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Updated: June 5, 2025
I daresay many of you will remember how emphatically those who first had to do with the movement of which the foundation of our art-schools was a part, called the attention of our pattern-designers to the beautiful works of the East. This was surely most well judged of them, for they bade us look at an art at once beautiful, orderly, living in our own day, and above all, popular.
I have told you what he tried to paint, but you will see that he could not do all this in the least as if he had been taught in our art-schools of to-day. How little could Cimabue teach him! His hills and rocks are parodies of nature. He knew not how to draw feet, and would put long gowns or stockings on his people so as to hide his deficiency. He never could make a lying-down figure look flat.
On the other hand, the practical centre of art-schools had shifted from Italy and Germany to Paris and its neighbourhood, where morality has seldom been able to make anything like a home; and the younger painters and sculptors, full of realism, impressionism, and what not, would have none of the doctrines which, as a matter of fact, stood in immediate relationship of antecedence to their own.
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