But, as I walked back at night in those desolate streets--so essentially desolate after the warmth of Naples--on my way back to the hotel where Byron lived, before his evil genius hurried him to an early death, I remembered these two sentences in his letters; one, when in Florence, he returns from a picture-gallery "drunk with beauty"; one, where, as he sees the painted face of a learned lady, he cries: "This is the kind of face to go mad for, because it can not walk out of its frame." There, it seems to me, that Byron, whose instinct was uncertain, has, by instinct, in this sentence, anticipated a great saying of Whistler's. It was one of his aims in portrait painting to establish a reasonable balance between the man as he sits in the chair and the image of the man reflected back to you from the canvas. "The one aim," he wrote, "of the unsuspecting painter is to make his man 'stand out' from the frame--never doubting that, on the contrary, he should, and in truth absolutely does, stand within the frame--and at a distance behind it equal to the distance at which the painter has seen it. The frame is, indeed, the window through which the painter looks at his model, and nothing could be more offensively inartistic than this brutal attempt to thrust the model on the hither-side of this window!" He never proposed, in a picture, to give you something which you could mistake for reality: but frankly, a picture, a thing which was emphatically not nature, because it was art; whereas, in Degas, the beauty is a part of truth, a beauty which our eyes are too jaded to distinguish in the things about us. In the Ambrosiane in Milan, beside two wonderful portraits, once attributed to Leonardo, and coming near to being worthy of him, are his grotesque drawings that are astonishing in their science, truth and naked beauty. Each is a quite possible, but horrible and abnormal, exaggeration of one or another part of the face, which becomes bestial and indeed almost incredible, without ceasing to be human. It is this terrible seriousness that renders them so dreadful: old age, vice and disease made visible. In another room there are many of his miraculously beautiful drawings--the loveliest drawings in the world. Note, for instance, the delicious full face drawing of a child with an enchanting pout. The women's faces are miracles. After these all drawings, and their method, seem obvious. The perfect love and understanding with which he follows the outline of a lovely cheek, or of a bestial snout; there is equal beauty, because there is equal reverence, in each. After this the Raphael cartoon (for the Vatican _School of Athens_) seems merely skilful, a piece of consummate draughtsmanship; supremely adequate but entirely without miracle.