it:--

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"Sculpture and Painting, twins of Intellect, rejoice and breathe freest
in the pure ether of Architecture, or Spirit, like Castor or Pollux
under the breezy heaven of their father Jupiter."--Vol. ii., p. 14.

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58. Prepared by this passage to consider painting either as spiritual or
intellectual, his patience may pardonably give way on finding in the
sixth letter--(what he might, however, have conjectured from the heading
of the third period in the chart of the schools)--that the peculiar
prerogative of painting--color, is to be considered as a _sensual_
element, and the exponent of sense, in accordance with a new analogy,
here for the first time proposed, between spirit, intellect, and sense,
and expression, form, and color. Lord Lindsay is peculiarly unfortunate
in his adoptions from previous writers. He has taken this division of
art from Fuseli and Reynolds, without perceiving that in those writers
it is one of convenience merely, and, even so considered, is as
injudicious as illogical. In what does expression consist but in form
and color? It is one of the ends which these accomplish, and may be
itself an attribute of both. Color may be expressive or inexpressive,
like music; form expressive or inexpressive, like words; but expression
by itself cannot exist; so that to divide painting into color, form, and
expression, is precisely as rational as to divide music into notes,
words, and expression. Color may be pensive, severe, exciting,
appalling, gay, glowing, or sensual; in all these modes it is
expressive: form may be tender or abrupt, mean or majestic, attractive
or overwhelming, discomfortable or delightsome; in all these modes, and
many more, it is expressive; and if Lord Lindsay's analogy be in anywise
applicable to either form or color, we should have color sensual
(Correggio), color intellectual (Tintoret), color spiritual
(Angelico)--form sensual (French sculpture), form intellectual
(Phidias), form spiritual (Michael Angelo). Above all, our author should
have been careful how he attached the epithet "sensual" to the element
of color--not only on account of the glaring inconsistency with his own
previous assertion of the spirituality of painting--(since it is
certainly not merely by being flat instead of solid, representative
instead of actual, that painting is--if it be--more spiritual than
sculpture); but also, because this idea of sensuality in