautiful small
+drawings by Cozens: one, a wood, close, and very solemn; the other, a
+view from Vesuvius looking over Portici&mdash;very lovely. I borrowed them
+from my neighbour, Mr. Woodburn. Cozens was all poetry, and your drawing
+is a lovely specimen.</p>
+
+<p align="right"><i>Constable.</i></p>
+
+
+<a name="loc199a" id="loc199a"></a><p align="center"><strong>CXCIXa</strong></p>
+
+<p>Selection is the invention of the landscape painter.</p>
+
+<p align="right"><i>Fuseli.</i></p>
+
+
+<a name="loc200" id="loc200"></a><p align="center"><strong>CC</strong></p>
+
+<p>Don't imagine that I do not like Corot's picture, <i>La Prairie avec le
+foss&eacute;</i>; on the contrary we thought, Rousseau and I, that it would be a
+pity to have one picture without the other, each makes so lively an
+impression of its own. You are perfectly right in liking the picture
+very much. What particularly struck us in the other one was that it has
+in an especial degree the look of being done by some one who knew
+nothing about painting but who had done his best, filled with a great
+longing to paint. In fact, a spontaneous discovery of the art! These are
+both very beautiful things. We will talk about them, for in writing one
+never gets to the end.</p>
+
+<p align="right"><i>Millet.</i></p>
+<p><!-- Page 117 --><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+
+
+<a name="loc201" id="loc201"></a><p align="center"><strong>CCI</strong></p>
+
+<p align="center">TO ROUSSEAU</p>
+
+<p>The day after I left you I went to see your exhibition.... To-day I
+assure you that in spite of knowing your studies of Auvergne and those
+earlier ones, I was struck once more in seeing them all together by the
+fact that a force is a force from its first beginnings.</p>
+
+<p>With the very earliest you show a freshness of vision which leaves no
+doubt as to the pleasure you took in seeing nature, and one sees that
+she spoke directly to you, and that you saw her through your own eyes.</p>
+
+<p>Your work is your own <i>et non de l'aultruy</i>, as Montaigne says. Don't
+think I mean to go through everything of yours bit by bit, down to the
+present moment. I only wish to mention the starting point, which is the
+important thing, because it shows that a man is born to his calling.</p>
+
+<p>From the beginning you were the little oak which will grow into a big
+oak. There! I must tell you once more how much it moved me to see all
+this.</p>
+
+<p align="right"><i>Millet.</i></p>
+
+
+<a name="loc202" id="loc202"></a><p align="center"><strong>CCII</strong></p>
+
+<p>I don't know if Corot is not greater than Delacroix. Corot is the father
+of modern landscape. There is no landscape painter of to-day
+who&mdash;knowingly or not&mdash;does not derive from him. I have never seen a
+picture of Corot's which was not beautiful, or a line which did not mean
+something.<!-- Page 118 --><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+
+<p>Among modern painters it is Corot who as a colourist has most in common
+with Rembrandt. The colour scheme is golden with the one and grey with
+the other throughout the whole harmony of tones. In appearance their
+methods are the opposite of each other, but the desired result is the
+same. In a portrait by Rembrandt all details melt into shadow in order
+that the spectator's gaze may be concentrated on a single part, often
+the eyes, and this part is handled more caressingly than the rest.</p>
+
+<p>Corot, on the other hand, sacrifices the details which are in the
+light&mdash;the extremities of trees, and so on&mdash;and brings us always to the
+spot which he has chosen for his main appeal to the spectator's eye.</p>
+
+<p align="right"><i>Dutilleux.</i></p>
+
+
+<a name="loc203" id="loc203"></a><p align="center"><strong>CCIII</strong></p>
+
+<p>Landscape has taken refuge in the theatre; scene-painters alone
+understand its true character and can put it into practice with a happy
+result. But Corot?</p>
+
+<p>Oh that man's soul rebounds like a steel spring; he is no mere landscape
+painter, but an artist&mdash;a real artist, and rare and exceptional genius.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc204" id="loc204"></a><p align="center"><strong>CCIV</strong></p>
+
+<p align="center">TO VERW&Eacute;E</p>
+
+<p>There is an International Exhibition at Petit's now, and I am showing
+some sea-pieces there with great success. The exhibition is made up,
+with one or two <!-- Page 119 --><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span>exceptions, of young men. They are very clever, but
+all alike; they follow a fashion&mdash;there is no more individuality.
+Everybody paints, everybody is clever.</p>
+
+<a name="fp118" id="fp118"></a><div class="figright" style="width: 440px;">
+<img src="images/fp118.jpg" width="440" height="550" alt="Raphael THE MASS OF BOLSENA (Detail) Anderson" /></div>
+
+<p>We shall end by adoring J. Dupr&eacute;. I don't always like him, but he has
+individuality.</p>
+
+<p>Too many painters, my dear fellow, and too many exhibitions! But you
+see, at my age, I'm not afraid of showing my pictures among the young
+men's sometimes.</p>
+
+<p>Yet I hate exhibitions; one can hardly ever judge of a picture there.</p>
+
+<p align="right"><i>Alfred Stevens.</i></p>
+
+
+
+
+<h2><a name="ITALIAN_MASTERS" id="ITALIAN_MASTERS"></a>ITALIAN MASTERS</h2>
+
+
+<a name="loc205" id="loc205"></a><p align="center"><strong>CCV</strong></p>
+
+<p>There is something ... in those deities of intellect in the Sistine
+Chapel that converts the noblest personages of Raphael's drama into the
+audience of Michael Angelo, before whom you know that, equally with
+yourself, they would stand silent and awe-struck.</p>
+
+<p align="right"><i>Lawrence.</i></p>
+
+
+<a name="loc206" id="loc206"></a><p align="center"><strong>CCVI</strong></p>
+
+<p>My only disagreement with you would be in the estimate of his
+comparative excellence in sculpture and painting. He called himself
+sculptor, but we seldom gauge rightly our own strength and weakness. The
+paintings in the Sistine Chapel are to my mind entirely beyond criticism
+or praise, not merely with reference to design and execution, but also
+for colour, right noble and perfect in their place. I was never more
+surprised than by this quality, to which I do not think justice has ever
+been done; nothing in his sculpture comes near to<!-- Page 120 --><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> the perfection of his
+Adam or the majesty of the Dividing the Light from Darkness; his
+sculpture lacks the serene strength that is found in the Adam and many
+other figures in the great frescoes. Dominated by the fierce spirit of
+Dante, he was less influenced by the grave dignity of the Greek
+philosophy and art than might have been expected from the contemporary
+and possible pupil of Poliziano. In my estimate of him as a Sculptor in
+comparison with him as Painter, I am likely to be in a minority of one!
+but <i>I</i> think that when he is thought of as a painter his earlier
+pictures are thought of, and these certainly are unworthy of him, but
+the Prophets and Sibyls are the greatest things ever painted. As a rule
+he certainly insists too much upon the anatomy; some one said admirably,
+&quot;Learn anatomy, and forget it&quot;; Michael Angelo did the first and not the
+second, and the fault of almost all his work is, that it is too much an
+anatomical essay. The David is an example of this, besides being very
+faulty in proportion, with hands and feet that are monstrous. It is, I
+think, altogether bad. The hesitating pose is good, and goes with the
+sullen expression of the face, but is not that of the ardent heroic boy!</p>
+
+<p>This seems presumptuous criticism; and you might, considering my
+aspirations and efforts, say to me: &quot;Do better!&quot; but I am not Michael
+Angelo, but I am a pupil of the greatest sculptor of all, Pheidias (a
+master the great Florentine knew nothing of), and, so far, feel a right
+to set up judgment on the technique only.</p>
+
+<p align="right"><i>Watts.</i></p>
+<p><!-- Page 121 --><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+
+
+<a name="loc207" id="loc207"></a><p align="center"><strong>CCVII</strong></p>
+
+<p align="center">ITALIAN ART IN FLANDERS</p>
+
+<p>As to Italian art, here at Brussels there is nothing but a reminiscence
+of it. It is an art which has been falsified by those who have tried to
+acclimatise it, and even the specimens of it which have passed into
+Flanders lose by their new surroundings. When in a part of the gallery
+which is least Flemish, one sees two portraits by Tintoret, not of the
+first rank, sadly retouched, but typical&mdash;one finds it difficult to
+understand them side by side with Memling, Martin de Vos, Van Orley,
+Rubens, Van Dyck, and even Antonio More. It is the same with Veronese.
+He is out of his element; his colour is lifeless, it smacks of the
+tempera painter; his style seems frigid, his magnificence unspontaneous
+and almost bombastic. Yet the picture is a superb piece, in his finest
+manner; a fragment of an allegorical triumph taken from a ceiling in the
+Ducal Palace, and one of his best; but Rubens is close by, and that is
+enough to give the Rubens of Venice an accent which is not of this
+country. Which of the two is right? And listening merely to the language
+so admirably spoken by the two men, who shall decide between the correct
+and learned rhetoric of Venetian speech, and the emphatic, warmly
+coloured, grandiose incorrectness of the Antwerp idiom? At Venice one
+leans to Veronese; in Flanders one has a better ear for Rubens.<!-- Page 122 --><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<p>Italian art has this in common with all powerful traditions, that it is
+at the same time very cosmopolitan because it has penetrated everywhere,
+and very lofty because it has been self-sufficient. It is at home, in
+all Europe, except in two countries; Belgium, the genius of which it has
+appreciably affected without ever dominating it; and Holland, which once
+made a show of consulting it but which has ended by passing it by; so
+that, while it is on neighbourly terms with Spain, while it is enthroned
+in France, where, at least in historical painting, our best painters
+have been Romans, it encounters in Flanders two or three men, great men
+of a great race, sprung from the soil, who hold sway there and have no
+mind to share their empire with any other.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc208" id="loc208"></a><p align="center"><strong>CCVIII</strong></p>
+
+<p>I am never tired of looking at Titian's pictures; they possess such
+extreme breadth, which to me is so delightful a quality. In my opinion
+there never will, to the end of time, arise a portrait-painter superior
+to Titian. Next to him in this kind of excellence is Raphael. There is
+this difference between Raphael and Titian: Raphael, with all his
+excellence, possessed the utmost gentleness; it was as if he had said,
+&quot;If another person can do better, <i>I</i> have no objections.&quot; But Titian
+was a man who would keep down every one else to the uttermost; he was
+determined that the art should come in and go out with himself; the
+expression in all the portraits<!-- Page 123 --><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> of him told as much. When any
+stupendous work of antiquity remains with us&mdash;say, a building or a
+bridge&mdash;the common people cannot account for it, and they say it was
+erected <i>by the devil</i>. Now I feel this same thing in regard to the
+works of Titian;&mdash;they seem to me as if painted by a devil, or at any
+rate from inspiration; I cannot account for them.</p>
+
+<p align="right"><i>Northcote.</i></p>
+
+
+
+
+<h2><a name="NORTHERN_MASTERS" id="NORTHERN_MASTERS"></a>NORTHERN MASTERS</h2>
+
+
+<a name="loc209" id="loc209"></a><p align="center"><strong>CCIX</strong></p>
+
+<p>Raphael, to be plain with you&mdash;for I like to be candid and
+outspoken&mdash;does not please me at all. In Venice are found the good and
+the beautiful; to their brush I give the first place; it is Titian that
+bears the banner.</p>
+
+<p align="right"><i>Velasquez.</i></p>
+
+
+<a name="loc210" id="loc210"></a><p align="center"><strong>CCX</strong></p>
+
+<p>Perhaps some day the world will discover that Rembrandt is a much
+greater painter than Raphael. I write this blasphemy&mdash;one to make the
+hair of the Classicists stand on end&mdash;without definitely taking a side;
+only I seem to find as I grow older that the most beautiful and most
+rare thing in the world is truth.</p>
+
+<p>Let us say, if you will, that Rembrandt has not Raphael's nobility. Yet
+perhaps this nobility which Raphael manifests in his line is shown by
+Rembrandt in the mysterious conception of his subjects, in the profound
+na&iuml;vet&eacute; of his expressions and gestures. However much one may prefer the
+majestic emphasis of Raphael, which answers perhaps to the grandeur<!-- Page 124 --><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+inherent in certain subjects, one might assert, without being stoned by
+men of taste&mdash;I mean men whose taste is real and sincere&mdash;that the great
+Dutchman was more a born painter than the studious pupil of Perugino.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc211" id="loc211"></a><p align="center"><strong>CCXI</strong></p>
+
+<p>Rembrandt's principle was to extract from things one element among the
+rest, or rather to abstract every element in order to concentrate on the
+seizure of one only. Thus in all his works he has set himself to
+analyse, to distil; or, in better phrase, has been metaphysician even
+more than poet. Reality never appealed to him by its general effects.
+One might doubt, from his way of treating human forms, whether their
+&quot;envelope&quot; interested him. He loved women, and never saw them otherwise
+than unshapely; he loved textures, and did not imitate them; but then,
+if he ignored grace and beauty, purity of line and the delicacy of the
+skin, he expressed the nude body by suggestions of suppleness,
+roundness, elasticity, with a love of material substance, a sense of the
+live being, which enchant the practical painter. He resolved everything
+into its component parts, colour as well as light, so that, by
+eliminating the complicated and condensing the scattered elements from a
+given scene, he succeeded in drawing without outline, in painting a
+portrait almost without strokes that show, in colouring without colour,
+in concentrating the light of the solar system into a sunbeam. It would
+be impossible in a plastic art to carry the curiosity for<!-- Page 125 --><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> the essential
+to an intenser pitch. For physical beauty he substitutes expression of
+character; for the imitation of things, their almost complete
+transformation; for studious scrutiny, the speculation of the
+psychologist; for precise observation, whether trained or natural, the
+visions of a seer and apparitions of such vividness that he himself is
+deceived by them. By virtue of this faculty of second sight, of
+intuitions like those of a somnambulist, he sees farther into the
+supernatural world than any one else whatever. The life that he
+perceives in dream has a certain accent of the other world, which makes
+real life seem pale and almost cold. Look at his &quot;Portrait of a Woman in
+the Louvre,&quot; two paces from &quot;Titian's Mistress.&quot; Compare the two women,
+study closely the two pictures, and you will understand the difference
+between the two brains. Rembrandt's ideal, sought as in a dream with
+closed eyes, is Light: the nimbus around objects, the phosphorescence
+that comes against a black background. It is something fugitive and
+uncertain, formed of lineaments scarce perceptible, ready to disappear
+before the eye has fixed them, ephemeral and dazzling. To arrest the
+vision, to set it on the canvas, to give it its shape and moulding, to
+preserve the fragility of its texture, to render its brilliance, and yet
+achieve in the result a solid, masculine, substantial painting, real
+beyond any other master's work, and able to hold its own with a Rubens,
+a Titian, a Veronese, a Giorgione, a Van Dyck&mdash;this is Rembrandt's aim.
+Has he succeeded? The testimony of the world answers for him.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+<p><!-- Page 126 --><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+
+
+<a name="loc212" id="loc212"></a><p align="center"><strong>CCXII</strong></p>
+
+<p>The painting of Flanders will generally satisfy any devout person more
+than the painting of Italy, which will never cause him to shed many
+tears; this is not owing to the vigour and goodness of that painting,
+but to the goodness of such devout person; women will like it,
+especially very old ones or very young ones. It will please likewise
+friars and nuns, and also some noble persons who have no ear for true
+harmony. They paint in Flanders, only to deceive the external eye,
+things that gladden you and of which you cannot speak ill, and saints
+and prophets. Their painting is of stuffs&mdash;bricks and mortar, the grass
+of the fields, the shadows of trees, and bridges and rivers, which they
+call landscapes, and little figures here and there; and all this,
+although it may appear good to some eyes, is in truth done without
+reasonableness or art, without symmetry or proportion, without care in
+selecting or rejecting, and finally, without any substance or verve; and
+in spite of all this, painting in some other parts is worse than it is
+in Flanders. Neither do I speak so badly of Flemish painting because it
+is all bad, but because it tries to do so many things at once (each of
+which alone would suffice for a great work), so that it does not do
+anything really well.</p>
+
+<p>Only works which are done in Italy can be called true painting, and
+therefore we call good painting Italian; for if it were done so well in
+another country, we should give it the name of that country or
+province.<!-- Page 127 --><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> As for the good painting of this country, there is nothing
+more noble or devout; for with wise persons nothing causes devotion to
+be remembered, or to arise, more than the difficulty of the perfection
+which unites itself with and joins God; because good painting is nothing
+else but a copy of the perfections of God and a reminder of His
+painting. Finally, good painting is a music and a melody which intellect
+only can appreciate, and with great difficulty. This painting is so rare
+that few are capable of doing or attaining to it.</p>
+
+<p align="right"><i>Michael Angelo.</i></p>
+
+
+<a name="loc213" id="loc213"></a><p align="center"><strong>CCXIII</strong></p>
+
+<p>All Dutch painting is concave: what I mean is that it is composed of
+curves described about a point determined by the pictorial interest;
+circular shadows round a dominant light. Design, colouring, and lighting
+fall into a concave scheme, with a strongly defined base, a retreating
+ceiling, and corners rounded and converging on the centre; whence it
+follows that the painting is all depth, and that it is far from the eye
+to the objects represented. No type of painting leads with more certain
+directness from the foreground to the background, from the frame to the
+horizon. One can live in it, walk in it, see to the uttermost ends of
+it; one is tempted to raise one's head to measure the distance of the
+sky. Everything conspires to this illusion: the exactness of the aerial
+perspective, the perfect harmony of colour and tones with the plane on
+which the object is placed. The rendering of the heights of space, of<!-- Page 128 --><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>
+the envelope of atmosphere, of the distant effect, which absorbs this
+school makes the painting of all other schools seem flat, something laid
+upon the surface of the canvas.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc214" id="loc214"></a><p align="center"><strong>CCXIV</strong></p>
+
+<p>In Van Eyck there is more structure, more muscle, more blood in the
+veins; hence the impressive virility of his faces and the strong style
+of his pictures. Altogether he is a portrait-painter of Holbein's
+kin&mdash;exact, shrewd, and with a gift of penetration that is almost cruel.
+He sees things with more perfect rightness than Memling, and also in a
+bigger and some summary way. The sensations which the aspect of things
+evokes in him are more powerful; his feeling for their colour is more
+intense; his palette has a fullness, a richness, a distinctness, which
+Memling's has not. His colour schemes are of more even power, better
+held together, composed of values more cunningly found. His whites are
+fatter, his purple richer, and the indigo blue&mdash;that fine blue as of old
+Japanese enamel, which is peculiar to him&mdash;has more depth of dye, more
+solidity of texture. The splendour and the costliness of the precious
+things, of which the superb fashions of his time were so lavish,
+appealed to him more strongly.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+<a name="loc215" id="loc215"></a><p align="center"><strong>CCXV</strong></p>
+
+<p>Van Eyck saw with his eyes, Memling begins to see with his soul. The one
+had a good and a right vein of<!-- Page 129 --><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> thought; the other does not seem to
+think so much, but he has a heart which beats in a quite different way.
+The one copied and imitated, the other copies too and imitates, but
+transfigures. The former reproduced&mdash;without any preoccupation with the
+ideal types of humanity&mdash;above all, the masculine types, which passed
+before his eyes in every rank of the society of his time; the latter
+contemplates nature in a reverie, translates her with imagination,
+dwells upon everything which is most delicate and lovely in human forms,
+and creates, above all, in his type of woman a being exquisite and
+elect, unknown before and lost with him.</p>
+
+<p align="right"><i>Fromentin</i></p>
+
+
+<a name="loc216" id="loc216"></a><p align="center"><strong>CCXVI</strong></p>
+
+<p align="center">BRUGES, 1849</p>
+
+<p>This is a most stunning place, immeasurably the best we have come to.
+There is a quantity of first-rate architecture, and very little or no
+Rubens.</p>
+
+<p>But by far the best of all are the miraculous works of Memling and Van
+Eyck. The former is here in a strength that quite stunned us&mdash;and
+perhaps proves himself to have been a greater man even than the latter.
+In fact, he was certainly so intellectually, and quite equal in
+mechanical power. His greatest production is a large triptych in the
+Hospital of St. John, representing in its three compartments: firstly,
+the &quot;Decollation of St. John Baptist&quot;; secondly, the &quot;Mystic Marriage of
+St. Catherine to the Infant Saviour&quot;; and thirdly, the &quot;Vision of St.
+John Evangelist in Patmos.&quot; I shall not attempt any descrip<!-- Page 130 --><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>tion; I
+assure you that the perfection of character and even drawing, the
+astounding finish, the glory of colour, and, above all, the pure
+religious sentiment and ecstatic poetry of these works is not to be
+conceived or described. Even in seeing them the mind is at first
+bewildered by such godlike completeness; and only after some while has
+elapsed can at all analyse the causes of its awe and admiration; and
+then finds these feelings so much increased by analysis that the last
+impression left is mainly one of utter shame at its own inferiority.</p>
+
+<p>Van Eyck's picture at the Gallery may give you some idea of the style
+adopted by Memling in these great pictures; but the effect of light and
+colour is much less poetical in Van Eyck's; partly owing to <i>his</i> being
+a more sober subject and an interior, but partly also, I believe, to the
+intrinsic superiority of Memling's intellect. In the background of the
+first compartment there is a landscape more perfect in the abstract
+lofty feeling of nature than anything I have ever seen. The visions of
+the third compartment are wonderfully mystic and poetical.</p>
+
+<p align="right"><i>Rossetti.</i></p>
+
+
+<a name="loc217" id="loc217"></a><p align="center"><strong>CCXVII</strong></p>
+
+<p align="center">VAN DYCK</p>
+
+<p>Van Dyck completed Rubens by adding to his achievement portraits
+absolutely worthy of his master's brush, better than Rubens' own. He
+created in his own country an art which was original, and consequently
+he has his share in the creation of a new art. Besides<!-- Page 131 --><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span> this he did yet
+more: he begot a whole school in a foreign country, the English
+school&mdash;Reynolds, Lawrence, Gainsborough, and I would add to them nearly
+all the genre painters who are faithful to the English tradition, and
+the most powerful landscape painters issue directly from Van Dyck, and
+indirectly from Rubens through Van Dyck. These are high claims. And so
+posterity, always just in its instincts, gives Van Dyck a place apart
+between the men of the first and those of the second rank. The world has
+never decided the exact precedence which ought to be his in the
+procession of the masters, and since his death, as during his life, he
+seems to have held the privilege of being placed near the throne and of
+making a stately figure there.</p>
+
+<p align="right"><i>Fromentin.</i></p>
+
+
+
+
+<h2><a name="SPANISH_PAINTING" id="SPANISH_PAINTING"></a>SPANISH PAINTING</h2>
+
+
+<a name="loc218" id="loc218"></a><p align="center"><strong>CCXVIII</strong></p>
+
+<p align="center">VELASQUEZ</p>
+
+<p>What we are all trying to do with great labour, he does at once.</p>
+
+<p align="right"><i>Reynolds.</i></p>
+
+
+<a name="loc219" id="loc219"></a><p align="center"><strong>CCXIX</strong></p>
+
+<p>Saw again to-day the Spanish school in the Museum,&mdash;Velasquez, a
+surprising fellow! The &quot;Hermits in a Rocky Desert&quot; pleased me much; also
+a &quot;Dark Wood at Nightfall.&quot; He is Teniers on a large scale: his handling
+is of the most sparkling kind, owing much of its dazzling effect to the
+flatness of the ground it is placed upon.<!-- Page 132 --><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+
+<p>The picture of &quot;Children in Grotesque Dresses,&quot; in his painting-room, is
+a surprising piece of handling. Still he would gain, and indeed does
+gain, when he glazes his pictures. He makes no use of his ground; lights
+and shadows are opaque. Chilliness and blackness are sometimes the
+result; and often a cold blue or green prevails, requiring all his
+brilliancy of touch and truth of effect to make tolerable. Velasquez,
+however, may be said to be the origin of what is now doing in England.
+His feeling they have caught almost without seeing his works; which
+here seem to anticipate Reynolds, Romney, Raeburn, Jackson, and even Sir
+Thomas Lawrence. Perhaps there is this difference: he does at once what
+we do by repeated and repeated touches.</p>
+
+<p>It may truly be said, that wheresoever Velasquez is admired, the
+paintings of England must be acknowledged and admired with him.</p>
+
+<p align="right"><i>Wilkie.</i></p>
+
+
+<a name="loc220" id="loc220"></a><p align="center"><strong>CCXX</strong></p>
+
+<p align="center">VELASQUEZ</p>
+
+<p>Never did any one think less of a style or attain it more consummately.
+He was far too much occupied with the divining of the qualities of light
+and atmosphere that enveloped his subjects, and with stating those
+truths in the most direct and poignant way to have time to spare on mere
+adornments and artifices that amuse us in the work of lesser men. Every
+stroke in Velasquez means something, records an observation. You never<!-- Page 133 --><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+see a splodge of light that entertains you for a moment and relapses
+into <i>chic</i> as you analyse it; even the most elusive bits of painting
+like the sword-hilt in the &quot;Admiral Pulido&quot; are utterly just, and
+observed as the light flickers and is lost over the steel shapes. No one
+ever had the faculty of observing the true character of two diverse
+forms at the same time as he did. If you look at any quilted sleeve you
+will feel the whole texture of the material and recognise its own shape,
+and yet under it and through it each nuance of muscle and arm-form
+reveals itself. It is no light praise, mind you, when one says that
+every touch is the record of a tireless observation&mdash;you have only to
+look at a great Sir Joshua to see that quite half of every canvas is
+merely a recipe, a painted yawn in fact, as the intensity of his vision
+relaxed; but in a Velasquez your attention is riveted by the passionate
+search of the master and his ceaseless absorption in the thing before
+him&mdash;and this is all the more astounding because the work is hardly ever
+conceived from a point of view of bravura; there is nothing
+over-enthusiastic, insincerely impetuous, but a quiet suave dignity
+informing the whole, and penetrating into the least detail of the
+canvas.</p>
+
+<p>There is one quality Velasquez never falters in; from earliest days he
+is master of his medium; he understands its every limitation, realises
+exactly how far his palette is capable of rendering nature; and so you
+are never disturbed in your appreciation of his pictures by a sense that
+he is battling against insuperable difficulties, severely handicapped by
+an unsympathetic medium; but rather that<!-- Page 134 --><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> here is the consummate workman
+who, gladly recognising the measure of his freedom within the four walls
+of his limitations, illustrates for you that fine old statement, &quot;Whose
+service is perfect freedom.&quot;</p>
+
+<p align="right"><i>C. W. Furse.</i></p>
+
+
+<a name="loc221" id="loc221"></a><p align="center"><strong>CCXXI</strong></p>
+
+<p align="center">ON GAINSBOROUGH</p>
+
+<p>We must not forget, whilst we are on this subject, to make some remarks
+on his custom of painting by night, which confirms what I have already
+mentioned,&mdash;his great affection to his art; since he could not amuse
+himself in the evening by any other means so agreeable to himself. I am
+indeed much inclined to believe that it is a practice very advantageous
+and improving to an artist: for by this means he will acquire a new and
+a higher perception of what is great and beautiful in nature. By
+candlelight not only objects appear more beautiful, but from their being
+in a greater breadth of light and shadow, as well as having a greater
+breadth and uniformity of colour, nature appears in a higher style; and
+even the flesh seems to take a higher and richer tone of colour.
+Judgment is to direct us in the use to be made of this method of study;
+but the method itself is, I am very sure, advantageous. I have often
+imagined that the two great colourists, Titian and Correggio, though I
+do not know that they painted by night, formed their high ideas of
+colouring from the effects of objects by this artificial light.</p>
+
+<p align="right"><i>Reynolds.</i></p>
+
+<p><!-- Page 135 --><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+<a name="fp134" id="fp134"></a><div class="figright" style="width: 470px;">
+<img src="images/fp134.jpg" width="470" height="550" alt="Gainsborough THE CHILDREN AND THE BUTTERFLY Mansell" />
+</div>
+
+
+
+
+<h2><a name="MODERN_PAINTING" id="MODERN_PAINTING"></a>MODERN PAINTING</h2>
+
+
+<a name="loc222" id="loc222"></a><p align="center"><strong>CCXXII</strong></p>
+
+<p align="center">ON REYNOLDS</p>
+
+<p>Damn him! how various he is!</p>
+
+<p align="right"><i>Gainsborough.</i></p>
+
+
+<a name="loc223" id="loc223"></a><p align="center"><strong>CCXXIII</strong></p>
+
+<p>I shall take advantage of Sir John's<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> mention of Reynolds and
+Gainsborough to provoke some useful refutation, by stating that it seems
+to me the latter is by no means the rival of the former; though in this
+opinion I should expect to find myself in a minority of one. Reynolds
+knew little about the human structure, Gainsborough nothing at all;
+Reynolds was not remarkable for good drawing, Gainsborough was
+remarkable for bad; nor did the latter ever approach Reynolds in
+dignity, colour, or force of character, as in the portraits of John
+Hunter and General Heathfield for example. It may be conceded that more
+refinement, and perhaps more individuality, is to be found in
+Gainsborough, but his manner (and both were mannerists) was scratchy and
+thin, while that of Reynolds was manly and rich. Neither Reynolds nor
+Gainsborough was capable of anything ideal; but the work of Reynolds
+indicates thought and reading, and I do not know of anything by
+Gainsborough conveying a like suggestion.</p>
+
+<p align="right"><i>Watts.</i></p>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Sir John Millais.<!-- Page 136 --><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span></p></div>
+
+
+<a name="loc224" id="loc224"></a><p align="center"><strong>CCXXIV</strong></p>
+
+<p>I was thinking yesterday, as I got up, about the special charm of the
+English school. The little I saw of it has left me memories. They have a
+real sensitiveness which triumphs over all the studies in concoction
+which appear here and there, as in our dismal school; with us that
+sensitiveness is the rarest thing: everything has the look of being
+painted with clumsy tools, and what is worse, by obtuse and vulgar
+minds. Take away Meissonier, Decamps, one or two others, and some of the
+youthful pictures of Ingres, and all is tame, nerveless, without
+intention, without fire. One need only cast one's eye over that stupid,
+commonplace paper <i>L'Illustration</i>, manufactured by pettifogging artists
+over here, and compare it with the corresponding English publication to
+realise how wretchedly flat, flabby, and insipid is the character of
+most of our productions. This supposed home of drawing shows really no
+trace of it, and our most pretentious pictures show as little as any. In
+these little English designs nearly every object is treated with the
+amount of interest it demands; landscapes, sea-pieces, costumes,
+incidents of war, all these are delightful, done with just the right
+touch, and, above all, well drawn.... I do not see among us any one to
+be compared with Leslie, Grant, and all those who derive partly from
+Wilkie and partly from Hogarth, with a little of the suppleness and ease
+introduced by the school of forty years back, Lawrence and his comrades,
+who shone by their elegance and lightness.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+<p><!-- Page 137 --><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+
+
+<a name="loc225" id="loc225"></a><p align="center"><strong>CCXXV</strong></p>
+
+<p align="center">THE ENGLISH SCHOOL</p>
+
+<p>I shall never care to see London again. I should not find there my old
+memories, and, above all, I should not find the same men to enjoy with
+me what there is to be seen now. Perhaps I might find myself obliged to
+break a lance for Reynolds, or for that adorable Gainsborough, whom you
+are indeed right to love. Not that I am the opponent of the present
+movement in the painting of England. I am even struck by the prodigious
+conscientiousness that these people can bring to bear even on work of
+the imagination; it seems that in coming back to excessive detail they
+are more in their own element than when they imitated the Italian
+painters and the Flemish colourists. But what does the skin matter?
+Under this seeming transformation they are always English. Thus instead
+of making imitations pure and simple of the primitive Italians, as the
+fashion has been among us, they mix with this imitation of the manner of
+the old schools an infinitely personal sentiment; they put into it the
+interest which is generally missing in our cold imitations of the
+formulas and the style of schools which have had their day. I am writing
+without pulling myself up, and saying everything that comes into my
+head. Perhaps the impressions I received at that former time might be a
+little modified to-day. Perhaps I should find in Lawrence an
+exaggeration of methods and effects too closely reminiscent of the
+school<!-- Page 138 --><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> of Reynolds; but his amazing delicacy of drawing, and the air of
+life he gives to his women, who seem almost to be talking with one, give
+him, considered as a portrait-painter, a certain superiority over Van
+Dyck, whose admirable figures are immobile in their pose. Lustrous eyes
+and parted lips are admirably rendered by Lawrence. He welcomed me with
+much kindness; he was a man of most charming manners, except when you
+criticised his pictures.... Our school has need of a little new blood.
+Our school is old, and the English school seems young. They seem to seek
+after nature while we busy ourselves with imitating other pictures.
+Don't get me stoned by mentioning abroad these opinions, which alas! are
+mine.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc226" id="loc226"></a><p align="center"><strong>CCXXVI</strong></p>
+
+<p>There are only two occasions, I conceive, on which a foreign artist
+could with propriety be invited to execute a great national work in this
+country, namely, in default of our having any artist at all competent to
+such an undertaking, or for the purpose of introducing a superior style
+of art, to correct a vicious taste prevalent in the nation. The
+consideration of the first parts of this statement I leave to those who
+have witnessed with what ability Mr. Flaxman, Mr. Westmacott, and the
+other candidates have designed their models, and with respect to the
+style and good taste of the English school. I dare, and am proud, to
+assert its superiority over any that has appeared in Europe since the
+age of the Caracci.</p>
+
+<p align="right"><i>Hoppner.</i></p>
+<p><!-- Page 139 --><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p>
+
+
+<a name="loc227" id="loc227"></a><p align="center"><strong>CCXXVII</strong></p>
+
+<p>(Watts is) the only man who understands great art.</p>
+
+<p align="right"><i>Alfred Stevens.</i></p>
+
+
+<a name="loc228" id="loc228"></a><p align="center"><strong>CCXXVIII</strong></p>
+
+<p>There is only Puvis de Chavannes who holds his place; as for all the
+others, one must gild their monuments.</p>
+
+<p align="right"><i>Meissonier.</i></p>
+
+
+<a name="loc229" id="loc229"></a><p align="center"><strong>CCXXIX</strong></p>
+
+<p align="center">PRUDHON</p>
+
+<p>In short, he has his own manner; he is the Boucher, the Watteau of our
+day. We must let him do as he will; it can do no harm at the present
+time, and in the state the school is in. He deceives himself, but it is
+not given to every one to deceive themselves like him; his talent has a
+sure foundation. What I cannot forgive him is that he always draws the
+same heads, the same arms, and the same hands. All his faces have the
+same expression, and this expression is always the same grimace. It is
+not thus we should envisage nature, we who are disciples and admirers of
+the ancients.</p>
+
+<p align="right"><i>L. David.</i></p>
+
+
+<a name="loc230" id="loc230"></a><p align="center"><strong>CCXXX</strong></p>
+
+<p align="center">ON DELACROIX</p>
+
+<p>Delacroix (except in two pictures, which show a kind of savage genius)
+is a perfect beast, though almost worshipped here.</p>
+
+<p align="right"><i>Rossetti (1849).</i></p>
+<p><!-- Page 140 --><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+
+
+<a name="loc231" id="loc231"></a><p align="center"><strong>CCXXXI</strong></p>
+
+<p>Delacroix is one of the mighty ones of the earth, and Ingres misses
+being so creditably.</p>
+
+<p align="right"><i>Rossetti (1856).</i></p>
+
+
+<a name="loc232" id="loc232"></a><p align="center"><strong>CCXXXII</strong></p>
+
+<p align="center">ON DELACROIX</p>
+
+<p>Must I say that I prefer Delacroix with his exaggerations, his mistakes,
+his obvious falls, because he belongs to no one but himself, because he
+represents the spirit, the time, and the idiom of his time? Sickly, too
+highly strung, perhaps, since his art has the melodies of our
+generation, since in the strained note of his lamentations as in his
+resounding triumphs, there is always a gasp of the breath, a cry, a
+fever that are alike our own and his.</p>
+
+<p>We are no longer in the Olympian Age, like Raphael, Veronese, and
+Rubens; and Delacroix's art is powerful, as a voice from Dante's
+Inferno.</p>
+
+<p align="right"><i>Rousseau.</i></p>
+
+
+<a name="loc233" id="loc233"></a><p align="center"><strong>CCXXXIII</strong></p>
+
+<p align="center">A DELACROIX EXHIBITION</p>
+
+<p>Feminine painting is invading us; and if our time, of which Delacroix is
+the true representative, <i>has not dared enough</i>, what will the enervated
+art of the future be like?</p>
+
+<p>Only paintings are exhibited just now. Two rooms scarcely hold his
+riches; and when one thinks that there are here but the elements of
+Delacroix's production, one is bewildered. What strikes one above all
+in<!-- Page 141 --><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> his sketches is the note of nervous, contained intensity, which
+during all his full career he never lost; neither fashion nor the
+influence of others affected it; never was there a more sincere note.
+Plenty of incorrectness, I grant you, but with a great feeling for
+drawing. Whatever one may say, if drawing is an instrument of
+expression, Delacroix was a draughtsman. A great style, a marvellous
+invention, passion expressed in form as well as in colour, Delacroix is
+typically the artist, and not a professor of drawing who fills out
+weakness and mediocrity by rhetoric.</p>
+
+<p align="right"><i>Paul Huet.</i></p>
+
+
+<a name="loc234" id="loc234"></a><p align="center"><strong>CCXXXIV</strong></p>
+
+<p align="center">COROT'S METHOD OF WORK</p>
+
+<p>Corot is a true artist. One must see a painter in his home to have an
+idea of his merit. I saw again there, and with a quite new appreciation
+of them, pictures which I had seen at the museum and only cared for
+moderately. His great &quot;Baptism of Christ&quot; is full of na&iuml;ve beauties; his
+trees are superb. I asked him about the tree I have to do in the
+&quot;Orpheus.&quot; He told me to walk straight ahead, giving myself up to
+whatever might come in my way; usually this is what he does. He does not
+admit that taking infinite pains is lost labour. Titian, Raphael,
+Rubens, &amp;c., worked easily. They only attempted what they knew; only
+their range was wider than that of the man who, for instance, only
+paints landscapes or flowers. Notwithstanding this facility,<!-- Page 142 --><span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> labour too
+is indispensable. Corot broods much over things. Ideas come to him, and
+he adds as he works. It is the right way.</p>
+
+<p align="right"><i>Delacroix.</i></p>
+
+
+<a name="loc235" id="loc235"></a><p align="center"><strong>CCXXXV</strong></p>
+
+<p>From the age of six, I had the passion for drawing the forms of things.
+By the age of fifty, I had published an infinity of designs; but all
+that I produced before the age of seventy is of no account. Only when I
+was seventy-three had I got some sort of insight into the real structure
+of nature&mdash;animals, plants, trees, birds, fish, and insects.
+Consequently, at the age of eighty I shall have advanced still further;
+at ninety, I shall grasp the mystery of things; at a hundred, I shall be
+a marvel, and at a hundred and ten every blot, every line from my brush
+shall be alive!</p>
+
+<p align="right"><i>Hokusai.</i></p>
+
+
+<a name="loc236" id="loc236"></a><p align="center"><strong>CCXXXVI</strong></p>
+
+<p>It takes an artist fifty years to learn to do anything, and fifty years
+to learn what not to do&mdash;and fifty years to sift and find what he simply
+desires to do&mdash;and 300 years to do it, and when it is done neither
+heaven nor earth much needs it nor heeds it. Well, I'll peg away; I can
+do nothing else, and wouldn't if I could.</p>
+
+<p align="right"><i>Burne-Jones.</i></p>
+
+
+<a name="loc237" id="loc237"></a><p align="center"><strong>CCXXXVII</strong></p>
+
+<p>If the Lord lets me live two years longer, I think that I can paint
+something beautiful.</p>
+
+<p align="right"><i>Corot at 77.</i></p>
+<p><!-- Page 143 --><span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span></p>
+
+
+
+
+<h2><a name="ARS_LONGA" id="ARS_LONGA"></a>ARS LONGA</h2>
+
+
+<a name="loc238" id="loc238"></a><p align="center"><strong>CCXXXVIII</strong></p>
+
+<p>If Heaven would give me ten years more ... if Heaven would give me only
+five years more ... I might become a really great painter.</p>
+
+<p align="right"><i>Hokusai.</i></p>
+
+
+<a name="loc239" id="loc239"></a><p align="center"><strong>CCXXXIX</strong></p>
+
+<p>I will have my Bed to be a Bed of Honour, and cannot die in a better
+Posture than with my Pencil in my Hand.</p>
+
+<p align="right"><i>Lucas of Leyden.</i></p>
+
+
+<a name="loc240" id="loc240"></a><p align="center"><strong>CCXL</strong></p>
+
+<p>Adieu! I go above to see if friend Corot has found me new landscapes to
+paint.</p>
+
+<p align="right"><i>Daubigny</i> (on his death-bed).</p>
+
+
+<a name="loc241" id="loc241"></a><p align="center"><strong>CCXLI</strong></p>
+
+<p>Leaving my brush in the city of the East, I go to gaze on the divine
+landscapes of the Paradise of the West.</p>
+
+<p align="right"><i>Hiroshige</i> (on his death-bed).</p>
+
+
+<a name="loc242" id="loc242"></a><p align="center"><strong>CCXLII</strong></p>
+
+<p>Much will hereafter be written about subjects and refinements of
+painting. Sure am I that many notable men will arise, all of whom will
+write both well and better about this art and will teach it better than
+I. For I myself hold my art at a very mean value, for I know what my
+faults are. Let every man therefore strive to better these my errors
+according to his powers.<!-- Page 144 --><span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> Would to God it were possible for me to see
+the work and art of the mighty masters to come, who are yet unborn, for
+I know that I might be improved. Ah! how often in my sleep do I behold
+great works of art and beautiful things, the like whereof never appear
+to me awake, but so soon as I awake even the remembrance of them leaveth
+me. Let none be ashamed to learn, for a good work requireth good
+counsel. Nevertheless, whosoever taketh counsel in the arts let him take
+it from one thoroughly versed in those matters, who can prove what he
+saith with his hand. Howbeit any one <i>may</i> give thee counsel; and when
+thou hast done a work pleasing to thyself, it is good for thee to show
+it to dull men of little judgment that they may give their opinion of
+it. As a rule, they pick out the most faulty points, whilst they
+entirely pass over the good. If thou findest something they say true,
+thou mayest thus better thy work.</p>
+
+<p align="right"><i>D&uuml;rer.</i></p>
+
+
+<a name="loc243" id="loc243"></a><p align="center"><strong>CCXLIII</strong></p>
+
+<p>I should be sorry if I had any earthly fame, for whatever natural glory
+a man has is so much detracted from his spiritual glory. I wish to do
+nothing for profit; I want nothing; I am quite happy.</p>
+
+<p align="right"><i>Blake.</i></p>
+<p><!-- Page 145 --><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+
+
+
+<h2><a name="INDEX_OF_ARTISTS" id="INDEX_OF_ARTISTS"></a>INDEX OF ARTISTS</h2>
+
+
+<p>Agatharcus, <a href="#loc46">46</a><br />
+Alberti Leon Battista, <a href="#loc51">51</a>, <a href="#loc143">143</a><br />
+Anon (Chinese), <a href="#loc184">184</a><br />
+Apelles, <a href="#loc87">87</a></p>
+
+<p>Blake, <a href="#loc7">7</a>, <a href="#loc26">26</a>, <a href="#loc53">53</a>, <a href="#loc97">97</a>, <a href="#loc122">122</a>, <a href="#loc173">173</a>, <a href="#loc243">243</a><br />
+Bracquemond, <a href="#loc23">23</a>, <a href="#loc61">61</a>, <a href="#loc63">63</a>, <a href="#loc115">115</a>, <a href="#loc179">179</a><br />
+Brown, Ford Madox, <a href="#loc82">82</a>, <a href="#loc194">194</a>, <a href="#loc197">197</a><br />
+Burne-Jones, <a href="#loc19">19</a>, <a href="#loc36">36</a>, <a href="#loc116">116</a>, <a href="#loc127">127</a>, <a href="#loc131">131</a>, <a href="#loc155">155</a>, <a href="#loc166">166</a>, <a href="#loc181">181</a>, <a href="#loc236">236</a></p>
+
+<p>Calvert, Edward, <a href="#loc25">25</a>, <a href="#loc41">41</a>, <a href="#loc77">77</a>, <a href="#loc80">80</a>, <a href="#loc137">137</a>, <a href="#loc167">167</a><br />
+Cennini, Cennino, <a href="#loc126">126</a>, <a href="#loc163">163</a><br />
+Chass&eacute;riau, <a href="#loc93">93</a>, <a href="#loc146">146</a>, <a href="#loc147">147</a>, <a href="#loc175">175</a>, <a href="#loc189">189</a><br />
+Constable, <a href="#loc81">81</a>, <a href="#loc104">104</a>, <a href="#loc188">188</a>, <a href="#loc192">192</a>, <a href="#loc199">199</a><br />
+Corot, <a href="#loc28">28</a>, <a href="#loc66">66</a>, <a href="#loc73">73</a>, <a href="#loc74">74</a>, <a href="#loc76">76</a>, <a href="#loc237">237</a><br />
+Crome, <a href="#loc191">191</a><br />
+Courbet, <a href="#loc20">20</a>, <a href="#loc21">21</a><br />
+Couture, <a href="#loc148">148</a></p>
+
+<p>Daubigny, <a href="#loc240">240</a><br />
+David, Louis, <a href="#loc57">57</a>, <a href="#loc229">229</a><br />
+Delacroix, <a href="#loc14">14</a>, <a href="#loc16">16</a>, <a href="#loc29">29</a>, <a href="#loc60">60</a>, <a href="#loc85">85</a>, <a href="#loc88">88</a>, <a href="#loc114">114</a>, <a href="#loc125">125</a>, <a href="#loc149">149</a>, <a href="#loc168">168</a>, <a href="#loc203">203</a>, <a href="#loc210">210</a>, <a href="#loc224">224</a>, <a href="#loc225">225</a>, <a href="#loc234">234</a><br />
+Donatello, <a href="#loc108">108</a><br />
+D&uuml;rer, <a href="#loc5">5</a>, <a href="#loc49">49</a>, <a href="#loc71">71</a>, <a href="#loc242">242</a><br />
+Dutilleux, <a href="#loc142">142</a>, <a href="#loc190">190</a>, <a href="#loc202">202</a><br />
+Dyce, <a href="#loc24">24</a></p>
+
+<p>Eupompus, <a href="#loc67">67</a></p>
+
+<p>Fromentin, <a href="#loc8">8</a>, <a href="#loc15">15</a>, <a href="#loc30">30</a>, <a href="#loc177">177</a>, <a href="#loc207">207</a>, <a href="#loc211">211</a>, <a href="#loc213">213</a>, <a href="#loc214">214</a>, <a href="#loc215">215</a>, <a href="#loc217">217</a><br />
+Furse, <a href="#loc132">132</a>, <a href="#loc133">133</a>, <a href="#loc139">139</a>, <a href="#loc170">170</a>, <a href="#loc172">172</a>, <a href="#loc183">183</a>, <a href="#loc197">197</a>, <a href="#loc220">220</a><br />
+Fuseli, <a href="#loc2">2</a>, <a href="#loc139a">139A</a>, <a href="#loc199a">199A</a></p>
+
+<p>Gainsborough, <a href="#loc90">90</a>, <a href="#loc222">222</a><br />
+Goujon, <a href="#loc48">48</a><br />
+Goya, <a href="#loc89">89</a>, <a href="#loc156">156</a>, <a href="#loc157">157</a></p>
+
+<p>Hilliard, <a href="#loc159">159</a><br />
+Hiroshige, <a href="#loc241">241</a><br />
+Hogarth, <a href="#loc118">118</a>, <a href="#loc124">124</a>, <a href="#loc141">141</a>, <a href="#loc152">152</a><br />
+Hokusai, <a href="#loc106">106</a>, <a href="#loc134">134</a>, <a href="#loc141">141</a>, <a href="#loc235">235</a>, <a href="#loc238">238</a><br />
+Hoppner, <a href="#loc226">226</a><br />
+Hsieh Ho, <a href="#loc11">11</a>, <a href="#loc117">117</a><br />
+Huet, <a href="#loc185">185</a>, <a href="#loc233">233</a></p>
+
+<p>Ingres, <a href="#loc52">52</a>, <a href="#loc62">62</a>, <a href="#loc109">109</a>, <a href="#loc110">110</a>, <a href="#loc111">111</a>, <a href="#loc112">112</a>, <a href="#loc113">113</a>, <a href="#loc119">119</a>, <a href="#loc120">120</a>, <a href="#loc128">128</a></p>
+
+<p>Keene, <a href="#loc69">69</a><br />
+<!-- Page 146 --><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span>Klagmann, <a href="#loc44"></a>44<br />
+Ku K'ai-Chih, <a href="#loc12">12</a>, <a href="#loc165">165</a><br />
+Kuo Hsi, <a href="#loc186">186</a>, <a href="#loc187">187</a></p>
+
+<p>Lawrence, <a href="#loc59">59</a>, <a href="#loc205">205</a><br />
+Leighton, <a href="#loc103">103</a><br />
+Leonardo, <a href="#loc3">3</a>, <a href="#loc50">50</a>, <a href="#loc56">56</a>, <a href="#loc65">65</a>, <a href="#loc121">121</a>, <a href="#loc129">129</a>, <a href="#loc158">158</a>, <a href="#loc160">160</a>, <a href="#loc161">161</a>, <a href="#loc162">162</a>, <a href="#loc176">176</a>, <a href="#loc196">196</a><br />
+Lucas of Leyden, <a href="#loc239">239</a><br />
+Lundgren, E., <a href="#loc164">164</a></p>
+
+<p>Meissonier, <a href="#loc228">228</a><br />
+Michael Angelo, <a href="#loc4">4</a>, <a href="#loc79">79</a>, <a href="#loc107">107</a>, <a href="#loc123">123</a>, <a href="#loc212">212</a><br />
+Millais, <a href="#loc95">95</a>, <a href="#loc99">99</a><br />
+Millet, <a href="#loc35">35</a>, <a href="#loc47">47</a>, <a href="#loc75">75</a>, <a href="#loc200">200</a>, <a href="#loc201">201</a><br />
+Monticelli, <a href="#loc101">101</a><br />
+Morris, William, <a href="#loc27">27</a> <a href="#loc38">38</a>, <a href="#loc39">39</a>, <a href="#loc43">43</a>, <a href="#loc130">130</a>, <a href="#loc144">144</a></p>
+
+<p>Northcote, <a href="#loc151">151</a>, <a href="#loc174">174</a>, <a href="#loc178">178</a>, <a href="#loc208">208</a></p>
+
+<p>Okio, <a href="#loc70">70</a></p>
+
+<p>Pasiteles, <a href="#loc138">138</a><br />
+Poussin, N., <a href="#loc13">13</a><br />
+Pr&eacute;ault, <a href="#loc83">83</a><br />
+Puvis de Chavannes, <a href="#loc78">78</a>, <a href="#loc105">105</a>, <a href="#loc180">180</a></p>
+
+<p>Raphael, <a href="#loc18">18</a><br />
+Rembrandt, <a href="#loc91">91</a>, <a href="#loc92">92</a><br />
+Reynolds, <a href="#loc68">68</a>, <a href="#loc72">72</a>, <a href="#loc84">84</a>, <a href="#loc218">218</a>, <a href="#loc221">221</a><br />
+Rops, <a href="#loc31">31</a><br />
+Rossetti, <a href="#loc6">6</a>, <a href="#loc9">9</a>, <a href="#loc150">150</a>, <a href="#loc216">216</a>, <a href="#loc230">230</a>, <a href="#loc231">231</a><br />
+Rousseau, <a href="#loc37">37</a>, <a href="#loc86">86</a>, <a href="#loc136">136M</a> <a href="#loc232">232</a><br />
+Rubens, <a href="#loc55">55</a>, <a href="#loc58">58</a>, <a href="#loc98">98</a></p>
+
+<p>Shiba Kokan, <a href="#loc135">135</a><br />
+Stevens, A. (the Belgian painter), <a href="#loc1">1</a>, <a href="#loc204">204</a><br />
+Stevens, A. (the English sculptor), <a href="#loc227">227</a><br />
+Sung Ti, <a href="#loc195">195</a></p>
+
+<p>Titian, <a href="#loc45">45</a>, <a href="#loc140">140</a><br />
+Turner, <a href="#loc193">193</a></p>
+
+<p>Velasquez, <a href="#loc193">209</a></p>
+
+<p>Wang Wei, <a href="#loc198">198</a><br />
+Watts, <a href="#loc10">10</a>, <a href="#loc17">17</a>, <a href="#loc34">34</a>, <a href="#loc40">40</a>, <a href="#loc96">96</a>, <a href="#loc100">100</a>, <a href="#loc102">102</a>, <a href="#loc169">169</a>, <a href="#loc171">171</a>, <a href="#loc182">182</a>, <a href="#loc206">206</a>, <a href="#loc223">223</a><br />
+Whistler, <a href="#loc32">32</a>, <a href="#loc42">42</a>, <a href="#loc64">64</a><br />
+Wiertz, <a href="#loc22">22</a>, <a href="#loc33">33</a>, <a href="#loc54">54</a><br />
+Wilkie, <a href="#loc94">94</a>, <a href="#loc145">145</a>, <a href="#loc153">153</a>, <a href="#loc154">154</a>, <a href="#loc219">219</a></p>
+
+<p>Zeuxis, <a href="#loc46">46</a></p>
+
+
+
+<p>Printed by Ballantyne, Hanson &amp; Co.</p>
+
+<p>Edinburgh &amp; London</p>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mind of the Artist, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+***** This file should be named 18653-h.htm or 18653-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/8/6/5/18653/
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/18653-h/images/fp102.jpg b/18653-h/images/fp102.jpg
new file mode 100644
index 0000000..8477c30
--- /dev/null
+++ b/18653-h/images/fp102.jpg
diff --git a/18653-h/images/fp118.jpg b/18653-h/images/fp118.jpg
new file mode 100644
index 0000000..3d0349f
--- /dev/null
+++ b/18653-h/images/fp118.jpg
diff --git a/18653-h/images/fp134.jpg b/18653-h/images/fp134.jpg
new file mode 100644
index 0000000..438793f
--- /dev/null
+++ b/18653-h/images/fp134.jpg
diff --git a/18653-h/images/fp28.jpg b/18653-h/images/fp28.jpg
new file mode 100644
index 0000000..72c2dc8
--- /dev/null
+++ b/18653-h/images/fp28.jpg
diff --git a/18653-h/images/fp48.jpg b/18653-h/images/fp48.jpg
new file mode 100644
index 0000000..5f6f040
--- /dev/null
+++ b/18653-h/images/fp48.jpg
diff --git a/18653-h/images/fp74.jpg b/18653-h/images/fp74.jpg
new file mode 100644
index 0000000..5d1771b
--- /dev/null
+++ b/18653-h/images/fp74.jpg
diff --git a/18653-h/images/fp96.jpg b/18653-h/images/fp96.jpg
new file mode 100644
index 0000000..73d3073
--- /dev/null
+++ b/18653-h/images/fp96.jpg
diff --git a/18653-h/images/frontis.jpg b/18653-h/images/frontis.jpg
new file mode 100644
index 0000000..948c97d
--- /dev/null
+++ b/18653-h/images/frontis.jpg
diff --git a/18653.txt b/18653.txt
new file mode 100644
index 0000000..293970a
--- /dev/null
+++ b/18653.txt
@@ -0,0 +1,5096 @@
+The Project Gutenberg EBook of The Mind of the Artist, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mind of the Artist
+       Thoughts and Sayings of Painters and Sculptors on Their Art
+
+Author: Various
+
+Commentator: George Clausen
+
+Release Date: June 22, 2006 [EBook #18653]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+
+
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+THE MIND OF THE ARTIST
+
+[Illustration: _Rembrandt_ THE POLISH RIDER _Berlin Photographic Co_]
+
+THOUGHTS AND SAYINGS OF PAINTERS
+AND SCULPTORS ON THEIR ART
+
+COLLECTED & ARRANGED BY
+MRS. LAURENCE BINYON
+
+
+WITH A PREFACE BY GEORGE CLAUSEN, R.A.
+
+LONDON
+CHATTO & WINDUS
+1909
+
+_All rights reserved_
+
+
+
+
+PREFACE
+
+
+It is always interesting and profitable to get the views of workmen on
+their work, and on the principles which guide them in it; and in
+bringing together these sayings of artists Mrs. Binyon has done a very
+useful thing. A great number of opinions are presented, which, in their
+points of agreement and disagreement, bring before us in the most
+charming way the wide range of the artist's thought, and enable us to
+realise that the work of the great ones is not founded on vague caprice
+or so-called inspiration, but on sure intuitions which lead to definite
+knowledge; not merely the necessary knowledge of the craftsman, which
+many have possessed whose work has failed to hold the attention of the
+world, but also a knowledge of nature's laws.
+
+"The Mind of the Artist" speaks for itself, and really requires no word
+of introduction. These opinions as a whole, seem to me to have a harmony
+and consistency, and to announce clearly that the directing impulse must
+be a desire for expression, that art is a language, and that the thing
+to be said is of more importance than the manner of saying it. This
+desire for expression is the driving-force of the artist; it informs,
+controls, and animates his method of working; it governs the hand and
+eye. That figures should give the impression of life and spontaneity,
+that the sun should shine, trees move in the wind, and nature be felt
+and represented as a living thing--this is the firm ground in art; and
+in those who have this feeling every effort will, consciously or
+unconsciously, lead towards its realisation. It should be the
+starting-point of the student. It does not absolve him from the need of
+taking the utmost pains, from making the most searching study of his
+model; rather it impels him, in the examination of whatever he feels
+called on to represent, to look for the vital and necessary things: and
+the artist will carry his work to the utmost degree of completion
+possible to him, in the desire to get at the heart of his theme.
+
+"Truth to nature," like a wide mantle, shelters us all, and covers not
+only the outward aspect of things, but their inner meanings and the
+emotions felt through them, differently by each individual. And the
+inevitable differences of point of view, which one encounters in this
+book, are but small matters compared with the agreement one finds on
+essential things; I may instance particularly the stress laid on the
+observation of nature. Whether the artist chooses to depict the present,
+the past, or to express an abstract ideal, he must, if his work is to
+live, found it on his own experience of nature. But he must at every
+step also refer to the past. He must find the road that the great ones
+have made, remembering that the problems they solved were the same that
+he has before him, and that now, no less than in Duerer's time, "art is
+hidden in nature: it is for the artist to drag her forth."
+
+     GEORGE CLAUSEN.
+
+
+
+
+NOTE
+
+
+This little volume, it need hardly be said, does not aim at being
+complete, in the sense of representing all the artists who have written
+on art. It is hoped, however, that the sayings chosen will be found
+fairly representative of what painters and sculptors, typical of their
+race and time, have said about the various aspects of their work. In
+making the collection, I have had recourse less to famous comprehensive
+treatises and expositions of theory like those of Leonardo and of
+Reynolds, than to the more intimate avowals and working notes contained
+in letters and diaries, or recorded in memoirs. The selection of these
+has entailed considerable research; and in tracing what was often by no
+means easy to find, I wish to acknowledge the kind assistance,
+especially, of M. Raphael Petrucci, M. Louis Dimier, and Mr. Tancred
+Borenius. I have also to thank Lady Burne-Jones, Miss Birnie Philip,
+Mrs. Watts, Mrs. C. W. Furse, Mr. W. M. Rossetti, Mr. J. G. Millais, Mr.
+Samuel Calvert, and Mr. Sydney Cockerell, for permission to make
+quotations from Burne-Jones, Whistler, Watts, Furse, D. G. Rossetti,
+Madox Brown, Millais, Edward Calvert, and William Morris; also Sir
+Martin Conway, Sir Charles Holroyd, Mrs. Herringham, Mr. E. McCurdy,
+and Mr. Everard Meynell, for allowing me to use their translations from
+Duerer, Francisco d'Ollanda (conversations with Michael Angelo), Cennino
+Cennini, Leonardo, and Corot, respectively.
+
+Thankful acknowledgment is also made to the authors of any other
+quotations whose names may inadvertently have been omitted.
+
+Above all, I thank my husband for his advice and help.
+
+C. M. B.
+
+
+
+
+ILLUSTRATIONS
+
+
+THE POLISH RIDER. Rembrandt        _Frontispiece_
+_Tarnowski Collection, Dzikow_
+
+                                               FACING PAGE
+
+THE CASTLE IN THE PARK. Rubens. (_Detail_)       28
+_Vienna_
+
+LOVE. Millais                                    48
+_The Victoria and Albert Museum_
+
+THE MUSIC OF PAN. Signorelli                     74
+_Berlin_
+
+PORTRAIT OF THE ARTIST'S WIFE. J. Van Eyck       96
+_Bruges_
+
+HOPE. Puvis de Chavannes                        102
+_By permission of Messrs. Durand-Revel_
+
+THE MASS OF BOLSENA. Raphael. (_Detail_)        118
+_The Vatican_
+
+THE CHILDREN AND THE BUTTERFLY. Gainsborough    134
+_National Gallery_
+
+
+
+
+THE MIND OF THE ARTIST
+
+
+I
+
+An able painter by his power of penetration into the mysteries of his
+art is usually an able critic.
+
+_Alfred Stevens._[1]
+
+[Footnote 1: The Belgian painter, not the English sculptor.]
+
+
+II
+
+Art, like love, excludes all competition, and absorbs the man.
+
+     _Fuseli._
+
+
+III
+
+A good painter has two chief objects to paint, namely, man, and the
+intention of his soul. The first is easy, the second difficult, because
+he has to represent it through the attitudes and movements of the limbs.
+This should be learnt from the dumb, who do it better than any other
+sort of person.
+
+_Leonardo da Vinci._
+
+
+IV
+
+In my judgment that is the excellent and divine painting which is most
+like and best imitates any work of immortal God, whether a human figure,
+or a wild and strange animal, or a simple and easy fish, or a bird of
+the air, or any other creature. And this neither with gold nor silver
+nor with very fine tints, but drawn only with a pen or a pencil, or with
+a brush in black and white. To imitate perfectly each of these things in
+its species seems to me to be nothing else but to desire to imitate the
+work of immortal God. And yet that thing will be the most noble and
+perfect in the works of painting which in itself reproduced the thing
+which is most noble and of the greatest delicacy and knowledge.
+
+_Michael Angelo._
+
+
+V
+
+The art of painting is employed in the service of the Church, and by it
+the sufferings of Christ and many other profitable examples are set
+forth. It preserveth also the likeness of men after their death. By aid
+of delineations the measurements of the earth, the waters, and the stars
+are better to be understood; and many things likewise become known unto
+men by them. The attainment of true, artistic, and lovely execution in
+painting is hard to come unto; it needeth long time and a hand practised
+to almost perfect freedom. Whosoever, therefore, falleth short of this
+cannot attain a right understanding (in matters of painting) for it
+cometh alone by inspiration from above. The art of painting cannot be
+truly judged save by such as are themselves good painters; from others
+verily is it hidden even as a strange tongue. It were a noble occupation
+for ingenious youths without employment to exercise themselves in this
+art.
+
+_Duerer._
+
+
+
+
+AIMS AND IDEALS
+
+
+VI
+
+Give thou to God no more than he asketh of thee; but to man also, that
+which is man's. In all that thou doest, work from thine own heart,
+simply; for his heart is as thine, when thine is wise and humble; and he
+shall have understanding of thee. One drop of rain is as another, and
+the sun's prism in all: and shalt not thou be as he, whose lives are the
+breath of One? Only by making thyself his equal can he learn to hold
+communion with thee, and at last own thee above him. Not till thou lean
+over the water shalt thou see thine image therein: stand erect, and it
+shall slope from thy feet and be lost. Know that there is but this means
+whereby thou mayst serve God with man.... Set thine hand and thy soul to
+serve man with God....
+
+Chiaro, servant of God, take now thine Art unto thee, and paint me thus,
+as I am, to know me; weak, as I am, and in the weeds of this time; only
+with eyes which seek out labour, and with a faith, not learned, yet
+jealous of prayer. Do this; so shall thy soul stand before thee always,
+and perplex thee no more.
+
+_Rossetti._
+
+
+VII
+
+I know that this world is a world of imagination and vision. I see
+everything I paint in this world, but everybody does not see alike. To
+the eyes of a miser a guinea is far more beautiful than the sun, and a
+bag worn with the use of money has more beautiful proportions than a
+vine filled with grapes. The tree which moves some to tears of joy, is
+in the eyes of others only a green thing which stands in the way.... To
+the eye of the man of imagination, Nature is Imagination itself.
+
+_Blake._
+
+
+VIII
+
+Painting is nothing but the art of expressing the invisible by the
+visible.
+
+_Fromentin._
+
+
+IX
+
+The picture I speak of is a small one, and represents merely the figure
+of a woman, clad to the hands and feet with a green and grey raiment,
+chaste and early in its fashion, but exceedingly simple.
+
+She is standing: her hands are held together lightly, and her eyes set
+earnestly open.
+
+The face and hands in this picture, though wrought with great delicacy,
+have the appearance of being painted at once, in a single sitting: the
+drapery is unfinished. As soon as I saw the figure, it drew an awe upon
+me, like water in shadow. I shall not attempt to describe it more than I
+have already done, for the most absorbing wonder of it was its
+literality. You knew that figure, when painted, had been seen; yet it
+was not a thing to be seen of men.
+
+_Rossetti._
+
+
+X
+
+A great work of high art is a noble theme treated in a noble manner,
+awakening our best and most reverential feelings, touching our
+generosity, our tenderness, or disposing us generally to seriousness--a
+subject of human endurance, of human justice, of human aspiration and
+hope, depicted worthily by the special means art has in her power to
+use. In Michael Angelo and Raphael we have high art; in Titian we have
+high art; in Turner we have high art. The first appeals to our highest
+sensibilities by majesty of line, the second mainly by dignified
+serenity, the third by splendour especially, the Englishman by a
+combination of these qualities, but, lacking the directly human appeal
+to human sympathies, his work must be put on a lower level.
+
+_Watts._
+
+
+XI
+
+THE SIX CANONS OF ART
+
+Rhythmic vitality, anatomical structure, conformity with nature,
+suitability of colouring, artistic composition, and finish.
+
+_Hsieh Ho_ (Chinese, sixth century A.D.).
+
+
+XII
+
+In painting, the most troublesome subject is man, then landscape, then
+dogs and horses, then buildings, which being fixed objects are easy to
+manage up to a certain point, but of which it is difficult to get
+finished pictures.
+
+_Ku K'ai-Chih_ (Chinese, fourth century A.D.).
+
+
+XIII
+
+First it is necessary to know what this sort of imitation is, and to
+define it.
+
+Definition:
+
+It is an imitation made with lines and with colours on some plane
+surface of everything that can be seen under the sun. Its object is to
+give delight.
+
+Principles which may be learnt by all men of reason:
+
+No visible object can be presented without light.
+
+No visible object can be presented without a transparent medium.
+
+No visible object can be presented without a boundary.
+
+No visible object can be presented without colour.
+
+No visible object can be presented without distance.
+
+No visible object can be presented without an instrument.
+
+What follows cannot be learnt, it is born with the painter.
+
+_Nicholas Poussin._
+
+
+XIV
+
+"In painting, and above all in portraiture," says Madame Cave in her
+charming essay, "it is soul which speaks to soul: and not knowledge
+which speaks to knowledge."
+
+This observation, more profound perhaps than she herself was aware, is
+an arraignment of pedantry in execution. A hundred times I have said to
+myself, "Painting, speaking materially, is nothing but a bridge between
+the soul of the artist and that of the spectator."
+
+_Delacroix._
+
+
+XV
+
+The art of painting is perhaps the most indiscreet of all the arts. It
+is an unimpeachable witness to the moral state of the painter at the
+moment when he held the brush. The thing he willed to do he did: that
+which he only half-heartedly willed can be seen in his indecisions: that
+which he did not will at all is not to be found in his work, whatever
+he may say and whatever others may say. A distraction, a moment's
+forgetfulness, a glow of warmer feeling, a diminution of insight,
+relaxation of attention, a dulling of his love for what he is studying,
+the tediousness of painting and the passion for painting, all the shades
+of his nature, even to the lapses of his sensibility, all this is told
+by the painter's work as clearly as if he were telling it in our ears.
+
+_Fromentin._
+
+
+XVI
+
+The first merit of a picture is to feast the eyes. I don't mean that
+the intellectual element is not also necessary; it is as with fine
+poetry ... all the intellect in the world won't prevent it from being bad
+if it grates harshly on the ear. We talk of having an ear; so it is not
+every eye which is fitted to enjoy the subtleties of painting. Many people
+have a false eye or an indolent eye; they can see objects literally, but
+the exquisite is beyond them.
+
+_Delacroix._
+
+
+XVII
+
+I would like my work to appeal to the eye and mind as music appeals to
+the ear and heart. I have something that I want to say which may be
+useful to and touch mankind, and to say it as well as I can in form and
+colour is my endeavour; more than that I cannot do.
+
+_Watts._
+
+
+XVIII
+
+Give me leave to say, that to paint a very beautiful Woman, I ought to
+have before me those that are the most so; with this Condition, that
+your Lordship might assist me in choosing out the greatest Beauty. But
+as I am under a double Want, both of good Judgment and fine Women, I am
+forced to go by a certain Idea which I form in my own Mind. Whether this
+hath any Excellence of Art in it, I cannot determine; but 'tis what I
+labour at.
+
+_Raphael._
+
+
+XIX
+
+I mean by a picture a beautiful romantic dream of something that never
+was, never will be--in a light better than any light that ever shone--in
+a land no one can define or remember, only desire--and the forms
+divinely beautiful--and then I wake up with the waking of Brynhild.
+
+_Burne-Jones._
+
+
+XX
+
+I love everything for what it is.
+
+_Courbet._
+
+
+XXI
+
+I look for my tones; it is quite simple.
+
+_Courbet._
+
+
+XXII
+
+Many people imagine that art is capable of an indefinite progress toward
+perfection. This is a mistake. There is a limit where it must stop. And
+for this reason: the conditions which govern the imitation of nature are
+fixed. The object is to produce a picture, that is to say, a plane
+surface either with or without a border, and on this surface the
+representation of something produced by the sole means of different
+colouring substances. Since it is obliged to remain thus circumscribed,
+it is easy to foresee the limit of perfectibility. When the picture has
+succeeded in satisfying our minds in all the conditions imposed on its
+production, it will cease to interest. Such is the fate of everything
+which has attained its end: we grow indifferent and abandon it.
+
+In the conditions governing the production of the picture, every means
+has been explored. The most difficult problem was that of complete
+relief, depth of perspective carried to the point of perfect illusion.
+The stereoscope has solved the problem. It only remains now to combine
+this perfection with the other kinds of perfection already found. Let no
+man imagine that art, bound by these conditions of the plane surface,
+can ever free itself from the circle which limits it. It is easy to
+foresee that its last word will soon have been said.
+
+_Wiertz._
+
+
+XXIII
+
+In his admirable book on Shakespeare, Victor Hugo has shown that there
+is no progress in the arts. Nature, their model, is unchangeable; and
+the arts cannot transcend her limits. They attain completeness of
+expression in the work of a master, on whom other masters are formed.
+Then comes development, and then a lapse, an interval. By-and-by, art is
+born anew under the stimulus of a man who catches from Light a new
+convention.
+
+_Bracquemond._
+
+
+XXIV
+
+The painter ... does not set his palette with the real hues of the
+rainbow. When he pictures to us the character of a hero, or paints some
+scene of nature, he does not present us with a living man in the
+character of the hero (for this is the business of dramatic art); nor
+does he make up his landscape of real rocks, or trees, or water, but
+with fictitious resemblances of these. Yet in these figments he is as
+truly bound by the laws of the appearance of those realities, of which
+they are the copy (and very much to the same extent), as the musician is
+by the natural laws and properties of sound.
+
+In short, the whole object of physical science, or, in other words, the
+whole of sensible nature, is included in the domain of imitative art,
+either as the subjects, the objects, or the materials of imitation:
+every fine art, therefore, has certain physical sciences collateral to
+it, on the abstractions of which it builds, more or less, according to
+its nature and purpose. But the drift of the art itself is something
+totally distinct from that of the physical science to which it is
+related; and it is not more absurd to say that physiology or anatomy
+constitute the science of poetry or dramatic art than that acoustics and
+harmonics are the science of music; optics, of painting; mechanics, or
+other branches of physical science, that of architecture.
+
+_Dyce._
+
+
+XXV
+
+After all I have seen of Art, with nothing am I more impressed than with
+the necessity, in all great work, for suppressing the workman and all
+the mean dexterity of practice. The result itself, in quiet dignity, is
+the only worthy attainment. Wood-engraving, of all things most ready for
+dexterity, reads us a good lesson.
+
+_Edward Calvert._
+
+
+XXVI
+
+Shall Painting be confined to the sordid drudgery of facsimile
+representations of merely mortal and perishing substances, and not be as
+poetry and music are, elevated into its own proper sphere of invention
+and visionary conception? No, it shall not be so! Painting, as well as
+poetry and music, exists and exults in immortal thoughts.
+
+_Blake._
+
+
+XXVII
+
+If any man has any poetry in him, he should paint, for it has all been
+said and written, and they have scarcely begun to paint it.
+
+_William Morris._
+
+
+XXVIII
+
+Long live conscience and simplicity! there lies the only way to the true
+and the sublime.
+
+_Corot._
+
+
+XXIX
+
+All the young men of this school of Ingres have something of the pedant
+about them; they seem to think that merely to be enrolled among the
+party of serious painters is a merit in itself. Serious painting is
+their party cry. I told Demay that a crowd of people of talent had done
+nothing worth speaking of because of all these factious dogmas that they
+get enslaved to, or that the prejudice of the moment imposes on them.
+So, for example, with this famous cry of _Beauty_, which is, according
+to the world's opinion, the goal of the arts: if it is the one and only
+goal, what becomes of men who, like Rubens, Rembrandt, and northern
+natures in general, prefer other qualities? Demand of Puget purity,
+beauty in fact, and it is good-bye to his verve. Speaking generally, men
+of the North are less attracted to beauty; the Italian prefers
+decoration; this applies to music too.
+
+_Delacroix._
+
+
+XXX
+
+At the present time the task is easier. It is a question of allowing to
+everything its own interest, of putting man back in his place, and, if
+need be, of doing without him. The moment has come to think less, to aim
+less high, to look more closely, to observe better, to paint as well but
+differently. This is the painting of the crowd, of the townsman, the
+workman, the parvenu, the man in the street; done wholly for him, done
+from him. It is a question of becoming humble before humble things,
+small before small things, subtle before subtle things; of gathering
+them all together without omission and without disdain, of entering
+familiarly into their intimacy, affectionately into their way of being;
+it is a matter of sympathy, attentive curiosity, patience. Henceforth,
+genius will consist in having no prejudice, in not being conscious of
+one's knowledge, in allowing oneself to be taken by surprise by one's
+model, in asking only from him how he shall be represented. As for
+beautifying--never! ennobling--never! correcting--never! These are lies
+and useless trouble. Is there not in every artist worthy of the name a
+something which sees to this naturally and without effort?
+
+_Fromentin._
+
+
+XXXI
+
+I send you also some etchings and a "Woman drinking Absinthe," drawn
+this winter from life in Paris. It is a girl called Marie Joliet, who
+used every evening to come drunk to the Bal Bullier, and who had a look
+in her eyes of death galvanised into life. I made her sit to me and
+tried to render what I saw. This is my principle in the task I have set
+before me. I am determined to make no book-illustration but it shall be
+a means of contributing towards an _effect of life_ and nothing more. A
+patch of colour and it is sufficient; we must leave these childish
+thoughts behind us. Life! we must try to render life, and it is hard
+enough.
+
+_Felicien Rops._
+
+
+XXXII
+
+So this damned Realism made an instinctive appeal to my painter's
+vanity, and deriding all traditions, cried aloud with the confidence of
+ignorance, "Back to Nature!" _Nature!_ ah, my friend, what mischief that
+cry has done me. Where was there an apostle apter to receive this
+doctrine, so convenient for me as it was--beautiful Nature, and all that
+humbug? It is nothing but that. Well, the world was watching; and it saw
+"The Piano," the "White Girl," the Thames subjects, the marines ...
+canvases produced by a fellow who was puffed up with the conceit of
+being able to prove to his comrades his magnificent gifts, qualities
+which only needed a rigorous training to make their possessor to-day a
+master, instead of a dissipated student. Ah, why was I not a pupil of
+Ingres? I don't say that out of enthusiasm for his pictures; I have
+only a moderate liking for them. Several of his canvases, which we have
+looked at together, seem to me of a very questionable style, not at all
+Greek, as people want to call it, but French, and viciously French. I
+feel that we must go far beyond this, that there are far more beautiful
+things to be done. Yet, I repeat, why was I not his pupil? What a master
+he would have been for us! How salutary would have been his guidance!
+
+_Whistler._
+
+
+XXXIII
+
+It has been said, "Who will deliver us from the Greeks and Romans?" Soon
+we shall be saying, "Who will deliver us from realism?" Nothing is so
+tiring as a constant close imitation of life. One comes back inevitably
+to imaginative work. Homer's fictions will always be preferred to
+historical truth, Rubens' fabulous magnificence to all the frippery
+copied exactly from the lay figure.
+
+The painter who is a machine will pass away, the painter who is a mind
+will remain; the spirit for ever triumphs over matter.
+
+_Wiertz._
+
+
+XXXIV
+
+A little book by the Russian soldier and artist Verestchagin is
+interesting to the student. As a realist, he condemns all art founded on
+the principles of picture-makers, and depends only on exact imitation,
+and the conditions of accident. In our seeking after truth, and
+endeavour never to be unreal or affected, it must not be forgotten that
+this endeavour after truth is to be made with materials altogether
+unreal and different from the object to be imitated. Nothing in a
+picture is real; indeed, the painter's art is the most unreal thing in
+the whole range of our efforts. Though art must be founded on nature,
+art and nature are distinctly different things; in a certain class of
+subjects probability may, indeed must, be violated, provided the
+violation is not disagreeable.
+
+Everything in a work of art must accord. Though gloom and desolation
+would deepen the effects of a distressing incident in real life, such
+accompaniments are not necessary to make us feel a thrill of horror or
+awaken the keenest sympathy. The most awful circumstances may take place
+under the purest sky, and amid the most lovely surroundings. The human
+sensibilities will be too much affected by the human sympathies to heed
+the external conditions; but to awaken in a picture similar impressions,
+certain artificial aids must be used; the general aspect must be
+troubled or sad.
+
+_Watts._
+
+
+XXXV
+
+The remarks made on my "Man with the Hoe" seem always very strange to
+me, and I am obliged to you for repeating them to me, for once more it
+sets me marvelling at the ideas they impute to me. In what club have my
+critics ever encountered me? A Socialist, they cry! Well, really, I
+might answer the charge as the commissary from Auvergne did when he
+wrote home: "They have been saying that I am a Saint-Simonian: it's not
+true; I don't know what a Saint-Simonian is."
+
+Can't they then simply admit such ideas as may occur to the mind in
+looking at a man doomed to gain his living by the sweat of his brow?
+There are some who tell me that I deny the charm of the country. I find
+in the country much more than charm; I find infinite splendour; I look
+on everything as they do on the little powers of which Christ said, "I
+say unto you, that Solomon in all his glory was not arrayed like one of
+these." I see and note the aureole on the dandelion, and the sun which,
+far away, beyond the stretching country, spends his glory on the clouds.
+I see just as much in the flat plain; in the horses steaming as they
+toil; and then in a stony place I see a man quite exhausted, whose gasps
+have been audible since morning, who tries to draw himself up for a
+moment to take breath. The drama is surrounded by splendours. This is no
+invention of mine; and it is long since that expression "the cry of the
+earth" was discovered. My critics are men of learning and taste, I
+imagine; but I cannot put myself into their skins, and since I have
+never in my life seen anything but the fields, I try to tell, as best I
+can, what I have seen and experienced as I worked.
+
+_Millet._
+
+
+XXXVI
+
+One of the hardest things in the world is to determine how much realism
+is allowable in any particular picture. It is of so many different kinds
+too. For instance, I want a shield or a crown or a pair of wings or what
+not, to look real. Well, I make what I want, or a model of it, and then
+make studies from that. So that what eventually gets on to the canvas is
+a reflection of a reflection of something purely imaginary. The three
+Magi never had crowns like that, supposing them to have had crowns at
+all, but the effect is realistic because the crown from which the
+studies were made is real--and so on.
+
+_Burne-Jones._
+
+
+XXXVII
+
+Do you understand now that all my intelligence rejects is in immediate
+relation to all my heart aspires to, and that the spectacle of human
+blunders and human vileness is an equally powerful motive for action in
+the exercise of art with springs of tranquil contemplation that I have
+felt within me since I was a child?
+
+We have come far, I hope, from the shadowy foliage crowning the humble
+roof of the primitive human dwelling, far from the warbling of the birds
+that brood among the branches; far from all these tender things. We left
+them, notwithstanding, the other day; and even if we had stayed, do you
+think we should have continued to enjoy them?
+
+Believe me, everything comes from the universal; we must embrace to give
+life.
+
+Whatever interest one may get from material offered by a period,
+religion, manners, history, &c., in representing a particular type, it
+will avail nothing without an understanding of the universal agency of
+atmosphere, that modelling of infinity; it shall come to pass that a
+stone fence, about which the air seems to move and breathe, shall be, in
+a museum, a grander conception than any ambitious work which lacks this
+universal element and expresses only something personal. All the
+personal and particular majesty of a portrait of Louis XIV. by Lebrun or
+by Rigaud shall be as nothing beside the simplicity of a tuft of grass
+shining clear in a gleam of sunlight.
+
+_Rousseau._
+
+
+XXXVIII
+
+Of all the things that is likely to give us back popular art in England,
+the cleaning of England is the first and the most necessary. Those who
+are to make beautiful things must live in a beautiful place.
+
+_William Morris._
+
+
+XXXIX
+
+On the whole, one must suppose that beauty is a marketable quality, and
+that the better the work is all round, both as a work of art and in its
+technique, the more likely it is to find favour with the public.
+
+_William Morris._
+
+
+
+
+ART AND SOCIETY
+
+
+XL
+
+With the language of beauty in full resonance around him, art was not
+difficult to the painter and sculptor of old as it is with us. No
+anatomical study will do for the modern artist what habitual
+acquaintance with the human form did for Pheidias. No Venetian painted a
+horse with the truth and certainty of Horace Vernet, who knew the animal
+by heart, rode him, groomed him, and had him constantly in his studio.
+Every artist must paint what he sees, rather every artist must paint
+what is around him, can produce no great work unless he impress the
+character of his age upon his production, not necessarily taking his
+subjects from it (better if he can), but taking the impress of its life.
+The great art of Pheidias did not deal with the history of his time, but
+compressed into its form the qualities of the most intellectual period
+the world has seen; nor were any materials to be invented or borrowed,
+he had them all at hand, expressing himself in a natural language
+derived from familiarity with natural objects. Beauty is the language of
+art, and with this at command thoughts as they arise take visible form
+perhaps almost without effort, or (certain technical difficulties
+overcome) with little more than is required in writing--this not
+absolving the artist or the poet from earnest thought and severe study.
+In many respects the present age is far more advanced than preceding
+times, incomparably more full of knowledge; but the language of great
+art is dead, for general, noble beauty, pervades life no more. The
+artist is obliged to return to extinct forms of speech if he would speak
+as the great ones have spoken. Nothing beautiful is seen around him,
+excepting always sky and trees and sea; these, as he is mainly a dweller
+in cities, he cannot live enough with. But it is, perhaps, in the real
+estimation in which art is held that we shall find the reason for
+failure. If the world cared for her language, art could not help
+speaking, the utterance being, perhaps, simply beautiful. But even in
+these days when we have ceased to prize this, if it were demanded that
+art should take its place beside the great intellectual outflow of the
+time, the response would hardly be doubtful.
+
+_Watts._
+
+
+XLI
+
+You refer to the use and purpose of the liberal arts; not a city in
+Europe, at present, is fulfilling them. And if any one in Melbourne were
+now to produce, even on a small scale, a picture fulfilling the
+conditions of liberal art, then Melbourne might take the lead of
+civilised cities. But it is not the ambition of leading, nor the
+restlessness of a competitive spirit that may accomplish this.
+
+A good poem, whether painted or written, whether large or small, should
+represent _beautiful life_. Are you able to name any one who has
+conceived this beauty of the life of men? I will not complicate the
+requirements of painted poesy by speaking of the music of colour with
+which it should be clothed; black and white were enough. The very
+attempt to express the confession of love were fulfilment sufficient.
+
+_Edward Calvert._
+
+
+XLII
+
+So art has become foolishly confounded with education, that all should
+be equally qualified. Whereas, while polish, refinement, culture, and
+breeding are in no way arguments for artistic result, it is also no
+reproach to the most finished scholar or greatest gentleman in the land
+that he be absolutely without eye for painting or ear for music--that in
+his heart he prefer the popular print to the scratch of Rembrandt's
+needle, or the songs of the hall to Beethoven's "C Minor Symphony."
+
+Let him have but the wit to say so, and not let him feel the admission a
+proof of inferiority.
+
+Art happens--no hovel is safe from it, no prince may depend on it, the
+vastest intelligence cannot bring it about, and puny efforts to make it
+universal end in quaint comedy and coarse farce.
+
+This is as it should be; and all attempts to make it otherwise are due
+to the eloquence of the ignorant, the zeal of the conceited.
+
+_Whistler._
+
+
+XLIII
+
+Art will not grow and flourish, nay it will not long exist, unless it be
+shared by all people; and for my part I don't wish that it should.
+
+_William Morris._
+
+
+XLIV
+
+No, art is not an element of corruption. The man who drinks from a
+wooden bowl is nearer to the brute that drinks from a stone trough than
+he who quenches his thirst from a crystal cup; and the artist who gave
+the glass its shape, impressed as in a mould of bronze by the simple
+means of a second's breath and yet more cheaply than the fashioning of
+the wooden bowl, has done more to ennoble and improve his neighbour than
+any inventor of a system: in his work he gives him the use and the
+enjoyment of things for which orators can only create a craving.
+
+_Jules Klagmann._
+
+
+XLV
+
+The improviser never makes fine poetry.
+
+_Titian._
+
+
+XLVI
+
+Agatharcus said to Zeuxis--For my part I soon despatch my Pictures. You
+are a happy Man, replies Zeuxis; I do mine with Time and application,
+because I would have them good, and I am satisfyed, that what is soon
+done, will soon be forgotten.
+
+
+XLVII
+
+Art is not a pleasure trip. It is a battle, a mill that grinds.
+
+_Millet._
+
+
+
+
+STUDY AND TRAINING
+
+
+XLVIII
+
+Raphael and Michael Angelo owe that immortal fame of theirs, which has
+gone out into the ends of the earth, to the passion of curiosity and
+delight with which this noble subject inspired them.
+
+No man who has not studied the sciences can make a work that shall bring
+him great praise, save from ignorant and easily satisfied persons.
+
+_Jean Goujon._
+
+
+XLIX
+
+He that would be a painter must have a natural turn thereto.
+
+Love and delight therein are better teachers of the Art of Painting than
+compulsion is.
+
+If a man is to become a really good painter he must be educated thereto
+from his very earliest years. He must copy much of the work of good
+artists until he attain a free hand.
+
+To paint is to be able to portray upon a flat surface any visible thing
+whatsoever that may be chosen.
+
+It is well for any one first to learn how to divide and reduce to
+measure the human figure, before learning anything else.
+
+_Duerer._
+
+
+L
+
+The painter requires such knowledge of mathematics as belongs to
+painting, and severance from companions who are not in sympathy with
+his studies, and his brain should have the power of adapting itself to
+the tenor of the objects which present themselves before it, and he
+should be freed from all other cares. And if, while considering and
+examining one subject, a second should intervene, as happens when an
+object occupies the mind, he ought to decide which of these subjects
+presents greater difficulties in investigation, and follow that until it
+becomes entirely clear, and afterwards pursue the investigation of the
+other. And above all he should keep his mind as clear as the surface of
+a mirror, which becomes changed to as many different colours as are
+those of the objects within it, and his companions should resemble him
+in a taste for these studies; and if he fail to find any such, he should
+accustom himself to be alone in his investigations, for in the end he
+will find no more profitable companionship.
+
+_Leonardo._
+
+
+LI
+
+If you are fond of copying other Men's Work, as being Originals more
+constant to be seen and imitated than any living Object, I should rather
+advise to copy anything moderately carved than excellently painted: For
+by imitating a Picture, we only habituate our Hand to take a mere
+Resemblance; whereas by drawing from a carved Original, we learn not
+only to take this Resemblance, but also the true Lights.
+
+_Leon Battista Alberti._
+
+
+LII
+
+There are a thousand proofs that the old masters and all good painters
+from Raphael onwards executed their frescoes from cartoons and their
+little easel pictures from more or less finished drawings.... Your model
+gives you exactly what you want to paint neither in character of drawing
+nor in colour, but at the same time you cannot do without him.
+
+To paint Achilles the most goodly of men, though you had for your model
+the most abject you must depend on him, and can depend on him for the
+structure of the human body, for its movement and poise. The proof of
+this is that Raphael used his pupils in his studies for the movements of
+the figures in his divine pictures.
+
+Whatever your talents may be, if you paint not from your studies after
+nature, but directly from the model, you will always be a slave and your
+pictures will show it. Raphael, on the contrary, had so completely
+mastered nature and had his mind so full of her, that instead of being
+ruled by her, one might say that she obeyed him and came at his command
+to place herself in his pictures.
+
+_Ingres._
+
+
+LIII
+
+No one can ever design till he has learned the language of Art by making
+many finished copies both of Nature, Art, and of whatever comes in his
+way, from earliest childhood. The difference between a bad artist and a
+good is, that the bad artist _seems_ to copy a great deal, the good one
+_does_ copy a great deal.
+
+_Blake._
+
+
+LIV
+
+If you deprive an artist of all he has borrowed from the experience of
+others the originality left will be but a twentieth part of him.
+
+Originality by itself cannot constitute a remarkable talent.
+
+_Wiertz._
+
+
+LV
+
+I am convinced that to reach the highest degree of perfection as a
+painter, it is necessary, not only to be acquainted with the ancient
+statues, but we must be inwardly imbued with a thorough comprehension of
+them.
+
+_Rubens._
+
+
+LVI
+
+First of all copy drawings by a good master made by his art from nature
+and not as exercises; then from a relief, keeping by you a drawing done
+from the same relief; then from a good model, and of this you ought to
+make a practice.
+
+_Leonardo._
+
+
+LVII
+
+I wish to do something purely Greek; I feed my eyes on the antique
+statues, I mean even to imitate some of them. The Greeks never
+scrupled to reproduce a composition, a movement, a type already received
+and used. They put all their care, all their art, into perfecting an
+idea which had been used by others before them. They thought, and
+thought rightly, that in the arts the manner of rendering and expressing
+an idea matters more than the idea itself.
+
+[Illustration: _Rubens_ THE CASTLE IN THE PARK _Hanfstaengl_]
+
+To give a clothing, a perfect form to one's thought is to be an
+artist ... it is the only way.
+
+Well, I have done my best and I hope to attain my object.
+
+_L. David._
+
+
+LVIII
+
+Who amongst us, if he were to attempt in reality to represent a
+celebrated work of Apelles or Timanthus, such as Pliny describes them,
+but would produce something absurd, or perfectly foreign to the
+exalted greatness of the ancients? Each one, relying on his own powers,
+would produce some wretched, crude, unfermented stuff, instead of an
+exquisite old wine, uniting strength and mellowness, outraging those
+great spirits whom I endeavour reverently to follow, satisfied, however,
+to honour the marks of their footsteps, instead of supposing--I
+acknowledge it candidly--that I can ever attain to their eminence even
+in mere conception.
+
+_Rubens._
+
+
+LIX
+
+[You have stated that you thought these Marbles had great truth and
+imitation of nature; do you consider that that adds to their value?]
+
+It considerably adds to it, because I consider them as united with grand
+form. There is in them that variety that is produced in the human form,
+by the alternate action and repose of the muscles, that strike one
+particularly. I have myself a very good collection of the best casts
+from the antique statues, and was struck with that difference in them,
+in returning from the Elgin Marbles to my own house.
+
+_Lawrence._
+
+
+LX
+
+It is absolutely necessary that at some moment or other in one's career
+one should reach the point, not of despising all that is outside
+oneself, but of abandoning for ever that almost blind fanaticism which
+impels us all to imitate the great masters, and to swear only by their
+works. It is necessary to say to oneself, That is good for Rubens, this
+for Raphael, Titian, or Michael Angelo. What they have done is their own
+business; I am not bound to this master or to that. It is necessary to
+learn to make what one has found one's own: a pinch of personal
+inspiration is worth everything else.
+
+_Delacroix._
+
+
+LXI
+
+From Phidias to Clodion, from Correggio to Fragonard, from the greatest
+to the least of those who have deserved the name of master, Art has been
+pursuing the Chimaera, attempting to reconcile two opposites--the most
+slavish fidelity to nature and the most absolute independence of her, an
+independence so absolute that the work of art may claim to be a
+creation. This is the persistent problem offered by the unstable
+character of the point of view at which it is approached; the whole
+mystery of art. The subject, as presented in nature, cannot keep the
+place which art with its transforming instinct would assign it; and
+therefore a single formula can never be adequate to the totality of
+nature's manifestations; the draughtsman will talk of its form, a
+colourist of its effect.
+
+Considered in this light, nature is nothing more than one of the
+instruments of the arts, in the same category with their principles,
+elements, formulas, conventions, tools.
+
+_Bracquemond._
+
+
+LXII
+
+One must copy nature always, and learn how to see her rightly. It is for
+this that one should study the antique and the great masters, not in
+order to imitate them, but, I repeat, to learn to see.
+
+Do you think I send you to the Louvre to find there what people call
+"le beau ideal," something which is outside nature?
+
+It was stupidity like this which in bad periods led to the decadence of
+art. I send you there to learn from the antique how to see nature,
+because they themselves are nature: therefore one must live among them,
+and absorb them.
+
+It is the same in the painting of the great ages. Do you think, when I
+tell you to copy, that I want to make copyists of you? No, I want you to
+take the sap from the plant.
+
+_Ingres._
+
+
+LXIII
+
+The strict copying of nature is not art; it is only a means to an end,
+an element in the whole. Art, while presenting nature, must manifest
+itself in its own essence. It is not a mirror, uncritically reflecting
+every image; it is the artist who must mould the image to his will; else
+his work is not performed.
+
+_Bracquemond._
+
+
+LXIV
+
+Nature contains the elements, in colour and form, of all pictures, as
+the keyboard contains the notes of all music. But the artist is born to
+pick, and choose, and group with science, these elements, that the
+result may be beautiful; as the musician gathers his notes, and forms
+his chords, until he bring forth from chaos glorious harmony.
+
+To say to the painter that Nature is to be taken as she is, is to say to
+the player that he may sit on the piano.
+
+_Whistler._
+
+
+LXV
+
+When you have thoroughly learnt perspective, and have fixed in your
+memory all the various parts and forms of things, you should often amuse
+yourself when you take a walk for recreation, in watching and taking
+note of the attitudes and actions of men as they talk and dispute, or
+laugh or come to blows one with another, both their actions and those of
+the bystanders who either intervene or stand looking on at these things;
+noting these down with rapid strokes in this way, in a little
+pocket-book, which you ought always to carry with you. And let this be
+of tinted paper, so that it may not be rubbed out; but you should change
+the old for a new one, for these are not things to be rubbed out but
+preserved with the utmost diligence; for there is such an infinite
+number of forms and actions of things that the memory is incapable of
+preserving them, and therefore you should keep those (sketches) as your
+patterns and teachers.
+
+_Leonardo._
+
+
+LXVI
+
+Two men stop to talk together: I pencil them in detail, beginning at the
+head, for example; they separate and I have nothing but a fragment on my
+paper. Some children are sitting on the steps of a church; I begin,
+their mother calls them; my sketch-book becomes filled with tips of
+noses and locks of hair. I make a resolution not to go home without a
+whole figure, and I try for the first time to draw in mass, to draw
+rapidly, which is the only possible way of drawing, and which is to-day
+one of the chief faculties of our moderns. I put myself to draw in the
+winking of an eye the first group that presents itself; if it moves on I
+have at least put down the general character; if it stops, I can go on
+to the details. I do many such exercises, and have even gone so far as
+to cover the lining of my hat with lightning sketches of opera-ballets
+and opera scenery.
+
+_Corot._
+
+
+LXVII
+
+There is my model (the artist pointed to the crowd which thronged a
+market-place); art lives by studying nature, not by imitating any
+artist.
+
+_Eupompus._
+
+
+LXVIII
+
+When you have clearly and distinctly learned in what good colouring
+consists, you cannot do better than have recourse to nature herself, who
+is always at hand, and in comparison of whose true splendour the best
+coloured pictures are but faint and feeble.
+
+However, as the practice of copying is not entirely to be excluded,
+since the mechanical practice of painting is learned in some measure by
+it, let those choice parts only be selected which have recommended the
+work to notice. If its excellence consists in its general effect, it
+would be proper to make slight sketches of the machinery and general
+management of the picture. Those sketches should be kept always by you
+for the regulation of your style. Instead of copying the touches of
+those great masters, copy only their conceptions. Instead of treading in
+their footsteps, endeavour only to keep the same road. Labour to invent
+on their general principles and way of thinking. Possess yourself with
+their spirit. Consider with yourself how a Michael Angelo or a Raffaelle
+would have treated this subject; and work yourself into a belief that
+your picture is to be seen and criticised by them when completed. Even
+an attempt of this kind will rouse your powers.
+
+_Reynolds._
+
+
+LXIX
+
+What do you mean--that you have been working, but without success? Do
+you mean that you cannot get the price you ask? then sell it for less,
+till, by practice, you shall improve, and command a better price. Or do
+you only mean that you are not satisfied with your work? nobody ever was
+that I know, except J---- W----. Peg away! While you're at work you must
+be improving. Do something from Nature indoors when you cannot get out,
+to keep your hand and eye in practice. Don't get into the way of working
+too much at your drawings away from Nature.
+
+_Charles Keene._
+
+
+LXX
+
+The purpose of art is no other than to delineate the form and express
+the spirit of an object, animate or inanimate, as the case may be. The
+use of art is to produce copies of things; and if an artist has a
+thorough knowledge of the properties of the thing he paints he can
+assuredly make a name. Just as a writer of profound erudition and good
+memory has ever at his command an inexhaustible supply of words and
+phrases which he freely makes use of in writing, so can a painter, who
+has accumulated experience by drawing from nature, paint any object
+without a conscious effort. The artist who confines himself to copying
+from models painted by his master, fares no better than a literatus who
+cannot rise above transcribing others' compositions. An ancient critic
+says that writing ends in describing a thing or narrating an event, but
+painting can represent the actual forms of things. Without the true
+depiction of objects, there can be no pictorial art. Nobility of
+sentiment and such-like only come after a successful delineation of the
+external form of an object. The beginner in art should direct his
+efforts more to the latter than to the former. He should learn to paint
+according to his own ideas, not to slavishly copy the models of old
+artists. Plagiarism is a crime to be avoided not only by men of letters
+but also by painters.
+
+_Okio_ (Japanese, eighteenth century).
+
+
+LXXI
+
+I remember Duerer the painter, who used to say that, as a young man, he
+loved extraordinary and unusual designs in painting, but that in his old
+age he took to examining Nature, and strove to imitate her as closely as
+he possibly could; but he found by experience how hard it is not to
+deviate from her.
+
+_Duerer_ (quoted by Melancthon).
+
+
+LXXII
+
+I have heard painters acknowledge, though in that acknowledgment no
+degradation of themselves was intended, that they could do better
+without Nature than with her; or, as they expressed it themselves, _that
+it only put them out_. A painter with such ideas and such habits, is
+indeed in a most hopeless state. _The art of seeing Nature_, or, in
+other words, the art of using models, is in reality the great object,
+the point to which all our studies are directed. As for the power of
+being able to do tolerably well, from practice alone, let it be valued
+according to its worth. But I do not see in what manner it can be
+sufficient for the production of correct, excellent, and finished
+pictures. Works deserving this character never were produced, nor ever
+will arise, from memory alone; and I will venture to say, that an artist
+who brings to his work a mind tolerably furnished with the general
+principles of art, and a taste formed upon the works of good artists,
+in short, who knows in what excellence consists, will, with the
+assistance of models, which we will likewise suppose he has learnt the
+art of using, be an over-match for the greatest painter that ever lived
+who should be debarred such advantages.
+
+_Reynolds._
+
+
+LXXIII
+
+Do not imitate; do not follow others--you will always be behind them.
+
+_Corot._
+
+
+LXXIV
+
+Never paint a subject unless it calls insistently and distinctly upon
+your eye and heart.
+
+_Corot._
+
+
+LXXV
+
+I should never paint anything that was not the result of an impression
+received from the aspect of nature, whether in landscape or figures.
+
+_Millet._
+
+
+LXXVI
+
+You must interpret nature with entire simplicity and according to your
+personal sentiment, altogether detaching yourself from what you know of
+the old masters or of contemporaries. Only in this way will you do work
+of real feeling. I know gifted people who will not avail themselves of
+their power. Such people seem to me like a billiard-player whose
+adversary is constantly giving him good openings, but who makes no use
+of them. I think that if I were playing with that man, I would say,
+"Very well, then, I will give you no more." If I were to sit in
+judgment, I would punish the miserable creatures who squander their
+natural gifts, and I would turn their hearts to work.
+
+_Corot._
+
+
+LXXVII
+
+Sensation is rude and false unless _informed_ by intellection; and,
+however delicate be the touch in obedience to remote gradation, yet
+knowledge of the genus necessarily invests the representation with
+perspicuous and truthful relations that ignorance could not possibly
+have observed. Hence--Paint what you see; but know what you see.
+
+_Only paint what you love in what you see_, and discipline yourself to
+separate this essence from its dumb accompaniments, so that the accents
+fall upon the points of passion. Let that which must be expressed of the
+rest be merged, syncopated in the largeness of the _modulation_.
+
+Boldly dare to omit the impertinent or irrelevant, and let the features
+of the passion be modulated in _fewness_.
+
+Not a touch without its meaning or its significance throughout the
+courses. There is no disgrace, but on the contrary, honour, be the
+touches never so few, if studied. By determined refusal to touch
+vaguely, and with persistence in the slowness of thoughtful work, a
+noble style may be at length obtained: swift as sublime.
+
+_Edward Calvert._
+
+
+LXXVIII
+
+I started on Monday, 25th August, for Honfleur, where I stayed till 5th
+September in the most blessed condition of spirit.
+
+There I worked with my head, with my eyes, harvesting effects in the
+mind; then, going over everything again, I called up within myself the
+figures desired for the completion of the composition. Once I had evoked
+all this world from nothingness, and envisaged it, and had found where
+each thing was to be, I had to return to Paris to ask for nature's
+authorisation and make sure of my advance. Nature justified me, and, as
+she is kind to those who approach her reverentially, gave me of her
+grace without stint.
+
+_Puvis de Chavannes._
+
+
+LXXIX
+
+I wish to tell you, Francisco d'Ollanda, of an exceedingly great beauty
+in this science of ours, of which perhaps you are aware, and which, I
+think, you consider the highest, namely, that what one has most to work
+and struggle for in painting, is to do the work with a great amount of
+labour and study in such a way that it may afterwards appear, however
+much it was laboured, to have been done almost quickly and almost
+without any labour, and very easily, although it was not. And this is a
+very excellent beauty. At times some things are done with little work in
+the way I have said, but very seldom; most are done by dint of hard work
+and appear to have been done very quickly.
+
+_Michael Angelo._
+
+
+
+
+METHODS OF WORK
+
+
+LXXX
+
+Every successful work is rapidly performed; quickness is only execrable
+when it is empty--small. No one condemns the swiftness of an eagle.
+
+To him who knows not the burden of process--the attributes that are to
+claim attention with every epocha of the performance--all attempt at
+swiftness will be mere pretence.
+
+_Edward Calvert._
+
+
+LXXXI
+
+I am planning a large picture, and I regard all you say, but I do not
+enter into that notion of varying one's plans to keep the public in good
+humour. Change of weather and effect will always afford variety. What if
+Van der Velde had quitted his sea-pieces, or Ruysdael his waterfalls, or
+Hobbema his native woods? The world would have lost so many features in
+art. I know that you wish for no material alteration, but I have to
+combat from high quarters--even from Lawrence--the plausible argument
+that _subject_ makes the picture. Perhaps you think an evening effect
+might do; perhaps it might start me some new admirers, but I should lose
+many old ones. I imagine myself driving a nail; I have driven it some
+way, and by persevering I may drive it home; by quitting it to attack
+others, though I may amuse myself, I do not advance beyond the first,
+while that particular nail stands still. No man who can do any one thing
+well will be able to do any other different thing equally well; and this
+is true of Shakespeare, the greatest master of variety.
+
+_Constable._
+
+
+LXXXII
+
+To work on the _Ladye_. Found part of the drapery bad, rubbed it out,
+heightened the seat she sits on, mended the heads again; did a great
+deal, but not finished yet. Any one might be surprised to read how I
+work whole days on an old drawing done many years since, and which I
+have twice worked over since it was rejected from the Royal Academy in
+'47, and now under promise of sale to White for L20. But I cannot help
+it. When I see a work going out of my hands, it is but natural, if I see
+some little defect, that I should try to mend it, and what follows is
+out of my power to direct: if I give one touch to a head, I give myself
+three days' work, and spoil it half-a-dozen times over.
+
+_Ford Madox Brown._
+
+
+LXXXIII
+
+In literature as in art the rough sketches of the masters are made for
+connoisseurs, not for the vulgar crowd.
+
+_A. Preault._
+
+
+LXXXIV
+
+It is true sketches, or such drawings as painters generally make for
+their works, give this pleasure of imagination to a high degree. From a
+slight, undetermined drawing, where the ideas of the composition and
+character are, as I may say, only just touched upon, the imagination
+supplies more than the painter himself, probably, could produce; and we
+accordingly often find that the finished work disappoints the
+expectation that was raised from the sketch; and this power of the
+imagination is one of the causes of the great pleasure we have in
+viewing a collection of drawings by great painters.
+
+_Reynolds._
+
+
+LXXXV
+
+I have just been examining all the sketches I have used in making this
+work. How many there are which fully satisfied me at the beginning, and
+which seem feeble, inadequate, or ill-composed, now that the paintings
+are advanced. I cannot tell myself often enough that it means an immense
+deal of labour to bring a work to the highest pitch of impressiveness
+of which it is capable. The oftener I revise it, the more it will gain
+in expressiveness.... Though the touch disappear, though the fire of
+execution be no longer the chief merit of the painting, there is no
+doubt about this; and again how often does it happen that after this
+intense labour, which has turned one's thought back on itself in every
+direction, the hand obeys more swiftly and surely in giving the desired
+lightness to the last touches.
+
+_Delacroix._
+
+
+LXXXVI
+
+Let us agree as to the meaning of the word "finished." What finishes a
+picture is not the quantity of detail in it, but the rightness of the
+general effect. A picture is not limited only by its frame. Whatever be
+the subject, there must be a principal object on which your eyes rest
+continually: the other objects are only the complement of this, they are
+less interesting to you; and after that there is nothing more for your
+eye.
+
+There is the real limit of your picture. This principal object must seem
+so to the spectator of your work. Therefore, one must always return to
+this, and state its colour with more and more decision.
+
+_Rousseau._
+
+
+LXXXVII
+
+ON PROTOGENES
+
+He was a great Master, but he often spoil'd his Pieces by endeavouring
+to make them Perfect; he did not know when he had done well; a Man may
+do too much as well as too little; and he is truly skilful, who knew
+what was sufficient.
+
+_Apelles._
+
+
+
+
+FINISH
+
+
+LXXXVIII
+
+A picture must always be a little spoilt in the finishing of it. The
+last touches, which are intended to draw the picture together, take off
+from its freshness. To appear before the public one must cut out all
+those happy accidents which are the joy of the artist. I compare these
+murderous retouchings to those banal flourishes with which all airs of
+music end, and to those insignificant spaces which the musician is
+forced to put between the interesting parts of his work in order to lead
+on from one motive to another or to give them their proper value.
+
+Re-touching, however, is not so fatal to a picture as one might think,
+when the picture has been well thought out and worked at with deep
+feeling. Time, in effacing the touches, old as well as new, gives back
+to the work its complete effect.
+
+_Delacroix._
+
+
+LXXXIX
+
+A picture, the effect of which is true, is finished.
+
+_Goya._
+
+
+XC
+
+You please me much, by saying that no other fault is found in your
+picture than the roughness of the surface; for that part being of use
+in giving force to the effect at a proper distance, and what a judge of
+painting knows an original from a copy by--in short, being the touch of
+the pencil which is harder to preserve than smoothness, I am much better
+pleased that they should spy out things of that kind, than to see an eye
+half an inch out of its place, or a nose out of drawing when viewed at a
+proper distance. I don't think it would be more ridiculous for a person
+to put his nose close to the canvas and say the colours smelt offensive,
+than to say how rough the paint lies; for one is just as material as the
+other with regard to hurting the effect and drawing of a picture.
+
+_Gainsborough._
+
+
+XCI
+
+The picture[2] will be seen to the greatest advantage if it is hung in a
+strong light, and in such a manner that the spectator can stand at some
+distance from it.
+
+_Rembrandt._
+
+[Footnote 2: Probably the "Blinding of Samson."]
+
+
+XCII
+
+Don't look at a picture close, it smells bad.
+
+_Rembrandt._
+
+
+XCIII
+
+Try to be frank in drawing and in colour; give things their full relief;
+make a painting which can be seen at a distance; this is indispensable.
+
+_Chasseriau._
+
+
+XCIV
+
+If I might point out to you another defect, very prevalent of late, in
+our pictures, and one of the same contracted character with those you so
+happily illustrate, it would be that of the _want of breadth_, and in
+others a perpetual division and subdivision of parts, to give what their
+perpetrators call space; add to this a constant disturbing and torturing
+of everything whether in light or in shadow, by a niggling touch, to
+produce fulness of subject. This is the very reverse of what we see in
+Cuyp or Wilson, and even, with all his high finishing, in Claude. I have
+been warning our friend Collins against this, and was also urging young
+Landseer to beware of it; and in what I have been doing lately myself
+have been studying much from Rembrandt and from Cuyp, so as to acquire
+what the great masters succeeded so well in, namely, that power by which
+the chief objects, and even the minute finishing of parts, tell over
+everything that is meant to be subordinate in their pictures. Sir Joshua
+had this remarkably, and could even make _the features of the face_ tell
+over everything, however strongly painted. I find that repose and
+breadth in the shadows and half-tints do a great deal towards it.
+Zoffany's figures derive great consequence from this; and I find that
+those who have studied light and shadow the most never appear to fail in
+it.
+
+_Wilkie._
+
+
+XCV
+
+The commonest error into which a critic can fall is the remark we so
+often hear that such-and-such an artist's work is "careless," and "would
+be better had more labour been spent upon it." As often as not this is
+wholly untrue. As soon as the spectator can _see_ that "more labour has
+been spent upon it," he may be sure that the picture is to that extent
+incomplete and unfinished, while the look of freshness that is
+inseparable from a really successful picture would of necessity be
+absent. If the high finish of a picture is so apparent as immediately to
+force itself upon the spectator, he may _know_ that it is not as it
+should be; and from the moment that the artist feels his work is
+becoming a labour, he may depend upon it it will be without freshness,
+and to that extent without the merit of a true work of art. Work should
+always look as though it had been done with ease, however elaborate;
+what we see should appear to have been done without effort, whatever may
+be the agonies beneath the surface. M. Meissonier surpasses all his
+predecessors, as well as all his contemporaries, in the quality of high
+finish, but what you see is evidently done easily and without labour. I
+remember Thackeray saying to me, concerning a certain chapter in one of
+his books that the critics agreed in accusing of carelessness;
+"Careless? If I've written that chapter once I've written it a dozen
+times--and each time worse than the last!" a proof that labour did not
+assist in his case. When an artist fails it is not so much from
+carelessness: to do his best is not only profitable to him, but a joy.
+But it is not given to every man--not, indeed, to any--to succeed
+whenever and however he tries. The best painter that ever lived never
+entirely succeeded more than four or five times; that is to say, no
+artist ever painted more than four or five _masterpieces_, however high
+his general average may have been, for such success depends on the
+coincidence, not only of genius and inspiration, but of health and mood
+and a hundred other mysterious contingencies. For my own part, I have
+often been laboured, but whatever I am I am never careless. I may
+honestly say that I never consciously placed an idle touch upon canvas,
+and that I have always been earnest and hard-working; yet the worst
+pictures I ever painted in my life are those into which I threw most
+trouble and labour, and I confess I should not grieve were half my works
+to go to the bottom of the Atlantic--if I might choose the half to go.
+Sometimes as I paint I may find my work becoming laborious; but as soon
+as I detect any evidence of that labour I paint the whole thing out
+without more ado.
+
+_Millais._
+
+[Illustration: _Millais_ LOVE _By permission of F. Warne & Co._]
+
+
+XCVI
+
+I think that a work of art should not only be careful and sincere, but
+that the care and sincerity should also be evident. No ugly smears
+should be allowed to do duty for the swiftness which comes from long
+practice, or to find excuse in the necessity which the accomplished
+artist feels to speak distinctly. That necessity must never receive
+impulse from a desire to produce an effect on the walls of a gallery:
+there is much danger of this working _un_consciously in the accomplished
+artist, _consciously_ in the student.
+
+_Watts._
+
+
+XCVII
+
+Real effect is making out the parts. Why are we to be told that masters,
+who could think, had not the judgment to perform the inferior parts of
+art? (as Reynolds artfully calls them); that we are to learn to _think_
+from great masters, and to perform from underlings--to learn to design
+from Raphael, and to execute from Rubens?
+
+_Blake._
+
+
+XCVIII
+
+If I knew that my portrait was still at Antwerp, I would have it kept
+back for the case to be opened, so that one could see that it had not
+been hurt by so long a time spent in a case without being exposed to the
+air, and that, as often happens to colours freshly put on, it has not
+turned rather yellow, thereby losing all its first effect. The remedy,
+if this has happened, is to expose it repeatedly to the sun, the rays of
+which absorb the superfluity of oil which causes this change; and if at
+any time it still turns brown, it must be exposed afresh to the sun.
+Warmth is the only remedy for this serious mischief.
+
+_Rubens._
+
+
+
+
+EFFECTS OF TIME ON PAINTING
+
+
+XCIX
+
+The only way to judge of the treasures the Old Masters of whatever age
+have left us--whether in architecture, sculpture, or painting--with any
+hope of sound deduction, is to look at the work and ask oneself--"What
+was that like when it was new?" The Elgin Marbles are allowed by common
+consent to be the perfection of art. But how much of our feeling of
+reverence is inspired by time? Imagine the Parthenon as it must have
+looked with the frieze of the mighty Phidias fresh from the chisel.
+Could one behold it in all its pristine beauty and splendour we should
+see a white marble building, blinding in the dazzling brightness of a
+southern sun, the figures of the exquisite frieze in all probability
+painted--there is more than a suspicion of that--and the whole standing
+out against the intense blue sky; and many of us, I venture to think,
+would cry at once, "How excessively crude." No; Time and Varnish are two
+of the greatest of Old Masters, and their merits and virtues are too
+often attributed by critics--I do not of course allude to the
+professional art-critics--to the painters of the pictures they have
+toned and mellowed. The great artists all painted in _bright_ colours,
+such as it is the fashion nowadays for men to decry as crude and vulgar,
+never suspecting that what they applaud in those works is merely the
+result of what they condemn in their contemporaries. Take a case in
+point--the "Bacchus and Ariadne" in the National Gallery, with its
+splendid red robe and its rich brown grass. You may rest assured that
+the painter of that bright red robe never painted the grass brown. He
+saw the colour as it was, and painted it as it was--distinctly green;
+only it has faded with time to its present beautiful mellow colour. Yet
+many men nowadays will not have a picture with green in it; there are
+even buyers who, when giving a commission to an artist, will stipulate
+that the canvas shall contain none of it. But God Almighty has given us
+green, and you may depend upon it it's a fine colour.
+
+_Millais._
+
+
+C
+
+I must further dissent from any opinion that beauty of surface and what
+is technically called "quality" are mainly due to time. Sir John himself
+has quoted the early pictures of Rembrandt as examples of hard and
+careful painting, devoid of the charm and mystery so remarkable in his
+later work. The early works of Velasquez are still more remarkable
+instances, being, as they are, singularly tight and disagreeable--time
+having done little or nothing towards making them more agreeable.
+
+_Watts._
+
+
+CI
+
+I am painting for thirty years hence.
+
+_Monticelli._
+
+
+CII
+
+Sir John Millais is certainly right in his estimate of strong and even
+bright colour, but it seems to me that he is mistaken in believing that
+the colour of the Venetians was ever crude, or that time will ever turn
+white into colour. The colour of the best-preserved pictures by Titian
+shows a marked distinction between light flesh tones and white drapery.
+This is most distinctly seen in the small "Noli Me Tangere" in our
+National Gallery, in the so-called "Venus" of the Tribune and in the
+"Flora" of the Uffizi, both in Florence, and in Bronzino's "All is
+Vanity," also in the National Gallery. In the last-named picture, for
+example, the colour is as crude and the surface as bare of mystery as if
+it had been painted yesterday. As a matter of fact, white unquestionably
+tones down, but never becomes colour; indeed, under favourable
+conditions, and having due regard to what is underneath, it changes very
+little. In the "Noli Me Tangere" to which I have referred, the white
+sleeve of the Magdalen is still a beautiful white, quite different from
+the white of the fairest of Titian's flesh--proving that Titian never
+painted his flesh white.
+
+The so-called "Venus" in the Tribune at Florence is a more important
+example still, as it is an elaborately painted picture owing nothing to
+the brightness that slight painting often has and retains, the colours
+being untormented by repeated re-touching. This picture is a proof that
+when the method is good and the pigments pure, the colours change very
+little. More than three hundred years have passed, and the white sheet
+on which the figure lies is still, in effect, white against the flesh.
+The flesh is most lovely in colour--neither violent by shadows or strong
+colour--but beautiful flesh. It cannot be compared to ivory or snow, or
+any other substance or material; it is simply beautiful lustre on the
+surface with a circulation of blood underneath--an absolute triumph
+never repeated except by Titian himself.
+
+It is probable that the pictures by Reynolds are often lower in tone
+than they were, but it is doubtful whether the Strawberry Hill portraits
+are as much changed as may be supposed. Walpole, no doubt, called them
+"white and pinky," but it must be remembered that, living before the
+days of picture cleaning, he was accustomed to expect them to be brown
+and dark, probably even to associate colour with dirt in the Old
+Masters. The purer, clearer, and richer the colours are, the better a
+picture will be; and I think this should be especially insisted upon,
+since white is so effective in a modern exhibition that young artists
+are naturally prompted to profit by the means cheaply afforded and
+readily at hand.
+
+I think it is probable that where Titian has used brown-green he
+intended it, since in many of the Venetian pictures we find green
+draperies of a beautiful colour. Sir John seems to infer that the
+colours used in the decoration of the Parthenon (no doubt used) were
+crude. The extraordinary refinements demonstrated in a lecture by Mr.
+Penrose on the spot last year, at which I had the good fortune to be
+present, forbid such a conclusion. A few graduated inches in the
+circumference of the columns, and deflection from straight line in the
+pediment and in the base-line, proved by measurement and examination to
+be carefully intentional, will not permit us for a moment to believe
+this could have been the case; so precise in line, rhythmical in
+arrangement, lovely in detail, and harmonious in effect, it could never
+have been crude in colour. No doubt the marble was white, but
+illuminated by such a sun, and set against such a sky and distance, the
+white, with its varieties of shadow, aided by the colours employed,
+could have gleaned life and flame in its splendour. Colour was certainly
+used, and the modern eye might at first have something to get over, but
+there could have been nothing harsh and crude. The exquisite purity of
+line and delicacy of edge could never have been matched with crudity or
+anything like harshness of colour. To this day the brightest colours may
+be seen on the columns at Luxor and Philae with beautiful effect.
+
+_Watts._
+
+
+CIII
+
+I am getting on with my pictures, and have now got them all three into a
+fairly forward state of _under_ painting; completion, however, will only
+be reached in the course of next winter, for I intend to execute them
+with minute care. I have simplified my method of painting, and forsworn
+all _tricks_. I endeavour to advance from the beginning as much as
+possible, and equally try to mix the right tint, and slowly and
+carefully to put it on the right spot, and _always_ with the model
+before me; what does not exactly suit has to be adapted; one can derive
+benefit from every head. Schwind says that he cannot work from models,
+they _worry_ him! A splendid teacher for his pupils! Nature worries
+every one at first, but one must so discipline oneself that, instead of
+checking and hindering, she shall illuminate and help, and solve all
+doubts. Has Schwind, with his splendid and varied gifts, ever been able
+to model a head with a brush? Those who place the brush behind the
+pencil, under the pretence that _form_ is before all things, make a very
+great mistake. Form _is certainly all-important_; one cannot study it
+enough; _but_ the greater part of _form_ falls within the province of
+the tabooed _brush_. The ever-lasting hobby of _contour_ which belongs
+to the drawing material is first the _place_ where the _form_ comes in;
+what, however, reveals true knowledge of form, is a powerful, organic,
+refined finish of modelling, full of feeling and knowledge--and that is
+the affair of the brush.
+
+_Leighton._
+
+
+
+
+MANNER
+
+
+CIV
+
+Manner is always seductive. It is more or less an imitation of what has
+been done already, therefore always plausible. It promises the short
+road, the near cut to present fame and emolument, by availing ourselves
+of the labours of others. It leads to almost immediate reputation,
+because it is the wonder of the ignorant world. It is always accompanied
+by certain blandishments, showy and plausible, and which catch the eye.
+As manner comes by degrees, and is fostered by success in the world,
+flattery, &c., all painters who would be really great should be
+perpetually on their guard against it. Nothing but a close and continual
+observance of nature can protect them from the danger of becoming
+mannerists.
+
+_Constable._
+
+
+CV
+
+Have a holy horror of useless impasto, which gets sticky and dull, turns
+blue and heavy. When you have painted a bit of which you are doubtful,
+wait till the moment when it will be possible for you to take it out.
+Judge it; and if it is condemned, remove it firmly with your
+palette-knife, without rubbing by rags which spoil the limpidity of the
+pigment. You will have left a delicate foundation, to which you can
+return and finish with little labour, because your canvas will have
+received a first coating. Loading and massing the pigment is an
+abomination. In twenty-four hours gold turns to lead.
+
+_Puvis de Chavannes._
+
+
+CVI
+
+From the age of six I began to draw, and for eighty-four years I have
+worked independently of the schools, my thoughts all the time being
+turned towards drawing.
+
+It being impossible to express everything in so small a space, I wished
+only to teach the difference between vermilion and crimson lake, between
+indigo and green, and also in a general way to teach how to handle round
+shapes and square, straight lines and curved; and if one day I make a
+sequel to this volume, I shall show children how to render the violence
+of ocean, the rush of rapids, the tranquillity of still pools, and among
+the living beings of the earth, their state of weakness or strength.
+There are in nature birds that do not fly high, flowering trees that
+never fruit; all these conditions of the life we live among are worth
+studying thoroughly; and if I ever succeed in convincing artists of
+this, I shall have been the first to show the way.
+
+_Hokusai._
+
+
+CVII
+
+Let every man who is here understand this well: design, which by another
+name is called drawing, and consists of it, is the fount and body of
+painting and sculpture and architecture and of every other kind of
+painting, and the root of all sciences. Let whoever may have attained to
+so much as to have the power of drawing know that he holds a great
+treasure; he will be able to make figures higher than any tower, either
+in colours or carved from the block, and he will not be able to find a
+wall or enclosure which does not appear circumscribed and small to his
+brave imagination. And he will be able to paint in fresco in the manner
+of old Italy, with all the mixtures and varieties of colour usually
+employed in it. He will be able to paint in oils very suavely with more
+knowledge, daring, and patience than painters. And finally, on a small
+piece of parchment he will be most perfect and great, as in all other
+manners of painting. Because great, very great is the power of design
+and drawing.
+
+_Michael Angelo._
+
+
+
+
+DRAWING AND DESIGN
+
+
+CVIII
+
+Pupils, I give you the whole art of sculpture when I tell you--_draw!_
+
+_Donatello._
+
+
+CIX
+
+Drawing is the probity of art.
+
+_Ingres._
+
+
+CX
+
+To draw does not mean only to reproduce an outline, drawing does not
+consist only of line; drawing is more than this, it is expression, it is
+the inner form, the structure, the modelling. After that what is left?
+Drawing includes seven-eighths of what constitutes painting. If I had to
+put a sign above my door I would write on it "School of Drawing," and I
+am sure that I should turn out painters.
+
+_Ingres._
+
+
+CXI
+
+Draw with a pure but ample line. Purity and breadth, that is the secret
+of drawing, of art.
+
+_Ingres._
+
+
+CXII
+
+Continue to draw for long before you think of painting. When one builds
+on a solid foundation one can sleep at ease.
+
+_Ingres._
+
+
+CXIII
+
+The great painters like Raphael and Michael Angelo insisted on the
+outline when finishing their work. They went over it with a fine brush,
+and thus gave new animation to the contours; they impressed on their
+design force and fire.
+
+_Ingres._
+
+
+CXIV
+
+The first thing to seize in an object, in order to draw it, is the
+contrast of the principal lines. Before putting chalk to paper, get this
+well into the mind. In Girodet's work, for example, one sometimes sees
+this admirably shown, because through intense preoccupation with his
+model he has caught, willy-nilly, something of its natural grace; but it
+has been done as if by accident. He applied the principle without
+recognising it as such. X---- seems to me the only man who has
+understood it and carried it out. That is the whole secret of his
+drawing. The most difficult thing is to apply it, like him, to the whole
+body. Ingres has done it in details like hands, &c. Without mechanical
+aids to help the eye, it would be impossible to arrive at the principle;
+aids such as prolonging a line, &c., drawing often on a pane of glass.
+All the other painters, not excepting Michael Angelo and Raphael, draw
+by instinct, by inspiration, and found beauty by being struck with it in
+nature; but they did not know X----'s secret, accuracy of eye. It is
+not at the moment of carrying out a design that one ought to tie oneself
+down to working with measuring-rules, perpendiculars, &c.; this accuracy
+of eye must be an acquired habit, which in the presence of nature will
+spontaneously assist the imperious need of rendering her aspect. Wilkie,
+again, has the secret. In portraiture it is indispensable. When, for
+example, one has made out the _ensemble_ of a design, and when one knows
+the lines by heart, so to speak, one should be able to reproduce them
+geometrically, in a fashion, on the picture. Above all with women's
+portraits; the first thing to seize is to seize the grace of the
+_ensemble_. If you begin with the details, you will be always heavy. For
+instance: if you have to draw a thoroughbred horse, if you let yourself
+go into details, your outline will never be salient enough.
+
+_Delacroix._
+
+
+CXV
+
+Drawing is the means employed by art to set down and imitate the light
+of nature. Everything in nature is manifested to us by means of light
+and its complementaries, reflection and shadow. This it is which drawing
+verifies. Drawing is the counterfeit light of art.
+
+_Bracquemond._
+
+
+CXVI
+
+It won't do to begin painting heads or much detail in this picture till
+it's all settled. I do so believe in getting in the bones of a picture
+properly first, then putting on the flesh and afterwards the skin, and
+then another skin; last of all combing its hair and sending it forth to
+the world. If you begin with the flesh and the skin and trust to getting
+the bones right afterwards, it's such a slippery process.
+
+_Burne-Jones._
+
+
+CXVII
+
+The creative spirit in descending into a pictorial conception must take
+upon itself organic structure. This great imaginative scheme forms the
+bony system of the work; lines take the place of nerves and arteries,
+and the whole is covered with the skin of colour.
+
+_Hsieh Ho_ (Chinese, sixth century).
+
+
+CXVIII
+
+Simplicity in composition or distinctness of parts is ever to be
+attended to, as it is one part of beauty, as has been already said: but
+that what I mean by distinctness of parts in this place may be better
+understood it will be proper to explain it by an example.
+
+When you would compose an object of a great variety of parts, let
+several of those parts be distinguished by themselves, by their
+remarkable difference from the next adjoining, so as to make each of
+them, as it were, one well-shaped quantity or part (these are like what
+they call passages in music, and in writing paragraphs) by which means
+not only the whole, but even every part, will be better understood by
+the eye: for confusion will hereby be avoided when the object is seen
+near, and the shapes will seem well varied, though fewer in number, at a
+distance.
+
+The parsley-leaf, in like manner, from whence a beautiful foliage in
+ornament was originally taken, is divided into three distinct passages;
+which are again divided into other odd numbers; and this method is
+observed, for the generality, in the leaves of all plants and flowers,
+the most simple of which are the trefoil and cinquefoil.
+
+Observe the well-composed nosegay, how it loses all distinctness when it
+dies; each leaf and flower then shrivels and loses its distinct shape,
+and the firm colours fade into a kind of sameness; so that the whole
+gradually becomes a confused heap.
+
+If the general parts of objects are preserved large at first, they will
+always admit of further enrichments of a small kind, but then they must
+be so small as not to confound the general masses or quantities; thus,
+you see, variety is a check upon itself when overdone, which of course
+begets what is called a _petit taste_ and a confusion to the eye.
+
+_Hogarth._
+
+
+CXIX
+
+Drawing includes everything except the tinting of the picture.
+
+_Ingres._
+
+
+CXX
+
+One must always be drawing, drawing with the eye when one cannot draw
+with the pencil. If observation does not keep step with practice you
+will do nothing really good.
+
+_Ingres._
+
+
+CXXI
+
+As a means of practising this perspective of the variation and loss or
+diminution of the proper essence of colours, take at distances, a
+hundred braccia apart, objects standing in the landscape, such as trees,
+houses, men, and places, and in front of the first tree fix a piece of
+glass so that it is quite steady, and then let your eye rest upon it and
+trace out a tree upon the glass above the outline of the tree; and
+afterwards remove the glass so far to one side that the actual tree
+seems almost to touch the one that you have drawn. Then colour your
+drawing in such a way that the two are alike in colour and form, and
+that if you close one eye both seem painted on the glass and the same
+distance away. Then proceed in the same way with a second and a third
+tree, at distances of a hundred braccia from each other. And these will
+always serve as your standards and teachers when you are at work on
+pictures where they can be applied, and they will cause the work to be
+successful in its distance. But I find it is a rule that the second is
+reduced to four-fifths the size of the first when it is twenty braccia
+distant from it.
+
+_Leonardo._
+
+
+CXXII
+
+The great and golden rule of art, as well as of life, is this: That the
+more distinct, sharp, and wiry the bounding line, the more perfect the
+work of art.... Great inventors in all ages knew this: Protogenes and
+Apelles knew each other by this line; Raphael and Michael Angelo, and
+Albert Duerer, are known by this and this alone. The want of this
+determinate and bounding form evidences the idea of want in the artist's
+mind.
+
+_Blake._
+
+
+CXXIII
+
+My opinion is that he who knows how to draw well and merely does a foot
+or a hand or a neck, can paint everything created in the world; and yet
+there are painters who paint everything there is in the world so
+impatiently and so much without worth that it would be better not to do
+it at all. One recognises the knowledge of a great man in the fear with
+which he does a thing the more he understands it; and, on the contrary,
+the ignorance of others in the foolhardy daring with which they fill
+pictures with what they know nothing about. There may be an excellent
+master who has never painted more than a single figure, and without
+painting anything more deserves more renown and honour than those who
+have painted a thousand pictures: he knows better how to do what he has
+not done than the others know what they do.
+
+_Michael Angelo._
+
+
+CXXIV
+
+It is known that bodies in motion always describe some line or other in
+the air, as the whirling round of a firebrand apparently makes a circle,
+the waterfall part of a curve, the arrow and bullet, by the swiftness of
+their motions, nearly a straight line; waving lines are formed by the
+pleasing movement of a ship on the waves. Now, in order to obtain a just
+idea of action, at the same time to be judiciously satisfied of being in
+the right in what we do, let us begin with imagining a line formed in
+the air by any supposed point at the end of a limb or part that is
+moved, or made by the whole part or limb, or by the whole body together.
+And that thus much of movements may be conceived at once is evident, on
+the least recollection; for whoever has seen a fine Arabian war-horse,
+unbacked and at liberty, and in a wanton trot, cannot but remember what
+a large waving line his rising, and at the same time pressing forward
+cuts through the air, the equal continuation of which is varied by his
+curveting from side to side; whilst his long mane and tail play about in
+serpentine movements.
+
+_Hogarth._
+
+
+CXXV
+
+Distinguish the various planes of a picture by circumscribing them each
+in turn; class them in the order in which they present themselves to the
+daylight; before beginning to paint, settle which have the same value.
+Thus, for example, in a drawing on tinted paper make the parts that
+glitter gleam out with your white, then the lights, rendered also with
+white, but fainter; afterwards those of the half-tones that can be
+managed by means of the paper, then a first half-tone with the chalk,
+&c. When at the edge of a plane which you have accurately marked, you
+have a little more light than at the centre of it, you give so much more
+definition of its flatness or projection. This is the secret of
+modelling. It will be of no use to add black; that will not give the
+modelling. It follows that one can model with very slight materials.
+
+_Delacroix._
+
+
+CXXVI
+
+Take a style of silver or brass, or anything else provided the point is
+silver, sufficiently fine (sharp) and polished and good. Then to acquire
+command of hand in using the style, begin to draw with it from a copy as
+freely as you can, and so lightly that you can scarcely see what you
+have begun to do, deepening your strokes little by little, and going
+over them repeatedly to make the shadows. Where you would make it
+darkest go over it many times; and, on the contrary, make but few
+touches on the lights. And you must be guided by the light of the sun,
+and the light of your eye, and your hand; and without these three things
+you can do nothing properly. Contrive always when you draw that the
+light is softened, and that the sun strikes on your left hand; and in
+this manner you should begin to practise drawing only a short time every
+day, that you may not become vexed or weary.
+
+_Cennino Cennini._
+
+
+CXXVII
+
+_Charcoal._ You can't draw, you paint with it.
+
+_Pencil._ It is always touch and go whether I can manage it even now.
+Sometimes knots will come in it, and I never can get them out--I mean
+little black specks. If I have once india-rubbered it, it doesn't make a
+good drawing. I look on a perfectly successful drawing as one built
+upon a groundwork of clear lines till it is finished. It's the same kind
+of thing with red chalk--it mustn't be taken out: rubbing with the
+finger is all right. In fact you don't succeed with any process until
+you find out how you may knock it about and in what way you must be
+careful. Slowly built-up texture in oil-painting gives you the best
+chance of changing without damage when it is necessary.
+
+_Burne-Jones._
+
+
+CXXVIII
+
+The simpler your lines and forms are the stronger and more beautiful
+they will be. Whenever you break up forms you weaken them. It is as with
+everything else that is split and divided.
+
+_Ingres._
+
+
+CXXIX
+
+The draperies with which you dress figures ought to have their folds so
+accommodated as to surround the parts they are intended to cover; that
+in the mass of light there be not any dark fold, and in the mass of
+shadows none receiving too great a light. They must go gently over,
+describing the parts; but not with lines across, cutting the members
+with hard notches, deeper than the part can possibly be; at the same
+time, it must fit the body, and not appear like an empty bundle of
+cloth; a fault of many painters, who, enamoured of the quantity and
+variety of folds, have encumbered their figures, forgetting the
+intention of clothes, which is to dress and surround the parts
+gracefully wherever they touch; and not to be filled with wind, like
+bladders puffed up where the parts project. I do not deny that we ought
+not to neglect introducing some handsome folds among these draperies,
+but it must be done with great judgment, and suited to the parts, where,
+by the actions of the limbs and position of the whole body, they gather
+together. Above all, be careful to vary the quality and quantity of your
+folds in compositions of many figures; so that, if some have large
+folds, produced by thick woollen cloth, others being dressed in thinner
+stuff, may have them narrower; some sharp and straight, others soft and
+undulating.
+
+_Leonardo._
+
+
+CXXX
+
+Do not spare yourself in drawing from the living model, draped as well
+as undraped; in fact, draw drapery continually, for remember that the
+beauty of your design must largely depend on the design of the drapery.
+What you should aim at is to get so familiar with all this that you can
+at last make your design with ease and something like certainty, without
+drawing from models in the first draught, though you should make studies
+from nature afterwards.
+
+_William Morris._
+
+
+CXXXI
+
+A woman's shape is best in repose, but the fine thing about a man is
+that he is such a splendid machine, so you can put him in motion, and
+make as many knobs and joints and muscles about him as you please.
+
+_Burne-Jones._
+
+
+CXXXII
+
+I want to draw from the nude this summer as much as I possibly can; I am
+sure that it is the only way to keep oneself up to the standard of
+draughtsmanship that is so absolutely necessary to any one who wishes to
+become a craftsman in preference to a glorified amateur.
+
+_C. W. Furse._
+
+
+CXXXIII
+
+Always when you draw make up your mind definitely as to what are the
+salient characteristics of the object, and express those as personally
+as you can, not minding whether your view is or is not shared by your
+relatives and friends. Now this is not _carte blanche_ to be capricious,
+nor does it intend to make you seek for novelty; but if you are true to
+your own vision, as heretofore you have been, you will always be
+original and personal in your work. In stating your opinion on the
+structural character of man, bird, or beast, always wilfully caricature;
+it gives you something to prune, which is ever so much more
+satisfactory than having constantly to fill gaps which an unincisive
+vision has caused, and which will invariably make work dull and mediocre
+and wooden.
+
+_C. W. Furse._
+
+
+CXXXIV
+
+In Japanese painting form and colour are represented without any attempt
+at relief, but in European methods relief and illusion are sought for.
+
+_Hokusai._
+
+
+CXXXV
+
+It is indeed ridiculous that most of our people are disposed to regard
+Western paintings as a kind of Uki-ye. As I have repeatedly remarked, a
+painting which is not a faithful copy of nature has neither beauty nor
+is worthy of the name. What I mean to say is this: be the subject what
+it may, a landscape, a bird, a bullock, a tree, a stone, or an insect,
+it should be treated in a way so lifelike that it is instinct with life
+and motion. Now this is beyond the possibility of any other art save
+that of the West. Judged from this point of view, Japanese and Chinese
+paintings look very puerile, hardly deserving the name of art. Because
+people have been accustomed to such daub-like productions, whenever they
+see a master painting of the West, they merely pass it by as a mere
+curiosity, or dub it a Uki-ye, a misconception which betrays sheer
+ignorance.
+
+_Shiba Kokan_ (Japanese, eighteenth century).
+
+
+CXXXVI
+
+These accents are to painting what melody is to the harmonic base, and
+more than anything else they decide victory or defeat. A method is of
+little account at those moments when the final effect is at hand; one
+uses any means, even diabolical invocations, and when the need comes,
+when I have exhausted the resources of pigment, I use a scraper,
+pumice-stone, and if nothing else serves, the handle of my brush.
+
+_Rousseau._
+
+
+CXXXVII
+
+The noblest relievo in painting is that which is resultant from the
+treatment of the masses, not from the vulgar swelling and rounding of
+the bodies; and the noble Venetian massing is excellent in this quality.
+Those parts in which there is necessity for salient quality of relief
+must be expressed with a certain quadrature, a certain varied grace of
+accent like that which the bony ridge develops in beautiful wrists and
+ankles, also in some of the tunic-folds that fall behind the arm of the
+recumbent Fate over the middle of the figure of the Newlands Titian; and
+again in some of the happiest passages in the graceful women of Lodovico
+Caracci, and in their vesture folds, _e.g._ the bosom and waist of the
+St. Catherine.
+
+Doubtless there is a choice, or design were vain. There must be courage
+to _reject_ no less than to _gather_. A man is at liberty to neglect
+things that are repugnant to his disposition. He may, if he please, have
+nothing to do with thistle or thorn, with bramble or brier....
+Nevertheless sharp and severe things are yet dear to some souls. Nor
+should I understand the taste that would reject the wildness of the
+thorn and holly, or the child-loving labyrinths of the bramble, or
+wholesome ranges of the downs and warrens fragrant with gorse.
+
+No one requires of the painter that he even attempt to render the
+multitude and infinitude of Nature; but that he _represent_ it through
+the chastened elements of his proper instrument, with a performance
+rendered distinctive and facile by study and genial impulse.
+
+_Edward Calvert._
+
+
+CXXXVIII
+
+Modelling is parent of the art of chasing, as of the art of sculpturing.
+Skilful as he was in these arts, he executed nothing which he had not
+modelled.
+
+_Pasiteles._
+
+
+CXXXIX
+
+Don't _invent_ arrangements, select them, leaving out what you consider
+to be unimportant, and above all things don't be influenced in the
+arrangements you select by any pictures you may see, except perhaps the
+Japanese.
+
+_C. W. Furse._
+
+
+CXXXIXa
+
+He alone can conceive and compose who sees the whole at once before him.
+
+_Fuseli._
+
+
+
+
+COLOUR
+
+
+CXL
+
+He who desires to be a painter must learn to rule the black, and red,
+and white.
+
+_Titian._
+
+
+CXLI
+
+There is the black which is old and the black which is fresh, lustrous
+black and dull black, black in sunlight and black in shadow. For the old
+black, one must use an admixture of red; for the fresh black, an
+admixture of blue; for the dull black, an admixture of white; for
+lustrous black, gum must be added; black in sunlight must have grey
+reflections.
+
+_Hokusai._
+
+
+CXLII
+
+When you are painting put a piece of black velvet between your eye and
+nature; by this means you will easily convince yourself that in nature
+everything is blond, even the dark trunks of trees relieved against the
+sky. Black, when it is in shadow, is strong in tone, but ceases to be
+black.
+
+_Dutilleux._
+
+
+CXLIII
+
+The Variation of Colour in uneven Superficies, is what confounds an
+unskilful Painter; but if he takes Care to mark the Outlines of his
+Superficie, and the Seat of his Lights, he will find the true Colouring
+no such difficult matter: For first he will alter the Superficies
+properly as far as the Line of Separation, either with White or Black
+sparingly as only with gentle Dew; then he will in the same Manner bedew
+the other Side of the Line, if I may be allowed the expression, then
+this again and so on by turns, till the light Side is brightened with
+more transparent Colour, and the same Colour on the other Side dies away
+like Smoak into an easy Shade. But you should always remember, that no
+Superficie should ever be made so white that you cannot make it still
+brighter: Even in Painting the whitest Cloaths you should abstain from
+coming near the strongest of that Colour; because the Painter has
+nothing but White wherewith to imitate the Polish of the most shining
+Superficie whatsoever, as I know of none but Black with which he can
+represent the utmost Shade and Obscurity of Night. For this Reason, when
+he paints a white Habit, he should take one of the four Kinds of Colours
+that are clear and open; and so again in painting any black Habit, let
+him use another Extream, but not absolute Black, as for Instance, the
+Colour of the Sea where it is very deep, which is extreamly dark. In a
+Word, this Composition of Black and White has so much Power, that when
+practised with Art and Method, it is capable of representing in Painting
+the Superficie either of Gold or of Silver, and even of the clearest
+Glass. Those Painters, therefore, are greatly to be condemned, who make
+use of White immoderately and of Black without Judgment; for which
+reason I could wish that the Painters were obliged to buy their White at
+a greater Price than the most costly Gems, and that both White and
+Black were to be made of those Pearls which Cleopatra dissolved in
+Vinegar; that they might be more chary of it.
+
+_Leon Battista Alberti._
+
+[Illustration: _Signorelli_ THE MUSIC OF PAN _Hanfstaengl_]
+
+
+CXLIV
+
+A word as to colour. One can only give warnings against possible faults;
+it is clearly impossible to teach colour by words, even ever so little
+of it, though it can be taught in a workshop, at least partially. Well,
+I should say, be rather restrained than over-luxurious in colour, or you
+weary the eye. Do not attempt over-refinements in colour, but be frank
+and simple. If you look at the pieces of colouring that most delight you
+in ornamental work, as, _e.g._ a Persian carpet, or an illuminated book
+of the Middle Ages, and analyse its elements, you will, if you are not
+used to the work, be surprised at the simplicity of it, the few tints
+used, the modesty of the tints, and therewithal the clearness and
+precision of all boundary lines. In all fine flat colouring there are
+regular systems of dividing colour from colour. Above all, don't attempt
+iridescent blendings of colour, which look like decomposition. They are
+about as much as possible the reverse of useful.
+
+_William Morris._
+
+
+CXLV
+
+After seeing all the fine pictures in France, Italy, and Germany, one
+must come to this conclusion--that _colour_, if not the first, is at
+least an essential quality in painting. No master has as yet maintained
+his ground beyond his own time without it. But in oil painting it is
+richness and depth alone that can do justice to the material. Upon this
+subject every prejudice with which I left home is, if anything, not only
+confirmed but increased. What Sir Joshua wrote, and what our friend Sir
+George so often supported, _was right_; and after seeing what I have
+seen, I am not now to be _talked_ out of it.
+
+With us, as you know, every young exhibitor with pink, white, and blue,
+thinks himself a colourist like Titian; than whom perhaps no painter is
+more misrepresented or misunderstood. I saw myself at Florence his
+famous Venus upon an easel, with Kirkup and Wallis by me. This picture,
+so often copied, and every copy a fresh mistake, is, what I expected it
+to be, deep yet brilliant; indescribable in its hues, yet simple beyond
+example in its execution and its colouring. Its flesh (O how our friends
+at home would stare!) is a simple, sober, mixed-up tint, and apparently,
+like your skies, completed while wet. No scratchings, no hatchings, no
+scumbling nor multiplicity of repetitions--no ultramarine lakes nor
+vermilions--not even a mark of the brush visible; all seemed melted in
+the fat and glowing mass, solid yet transparent, giving the nearest
+approach to life that the painter's art has ever yet reached.
+
+_Wilkie._
+
+
+CXLVI
+
+In painting, get the main tones first. Do not forget that white by
+itself should be used very sparingly; to make anything of a beautiful
+colour, accentuate the tones clearly, lay them fresh and in facets; no
+compromise with ambiguous and false tones; colour in nature is a mixture
+of single tones adapted to one another.
+
+_Chasseriau._
+
+
+CXLVII
+
+A thing to remember always: avoid greenish tones.
+
+_Chasseriau._
+
+
+CXLVIII
+
+One is a colourist by values, by colour and light; there are colourists
+who are luminarists as there are colourists pure and simple. Titian is a
+colourist but not a luminarist, while Correggio is a colourist and a
+luminarist.
+
+The simple colourists are those who content themselves with representing
+the tones in their value and colour without troubling about the magic of
+light; they also give to tones all their intensity.
+
+The luminarists, as the word indicates, make light the most important
+thing. Three names will make you understand; Rembrandt, Correggio, and
+Claude Lorraine.
+
+Claude, taking the light of the sun for a starting-point, justifies his
+method by nature: you know that he starts from a luminous point, and
+that point is the sun. To make this brilliant you must make great
+sacrifices, for you have no doubt remarked that we painters always begin
+with a half-tint; as our paintings are not brightened by the light of
+the sun, and start with a half-tint, it is necessary by the magic of
+tones to make this half-tint shine like a luminous thing. You see that
+it is a difficult problem to solve; how does Claude do it? He does not
+copy the exact tones of nature, since beginning with a dull one, he is
+obliged to make it luminous. He transposes as in music; he observes all
+things constituting light, remarks that the rays prevent us from seizing
+the outline of a bright object, that then the flame is enveloped by a
+bright halo; then by a second one less vivid, and so on until the tones
+become dull and sombre. In short, to make myself understood, his picture
+seen from distance represents a flame.
+
+Correggio also works in this way. Take for example his picture of
+Antiope.
+
+The woman, enveloped in a panther skin, is as bright as a flame. The
+soft red tone forms the first halo, then the light blue draperies with a
+slight greenish tint form the second halo. The Satyr has a value a few
+degrees below that of the draperies, making it the third halo. When the
+bouquet is thus formed, Correggio surrounds it with beautiful dark
+leaves, shading towards the extremities of the canvas. These gradations
+are so well observed, that if you put the picture at so great a distance
+that you cannot see the figures, you will still have the representation
+of light.
+
+_Couture._
+
+
+CXLIX
+
+Painters who are not colourists make illuminations and not paintings.
+Painting, properly speaking--unless one wants to produce a
+monochrome--implies the idea of colour as one of its fundamental
+elements, together with chiaroscuro, proportion, and perspective.
+Proportion applies to sculpture as to painting. Perspective determines
+the outline; chiaroscuro produces relief by the arrangement of shadow
+and light in relation to the background; colour gives the appearance of
+life, &c.
+
+The sculptor does not begin his work with an outline; he builds up with
+his material a likeness of the object which, rough at first, establishes
+from the beginning the essential conditions of relief and solidity.
+
+Colourists, being those who unite all the qualities of painting, must,
+in a single process and at first setting to work, secure the conditions
+peculiar and essential to their art.
+
+They have to mass with colour, as the sculptor with clay, marble, or
+stone; their sketch, like the sculptor's, must show proportion,
+perspective, effect, and colour.
+
+Outline is as ideal and conventional in painting as in sculpture; it
+should result naturally from the good arrangement of the essential
+parts. The combined preparation of effect which implies perspective and
+colour will approach more or less the actual aspect of things, according
+to the degree of the painter's skill; but this foundation will contain
+potentially everything included in the final result.
+
+_Delacroix._
+
+
+CL
+
+I believe colour to be a quite indispensable quality in the _highest_
+art, and that no picture ever belonged to the highest order without it;
+while many, by possessing it--as the works of Titian--are raised
+certainly into the highest _class_, though not to the very highest grade
+of that class, in spite of the limited degree of their other great
+qualities. Perhaps the _only_ exception which I should be inclined to
+admit exists in the works of Hogarth, to which I should never dare to
+assign any but the very highest place, though their colour is certainly
+not a prominent feature in them. I must add, however, that Hogarth's
+colour is seldom other than pleasing to myself, and that for my own part
+I should almost call him a colourist, though not aiming at colour. On
+the other hand, there are men who, merely on account of bad colour,
+prevent me from thoroughly enjoying their works, though full of other
+qualities. For instance, Wilkie or Delaroche (in nearly all his works,
+though the Hemicycle is fine in colour). From Wilkie I would at any time
+prefer a thoroughly fine engraving--though of course he is in no respect
+even within hail of Hogarth. Colour is the physiognomy of a picture;
+and, like the shape of the human forehead, it cannot be perfectly
+beautiful without proving goodness and greatness. Other qualities are in
+its life exercised; but this is the body of its life, by which we know
+and love it at first sight.
+
+_Rossetti._
+
+
+CLI
+
+In regard to the different modes of painting the flesh, I belief it is
+of little consequence which is pursued, if you only keep the colours
+distinct; too much mixing makes them muddy and destroys their
+brilliancy, you know. Sir Joshua was of opinion that the grey tints in
+the flesh of Titian's pictures were obtained by scumbling cool tints
+over warm ones; and others prefer commencing in a cool grey manner, and
+leaving the greys for the middle tints, whilst they paint upon the
+lights with warmer colours, also enriching the shadows with warmer and
+deeper colours too. But for my own part, I have always thought it a good
+way to consider the flesh as composed of different coloured network laid
+over each other, as is really the case in nature, and may be seen by
+those who will take the pains to look carefully into it.
+
+_Northcote._
+
+
+CLII
+
+The utmost beauty of colouring depends on the great principle of varying
+by all the means of varying, and on the proper and artful union of that
+variety.
+
+I am apt to believe that the not knowing nature's artful and intricate
+method of uniting colours for the production of the variegated
+composition, or prime tint of flesh, hath made colouring, in the art of
+painting, a kind of mystery in all ages; insomuch, that it may fairly be
+said, out of the many thousands who have labour'd to attain it, not
+above ten or twelve painters have happily succeeded therein; Correggio
+(who lived in a country village, and had nothing but the life to study
+after) is said almost to have stood alone for this particular
+excellence. Guido, who made beauty his chief aim, was always at a loss
+about it. Poussin scarce ever obtained a glimpse of it, as is manifest
+by his many different attempts: indeed France hath not produced one
+remarkable good colourist.
+
+Rubens boldly, and in a masterly manner, kept his bloom tints bright,
+separate, and distinct, but sometimes too much so for easel or cabinet
+pictures; however, his manner was admirably well calculated for great
+works, to be seen at a considerable distance, such as his celebrated
+ceiling at Whitehall Chapel: which upon a nearer view will illustrate
+what I have advanc'd with regard to the separate brightness of the
+tints; and shew, what indeed is known to every painter, that had the
+colours there seen so bright and separate been all smooth'd and
+absolutely blended together, they would have produced a dirty grey
+instead of flesh-colour. The difficulty then lies in bringing _blue_,
+the third original colour, into flesh, on account of the vast variety
+introduced thereby; and this omitted, all the difficulty ceases; and a
+common sign-painter that lays his colours smooth, instantly becomes, in
+point of colouring, a Rubens, a Titian, or a Correggio.
+
+_Hogarth._
+
+
+CLIII
+
+COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA
+
+It seems painted in (their) juicy, fat colour, the parts completed one
+after another upon the bare pannel, the same as frescoes upon the
+flattened wall. Simplicity of tint and of colour prevails; no staining
+or mottled varieties: the flesh, both in light and shadow, is produced
+by one mixed up tint so melted that no mark of the brush is seen. There
+is here no scratching or scumbling--no repetitions; all seems prepared
+at once for the glaze, which, simple as the painting is, gives to it
+with fearless hand the richness and glow of Correggio. All imitations of
+this master are complicated compared to this, and how complicated and
+abstruse does it make all attempts of the present day to give similar
+effects in colouring! Here is one figure in outline upon the prepared
+board, with even the finger-marks in colour of the painter himself. Here
+is the preparation of the figures painted up at once, and, strange to
+say, with solid and even sunny colours. Here are the heads of a woman
+and of a naked child, completed with the full zest and tone of
+Correggio, in texture fine, and in expression rich and luxurious, and as
+fine an example of his powers as any part to be found in his most
+celebrated work.
+
+_Wilkie._
+
+
+CLIV
+
+In a modern exhibition pictures lose by tone at first glance, but in the
+Louvre pictures gained, and Titian, Correggio, Rubens, Cuyp, and
+Rembrandt combated everything by the depth of their tones; and one still
+hopes that, when toning is successfully done, it will prevail.
+
+You have now got your exhibition open in Edinburgh: do you find tone and
+depth an advantage there or not? Painting bright and raw, if one can
+find in his heart to lower and glaze it afterwards, is always
+satisfactory; but unless strength can be combined with this, it will
+never be the fashion in our days.
+
+_Wilkie._
+
+
+CLV
+
+I went into the National Gallery and refreshed myself with a look at the
+pictures. One impression I had was of how much more importance the tone
+of them is than the actual tint of any part of them. I looked close into
+the separate colours and they were all very lovely in their quality--but
+the whole colour-effect of a picture then is not very great. It is the
+entire result of the picture that is so wonderful. I peered into the
+whites to see how they were made, and it is astonishing how little white
+there would be in a white dress--none at all, in fact--and yet it looks
+white. I went again and looked at the Van Eyck, and saw how clearly the
+like of it is not to be done by me. But he had many advantages. For one
+thing, he had all his objects in front of him to paint from. A nice,
+clean, neat floor of fair boards well scoured, pretty little dogs and
+everything. Nothing to bother about but making good portraits--dresses
+and all else of exactly the right colour and shade of colour. But the
+tone of it is simply marvellous, and the beautiful colour each little
+object has, and the skill of it all. He permits himself extreme darkness
+though. It's all very well to say it's a purple dress--very dark brown
+is more the colour of it. And the black, no words can describe the
+blackness of it. But the like of it is not for me to do--can't be--not
+to be thought of.
+
+As I walked about there I thought if I had my life all over again, what
+would I best like to do in the way of making a new start once more; it
+would be to try and paint more like the Italian painters. And that's
+rather happy for a man to feel in his last days--to find that he is
+still true to his first impulse, and doesn't think he has wasted his
+life in wrong directions.
+
+_Burne-Jones._
+
+
+CLVI
+
+All painting consists of sacrifices and _parti-pris_.
+
+_Goya._
+
+
+CLVII
+
+In nature, colour exists no more than line,--there is only light and
+shade. Give me a piece of charcoal, and I will paint your portrait for
+you.
+
+_Goya._
+
+
+CLVIII
+
+It requires much more observation and study to arrive at perfection in
+the shadowing of a picture than in merely drawing the lines of it. The
+proof of this is, that the lines may be traced upon a veil or a flat
+glass placed between the eye and the object to be imitated. But that
+cannot be of any use in shadowing, on account of the infinite gradation
+of shades, and the blending of them which does not allow of any precise
+termination; and most frequently they are confused, as will be
+demonstrated in another place.
+
+_Leonardo._
+
+
+
+
+LIGHT AND SHADE
+
+
+CLIX
+
+Forget not therefore that the principal part of Painting or Drawing
+after the life consisteth in the truth of the line, as one sayeth in a
+place that he hath seen the picture of her Majesty in four lines very
+like, meaning by four lines but the plain lines, as he might as well
+have said in one line, but best in plain lines without shadowing; for
+the line without shadow showeth all to a good Judgement, but the shadow
+without line showeth nothing, as, for example, though the shadow of a
+man against a white wall sheweth like a man, yet it is not the shadow
+but the line of the shadow, which is so true that it resembleth
+excellently well, as drawn by that line about the shadow with a coal,
+and when the shadow is gone it will resemble better than before, and
+may, if it be a fair face, have sweet countenance even in the line; for
+the line only giveth the countenance, but both line and colour giveth
+the lively likeness, and shadows shew the roundness and the effect or
+Defect of the light wherein the picture was drawn. This makes me to
+remember the words also and reasoning of her Majesty when first I came
+in her highness' presence to draw, who after shewing me how she noted
+great difference of shadowing in the works and Diversity of Drawers of
+sundry nations, and that the Italians who had the name to be cunningest
+and to Draw best, shadowed not. Requiring of me the reason of it, seeing
+that best to shew oneself needeth no shadow of place but rather the open
+light, to which I granted, affirmed that shadows in pictures were indeed
+caused by the shadow of the place or coming in of the light at only one
+way into the place at some small or high window, which many workmen
+covet to work in for ease to their sight, and to give unto them a
+grosser line and a more apparent line to be deserved, and maketh the
+work imborse well and show very well afar off, which to Limning work
+needeth not, because it is to be viewed of necessity in hand near unto
+the Eye. Here her Majesty conceived the reason, and therefore chose her
+place to sit in for that purpose in the open alley of a goodly garden,
+where no tree was near nor any shadow at all, save that as the Heaven is
+lighter than the earth, so must that little shadow that was from the
+earth; this her Majesty's curious Demand hath greatly bettered my
+Judgement, besides divers other like questions in Art by her most
+excellent Majesty, which to speak or write of were fitter for some
+better clerk. This matter only of the light let me perfect that no wise
+man longer remain in Error of praising much shadows in pictures which
+are to be viewed in hand; great pictures high or far off Require hard
+shadows to become the better then nearer in story work better than
+pictures of the life; for beauty and good favour is like clear truth,
+which is not shadowed with the light nor made to be obscured, as a
+picture a little shadowed may be borne withal for the rounding of it,
+but so greatly smutted or Darkened as some use Disgrace it, and in like
+truth ill told, if a very well favoured woman show in a place where is
+great shadow, yet showeth she lovely not because of the shadow but
+because of her sweet favour consisting in the line or proportion, even
+that little which the light scarcely showeth greatly pleaseth, proving
+the Desire to see more.
+
+_Nicholas Hilliard._
+
+
+CLX
+
+The lights cast from small windows also present a strong contrast of
+light and shadow, more especially if the chamber lit by them is large;
+and this is not good to use in painting.
+
+_Leonardo._
+
+
+CLXI
+
+When you are drawing from nature the light should be from the north, so
+that it may not vary; and if it is from the south keep the window
+covered with a curtain so that though the sun shine upon it all day long
+the light will undergo no change. The elevation of the light should be
+such that each body casts a shadow on the ground which is of the same
+length as its height.
+
+_Leonardo._
+
+
+CLXII
+
+Above all let the figures that you paint have sufficient light and from
+above, that is, all living persons whom you paint, for the people whom
+you see in the streets are all lighted from above; and I would have you
+know that you have no acquaintance so intimate but that if the light
+fell on him from below you would find it difficult to recognise him.
+
+_Leonardo._
+
+
+CLXIII
+
+If by accident it should happen, that when drawing or copying in
+chapels, or colouring in other unfavourable places, you cannot have the
+light on your left hand, or in your usual manner, be sure to give relief
+to your figures or design according to the arrangement of the windows
+which you find in these places, which have to give you light, and thus
+accommodating yourself to the light on which side soever it may be, give
+the proper lights and shadows. Or if it were to happen that the light
+should enter or shine right opposite or full in your face, make your
+lights and shades accordingly; or if the light should be favourable at a
+window larger than the others in the above-mentioned places, adopt
+always the best light, and try to understand and follow it carefully,
+because, wanting this, your work would be without relief, a foolish
+thing without mastery.
+
+_Cennino Cennini._
+
+
+CLXIV
+
+You have heard about Merlin's magic art; here in Venice you may _see_
+that of Titian, Giorgione, and all the others. In the Palazzo Barbarigo
+we went to the room which is said to have been Titian's studio for some
+time. The window faces the south, and the sun is shining on the floor by
+two o'clock. This made us think, whether you should not, after all, let
+the sun be there while you are painting. A temperate sunlight in the
+room makes the lights golden, and through the many, crossing, warm
+reflections the shadows get clearer and more transparent. But the
+difficulty is to know how to deal with such a shimmer; it is easier to
+paint with the light coming from the north. On the other hand, you see
+that the Venetians never tried to render in painting the impression of
+real, open sunlight. Their delicate sense of colour found a greater
+delight in looking at the fine fused tones and shades which are seen
+when the sunlight is only reflected under the clear blue sky and between
+the high palaces. Therefore, you often think that you see, for instance,
+groups of gondoliers on the Piazzetta in gay silvery notes, as in any
+painting by Paolo Veronese; and in the warm daylight in the great,
+gorgeous halls of the Palazzo Ducale there are still figures walking
+about in a colour as golden and fresh as if they were paintings by
+Titian.
+
+_E. Lundgren._
+
+
+
+
+PORTRAITURE
+
+
+CLXV
+
+Painting the face of a pretty young girl is like carving a portrait in
+silver. There may be great elaboration, but no likeness will be
+forthcoming. It is better to put the elaboration into the young lady's
+clothes, and trust to a touch here and a stroke there to bring out her
+beauty as it really is.
+
+_Ku K'ai-Chih_ (Chinese, fourth century).
+
+
+CLXVI
+
+Portraiture may be great art. There is a sense, indeed, in which it is
+perhaps the greatest art of any. And portraiture involves expression.
+Quite true, but expression of what? Of a passion, an emotion, a mood?
+Certainly not. Paint a man or a woman with the damned "pleasing
+expression," or even the "charmingly spontaneous" so dear to the
+"photographic artist," and you see at once that the thing is a mask, as
+silly as the old tragic and comic mask. The only expression allowable in
+great portraiture is the expression of character and moral quality, not
+of anything temporary, fleeting, and accidental. Apart from portraiture
+you don't want even so much, or very seldom: in fact, you only want
+types, symbols, suggestions. The moment you give what people call
+expression, you destroy the typical character of heads and degrade them
+into portraits which stand for nothing.
+
+_Burne-Jones._
+
+
+CLXVII
+
+It produces a magnificent effect to place whole figures and groups,
+which are in shade, against a light field. The contrary, _i.e._ figures
+that are in light against a dark field, cannot be so perfectly
+expressed, because every illuminated figure, with or without a side
+light, will have some shade. The nearest approach to this is when the
+object so treated happen to be very fair, with other objects reflecting
+into their shades.
+
+     Shade against shade is indefinite. Light and shade against shade
+     are mediate. Light against shade is perspicuous. Light and shade
+     against light is mediate. Light against light is indefinite or
+     indistinct.
+
+_Edward Calvert._
+
+
+CLXVIII
+
+Most of the masters have had a way, slavishly imitated by their schools
+and following, of exaggerating the darkness of the backgrounds which
+they give their portraits. They thought in this way to make the heads
+more interesting, but this darkness of background, in conjunction with
+faces lighted as we see them in nature, deprives these portraits of that
+character of simplicity which should be dominant in them. This darkness
+places the objects intended to be thrown into relief in quite abnormal
+conditions. Is it natural that a face seen in light should stand out
+against a really dark background--that is to say, one which receives no
+light? Ought not the light which falls on the figure to fall also on the
+wall, or the tapestry against which the figure stands? Unless it should
+happen that the face stands out against drapery of an extremely dark
+tone--but this condition is very rare, or against the entrance of a
+cavern or cellar entirely deprived of daylight--a circumstance still
+rarer--the method cannot but appear factitious.
+
+The chief charm in a portrait is simplicity. I do not count among true
+portraits those in which the aim has been to idealise the features of a
+famous man when the painter has to reconstruct the face from traditional
+likenesses; there, invention rightly plays a part. True portraits are
+those painted from contemporaries. We like to see them on the canvas as
+we meet them in daily life, even though they should be persons of
+eminence and fame.
+
+_Delacroix._
+
+
+CLXIX
+
+Verestchagin says the old-fashioned way of setting a portrait-head
+against a dark ground is not only unnecessary, but being usually untrue
+when a person is seen by daylight, should be exploded as false and
+unreal. But it is certain a light garish background behind a painted
+head will not permit that head to have the importance it should have in
+reality, when the actual facts, solidity, movement, play of light and
+shadow, personal knowledge of the individual or his history, joined to
+the effects of different planes, distances, materials, &c., will combine
+to invest the reality with interests the most subtle and dexterous
+artistic contrivances cannot compete with, and which certainly the
+artist cannot with reason be asked to resign. A sense of the power of an
+autocrat, from whose lips one might be awaiting consignment to a dungeon
+or death, would be as much felt if he stood in front of the commonest
+wall-paper, in the commonest lodging-house, in the meanest
+watering-place, but no such impressions could be conveyed by the painter
+who depicted such surroundings. Lastly, I must strongly dissent from the
+opinion recently expressed by some, that seems to imply that a
+portrait-picture need have no interest excepting in the figure, and that
+the background had better be without any. This may be a good principle
+for producing an effect on the walls of an exhibition-room, where the
+surroundings are incongruous and inharmonious; an intellectual or
+beautiful face should be more interesting than any accessories the
+artist could put into the background. No amount of elaboration in the
+background could disturb the attention of any one looking at the
+portrait of Julius the Second by Raphael, also in the Tribune, which I
+cannot help thinking is _the_ finished portrait in the world. A portrait
+is _the most truly historical picture_, and this the most monumental and
+historical of portraits. The longer one looks at it the more it demands
+attention. A superficial picture is like a superficial character--it may
+do for an acquaintance, but not for a friend. One never gets to the
+end of things to interest and admire in many old portrait-pictures.
+
+_Watts._
+
+[Illustration: _J. Van Eyck_ PORTRAIT OF THE ARTIST'S WIFE _Bruckmann_]
+
+
+CLXX
+
+There is one point that has always forced itself upon me strongly in
+comparing the portrait-painting qualities of Rembrandt and Velasquez. In
+Rembrandt I see a delightful human sympathy between himself and his
+sitters; he is always more interested in that part of them which
+conforms to some great central human type, and is comparatively
+uninterested in those little distinctions which delight the caricaturist
+and are the essence of that much applauded quality, "the catching of a
+likeness." I don't believe he was a very good catcher of likenesses, but
+I am sure his rendering was the biggest and fullest side of that
+man--there is always a fine ironical appreciation of character moulded
+by circumstance; whereas in Velasquez I find the other thing.
+
+_C. W. Furse._
+
+
+CLXXI
+
+I have wished to oblige the beholder, on looking at the portrait, to
+think wholly of the face in front of him, and nothing of the man who
+painted it. And it is my opinion that the artist who paints portraits in
+this way need have no fear of the pitfall of _mannerism_ either in
+treatment or touch.
+
+_Watts._
+
+
+CLXXII
+
+Let us ... examine modern portraits. I shut my eyes and think of those
+full lengths in the New Gallery and the Academy, which I have not seen
+this year, but whose every detail is familiar to me. You will find that
+a uniform light stretches from their chins to their toes; in all
+probability the background is a slab of grey into whose insensitive
+surface neither light nor air penetrates; or perhaps that most offensive
+portrait-painter's property, a sham room in which none of the furniture
+has been seen in its proper relation of light to the face, but has been
+muzzed in with slippery insincerity, and with an amiable hope that it
+may take its place behind the figure. The face, in all but one or two
+portraits, will lack definition of plane--will be flat and flabby. A
+white spot on the nose and high light on the forehead will serve for
+modelling; little or no attempt will have been made to get a light which
+will help the observer to concentrate on the head, or give the head its
+full measure of rotundity--your eyes will wander aimlessly from cheek to
+chiffon, from glinting satin to the pattern on the floor, forgetful of
+the purpose of the portrait, and only arrested by some dab of pink or
+mauve, which will remind you that the artist is developing a somewhat
+irrelevant colour scheme.
+
+For solidity, for the realisation of the great constructive planes of
+things, for that element of sculpture which exists in all good painting,
+you will look in vain. I am sure that in an average Academy there are
+not three real attempts to get the values--that is, the inevitable
+relation of objects in light and shade that must exist under any
+circumstances--and not one attempt to contrive an artificial composition
+of light and shade which shall concentrate the attention of the
+spectator on the crucial point, and shall introduce these delightful
+effects of dark things against light and light against dark, which lend
+such richness and variety of tone and such vitality of construction to
+Titian, Rembrandt, and Reynolds. If we turn for a moment to the National
+Gallery and look at Gainsborough's "Baillie Family," or Reynolds' "Three
+Ladies decorating the Term of Hymen," we see at once the difference; in
+Gainsborough's case the group is in a mellow flood of light, there are
+no strong shadows on any of the faces, and none of the figures are used
+to cast shadows on other figures in the group; and yet as you look you
+see the whole light of the picture culminating in the central head of
+the mother, the sides and bottom of the picture fade off into artificial
+shadow, exquisitely used, without which that glorious light would have
+been dissipated over the picture, losing all its effectiveness and
+carrying power. See how finely he has understood the reticent tones of
+the man behind, and how admirably the loosely painted convention of
+landscape background is made to carry on the purely artificial
+arrangement of light and shade. In the Reynolds the shadowed figure on
+the left, and the shadows that flit across the skirts of the other two
+figures, and the fine relief of the dark trees, give a wonderful
+richness of design to a picture that is not in other respects of the
+highest interest.
+
+_C. W. Furse._
+
+
+CLXXIII
+
+Why have I not before now finished the miniature I promised to Mrs.
+Butts? I answer I have not till now in any degree pleased myself, and
+now I must entreat you to excuse faults, for portrait painting is the
+direct contrary to designing and historical painting in every respect.
+If you have not nature before you for every touch, you cannot paint
+portrait; and if you have nature before you at all, you cannot paint
+history. It was Michael Angelo's opinion and is mine.
+
+_Blake._
+
+
+CLXXIV
+
+I often find myself wondering why people are so frequently dissatisfied
+with their portraits, but I think I have discovered the principal
+reason--they are not pleased with themselves, and therefore cannot
+endure a faithful representation. I find it is the same with myself. I
+cannot bear any portraits of myself, except those of my own painting,
+where I have had the opportunity of coaxing them, so as to suit my own
+feelings.
+
+_Northcote._
+
+
+
+
+LIGHT AND SHADE
+
+
+CLXXV
+
+Don't be afraid of splendour of effect; nothing is more brilliant,
+nothing more radiant than nature. Painting tends to become confused and
+to lose its power to strike hard. Make things monumental and yet real;
+set down the lights and the shadows as in reality. Heads which are all
+in a half-tone flushed with colour from a strong sun; heads in the
+light, full of air and freshness; these should be a delight to paint.
+
+_Chasseriau._
+
+
+CLXXVI
+
+The first object of a painter is to make a simple flat surface appear
+like a relievo, and some of its parts detached from the ground; he who
+excels all others in that part of the art deserves the greatest praise.
+This perfection of the art depends on the correct distribution of lights
+and shades called _Chiaro-scuro_. If the painter, then, avoids shadows,
+he may be said to avoid the glory of the art, and to render his work
+despicable to real connoisseurs, for the sake of acquiring the esteem of
+vulgar and ignorant admirers of fine colours, who never have any
+knowledge of relievo.
+
+_Leonardo._
+
+
+CLXXVII
+
+Chiaroscuro, to use untechnical language and to speak of it as it is
+employed by all the schools, is the art of making atmosphere visible
+and painting objects in an envelope of air. Its aim is to create all the
+picturesque accidents of the shadows, of the half-tones and the light,
+of relief and distance, and to give in consequence more variety, more
+unity of effect, of caprice, and of relative truth, to forms as to
+colours. The opposite conception is one more ingenuous and abstract, a
+method by which one shows objects as they are, seen close, the
+atmosphere being suppressed, and in consequence without any perspective
+except the linear perspective, which results from the diminution in the
+size of objects and their relation to the horizon. When we talk of
+aeriel perspective we presuppose a certain amount of chiaroscuro.
+
+_Fromentin._
+
+
+CLXXVIII
+
+A painter must study his picture in every degree of light; it is all
+little enough. You know, I suppose, that this period of the day between
+daylight and darkness is called "the painter's hour"? There is, however,
+this inconvenience attending it, which allowance must be made for--the
+reds look darker than by day, indeed almost black, and the light blues
+turn white, or nearly so. This low, fading light also suggests many
+useful hints as to arrangement, from the circumstance of the dashings of
+the brush in a picture but newly commenced, suggesting forms that were
+not originally intended, but which often prove much finer ones. Ah,
+sometimes I see something very beautiful in these forms; but then I have
+such coaxing to do to get it fixed!--for when I draw near the canvas
+the vision is gone, and I have to go back and creep up to it again and
+again, and, at last, to hold my brush at the utmost length of my arm
+before I can fix it, so that I can avail myself of it the next day. The
+way to paint a really fine picture is first to paint it in the mind, to
+imagine it as strongly and distinctly as possible, and then to sketch it
+while the impression is strong and vivid.
+
+[Illustration: _Puvis de Chavannes_ HOPE]
+
+I have frequently shut myself up in a dark room for hours, or even days,
+when I have been endeavouring to imagine a scene I was about to paint,
+and have never stirred till I had got it clear in my mind; then I have
+sketched it as quickly as I could, before the impression has left me.
+
+_Northcote._
+
+
+
+
+DECORATIVE ART
+
+
+CLXXIX
+
+Decoration is the activity, the life of art, its justification, and its
+social utility.
+
+_Bracquemond._
+
+
+CLXXX
+
+The true function of painting is to animate wall-spaces. Apart from
+this, pictures should never be larger than one's hand.
+
+_Puvis de Chavannes._
+
+
+CLXXXI
+
+I want big things to do and vast spaces, and for common people to see
+them and say Oh!--only Oh!
+
+_Burne-Jones._
+
+
+CLXXXII
+
+I insist upon mural painting for three reasons--first, because it is an
+exercise of art which demands the absolute knowledge only to be obtained
+by honest study, the value of which no one can doubt, whatever branch of
+art the student might choose to follow afterwards; secondly, because the
+practice would bring out that gravity and nobility deficient in the
+English school, but not in the English character, and which being latent
+might therefore be brought out; and, thirdly, for the sake of action
+upon the public mind. For public improvement it is necessary that works
+of sterling but simple excellence should be scattered abroad as widely
+as possible. At present the public never see anything beautiful
+excepting in exhibition rooms, when the novelty of sight-seeing
+naturally disturbs the intellectual perceptions. It is a melancholy fact
+that scarcely a single object amongst those that surround us has any
+pretension to real beauty, or could be put simply into a picture with
+noble effect. And as I believe the love of beauty to be inherent in the
+human mind, it follows that there must be some unfortunate influence at
+work; to counteract this should be the object of a fine-art institution,
+and I feel assured if really good things were scattered amongst the
+people, it would not be long before satisfactory results exhibited
+themselves.
+
+_G. F. Watts._
+
+
+CLXXXIII
+
+I have ... gone for great masses of light and shade, relieved against
+one another, the only bright local colour being the blue of the
+workmens' coats and trousers. I have intentionally avoided the whole
+business of "flat decoration" by "making the things part of the walls,"
+as one is told is so important. On the contrary, I have treated them as
+pictures and have tried to make holes in the wall--that is, as far as
+relief of strong light and shade goes; in the figures I have struggled
+to keep a certain quality of bas-relief--that is, I have avoided distant
+groups--and have woven my compositions as tightly as I can in the very
+foreground of the pictures, as without this I felt they would lose their
+weight and dignity, which does seem to me the essential business in a
+mural decoration, and which makes Puvis de Chavannes a great decorator
+far more than his flat mimicry of fresco does.... Tintoretto, in S.
+Rocco, is my idea of the big way to decorate a building; great clustered
+groups sculptured in light and shade filling with amazing ingenuity of
+design the architectural spaces at his disposal: a far richer and more
+satisfying result to me than the flat and unprofitable stuff which of
+late years has been called "decoration."...
+
+Above all, I thoroughly disbelieve in the cant of mural decorations
+preserving the flatness of a wall. I see no merit in it whatever. Let
+them be massive as sculpture, but let every quality of value and colour
+lend them depth and vitality, and I am sure the hall or room will be
+richer and nobler as a result.
+
+_C. W. Furse._
+
+
+CLXXXIV
+
+People usually declare that landscape is an easy matter. I think it a
+very difficult one. For whenever you wish to produce a landscape, it is
+necessary to carry about the details, and work them out in the mind for
+some days before the brush may be applied. Just as in composition: there
+is a period of bitter thought over the theme; and until this is
+resolved, you are in the thrall of bonds and gyves. But when inspiration
+comes, you break loose and are free.
+
+_A Chinese Painter_ (about 1310 A.D.).
+
+
+CLXXXV
+
+One word: there are _tendencies_, and it is these which are meant by
+_schools_. Landscape, above all, cannot be considered from the point of
+view of a school. Of all artists the landscape painter is the one who is
+in most direct communion with nature, with nature's very soul.
+
+_Paul Huet._
+
+
+CLXXXVI
+
+From what motives springs the love of high-minded men for landscapes? In
+his very nature man loves to be in a garden with hills and streams,
+whose water makes cheerful music as it glides among the stones. What a
+delight does one derive from such sights as that of a fisherman
+engaging in his leisurely occupation in a sequestered nook, or of a
+woodman felling a tree in a secluded spot, or of mountain scenery with
+sporting monkeys and cranes!... Though impatient to enjoy a life amidst
+the luxuries of nature, most people are debarred from indulging in such
+pleasures. To meet this want artists have endeavoured to represent
+landscapes so that people may be able to behold the grandeur of nature
+without stepping out of their houses. In this light, painting affords
+pleasures of a nobler sort by removing from one the impatient desire of
+actually observing nature.
+
+_Kuo Hsi_ (Chinese, eleventh century A.D.).
+
+
+
+
+LANDSCAPE
+
+
+CLXXXVII
+
+Landscape is a big thing, and should be viewed from a distance in order
+to grasp the scheme of hill and stream. The figures of men and women are
+small matters, and may be spread out on the hand or on a table for
+examination, when they will be taken in at a glance. Those who study
+flower-painting take a single stalk and put it into a deep hole, and
+then examine it from above, thus seeing it from all points of view.
+Those who study bamboo-painting take a stalk of bamboo, and on a
+moonlight night project its shadow on to a piece of white silk on a
+wall; the true form of the bamboo is thus brought out. It is the same
+with landscape painting. The artist must place himself in communion with
+his hills and streams, and the secret of the scenery will be solved....
+Hills without clouds look bare; without water they are wanting in
+fascination; without paths they are wanting in life; without trees they
+are dead; without depth-distance they are shallow; without
+level-distance they are near; and without height-distance they are low.
+
+_Kuo Hsi_ (Chinese, eleventh century A.D.).
+
+
+CLXXXVIII
+
+I have brushed up my "Cottage" into a pretty look, and my "Heath" is
+almost safe, but I must stand or fall by my "House." I had on Friday a
+long visit from M---- alone; but my pictures do not come into his rules
+or whims of the art, and he said I had "lost my way." I told him that I
+had "perhaps other notions of art than picture admirers have in general.
+I looked on pictures as _things to be avoided_, connoisseurs looked on
+them as things to be _imitated_; and that, too, with such a deference
+and humbleness of submission, amounting to a total prostration of mind
+and original feeling; as must serve only to fill the world with
+abortions." But he was very agreeable, and I endured the visit, I trust,
+without the usual courtesies of life being violated.
+
+What a sad thing it is that this lovely art is so wrested to its own
+destruction! Used only to blind our eyes, and to prevent us from seeing
+the sun shine, the fields bloom, the trees blossom, and from hearing the
+foliage rustle; while old--black--rubbed out and dirty canvases take the
+place of God's own works. I long to see you. I love to cope with you,
+like Jaques, in my "sullen moods," for I am not fit for the present
+world of art.... Lady Morley was here yesterday. On seeing the "House,"
+she exclaimed, "How fresh, how dewy, how exhilarating!" I told her half
+of this, if I could think I deserved it, was worth all the talk and cant
+about pictures in the world.
+
+_Constable._
+
+
+CLXXXIX
+
+A wood all powdered with sunshine, all the tones of the trees
+illuminated and delicate, the whole in a mist of sun, and high lights
+only on the stems; a delicious, new, and rich effect.
+
+_Chasseriau._
+
+
+CXC
+
+The forests and their trees give superb strong tones in which violet
+predominates--above all, in the shadows--and give value to the green
+tones of the grass. The upright stems show bare with colours as of
+stones and of rocks--grey, tawny, flushed, always very luminous (like an
+agate) in the reflections: the whole takes a sombre colour which vies in
+vigour with the foreground.
+
+A magnificent spectacle is that of mountains covered with ice and snow,
+towards evening, when the clouds roll up and hide their base. The
+summits may stand out in places against the sky. The blue background at
+such a time emphasises the warm gold colour of the shadows, and the
+lower parts are lost in a deep and sinister grey. We have seen this
+effect at Kandersteg.
+
+_Dutilleux._
+
+
+CXCI
+
+In your letter you wish me to give you my opinion of your picture. I
+should have liked it better if you had made it more of a whole--that is,
+the trees stronger, the sky running from them in shadow up to the
+opposite corner; that might have produced what, I think, it wanted, and
+have made it much less a two-picture effect.... I cannot let your sky go
+off without some observation. I think the character of your clouds too
+affected, that is, too much of some of our modern painters, who mistake
+some of our great masters; because they sometimes put in some of those
+round characters of clouds, they must do the same; but if you look at
+any of their skies, they either assist in the composition or make some
+figure in the picture--nay, sometimes play the first fiddle....
+
+Breadth must be attended to if you paint; but a muscle, give it breadth.
+Your doing the same by the sky, making parts broad and of a good shape,
+that they may come in with your composition, forming one grand plan of
+light and shade--this must always please a good eye and keep the
+attention of the spectator, and give delight to every one.
+
+Trifles in nature must be overlooked that we may have our feelings
+raised by seeing the whole picture at a glance, not knowing how or why
+we are so charmed. I have written you a long rigmarole story about
+giving dignity to whatever you paint--I fear so long that I should be
+scarcely able to understand what I mean myself. You will, I hope, take
+the will for the deed.
+
+_Old Crome._
+
+
+CXCII
+
+I am most anxious to get into my London painting-room, for I do not
+consider myself at work unless I am before a six-foot canvas. I have
+done a good deal of skying, for I am determined to conquer all
+difficulties, and that among the rest. And now, talking of skies, it is
+amusing to us to see how admirably you fight my battles; you certainly
+take the best possible ground for getting your friend out of a scrape
+(the example of the Old Masters). That landscape painter who does not
+make his skies a very material part of his composition neglects to avail
+himself of one of his greatest aids. Sir Joshua Reynolds, speaking of
+the landscapes of Titian, of Salvator, and of Claude, says: "Even their
+_skies_ seem to sympathise with their subjects." I have often been
+advised to consider my sky as "_a white sheet thrown behind the
+objects_." Certainly, if the sky is obtrusive, as mine are, it is bad;
+but if it is evaded, as mine are not, it is worse; it must and always
+shall with me make an effectual part of the composition. It will be
+difficult to name a class of landscape in which the sky is not the
+keynote, the standard of scale, and the chief organ of sentiment. You
+may conceive, then, what a "white sheet" would do for me, impressed as I
+am with these notions, and they cannot be erroneous. The sky is the
+source of light in nature, and governs everything; even our common
+observations on the weather of every day are altogether suggested by it.
+The difficulty of skies in painting is very great, both as to
+composition and execution; because, with all their brilliancy, they
+ought not to come forward, or, indeed, be hardly thought of any more
+than extreme distances are; but this does not apply to phenomena or
+accidental effects of sky, because they always attract particularly. I
+may say all this to you, though _you_ do not want to be told that I know
+very well what I am about, and that my skies have not been neglected,
+though they have often failed in execution, no doubt, from an
+over-anxiety about them which will alone destroy that easy appearance
+which nature always has in all her movements.
+
+_Constable._
+
+
+CXCIII
+
+He was looking at a seventy-four gun ship, which lay in the shadow under
+Saltash. The ship seemed one dark mass.
+
+"I told you that would be the effect," said Turner, referring to some
+previous conversation. "Now, as you perceive, it is all shade!"
+
+"Yes, I perceive it; and yet the ports are there."
+
+"We can only take what is visible--no matter what may be there. There
+are people in the ship; we don't see them through the planks."
+
+_Turner._
+
+
+CXCIV
+
+Looked out for landscapes this evening; but although all around one is
+lovely, how little of it will work up into a picture! that is, without
+great additions and alterations, which is a work of too much time to
+suit my purpose just now. I want little subjects that will paint off at
+once. How despairing it is to view the loveliness of nature towards
+sunset, and know the impossibility of imitating it!--at least in a
+satisfactory manner, as one could do, would it only remain so long
+enough. Then one feels the want of a life's study, such as Turner
+devoted to landscape; and even then what a botch is any attempt to
+render it! What wonderful effects I have seen this evening in the
+hay-fields! The warmth of the uncut grass, the greeny greyness of the
+unmade hay in furrows or tufts with lovely violet shadows, and long
+shades of the trees thrown athwart all, and melting away one tint into
+another imperceptibly; and one moment more a cloud passes and all the
+magic is gone. Begin to-morrow morning, all is changed: the hay and the
+reapers are gone most likely; the sun too, or if not, it is in quite the
+opposite quarter, and all that _was_ loveliest is all that is tamest
+now, alas! It is better to be a poet; still better a mere lover of
+Nature; one who never dreams of possession....
+
+_Ford Madox Brown._
+
+
+CXCV
+
+You should choose an old tumbledown wall and throw over it a piece of
+white silk. Then morning and evening you should gaze at it, until at
+length you can see the ruin through the silk--its prominences, its
+levels, its zigzags, and its cleavages, storing them up in the mind and
+fixing them in the eye. Make the prominences your mountains, the lower
+parts your water, the hollows your ravines, the cracks your streams, the
+lighter parts your nearer points, the darker parts your more distant
+points. Get all these thoroughly into you, and soon you will see men,
+birds, plants, and trees, flying and moving among them. You may then ply
+your brush according to your fancy, and the result will be of heaven,
+not of men.
+
+_Sung Ti_ (Chinese, eleventh century).
+
+
+CXCVI
+
+By looking attentively at old and smeared walls, or stones and veined
+marble of various colours, you may fancy that you see in them several
+compositions--landscapes, battles, figures in quick motion, strange
+countenances, and dresses, with an infinity of other objects. By these
+confused lines the inventive genius is excited to new exertions.
+
+_Leonardo._
+
+
+CXCVII
+
+Out by a quarter to eight to examine the river Brent at Hendon; a mere
+brooklet, running in most dainty sinuosity under overshadowing oaks and
+all manner of leafiness. Many beauties, and hard to choose amongst, for
+I had determined to make a little picture of it. However, Nature, that
+at first sight appears so lovely, is on consideration almost always
+incomplete; moreover, there is no painting intertangled foliage without
+losing half its beauties. If imitated exactly it can only be done as
+seen from one eye, and quite flat and confused therefore.
+
+_Ford Madox Brown._
+
+
+CXCVIII
+
+To gaze upon the clouds of autumn, a soaring exaltation in the soul; to
+feel the spring breeze stirring wild exultant thoughts;--what is there
+in the possession of gold and jewels to compare with delights like
+these? And then, to unroll the portfolio and spread the silk, and to
+transfer to it the glories of flood and fell, the green forest, the
+blowing winds, the white water of the rushing cascade, as with a turn of
+the hand a divine influence descends upon the scene. These are the joys
+of painting.
+
+_Wang Wei_ (Chinese, fifth century).
+
+
+CXCIX
+
+In the room where I am writing there are hanging up two beautiful small
+drawings by Cozens: one, a wood, close, and very solemn; the other, a
+view from Vesuvius looking over Portici--very lovely. I borrowed them
+from my neighbour, Mr. Woodburn. Cozens was all poetry, and your drawing
+is a lovely specimen.
+
+_Constable._
+
+
+CXCIXa
+
+Selection is the invention of the landscape painter.
+
+_Fuseli._
+
+
+CC
+
+Don't imagine that I do not like Corot's picture, _La Prairie avec le
+fosse_; on the contrary we thought, Rousseau and I, that it would be a
+pity to have one picture without the other, each makes so lively an
+impression of its own. You are perfectly right in liking the picture
+very much. What particularly struck us in the other one was that it has
+in an especial degree the look of being done by some one who knew
+nothing about painting but who had done his best, filled with a great
+longing to paint. In fact, a spontaneous discovery of the art! These are
+both very beautiful things. We will talk about them, for in writing one
+never gets to the end.
+
+_Millet._
+
+
+CCI
+
+TO ROUSSEAU
+
+The day after I left you I went to see your exhibition.... To-day I
+assure you that in spite of knowing your studies of Auvergne and those
+earlier ones, I was struck once more in seeing them all together by the
+fact that a force is a force from its first beginnings.
+
+With the very earliest you show a freshness of vision which leaves no
+doubt as to the pleasure you took in seeing nature, and one sees that
+she spoke directly to you, and that you saw her through your own eyes.
+
+Your work is your own _et non de l'aultruy_, as Montaigne says. Don't
+think I mean to go through everything of yours bit by bit, down to the
+present moment. I only wish to mention the starting point, which is the
+important thing, because it shows that a man is born to his calling.
+
+From the beginning you were the little oak which will grow into a big
+oak. There! I must tell you once more how much it moved me to see all
+this.
+
+_Millet._
+
+
+CCII
+
+I don't know if Corot is not greater than Delacroix. Corot is the father
+of modern landscape. There is no landscape painter of to-day
+who--knowingly or not--does not derive from him. I have never seen a
+picture of Corot's which was not beautiful, or a line which did not mean
+something.
+
+Among modern painters it is Corot who as a colourist has most in common
+with Rembrandt. The colour scheme is golden with the one and grey with
+the other throughout the whole harmony of tones. In appearance their
+methods are the opposite of each other, but the desired result is the
+same. In a portrait by Rembrandt all details melt into shadow in order
+that the spectator's gaze may be concentrated on a single part, often
+the eyes, and this part is handled more caressingly than the rest.
+
+Corot, on the other hand, sacrifices the details which are in the
+light--the extremities of trees, and so on--and brings us always to the
+spot which he has chosen for his main appeal to the spectator's eye.
+
+_Dutilleux._
+
+
+CCIII
+
+Landscape has taken refuge in the theatre; scene-painters alone
+understand its true character and can put it into practice with a happy
+result. But Corot?
+
+Oh that man's soul rebounds like a steel spring; he is no mere landscape
+painter, but an artist--a real artist, and rare and exceptional genius.
+
+_Delacroix._
+
+
+CCIV
+
+TO VERWEE
+
+There is an International Exhibition at Petit's now, and I am showing
+some sea-pieces there with great success. The exhibition is made up,
+with one or two exceptions, of young men. They are very clever, but
+all alike; they follow a fashion--there is no more individuality.
+Everybody paints, everybody is clever.
+
+[Illustration: _Raphael_ THE MASS OF BOLSENA (Detail) _Anderson_]
+
+We shall end by adoring J. Dupre. I don't always like him, but he has
+individuality.
+
+Too many painters, my dear fellow, and too many exhibitions! But you
+see, at my age, I'm not afraid of showing my pictures among the young
+men's sometimes.
+
+Yet I hate exhibitions; one can hardly ever judge of a picture there.
+
+_Alfred Stevens._
+
+
+
+
+ITALIAN MASTERS
+
+
+CCV
+
+There is something ... in those deities of intellect in the Sistine
+Chapel that converts the noblest personages of Raphael's drama into the
+audience of Michael Angelo, before whom you know that, equally with
+yourself, they would stand silent and awe-struck.
+
+_Lawrence._
+
+
+CCVI
+
+My only disagreement with you would be in the estimate of his
+comparative excellence in sculpture and painting. He called himself
+sculptor, but we seldom gauge rightly our own strength and weakness. The
+paintings in the Sistine Chapel are to my mind entirely beyond criticism
+or praise, not merely with reference to design and execution, but also
+for colour, right noble and perfect in their place. I was never more
+surprised than by this quality, to which I do not think justice has ever
+been done; nothing in his sculpture comes near to the perfection of his
+Adam or the majesty of the Dividing the Light from Darkness; his
+sculpture lacks the serene strength that is found in the Adam and many
+other figures in the great frescoes. Dominated by the fierce spirit of
+Dante, he was less influenced by the grave dignity of the Greek
+philosophy and art than might have been expected from the contemporary
+and possible pupil of Poliziano. In my estimate of him as a Sculptor in
+comparison with him as Painter, I am likely to be in a minority of one!
+but _I_ think that when he is thought of as a painter his earlier
+pictures are thought of, and these certainly are unworthy of him, but
+the Prophets and Sibyls are the greatest things ever painted. As a rule
+he certainly insists too much upon the anatomy; some one said admirably,
+"Learn anatomy, and forget it"; Michael Angelo did the first and not the
+second, and the fault of almost all his work is, that it is too much an
+anatomical essay. The David is an example of this, besides being very
+faulty in proportion, with hands and feet that are monstrous. It is, I
+think, altogether bad. The hesitating pose is good, and goes with the
+sullen expression of the face, but is not that of the ardent heroic boy!
+
+This seems presumptuous criticism; and you might, considering my
+aspirations and efforts, say to me: "Do better!" but I am not Michael
+Angelo, but I am a pupil of the greatest sculptor of all, Pheidias (a
+master the great Florentine knew nothing of), and, so far, feel a right
+to set up judgment on the technique only.
+
+_Watts._
+
+
+CCVII
+
+ITALIAN ART IN FLANDERS
+
+As to Italian art, here at Brussels there is nothing but a reminiscence
+of it. It is an art which has been falsified by those who have tried to
+acclimatise it, and even the specimens of it which have passed into
+Flanders lose by their new surroundings. When in a part of the gallery
+which is least Flemish, one sees two portraits by Tintoret, not of the
+first rank, sadly retouched, but typical--one finds it difficult to
+understand them side by side with Memling, Martin de Vos, Van Orley,
+Rubens, Van Dyck, and even Antonio More. It is the same with Veronese.
+He is out of his element; his colour is lifeless, it smacks of the
+tempera painter; his style seems frigid, his magnificence unspontaneous
+and almost bombastic. Yet the picture is a superb piece, in his finest
+manner; a fragment of an allegorical triumph taken from a ceiling in the
+Ducal Palace, and one of his best; but Rubens is close by, and that is
+enough to give the Rubens of Venice an accent which is not of this
+country. Which of the two is right? And listening merely to the language
+so admirably spoken by the two men, who shall decide between the correct
+and learned rhetoric of Venetian speech, and the emphatic, warmly
+coloured, grandiose incorrectness of the Antwerp idiom? At Venice one
+leans to Veronese; in Flanders one has a better ear for Rubens.
+
+Italian art has this in common with all powerful traditions, that it is
+at the same time very cosmopolitan because it has penetrated everywhere,
+and very lofty because it has been self-sufficient. It is at home, in
+all Europe, except in two countries; Belgium, the genius of which it has
+appreciably affected without ever dominating it; and Holland, which once
+made a show of consulting it but which has ended by passing it by; so
+that, while it is on neighbourly terms with Spain, while it is enthroned
+in France, where, at least in historical painting, our best painters
+have been Romans, it encounters in Flanders two or three men, great men
+of a great race, sprung from the soil, who hold sway there and have no
+mind to share their empire with any other.
+
+_Fromentin._
+
+
+CCVIII
+
+I am never tired of looking at Titian's pictures; they possess such
+extreme breadth, which to me is so delightful a quality. In my opinion
+there never will, to the end of time, arise a portrait-painter superior
+to Titian. Next to him in this kind of excellence is Raphael. There is
+this difference between Raphael and Titian: Raphael, with all his
+excellence, possessed the utmost gentleness; it was as if he had said,
+"If another person can do better, _I_ have no objections." But Titian
+was a man who would keep down every one else to the uttermost; he was
+determined that the art should come in and go out with himself; the
+expression in all the portraits of him told as much. When any
+stupendous work of antiquity remains with us--say, a building or a
+bridge--the common people cannot account for it, and they say it was
+erected _by the devil_. Now I feel this same thing in regard to the
+works of Titian;--they seem to me as if painted by a devil, or at any
+rate from inspiration; I cannot account for them.
+
+_Northcote._
+
+
+
+
+NORTHERN MASTERS
+
+
+CCIX
+
+Raphael, to be plain with you--for I like to be candid and
+outspoken--does not please me at all. In Venice are found the good and
+the beautiful; to their brush I give the first place; it is Titian that
+bears the banner.
+
+_Velasquez._
+
+
+CCX
+
+Perhaps some day the world will discover that Rembrandt is a much
+greater painter than Raphael. I write this blasphemy--one to make the
+hair of the Classicists stand on end--without definitely taking a side;
+only I seem to find as I grow older that the most beautiful and most
+rare thing in the world is truth.
+
+Let us say, if you will, that Rembrandt has not Raphael's nobility. Yet
+perhaps this nobility which Raphael manifests in his line is shown by
+Rembrandt in the mysterious conception of his subjects, in the profound
+naivete of his expressions and gestures. However much one may prefer the
+majestic emphasis of Raphael, which answers perhaps to the grandeur
+inherent in certain subjects, one might assert, without being stoned by
+men of taste--I mean men whose taste is real and sincere--that the great
+Dutchman was more a born painter than the studious pupil of Perugino.
+
+_Delacroix._
+
+
+CCXI
+
+Rembrandt's principle was to extract from things one element among the
+rest, or rather to abstract every element in order to concentrate on the
+seizure of one only. Thus in all his works he has set himself to
+analyse, to distil; or, in better phrase, has been metaphysician even
+more than poet. Reality never appealed to him by its general effects.
+One might doubt, from his way of treating human forms, whether their
+"envelope" interested him. He loved women, and never saw them otherwise
+than unshapely; he loved textures, and did not imitate them; but then,
+if he ignored grace and beauty, purity of line and the delicacy of the
+skin, he expressed the nude body by suggestions of suppleness,
+roundness, elasticity, with a love of material substance, a sense of the
+live being, which enchant the practical painter. He resolved everything
+into its component parts, colour as well as light, so that, by
+eliminating the complicated and condensing the scattered elements from a
+given scene, he succeeded in drawing without outline, in painting a
+portrait almost without strokes that show, in colouring without colour,
+in concentrating the light of the solar system into a sunbeam. It would
+be impossible in a plastic art to carry the curiosity for the essential
+to an intenser pitch. For physical beauty he substitutes expression of
+character; for the imitation of things, their almost complete
+transformation; for studious scrutiny, the speculation of the
+psychologist; for precise observation, whether trained or natural, the
+visions of a seer and apparitions of such vividness that he himself is
+deceived by them. By virtue of this faculty of second sight, of
+intuitions like those of a somnambulist, he sees farther into the
+supernatural world than any one else whatever. The life that he
+perceives in dream has a certain accent of the other world, which makes
+real life seem pale and almost cold. Look at his "Portrait of a Woman in
+the Louvre," two paces from "Titian's Mistress." Compare the two women,
+study closely the two pictures, and you will understand the difference
+between the two brains. Rembrandt's ideal, sought as in a dream with
+closed eyes, is Light: the nimbus around objects, the phosphorescence
+that comes against a black background. It is something fugitive and
+uncertain, formed of lineaments scarce perceptible, ready to disappear
+before the eye has fixed them, ephemeral and dazzling. To arrest the
+vision, to set it on the canvas, to give it its shape and moulding, to
+preserve the fragility of its texture, to render its brilliance, and yet
+achieve in the result a solid, masculine, substantial painting, real
+beyond any other master's work, and able to hold its own with a Rubens,
+a Titian, a Veronese, a Giorgione, a Van Dyck--this is Rembrandt's aim.
+Has he succeeded? The testimony of the world answers for him.
+
+_Fromentin._
+
+
+CCXII
+
+The painting of Flanders will generally satisfy any devout person more
+than the painting of Italy, which will never cause him to shed many
+tears; this is not owing to the vigour and goodness of that painting,
+but to the goodness of such devout person; women will like it,
+especially very old ones or very young ones. It will please likewise
+friars and nuns, and also some noble persons who have no ear for true
+harmony. They paint in Flanders, only to deceive the external eye,
+things that gladden you and of which you cannot speak ill, and saints
+and prophets. Their painting is of stuffs--bricks and mortar, the grass
+of the fields, the shadows of trees, and bridges and rivers, which they
+call landscapes, and little figures here and there; and all this,
+although it may appear good to some eyes, is in truth done without
+reasonableness or art, without symmetry or proportion, without care in
+selecting or rejecting, and finally, without any substance or verve; and
+in spite of all this, painting in some other parts is worse than it is
+in Flanders. Neither do I speak so badly of Flemish painting because it
+is all bad, but because it tries to do so many things at once (each of
+which alone would suffice for a great work), so that it does not do
+anything really well.
+
+Only works which are done in Italy can be called true painting, and
+therefore we call good painting Italian; for if it were done so well in
+another country, we should give it the name of that country or
+province. As for the good painting of this country, there is nothing
+more noble or devout; for with wise persons nothing causes devotion to
+be remembered, or to arise, more than the difficulty of the perfection
+which unites itself with and joins God; because good painting is nothing
+else but a copy of the perfections of God and a reminder of His
+painting. Finally, good painting is a music and a melody which intellect
+only can appreciate, and with great difficulty. This painting is so rare
+that few are capable of doing or attaining to it.
+
+_Michael Angelo._
+
+
+CCXIII
+
+All Dutch painting is concave: what I mean is that it is composed of
+curves described about a point determined by the pictorial interest;
+circular shadows round a dominant light. Design, colouring, and lighting
+fall into a concave scheme, with a strongly defined base, a retreating
+ceiling, and corners rounded and converging on the centre; whence it
+follows that the painting is all depth, and that it is far from the eye
+to the objects represented. No type of painting leads with more certain
+directness from the foreground to the background, from the frame to the
+horizon. One can live in it, walk in it, see to the uttermost ends of
+it; one is tempted to raise one's head to measure the distance of the
+sky. Everything conspires to this illusion: the exactness of the aerial
+perspective, the perfect harmony of colour and tones with the plane on
+which the object is placed. The rendering of the heights of space, of
+the envelope of atmosphere, of the distant effect, which absorbs this
+school makes the painting of all other schools seem flat, something laid
+upon the surface of the canvas.
+
+_Fromentin._
+
+
+CCXIV
+
+In Van Eyck there is more structure, more muscle, more blood in the
+veins; hence the impressive virility of his faces and the strong style
+of his pictures. Altogether he is a portrait-painter of Holbein's
+kin--exact, shrewd, and with a gift of penetration that is almost cruel.
+He sees things with more perfect rightness than Memling, and also in a
+bigger and some summary way. The sensations which the aspect of things
+evokes in him are more powerful; his feeling for their colour is more
+intense; his palette has a fullness, a richness, a distinctness, which
+Memling's has not. His colour schemes are of more even power, better
+held together, composed of values more cunningly found. His whites are
+fatter, his purple richer, and the indigo blue--that fine blue as of old
+Japanese enamel, which is peculiar to him--has more depth of dye, more
+solidity of texture. The splendour and the costliness of the precious
+things, of which the superb fashions of his time were so lavish,
+appealed to him more strongly.
+
+_Fromentin._
+
+
+CCXV
+
+Van Eyck saw with his eyes, Memling begins to see with his soul. The one
+had a good and a right vein of thought; the other does not seem to
+think so much, but he has a heart which beats in a quite different way.
+The one copied and imitated, the other copies too and imitates, but
+transfigures. The former reproduced--without any preoccupation with the
+ideal types of humanity--above all, the masculine types, which passed
+before his eyes in every rank of the society of his time; the latter
+contemplates nature in a reverie, translates her with imagination,
+dwells upon everything which is most delicate and lovely in human forms,
+and creates, above all, in his type of woman a being exquisite and
+elect, unknown before and lost with him.
+
+_Fromentin_
+
+
+CCXVI
+
+BRUGES, 1849
+
+This is a most stunning place, immeasurably the best we have come to.
+There is a quantity of first-rate architecture, and very little or no
+Rubens.
+
+But by far the best of all are the miraculous works of Memling and Van
+Eyck. The former is here in a strength that quite stunned us--and
+perhaps proves himself to have been a greater man even than the latter.
+In fact, he was certainly so intellectually, and quite equal in
+mechanical power. His greatest production is a large triptych in the
+Hospital of St. John, representing in its three compartments: firstly,
+the "Decollation of St. John Baptist"; secondly, the "Mystic Marriage of
+St. Catherine to the Infant Saviour"; and thirdly, the "Vision of St.
+John Evangelist in Patmos." I shall not attempt any description; I
+assure you that the perfection of character and even drawing, the
+astounding finish, the glory of colour, and, above all, the pure
+religious sentiment and ecstatic poetry of these works is not to be
+conceived or described. Even in seeing them the mind is at first
+bewildered by such godlike completeness; and only after some while has
+elapsed can at all analyse the causes of its awe and admiration; and
+then finds these feelings so much increased by analysis that the last
+impression left is mainly one of utter shame at its own inferiority.
+
+Van Eyck's picture at the Gallery may give you some idea of the style
+adopted by Memling in these great pictures; but the effect of light and
+colour is much less poetical in Van Eyck's; partly owing to _his_ being
+a more sober subject and an interior, but partly also, I believe, to the
+intrinsic superiority of Memling's intellect. In the background of the
+first compartment there is a landscape more perfect in the abstract
+lofty feeling of nature than anything I have ever seen. The visions of
+the third compartment are wonderfully mystic and poetical.
+
+_Rossetti._
+
+
+CCXVII
+
+VAN DYCK
+
+Van Dyck completed Rubens by adding to his achievement portraits
+absolutely worthy of his master's brush, better than Rubens' own. He
+created in his own country an art which was original, and consequently
+he has his share in the creation of a new art. Besides this he did yet
+more: he begot a whole school in a foreign country, the English
+school--Reynolds, Lawrence, Gainsborough, and I would add to them nearly
+all the genre painters who are faithful to the English tradition, and
+the most powerful landscape painters issue directly from Van Dyck, and
+indirectly from Rubens through Van Dyck. These are high claims. And so
+posterity, always just in its instincts, gives Van Dyck a place apart
+between the men of the first and those of the second rank. The world has
+never decided the exact precedence which ought to be his in the
+procession of the masters, and since his death, as during his life, he
+seems to have held the privilege of being placed near the throne and of
+making a stately figure there.
+
+_Fromentin._
+
+
+
+
+SPANISH PAINTING
+
+
+CCXVIII
+
+VELASQUEZ
+
+What we are all trying to do with great labour, he does at once.
+
+_Reynolds._
+
+
+CCXIX
+
+Saw again to-day the Spanish school in the Museum,--Velasquez, a
+surprising fellow! The "Hermits in a Rocky Desert" pleased me much; also
+a "Dark Wood at Nightfall." He is Teniers on a large scale: his handling
+is of the most sparkling kind, owing much of its dazzling effect to the
+flatness of the ground it is placed upon.
+
+The picture of "Children in Grotesque Dresses," in his painting-room, is
+a surprising piece of handling. Still he would gain, and indeed does
+gain, when he glazes his pictures. He makes no use of his ground; lights
+and shadows are opaque. Chilliness and blackness are sometimes the
+result; and often a cold blue or green prevails, requiring all his
+brilliancy of touch and truth of effect to make tolerable. Velasquez,
+however, may be said to be the origin of what is now doing in England.
+His feeling they have caught almost without seeing his works; which
+here seem to anticipate Reynolds, Romney, Raeburn, Jackson, and even Sir
+Thomas Lawrence. Perhaps there is this difference: he does at once what
+we do by repeated and repeated touches.
+
+It may truly be said, that wheresoever Velasquez is admired, the
+paintings of England must be acknowledged and admired with him.
+
+_Wilkie._
+
+
+CCXX
+
+VELASQUEZ
+
+Never did any one think less of a style or attain it more consummately.
+He was far too much occupied with the divining of the qualities of light
+and atmosphere that enveloped his subjects, and with stating those
+truths in the most direct and poignant way to have time to spare on mere
+adornments and artifices that amuse us in the work of lesser men. Every
+stroke in Velasquez means something, records an observation. You never
+see a splodge of light that entertains you for a moment and relapses
+into _chic_ as you analyse it; even the most elusive bits of painting
+like the sword-hilt in the "Admiral Pulido" are utterly just, and
+observed as the light flickers and is lost over the steel shapes. No one
+ever had the faculty of observing the true character of two diverse
+forms at the same time as he did. If you look at any quilted sleeve you
+will feel the whole texture of the material and recognise its own shape,
+and yet under it and through it each nuance of muscle and arm-form
+reveals itself. It is no light praise, mind you, when one says that
+every touch is the record of a tireless observation--you have only to
+look at a great Sir Joshua to see that quite half of every canvas is
+merely a recipe, a painted yawn in fact, as the intensity of his vision
+relaxed; but in a Velasquez your attention is riveted by the passionate
+search of the master and his ceaseless absorption in the thing before
+him--and this is all the more astounding because the work is hardly ever
+conceived from a point of view of bravura; there is nothing
+over-enthusiastic, insincerely impetuous, but a quiet suave dignity
+informing the whole, and penetrating into the least detail of the
+canvas.
+
+There is one quality Velasquez never falters in; from earliest days he
+is master of his medium; he understands its every limitation, realises
+exactly how far his palette is capable of rendering nature; and so you
+are never disturbed in your appreciation of his pictures by a sense that
+he is battling against insuperable difficulties, severely handicapped by
+an unsympathetic medium; but rather that here is the consummate workman
+who, gladly recognising the measure of his freedom within the four walls
+of his limitations, illustrates for you that fine old statement, "Whose
+service is perfect freedom."
+
+_C. W. Furse._
+
+
+CCXXI
+
+ON GAINSBOROUGH
+
+We must not forget, whilst we are on this subject, to make some remarks
+on his custom of painting by night, which confirms what I have already
+mentioned,--his great affection to his art; since he could not amuse
+himself in the evening by any other means so agreeable to himself. I am
+indeed much inclined to believe that it is a practice very advantageous
+and improving to an artist: for by this means he will acquire a new and
+a higher perception of what is great and beautiful in nature. By
+candlelight not only objects appear more beautiful, but from their being
+in a greater breadth of light and shadow, as well as having a greater
+breadth and uniformity of colour, nature appears in a higher style; and
+even the flesh seems to take a higher and richer tone of colour.
+Judgment is to direct us in the use to be made of this method of study;
+but the method itself is, I am very sure, advantageous. I have often
+imagined that the two great colourists, Titian and Correggio, though I
+do not know that they painted by night, formed their high ideas of
+colouring from the effects of objects by this artificial light.
+
+_Reynolds._
+
+[Illustration: _Gainsborough_ THE CHILDREN AND THE BUTTERFLY _Mansell_]
+
+
+
+
+MODERN PAINTING
+
+
+CCXXII
+
+ON REYNOLDS
+
+Damn him! how various he is!
+
+_Gainsborough._
+
+
+CCXXIII
+
+I shall take advantage of Sir John's[3] mention of Reynolds and
+Gainsborough to provoke some useful refutation, by stating that it seems
+to me the latter is by no means the rival of the former; though in this
+opinion I should expect to find myself in a minority of one. Reynolds
+knew little about the human structure, Gainsborough nothing at all;
+Reynolds was not remarkable for good drawing, Gainsborough was
+remarkable for bad; nor did the latter ever approach Reynolds in
+dignity, colour, or force of character, as in the portraits of John
+Hunter and General Heathfield for example. It may be conceded that more
+refinement, and perhaps more individuality, is to be found in
+Gainsborough, but his manner (and both were mannerists) was scratchy and
+thin, while that of Reynolds was manly and rich. Neither Reynolds nor
+Gainsborough was capable of anything ideal; but the work of Reynolds
+indicates thought and reading, and I do not know of anything by
+Gainsborough conveying a like suggestion.
+
+_Watts._
+
+[Footnote 3: Sir John Millais.]
+
+
+CCXXIV
+
+I was thinking yesterday, as I got up, about the special charm of the
+English school. The little I saw of it has left me memories. They have a
+real sensitiveness which triumphs over all the studies in concoction
+which appear here and there, as in our dismal school; with us that
+sensitiveness is the rarest thing: everything has the look of being
+painted with clumsy tools, and what is worse, by obtuse and vulgar
+minds. Take away Meissonier, Decamps, one or two others, and some of the
+youthful pictures of Ingres, and all is tame, nerveless, without
+intention, without fire. One need only cast one's eye over that stupid,
+commonplace paper _L'Illustration_, manufactured by pettifogging artists
+over here, and compare it with the corresponding English publication to
+realise how wretchedly flat, flabby, and insipid is the character of
+most of our productions. This supposed home of drawing shows really no
+trace of it, and our most pretentious pictures show as little as any. In
+these little English designs nearly every object is treated with the
+amount of interest it demands; landscapes, sea-pieces, costumes,
+incidents of war, all these are delightful, done with just the right
+touch, and, above all, well drawn.... I do not see among us any one to
+be compared with Leslie, Grant, and all those who derive partly from
+Wilkie and partly from Hogarth, with a little of the suppleness and ease
+introduced by the school of forty years back, Lawrence and his comrades,
+who shone by their elegance and lightness.
+
+_Delacroix._
+
+
+CCXXV
+
+THE ENGLISH SCHOOL
+
+I shall never care to see London again. I should not find there my old
+memories, and, above all, I should not find the same men to enjoy with
+me what there is to be seen now. Perhaps I might find myself obliged to
+break a lance for Reynolds, or for that adorable Gainsborough, whom you
+are indeed right to love. Not that I am the opponent of the present
+movement in the painting of England. I am even struck by the prodigious
+conscientiousness that these people can bring to bear even on work of
+the imagination; it seems that in coming back to excessive detail they
+are more in their own element than when they imitated the Italian
+painters and the Flemish colourists. But what does the skin matter?
+Under this seeming transformation they are always English. Thus instead
+of making imitations pure and simple of the primitive Italians, as the
+fashion has been among us, they mix with this imitation of the manner of
+the old schools an infinitely personal sentiment; they put into it the
+interest which is generally missing in our cold imitations of the
+formulas and the style of schools which have had their day. I am writing
+without pulling myself up, and saying everything that comes into my
+head. Perhaps the impressions I received at that former time might be a
+little modified to-day. Perhaps I should find in Lawrence an
+exaggeration of methods and effects too closely reminiscent of the
+school of Reynolds; but his amazing delicacy of drawing, and the air of
+life he gives to his women, who seem almost to be talking with one, give
+him, considered as a portrait-painter, a certain superiority over Van
+Dyck, whose admirable figures are immobile in their pose. Lustrous eyes
+and parted lips are admirably rendered by Lawrence. He welcomed me with
+much kindness; he was a man of most charming manners, except when you
+criticised his pictures.... Our school has need of a little new blood.
+Our school is old, and the English school seems young. They seem to seek
+after nature while we busy ourselves with imitating other pictures.
+Don't get me stoned by mentioning abroad these opinions, which alas! are
+mine.
+
+_Delacroix._
+
+
+CCXXVI
+
+There are only two occasions, I conceive, on which a foreign artist
+could with propriety be invited to execute a great national work in this
+country, namely, in default of our having any artist at all competent to
+such an undertaking, or for the purpose of introducing a superior style
+of art, to correct a vicious taste prevalent in the nation. The
+consideration of the first parts of this statement I leave to those who
+have witnessed with what ability Mr. Flaxman, Mr. Westmacott, and the
+other candidates have designed their models, and with respect to the
+style and good taste of the English school. I dare, and am proud, to
+assert its superiority over any that has appeared in Europe since the
+age of the Caracci.
+
+_Hoppner._
+
+
+CCXXVII
+
+(Watts is) the only man who understands great art.
+
+_Alfred Stevens._
+
+
+CCXXVIII
+
+There is only Puvis de Chavannes who holds his place; as for all the
+others, one must gild their monuments.
+
+_Meissonier._
+
+
+CCXXIX
+
+PRUDHON
+
+In short, he has his own manner; he is the Boucher, the Watteau of our
+day. We must let him do as he will; it can do no harm at the present
+time, and in the state the school is in. He deceives himself, but it is
+not given to every one to deceive themselves like him; his talent has a
+sure foundation. What I cannot forgive him is that he always draws the
+same heads, the same arms, and the same hands. All his faces have the
+same expression, and this expression is always the same grimace. It is
+not thus we should envisage nature, we who are disciples and admirers of
+the ancients.
+
+_L. David._
+
+
+CCXXX
+
+ON DELACROIX
+
+Delacroix (except in two pictures, which show a kind of savage genius)
+is a perfect beast, though almost worshipped here.
+
+_Rossetti (1849)._
+
+
+CCXXXI
+
+Delacroix is one of the mighty ones of the earth, and Ingres misses
+being so creditably.
+
+_Rossetti (1856)._
+
+
+CCXXXII
+
+ON DELACROIX
+
+Must I say that I prefer Delacroix with his exaggerations, his mistakes,
+his obvious falls, because he belongs to no one but himself, because he
+represents the spirit, the time, and the idiom of his time? Sickly, too
+highly strung, perhaps, since his art has the melodies of our
+generation, since in the strained note of his lamentations as in his
+resounding triumphs, there is always a gasp of the breath, a cry, a
+fever that are alike our own and his.
+
+We are no longer in the Olympian Age, like Raphael, Veronese, and
+Rubens; and Delacroix's art is powerful, as a voice from Dante's
+Inferno.
+
+_Rousseau._
+
+
+CCXXXIII
+
+A DELACROIX EXHIBITION
+
+Feminine painting is invading us; and if our time, of which Delacroix is
+the true representative, _has not dared enough_, what will the enervated
+art of the future be like?
+
+Only paintings are exhibited just now. Two rooms scarcely hold his
+riches; and when one thinks that there are here but the elements of
+Delacroix's production, one is bewildered. What strikes one above all
+in his sketches is the note of nervous, contained intensity, which
+during all his full career he never lost; neither fashion nor the
+influence of others affected it; never was there a more sincere note.
+Plenty of incorrectness, I grant you, but with a great feeling for
+drawing. Whatever one may say, if drawing is an instrument of
+expression, Delacroix was a draughtsman. A great style, a marvellous
+invention, passion expressed in form as well as in colour, Delacroix is
+typically the artist, and not a professor of drawing who fills out
+weakness and mediocrity by rhetoric.
+
+_Paul Huet._
+
+
+CCXXXIV
+
+COROT'S METHOD OF WORK
+
+Corot is a true artist. One must see a painter in his home to have an
+idea of his merit. I saw again there, and with a quite new appreciation
+of them, pictures which I had seen at the museum and only cared for
+moderately. His great "Baptism of Christ" is full of naive beauties; his
+trees are superb. I asked him about the tree I have to do in the
+"Orpheus." He told me to walk straight ahead, giving myself up to
+whatever might come in my way; usually this is what he does. He does not
+admit that taking infinite pains is lost labour. Titian, Raphael,
+Rubens, &c., worked easily. They only attempted what they knew; only
+their range was wider than that of the man who, for instance, only
+paints landscapes or flowers. Notwithstanding this facility, labour too
+is indispensable. Corot broods much over things. Ideas come to him, and
+he adds as he works. It is the right way.
+
+_Delacroix._
+
+
+CCXXXV
+
+From the age of six, I had the passion for drawing the forms of things.
+By the age of fifty, I had published an infinity of designs; but all
+that I produced before the age of seventy is of no account. Only when I
+was seventy-three had I got some sort of insight into the real structure
+of nature--animals, plants, trees, birds, fish, and insects.
+Consequently, at the age of eighty I shall have advanced still further;
+at ninety, I shall grasp the mystery of things; at a hundred, I shall be
+a marvel, and at a hundred and ten every blot, every line from my brush
+shall be alive!
+
+_Hokusai._
+
+
+CCXXXVI
+
+It takes an artist fifty years to learn to do anything, and fifty years
+to learn what not to do--and fifty years to sift and find what he simply
+desires to do--and 300 years to do it, and when it is done neither
+heaven nor earth much needs it nor heeds it. Well, I'll peg away; I can
+do nothing else, and wouldn't if I could.
+
+_Burne-Jones._
+
+
+CCXXXVII
+
+If the Lord lets me live two years longer, I think that I can paint
+something beautiful.
+
+_Corot at 77._
+
+
+
+
+ARS LONGA
+
+
+CCXXXVIII
+
+If Heaven would give me ten years more ... if Heaven would give me only
+five years more ... I might become a really great painter.
+
+_Hokusai._
+
+
+CCXXXIX
+
+I will have my Bed to be a Bed of Honour, and cannot die in a better
+Posture than with my Pencil in my Hand.
+
+_Lucas of Leyden._
+
+
+CCXL
+
+Adieu! I go above to see if friend Corot has found me new landscapes to
+paint.
+
+_Daubigny_ (on his death-bed).
+
+
+CCXLI
+
+Leaving my brush in the city of the East, I go to gaze on the divine
+landscapes of the Paradise of the West.
+
+_Hiroshige_ (on his death-bed).
+
+
+CCXLII
+
+Much will hereafter be written about subjects and refinements of
+painting. Sure am I that many notable men will arise, all of whom will
+write both well and better about this art and will teach it better than
+I. For I myself hold my art at a very mean value, for I know what my
+faults are. Let every man therefore strive to better these my errors
+according to his powers. Would to God it were possible for me to see
+the work and art of the mighty masters to come, who are yet unborn, for
+I know that I might be improved. Ah! how often in my sleep do I behold
+great works of art and beautiful things, the like whereof never appear
+to me awake, but so soon as I awake even the remembrance of them leaveth
+me. Let none be ashamed to learn, for a good work requireth good
+counsel. Nevertheless, whosoever taketh counsel in the arts let him take
+it from one thoroughly versed in those matters, who can prove what he
+saith with his hand. Howbeit any one _may_ give thee counsel; and when
+thou hast done a work pleasing to thyself, it is good for thee to show
+it to dull men of little judgment that they may give their opinion of
+it. As a rule, they pick out the most faulty points, whilst they
+entirely pass over the good. If thou findest something they say true,
+thou mayest thus better thy work.
+
+_Duerer._
+
+
+CCXLIII
+
+I should be sorry if I had any earthly fame, for whatever natural glory
+a man has is so much detracted from his spiritual glory. I wish to do
+nothing for profit; I want nothing; I am quite happy.
+
+_Blake._
+
+
+
+
+INDEX OF ARTISTS
+
+
+Agatharcus, 46
+Alberti Leon Battista, 51, 143
+Anon (Chinese), 184
+Apelles, 87
+
+Blake, 7, 26, 53, 97, 122, 173, 243
+Bracquemond, 23, 61, 63, 115, 179
+Brown, Ford Madox, 82, 194, 197
+Burne-Jones, 19, 36, 116, 127, 131, 155, 166, 181, 236
+
+Calvert, Edward, 25, 41, 77, 80, 137, 167
+Cennini, Cennino, 126, 163
+Chasseriau, 93, 146, 147, 175, 189
+Constable, 81, 104, 188, 192, 199
+Corot, 28, 66, 73, 74, 76, 237
+Crome, 191
+Courbet, 20, 21
+Couture, 148
+
+Daubigny, 240
+David, Louis, 57, 229
+Delacroix, 14, 16, 29, 60, 85, 88, 114, 125, 149, 168, 203, 210,
+  224, 225, 234
+Donatello, 108
+Duerer, 5, 49, 71, 242
+Dutilleux, 142, 190, 202
+Dyce, 24
+
+Eupompus, 67
+
+Fromentin, 8, 15, 30, 177, 207, 211, 213, 214, 215, 217
+Furse, 132, 133, 139, 170, 172, 183, 197, 220
+Fuseli, 2, 139A, 199A
+
+Gainsborough, 90, 222
+Goujon, 48
+Goya, 89, 156, 157
+
+Hilliard, 159
+Hiroshige, 241
+Hogarth, 118, 124, 141, 152
+Hokusai, 106, 134, 141, 235, 238
+Hoppner, 226
+Hsieh Ho, 11, 117
+Huet, 185, 233
+
+Ingres, 52, 62, 109, 110, 111, 112, 113, 119, 120, 128
+
+Keene, 69
+Klagmann, 44
+Ku K'ai-Chih, 12, 165
+Kuo Hsi, 186, 187
+
+Lawrence, 59, 205
+Leighton, 103
+Leonardo, 3, 50, 56, 65, 121, 129, 158, 160, 161, 162, 176, 196
+Lucas of Leyden, 239
+Lundgren, E., 164
+
+Meissonier, 228
+Michael Angelo, 4, 79, 107, 123, 212
+Millais, 95, 99
+Millet, 35, 47, 75, 200, 201
+Monticelli, 101
+Morris, William, 27, 38, 39, 43, 130, 144
+
+Northcote, 151, 174, 178, 208
+
+Okio, 70
+
+Pasiteles, 138
+Poussin, N., 13
+Preault, 83
+Puvis de Chavannes, 78, 105, 180
+
+Raphael, 18
+Rembrandt, 91, 92
+Reynolds, 68, 72, 84, 218, 221
+Rops, 31
+Rossetti, 6, 9, 150, 216, 230, 231
+Rousseau, 37, 86, 136, 232
+Rubens, 55, 58, 98
+
+Shiba Kokan, 135
+Stevens, A. (the Belgian painter), 1, 204
+Stevens, A. (the English sculptor), 227
+Sung Ti, 195
+
+Titian, 45, 140
+Turner, 193
+
+Velasquez, 209
+
+Wang Wei, 198
+Watts, 10, 17, 34, 40, 96, 100, 102, 169, 171, 182, 206, 223
+Whistler, 32, 42, 64
+Wiertz, 22, 33, 54
+Wilkie, 94, 145, 153, 154, 219
+
+Zeuxis, 46
+
+
+
+Printed by Ballantyne, Hanson & Co.
+
+Edinburgh & London
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mind of the Artist, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MIND OF THE ARTIST ***
+
+***** This file should be named 18653.txt or 18653.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/8/6/5/18653/
+
+Produced by David Clarke, Sjaani and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/18653.zip b/18653.zip
new file mode 100644
index 0000000..f7e70b6
--- /dev/null
+++ b/18653.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..27f8bbb
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #18653 (https://www.gutenberg.org/ebooks/18653)