Again, there is capability of representing the essential character, form, and color of an object, without external texture. On this point much has been said by Reynolds and others, and it is, indeed, perhaps the most unfailing characteristic of great manner in painting. Compare a dog of Edwin Landseer with a dog of Paul Veronese. In the first, the outward texture is wrought out with exquisite dexterity of handling, and minute attention to all the accidents of curl and gloss which can give appearance of reality, while the hue and power of the sunshine, and the truth of the shadow on all these forms is necessarily neglected, and the large relations of the animal as a mass of color to the sky or ground, or other parts of the picture, utterly lost. This is realism at the expense of ideality, it is treatment essentially unimaginative.[71] With Veronese, there is no curling nor crisping, no glossiness nor sparkle, hardly even hair, a mere type of hide, laid on with a few scene-painter's touches. But the essence of dog is there, the entire magnificent, generic animal type, muscular and living, and with broad, pure, sunny daylight upon him, and bearing his true and harmonious relation of color to all color about him. This is ideal treatment. The same treatment is found in the works of all the greatest men, they all paint the lion more than his mane, and the horse rather than his hide; and I think also they are more careful to obtain the right expression of large and universal light and color, than local tints; for the warmth of sunshine, and the force of sunlighted hue are always sublime on whatever subject they may be exhibited; and so also are light and shade, if grandly arranged, as may be well seen in an etching of Rembrandt's of a spotted shell, which he has made altogether sublime by broad truth and large ideality of light and shade; and so I have seen frequent instances of very grand ideality in treatment of the most commonplace still life, by our own Hunt, where the petty glosses and delicacies, and minor forms, are all merged in a broad glow of suffused color; so also in pieces of the same kind by Etty, where, however, though the richness and play of color are greater, and the arrangement grander, there is less expression of light, neither is there anything in modern art that can be set beside some choice passages of Hunt in this respect. Sec. 12. Abstraction or typical representation of animal form. Again, it is possible to represent objects capable of various accidents in generic or symbolical form. Sec. 13. Either when it is symbolically used.