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feel it. Then it is like a new world by itself, it has en- 

 closed so much of space. It should have been a Greek 

 cross. In that form all mass contributes to unity and 

 impressiveness of effect. Now the facade fritters the 

 dome. One should enter it by the short arm of the cross, 

 then outside and in are one, and we get the grand impres- 

 sion at once. 



The great expressions of northern art are Gothic, 

 Michael Angelo, Shakespeare, and, as Herbert Spencer 

 added, Beethoven. Dante was one with Gothic, and not 

 to be separated from it. 



The great artists in modern times are Michael Angelo, 

 who created types, and pried into the unknown ; Raphael 

 the great musical genius, endless in invention, composi- 

 tion, symphonious and ever graceful, feeling form as a 

 Greek almost, and making it sensuous as Titian did color ; 

 Leonardo, who did the inscrutable ; Correggio, who 

 played with flame and softness, archness and grace, sweet 

 as a child ; Velasquez, who needed nothing but the fact 

 to inspire him, who dignified realism by power and artistic 

 apprehension into ideality; Titian, the great poet, in- 

 tense in romantic depth of color, who brought back sen- 

 suousness without license into the world ; Rubens and 

 Rembrandt in the north, and Albert Durer. All other 

 men are to be ranked below these. 



Titian includes the Venetians, a noble company. He 

 has, almost alone among moderns, the serenity of the 

 Greek. His pose is unique. He is the Phidias of portrait 

 painting. Tintoret with his fiery power is less than his 

 depth. The "Sacred and Profane Love" is as if dropped 

 out of the sky, and is without effort. As mere painting, 

 it is the greatest picture in the world. Paul Veronese 

 was frank and healthful ; a subtile, ingenuous, delightful 

 master, but more external than Titian. Vandyke comes 



