Painting in France, after the decline of classicism. An essay (1901)
Hamerton, Philip Gilbert, 1834-1894 · Boston, Little, Brown · leaf 144
for such revelations, being themargin of a quiet stream, but the costume is scarcelyadapted to the place. These voluminous dresses arelikely to be caught and torn in the roots of uncivil-ized trees, and those abundant white petticoats (whichcost as much in washing as would keep a poor family),will… … THE CONFESSION. Tissot. 103 hold the parasols (hands being indispensable forthat), and somewhere up in the left-hand corner wefinally discover two faces, and then the title of thepicture begins to make itself clear to us. Now all this curious arrangement shows that wehave come to a kind of art…
Painting
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