that it not only can, but that it ought to flatter, inasmuch as it neglects what pertains to Nature's contingency, and only accepts that which contributes to the characteristic content of the individual portrayed, his most unique and most intimate self. Nowadays we find it the fashion to give every kind of face just a ripple of a smile, to emphasize its amiability, a very questionable fashion indeed, and one hard to restrain within the limit imposed. Charming, no doubt; but the merely polite amiability of social intercourse is not a fundamental trait of any character, and becomes in the hands of many artists only too readily the most insipid kind of sweetness. (_γγ_) However compatible with portraiture the course of painting may be in all its modes of production it should, however, make the particular features of the face, the specific forms, ways of posing, grouping, and schemes of colour consonant with the actual situation, in which it composes its figures and natural objects in order to express a content. For it is just this content in this particular situation which should be portrayed. Out of the infinitely diversified detail which in this connection we might examine I will only touch upon one point of vital importance. It is this that the situation may either be on its own account a passing one, and the emotion expressed by it of a momentary character, so that one and the same individual could express many similar ones in addition and also feelings in contrast with it, or the situation and emotion strikes at the very heart of a character, which thereby discloses its entire and most intimate nature. Situations and emotions of this latter type are the truly momentous crises in characterization[327]. In the situations, for example, in which I have already referred to the Madonna, one finds nothing, however essentially complete the individualization of the Mother of God may be in its composition, which is not a real factor in the embracing compass of her soul and character. In this case, too, the characterization is such that it is _self_-evident that she does not exist apart from what she can express in this specific circumstance. Supreme masters consequently have painted the Madonna in such immortal maternal situations or phases. Other masters have still retained in her character the expression of ordinary life otherwise experienced and actual. This expression may be very beautiful and life-like, but this form, the like features, and a similar expression would be equally applicable to other interests and relations of marriage lore. We are consequently inclined to regard a figure of this type from yet other points of view than that of a Madonna, whereas in the supremest works we are unable to make room for any other thoughts but that which the situation awakens in us. It is on this ground that I admire so strongly the Mary Magdalene of Correggio in Dresden, and it will for ever awake such admiration.