And the fourth is that in the face you shall be led to see only beauty or joy;--never vileness, vice, or pain. Those are the four essentials of the greatest art. I repeat them, they are easily learned. 1. Faultless and permanent workmanship. 2. Serenity in state or action. 3. The Face principal, not the body. 4. And the Face free from either vice or pain. 221. It is not possible, of course, always literally to observe the second condition, that there shall be quiet action or none; but Bellini's treatment of violence in action you may see exemplified in a notable way in his St. Peter Martyr. The soldier is indeed striking the sword down into his breast; but in the face of the Saint is only resignation, and faintness of death, not pain--that of the executioner is impassive; and, while a painter of the later schools would have covered breast and sword with blood, Bellini allows no stain of it; but pleases himself by the most elaborate and exquisite painting of a soft crimson feather in the executioner's helmet. 222. Now the changes brought about by Michael Angelo--and permitted, or persisted in calamitously, by Tintoret--are in the four points these: 1st. Bad workmanship. The greater part of all that these two men did is hastily and incompletely done; and all that they did on a large scale in color is in the best qualities of it perished. 2d. Violence of transitional action. The figures flying,--falling,--striking,--or biting. Scenes of Judgment,--battle,--martyrdom,--massacre; anything that is in the acme of instantaneous interest and violent gesture. They cannot any more trust their public to care for anything but that. 3d. Physical instead of mental interest. The body, and its anatomy, made the entire subject of interest: the face, shadowed, as in the Duke Lorenzo,[43] unfinished, as in the Twilight, or entirely foreshortened, backshortened, and despised, among labyrinths of limbs, and mountains of sides and shoulders. 4th. Evil chosen rather than good. On the face itself, instead of joy or virtue, at the best, sadness, probably pride, often sensuality, and always, by preference, vice or agony as the subject of thought. In the Last Judgment of Michael Angelo, and the Last Judgment of Tintoret, it is the wrath of the Dies Irae, not its justice, in which they delight; and their only passionate thought of the coming of Christ in the clouds, is that all kindreds of the earth shall wail because of Him. Those are the four great changes wrought by Michael Angelo. I repeat them: Ill work for good. Tumult for Peace. The Flesh of Man for his Spirit. And the Curse of God for His blessing.