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be true in their outlines, how far they go down, according to their distance and ones eye. This one can only get from the actual scene. I observed the large wall mirror in a saloon and the reflections it showed of the other walls, furniture and hangings: the specific new and interesting re-arrangement or perspectivische Verschiebung of them in the mirror it is useless to calculate. One must observe reality. [[underlined]] Life and reality [[/underlined]] in landscape, as in a poem must be the basis, the fundamental facts. Fancy is unmeaning babbling. In the Renaissance painting, Italy, the complicated inventions with many figures, colors, architecture, et.c. of Veroneses and Tintorettos feasts or bachanalien appear pictorially far inferior to the simpler composition of early pictures. [[underlined]] Simplicity is art [[/underlined]], the [[underlined]] artificial [[/underlined]] aims at the complicated, at delusion instead of illusion. The italian Renaissance of painting travelled from the pictorial to the illustrative, losing its point. In Lionardos tratta pictura not a single word on this pictorial cardinal idea, as to the great step from the mechanical ability to imitate nature on canvas to the artistic, personal re-modeling of it into a poetic new unity. of course their ideas were more truly un-materialistic than ours and
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