So Correggio is popular with a certain set, and Vandyke with a certain set, and Rembrandt with a certain set. All are great men, but of inferior stamp, and therefore Vandyke is popular, and Rembrandt is popular, [Footnote: And Murillo, of all true painters the narrowest, feeblest, and most superficial, for those reasons the most popular.] but nobody cares much at heart about Titian; only there is a strange under-current of everlasting murmur about his name, which means the deep consent of all great men that he is greater than they-- the consent of those who, having sat long enough at his feet, have found in that restrained harmony of his strength there are indeed depths of each balanced power more wonderful than all those separate manifestations in inferior painters: that there is a softness more exquisite than Correggio's, a purity loftier than Leonardo's, a force mightier than Rembrandt's, a sanctity more solemn even than Raffaelle's. Do not suppose that in saying this of Titian, I am returning to the old eclectic theories of Bologna; for all those eclectic theories, observe, were based, not upon an endeavour to unite the various characters of nature (which it is possible to do), but the various narrownesses of taste, which it is impossible to do. Rubens is not more vigorous than Titian, but less vigorous; but because he is so narrow-minded as to enjoy vigour only, he refuses to give the other qualities of nature, which would interfere with that vigour and with our perception of it. Again, Rembrandt is not a greater master of chiaroscuro than Titian;-- he is a less master, but because he is so narrow-minded as to enjoy chiaroscuro only, he withdraws from you the splendour of hue which would interfere with this, and gives you only the shadow in which you can at once feel it. Now all these specialties have their own charm in their own way: and there are times when the particular humour of each man is refreshing to us from its very distinctness; but the effort to add any other qualities to this refreshing one instantly takes away the distinctiveness, and therefore the exact character to be enjoyed in its appeal to a particular humour in us. Our enjoyment arose from a weakness meeting a weakness, from a partiality in the painter fitting to a partiality in us, and giving us sugar when we wanted sugar, and myrrh when we wanted myrrh; but sugar and myrrh are not meat: and when we want meat and bread, we must go to better men.