I have affirmed in the conclusion of the first section that "of that which is more than creature, no creature ever conceived." I think this almost self-evident, for it is clear that the illimitableness of Divine attributes cannot be by matter represented, (though it may be typefied,) and I believe that all who are acquainted with the range of sacred art will admit, not only that no representation of Christ has ever been even partially successful, but that the greatest painters fall therein below their accustomed level; Perugino and Fra Angelico especially; Leonardi has I think done best, but perhaps the beauty of the fragment left at Milan, (for in spite of all that is said of repainting and destruction, that Cenacolo is still the finest in existence) is as much dependent on the very untraceableness resulting from injury as on its original perfection. Of more daring attempts at representation of Divinity we need not speak; only this is to be noted respecting them, that though by the ignorant Romanists many such efforts were made under the idea of actual representation, (note the way in which Cellini speaks of the seal made for the Pope,) by the nobler among them I suppose they were intended, and by us at any rate they may always be received, as mere symbols, the noblest that could be employed, but as much symbols still as a triangle, or the Alpha and Omega; nor do I think that the most scrupulous amongst Christians ought to desire to exchange the power obtained by the use of this symbol in Michael Angelo's creation of Adam and of Eve for the effect which would be produced by the substitution of a triangle or any other sign in place of it. Of these efforts then we need reason no farther, but may limit ourselves to considering the purest modes of giving a conception of superhuman but still creature form, as of angels; in equal rank with whom, perhaps, we may without offence place the mother of Christ: at least we must so regard the type of the Madonna in receiving it from Romanist painters.[75] Sec. 8. Supernatural character expressed by modification of accessories.