GENERAL CLASSICAL COMPOSITIONS Scenes of adventure from the ancient poets in which the gods and goddesses are concerned, appear to be rapidly becoming things of the past for the painter. This is partly due to the circumstance that these scenes have been so multiplied since the early days of the Renaissance, that they are now positively fatiguing to both artists and the public; but there is a deeper reason. If we try to number the paintings of classical subjects by first-class artists which are enshrined in our minds, we can count very few, and nearly all of these are single figures, as a Venus, a Leda, a Psyche, or a Pandora. We do not call up a Judgment of Paris, or a Diana and Actæon, or any other design where divinities are mixed with mortals in earthly actions. The cause of this seems to be that our minds naturally revolt against a glaring incongruity. The imagination is unable to harmonize the qualities of a god with the possession of human instincts and frailties, or strike a balance between divine actions and human motives. We see these pictures and admire the design and execution, but they leave us cold: we are unable to kindle enthusiasm over patent unreality. The general conclusion is that painters would be wise to avoid such compositions, and confine their attention in classical work to single figures of goddesses or heroines, leaving to the poet suggestion of miraculous powers. CHAPTER IX EXPRESSION. PART IV.--GENERAL IDEALS Limitation of the painter with general ideals--Ideal heads interchangeable in sacred and symbolical art--Ideal male human countenances impossible for the painter.