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The commonplace is not the true, but only the shallow, view of things. Fromentin's "Art is the expression of the invisible by means of the visible" expresses the same idea, and it is this that gives to art its high place among the works of man.
We have spoken of the acerbity of Degas, of his wit, so often borrowed by Whistler and Manet; we have read Eugène Fromentin's delightful, stimulating studies of the old masters, but we doubt if Fromentin was as profound a thinker as Carrière. Degas is not, though he deals in a more acid and dangerous form of aphorism.
Our friend looked about and hesitated; observed, on the evidence of a table charged with purchases and other matters, that Sarah had become possessed by no aid from HIM of the last number of the salmon-coloured Revue; noted further that Mamie appeared to have received a present of Fromentin's "Maitres d'Autrefois" from Chad, who had written her name on the cover; and pulled up at the sight of a heavy letter addressed in a hand he knew.
His devoted admirer and biographer, M. Louis Gonse, admits, and indeed expressly records, Fromentin's own lament over the insufficiency of his studies. Fond as he was of horses, for instance, he does not know them as a draughtsman with the science of such a conventional painter in many other respects as Schreyer.
The "Velasquez" is a marking stone in critical literature. It is the one big book by a big temperament that may be opposed page by page to Fromentin's critical masterpiece.
Then she turned back into the tent, took up a volume of Fromentin's, and sat down in a folding-chair at the tent door. She read a little, but it was difficult to read with the mirage beneath her. Perpetually her eyes were attracted from the book to its mystery and plaintive sadness, that was like the sadness of something unearthly, of a spirit that did not move but that suffered.
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