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can but look with folded arms. The dwellers in the charmed world of Greek mythological fancy came on tiptoe to the borders only of the daily life of that age. The still-life painter has to do with fact, and for many other subjects also the fact alone is sufficient. It is generally so in portraiture where rendition of externals is attempted, but the portrait may suggest revery and reflection, or, by _intimate accessory,_ provoke a discursive movement in thought. The realist is a man of drawing and how to do it, of paint and putting it on, of textures and technique; he is a painter; and stops with that. But the maker of pictures would step to another point of sight. He would so aim as to shoot over the hilltop. He would hit something which he cannot see. Suggestion is both technical and subjective. There is suggestion of detail, of act and of fact. In producing the effect, instead of the detail, of a bunch of grass or a mass of drapery, we substitute suggestion for literalism. Fortuny, as a figure painter, was master of this art, his wonderful arrangements of figures amongst drapery and in grasses bearing evidence. Here, out of a fantastic crush of color, will be brought to view a beautifully modelled hand and wrist which connect by the imagination only, with the shoulder and body. These however, are ready to receive it and like other parts of the picture are but points of fact to give encouragement to the quest for the remainder. The hide and seek of the subject, the "lost and found" in the line, the subsidizing of the imagination for tribute, by his magic wand stroke were the artifices by which Fortuny coquetted with nature and the public, fascinating the art world of his day. Fortuny, however, never took us beyond the bounds of his picture. It was his doctrine that avoidance of detail was artful; that to carry the whole burden when imagination could be tricked into shouldering some of it was fool's drudgery. Millet, who was his antipode as a clumsy handler of his tools, declared himself fortunate in being able to suggest much more than he could paint. In one of the competitions at the Royal Academy in England, the prize was awarded to that rendering of the expression of Grief which showed the face entirely covered, the suggestion being declared stronger than the fact. In the realm of suggestion however the landscape artist has much the wider range. Who has not experienced the fascination of
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