[53] xi. 98-149.
[54] E.g. xi. 223.
[55] x. 481, 462.
[56] x. 467. For a more respectful view of the antique, and of Winckelmann’s position, see Salon de 1765, x. 418.
[57] Diderot’s Versuch über die Malerei. Goethe’s Werke, xxv. 309, etc.
[58] And of course on occasion did actually find. See xi. 101. Sir Joshua Reynolds, who was too sincere a lover of his art not to be above mere patriotic prejudice, describes the condition of things. “I have heard painters acknowledge that they could do better without nature than with her, or, as they expressed themselves, it only put them out. Our neighbours, the French, are much in this practice of extempore invention, and their dexterity is such as even to excite admiration, if not envy; but how rarely can this praise be given to their finished pictures!” Twelfth Discourse, p. 105.
[59] x. 124, 125.
[60] Œuv., x.
[61] It is to be observed also that he shows true perspicacity in connecting the difficulty of transforming a poetic into a pictorial description, with the kindred difficulty of translating a finished poem in one language into another language. See also xi. 107.
[62] Lessing appears to have been directly led to this by Aristotle. See Gotschlich’s Lessing’s Aristotelische Studien, p. 120.