ing and mildewed, their
imaged records of Scripture History, to the activity of a traffic not
less frivolous than flourishing, concerned almost exclusively with the
appliances of bodily adornment or luxury. Yet perhaps, on a moment's
reflection, the rose-leaves scattered on the floor, and the air filled
with odor of myrtle and myrrh, aloes and cassia, may arouse associations
of a different and more elevated character; the preparation of these
precious perfumes may seem not altogether unfitting the hands of a
religious brotherhood--or if this should not be conceded, at all events
it must be matter of rejoicing to observe the evidence of intelligence
and energy interrupting the apathy and languor of the cloister; nor will
the institution be regarded with other than respect, as well as
gratitude, when it is remembered that, as to the convent library we owe
the preservation of ancient literature, to the convent laboratory we owe
the duration of mediaeval art.

99. It is at first with surprise not altogether dissimilar, that we find
a painter of refined feeling and deep thoughtfulness, after manifesting
in his works the most sincere affection for what is highest in the reach
of his art, devoting himself for years (there is proof of this in the
work before us) to the study of the mechanical preparation of its
appliances, and whatever documentary evidence exists respecting their
ancient use. But it is with a revulsion of feeling more entire, that we
perceive the value of the results obtained--the accuracy of the varied
knowledge by which their sequence has been established--and above all,
their immediate bearing upon the practice and promise of the schools of
our own day.

Opposite errors, we know not which the least pardonable, but both
certainly productive of great harm, have from time to time possessed the
masters of modern art. It has been held by some that the great early
painters owed the larger measure of their power to secrets of material
and method, and that the discovery of a lost vehicle or forgotten
process might at any time accomplish the regeneration of a fallen
school. By others it has been asserted that all questions respecting
materials or manipulation are idle and impertinent; that the methods of
the older masters were either of no peculiar value, or are still in our
power; that a great painter is independent of all but the simplest
mechanical aids, and demonstrates his greatness by scorn of system and
care