that sort of interpretation which
adjusts the position of these men to general culture, whereas smaller
men can be the proper subjects only of technical or antiquarian
treatment. But, besides those great men, there is a certain number of
artists who have a distinct faculty of their own by which they convey to
us a peculiar quality of pleasure which we cannot get elsewhere, and
these, too, have their place in general culture, and have to be
interpreted to it by those who have felt their charm strongly, and are
often the objects of a special diligence and a consideration wholly
affectionate, just because there is not about them the stress of a great
name and authority. Of this select number Botticelli is one; he has the
freshness, the uncertain and diffident promise which belongs to the
earlier Renaissance itself, and makes it perhaps the most interesting
period in the history of the mind; in studying his work one begins to
understand to how great a place in human culture the art of Italy had
been called.

_Studies in the History of the Renaissance_ (London, 1873).

THE QUEEN OF SHEBA

(_VERONESE_)

JOHN RUSKIN

This picture is at Turin, and is of quite inestimable value. It is hung
high; and the really principal figure--the Solomon, being in the shade,
can hardly be seen, but is painted with Veronese's utmost tenderness, in
the bloom of perfect youth, his hair golden, short, crisply curled. He
is seated high on his lion throne; two elders on each side beneath him,
the whole group forming a tower of solemn shade. I have alluded,
elsewhere, to the principle on which all the best composers act, of
supporting these lofty groups by some vigorous mass of foundation. This
column of noble shade is curiously sustained. A falconer leans forward
from the left-hand side, bearing on his wrist a snow-white falcon, its
wings spread, and brilliantly relieved against the purple robe of one of
the elders. It touches with its wings one of the golden lions of the
throne, on which the light also flashes strongly; thus forming, together
with it, the lion and eagle symbol, which is the type of Christ,
throughout mediaeval work. In order to show the meaning of this symbol,
and that Solomon is typically invested with the Christian royalty, one
of the elders by a bold anachronism, holds a jewel in his hand in the
shape of a cross, with which he (by accident of gesture) points to
Solomon; his other hand is laid on an open book.