determined raptures in which some critics indulge, is incompatible with the true appreciation of the really great and transcendent works. I cannot imagine, for example, how the resolute champion of undeserving pictures can soar to the amazing beauty of Titian's great picture of the Assumption of the Virgin at Venice; or how the man who is truly affected by the sublimity of that exquisite production, or who is truly sensible of the beauty of Tintoretto's great picture of the Assembly of the Blessed in the same place, can discern in Michael Angelo's Last Judgment, in the Sistine chapel, any general idea, or one pervading thought, in harmony with the stupendous subject. He who will contemplate Raphael's masterpiece, the Transfiguration, and will go away into another chamber of that same Vatican, and contemplate another design of Raphael, representing (in incredible caricature) the miraculous stopping of a great fire by Leo the Fourth—and who will say that he admires them both, as works of extraordinary genius—must, as I think, be wanting in his powers of perception in one of the two instances, and, probably, in the high and lofty one.
It is easy to suggest a doubt, but I have a great doubt whether, sometimes, the rules of art are not too strictly observed, and whether it is quite well or agreeable that we should know beforehand, where this figure will be turning round, and where that figure will be lying down, and where there will be drapery in folds, and so forth. When I observe heads inferior to the subject, in pictures of merit, in Italian galleries, I do not attach that reproach to the Painter, for I have a suspicion that these great men, who were, of necessity,
