of Achilles is different from the love of Paris, and of Alcestis from that of Laodamia. The use and value of passion is not as a subject in contemplation in itself, but as it breaks up the fountains of the great deep of the human mind, or displays its mightiness and ribbed majesty, as mountains are seen in their stability best among the coil of clouds; whence, in fine, I think it is to be held that all passion which attains overwhelming power, so that it is not as resisting, but as conquered, that the creature is contemplated, is unfit for high art, and destructive of the ideal character of the countenance: and in this respect, I cannot but hold Raffaelle to have erred in his endeavor to express passion of such acuteness in the human face; as in the fragment of the Massacre of the Innocents in our own gallery, (wherein, repainted though it be, I suppose the purpose of the master is yet to be understood,) for if such subjects are to be represented at all, their entire expression may be given without degrading the face, as we shall presently see done with unspeakable power by Tintoret,[45] and I think that all subjects of the kind, all human misery, slaughter, famine, plague, peril, and crime, are better in the main avoided, as of unprofitable and hardening influence, unless so far as out of the suffering, hinted rather than expressed, we may raise into nobler relief the eternal enduring of fortitude and affection, of mercy and self-devotion, or when, as by the threshing-floor of Ornan, and by the cave of Lazarus, the angel of the Lord is to be seen in the chastisement, and his love to be manifested to the despair of men. Sec. 33. Recapitulation