344 



ARIADNE FLORENTINA. 



every crack in the cranium, and every humour in the lens,^ 

 if we can't draw an eye, we should just like to know who can ! 

 thinks Albert. 



So having to engrave the portrait of Melancthon, instead of 

 looking at Melancthon, as ignorant Holbein would have been 

 obliged to do, wise Albert looks at the room window ; and 

 finds it has four cross-bars in it, and knows scientifically that 

 the light on Melancthon's eye must be a reflection of the win- 

 dow with its four bars and engraves it so, accordingly ; and 

 who shall dare to say, now, it isn't like Melancthon ? 



Unfortunately, however, it isn't, nor like any other person 

 in his senses ; but like a madman looking at somebody who 

 disputes his hobby. While in this drawing of Holbein's, 

 where a dim grey shadow leaves a mere crumb of white paper, 

 accidentally it seems, for all the fine scientific reflection, 

 behold, it is an eye indeed, and of a noble creature. 



170. What is the reason ? do you ask me ; and is all the 

 common teaching about generalization of details true, then ? 



No ; not a syllable of it is true. Holbein is right, not be- 

 cause he draws more generally, but more truly, than Durer. 

 Purer draws what he knows is there ; but Holbein, only what 

 he sees. And, as I have told you often before, the really 

 scientific artist is he who not only asserts bravely what he 

 does see, but confesses honestly what he does not. You must 

 not draw all the hairs in an eyelash ; not because it is sublime 

 to generalize them, but because it is impossible to see them. 

 How many hairs there are, a sign painter or an anatomist may 

 count ; but how few of them you can see, it is only the utmost 

 masters, Carpaccio, Tintoret, Reynolds, and Velasquez, who 

 count, or know. 



171. Such was the effect, then, of his science upon Durer's 

 ideal of beauty, and skill in portraiture. What effect had it 

 on the temper and quantity of his work, as compared with 

 poor ignorant Holbein's ! You have only three portraits, by 

 Durer, of the great men of his time, and those bad ones ; while 

 he toils his soul out to draw the hoofs of satyrs, the bristles 

 of swine, and the distorted aspects of base women and vicious 

 men. 



