of enjoying thus its household felicity, its wealth, the generous adornment of its wives and children, the splendour of its civic feasts, the boldness of its seamen, the fame of its merchandise and the shipping, in which it rides over all the seas of the world. And it is just this instinct of orderly and cheerful existence, which the Dutch masters emphasize also in their landscape subjects. In one word, in all their pictorial accomplishment they succeed in combining with freedom, and truth of conception, with their enthusiasm for what is in appearance of inferior and momentary significance, with the freshness of open vision and the concentration of their entire soul on all that is most stamped with the seclusion and limitations of their life, the most ample freedom of artistic composition, no less than the finest feeling for accessories and the most perfect effects of studious elaboration. From one point of view this school of painting has developed to an incomparable degree the magic and mystery of lighting and colour[372] generally in its scenes borrowed from war and military life, in its tavern jollifications, in its weddings and other rustic fêtes, in its pictures of domestic life, in its portraits, landscapes, animals, flowers, and the rest. From another aspect it has elaborated with a similar excellence the characterization which penetrates to the heart of life in all the truth of which Art is capable. And although its insistence on the insignificant and contingent includes the expression of what is boorish, rude, and common, yet these scenes are so permeated throughout with ingenuous lustiness and jollity, that it is not the common in its meanness and naughtiness so much as the gaiety and joviality which creates the artistic subject and its content. We do not look at mean feelings and passions, but simply what is boorish, in the sense of being rustic, near to nature, in the poorer classes, a quality which connotes geniality, waggishness, and comedy. In short the Ideal itself is not wholly absent from this unperturbed easy-way-of-life. It is the Sabbath of Life, which brings all to one level and removes all badness, simply as such. Men who are thus so whole-heartedly of good temper can neither be wholly bad nor mean. In this respect it is not one and the same thing, whether evil is of purely momentary appearance in a character, or lies at its root and essence. In the work of these Dutch painters what is humorous in a situation cancels what is evil, and it is at once clear to us that the characters could be something other than that in the guise of which they are for the time being set before us[373]. A gaiety and comedy of this description contributes much to the invaluable character of these pictures. If pictures of this rollicking type are attempted nowadays, the painter, as a rule, only places before us what is essentially mean, coarse and bad without the illuminating atmosphere of a comic situation[374].