Note 44 — Chapter XIV
Reading edition
[38] Rev. vii. 2.
[39] Compare Part II. Sec. I. Chap. III § 6.
[40] De la Poësie Chrétienne. Forme de l'Art. Chap. VIII.
[41] As in the noble Louvre picture.
[42] The Madonna turns her back to Christ, and bends her head over her shoulder to receive the crown, the arms being folded with studied grace over the bosom.
[43] Compare Michelet, (Du Prêtre, de la Femme, de la Famille,) Chap. III. note. He uses language too violent to be quoted; but excuses Salvator by reference to the savage character of the Thirty Years' War. That this excuse has no validity may be proved by comparing the painter's treatment of other subjects. See Sec. II. Chap. III. § 19, note.
[44]
"The fire, that mounts the liquor, till it run o'er In seeming to augment it, wastes it."
Henry VIII.
[45] Sect. II. Chap. III. § 22.
[46] Let it be observed that it is always of beauty, not of human character in its lower and criminal modifications, that we have been speaking. That variety of character, therefore, which we have affirmed to be necessary, is the variety of Giotto and Angelico, not of Hogarth. Works concerned with the exhibition of general character, are to be spoken of in the consideration of Ideas of Relation.
[47] Hooker, Book V. Chap. I. § 2.
[48]
"Each corse lay flat, lifeless and flat, And by the holy rood, A man all light, a seraph man By every corse there stood. This seraph band, each waved his hand, It was a heavenly sight; They stood as signals to the land, Each one a lovely light."
Ancient Mariner