. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. to look for and see what otherwise wouldhave escaped his observation. It is to be remarked, that there are two modes of imitating nature;one of which refers for its truth to the sensations of the mind, and the other to the eye. Someschools, such as the Roman and Florentine, appear to have addressed themselves principally to themind ; others solely to the eye, such as the Venetian, in the instances of Paul Veronese andTintoret; others, again, have endeavoured to
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. to look for and see what otherwise wouldhave escaped his observation. It is to be remarked, that there are two modes of imitating nature;one of which refers for its truth to the sensations of the mind, and the other to the eye. Someschools, such as the Roman and Florentine, appear to have addressed themselves principally to themind ; others solely to the eye, such as the Venetian, in the instances of Paul Veronese andTintoret; others, again, have endeavoured to unite both, by joining the elegance and grace ofornament with the strength and vigour of design; such are the schools of Bologna and these schools are equally to be considered as followers of nature. He who produces a workanalogous to the mind or imagination of man is as natural a painter as he whose works are calcu-lated to delight the eye ; the works of Michael Angel o or Julio Romano, in this sense, may be saidto be as natural as those of the Dutch painters.—Repwldss Notes upon Fresnoys Art ofPain tin g. Fig.
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
