. Studio international . eaf, and lo ! ii to hear tin-sibilant sound of thinorth wind, and thi ? mbling to itsI plain Englishthe pa ? of the ? ?i ? on ItOI III rthand. painter possesses the specialpower I have been discus-sing, a -lance at a work likeMorton Castle i p. 195) easilysettles the matter. It is atypical pic .me. and so charac-teristic of the artists mannerthat if nothing else survivedol his we should be able tocomprehend him bythisland-scape alone. In its somno-lent grandeur it is the veryantithesis of the evanescentand changing beauty of hisKyle. Drowsing in the lateafternoon sunsh
. Studio international . eaf, and lo ! ii to hear tin-sibilant sound of thinorth wind, and thi ? mbling to itsI plain Englishthe pa ? of the ? ?i ? on ItOI III rthand. painter possesses the specialpower I have been discus-sing, a -lance at a work likeMorton Castle i p. 195) easilysettles the matter. It is atypical pic .me. and so charac-teristic of the artists mannerthat if nothing else survivedol his we should be able tocomprehend him bythisland-scape alone. In its somno-lent grandeur it is the veryantithesis of the evanescentand changing beauty of hisKyle. Drowsing in the lateafternoon sunshine and buried in its primordialtrees, Morton Castle seems a spectre pile, a thingconjured up by some fantastic dream. In itswitchery it is a landscape with a soul as well as abody—a rare attribute, as has ahead) been said, ina day when mere cleverness and audacity wouldseem to be the be-all and end-all of the fool, William Blake once truly said, doesnot see the same tree that a wise man sees. The. James Paterson, ,
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
