in its weak points, and from it will compose his French style. Otto Van
Veen should certainly applaud it. What should Van Oort think of it? As
for Jordaens, he is waiting for his fellow student to become more
distinctly and expressly Rubens before following him in these new ways.

_Les Maîtres d' Autrefois_ (Paris, 1876).




BACCHUS AND ARIADNE

(_TITIAN_)

CHARLES LAMB


Hogarth excepted, can we produce any one painter within the last fifty
years, or since the humour of exhibiting began, that has treated a story
_imaginatively_? By this we mean, upon whom has subject so acted that it
has seemed to direct _him_--not to be arranged by him? Any upon whom its
leading or collateral points have impressed themselves so tyrannically,
that he dared not treat it otherwise, lest he should falsify a
revelation? Any that has imparted to his compositions, not merely so
much truth as is enough to convey a story with clearness, but that
individualizing property, which should keep the subject so treated
distinct in feature from every other subject, however similar, and to
common apprehensions almost identical; so as that we might say this and
this part could have found an appropriate place in no other picture in
the world but this? Is there anything in modern art--we will not demand