c. LII. The first class, I say, take the good and leave the evil. Out
of whatever is presented to them, they gather what it has of grace, and
life, and light, and holiness, and leave all, or at least as much as
possible, of the rest undrawn. The faces of their figures express no
evil passions; the skies of their landscapes are without storm; the
prevalent character of their color is brightness, and of their
chiaroscuro fulness of light. The early Italian and Flemish painters,
Angelico and Hemling, Perugino, Francia, Raffaelle in his best time,
John Bellini, and our own Stothard, belong eminently to this class.

Sec. LIII. The second, or greatest class, render all that they see in
nature unhesitatingly, with a kind of divine grasp and government of the
whole, sympathizing with all the good, and yet confessing, permitting,
and bringing good out of the evil also. Their subject is infinite as
nature, their color equally balanced between splendor and sadness,
reaching occasionally the highest degrees of both, and their chiaroscuro
equally balanced between light and shade.

The principal men of this class are Michael Angelo, Leonardo, Giotto,
Tintoret, and Turner. Raffaelle in his second time, Titian, and Rubens
are transitional; the first inclining to the eclectic, and the last two
to the impure class, Raffaelle rarely giving all the evil, Titian and
Rubens rarely all the good.

Sec. LIV. The last class perceive and imitate evil only. They cannot draw
the trunk of a tree without blasting and shattering it, nor a sky except
covered with stormy clouds: they delight in the beggary and brutality of
the human race; their color is for the most part subdued or lurid, and
the greatest spaces of their pictures are occupied by darkness.

Happily the examples of this class are seldom seen in perfection.
Salvator Rosa and Caravaggio are the most characteristic: the other men
belonging to it approach towards the central rank by imperceptible
gradations, as they perceive and represent more and more of good. But
Murillo, Zurbaran, Camillo Procaccini, Rembrandt, and Teniers, all
belong naturally to this lower class.

Sec. LV. Now, observe: the three classes into which artists were
previously divided, of men of fact, men of design, and men of both, are
all of Divine institution; but of these latter three, the last is in no
wise of Divine institution. It is entirely human, and the men who belong
to it have sunk into it by their own faults