The student must remember, then, that a first-rate photograph, like a first-rate pencil drawing, pen-and-ink drawing, etching, or mezzotint, is far and away superior to a second-rate painting. The greatest geniuses in art will admire the one and will not tolerate the other; but the student must also remember that a false “picture” is worse than nothing.
Some masters of the minor arts.
The student should acquaint himself with the best specimens of the various pictorial arts mentioned in this chapter, and he can do this with little difficulty by obtaining a ticket for the print-room at the British Museum; while in the provinces there are no doubt good specimens at the local galleries. Cambridge, we know, is very rich in Rembrandt’s work. The masters in each department whose work we recommend for study are—
In Lead Pencil.—Harding and Bonington in England[England], and Ingres in France.
Pen and Ink.—Titian, Albert Durer, Rembrandt, Fortuny, Rousseau, abroad; and among Englishmen—Leech, Caldecott, De Maurier.
Chalk.—Da Vinci, Andrea del Sarto, Rembrandt, Raphael, Titian, Constable and Millet.
Lithography.—Harding.
Chromo-lithography.—Greg.
Line Engraving.—Albert Durer, and Cousins.
Wood Engraving.—Bewick, Thompson, and Linton.