[42] Burlington Magazine, 1904.
[43] Now in the possession of W. Graham Robertson, Esq.
[44] Burlington Magazine, 1907.
[45] As, for instance, in a wonderful drawing, “On the Banks of the Tiber,” in Mr. Heseltine’s collection.
[46] It is not impossible that Claude got the hint for such a treatment as this from the impressionist efforts of Græco-Roman painters. That he studied such works we know from a copy of one by him in the British Museum.
[47] Athenæum, 1904.
[48] Preface to Catalogue of second Post-Impressionist Exhibition, Grafton Galleries, 1912.
[49] Burlington Magazine, 1912.
[50] I have had to paraphrase this passage, but add the original. Whether my paraphrase is correct in detail or not, I think there can be little doubt about the general meaning.
Plin., Nat. Hist., xxxv. 67: “Parrhasius ... confessione artificum in liniis extremis palmam adeptus. Hæc est picturæ summa sublimitas; corpora enim pingere et media rerum est quidem magni operis, sed in quo multi gloriam tulerint. Extrema corporum facere et desinentis picturæ modum includere rarum in successu artis invenitur. Ambire enim debet se extremitas ipsa, et sic desinere ut promittat alia post se ostendatque etiam quae occultat.”