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in the work. The sensualist will find sensuality in Titian; the thinker will find thought; the saint, sanctity; the colourist, colour; the anatomist, form; and yet the picture will never be a popular one in the full sense, for none of these narrower people will find their special taste so alone consulted, as that the qualities which would ensure their gratification shall be sifted or separated from others; they are checked by the presence of the other qualities which ensure the gratification of other men. Thus, Titian is not soft enough for the sensualist, Correggio suits him better; Titian is not defined enough for the formalist,—Leonardo suits him better; Titian is not pure enough for the religionist,—Raphael suits him better; Titian is not polite enough for the man of the world,—Vandyke suits him better; Titian is not forcible enough for the lovers of the picturesque,– Rembrandt suits him better. So Correggio is popular with a certain set, and Vandyke with a certain set, and Rembrandt with a certain set. All are great men, but of inferior stamp, and therefore Vandyke is popular, and Rembrandt is popular, [Footnote: And Murillo, of all true painters the narrowest, feeblest, and most superficial, for those reasons the most popular.] but nobody cares much at heart about Titian; only there is a strange under-current of everlasting murmur about his name, which means the deep consent of all great men that he is greater than they— the consent of those who, having sat long enough at his feet, have found in that restrained harmony of his strength there are indeed depths of each balanced power more wonderful than all those separate manifestations in inferior painters: that there is a softness more exquisite than Correggio's, a purity loftier than Leonardo's, a force mightier than Rembrandt's, a sanctity more solemn even than Raffaelle's.Конец ознакомительного фрагмента.
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