of its finish, and is not so readily distinguished by the eye as is that of Donato, which is merely sketched.[1]
And this is a point to which artists should give much consideration, since experience teaches us that whatever is to be looked at from a distance, whether painting, sculpture, or any other work of similar kind, has ever more force and effect when merely a striking and beautiful sketch than when delicately finished; and, besides the effect here attributed to distance, it would appear, also, that the poetic fire of the author frequently acts with most efficiency in a rapid sketch, by which his inspiration is expressed in a few strokes suddenly thrown off in the first ardours of composition: a too anxious care and labour, on the contrary, will often deprive the works of him who never knows when to take his hands from them, of all force and character. He who knows how closely, not only painting, but all the arts of design resemble poetry, knows also that verse proceeding from the poetic furor is the only good and true poesy: in like manner the works of men excellent in the arts of design, are much better when produced by the force of a sudden inspiration, than when they are the result of long beating about, and gradual spinning forth with pains and labour. Whoever has the clear idea of what he desires to produce in his mind, as all ought to have from the first instant, will ever march confidently and with readiness towards the perfection of the work which he proposes to execute. Nevertheless, as all minds are not of the same character, there are, doubtless, some who can only do well when they proceed slowly, but the instances are rare. And, not to confine ourselves to painting, there is a proof of this among poets, as we are told in the practice of the most venerable and most learned Bembo, who laboured in such sort that he would sometimes expend many months, nay, possibly years, if we dare give credit to the words of those who affirm it, in the production of a sonnet. Wherefore, there need be no great matter of astonishment if something similar should occasionally happen to certain of the men engaged in the pursuit of our arts: but the rule is, for
- ↑ The four parts of this work are also to be found in the above-named corridor. See Cicognara, Storia della Scultura Moderna, where the work of Donatello, as well as that of Luca, is engraved.— Ed. Flor. 1846-9. See also Rumohr, Ital. Forsch. ii, 298.
