[12] We do not perhaps enough estimate the assistance which was once given both to purpose and perception, by the feeling of wonder which with us is destroyed partly by the ceaseless calls upon it, partly by our habit of either discovering or anticipating a reason for everything. Of the simplicity and ready surprise of heart which supported the spirit of the older painters, an interesting example is seen in the diary of Albert Dürer, lately published in a work every way valuable, but especially so in the carefulness and richness of its illustrations, "Divers Works of Early Masters in Christian Decoration," edited by John Weale, London, 2 vols. folio, 1846.
[13] A review of the following-books:—
1. "Materials for a History of Oil-Painting." By Charles Lock Eastlake, R.A., F.R.S., F.S.A., Secretary to the Royal Commission for promoting the Fine Arts in Connection with the Rebuilding of the Houses of Parliament, etc., etc. London, 1847.
2. "Theophili, qui et Rugerus, Presbyteri et Monachi, Libri III. de Diversis Artibus; seu Diversarum Artium Schedula. (An Essay upon Various Arts, in Three Books, by Theophilus, called also Rugerus, Priest and Monk, forming an Encyclopædia of Christian Art of the Eleventh Century." Translated, with Notes, by Robert Hendrie.) London, 1847.
[14] "A Critical Essay on Oil-Painting," London, 1781.
[15] "The mediæval painters were so accustomed to this appearance in varnishes, and considered it so indispensable, that they even supplied the tint when it did not exist. Thus Cardanus observes that when white of eggs was used as a varnish, it was customary to tinge it with red lead."—Eastlake, p. 270.
[16] "Si je dis tant de mal de la peinture flamande, ce n'est pas qu'elle soit entièrement mauvaise, mais elle veut rendre avec perfection tant de choses, dont une seule suffirait par son importance, qu'elle n'en fait aucune d'une manière satisfaisante." This opinion of M. Angelo's is preserved by Francisco de Ollanda, quoted by Comte Raczynski, "Les Arts en Portugal," Paris, 1846.
[17] "Arte de Pintura." Sevilla, 1649.
[18] The preparations of Hemling, at Bruges, we imagine to have been in water-color, and perhaps the picture was carried to some degree of completion in this material. Van Mander observes that Van Eyck's dead colorings "were cleaner and sharper than the finished works of other painters."
[19] [See Stones of Venice, vol. iii. Venetian Index, s. Rocco, Scuola di San, § 20, Temptation.—Ed. 1899.]