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a long and happy life, with his knowledge and capacity growing to the end, passed away with eye undimmed and power unabated. 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."


PLATE XLV. Nearly Home. J. H. Weissenbruch.


THE opinions expressed by John Ruskin on various artists, referred to in Chapter III:

"Now it is evident that in Rembrandt's "Modern system the colours are all wrong from begin- Painters." ning to end."

Vol. IV.

Page 42.

Page 263.

"Vulgarity, dulness, or impiety will indeed Vol. III, always express themselves through art in brown 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 Hobbemas may be passed by with a smile."

Vol. III.

Page 19.

"I was compelled to do harsh justice upon vol. III.

him, because Mr. Leslie has suffered his


sonal regard for Constable so far to prevail, as to bring him forward as a great artist, compar

Page 343.

Vol. I.
Page 382.

"Art of England." 1884.

Page 220.

"Whose writing is Art, whose

Art is unworthy his writing." Whistler.

able in some kind with Turner. As Constable's reputation was, even before this, most mischievous in giving countenance to the blotting and blundering of modernism, I saw myself obliged, though unwillingly, to carry the suggested comparison thoroughly out."

"Let us refresh ourselves for a moment by looking at the truth. We need not go to Turner, we will go to the man who, next to him, is unquestionably the greatest master of foliage in Europe, J. D. Harding."

"You may paint a modern French emotional landscape with a pail of whitewash and a pot of gas-tar in ten minutes at the outside. The skill of a good plasterer is really all that is required the rather that in the modern idea of solemn symmetry you always make the bottom of your picture, as much as you can, like the top. You put some seven or eight strokes of plaster for your sky, to begin with, then you put in a row of bushes with the gas-tar; you put three or more streaks of white to intimate the presence of a pool of water and if you finish off with a log.

ture will lead the talk of the town."

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