Much else that I meant to correct, or promised to explain, in this lecture, must be deferred to the Appendix; the superiority of the Tuscan to the Greek Aphrodite I may perhaps, even at last, leave the reader to admit or deny as he pleases, having more important matters of debate on hand. But as I mean only to play with Proserpina during the spring, I will here briefly anticipate a statement I mean in the Appendix to enforce, namely, of the extreme value of colored copies by hand, of paintings whose excellence greatly consists in color, as auxiliary to engravings of them. The prices now given without hesitation for nearly worthless original drawings by fifth-rate artists, would obtain for the misguided buyers, in something like a proportion of ten to one, most precious copies of drawings which can only be represented at all in engraving by entire alteration of their treatment, and abandonment of their finest purposes. I feel this so strongly that I have given my best attention, during upwards of ten years, to train a copyist to perfect fidelity in rendering the work of Turner; and having now succeeded in enabling him to produce facsimiles so close as to look like replicas, facsimiles which I must sign with my own name and his, in the very work of them, to prevent their being sold for real Turner vignettes, I can obtain no custom for him, and am obliged to leave him to make his bread by any power of captivation his original sketches may possess in the eyes of a public which maintains a nation of copyists in Rome, but is content with black and white renderings of great English art; though there is scarcely one cultivated English gentleman or lady who has not been twenty times in the Vatican, for once that they have been in the National Gallery.
NOTES.
228. I. The following letter, from one of my most faithful readers, corrects an important piece of misinterpretation in the text. The waving of the reins must be only in sign of the fluctuation of heat round the Sun's own chariot:—
"Spring Field, Ambleside,
"February 11, 1875.
"Dear Mr. Ruskin,—Your fifth lecture on Engraving I have to hand.
"Sandro intended those wavy lines meeting under the Sun's right[BH] hand, (Plate V.) primarily, no doubt, to represent the four ends of the four reins dangling from the Sun's hand. The flames and rays are seen to continue to radiate from the platform of the chariot between and beyond these ends of the reins, and over the knee. He may have wanted to acknowledge that the warmth of the earth was Apollo's, by making these ends of the reins spread out separately and wave, and thereby inclose a form like a flame. But I cannot think it.
"Believe me,
"Ever yours truly,