but they are scarcely ideal. They are an extreme and unique conception of a certain thing, but not of what the mind delights in or broods fondly over. The image created by the artist’s hand is not moulded and fashioned by the love of good and yearning after grace and beauty, but rather the contrary: that is they are ideal deformity, not ideal beauty. Rubens was perhaps the most picturesque of painters; but he was almost the least ideal. So Rembrandt was (out of sight) the most picturesque of colourists; as Correggio was the most ideal. In other words, his composition of light and shade is more a whole, more in unison, more blended into the same harmonious feeling than Rembrandt’s, who staggers by contrast, but does not soothe by gradation. Correggio’s forms, indeed, had a picturesque air; for they often incline (even when most beautiful) to the quaintness of caricature. Vandyke, I think, was at once the least picturesque and least ideal of all the great painters. He was purely natural, and neither selected from outward forms nor added anything from his own mind. He owes everything to perfect truth, clearness, and transparency; and though his productions certainly arrest the eye, and strike in a room full of pictures, it is from the contrast they present to other pictures,
