s no disgrace, but on the contrary, honour, be the
touches never so few, if studied. By determined refusal to touch
vaguely, and with persistence in the slowness of thoughtful work, a
noble style may be at length obtained: swift as sublime.

_Edward Calvert._

LXXVIII

I started on Monday, 25th August, for Honfleur, where I stayed till 5th
September in the most blessed condition of spirit.

There I worked with my head, with my eyes, harvesting effects in the
mind; then, going over everything again, I called up within myself the
figures desired for the completion of the composition. Once I had evoked
all this world from nothingness, and envisaged it, and had found where
each thing was to be, I had to return to Paris to ask for nature's
authorisation and make sure of my advance. Nature justified me, and, as
she is kind to those who approach her reverentially, gave me of her
grace without stint.

_Puvis de Chavannes._

LXXIX

I wish to tell you, Francisco d'Ollanda, of an exceedingly great beauty
in this science of ours, of which perhaps you are aware, and which, I
think, you consider the highest, namely, that what one has most to work
and struggle for in painting, is to do the work with a great amount of
labour and study in such a way that it may afterwards appear, however
much it was laboured, to have been done almost quickly and almost
without any labour, and very easily, although it was not. And this is a
very excellent beauty. At times some things are done with little work in
the way I have said, but very seldom; most are done by dint of hard work
and appear to have been done very quickly.

_Michael Angelo._

METHODS OF WORK

LXXX

Every successful work is rapidly performed; quickness is only execrable
when it is empty--small. No one condemns the swiftness of an eagle.

To him who knows not the burden of process--the attributes that are to
claim attention with every epocha of the performance--all attempt at
swiftness will be mere pretence.

_Edward Calvert._

LXXXI

I am planning a large picture, and I regard all you say, but I do not
enter into that notion of varying one's plans to keep the public in good
humour. Change of weather and effect will always afford variety. What if
Van der Velde had quitted his sea-pieces, or Ruysdael his waterfalls, or
Hobbema his native woods? The world would have lost so many features in
art. I know that you wish for no material alteration, but I have