Meissonier, his life and his art . THE PAINTER. (Sketch.) M. . was showing me his work one; day. It was aSamson, a giant, moodilv seated beside his millstone;. Two timid ART 197 Philistines, standing aloof, were stirring him with the end of a rod. You must see, said V^. SAMSON. (Pen and Ink Sketch.) I, that you are quite virtue, his strength lay,in his hair. Once that is crop-ped, Samson, reduced to a stateof servitude, is not a giant atall, he is nothing but an ordinaryman,, of whom cowards make asport, just as they might of a lionwith clipped claws. You shouldhave made )our Ph
Meissonier, his life and his art . THE PAINTER. (Sketch.) M. . was showing me his work one; day. It was aSamson, a giant, moodilv seated beside his millstone;. Two timid ART 197 Philistines, standing aloof, were stirring him with the end of a rod. You must see, said V^. SAMSON. (Pen and Ink Sketch.) I, that you are quite virtue, his strength lay,in his hair. Once that is crop-ped, Samson, reduced to a stateof servitude, is not a giant atall, he is nothing but an ordinaryman,, of whom cowards make asport, just as they might of a lionwith clipped claws. You shouldhave made )our Philistines chil-dren. Then they might havedared to stir vour Samson withthe end of their rod, just asthey would some huge watch-dog. You tell me, my dearfellow, that you desire to paintrealistically. But you young fellows dont know how to compose! To do that well, you must ponder your subject deeply and long, you must consider it from every point of view, and you must seize what they call the psycho-logical moment, that is to sa)-, the culminating point,which must be the dominat-ing note of your picture, — the point, in fact, at which action and sentiment iilike reach their highest dramatic treat, for instance, the episode of the death of Virginia. Y
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