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Updated: May 9, 2025
The great teacher who, when asked how he obtained such rare results in expression, answered, "By carefully neglecting it and seeking utter absorption in subject-matter," was also a good practical psychologist. This is the inveterate tendency that in other ages has made pedagogic scribes, Talmudists, epigoni, and sophists, who have magnified the letter and lost the spirit.
The victors of Constantinople are but the epigoni of a mighty contest. Hopeful signs indeed were not entirely wanting. If the Nicene cause did not seem to gain much ground in Pontus, it was at least not losing. While Basil held the court in check, the rising power of asceticism was declaring itself every day more plainly on his side.
One by one these wits and scholars of the North, these epigoni who were not, indeed, of the heroes, but who had seen and remembered Scott and Wilson, have passed away. Aytoun and Carlyle and Dr. Burton, and last, Dr. Brown, are gone. Sir Theodore Martin alone is left. In her memoir of Dr. Burton remarks that, in her husband's later days, only Dr.
Many modern Epigoni in the wake of this great ideal, where its momentum was early spent, feeling that new activities might be discovered with virtues hitherto undreamed of, have almost made fetiches of special disciplines, both developmental and corrective, that are pictured and landed in scores of manuals.
The athletic young bearers of the large round ostrich-feather fans which protected them from the sunbeams were followed in ranks by the monarch's "relatives" and "friends," the dignitaries, the dark and fair-haired bands of the guards of Grecian youths and boys, as well as divisions of the picked corps of the Hetairoi, Diadochi, and Epigoni, in beautiful plain Macedonian armour.
Numa Pompilius is in favour of an open, heroic attack, as became the epigoni of the valiant Sarmatians; with battering-rams, ballistas, and other classical instruments of warfare, he would have fought breast to breast, eye to eye with the foe. Ivan, on the other hand, is more practical.
Hitherto, I have had principally to record the errors of artists copying the external qualities of their great predecessors. It is refreshing to turn from the epigoni of the so-called Roman school to masters in whom the flame of the Renaissance still burned brightly. Andrea del Sarto, the pupil of Piero di Cosimo, but more nearly related in style to Fra Bartolommeo than to any other of the elder masters, was himself a contemporary of Raphael and Correggio. Yet he must be noticed here; because he gave new qualities to the art of Tuscany, and formed a tradition decisive for the subsequent history of Florentine painting. To make a just estimate of his achievement is a task of no small difficulty. The Italians called him "il pittore senza errori," or the faultless painter. What they meant by this must have been that in all the technical requirements of art, in drawing, composition, handling of fresco and oils, disposition of draperies, and feeling for light and shadow, he was above criticism. As a colourist he went further and produced more beautiful effects than any Florentine before him. His silver-grey harmonies and liquid blendings of hues cool, yet lustrous, have a charm peculiar to himself alone. We find the like nowhere else in Italy. And yet Andrea del Sarto cannot take rank among the greatest Renaissance painters. What he lacked was precisely the most precious gift inspiration, depth of emotion, energy of thought. We are apt to feel that even his best pictures were designed with a view to solving an aesthetic problem. Very few have the poetic charm belonging to the "S. John" of the Pitti or the "Madonna" of the Tribune. Beautiful as are many of his types, like the Magdalen in the large picture of the "Piet
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