. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . is toask ones self whether one would like to look at it ifone was quite sure one was alone. The best test fora painter as to whether he likes painting his pictureis to ask himself whether he should like to paint it ifhe was quite sure that no one except himself, and thefew of whom he was very fond, would ever see he can answer this question in the affirmative, he isall right; if he cannot, he is all wrong. I will closethese remarks with an illustration which will showhow nearly we can approach the early Florentineseven n
. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . is toask ones self whether one would like to look at it ifone was quite sure one was alone. The best test fora painter as to whether he likes painting his pictureis to ask himself whether he should like to paint it ifhe was quite sure that no one except himself, and thefew of whom he was very fond, would ever see he can answer this question in the affirmative, he isall right; if he cannot, he is all wrong. I will closethese remarks with an illustration which will showhow nearly we can approach the early Florentineseven now—when nobody is looking at us. I do notknow who Mr. Pollard is. I never heard of himtill I came across a cheap lithograph of his Funeral 206 ALPS AND SANCTUARIES. of Tom Moody in the parlour of a village inn. Ishould not think he ever was an , but he hasapproached as nearly as the difference between thegeniuses of the two countries will allow, to the spiritof the painters who painted in the Campo Santo atPisa. Look, again, at Garrard, at the close of the. FUNERAL OF TOM MOODY. last century. We generally succeed with sportingor quasi-sporting subjects, and our cheap colouredcoaching and hunting subjects are almost always good,and often very good indeed. We like these things :therefore we observe them; therefore we soon be- DECLINE OF ITALIAN ART. 207 come able to express them. Historical and costumepictures we have no genuine love for; we do not,therefore, go beyond repeating commonplaces con-cerning them. I must reserve other remarks upon this subject foranother occasion. CHAPTER XIV. VIVy FUCJNF, AND S. 1GNAZI0. I must now return to my young friend at have published his drawings without his permission,having unfortunately lost his name and address, andbeing unable therefore to apply to him. I hope that,should they ever meet his eye, he will accept thisapology and the assurance of my most profound con-sideration. Delighted as I had been with his proposed i
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