Books › The violin and its music, 1881 › scan 48
Scan 48
The violin and its music, 1881
6 lines. Read by computer on 3 September 2026. Printed page 28. See the scan on archive.org.
1more particularly, the patient enquiries of those interested in the early Flemish Composition sufficiently testify.
3In attempting to measure for ourselves the progress of the Arts in the Low Countries in the fifteenth century, we need not travel the by-paths of their history, nor does it matter which of the Arts—with the exception of poetry—we select for enquiry, since we can scarcely fail to find the Netherlanders in possession of them, if not in a higher state of development at least on a level with their condition among their neighbours, making due allowance for that difference of character which is as marked in the mechanical and Fine Arts of a people as their language. If we take the Art of Painting, we discover that it was in the fifteenth century that those masters of the Flemish School, Hubert and John Van Eyck, were glorifying themselves and their country by giving to the world works painted in oil colours which were destined to revolutionise the principles of Painting throughout Europe. The wondrous colours they produced, together with the genius which guided them in their use, caused the name of Van Eyck to be echoed from end to end of the domain of Art. Their landscapes have been described as "not merely a fruit of the endeavour to reflect the real world in Art, but have, even if expressed conventionally, a certain poetical meaning, in short a soul."
5* Burckhardt, "The Renaissance in Italy," Vol. II., p. 28.
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