[70] Let it not be supposed that I mean to compare the sickly dreaming of Shelley over clouds and waves with the masculine and magnificent grasp of men and things which we find in Scott; it only happens that these two passages are more illustrative, by the likeness of the scenery they treat, than any others I could have opposed; and that Shelley is peculiarly distinguished by the faculty of contemplative imagination. Scott's healthy and truthful feeling would not allow him to represent the benighted hunter provoked by loss of game, horse, and way at once, as indulging in any more exalted flights of imagination than those naturally consequent on the contrast between the night's lodging he expected, and that which befitted him. [71] I do not mean to withdraw the praise I have given, and shall always be willing to give such pictures as the Old Shepherd's Chief Mourner, and to all in which the character and inner life of animals are developed. But all lovers of art must regret to find Mr. Landseer wasting his energies on such inanities as the "Shoeing," and sacrificing color, expression, and action, to an imitation of glossy hide. [72] I have not brought forward any instances of the imaginative power in architecture, as my object is not at present to exhibit its operation in all matter, but only to define its essence; but it may be well to note, in our own new houses of Parliament, how far a building approved by a committee of Taste, may proceed without manifestation either of imagination or composition; it remains to be seen how far the towers may redeem it; and I allude to it at present unwillingly, and only in the desire of influencing, so far as I may, those who have the power to prevent the adoption of a design for a bridge to take place of Westminster, which was exhibited in 1844 at the Royal Academy, professing to be in harmony with the new building, but which was fit only to carry a railroad over a canal. [73] Comp. Ch. V. Sec. 5. [74] All the clouds of Tintoret are sublime; the worst that I know in art are Correggio's, especially in the Madonna della Scudella, and Dome of Parma. CHAPTER V. OF THE SUPERHUMAN IDEAL. Sec. 1. The subject is not to be here treated in detail.