d many things which are not connected with the art of
the sculptor, but solely with the material in which he worked. I may
mention particularly the difference in the shading. In nature, owing to
the transparency of the flesh, the skin, and the cartilages, the shading
of many parts is moderated, which in sculpture appear hard and abrupt,
for the shadows become doubled, as it were, owing to the natural and
unavoidable thickness of the stone. To this must be added that certain
less important parts which lie on the surface of the human body, as the
veins, folds of the skin, etc., which change their appearance with every
movement, and which owing to the pliancy of the skin become easily
extended or contracted, are not expressed at all in the works of
sculptors in general--though it is true that sculptors of high talent
have marked them in some degree. The painter, however, must never omit
to introduce them--with proper discretion.

"In the manner in which lights fall, too, statues are totally different
from nature; for the natural brilliancy of marble, and its own light,
throws out the surface far more strongly than in nature, and even
dazzles the eye."

I have quoted rather more of this passage (from Mrs Jameson's
translation) than I at first intended, because it discloses one of the
most important secrets of the successful painting of figures, by other
artists besides Rubens himself--George Romney for example. The
advantages of a "classical education" at our English public schools and
universities are questioned, and there can be no doubt that for the bulk
of the pupils they are questionable. But Rubens shows that the case is
exactly the same for painters studying classical art as for scholars
acquainting themselves with classical literature. A superficial study of
the antique, just because it is antique, is of no use at all, but rather
a hindrance. But if the study is properly undertaken, there is no surer
foundation, in art or literature, on which to build. It makes no
difference what is built; the foundation is there, beneath the surface,
and whatever is placed upon it will stand for all time.

The remarkable freedom and originality of Rubens's treatment of
classical subjects is thus accounted for. Under the surface is his
familiarity with the antique, but instead of carrying this above ground,
he builds on it a palace in accordance with the times and circumstances
in which he lived. The principles of classical art un