These latter triumphs of taste, however, though lost in the abysm now, had then a good many years to wait and I alight for illustrative support of my present mild thesis on the comparative humility, say, of the inward aspects, in a large measure, of the old National Gallery, where memory mixes for me together so many elements of the sense of an antique world. The great element was of course that I well-nigh incredibly stood again in the immediate presence of Titian and Rembrandt, of Rubens and Paul Veronese, and that the cup of sensation was thereby filled to overflowing; but I look at it to-day as concomitantly warm and closed-in and, as who should say, cosy that the ancient order and contracted state and thick-coloured dimness, all unconscious of rearrangements and reversals, blighting new lights and invidious shattering comparisons, still prevailed and kept contemplation comfortably confused and serenely superstitious, when not indeed at its sharpest moments quite fevered with incoherences. The place looks to me across the half century richly dim, yet at the same time both perversely plain and heavily violent--violent through indifference to the separations and selections that have become a tribute to modern nerves; but I cherish exactly those facts of benightedness, seeming as they do to have positively and blessedly conditioned the particular sweetness of wonder with which I haunted the Family of Darius, the Bacchus and Ariadne, or the so-called portrait of Ariosto. Could one in those days feel anything with force, whether for pleasure or for pain, without feeling it as an immense little act or event of life, and as therefore taking place on a scene and in circumstances scarce at all to be separated from its own sense and impact?--so that to recover it is to recover the whole medium, the material pressure of things, and find it most marked for preservation as an aspect, even, distinguishably, a "composition."