Chapter CXXXVII

The noblest relievo in painting is that which is resultant from the treatment of the masses, not from the vulgar swelling and rounding of the bodies; and the noble Venetian massing is excellent in this quality. Those parts in which there is necessity for salient quality of relief must be expressed with a certain quadrature, a certain varied grace of accent like that which the bony ridge develops in beautiful wrists and ankles, also in some of the tunic-folds that fall behind the arm of the recumbent Fate over the middle of the figure of the Newlands Titian; and again in some of the happiest passages in the graceful women of Lodovico Caracci, and in their vesture folds, _e.g._ the bosom and waist of the St. Catherine.

Doubtless there is a choice, or design were vain. There must be courage to _reject_ no less than to _gather_. A man is at liberty to neglect things that are repugnant to his disposition. He may, if he please, have nothing to do with thistle or thorn, with bramble or brier.... Nevertheless sharp and severe things are yet dear to some souls. Nor should I understand the taste that would reject the wildness of the thorn and holly, or the child-loving labyrinths of the bramble, or wholesome ranges of the downs and warrens fragrant with gorse.

No one requires of the painter that he even attempt to render the multitude and infinitude of Nature; but that he _represent_ it through the chastened elements of his proper instrument, with a performance rendered distinctive and facile by study and genial impulse.

_Edward Calvert._

CXXXVIII

Modelling is parent of the art of chasing, as of the art of sculpturing. Skilful as he was in these arts, he executed nothing which he had not modelled.

_Pasiteles._