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Look at De Hooghe; look at "The Pilgrim's Progress," or even Shakespeare himself how long they slept unawakened, though they were in broad daylight and on the public thoroughfares all the time. Look at Tabachetti, and the masterpieces he left at Varallo. His figures there are exposed to the gaze of every passer-by; yet who heeds them? Who, save a very few, even know of their existence?
Handel was, of course, "the greatest of all musicians." Among the painters he chiefly loved Giovanni Bellini, Carpaccio, Gaudenzio Ferrari, Rembrandt, Holbein, Velasquez, and De Hooghe; in poetry Shakespeare, Homer, and the Authoress of the Odyssey; and in architecture the man, whoever he was, who designed the Temple of Neptune at Paestum.
Handel was, of course, "the greatest of all musicians." Among the painters he chiefly loved Giovanni Bellini, Carpaccio, Gaudenzio Ferrari, Rembrandt, Holbein, Velasquez, and De Hooghe; in poetry Shakespeare, Homer, and the Authoress of the Odyssey; and in architecture the man, whoever he was, who designed the Temple of Neptune at Paestum.
Look at De Hooghe; look at The Pilgrim's Progress, or even Shakespeare himself how long they slept unawakened, though they were in broad daylight and on the public thoroughfares all the time. Look at Tabachetti, and the masterpieces he left at Varallo. His figures there are exposed to the gaze of every passer-by; yet who heeds them? Who, save a very few, even know of their existence?
Whatever de Hooghe could do in shade, Van Eyck in detail, Giorgione in mass, Titian in colour, Bewick and Landseer in animal life, is here at once; and I know no other picture in the world which can be compared with it." In the same room is a figure of Christ mourned by two little angels, ascribed to Giovanni Bellini, but bearing Durer's monogram.
Van Eyck is delightful rather in spite of his high finish than because of it. De Hooghe finishes as highly as any one need do. Van Eyck's finish is saved because up to the last he is essentially impressionist, that is, he keeps a just account of relative importances and keeps them in their true subordination one to another.
And he carried her off a few yards, while the Cervins came up and greeted the group round the Infanta. A powerfully built, thickset man, in a grey suit, who had been walking with them, fell back as they joined Elise Delaunay, and began to examine a Pieter de Hooghe with minuteness. Meanwhile David wrestled with his sister.
Then they spoke of the tricks of light practised by De Hooghe; so we rebelled, and said De Hooghe had no tricks no one less and that what they called trick was only observation and direct rendering of nature. Then they applauded Tintoretto, and so did we, but still as men who were bowing the knee to Baal. We put in a word for Gaudenzio Ferrari, but they had never heard of him.
You have a sort of triple hook on a rope, and you throw it and drag. They do the same. The other day one body near Hooghe was hooked by both sides, and they had a tug-of-war. With a sharpshooter or so cutting in whenever our men got too excited. Several men were hit. The Irish it was an Irish regiment got him or at least they got the better part of him....
As they receded, the man in grey, before the Pieter de Hooghe, looked up, smiled, dropped his eyeglass, and resumed his place beside Madame Cervin. She made a gesture of introduction, and he bowed across her to the young stranger. For the first time Elise perceived him. A look of annoyance and disgust crossed her face. 'Do you see, she said, turning to Lenain; 'there is that animal, Montjoie?
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