Meissonier, his life and his art . THE DECAMERON. (Lady Wallaces collection.) I understand them. The assimilation is swift, profound, hardly marks others minds, when they read, is eternally gravenon ours, provided we have prepared ourselves truly, and that the seedfalls on fruitful soil. Versailles suggests a whole train of vivid thought. Lookingat the grand lines of the palace, one ponders on the crowds ART 189 that have filled it, all intoxicated with the monarchical sentiment ;on the nobles who eagerly deserted their own estates, to squandertheir revenues at the foot of th
Meissonier, his life and his art . THE DECAMERON. (Lady Wallaces collection.) I understand them. The assimilation is swift, profound, hardly marks others minds, when they read, is eternally gravenon ours, provided we have prepared ourselves truly, and that the seedfalls on fruitful soil. Versailles suggests a whole train of vivid thought. Lookingat the grand lines of the palace, one ponders on the crowds ART 189 that have filled it, all intoxicated with the monarchical sentiment ;on the nobles who eagerly deserted their own estates, to squandertheir revenues at the foot of the throne, content, and more, tolive m the garrets, so long as they were within the palace I. A WOMAN RECLINING. (Pen Sketch.) No Raphael fills uswith the intense emo-tion aroused by a then, on the otherhand, nothing can everequal the intoxicatingsense of pure beautyRaphael gives. Thisquestion arises, the discussion of it would be deeply , in the first instance, may be said to be the mere manifestationof what the artist has in his heart : therefore naive and inexperiencedart expresses passion, and this expression overshadows everything else. In proportion to the gradual weaken-ing of this emotion, art becomes moreand more perfect and well ordered. Whata problem we have here ! Should the aimof art be to stir the passions, or should itsfirst object be to bring us face to face withabsolute beauty ? . .
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