THREE:A remarkable circumstance connected with the evidence afforded by the figured monuments is its progressive cha239racter. According to M. Ravaisson, As time goes on, the indications of belief in a future life, instead of becoming fainter, grow clearer and more distinct. More and more exalted ideas are formed of the souls destiny, and ever increasing honours are paid to the dead. Moreover, these ideas and practices are extended so as to cover a greater number of individuals. At first it would seem that the only persons whose fate excites any interest are kings and heroes, the children or the descendants of the gods; in the course of time many others, and at last all, or nearly all, are admitted to a share in the same regard. The ancient principle that happiness is reserved for those who resemble the gods remains unchanged; but the notion of what constitutes resemblance to the gods, or in other words perfection, gradually becomes so modified, that all men may aspire to reach it.370Other English artists of this period were John Riley, an excellent and original painter, who died in 1691; Murray, a Scotsman; Charles Jervas, the friend of Pope, a man much overrated by his acquaintance; and Jonathan Richardson, a much superior artist to Jervas, and author of the valuable "Essay on the Art of Criticism, as it relates to Painting." Thomas Hudson, a pupil of Richardson, and his son-in-law, was an admirable painter of heads, and had the honour of being the instructor of Sir Joshua Reynolds. Henry Cook, like Thornhill, was a decorator, and painted the choir of New College Chapel, at Oxford, and the ceiling of a large room at the New River head. Among other artists of repute there may be named Luke Cradock, a flower and fruit painter; John Wootton, an animal painter; Francis Hayman, an historical painter and designer for book-platesthose for "Don Quixote" being his best; and George Lambert, one of the first English landscape painters of any mark.
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