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He has a hundred faults to which he opposes one imperious excellence a genius, sombre, magical, and overwhelming. Death has consecrated the genius of three great painters happily neglected and persecuted during their lifetime Manet, Monticelli, and Carrière. Though furiously opposed, Manet was admitted to the Luxembourg by the conditions of the Caillebotte legacy.
I am very religious, and deprived by Huxley and Tyndall, whom I detested, of the simple-minded religion of my childhood, I had made a new religion, almost an infallible church, out of poetic tradition: a fardel of stories, and of personages, and of emotions, a bundle of images and of masks passed on from generation to generation by poets & painters with some help from philosophers and theologians.
The odium excited against Phidias for his alleged impiety in inscribing his name upon the shield of his celebrated statue of Minerva, is a familiar example, which will occur to every reader; and there can be no doubt that the usage was also known to the painters of the classic times.
How many lewd Devices have been preserved from one Age to another, which had perished as soon as they were made, if Painters and Sculptors had been esteemed as much for the Purpose as the Execution of their Designs?
Painters talk of the difficulty of expressing the existence of compound passions in the same features at the same moment; it would be no less difficult for the moralist to analyse the mixed motives which unite to form the impulse of our actions. Richard Waverley read and satisfied himself from history and sound argument that, in the words of the old song,
In the tenth chapter of the second volume of "Modern Painters," the reader will find that I traced one part of the beauty of God's creation to the expression of a self-restrained liberty: that is to say, the image of that perfection of divine action, which, though free to work in arbitrary methods, works always in consistent methods, called by us Laws.
Observe the great parts attentively; see if nature be truly represented; if the passions are strongly expressed; if the characters are preserved; and leave the trifling parts, with their little jargon, to affected puppies. I would advise you also, to read the history of the painters and sculptors, and I know none better than Felibien's.
Without any guide, I think, these painters may be studied and understood, up to a certain point, by one who lives in the atmosphere of their art at Venice, and who, insensibly breathing in its influence, acquires a feeling for it which all the critics in the world could not impart where the works themselves are not to be seen.
The only thing Luttichau constantly postponed was the order for the Hall of Song on the Wartburg; he maintained that the Hall for Kaiser Karl the Great in Oberon, which had only recently been delivered by some French painters, would answer the purpose just as well.
In this delicious pedagogical idyl, written in December, 1790, the humor is sound, healthy, thoroughly German and characteristic of Richter at his best. It seems as though one of the great Dutch painters were guiding the pen, revealing the beauty of common things and showing the true charm of quiet domesticity.
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