The mediæval religious artists were subjective, sentimental, lyrical. In a scene like the crucifixion, all the characters, whether apostles, Roman soldiers, or Jewish Pharisees, hang their heads like bulrushes. But see how Rubens, that great dramatic painter, represents the scene. The Magdalen, wild with grief, with disheveled hair, has thrown herself at the foot of the cross, clasping and kissing the feet of Jesus. On the other faces are terror, dismay, doubt, unbelief, mockery, curiosity, triumph, despair,--according to each person's character and attitude toward the event. Meantime the Roman centurion, seated on his splendid horse, is deliberately and carefully striking his spear into the side of the sufferer. His face expresses only that he has a duty to perform and means to fulfill it perfectly. As Rubens is greatly dramatic, his pupil and follower, Vandyke, is a great lyrical artist, whose noble aspiration and generous sentiment shows itself in all his work. The school of Venice, with Titian and Tintoretto at its head, is grandly dramatic and objective. The school of Florence, with Guido and Domenichino at its head, eminently lyrical and subjective. If we had time, we might show that the two masters of Greek philosophy, Plato and Aristotle, are, the one lyrical, and intensely subjective, platonizing the universe; and the other as evidently objective, immersed in the study of things; rejoicing in their variety, their individuality, their persistence of type. The two masters of Greek history, Herodotus and Thucydides, stand opposed to each other in the same way. Herodotus is the story-teller, the dramatic raconteur, whose charming tales are as entertaining as the "Arabian Nights." Thucydides is the personal historian who puts himself into his story, and determines its meaning and moral according to his own theories and convictions. We have another example in Livy and Tacitus. The two great American orators most frequently mentioned together are Webster and Clay. Though you would smile if I were to call either of them a lyric or a dramatic speaker, yet the essential distinction we have been considering may be clearly seen in them. Clay's inspiration was personal, his influence, personal influence. His theme was nothing; his treatment of it everything. But Webster rose or fell with the magnitude and importance of the occasion and argument. When on the wrong side, he failed, for his intellect would not work well except in the service of reality and truth. But Clay was perhaps greatest when arguing against all facts and all reason. Then he summoned all his powers,--wit, illustration, analogy, syllogisms, appeals to feeling, prejudice, and passion; and so swept along his confused and blinded audience to his conclusions.