Coroll.—The superiority of style in drapery over that of the limbs which it covers in the earliest essays of art after its restoration, is not accounted for by the assertion that it is transcribed from the antique: if it is, by what unaccountable perverseness did the forms of the nudities uniformly escape observation? In painting, this dissonance continues more or less offensively from the epoch of Cimabue to that of Masaccio, and, him excepted, down to Pinturicchio; and ceases not to shock us in sculpture from the Pisani, to the appearance of Lorenzo Ghiberti. Nor did that style of drapery mark only the productions of Italian art; on this side of the Alps it invested that of Germany, from the Angels and Madonnas of Martin Schongaver and Albert Durer, to those of Aldegraver and Sebald Behm: in nearly all their performances, Trans and Cisalpine, the wearer is the appendix of his garment, chucked into vestments not his own, a dwarfish thief hid in a giant's robe.
196. Raffael's drapery is the assistant of character; in Michael Angelo it envelopes grandeur; it is in Rubens the ponderous robe of pomp.
197. If Nature has not taught you to sketch, you apply in vain to art to finish your work.[38]
198. Some must be idle lest others should want work.[39]
199. He who submits to follow, is not made to precede.[40]