312 PROFESSIONAL INSTITUTIONS. 



&quot;Ni le temps ni le lieu ne font rien a Fart grec; au XVIII 6 siecle, 

 le peintre moreote continue et caique le peintre ve&quot;nitien du X e , le 

 peintre athonite du V e ou du VI 6 . Le costume des personnages est 

 partout et en tout temps le meme, non-seulement pour la forme, maia 

 pour la couleur, mais pour le dessin, mais jusque pour le nombre et 

 F6paisseur des plis. . . . On ne saurait pousser plus loin 1 exactitude 

 traditionnelle, i esclavage du passe.&quot; 



And Sir Emerson Tennent, apropos of the parallelism be 

 tween the rigid code conformed to by the monkish artists of 

 the East and the code, equally rigid, conformed to by the 

 Buddhists of Ceylon, quotes an illustrative incident concern 

 ing these priest-painters of Mount Athos, who manufacture 

 pictures to pattern with &quot; almost the rapidity of machin 

 ery.&quot; M. Didron wished to have a copy of the code of in 

 structions &quot; drawn up under ecclesiastical authority/ but 

 &quot; the artist, when solicited by M. Didron to sell cette bible 

 de son art, naively refused, on the simple ground that . . . 

 en perdant son Guide, il perdait son art ; il perdait ses yeux 

 et ses mains. 



719. Concerning later stages in the rise of the lay 

 painter, it must suffice to say that from the time of Cimabue, 

 who began to depart from the rigidly formal style of the 

 priestly Byzantine artists, the lay element predominated. 

 Amid a number of apparently non-clerical painters, only a 

 few clerics are named ; as Don Lorenzo, Era Giovanni, Era 

 Filippo Lippi, Era Bartolommeo. But meanwhile it is to be 

 observed that these secular painters, probably at first, like 

 the secular sculptors, assistants to the priests in their work, 

 were occupied mainly and often exclusively with sacred sub 

 jects. 



Along with this differentiation of the lay painter from 

 the clerical painter there began a differentiation of lay 

 painters from one another ; and the facts show us a gradual 

 beginning where imagination would have suggested only an 

 abrupt beginning. As I learn from an academician, the 

 first form of portrait (omitting some painted under a sur- 



