influence, such as it is, on the ordinary Protestant Christian mind, are Carlo Dolci, Guercino, Benjamin West, and John Martin. Raphael, much as he is talked about, is, I believe in very fact, rarely looked at by religious people; much less his master, or any of the truly great religious men of old. But a smooth Magdalen of Carlo Dolci with a tear on each cheek, or a Guercino Christ or St. John, or a Scripture illustration of West's, or a black cloud with a flash of lightning in it of Martin's, rarely rails of being verily, often deeply, felt for the time. SECTION LIX. There are indeed many very evident reasons for this; the chief one being that, as all truly great religious painters have been hearty Romanists, there are none of their works which do not embody, in some portions of them, definitely Romanist doctrines. The Protestant mind is instantly struck by these, and offended by them, so as to be incapable of entering, or at least rendered indisposed to enter, farther into the heart of the work, or to the discovering those deeper characters of it, which are not Romanist, but Christian, in the everlasting sense and power of Christianity. Thus most Protestants, entering for the first time a Paradise of Angelico, would be irrevocably offended by finding that the first person the painter wished them to speak to was St. Dominic; and would retire from such a heaven as speedily as possible,--not giving themselves time to discover, that whether dressed in black, or white, or gray, and by whatever name in the calendar they might be called, the figures that filled that Angelico heaven were indeed more, saintly, and pure, and full of love in every feature, than any that the human hand ever traced before or since. And thus Protestantism, having foolishly sought for the little help it requires at the hand of painting from the men who embodied no Catholic doctrine, has been reduced to receive it from those who believed neither Catholicism nor Protestantism, but who read the Bible in search of the picturesque. We thus refuse to regard the painters who passed their lives in prayer, but are perfectly ready to be taught by those who spent them in debauchery. There is perhaps no more popular Protestant picture than Salvator's "Witch of Endor," of which the subject was chosen by the painter simply because, under the names of Saul and the Sorceress, he could paint a captain of banditti, and a Neapolitan hag.