heavenward-ascending Virgin, all harshness and
sternness are effaced, even to the last trace; and, indeed, does not
Painting itself seem in it to soar upward, transfigured on its own
pinions, as the liberated Psyche delivered from the severity of Form?

Here nothing outward remains, with separate natural force; everything
expresses receptivity and still endurance, even the perishable flesh,
the character of which the Italian language designates by the term
_morbidezza_, altogether unlike that with which Raphael invests the
descending Queen of Heaven, as she appears to the adoring pope and a
saint.

Though the remark be well-founded, that the original of Guido's female
heads is the Niobe of antiquity, yet the ground of this similarity is
surely no mere intentional imitation; perhaps a like aim led to like
means.

As the Florentine Niobe is an extreme in Sculpture, and the
representation in it of the Soul, so this well-known picture is
an extreme in Painting, which here ventures to lay aside even the
requisite of shade and the obscure, and to work almost with pure
Light.

Even though it might be permitted to Painting, from its peculiar
nature, to give a distinct preponderance to the Soul, yet theory and
instruction will do best constantly to aim at that original Centre,
whence alone Art may be produced ever anew; whereas, at the stage last
mentioned, it must necessarily stand still, or degenerate into cramped
mannerism. For even that higher passion is opposed to the idea of
having reached the acme of energy, whose image and reflex Art is
called upon to display.

A right intelligence will ever enjoy seeing a creature worthily, and,
as far as possible, also individually, represented; yea, Deity itself
would look down with pleasure on a being that, gifted with a pure
soul, should stoutly assert the dignity of its nature outwardly also,
and by its sensually efficient existence.

We have seen how the work of Art, springing up out of the depths of
Nature, begins with determinateness and limitation, unfolds its inward
plenitude and infinity, is finally transfigured in Grace, and at
last attains to Soul. But we can conceive only in detail what, in the
creative act of mature Art, is but one operation. No theory and no
rules can give this spiritual, creative power. It is the pure gift of
Nature, which here, for the second time, makes a close; for, having
fully actualized herself, she invests the creature with her creative