Part 5 (1/2)

LIV

If you deprive an artist of all he has borrowed froinality left will be but a twentieth part of hiinality by itself cannot constitute a remarkable talent

_Wiertz_

LV

I aree of perfection as a painter, it is necessary, not only to be acquainted with the ancient statues, but we h comprehension of thes by a good master made by his art fro by you a drawing done froht to make a practice

_Leonardo_

LVII

I wish to do so 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 thehtly, that in the arts thean idea matters more than the idea itself

[Illustration: _Rubens_ THE CASTLE IN THE PARK _Hanfstaengl_]

To give a clothing, a perfect forht is to be an artistit is the only way

Well, I have done my best and I hope to attain st us, if he were to attempt in reality to represent a celebrated work of Apelles or Timanthus, such as Pliny describes then to the exalted greatness of the ancients? Each one, relying on his oers, would produce some wretched, crude, unferth and reat spirits whom I endeavour reverently to follow, satisfied, however, to honour the e 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 therand form There is in them that variety that is produced in the human form, by the alternate action and repose of the ood collection of the best casts from the antique statues, and was struck with that difference in thein Marbles to my own house

_Lawrence_

LX