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Honiwood's man, and dined with me, a very honest, plain, well-meaning man, I think him to be; and by his discourse and manner of life, the true embleme of an old ordinary serving-man. After dinner up to my chamber and made an end of Dr.
Géricault died early and left but a meagre product. Delacroix is par excellence the representative of the romantic epoch. And both by the mass and the quality of his work he forms a true connecting link between the classic epoch and the modern in somewhat the same way as Prudhon does, though more explicitly and on the other side of the line of division. He represents culture he knows art as well as he loves nature. He has a feeling for what is beautiful as well as a knowledge of what is true. He is pre-eminently and primarily a colorist he is, in fact, the introducer of color as a distinct element in French painting after the pale and bleak reaction from the Louis Quinze decorativeness. His color, too, is not merely the prismatic coloration of what had theretofore been mere chiaro-oscuro; it is original and personal to such a degree that it has never been successfully imitated since his day. Withal, it is apparently simplicity itself. Its hues are apparently the primary ones, in the main. It depends upon no subtleties and refinements of tints for its effectiveness. It is significant that the absorbed and affected Rossetti did not like it; it is too frank and clear and open, and shows too little evidence of the morbid brooding and hysterical forcing of an arbitrary and esoteric note dear to the English pre-Raphaelites. It attests a delight in color, not a fondness for certain colors, hues, tints a difference perfectly appreciable to either an unsophisticated or an educated sense. It has a solidity and strength of range and vibration combined with a subtle sensitiveness, and, as a result of the fusion of the two, a certain splendor that recalls Saracenic decoration. And with this mastery of color is united a combined firmness and expressiveness of design that makes Delacroix unique by emphasizing his truly classic subordination of informing enthusiasm to a severe and clearly perceived ideal an ideal in a sense exterior to his purely personal expression. In a word, his chief characteristic and it is a supremely significant trait in the representative painter of romanticism is a poetic imagination tempered and trained by culture and refinement. When his audacities and enthusiasms are thought of, the directions in his will for his tomb should be remembered too: "Il n'y sera placé ni emblème, ni buste, ni statue; mon tombeau sera copié très exactement sur l'antique, ou Vignoles ou Palladio, avec des saillies très prononcées, contrairement
Some bring a capon, some a rurall cake, Some nuts, some apples; some that thinke they make The better cheeses, bring 'hem; or else send By their ripe daughters, whom they would commend This way to husbands; and whose baskets beare An embleme of themselves, in plum or peare. Ben Jonson.
Honiwood's man, and dined with me, a very honest, plain, well-meaning man, I think him to be; and by his discourse and manner of life, the true embleme of an old ordinary serving-man. After dinner up to my chamber and made an end of Dr.
"Some bring a capon, some a rurall cake, Some nuts, some apples; some that thinke they make The better cheeses, bring 'hem; or else send By their ripe daughters, whom they would commend This way to husbands; and whose baskets beare An embleme of themselves in plum or pears." So the time walked away for this family was not now of those "whom time runneth withal" to the second summer of Mr.
Your Hierogliphick was the Egiptian wisdome, your Hebrew was the Cabala, your Roman had your Simball or impresse; but they are now obsolete, your embleme trite and conspicuous, your invention of Character and Alphabeticall key tedious and not delightfull, your motto or rebus too open and demonstrative: but the science and curiosity of your Colours in Ribbands is not only instructive but an ornament and the nearest Comentator of Love; for as Love is entertain'd first by the eye, or, to speake more plaine, as the object affected is tooke in first by these opticks which receive the species of the thing colord & beautifide, so it is answerable to nature that in the progresse of our passion we should distinguish by our eye the change or constancy of our affections in apt and significant colours.
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