SAMUEL PROUT, ARTIST. 
277 
In 1818 began that series of visits to the Continent which 
resulted in Prout's producing a vast number of drawings, chiefly 
architectural subjects, representing the most picturesque and im- 
pressive mediaeval buildings in France, Germany, and Italy, such 
as no English artist had previously produced, and such as have 
never since been equalled. 
Well for art that he lived and worked in the earlier part of this 
century, before the desolating march of so-called modern improve- 
ment had swept away numberless vestiges of antiquity ; before the 
hand of destruction had dealt its blow at the noblest creations of 
man, not sparing even the beautiful St. Mark's, at Venice. 
The towns of Normandy (where he first made himself acquainted 
with Continental architecture), which are now almost as modern- 
looking and uninteresting as our English manufacturing towns, were 
then full of picturesque scenes and effects such as Prout was pre- 
pared to appreciate and enjoy, and which he made peculiarly his own. 
Mr. Ruskin, speaking of Rouen at that time, says: " All was 
unity with itself, and the city lay under its guarding hills, one 
labyrinth of delight ; its grey and fretted towers, misty in their 
magnificence of height, letting the sky, like blue enamel, through 
the foiled spaces of their crowns of open work ; the walls and gates 
of its countless churches wardered by saintly groups of solemn 
statuary ; clasped about by wandering stems of sculptured leafage ; 
and crowned by fretted niche and fairy pediment meshed like 
gossamer with inextricable tracery ; many a quaint monument 
of past times standing to tell its far-off tale in the place from 
which it has since perished — in the midst of the throng and 
murmur of those shadowy streets — all grim with jutting props of 
ebon woodwork, lightened only here and there by a sunbeam 
glancing down from the scaly backs and points and pyramids of 
the Norman roofs, or carried out of its narrow range by the gay 
progress of some snowy cap or scarlet camisole." 
Those who know that city now know how very different it is 
from the city so graphically described by the great word-painter, 
and as seen by the enthusiastic and impressible artist. Most of 
the ancient houses have disappeared, and the masonry of the 
cathedral is fresh and raw from the restorer's hand. Prout saw it 
at the best time. 
' ' Where each revolving century like the last 
Had dropt its dust, and then unnoticed passed." 
