[Footnote 363: To make this judgment in any degree a sound one we must assume the stress is laid on the mysterious aspect of expression and form. The genuine examples of Leonardo are so very few. But quite apart from that unless we exclude the great triumvirate of the Venetian school altogether Tintoret, Titian, and Veronese, the praise here given to Leonardo as a consummate master of the technique in oil-painting can only be received with considerable reserve and qualification.] [Footnote 364: Compare "Ital. Forsch.," vol. II, p. 308.] [Footnote 365: _Die reinste Vollendung._ The adjective refers to the character of the perfection as an expression of artistic feeling and execution.] [Footnote 366: _Halbdeutliche Erinnerungen._ Not I think memories that are obscure themselves so much as memories which have failed to grasp the content of what is recollected. The expression is rather confused.] [Footnote 367: Modern criticism would doubtless have a good deal to say in qualification of this. The name of Bellini alone is sufficiently suggestive.] [Footnote 368: This emphasis on the work of Raphael and Correggio is characteristic of the best art criticism of the times of Hegel, but marks its limitations. Neither Raphael nor Correggio can be called religious painters in the sense that those profound masters Tintoret and Michelangelo were such. The essentially academic aspect of so much of Raphael's later production is not noticed. And it is these three great names, Titian, Tintoret, and Michelangelo, who most truly mark the transition to our modern outlook.] [Footnote 369: _Eine aüssere Abgeschlossenheit._ This must mean, I think, a dignified and reserved treatment of the technique mainly of such themes.] [Footnote 370: The technical and somewhat long-worded aspect of Hegel's style is here at its worst and I find it hard to make complete sense of this doubtless unrevised passage. The main difficulty is this, that the sentence appears to assert that "the centre" (_der Mittelpunkt_) of religion persists (_fortbleibt_) and yet asserts in the same breath that the informing unity is broken up. I have done my best.] [Footnote 371: A piety which is not merely emotional, but is concrete in active life, possesses practical content.] [Footnote 372: See note at end of chapter.] [Footnote 373: This appears rather to contradict what Hegel has said before of the impression a fine picture such as Correggio's Magdalene leaves upon us that we cannot imagine the character to be other than it is. See note below.] [Footnote 374: More literally, "Without the alleviating effect of what is comic."] [Footnote 375: I presume _die Formen_ refers here rather to the artistic forms of grouping and composition than the traits of vital expression. But perhaps the latter interpretation would be more natural to the words.]