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after Rubens and Rembrandt. Rembrandt was a main- 

 eian, and discovered the poetry in light and shade. Rubens 

 was robustious, splendid, healthful, restored enjoyment 

 of life to men, painted up to nature more than any man, 

 and could do so, and had the largest scope and facility. 

 His st}de is not searching, or classical, but romantic and 

 perfectly unconfiued. Albert Durer was mystical, Gothic, 

 natural, and felt the significance of things. Murillo, more 

 of a poet, must be placed below Velasquez for power. 



In sculpture there are few transcendent things, but 

 these are superhuman, and would be incredible if they 

 were not seen. The relics of the Parthenon, the Venus 

 of Milo, a few other Greek fragments — these are heroic. 

 They look as if they had grown, not been made. As in 

 the old Italian pictures the company have happened there, 

 not been placed, Gothic has grown not been built. It is 

 an organic thing, a thing of nature. The Greek temple 

 is the crystallization of all the influences for beauty of 

 the world distilled in one form and object. Even the 

 Belvidere torso, the Laocoon, the Apollo do not attain to 

 this sublime repose, they are tourmentees in the compar- 

 ison. 



English art has but few names, but these are unequalled 

 in their kind. Hogarth, Reynolds, Gainsborough, Flax- 

 man, Stotherd, Wilkie, Turner, Constable, Morland, 

 Leslie and Newton, "Old Crome," Blake, a prehistoric 

 man, an artistic mystic, and a few others. The English 

 mind expresses itself in poetry. 



Kaulbach, who has just died, had a stilted, academic 

 manner. Grandiose and imposing, full of talent, but like 

 all the Germans, a bad colorist, he was not a genius. 

 They are schoolmasters in art, excogitated, pedantic. If 

 their claim were allowed according to the amount they 

 have done, the old Italians would be dwarfed. Kaulbach's 



