Masques & Phases by Robert Ross
page 48 of 205 (23%)
page 48 of 205 (23%)
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"I could not dare to guess any more than I dare tell you what has impressed me most," I replied, gazing softly at Flora. "The two things which have really and truly impressed me most," continued Mrs. Brodie, "more than anything else, more than the Pantheon, or the Forum, are--St. Peter's and the Colosseum." She almost looked young again. The next day we visited the Borghese; and I was able to explain to Flora why the circular "Madonna and Angels" was not by Botticelli. And, indeed, there was hardly a picture in Rome I was unable to reattribute to its rightful owner. In the apt Flora I found a receptive pupil. She even grew suspicious about the great Velasquez at the Doria, in which she fancied, with all the enthusiasm of youth, that she detected the handling of Mazo. I soon found that it was better for her training to discourage her from looking at pictures at all--we confined ourselves to photographs. In a photograph you are not disturbed by colour, or by impasto. You are able to study the morphic values in a picture, by which means you arrive at the attribution without any disturbing aesthetic considerations. One afternoon, returning from some church ceremony, Flora said to me, "Oh, Aleister" (we were already engaged secretly), "papa is going to ask you next winter to stay at Hootawa. Before I forget, I want to warn you never to criticise the pictures. They are mostly of the Dutch and English School, and I dare say you will find a great many of the names wrong; but, you know, papa is irritable, and it would offend him if you said that the 'Terborch' was really by Pieter de Hooghe. You can easily avoid saying anything--and then, you will really admire the Vandyck." |
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