There is however another character of artificial productions, to which these terms have partial reference, which it is of some importance to note, that of finish, exactness, or refinement, which are commonly desired in the works of men, owing both to their difficulty of accomplishment and consequent expression of care and power (compare Chapter on Ideas of Power, Part I. Sect, i.,) and from their greater resemblance to the working of God, whose "absolute exactness," says Hooker, "all things imitate, by tending to that which is most exquisite in every particular." And there is not a greater sign of the imperfection of general taste, than its capability of contentment with forms and things which, professing completion, are yet not exact nor complete, as in the vulgar with wax and clay and china figures, and in bad sculptors with an unfinished and clay-like modelling of surface, and curves and angles of no precision or delicacy; and in general, in all common and unthinking persons with an imperfect rendering of that which might be pure and fine, as church-wardens are content to lose the sharp lines of stone carving under clogging obliterations of whitewash, and as the modern Italians scrape away and polish white all the sharpness and glory of the carvings on their old churches, as most miserably and pitifully on St. Mark's at Venice, and the Baptisteries of Pistoja and Pisa, and many others; so also the delight of vulgar painters in coarse and slurred painting, merely for the sake of its coarseness,[29] as of Spagnoletto, Salvator, or Murillo, opposed to the divine finish which the greatest and mightiest of men disdained not, but rather wrought out with painfulness and life spending; as Leonardo and Michael Angelo, (for the latter, however many things he left unfinished, did finish, if at all, with a refinement that the eye cannot follow, but the feeling only, as in the Pieta of Genoa,) and Perugino always, even to the gilding of single hairs among his angel tresses, and the young Raffaelle, when he was heaven taught, and Angelico, and Pinturicchio, and John Bellini, and all other such serious and loving men. Only it is to be observed that this finish is not a part or constituent of beauty, but the full and ultimate rendering of it, so that it is an idea only connected with the works of men, for all the works of the Deity are finished with the same, that is, infinite care and completion: and so what degrees of beauty exist among them can in no way be dependent upon this source, inasmuch as there are between them no degrees of care. And therefore, as there certainly is admitted a difference of degree in what we call chasteness, even in Divine work, (compare the hollyhock or the sunflower with the vale lily,) we must seek for it some other explanation and source than this. Sec. 5. Moderation, its nature and value