And first, it will be remembered that I have, throughout the examination of typical beauty, asserted its instinctive power, the moral meaning of it being only discoverable by faithful thought. Now this instinctive sense of it varies in intensity among men, being given, like the hearing ear of music, to some more than to others: and if those to whom it is given in large measure be unfortunately men of impious or unreflecting spirit, it is very possible that the perceptions of beauty should be by them cultivated on principles merely aesthetic, and so lose their hallowing power; for though the good seed in them is altogether divine, yet, there being no blessing in the springing thereof, it brings forth wild grapes in the end. And yet these wild grapes are well discernible, like the deadly gourds of Gilgal. There is in all works of such men a taint and stain, and jarring discord, blacker and louder exactly in proportion to the moral deficiency, of which the best proof and measure is to be found in their treatment of the human form, (since in landscape it is nearly impossible to introduce definite expression of evil,) of which the highest beauty has been attained only once, and then by no system taught painter, but by a most holy Dominican monk of Fiesole; and beneath him all stoop lower and lower in proportion to their inferior sanctity, though with more or less attainment of that which is noble, according to their intellectual power and earnestness, as Raffaelle in his St. Cecilia, (a mere study of a passionate, dark-eyed, large formed Italian model,) and even Perugino, in that there is about his noblest faces a shortcoming, indefinable; an absence of the full outpouring of the sacred spirit that there is in Angelico; traceable, I doubt not, to some deficiencies and avaricious flaws of his heart, whose consequences in his conduct were such as to give Vasari hope that his lies might stick to him (for the contradiction of which in the main, if there be not contradiction enough in every line that the hand of Perugino drew, compare Rio, de la Poesie Chretienne, and note also what Rio has singularly missed observing, that Perugino, in his portrait of himself in the Florence gallery, has put a scroll into the hand, with the words "Timete Deum," thus surely indicating that which he considered his duty and message:) and so all other even of the sacred painters, not to speak of the lower body of men in whom, on the one hand, there is marked sensuality and impurity in all that they seek of beauty, as in Correggio and Guido, or, on the other, a want in measure of the sense of beauty itself, as in Rubens and Titian, showing itself in the adoption of coarse types of feature and form; sometimes also (of which I could find instances in modern times,) in a want of evidence of delight in what they do; so that, after they have rendered some passage of exceeding beauty, they will suffer some discordant point to interfere