We have cited this beautiful passage--and we could have cited many others, even superior to it--of a man now forgotten, and almost always misunderstood, but whom posterity will put in his place. Let us indicate, at least, the last pages of the same production, on the necessity of leaving the works of art in the place for which they were made, for example, the portrait of Mlle. de Valliere in the _Madeleine aux Carmelites_, instead of transferring it to, and exposing it in the apartments of Versailles, "the only place in the world," eloquently says M. Quatremere, "which never should have seen it." LECTURE X. FRENCH ART IN THE SEVENTEENTH CENTURY. Expression not only serves to appreciate the different arts, but the different schools of art. Example:--French art in the seventeenth century. French poetry:--Corneille. Racine. Moliere. La Fontaine. Boileau.--Painting:--Lesueur. Poussin. Le Lorrain. Champagne.--Engraving.--Sculpture:--Sarrazin. The Anguiers. Girardon. Pujet.--Le Notre.--Architecture. We believe that we have firmly established that all kinds of beauty, although most dissimilar in appearance, may, when subjected to a serious examination, be reduced to spiritual and moral beauty; that expression, therefore, is at once the true object and the first law of art; that all arts are such only so far as they express the idea concealed under the form, and are addressed to the soul through the senses; finally, that in expression the different arts find the true measure of their relative value, and the most expressive art must be placed in the first rank. If expression judges the different arts, does it not naturally follow, that by the same title it can also judge the different schools which, in each art, dispute with each other the empire of taste? There is not one of these schools that does not represent in its own way some side of the beautiful, and we are disposed to embrace all in an impartial and kindly study. We are eclectics in the arts as well as in metaphysics. But, as in metaphysics, the knowledge of all systems, and the portion of truth that is in each, enlightens without enfeebling our convictions; so, in the history of arts, while holding the opinion that no school must be disdained, that even in China some shade of beauty can be found, our eclecticism does not make us waver in regard to the sentiment of true beauty and the supreme rule of art. What we demand of the different schools, without distinction of time or place, what we see in the south as well as in the north, at Florence, Rome, Venice, and Seville, as well as at Antwerp, Amsterdam, and Paris,--wherever there are men, is something human, is the expression of a sentiment or an idea.