sider them as united with grand
form. There is in them that variety that is produced in the human form,
by the alternate action and repose of the muscles, that strike one
particularly. I have myself a very good collection of the best casts
from the antique statues, and was struck with that difference in them,
in returning from the Elgin Marbles to my own house.

_Lawrence._

LX

It is absolutely necessary that at some moment or other in one's career
one should reach the point, not of despising all that is outside
oneself, but of abandoning for ever that almost blind fanaticism which
impels us all to imitate the great masters, and to swear only by their
works. It is necessary to say to oneself, That is good for Rubens, this
for Raphael, Titian, or Michael Angelo. What they have done is their own
business; I am not bound to this master or to that. It is necessary to
learn to make what one has found one's own: a pinch of personal
inspiration is worth everything else.

_Delacroix._

LXI

From Phidias to Clodion, from Correggio to Fragonard, from the greatest
to the least of those who have deserved the name of master, Art has been
pursuing the Chimaera, attempting to reconcile two opposites--the most
slavish fidelity to nature and the most absolute independence of her, an
independence so absolute that the work of art may claim to be a
creation. This is the persistent problem offered by the unstable
character of the point of view at which it is approached; the whole
mystery of art. The subject, as presented in nature, cannot keep the
place which art with its transforming instinct would assign it; and
therefore a single formula can never be adequate to the totality of
nature's manifestations; the draughtsman will talk of its form, a
colourist of its effect.

Considered in this light, nature is nothing more than one of the
instruments of the arts, in the same category with their principles,
elements, formulas, conventions, tools.

_Bracquemond._

LXII

One must copy nature always, and learn how to see her rightly. It is for
this that one should study the antique and the great masters, not in
order to imitate them, but, I repeat, to learn to see.

Do you think I send you to the Louvre to find there what people call
"le beau ideal," something which is outside nature?

It was stupidity like this which in bad periods led to the decadence of
art. I send you there to learn from the antique how to see nature,
b