Part 8 (2/2)
FOOTNOTES:
[X] Miller's large plate of the Grand Canal, Venice, after Turner; and Goodall's, of Tivoli, after Turner The other examples referred to are left in the University Galleries
[Y] This paragraph was not read at the lecture, ti soo, in the papers for the Art Journal, called the Cestus of Aglaia (Refer now to ”On the Old Road”)
[Z] An effort has lately been made in France, by Meissonier, Gerome, and their school, to recover it, withof Gerome's Louis XIV and Moliere is one of the completest pieces of skillful ain qualify the too sweeping statement of the text I think, as tis will becoarden, with the cut hedges and fountain, for instance, in Rogers' poems, is so consummate in its use of every possible artifice of delicate line, (note the look of _treot by the undulatory etched lines on the pavement, and the broken masses, worked with dots, of the fountain foam,) that I think it cannot but, with some of its companions, survive the refuse of its school, and become classic I find in like nettes to Heyne's Virgil to be real art-possessions
[AB] Plate XI, in the Appendix, taken froarden, with two angels crowning her
[AC] The ns on silver--nu executed with dots by the punch, for variety's sake For niello, and printing, a transverse cut was substituted for the blow The entire style is connected with the later Ro lines with the drill hole, in marble See above, Lecture II, Section 70
[AD] This most important and distinctive character was pointed out to ess
[AE] This point will be further examined and explained in the Appendix
[AF] See Appendix, Article I
LECTURE V
DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING
141 By reference to the close of the preface to 'Eagle's Nest,' you will see, gentlemen, that I meant these lectures, from the first, rather to lead you to the study of the characters of two great men, than to interest you in the processes of a secondary form of art As I draw my materials into the limited form necessary for the hour, I find ; and would fain rather usethe defects of reater subject, which I must treat with still more lamentable inadequacy
Nevertheless, you must not think it is for want of tiravers, and insist on the special power of these two only Many not inconsiderable reputations are founded merely on the curiosity of collectors of prints, or on partial skill in theon eneral history of art; whereas you will find the work of Holbein and Botticelli detere, the principal questions of moment in the relation of the Northern and Southern schools of design
Nay, a wider method of inquiry would only render your comparison less accurate in result It is only in Holbein's e of capacity, and only in the particular phase of Teutonic life which his art adorned, that the problem can be dealt with on fair teronist to the artists of the South, except at that one moment, and in that one man Rubens cannot for an instant bewith Lippi; while Reynolds only rivals titian in what he learned from him But in Holbein and Botticelli we have two men trained independently, equal in power of intellect, sie, correspondent in disposition The relation between them is strictly typical of the constant aspects to each other of the Northern and Southern schools
142 Their point of closest contact is in the art of engraving, and this art is developed entirely as the servant of the great passions which perturbed or polluted Europe in the fifteenth century The impulses which it obeys are all new; and it obeys the and sculpture are onlyis educated
These passions are in the main three; namely,
1 The thirst for classical literature, and the forms of proud and false taste which arose out of it, in the position it had assumed as the ene (in the particular domain of Art) accuracy of perspective, shade, and anatomy, never before dreamed of
3 The sense of error and iniquity in the theological teaching of the Christian Church, felt by the highest intellects of the tiious art impossible
To-day, then, our task is to exan of the Northern Schools of Engraving, as affected by these great influences
143 I have not often, however, used the word 'design,' and uely used in co of a picture, as distinct from its color; and in other still more inaccurate ways The accurate and proper sense, underlying all these, I n' properly signifies that power in any art-hich has a purpose other than of ined,' composed, or separated to that end It is, and the insistence upon others, with a given object[AG]
Let us take progressive instances Here is a group of prettily dressed peasant children, charly painted by a very able n, for he really wishes to show you how pretty peasant children can be, (and, in so far, is wiser and kinder than Murillo, who likes to sho ugly they can be); also, his group is agreeably arranged, and its component children carefully chosen
Nevertheless, any sue, you roups in an hour as pretty as this; and may see--if you have eyes--children in theraph, if it could render them perfectly, and in color, would far excel the charood and clever as it is, there is nothing supernatural, and roup of, in every sense of the word, 'artless' little country girls, I will now set one--in the best sense of the word--'artful' little country girl,--a sketch by Gainsborough