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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1894 edition. Excerpt: ...His best drawings are known to very few; some of his finest work was thrown away on subjects which were never completed, or were ruined by rough experiments when he had tired of them, and no other man with half his feeling and knowledge has attempted to work in the same method. At first he kept pretty closely to monochrome. His object was form, and his special talent for draughtsmanship rather than for color, which developed quite late in his life. But it was this winter's study of the " Liber Studiorum" that started him on his own characteristic course; and while we have no pen and wash work of his before 1845 (except a few experiments after Prout), we find him now using the pen continually during all the " Modern Painters" period. On reaching the Lake of Geneva he wrote, or sketched, one of his best known pieces of verse, "Mont Blanc Revisited;" and a few others followed, the last of the long series of poems, which had once been his chief interest and aim in life. With this lonely journey there seemed to come new and deeper feelings; with his increased literary power, fresh resources of diction; and he was never so near being a poet as when he gave up writing verse. Too condensed to be easily understood, too solemn in their movement to be trippingly read, the lines on " The Arve at Cluse," on " Mont Blanc," and " The Glacier," should not be passed over as nothing move than rhetorical. And the reflections on the loungers at Conflans are full of significance of the spirit in which he was gradually approaching the great problems of his life, to pass through art into the earnest study of human conduct and its final cause:--"Why stand ye here all the day idle f" Have you...
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