The marvellous part of it all, and quite impossible to convey, is that such days are not pensive, but effulgent, that the lines of the landscape are not blurred, but exquisitely selected and worked. XII. A quality like that of Tuscan art is, as I have once before remarked, in some measure, abstract; a general character, like that of a composite photograph, selected and compounded by the repetition of the more general and the exclusion of more individual features. In so far, therefore, it is something rather tended towards in reality than thoroughly accomplished; and its accomplishment, to whatever extent, is naturally due to a tradition, a certain habit among artists and public, which neutralises the refractory tendencies of individuals (the personal morbidness evident, for instance, in Botticelli) and makes the most of what the majority may have in common--that dominant interest, let us say, in line and mass. Such being the case, this Tuscan quality comes to an end with the local art of the middle ages, and can no longer be found, or only imperfect, after the breaking up and fusion of the various schools, and the arising of eclectic personalities in the earliest sixteenth century. After the painters born between 1450 and 1460, there are no more genuine Tuscans. Leonardo, once independent of Verrocchio and settled in Lombardy, is barely one of them; and Michel Angelo never at all--Michel Angelo with his moods all of Rome or the great mountains, full of trouble, always, and tragedy. These great personalities, and the other eclectics, Raphael foremost, bring qualities to art which it had lacked before, and are required to make its appeal legitimately universal. I should shrink from judging their importance, compared with the older and more local and traditional men. Still further from me is it to prefer this Tuscan art to that, as local and traditional in its way, of Umbria or Venetia, which stands to this as the most poignant lyric or the richest romance stands, let us say, to the characteristic quality, sober yet subtle, of Dante's greatest passages. There is, thank heaven, wholesome art various enough to appeal to many various healthy temperaments; and perhaps for each single temperament more than one kind of art is needful. My object in the foregoing pages has not been to put forward reasons for preferring the art of the Tuscans any more than the climate and landscape of Tuscany; but merely to bring home what the especial charm and power of Tuscan art and Tuscan nature seem to me to be. More can be gained by knowing any art lovingly in itself than by knowing twenty arts from each other through dry comparison.