Percy Lubbock

Summary

Percy Lubbock Roman pictures (1923)

I can easily bear to hear the name of art re-uttered in Rome, for the thousand-millionth time, in any connexion, on any pretext. Is Rome a step-mother to the arts?—it may well be so, and very likely Rome has thought nothing of smashing an artist, carelessly, disdainfully, at all the changes of the moon since the suckling of the twins. I can imagine that it may lie in the character of Rome to be often brutal to the arts; and by all means let an artist (though not that egregious Bannock indeed, for choice) stand up and hurl out his reproach.
Source: Gutenberg

Percy Lubbock Roman pictures (1923)

She was no worldling, the good lady; neither she nor her forefathers had taken thought to be prepared for the world, to study the arts with which it may be repulsed, attracted, trodden under or turned to account. The Marchesa had no manners, no glances, no speeches—no raiment even, you might say—but those of her kindly nature, the well-meaning right-intending soul that she happened to be. She was not a work of art; and therein is the effect that she makes in her Roman palace, the effect you may surprise if you follow the word of the Principessa and look suddenly round.
Source: Gutenberg

Percy Lubbock Roman pictures (1923)

I had thrown over Hawthorne and Andersen, even the ingenuous romance of poor old Zola, and my pursuit of reality had carried me along the path that I have traced. But at last I arrived at a studio, and I hadn’t spent ten minutes there before I was back again in the dear familiar company of the Improviser and the Faun, the friends of my sentimental and pre-Deering past. I had had an inkling of them even as I approached the door; for the Via Margutta, tucked under the terrace of the Pincian Hill, is a corner of Rome where you might well expect to be brushed by their gentle ghosts.
Source: Gutenberg

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