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She rises from her bed, her beauty of face destroyed; her fair looks living only on the painter's canvas, unless we may believe that they were etched in deeply bitten lines on Temple's heart.
The door beneath the portico stood open. Sir Charles rang the bell, and an elderly woman answered it; but before they could address her, Trefusis appeared, clad in a painter's jacket of white jean. Following him in, they found that the house was a hollow square, enclosing a courtyard with a bath sunk in the middle, and a fountain in the centre of the bath.
There are those who would say, "This is all very well, but the painter's concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them."
Esperance and Genevieve talked low, and long silences broke their confidences. Count Styvens had brought cigarettes for Maurice and Jean. All three stayed and talked a long time in the painter's room. Alone with men, Styvens lost all the timidity that sometimes made him awkward.
We must remember that they were not distinctly defined to his, as they are to our eyes; he saw them, not as they are divided in the prism, or artificially manufactured for the painter's use, but as they exist in nature, blended and confused with one another. We can hardly agree with him when he tells us that smells do not admit of kinds.
He was not "cut out for it," apparently, though it took a great while to beat the idea out of his head, that he was going to make one of the greatest painters in the country. When he became a young man, however, he had sense enough to choose the carpenter's trade, instead of the painter's art.
A portion of the pile is devoted to more worthy purposes; for the Academy of Raphael here holds its sittings, and preserves a collection of curiosities and books illustrative of the great painter's life and works. They have recently placed in a tiny oratory, scooped by Guidobaldo II. from the thickness of the wall, a cast of Raphael's skull, which will be studied with interest and veneration.
By what labor he had reached the seemingly inevitable composition of the picture with its twenty figures, its plenitude of light and air, its restful distances seen through white porticoes countless studies bore witness. From James's attitude toward the picture MacMaster could well conjecture what the painter's had been.
As we look, we almost expect to see the Sower reach the foot of the slope, and stride out of sight, still flinging the grain as he goes. There is another thing to note about the composition, and that is the perfect proportion of the single figure to the canvas which it so completely fills. This was the result of the painter's experiments.
Names, dates, genealogies, geographical details, costumes, fashions, manners, crabbed scraps of old law, which you used, perhaps, to read up and forget again, because they were not rooted, but stuck into your brain, as pins are into a pincushion, to fall out at the first shake all these you will remember; because they will arrange and organize themselves around the central human figure: just as, if you have studied a portrait by some great artist, you cannot think of the face in it, without recollecting also the light and shadow, the tone of colouring, the dress, the very details of the background, and all the accessories which the painter's art has grouped around; each with a purpose, and therefore each fixing itself duly in your mind.
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