[12] The Dome, vol. i. p. 147. London: Unicorn Press, 1899.
[13] Notes on the Science of Picture-making, by C.J. Holmes. Chatto and Windus, 1910.
[14] Notes on the Science of Picture-making, by C. J. Holmes. Chatto and Windus, 1910.
[15] Of the claim of Segantini to be considered the true mountain artist I speak with some diffidence, as my acquaintance with him is small. But from what I have seen, I should say that he found himself unable to get away from the contrast between human figures and landscape which hampered the early English water-colourists, with the result that the spirit of the mountains does not dominate his pictures. In any case, his outlook is purely that of the naturalist, and if he is right, then Mr. Holmes is wrong—a conclusion to which I cannot subscribe.
[16] Saturday Review, March 4, 1911.
[17] There lieth between us long space of shadowy mountains and sounding sea. (Lang, Leaf, and Myers.)
[18] And it showed like a shield in the misty deep. (Butcher and Lang.)
[19] Yea, for he was a monstrous thing and fashioned marvellously, nor was he like to any man that lives by bread, but like a wooded peak of the towering hills, which stands out apart and alone from others. (Butcher and Lang.)
[20] They found his wife therein: she was huge of bulk as a mountain peak, and was loathly in their sight. (Butcher and Lang.)
[21] For I went up a craggy peak, a place of outlook, and saw the isle crowned about with the circle of the endless sea, the isle itself lying low: and in the midst thereof mine eyes beheld the smoke through the thick coppice and the woodland. (Butcher and Lang.)