. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . tsyys-r STUDY BY AN ITALIAN AMATEUR. NO. 2. vanish. Unfortunately I had no Conte chalk withme, but I asked to see the drawings, and was shownabout twenty, all of which greatly pleased me. I atonce proposed an exchange, and have thus becomepossessed of the two which I reproduce here. Beingpencil drawings, and not done with a view, to process, they have suffered somewhat in 176 ALPS AND SANCTUARIES. reproduction, but I decided to let them suffer ratherthan attempt to copy them. What can be more abso-lutely in the spir
. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . tsyys-r STUDY BY AN ITALIAN AMATEUR. NO. 2. vanish. Unfortunately I had no Conte chalk withme, but I asked to see the drawings, and was shownabout twenty, all of which greatly pleased me. I atonce proposed an exchange, and have thus becomepossessed of the two which I reproduce here. Beingpencil drawings, and not done with a view, to process, they have suffered somewhat in 176 ALPS AND SANCTUARIES. reproduction, but I decided to let them suffer ratherthan attempt to copy them. What can be more abso-lutely in the spirit of the fourteenth century than thedrawings given above ? They seem as though doneby some fourteenth-century painter who had risen fn*. < 3i a/mi STUDY BY A SELF-TAUGHT ITALIAN. from the dead. And to show that they are no rareaccident, I will give another, also done by an entirelyself-taught Italian, and intended to represent the castleof Laurenzana in the neighbourhood of Potenza. If the reader will pardon a digression, Iwill refer to a more important example of an old DEDOMENICI OF ROSS A. 177 master born out of due time. One day, in thecathedral at Varallo, I saw a picture painted on linenof which I could make nothing. It was not oldand it was not modern. The expression of theVirgins face was lovely, and there was more indi-viduality than is commonly found in modern Italianwork. Modern Italian colour is generally eithercold and dirty, or else staring. The colour herewas tender, and reminded me of fifteenth-centuryFlorentine work. The folds of the drapery were notmodern; there was a sense of effort about them,as though the painter had tried to do them better,but had been unable to get them as free and flowing
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