Such views will to many seem visionary and strange heresies. Yet they are truths by which painting reached its golden era, and which, even in its decline, have been largely drawn upon. Under Louis XIV., a vile epoch of a faulty school,[*211] allegory triumphed over reality, and the best feelings of humanity were forced into masquerade. But what shall we think of the taste which admits such solecisms against nature, whilst objecting to the conventionalities practised by the early Christian masters, and adopted by the purists of our own day? What, indeed, is art but a tissue of conventionalities, even when the imitation of external objects is its aim? Upon what laws of nature are regulated the gradations of aerial perspective, or the receding or flattened surfaces of basso-relievo? Does not the landscape painter, in modifying the tones of his colouring, remember that his mimic scenes are to be enclosed in gilt frames, an appendage for which Providence has made no provision in the real ones? But to such imitations art neither is nor ought to be confined. As the language of genius, it expresses loftier themes, and none but kindred spirits can fitly judge of its style, or set bounds to its range. The rustic who spells through Burns or Bloomfield would pause upon Paradise Lost, and throw down Hamlet in despair; whilst, to the presbyterian who ornaments his walls with Knox's portrait, or the Battle of Bothwell-brig, the Last Judgment would seem unintelligible, the Transfiguration blasphemous, the Judgment of Paris a flagrant indecency. In like manner, those who have neither imbibed the spirit of the Roman ritual, nor studied the forms of Christian art, may fully appreciate the dishevelled goddesses of Rubens, or the golden sunsets of Claude,--the glowing tints of Titian, or the transparent finish of Teniers; but let them understand ere they sneer at those sacred paintings which for successive ages have confirmed the faith of the unlettered, elevated their hopes, and inspired their prayerful ejaculations. [Footnote *211: One of the sad days. Cf. vol. II., p. 95, note *1.] [Illustration: _Alinari_ HOLY FAMILY _After the picture by Sustermans, once in the Ducal Collection of Urbino, now in the Pitti Gallery, Florence_]