on he
has just discovered. The landscape that completes this quiet picture
shows reddened leaves upon arid rocks; hillocks that melt in the vague
horizon, and in the distance, something ill-defined that resembles the
sea. The sublime in this painting is that which we cannot see; it is the
thought that hovers over it, the unexpected emotion that fills the soul
of the spectator, transported suddenly beyond the tomb into the
infinite unknown.

* * * * *

LANDSCAPE

From 'Grammar of Painting and Engraving'

The poetry of the fields and forests is inseparable from truth. But the
painter must idealize this truth by making it express some sentiment;
faithfulness of imitation alone would not suffice. The artist, master of
reality, enlightens it with his eyes, transfigures it according to his
heart, and makes it utter what is not in it--sentiment; and that which
it neither possesses nor understands--thought.

* * * * *

STYLE

From 'Grammar of Painting and Engraving'

Drawing is a work of the mind; every drawing is the expression of a
thought or sentiment, and is charged with showing us something superior
to the apparent truth when that reveals neither sentiment nor thought.
But what is this superior truth? It is sometimes the character of the
object drawn, sometimes the character of the designer, and in high art
is what we call style.

The artist sees in the creations of nature what he himself carries in
the depth of his soul, tints them with the colors of his imagination,
lends them the witchery of his genius. The temperament of the artist
modifies the character of objects, and even that of living figures. But
this power of taking possession is the appanage of great hearts, of
great artists, of those whom we call masters,--who, instead of being the
slaves of reality, dominate it. These have a style; their imitators have
only a manner.

Aside from the style peculiar to every great master, there is in art
something still superior and impersonal, which is style proper. Style is
truth aggrandized, simplified, freed from all insignificant details,
restored to its original essence, its typical aspect. This "style" _par
excellence_, in which instead of recognizing the soul of an artist we
feel the breath of the universal soul, was realized in the Greek
sculpture of the time of Pericles.

THE LAW OF PROPORTION IN ARCHITECTURE

From 'Grammar