He had stood a long time looking at the frescoes, put off at first — he could admit it now — by a certain stiffness in the attitudes of the people, by the childish elaboration of their dress (so different from the noble draperies which Sir Joshua’s Discourses on Art had taught him to admire in the great painters), and by the innocent inexpressive look in their young faces — for even the gray-beards seemed young. And then suddenly his gaze had lit on one of these faces in particular: that of a girl with round cheeks, high cheek-bones and widely set eyes under an intricate head-dress of pearl-woven braids. Why, it was Treeshy — Treeshy Kent to the life! And so far from being thought “plain,” the young lady was no other than the peerless princess about whom the tale revolved. And what a fairy-land she lived in — full of lithe youths and round-faced pouting maidens, rosy old men and burnished blackamoors, pretty birds and cats and nibbling rabbits — and all involved and enclosed in golden balustrades, in colonnades of pink and blue, laurel-garlands festooned from ivory balconies, and domes and minarets against summer seas! Lewis’s imagination lost itself in the scene; he forgot to regret the noble draperies, the exalted sentiments, the fuliginous backgrounds, of the artists he had come to Italy to admire — forgot Sassoferrato, Guido Reni, Carlo Dolce, Lo Spagnoletto, the Carracci, and even the Transfiguration of Raphael, though he knew it to be the greatest picture in the world.
Chapter 14详情 ➢
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