[2] Having no concern here with disputed attributions, I have used the name of Patinir for convenience’ sake alone. The connoisseur may substitute any alternative he prefers.
[3] Constable, by C. J. Holmes.
[4] Five Essays on Picturesque Subjects, by William Gilpin, p. 19. London, 1808.
[5] A Tour to the Lakes, by William Gilpin, vol. i. p. 89. London, 1808.
[6] Since this was written Mr. Binyon’s book, The Flight of the Dragon (Wisdom of the East Series: John Murray), has appeared, which treats more fully and with far greater skill and knowledge than I possess with the question of landscape in Eastern art. As I unfortunately read the book too late to incorporate any of its suggestions in the present article, I would refer those readers who are interested to this masterly essay, which confirms and develops the ideas at which I have hinted, without, I am glad to say, making it necessary for me to alter my conclusions.
[7] For these observations on Indian art I am indebted to a highly suggestive essay on ‘The Aims and Methods of Indian Art,’ by Dr. Coomaraswamy, contained in his Essays in National Idealism. London: Probsthain and Co.
[8] The charge that Cézanne’s work displays a ‘personal clumsiness of touch’ was made by Mr. Holmes in his notes on the Grafton Exhibition in 1910, and though denied by some critics is completely borne out by the judgment of those who knew the artist personally. M. Alexandre speaks of his ‘éloquente impuissance.’
[9] Introduction to an Exhibition of Pictures, by Camille Pissarro, at the Stafford Gallery. London, 1911.
[10] La Nouvelle Héloïse, Part I., Letter 23.
[11] The Prelude.