New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1874-01-09

recognizable to the potanst and the tree have the
marks OF its own individuality We know that TO the
casual observer whole family will appear al first sight
have general likeness that We hardly Know one
from the other yet the Of them. the more
distinctly unlike they grow in look and in feature so is
with rocks and trees branches and leaves, no two
blades OF ribbon grass 10 an the world over being
likeness presented but with further looking this
sbarpens into individual unkeness. even where they
are cassed in kind. Pictures painted or poems
written from the shallow observers standpoint like that
Fus for example vino said nature put HIM out-these
cannot live IL the painter only gives us this general
resemblance, shall be to turn to him who has
wrought the best likeness for all partial truth must die,
ton is come, then that which In IN part shall be
done away" You must remember then IN looking
Of Disgusting of conquering difficulty. And OF
working after this fashion, there will be plenty OF
themselves act mn 40 high standard OF perfeetion
such hight OF power In some Of their pictures,
was the same with these young the beginning a.
IL was with Wordsworth They were conscience reform
muscular conIortiOn as they set their feet their
teeth too In resisting the current which ran
% %',s Of the 9
apron. Ills 80 much more conscious thing this get
1 s wheels e naa o
OF the old, deep ruts Anything to avoid repeating
the simpering imbecites OF the drawngroom ideal OF
unIneaning prettiness. 80 they painted red headed
women they restored the bono to the face OF
you must know not the fashion at that time to
give any appearance OF Jaw TO the dolls which
painted women, all feminine structure and character
being considered Gclalinous. They brought more ma
ture into their range OF work But where these short
comiDgs occur Is not the principle that 1t fault 1t
Is the artists confession that no has not done full JUS
tice to his principles.
Raphselitsm does not try to abolish the effects OF
distances nor paint objects at wrong distances nor alter
any natural relationship Whatever nor has done this
however 30 often as people assume say natural rea
Onshp because likeness to nature rather the sugges
tons OF nature on the truos grounds of 10
the nna test OF art whereas tho test In the minds of
many persons has little reference 10 nature At all
The question with them Ia what sort OF likeness the pre-
Raphaeto pictures bear to the kind of nature they
familiar with In their favorte pictures Others again
finish their art education where Italian painters left
Of. They have closed the book and stesdfasty shut
their ~ the Italians could DO painters and
give us the nature We know tho nationality We love-
The tonder iuster Of our wecd with dew
and uappy with juice the Eugii3hness VI our
bluR gray weather, os tho oonhsgrhtion OF colors
OF our cloud-iand. Let painter and public
understand that pre- Raphaelitsm does not mean the
Violation OF natural condition. IL the principles be
never true. they arc stil only means toward an
end. They still belong 70 the mcchsnics Of art They
will not give Brett the gorned vision OF Turner. II
must depend tho mans own senius. bis insight what
he shall mako Of these principles when ho has adopted
them Tue bost rendering Of external fncts the utmost
resity OF technical stAteent tie fullest mastery ol