Constance Jocelyn Ffoulkes

“ If the drawing of the hand and ear were not always conspicuous, there were other peculiarities of this language of form to aid in the identification of a master: the treatment of the hair, as in Piero dei Franceschi; the indication of the sinews, as in Foppa; the drawing of the eye, as in Liberale da Verona; the modelling of the eyelid and upper lip, as in Ambrogio de Predis; the form of the feet, as in Luini. In short, all apparently insignificant details were of importance in his plan of study, for to him they were like the signature of the master. ”

“ Morelli found art criticism uninspired, unscientific and practically worthless. To be of any real value he held that historical, documentary and traditional knowledge respecting works of art was only of secondary importance as compared with the evidence to be derived from the study of the pictures themselves. He contended that art criticism must be conducted on scientific principles and follow a strict course of inductive reasoning. A painting should be subjected to a searching analysis, and its component parts and minutest details submitted to methodical and exact investigation. ”

“ By diligent observation of the forms the rudiments of the language of art might be mastered, and the first step taken towards initiating a methodized system of study. The education of a critic consists chiefly in learning to compare, and Morelli soon recognized the value of systematic comparison in the study of art. ”