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THE PORTRAIT. 109
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
_.. I Need Not Linger Over The Early Daw...
always tried to find one removed from the commonplace . Plow can _tliat which is not interesting * or beautiful in naturebecome so
, for ¦ when transferred teacherMrs to canvas . Bethun ? was eshe the chose question nothing I used 1 but to ask reli . gious As
my , , subj and e formed cts—hol her y families private , gallery marty . , She and had saints a theory occup , ied that her unless pencil an ,
artist were religious—indeed , unless he were a Catholic—he could never hope to become a great . master in art . To the first part
of her assumption I agreed ; to the second I demurred . I believed that spirituality of mind was requisite among the other elements
out of which a true artist could alone be formed ; but that he should an absolute be reli necessity gious according any mor to e a than certain for pattern a poet or I a did philosop not think her ,
, and therein we differed . Master Edward was more taken up with the gaieties of Paris
than with its works of art , and rarely accompanied us to the Louvre sometimes , wh happened ere now a that great a p psdntiug - ortion of furor our time seized was him passed , and ; then yet he it
fell to for a few days with terrible earnestness . At such moments he iven recalled by Vasari the descri "An ption artist of whose a certain daubs Maestro " he reports Amico Aspertini " were to , be as
found g in every church , and street of Bologna , , * as he , had . travelled all over Italy , making copies of works good and bad , it happened
that with so much practice some of his things were passable . He looked when painting like the devil of San Macariowith a brush in
either handfor with both he painted , and with , a leather girdle round his waist , from which were suspended small pots filled with
, his colors ready for use ; and when he was thus working he was a fi twent when gure that he men began would his to have best chatter made _deli , ht for the being very Amico in stones would babbling laug gabble h , and more enoug gossi especiall p h and for y
speaking y ill , of his neighbors g . " Now setting aside the girdle with the _suspended pots , Master Edward brought the half-mad Amico
while so strong in greater ly to my contrast mind another that I did descri laug ption h almost by the before same his narrator face ;
"was the rememb trul ered admirable , and that and was divinel his . portrait endowed of Leonardo " whoto da use Vinci the , y ;
hum quaint an words teaching y of the or old the writer , " of obtained manbut his by pre the -eminence direct , g not ift by of
Godwho showered down power celestial influence , on this favorite among mortals , as in his sole person were united beautygrace , and talent ,
in such , a manner that his every action was so , divine as to leave all others far behind "
. As Master Edward stood before me , a second " Amico , " with his coarse daubs and coarse wordsso did Mr . Cleveland represent the
wise refined before and g me ifted as Leonardo I watched . the Another , countenance graceful of image Mrs . Bethun flitted e like , lit
up with admiration and glowing with enthusiasm , bent over some
The Portrait. 109
THE PORTRAIT . 109
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Citation
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English Woman’s Journal (1858-1864), April 1, 1861, page 109, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01041861/page/37/
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