For there was a touch of Germany in that genius which, as Goethe said, had "thought itself weary"--müde sich gedacht. What an anticipation of modern Germany, for instance, in that debate on the question whether sculpture or painting is the nobler art!* But there is this difference between him and the German, that, with all that curious science, the German would have thought nothing more was needed. The name of Goethe himself reminds one how great for the artist may be the danger of overmuch science; how Goethe, who, in the Elective Affinities and the first part of Faust, does transmute ideas into images, who wrought many such transmutations, did not invariably find the spell-word, and in the second part of Faust presents us with a mass of science which has almost no artistic character at all. But Leonardo will never work till the happy moment comes--that moment of bien-être, which to imaginative men is a moment of invention. On this he waits with [114] a perfect patience; other moments are but a preparation, or after-taste of it. Few men distinguish between them as jealously as he. Hence so many flaws even in the choicest work. But for Leonardo the distinction is absolute, and, in the moment of bien-être, the alchemy complete: the idea is stricken into colour and imagery: a cloudy mysticism is refined to a subdued and graceful mystery, and painting pleases the eye while it satisfies the soul. This curious beauty is seen above all in his drawings, and in these chiefly in the abstract grace of the bounding lines. Let us take some of these drawings, and pause over them awhile; and, first, one of those at Florence--the heads of a woman and a little child, set side by side, but each in its own separate frame. First of all, there is much pathos in the reappearance, in the fuller curves of the face of the child, of the sharper, more chastened lines of the worn and older face, which leaves no doubt that the heads are those of a little child and its mother. A feeling for maternity is indeed always characteristic of Leonardo; and this feeling is further indicated here by the half-humorous pathos of the diminutive, rounded shoulders of the child. You may note a like pathetic power in drawings of a young man, seated in a stooping posture, his face in his hands, as in sorrow; of a slave sitting in an uneasy inclined attitude, in some brief interval of rest; of a small Madonna and Child, [115] peeping sideways in half-reassured terror, as a mighty griffin with batlike wings, one of Leonardo's finest inventions, descends suddenly from the air to snatch up a great wild beast wandering near them. But note in these, as that which especially belongs to art, the contour of the young man's hair, the poise of the slave's arm above his head, and the curves of the head of the child, following the little skull within, thin and fine as some sea-shell worn by the wind.