is, in a degree which is inapplicable to the other arts, concordant with the root and fragrance of that which sculpture and sculpture alone can supply. And in art we are not entitled to separate spiritual content from its mode of presentation. If, having this clear to our minds, we inquire how it is that painting only reached its most characteristic consummation through the content of the romantic type of art, we can but reply that it is precisely the intimacy of feeling, the blessedness[223] and pain that give to us the soul of this profounder content, whose demand is for such a vital infusion, which has paved the way to and in fact been the cause of this higher perfection of painting. As an example of what I mean I will but recall to recollection one particular instance already cited, namely, that we borrow from Raoul-Rochette of the treatment of Isis carrying Horns on her knees. In general the subject is identical with the Madonna pictures, a Divine mother and her child. The difference of handling and conception in the two cases, however, is immeasurable. The Egyptian Isis, as we find her thus situated on bas-reliefs, has nothing maternal about her, no tenderness, no trait of soul or emotion, such as is not even wholly absent in the stiffer Byzantine pictures of the Madonna. And if we think of Raphael, or any other great Italian master, what results have they not achieved from this subject of the Mother and Christ-babe! What depth of emotion, what spiritual life, what intimacy and wealth of heart, what exaltation and endearment, how human and yet how entirely filled with divine spirit is the soul which speaks to us from every line and feature. And under what infinite variety of forms and situations is this one subject presented to us even by particular masters taken singly and still more by different artists. The mother, the pure Virgin, the physical, the spiritual beauty, loftiness and devotion of love, all this and countless other features are emphasized in their turn as the main significance of the expression. But chief of all we find throughout that it is not the sensuous beauty of mere form, but the animate life of Spirit, by virtue of which artistic genius no less than mastery of execution is asserted and secured. Now it is quite true that Greek art has passed a long way beyond Egyptian art, and we may add that it has made the expression of man's soul an object aimed for. But it was not capable of grasping that intimacy and depth of emotion which is discovered to us in the Christian type of expression, and indeed was careful, in accordance with its entire character, not to attach itself to such intensity of feeling. Take, for instance, the case I have more than once already cited of the faun, who carries the youthful Bacchus in his arms; it is, no doubt, expressive of extremely tender and amiable qualities. The nymphs are equally so who tend upon Bacchus, a situation which is depicted by a gem in a very beautiful group of figures.