Note 11 — "THE HISTORY OF CHRISTIAN ART."[4] (continued 2)

We have been much surprised by the author's frequent reference to Lasinio's engravings of various frescoes, unaccompanied by any warning of their inaccuracy. No work of Lasinio's can be trusted for anything except the number and relative position of the figures. All masters are by him translated into one monotony of commonplace:—he dilutes eloquence, educates naïveté, prompts ignorance, stultifies intelligence, and paralyzes power; takes the chill off horror, the edge off wit, and the bloom off beauty. In all artistical points he is utterly valueless, neither drawing nor expression being ever preserved by him. Giotto, Benozzo, or Ghirlandajo are all alike to him; and we hardly know whether he injures most when he robs or when he redresses.