of which it is difficult to get
finished pictures.

_Ku K'ai-Chih_ (Chinese, fourth century A.D.).

XIII

First it is necessary to know what this sort of imitation is, and to
define it.

Definition:

It is an imitation made with lines and with colours on some plane
surface of everything that can be seen under the sun. Its object is to
give delight.

Principles which may be learnt by all men of reason:

No visible object can be presented without light.

No visible object can be presented without a transparent medium.

No visible object can be presented without a boundary.

No visible object can be presented without colour.

No visible object can be presented without distance.

No visible object can be presented without an instrument.

What follows cannot be learnt, it is born with the painter.

_Nicholas Poussin._

XIV

"In painting, and above all in portraiture," says Madame Cave in her
charming essay, "it is soul which speaks to soul: and not knowledge
which speaks to knowledge."

This observation, more profound perhaps than she herself was aware, is
an arraignment of pedantry in execution. A hundred times I have said to
myself, "Painting, speaking materially, is nothing but a bridge between
the soul of the artist and that of the spectator."

_Delacroix._

XV

The art of painting is perhaps the most indiscreet of all the arts. It
is an unimpeachable witness to the moral state of the painter at the
moment when he held the brush. The thing he willed to do he did: that
which he only half-heartedly willed can be seen in his indecisions: that
which he did not will at all is not to be found in his work, whatever
he may say and whatever others may say. A distraction, a moment's
forgetfulness, a glow of warmer feeling, a diminution of insight,
relaxation of attention, a dulling of his love for what he is studying,
the tediousness of painting and the passion for painting, all the shades
of his nature, even to the lapses of his sensibility, all this is told
by the painter's work as clearly as if he were telling it in our ears.

_Fromentin._

XVI

The first merit of a picture is to feast the eyes. I don't mean that
the intellectual element is not also necessary; it is as with fine
poetry ... all the intellect in the world won't prevent it from being bad
if it grates harshly on the ear. We talk of having an ear; so it is not
every eye which is fitted to enjoy the subtleties of painting. Man