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A lady of my kindred remembers carrying Stevenson about when he was "a rather peevish baby," and I have seen a beautiful photograph of him, like one of Raffael's children, taken when his years were three or four. But I never had heard of his existence till, in 1873, I think, I was at Mentone, in the interests of my health. Here I met Mr. Sidney Colvin, now of the British Museum, and, with Mr.
The formation of a copy is not solved by the mere pre-existence of an original; the copyist of Raffael's Transfiguration must repeat more or less perfectly the process of Raffael. It would be easy to explain a thought from the image on the retina, and that from the geometry of light, if this very light did not present the very same difficulty.
Omit or pass slightly over the expression, grace, and grouping of Raffael's figures; but ridicule in detail the knitting-needles and broom-twigs, that are to represent trees in his back grounds; and never let him hear the last of his galli-pots!
He enters heartily into the interest of the things which I most care for here, and I have seldom had more pleasure than in taking him to see Raffael's Loggie, where are the Frescos called his Bible, and to the Sixtine Chapel, which I admire and love more and more.
The formation of a copy is not solved by the mere pre-existence of an original; the copyist of Raffael's "Transfiguration" must repeat more or less perfectly the process of Raffael. The imagination, therefore, is essentially creative. I consider imagination either as primary or secondary.