ind, be it remembered, much _is_ subordinate,) which is of all
characters of execution the most refreshing. Note the scrawled middle
tint of the wall behind the Gothic well at Ratisbonne, and compare this
manly piece of work with the wretched smoothness of recent lithography.
Let it not be thought that there is any inconsistency between what I say
here and what I have said respecting finish. This piece of dead wall is
as much finished in relation to its _function_ as a wall of
Ghirlandajo's or Leonardo's in relation to theirs, and the refreshing
quality is the same in both, and manifest in _all_ great masters,
without exception, that of the utter regardlessness of the means so that
their end be reached. The same kind of scrawling occurs often in the
shade of Raffaelle.

Sec. 32. His excellent composition and color.

It is not only, however, by his peculiar stone touch nor perception of
human character that he is distinguished. He is the most dexterous of
all our artists in a certain kind of composition. No one can place
figures like him, except Turner. It is one thing to know where a piece
of blue or white is wanted, and another to make the wearer of the blue
apron or white cap come there, and not look as if it were against her
will. Prout's streets are the only streets that are accidentally
crowded, his markets are the only markets where one feels inclined to
get out of the way. With others we feel the figures so right where they
are, that we have no expectation of their going anywhere else, and
approve of the position of the man with the wheelbarrow, without the
slightest fear of his running against our legs. One other merit he has,
far less generally acknowledged than it should be: he is among our most
sunny and substantial colorists. Much conventional color occurs in his
inferior pictures (for he is very unequal) and some in all; but portions
are always to be found of quality so luminous and pure that I have found
these works the only ones capable of bearing juxtaposition with Turner
and Hunt, who invariably destroy everything else that comes within
range of them. His most beautiful tones occur in those drawings in which
there is prevalent and powerful warm gray, his most failing ones in
those of sandy red. On his deficiencies I shall not insist, because I am
not prepared to say how far it is possible for him to avoid them. We
have never seen the reconciliation of the peculiar characters he has
obtained with the