Even the contradiction that the understanding finds in the abridgment of the mountain, is corrected sensuously by the perspective at the right, and the shade that the edge of the rock casts which isolates the above so completely from the below. We see that Raphael has brought them to a secluded spot just near the top of the mountain. The view of the distant vale tells us as effectually that this is a mountain top as could be done by a full length painting of it. Hence the criticism rests upon a misunderstanding of the fact Raphael has portrayed. VII. ROMANTIC _vs._ CLASSIC. Finally, we must recur to those distinctions so much talked of, in order to introduce the consideration of the grandest strokes of genius which Raphael has displayed in this work. The distinction of Classic and Romantic Art, of Greek Art from Christian: the former is characterized by a complete repose, or equilibrium between the Sense and Reason—or between matter and form. The idea seems completely expressed, and the expression completely adequate to the idea. But in Christian Art we do not find this equilibrium; but everywhere we find an intimation that the idea is too transcendent for the matter to express. Hence, Romantic Art is self contradictory—it _expresses_ the _inadequacy_ of _expression_. “I have that within which passeth show; These but the _trappings_ and the _suits_ of woe.” In Gothic Architecture, all strives upward and seems to derive its support from above (i. e. the Spiritual, light). All Romantic Art points to a _beyond_. The Madonnas seem to say: “I am a beyond which cannot be represented in a sensuous form;” “a saintly contempt for the flesh hovers about their features,” as some one has expressed it. But in this picture, Christ himself, no more a child in the Madonna’s arms, but even in his meridian glory, looks beyond, and expresses dependence on a Being who is not and cannot be represented. His face is serene, beatific; he is at unity with this Absolute Being, but the unity is an internal one, and his upraised gaze towards the source of light is a plain statement that the True which supports him is not a sensuous one. “God dwelleth not in temples made with hands; but those who would approach Him must do it in _spirit_ and in _truth_.” This is the idea which belongs to the method of all modern Art; but Raphael has not left this as the general spirit of the picture merely, but has emphasized it in a way that exhibits the happy temper of his genius in dealing with refractory subjects. And this last point has proved too much for his critics. Reference is made to the two saints painted at the left. How fine it would be, thought the Cardinal de Medici, to have St. Lawrence and St. Julian painted in there, to commemorate my father and uncle! They can represent mediators, and thereby connect the two parts of the picture more closely!