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that possessed him; one who seeks for sym-
“To him who in the love of nature holds
Such communings had he, and various and beautiful is the language he uses. It may not be given to every one to see this. The words of the poet are true, "L'amour seul voit avec des yeux.” But those that fall under his influence, especially those who live with his pictures, and feel the intense solitude and silence they depict, the vastness of nature, the littleness of humanity, and the weary labours of man, become devoted followers and grow very fond of the artist and his work. They realize that a poet-painter of gentle soul and lofty ideal dwelt here a while, and, after
a long and happy life, with his knowledge and capacity growing to the end, passed away with eye undimmed and power una bated. They feel that his work will live, his fame increase, and his name take rank among the masters.
“Loftily lying – leave him,
Still loftier than the world suspects."
The opinions expressed by John Ruskin on various artists, referred to in Chapter III:
“Now it is evident that in Rembrandt's Med system the colours are all wrong from begin- Painters.”
Vol. IV. ning to end.”
Page 42. “Vulgarity, dulness, or impiety will indeed vol. III. always express themselves through art in brown-age and gray, as in Rembrandt.”
“There appears no exertion of mind in any Vol. I. of his (Ruysdael's) works. They are good Page 340. furniture pictures, unworthy of praise, and undeserving of blame.” “One work of Stan- Vol. I. field alone presents us with as much concen- Page 348. trated knowledge of sea and sky as, diluted, would have lasted any one of the old masters his life.”
“The collectors of Gerard Dows and Hob- Vol. III. bemas may be passed by with a smile.” Page 19.
“I was compelled to do harsh justice upon Vol. III. him, because Mr. Leslie has suffered his per- Page 343.
Appendix. sonal regard for Constable so far to prevail, as to bring him forward as a great artist, compar