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Helpless they clung to the standing rigging, to the transoms, to the shank painters, to the gaskets, to the broken planks, the protruding nails of which tore their hands, to the warped riders, and to all the rugged projections of the stumps of the masts. From time to time they listened.
It may be objected that the German painters at the beginning of the sixteenth century succeed in representing with perfect mastery these scenes of country life, as, for instance, Albrecht Durer, in his engraving of the prodigal son.
The vitality of the legend is indicated by the inscription on a tablet to the memory of Quintin Matsys in the Cathedral, Antwerp. The Latin inscription reads thus in English: 'Twas love connubial taught the smith to paint, Quintin Matsys lived and died a respected burgher of Antwerp, a member of the great Antwerp painters' guild of St Luke. He was twice married, and had thirteen children.
This astuteness is seldom wanting among painters; busy for days together in the solitude of their studios, engaged in work which, up to a certain point, leaves the mind free, they are in some respects like women, their thoughts turn about the little events of life, and they contrive to get at their hidden meaning.
On the following day the painters, sculptors, and architects of the newly founded academy met together at this place, intending to transfer the body secretly to S. Croce. They only brought a single pall of velvet, embroidered with gold, and a crucifix, to place upon the bier.
Duncan smiled slightly to himself. So far he had not spoken. "It is all new country to me," the newcomer continued, "but from what I have seen of it, I should think it a grand place for painters. Not much for the ordinary tourist, eh?" "That depends," Wrayson answered, "upon the ordinary tourist." "Exactly! Quite so!" the little man agreed.
'The ancient Italian painters, as my first step. 'Ancient? it is not four hundred years since Perugino died. But I should suppose you do not intend to ignore classic art? 'You have divined rightly. I wish, in the study of the antique, to arrive at the primeval laws of unfallen human beauty.
"And I'll be bound the others keep their colour; ah, Reicht? such as it is." "Oh, I see no odds in them." "Of course not. We painters are no match for boors. We are glass, they are stone. We can't stand the worry, worry, worry of little minds; and it is not for the good of mankind we should be exposed to it.
Now in this way of talking both the two injustices will be found. In so far as what is claimed is a strong sense of the divine in all things, the Eastern artists have no more monopoly of it than they have of hunger and thirst. I have no doubt that the painters and poets of the Far East do exhibit this; but I rebel at being asked to admit that we must go to the Far East to find it.
It is an incontestable truth that in Raphael, as in all the great Italian painters of his century, there was a falling away from the simple earnestness, the exceeding reverence, the endless patience, the self-abstraction, and self-devotion of the earliest Italian and Flemish painters.
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