rnate
song, for the prolonging of the trumpet blast, and the answering of
psaltery and cymbal, throughout the endless deep and from all the star
shores of heaven?

FOOTNOTES

[75] I take no note of the representation of evil spirits, since
throughout we have been occupied in the pursuit of beauty; but it
may be observed generally that there is great difficulty to be
overcome in attempts of this kind, because the elevation of the form
necessary to give it spirituality destroys the appearance of evil;
hence even the greatest painters have been reduced to receive aid
from the fancy, and to eke out all they could conceive of malignity
by help of horns, hoofs, and claws. Giotto's Satan in the Campo
Santo, with the serpent gnawing the heart, is fine; so many of the
fiends of Orcagna, and always those of Michael Angelo. Tintoret in
the Temptation, with his usual truth of invention, has represented
the evil spirit under the form of a fair angel, the wings burning
with crimson and silver, the face sensual and treacherous. It is
instructive to compare the results of imagination associated with
powerful fancy in the demons of these great painters, or even in
such nightmares as that of Salvator already spoken of, Sect. I.
Chap. V. Sec. 12 (note,) with the simple ugliness of idiotic distortion
in the meaningless terrorless monsters of Bronzino in the large
picture of the Uffizii, where the painter, utterly uninventive,
having assembled all that is abominable of hanging flesh, bony
limbs, crane necks, staring eyes, and straggling hair, cannot yet by
the sum and substance of all obtain as much real fearfulness as an
imaginative painter could throw into the turn of a lip or the
knitting of a brow.

[76] I have not thought it necessary to give farther instances at
present, since I purpose hereafter to give numerous examples of this
kind of ideal landscape. Of true and noble landscape, as such, I am
aware of no instances except where least they might have been
expected, among the sea-bred Venetians. Ghirlandajo shows keen,
though prosaic, sense of nature in that view of Venice behind an
Adoration of Magi in the Uffizii, but he at last walled himself up
among gilded entablatures. Masaccio indeed has given one grand
example in the fresco of the Tribute Money, but its color is now
nearly lost.

[77] I