richly-coloured painting on which he was accustomed to rest his eye while at work; so to familiarise it to the fullest and most glowing hues—I am not sure that he is right.
Let us take, for instance, two pictures by the prince of painters—the Adoration of the Magi among his first;—The Transfiguration his last work. In artistic power, this picture is said to surpass every other in the world. The genius of its author is shown in its admirable composition, in the spirit of the attitudes, in the life that animates each figure, without alluding to technical merits, which, of course, are felt even by those who cannot define, nor even point them out. Yet, this picture does not afford me great pleasure—no face is inspired by holy and absorbing passion; and the woman, the most prominent figure, is a portrait of the Fornarina, whose hard countenance is peculiarly odious. Turn from this to the half-effaced picture at Berlin—the radiant beauty here expressed, strikes a chord in my soul—all harmony, all love. It is not the art of the painter I admire; it is his pure, exalted soul, which he incarnated in these lovely forms. I remember Wordsworth’s theory, that we enter this world bringing with us “airs from heaven,” memories of a divine abode and angelic fellowship which we have just left, that flake
