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uring substances. Since it is obliged to remain thus circumscribed, it is easy to foresee the limit of perfectibility. When the picture has succeeded in satisfying our minds in all the conditions imposed on its production, it will cease to interest. Such is the fate of everything which has attained its end: we grow indifferent and abandon it.
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in his “Crucifixion,” it is Tintoret himself who pays homage, and we forget the master in the theme. We may say of Rubens’s art, in a new sense, “C’est mag
The cause of some of the ambiguities in her discussion may perhaps be traced to a rather careless use of terms. At one time “instinct” or “impulsion,” the moral force driving man toward perfection, is a potentiality developed by cultivation
eas of Savonarola. The impassive Virgin with the robust child–the bas-relief in bronze of the Casa Buonarroti–is far more a school piece by a pupil of Donatello than a religious work. What we know of the little wooden crucifix, carved in 1494 for the prior of the Convent of S. Spirito,
In the beginning nothing whatever existed except APSÛ, which may be described as a boundless, confused and disordered mass of watery matter; how it came into being is unknown. Out of this mass there were
PLATE XV Venetian Glass, Antique and Modern.
PLATE XVI Corner of a Room in a Small Empire Suite.
PLATE XVII An Example of Perfect Balance and Beauty in Mantel Arrangement.
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