of it foremost among all our inculcating, and the name of it largest among all our inscribing, in so far that, over the doors of every school of Art, I would have this one word, relieved out in deep letters of pure gold,--Moderation. FOOTNOTES [29] It is to be carefully noted that when rude execution is evidently not the result of imperfect feeling and desire (as in these men above named, it is) but of thought; either impatient, which there was necessity to note swiftly, or impetuous, which it was well to note in mighty manner, as pre-eminently and in both kinds the case with Tintoret, and often with Michael Angelo, and in lower and more degraded modes with Rubens, and generally in the sketches and first thoughts of great masters; there is received a very noble pleasure, connected both with ideas of power (compare again Part I. Sect. ii. Chap. I.) and with certain actions of the imagination of which we shall speak presently. But this pleasure is not received from the beauty of the work, for nothing can be perfectly beautiful unless complete, but from its simplicity and sufficiency to its immediate purpose, where the purpose is not of beauty at all, as often in things rough-hewn, pre-eminently for instance in the stones of the foundations of the Pitti and Strozzi palaces, whose noble rudeness is to be opposed both to the useless polish, and the barbarous rustications of modern times, (although indeed this instance is not without exception to be received, for the majesty of these rocky buildings depends also in some measure upon the real beauty and finish of the natural curvilinear fractures, opposed to the coarseness of human chiselling,) and again, as it respects works of higher art, the pleasure of their hasty or imperfect execution is not indicative of their beauty, but of their majesty and fulness of thought and vastness of power. Shade is only beautiful when it magnifies and sets forth the forms of fair things, so negligence is only noble when it is, as Fuseli hath it, "the shadow of energy." Which that it may be, secure the substance and the shade will follow, but let the artist beware of stealing the manner of giant intellects when he has not their intention, and of assuming large modes of treatment when he has little thoughts to treat. There is large difference between indolent impatience of labor and intellectual impatience of delay, large difference between leaving things unfinished because we have more to do, or because we are satisfied with what we have done. Tintoret, who prayed hard, and hardly obtained, that he might be permitted, the charge of his colors only being borne, to paint a new built house from base to battlement, was not one to shun labor, it is the pouring in upon him of glorious thoughts in inexpressible multitude that his sweeping hand follows so fast.