ture. A mosaic
tells the tale of a society, as the skeleton of an ichthyosaurus
opens up a creative epoch. All things are linked together, and all
are therefore deducible. Causes suggest effects, effects lead back to
causes. Science resuscitates even the warts of the past ages.

Hence the keen interest inspired by an architectural description,
provided the imagination of the writer does not distort essential facts.
The mind is enabled by rigid deduction to link it with the past; and to
man, the past is singularly like the future; tell him what has been,
and you seldom fail to show him what will be. It is rare indeed that
the picture of a locality where lives are lived does not recall to
some their dawning hopes, to others their wasted faith. The comparison
between a present which disappoints man's secret wishes and a future
which may realize them, is an inexhaustible source of sadness or of
placid content.

Thus, it is almost impossible not to feel a certain tender sensibility
over a picture of Flemish life, if the accessories are clearly given.
Why so? Perhaps, among other forms of existence, it offers the best
conclusion to man's uncertainties. It has its social festivities, its
family ties, and the easy affluence which proves the stability of its
comfortable well-being; it does not lack repose amounting almost to
beatitude; but, above all, it expresses the calm monotony of a frankly
sensuous happiness, where enjoyment stifles desire by anticipating it.
Whatever value a passionate soul may attach to the tumultuous life
of feeling, it never sees without emotion the symbols of this Flemish
nature, where the throbbings of the heart are so well regulated that
superficial minds deny the heart's existence. The crowd prefers
the abnormal force which overflows to that which moves with steady
persistence. The world has neither time nor patience to realize the
immense power concealed beneath an appearance of uniformity. Therefore,
to impress this multitude carried away on the current of existence,
passion, like a great artist, is compelled to go beyond the mark, to
exaggerate, as did Michael Angelo, Bianca Capello, Mademoiselle de la
Valliere, Beethoven, and Paganini. Far-seeing minds alone disapprove
such excess, and respect only the energy represented by a finished
execution whose perfect quiet charms superior men. The life of this
essentially thrifty people amply fulfils the conditions of happiness
which the masses desire