Thus, then, we have in some sort enumerated those evil signs which are most necessary to be shunned in the seeking of ideal beauty,[46] though it is not the knowledge of them, but the dread and hatred of them, which will effectually aid the painter; as on the other hand it is not by mere admission of the loveliness of good and holy expression that its subtile characters are to be traced. Raffaelle himself, questioned on this subject, made doubtful answer; he probably could not trace through what early teaching, or by what dies of emotion the image had been sealed upon his heart. Our own Bacon, who well saw the impossibility of reaching it by the combination of many separate beauties, yet explains not the nature of that "kind of felicity" to which he attributes success. I suppose those who have conceived and wrought the loveliest things, have done so by no theorizing, but in simple labor of love, and could not, if put to a bar of rationalism, defend all points of what they had done, but painted it in their own delight, and to the delight of all besides, only always with that respect of conscience and "fear of swerving from that which is right, which maketh diligent observers of circumstances the loose regard whereof is the nurse of vulgar folly, no less than Solomon's attention thereunto was of natural furtherances the most effectual to make him eminent above others, for he gave good heed, and pierced everything to the very ground."[47] With which good heed, and watching of the instants when men feel warmly and rightly, as the Indians do for the diamond in their washing of sand, and that with the desire and hope of finding true good in men, and not with the ready vanity that sets itself to fiction instantly, and carries its potter's wheel about with it always, (off which there will come only clay vessels of regular shape after all,) instead of the pure mirror that can show the seraph standing by the human body--standing as signal to the heavenly land:[48] with this heed and this charity, there are none of us that may not bring down that lamp upon his path of which Spenser sang:-- "That beauty is not, as fond men misdeem An outward show of things, that only seem; But that fair lamp, from whose celestial ray That light proceeds, which kindleth lover's fire, Shall never be extinguished nor decay. But when the vital spirits do expire, Unto her native planet shall retire, For it is heavenly born and cannot die, Being a parcel of the purest sky." FOOTNOTES [38] Rev. vii. 2. [39] Compare Part II. Sec. I. Chap. III Sec. 6. [40] De la Poesie Chretienne. Forme de l'Art. Chap. VIII. [41] As in the noble Louvre picture. [42] The Madonna turns her back to Christ, and bends her head over her shoulder to receive the crown, the arms being folded with studied grace over the bosom.