Summary

Portrait of Edith Wharton Edith Wharton,  False Dawn (The 'Forties)

“ Raycie had travelled. He could hardly be blamed for not knowing that the things he admired were no longer admirable, still less for not knowing why. The pictures before which Lewis had knelt in spirit had been virtually undiscovered, even by art-students and critics, in his father’s youth. How was an American gentleman, filled with his own self-importance, and paying his courier the highest salary to show him the accredited “Masterpieces”—how was he to guess that whenever he stood rapt before a Sassoferrato or a Carlo Dolce one of those unknown treasures lurked near by under dust and cobwebs? ”
Source: Gutenberg

Portrait of Edith Wharton Edith Wharton,  False Dawn (The 'Forties)

“ 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.
After that he had seen almost everything else that Italian art had to offer; had been to Florence, Naples, Rome; to Bologna to study the Eclectic School, to Parma to examine the Correggios and the Giulio Romanos.
”
Source: Gutenberg

Portrait of Edith Wharton Edith Wharton,  False Dawn (The 'Forties)

“ Every day from two to four Lewis still sat shivering among his treasures, or patiently measured the length of the deserted gallery: as long as there was a chance of any one coming he would not admit that he was beaten. For the next visitor might always be the one who understood.
One snowy February day he had thus paced the rooms in unbroken solitude for above an hour when carriage-wheels stopped at the door. He hastened to open it, and in a great noise of silks his sister Sarah Anne Huzzard entered.
”
Source: Gutenberg

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