124. Difficulties surmounted to obtain what in itself is of no real value, deserve pity or contempt: the painted catalogue of wrinkles by Denner are not offsprings of art, but fac-similes of natural history. 125. Love for what is called deception in painting, marks either the infancy or decrepitude of a nation's taste. 126. Indiscriminate execution, like the monkey's rasor, cuts shear asunder the parts it meant to polish. _Coroll._--Francesco Barbieri broke like a torrent over the academic rules of his masters. As the desire of disseminating character over every part of his composition made Raphael less attentive to its general effect, so an ungovernable itch of copying all that lay in his way made this man sacrifice order, costume, mind, to mere effects of colour: a map of flesh, a pile of wood, a sleeve, a hilt, a feathered hat, a table-cloth, or a gold-tissued robe, were for Guercino what a quibble was for Shakspeare. The countenance of his Dido has that sublimity of woe which affects us in the Æneis, but she is pierced with a toledo and wrapped in brocade; Anna is an Italian Duenna; the scene, the Mole of Ancona or of Naples, the spectators a brace of whiskered Spaniards, and a deserting Amorino winds up the farce. In his St. Petronilla the rags and brawny limbs of two gigantic porters crush the effect which the saint ought to have, and all the rest is frittered into spots. Yet is that picture a tremendous instance of mechanic powers and intrepidity of hand. As a firm base supports, pervades, unites the tones of harmony, so a certain stern virility inspires, invigorates and gives a zest to all Guercino's colour. The gayer tints of Guido vanish before his as insipid,[26] Domenichino appears laboured, and the Carracci dim. Nor was Guercino a stranger to the genuine expressions of untaught nature, and there is more of pathos in the dog which he introduced caressing the returned prodigal, than in all the Farnese gallery; as the Argus of Ulysses, looking up at his old master, then dropping his head and dying, moves more than all the metamorphoses of Ovid. If his male figures be brought to the test of style, it may be said, that he never made a man; their virility is tumour or knotty labour; to youth he gave emaciated lankness, and to old age little besides decrepitude and beards--meanness to all: and though he was more cautious in female forms, they owe the best part of their charms to chiaroscuro. 127. Execution has its classes. _Coroll._--Satan summoning the Princes of Hell stretched over the fiery flood; or the giant snake of the Norway seas hovering over a storm-vexed vessel, by Gerard Douw, or Vanderverf--are incongruous ideas; would be incongruous though Michael Angelo had planned their design and Rembrandt massed their light and shade.