Print collector's quarterly (4.1914)

narrow conception of the art of portraiture, — but when
rightly carried out is at least very effective, and pro-
duces an interesting and very convincing likeness. It
is, moreover, a conception common to nearly all the
French school, and it is one of the distinctive traits of
the work of Nanteuil. Joined to his genius for penetrat-
ing into the character of his model, to his Science and
probity of design, it must be admitted to be a very
valuable quality, and to have contributed very largely
to the charm of his portraits. It is this idea of a spiritecl
execution over a solid and sure foundation, — les belles
touches which are superposed on a geometrically accur-
ate outline, which makes clearer still two öfters of his
sayings: —
“Boldness of execution comes from the intelligence
of the design, and from a clear notion of the final effect,”
and: “One fails as much from lack of method and re-
flection, as from lack of Science.” He seems to have
realized that his own portraits clid represent far more
than the expression of a moment, that there was in
them a fusion of this fleeting expression with a much
more profound and really significant character, — when
he wrote: “ Une veritable ressemblance frappe autant
Vesprit que les yeux ” (a real likeness speaks to the mind
as much as to the eye); and again: “When a portrait
has the true air of the sitter, that is to say when it sets
forth his character and spirit, the likeness usually holds
true for a very long while.” —A prophetic remark, for
after two hundred and fifty years, Nanteuil’s sitters
appear before us with as convincing Images, as lively
and familiär expressions, with as “modern” and as
readily intelligible minds and characters as any gallery
of our Parisian contemporaries.
And what distinguishes the genius of Nanteuil from

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