To the want of correspondence so frequent between the subject of a
picture and the observer's experience may, therefore, be attributed no
small degree of the prevalent want of sympathy and confident judgment.
"Gang into an Exhibition," says the Ettrick Shepherd, "and only look at
a crowd o' cockneys, some with specs, and some wi' quizzing-glasses, and
faces without ae grain o' meaning in them o' ony kind whatsomever, a'
glowering, perhaps, at a picture o' ane o' Nature's maist fearfu' or
magnificent warks! What, I ask, could a Prince's-Street maister or
missy ken o' sic a wark mair than a red deer wad ken o' the inside o'
George's-Street Assembly-Rooms?"
The incidental associations of pictures link them to history, tradition,
and human character, in a manner which indefinitely enhances their
suggestiveness. Horace Walpole wove a standard collection of anecdotes
from the lives and works of painters. The frescoes of St. Mark's, at
Florence, have a peculiar significance to the spectator familiar with
Fra Angelico's life. One of the most pathetic and beautiful tragedies
in modern literature is that which a Danish poet elaborated from
Correggio's artist career. Lamb's great treasure was a print from Da
Vinci, which he called "My Beauty," and its exhibition to a literal
Scotchman gave rise to one of the richest jokes in Elia's record.
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