[55]. This painter’s book of studies from nature, commonly called Liber Veritatis, disproves the truth of the general opinion that his landscapes are mere artificial compositions for the finished pictures are nearly fac-similes of the original sketches.
[56]. The idea of the necessity of improving upon nature, and giving what was called a flattering likeness, was universal in this country fifty years ago; so that Gainsborough is not to be so much blamed for tampering with his subjects.
[57]. Why does not the British Institution, instead of patronising pictures of the battle of Waterloo, of red coats, foolish faces, and labels of victory, offer a prize for a picture of the subject of Ugolino that shall be equal to the group of the Laocoon? That would be the way to do something, if there is anything to be done by such patronage.
[58]. This subject of the Ideal will be resumed, and more particularly enlarged upon, under that head.
[59]. If we were to make any qualification of this censure, it would be in favour of some of Mr. Northcote’s compositions from early English history.
[60]. See vol. VI., Mr. Northcote’s Conversations, note to p. [422].
[61]. The conspirator in Peveril of the Peak. See B. Dobell’s Sidelights on Charles Lamb, pp. 203 et seq., for the story of this ‘trouble,’ and also a later volume of the present edition.
[62]. Hamlet, Act II. Sc. 1.
[63]. Ibid., Act III. Sc. 2.