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That it cannot be Rembrandt's is quite evident; the grouping and the lighting of it proclaim the picture seen on the canvas, and not felt within the artist's own consciousness. The realistic tendency which, as has already been pointed out, was so characteristic of the whole art of the Netherlands, showed the most remarkable and original results in the work of an idealist like Rembrandt.
It was believed to be a relic of that realistic view of the after life which lingered in Italy long after it had passed from the more spiritual civilisation of the Greeks.
The great work of literature is realistic because it does not lose sight of the ideal. Our popular use of idealistic refers, indeed, to the world seen through rose- colored glasses; but for that possible variety of literary effort it is better to use the word Romance.
The acting before them was more realistic than anything they had ever seen, or were ever likely to see again in La Touche. All three conspirators, Fergus, Holden, and Jopp, realized that O'Ryan's acting had behind it an animal anger which transformed him. When he looked into their eyes it was with a steely directness harder and fiercer than was observed by the audience.
Let no one imagine that representation is bad in itself; a realistic form may be as significant, in its place as part of the design, as an abstract. But if a representative form has value, it is as form, not as representation. The representative element in a work of art may or may not be harmful; always it is irrelevant.
Newlyn, and her other guests either bellowed or screamed, with the exception of Yelverton, who was hungry and said little. Brigit sat between him and young Joyselle. It was nice to have the boy next her, but his adoration was too obvious to be altogether comfortable. Freddy Newlyn told some new stories, all delightfully vulgar; Carron gave a realistic résumé of a recent French play.
The Latins found in the rich stores of Greek art but very little that was congenial to their thoroughly realistic tastes; but what they did adopt they appropriated truly and heartily as their own, and in the development of the polygonal wall-architecture perhaps excelled their instructors.
The one really arresting exception is Olive Schreiner, and she is quite as certainly an exception that proves the rule. Olive Schreiner is a fierce, brilliant, and realistic novelist; but she is all this precisely because she is not English at all. Her tribal kinship is with the country of Teniers and Maarten Maartens that is, with a country of realists.
Babylon the great, Egypt under the Pharaohs, Greece in its heroic times, Rome under the Emperors not omitting China and India of the Far East these countries of ancient peoples all knew the arts of dyeing and weaving, of using the materials that we employ, and of introducing figures symbolic, geometric, or realistic into the weaving.
These were the half idealistic and half realistic elements from which the three greatest spiritual incarnations of the Evil Spirit sprung up. Luther took the Evil Spirit as a bodily entity, with big horns, fiery eyes, a reddish, protruding tongue, a long tail, and the hoof of a horse. In this latter attribute we trace at once the Kentaur element of ancient times.
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