217. As I was walking back from Hincksey last evening, somewhat discomfited by the look of bad weather, and more in myself, as I thought over this closing lecture, wondering how far you thought I had been talking idly to you, instead of teaching you to draw, through this term, I stopped before Messrs. Wyatt's window; caught--as it was intended every one should be--by this display of wonderful things. And I was very unhappy as I looked, for it seemed to me you could not but think the little I could show you how to do quite valueless; while here were produced, by mysteries of craft which you might expect me at once to explain, brilliant water-colours in purple and gold, and photographs of sea-waves, and chromolithotints of beautiful young ladies, and exquisitely finished engravings of all sorts of interesting scenes, and sublime personages: patriots, saints, martyrs, penitents, and who not! and what not! all depicted with a dexterity which it has cost the workmen their life's best energy to learn, and requires great cleverness thus to apply. While, in your room for study, there are only ugly photographs of Dürers and Holbeins, and my rude outlines from leaves, and you scarcely ever hear me say anything in praise of that delightful and elaborate modern art at all. 218. So I bought this Madonna,[J] which was the prettiest thing I saw: and it will enable me to tell you why this modern art is, indeed, so little to be studied, even at its best. I think you will all like the plate, and you ought to like it; but observe in what its beauty consists. First, in very exquisite line engraving: against that I have nothing to say, feeling the greatest respect for the industry and skill it requires. Next, in a grace and severity of action which we all are ready to praise; but this is not the painter's own bestowing; the trick of it is learned from Memling and Van Eyck, and other men of the northern religious school. The covering of the robe with jewels is pleasing to you; but that is learned from Angelico and John Bellini; and if you will compare the jewel-painting in the John Bellini (Standard No. 5), you will find this false and formal in comparison. Then the face is much dignified by having a crown set on it--which is copied from the ordinary thirteenth century form, and ill done. The face itself is studied from a young German mother's, and is only by the painter's want of skill made conventional in expression, and formal in feature. It would have been wiser and more difficult to have painted her as Raphael or Reynolds would, with true personal resemblance, perfected in expression. [J] Now, Ref. 104.