everything I paint in this world, but everybody does not see alike. To
the eyes of a miser a guinea is far more beautiful than the sun, and a
bag worn with the use of money has more beautiful proportions than a
vine filled with grapes. The tree which moves some to tears of joy, is
in the eyes of others only a green thing which stands in the way.... To
the eye of the man of imagination, Nature is Imagination itself.

_Blake._

VIII

Painting is nothing but the art of expressing the invisible by the
visible.

_Fromentin._

IX

The picture I speak of is a small one, and represents merely the figure
of a woman, clad to the hands and feet with a green and grey raiment,
chaste and early in its fashion, but exceedingly simple.

She is standing: her hands are held together lightly, and her eyes set
earnestly open.

The face and hands in this picture, though wrought with great delicacy,
have the appearance of being painted at once, in a single sitting: the
drapery is unfinished. As soon as I saw the figure, it drew an awe upon
me, like water in shadow. I shall not attempt to describe it more than I
have already done, for the most absorbing wonder of it was its
literality. You knew that figure, when painted, had been seen; yet it
was not a thing to be seen of men.

_Rossetti._

X

A great work of high art is a noble theme treated in a noble manner,
awakening our best and most reverential feelings, touching our
generosity, our tenderness, or disposing us generally to seriousness--a
subject of human endurance, of human justice, of human aspiration and
hope, depicted worthily by the special means art has in her power to
use. In Michael Angelo and Raphael we have high art; in Titian we have
high art; in Turner we have high art. The first appeals to our highest
sensibilities by majesty of line, the second mainly by dignified
serenity, the third by splendour especially, the Englishman by a
combination of these qualities, but, lacking the directly human appeal
to human sympathies, his work must be put on a lower level.

_Watts._

XI

THE SIX CANONS OF ART

Rhythmic vitality, anatomical structure, conformity with nature,
suitability of colouring, artistic composition, and finish.

_Hsieh Ho_ (Chinese, sixth century A.D.).

XII

In painting, the most troublesome subject is man, then landscape, then
dogs and horses, then buildings, which being fixed objects are easy to
manage up to a certain point, but