But the work of the Society has been sorely hindered hitherto, because it has had at command only the skill of copyists trained in foreign schools of color, and accustomed to meet no more accurate requisitions than those of the fashionable traveler. I have always hoped for, and trust at last to obtain, co-operation with our too mildly laborious copyists, of English artists possessing more brilliant color faculty; and the permission of our subscribers to secure for them the great ruins of the noble past, undesecrated by the trim, but treacherous, plastering of modern emendation.
245. Finally, I hope to direct some of the antiquarian energy often to be found remaining, even when love of the picturesque has passed away, to encourage the accurate delineation and engraving of historical monuments, as a direct function of our schools of art. All that I have generally to suggest on this matter has been already stated with sufficient clearness in the first of my inaugural lectures at Oxford: and my forthcoming 'Elements of Drawing'[BN] will contain all the directions I can give in writing as to methods of work for such purpose. The publication of these has been hindered, for at least a year, by the abuses introduced by the modern cheap modes of printing engravings. I find the men won't use any ink but what pleases them; nor print but with what pressure pleases them; and if I can get the foreman to attend to the business, and choose the ink right, the men change it the moment he leaves the room, and threaten to throw up the job when they are detected. All this, I have long known well, is a matter of course, in the outcome of modern principles of trade; but it has rendered it hitherto impossible for me to produce illustrations, which have been ready, as far as my work or that of my own assistants is concerned, for a year and a half. Any one interested in hearing of our progress—or arrest, may write to my Turner copyist, Mr. Ward:[BO] and, in the meantime, they can help my designs for art education best by making these Turner copies more generally known; and by determining, when they travel, to spend what sums they have at their disposal, not in fady photography, but in the encouragement of any good water-color and pencil draughtsmen whom they find employed in the galleries of Europe.
ARTICLE II.
DETACHED NOTES.
I.
On the series of Sibyl engravings attributed to Botticelli.
246. Since I wrote the earlier lectures in this volume, I have been made more doubtful on several points which were embarrassing enough before, by seeing some better (so-called) impressions of my favorite plates containing light and shade which did not improve them.
I do not choose to waste time or space in discussion, till I know more of the matter; and that more I must leave to my good friend Mr. Reid of the British Museum to find out for me; for I have no time to take up the subject myself, but I give, for frontispiece to this Appendix, the engraving of Joshua referred to in the text, which however beautiful in thought, is an example of the inferior execution and more elaborate shade which puzzle me. But whatever is said in the previous pages of the plates chosen for example, by whomsoever done, is absolutely trustworthy. Thoroughly fine they are, in their existing state, and exemplary to all persons and times. And of the rest, in fitting place I hope to give complete—or at least satisfactory account.