Modern Painters Volume II Part 12

-- 9. Is a sign of G.o.d's kind purpose towards the race.

-- 10. Consequent separation and difference of ideals.

Now, be it observed that in our consideration of these three directions of mental influence, we have several times been compelled to stop short of definite conclusions owing to the apparent inconsistency of certain excellences and beauties to which they tend, as, first, of different kinds of intellect with each other; and secondly, of the moral faculties with the intellectual, (and if we had separately examined the moral emotions, we should have found certain inconsistencies among them also,) and again of the soul culture generally with the bodily perfections.

Such inconsistencies we should find in the perfections of no other animal. The strength or swiftness of the dog are not inconsistent with his sagacity, nor is bodily labor in the ant or bee destructive of their acuteness of instinct. And this peculiarity of relation among the perfections of man is no result of his fall or sinfulness, but an evidence of his greater n.o.bility, and of the goodness of G.o.d towards him. For the individuals of each race of lower animals, being not intended to hold among each other those relations of charity which are the privilege of humanity, are not adapted to each other's a.s.sistance, admiration, or support, by differences of power and function. But the love of the human race is increased by their individual differences, and the unity of the creature, as before we saw of all unity, made perfect by each having something to bestow and to receive, bound to the rest by a thousand various necessities and various grat.i.tudes, humility in each rejoicing to admire in his fellow that which he finds not in himself, and each being in some respect the complement of his race. Therefore, in investigating the signs of the ideal or perfect type of humanity, we must not presume on the singleness of that type, and yet, on the other hand, we must cautiously distinguish between differences conceivably existing in a perfect state, and differences resulting from immediate and present operation of the Adamite curse. Of which the former are differences that bind, and the latter that separate. For although we can suppose the ideal or perfect human heart, and the perfect human intelligence, equally adapted to receive every right sensation and pursue every order of truth, yet as it is appointed for some to be in authority and others in obedience, some in solitary functions and others in relative ones, some to receive and others to give, some to teach and some to discover; and as all these varieties of office are not only conceivable as existing in a perfect state of man, but seem almost to be implied by it, and at any rate cannot be done away with but by a total change of his const.i.tution and dependencies, of which the imagination can take no hold; so there are habits and capacities of expression induced by these various offices, which admit of many separate ideals of equal perfection, according to the functions of the creatures, so that there is an ideal of authority, of judgment, of affection, of reason, and of faith; neither can any combination of these ideals be attained, not that the just judge is to be supposed incapable of affection, nor the king incapable of obedience, but as it is impossible that any essence short of the Divine should at the same instant be equally receptive of all emotions, those emotions which, by right and order, have the most usual victory, both leave the stamp of their habitual presence on the body, and render the individual more and more susceptible of them in proportion to the frequency of their prevalent recurrence; added to which causes of distinctive character are to be taken into account the differences of age and s.e.x, which, though seemingly of more finite influence, cannot be banished from any human conception. David, ruddy and of a fair countenance, with the brook stone of deliverance in his hand, is not more ideal than David leaning on the old age of Barzillai, returning chastened to his kingly home. And they who are as the angels of G.o.d in heaven, yet cannot be conceived as so a.s.similated that their different experiences and affections upon earth shall then be forgotten and effectless: the child taken early to his place cannot be imagined to wear there such a body, nor to have such thoughts, as the glorified apostle who has finished his course and kept the faith on earth. And so whatever perfections and likeness of love we may attribute to either the tried or the crowned creatures, there is the difference of the stars in glory among them yet; differences of original gifts, though not of occupying till their Lord come, different dispensations of trial and of trust, of sorrow and support, both in their own inward, variable hearts, and in their positions of exposure or of peace, of the gourd shadow and the smiting sun, of calling at heat of day or eleventh hour, of the house unroofed by faith, and the clouds opened by revelation: differences in warning, in mercies, in sicknesses, in signs, in time of calling to account; like only they all are by that which is not of them, but the gift of G.o.d's unchangeable mercy. "I will give unto this last even as unto thee."

-- 11. The _effects_ of the Adamite curse are to be distinguished from signs of its immediate activity.

-- 12. Which latter only are to be banished from ideal form.

Hence, then, be it observed, that what we must determinedly banish from the human form and countenance in our seeking of its ideal, is not everything which can be ultimately traced to the Adamite fall for its cause, but only the immediate operation and presence of the degrading power or sin. For there is not any part of our feeling of nature, nor can there be through eternity, which shall not be in some way influenced and affected by the fall, and that not in any way of degradation, for the renewing in the divinity of Christ is a n.o.bler condition than ever that of Paradise, and yet throughout eternity it must imply and refer to the disobedience, and the corrupt state of sin and death, and the suffering of Christ himself, which can we conceive of any redeemed soul as for an instant forgetting, or as remembering without sorrow? Neither are the alternations of joy and such sorrow as by us is inconceivable, being only as it were a softness and silence in the pulse of an infinite felicity, inconsistent with the state even of the unfallen, for the angels who rejoice over repentance cannot but feel an uncomprehended pain as they try and try again in vain, whether they may not warm hard hearts with the brooding of their kind wings. So that we have not to banish from the ideal countenance the evidences of sorrow, nor of past suffering, nor even of past and conquered sin, but only the immediate operation of any evil, or the immediate coldness and hollowness of any good emotion. And hence in that contest before noted, between the body and the soul, we may often have to indicate the body as far conquered and outworn, and with signs of hard struggle and bitter pain upon it, and yet without ever diminishing the purity of its ideal; and because it is not in the power of any human imagination to reason out or conceive the countless modifications of experience, suffering, and separated feeling, which have modelled and written their indelible images in various order upon every human countenance, so no right ideal can be reached by any combination of feature nor by any moulding and melting of individual beauties together, and still less without model or example conceived; but there is a perfect ideal to be wrought out of _every_ face around us that has on its forehead the writing and the seal of the angel ascending from the East,[38] by the earnest study and penetration of the written history thereupon, and the banishing of the blots and stains, wherein we still see in all that is human, the visible and instant operation of unconquered sin.

-- 13. Ideal form is only to be obtained by portraiture.

Now I see not how any of the steps of the argument by which we have arrived at this conclusion can be evaded, and yet it would be difficult to state anything more directly opposite to the usual teaching and practice of artists. It is usual to hear portraiture opposed to the pursuit of ideality, and yet we find that no face can be ideal which is not a portrait. Of this general principle, however, there are certain modifications which we must presently state; let us first, however, pursue it a little farther, and deduce its practical consequences.

-- 14. Instances among the greater of the ideal Masters.

These are, first, that the pursuit of idealism in humanity, as of idealism in lower nature, can be successful only when followed through the most constant, patient, and humble rendering of actual models, accompanied with that earnest mental as well as ocular study of each, which can interpret all that is written upon it, disentangle the hieroglyphics of its sacred history, rend the veil of the bodily temple, and rightly measure the relations of good and evil contending within it for mastery,[39] that everything done without such study must be shallow and contemptible, that generalization or combination of individual character will end less in the mending than the losing of it, and, except in certain instances of which we shall presently take note, is valueless and vapid, even if it escape being painful from its want of truth, which in these days it often in some measure does, for we indeed find faces about us with want enough of life or wholesome character in them to justify anything. And that habit of the old and great painters of introducing portrait into all their highest works, I look to, not as error in them, but as the very source and root of their superiority in all things, for they were too great and too humble not to see in every face about them that which was above them, and which no fancies of theirs could match nor take place of, wherefore we find the custom of portraiture constant with them, both portraiture of study and for purposes of a.n.a.lysis, as with Leonardo; and actual, professed, serviceable, hardworking portraiture of the men of their time, as with Raffaelle, and t.i.tian, and Tintoret; and portraiture of Love, as with Fra Bartolomeo of Savonarola, and Simon Memmi of Petrarch, and Giotto of Dante, and Gentile Bellini of a beloved imagination of Dandolo, and with Raffaelle constantly; and portraiture in real downright necessity of models, even in their n.o.blest works, as was the practice of Ghirlandajo perpetually, and Masaccio and Raffaelle, and manifestly of the men of highest and purest ideal purpose, as again, Giotto, and in his characteristic monkish heads, Angelico, and John Bellini, (note especially the St. Christopher at the side of that mighty picture of St.

Jerome, at Venice,) and so of all: which practice had indeed a perilous tendency for men of debased mind, who used models such as and where they ought not, as Lippi and the corrupted Raffaelle; and is found often at exceeding disadvantage among men who looked not at their models with intellectual or loving penetration, but took the outside of them, or perhaps took the evil and left the good, as t.i.tian in that Academy study at Venice which is called a St. John, and all workers whatsoever that I know of, after Raffaelle's time, as Guido and the Caracci, and such others: but it is nevertheless the necessary and sterling basis of all ideal art, neither has any great man ever been able to do without it, nor dreamed of doing without it even to the close of his days.

-- 15. Evil results of opposite practice in modern times.

And therefore there is not any greater sign of the utter want of vitality and hopefulness in the schools of the present day than that unhappy prettiness and sameness under which they mask, or rather for which they barter, in their lentile thirst, all the birthright and power of nature, which prettiness, wrought out and spun fine in the study, out of empty heads, till it hardly betters the blocks on which dresses and hair are tried in barbers' windows and milliners' books, cannot but be revolting to any man who has his eyes, even in a measure, open to the divinity of the immortal seal on the common features that he meets in the highways and hedges hourly and momentarily, outreaching all efforts of conception as all power of realization, were it Raffaelle's three times over, even when the glory of the wedding garment is not there.

-- 16. The right use of the model.

So far, then, of the use of the model and the preciousness of it in all art, from the highest to the lowest. But the use of the model is not all. It must be used in a certain way, and on this choice of right or wrong way all our ends are at stake, for the art, which is of no power without the model, is of pernicious and evil power if the model be wrongly used. What the right use is, has been at least established, if not fully explained, in the argument by which we arrived at the general principle.

The right ideal is to be reached, we have a.s.serted, only by the banishment of the immediate signs of sin upon the countenance and body.

How, therefore, are the signs of sin to be known and separated?

-- 17. Ideal form to be reached only by love.

No intellectual operation is here of any avail. There is not any reasoning by which the evidences of depravity are to be traced in movements of muscle or forms of feature; there is not any knowledge, nor experience, nor diligence of comparison that can be of avail. Here, as throughout the operation of the theoretic faculty, the perception is altogether moral, an instinctive love and clinging to the lines of light. Nothing but love can read the letters, nothing but sympathy catch the sound, there is no pure pa.s.sion that can be understood or painted except by pureness of heart; the foul or blunt feeling will see itself in everything, and set down blasphemies; it will see Beelzebub in the casting out of devils, it will find its G.o.d of flies in every alabaster box of precious ointment. The indignation of zeal towards G.o.d (nemesis) it will take for anger against man, faith and veneration it will miss of, as not comprehending, charity it will turn into l.u.s.t, compa.s.sion into pride, every virtue it will go over against, like Shimei, casting dust. But the right Christian mind will in like manner find its own image wherever it exists, it will seek for what it loves, and draw it out of all dens and caves, and it will believe in its being, often when it cannot see it, and always turn away its eyes from beholding vanity; and so it will lie lovingly over all the faults and rough places of the human heart, as the snow from heaven does over the hard, and black, and broken mountain rocks, following their forms truly, and yet catching light for them to make them fair, and that must be a steep and unkindly crag indeed which it cannot cover.

-- 18. Practical principles deducible.

Now of this spirit there will always be little enough in the world, and it cannot be given nor taught by men, and so it is of little use to insist on it farther, only I may note some practical points respecting the ideal treatment of human form, which may be of use in these thoughtless days. There is not the face, I have said, which the painter may not make ideal if he choose, but that subtile feeling which shall find out all of good that there is in any given countenance is not, except by concern for other things than art, to be acquired. But certain broad indications of evil there are which the bluntest feeling may perceive, and which the habit of distinguishing and casting out would both enn.o.ble the schools of art, and lead in time to greater acuteness of perception with respect to the less explicable characters of soul beauty.

-- 19. Expressions chiefly destructive of ideal character. 1st. Pride.

Those signs of evil which are commonly most manifest on the human features are roughly divisible into these four kinds, the signs of pride, of sensuality, of fear, and of cruelty. Any one of which will destroy the ideal character of the countenance and body.

-- 20. Portraiture ancient and modern.

Now of these, the first, pride, is perhaps the most destructive of all the four, seeing it is the undermost and original story of all sin; and it is base also from the necessary foolishness of it, because at its best, that is when grounded on a just estimation of our own elevation or superiority above certain others, it cannot but imply that our eyes look downward only, and have never been raised above our own measure, for there is not the man so lofty in his standing nor capacity but he must be humble in thinking of the cloud habitation and far sight of the angelic intelligences above him, and in perceiving what infinity there is of things he cannot know nor even reach unto, as it stands compared with that little body of things he can reach, and of which nevertheless he can altogether understand not one; not to speak of that wicked and fond attributing of such excellency as he may have to himself, and thinking of it as his own getting, which is the real essence and criminality of pride, nor of those viler forms of it, founded on false estimation of things beneath us and irrational contemning of them: but taken at its best, it is still base to that degree that there is no grandeur of feature which it cannot destroy and make despicable, so that the first step towards the enn.o.bling of any face is the ridding it of its vanity; to which aim there cannot be anything more contrary than that principle of portraiture which prevails with us in these days, whose end seems to be the expression of vanity throughout, in face and in all circ.u.mstances of accompaniment, tending constantly to insolence of att.i.tude, and levity and haughtiness of expression, and worked out farther in mean accompaniments of worldly splendor and possession, together with hints or proclamations of what the person has done or supposes himself to have done, which, if known, it is gratuitous in the portrait to exhibit, and if unknown, it is insolent in the portrait to proclaim; whence has arisen such a school of portraiture as must make the people of the nineteenth century the shame of their descendants, and the b.u.t.t of all time. To which practices are to be opposed both the glorious severity of Holbein, and the mighty and simple modesty of Raffaelle, t.i.tian, Giorgione, and Tintoret, with whom armor does not const.i.tute the warrior, neither silk the dame. And from what feeling the dignity of that portraiture arose is best traceable at Venice, where we find their victorious doges painted neither in the toil of battle nor the triumph of return, nor set forth with thrones and curtains of state, but kneeling always crownless, and returning thanks to G.o.d for his help, or as priests, interceding for the nation in its affliction. Which feeling and its results have been so well traced out by Rio,[40] that I need not speak of it farther.

-- 21. Secondly, Sensuality.

-- 22. How connected with impurity of color.

-- 23. And prevented by its splendor.

-- 24. Or by severity of drawing.

That second destroyer of ideal form, the appearance of sensual character, though not less fatal in its operation on modern art, is more difficult to trace, owing to its peculiar subtlety. For it is not possible to say by what minute differences the right conception of the human form is separated from that which is luscious and foul: for the root of all is in the love and seeking of the painter, who, if of impure and feeble mind, will cover all that he touches with clay staining, as Bandinelli puts a foul scent of human flesh about his marble Christ, and as many whom I will not here name, among moderns; but if of mighty mind or pure, may pa.s.s through all places of foulness, and none will stay upon him, as Michael Angelo, or he will baptize all things and wash them with pure water, as our own Stothard. Now, so far as this power is dependent on the seeking of the artist, and is only to be seen in the work of good and spiritually-minded men, it is vain to attempt to teach or ill.u.s.trate it, neither is it here the place to take note of the way in which it belongs to the representation of the mental image of things, instead of things themselves, of which we are to speak in treating of the imagination; but thus much may here be noted of broad, practical principle, that the purity of flesh painting depends in very considerable measure on the intensity and warmth of its color. For if it be opaque, and clay cold, and colorless, and devoid of all the radiance and value of flesh, the lines of its true beauty, being severe and firm, will become so hard in the loss of the glow and gradation by which nature ill.u.s.trates them, that the painter will be compelled to sacrifice them for a luscious fulness and roundness, in order to give the conception of flesh; which, being done, destroys ideality of form as of color, and gives all over to lasciviousness of surface; showing also that the painter sought for this, and this only, since otherwise he had not taken a subject in which he knew himself compelled to surrender all sources of dignity. Whereas, right splendor of color both bears out a n.o.bler severity of form, and is in itself purifying and cleansing, like fire, furnishing also to the painter an excuse for the choice of his subject, seeing that he may be supposed as not having painted it but in the admiration of its abstract glory of color and form, and with no unworthy seeking. But the mere power of perfect and glowing color will in some sort redeem even a debased tendency of mind itself, as eminently the case with t.i.tian, who, though of little feeling, and often treating base subjects, or elevated subjects basely, as in the disgusting Magdalen of the Pitti palace, and that of the Barberigo at Venice, yet redeems all by his glory of hue, so that he cannot paint altogether coa.r.s.ely; and with Giorgione, who had n.o.bler and more serious intellect, the sense of nudity is utterly lost, and there is no need nor desire of concealment any more, but his naked figures move among the trees like fiery pillars, and lie on the gra.s.s like flakes of sunshine.[41] With the religious painters on the other hand, such nudity as they were compelled to treat is redeemed as much by severity of form and hardness of line as by color, so that generally their draped figures are preferable, as in the Francia of our own gallery. But these, with Michael Angelo and the Venetians, except t.i.tian, form a great group, pure in sight and aim, between which and all other schools by which the nude has been treated, there is a gulf fixed, and all the rest, compared with them, seem striving how best to ill.u.s.trate that of Spenser.

"Of all G.o.d's works, which doe this worlde adorn, There is no one more faire, and excellent Than is man's body both for power and forme Whiles it is kept in sober government.

But none than it more foul and indecent Distempered through misrule and pa.s.sions bace."

-- 25. Degrees of descent in this respect: Rubens, Correggio, and Guido.

-- 26. And modern art.

Of these last, however, with whom ideality is lost, there are some worthier than others, according to that measure of color they reach, and power they possess, whence much may be forgiven to Rubens, (as to our own Etty,) less, as I think, to Correggio, who with less apparent and evident coa.r.s.eness has more of inherent sensuality, wrought out with attractive and luscious refinement, and that alike in all subjects, as in the Madonna of the Incoron.a.z.ione, over the high altar of San Giovanni at Parma, of which the head and upper portion of the figure, now preserved in the library, might serve as a model of att.i.tude and expression to a ballet figurante:[42] and again in the lascivious St.

Catherine of the Giorno, and in the Charioted Diana, (both at Parma,) not to name any of his works of aim more definitely evil. Beneath which again will fall the works devoid alike of art and decency, as that Susannah of Guido, in our own gallery, and so we may descend to the absolute clay of the moderns, only noticing in all how much of what is evil and base in subject or tendency, is redeemed by what is pure and right in hue, so that I do not a.s.sert that the purpose and object of many of the grander painters of the nude, as t.i.tian for instance, was always elevated, but only that we, who cannot paint the lamp of fire within the earthen pitcher, must take other weapons in our left hands.

And it is to be noted, also, that in climates where the body can be more openly and frequently visited by sun and weather, the nude both comes to be regarded in a way more grand and pure, as necessarily awakening no ideas of base kind, (as pre-eminently with the Greeks,) and also from that exposure receives a firmness and sunny elasticity very different from the silky softness of the clothed nations of the north, where every model necessarily looks as if accidentally undressed; and hence from the very fear and doubt with which we approach the nude, it becomes expressive of evil, and for that daring frankness of the old men, which seldom missed of human grandeur, even when it failed of holy feeling, we have subst.i.tuted a mean, carpeted, gauze-veiled, mincing sensuality of curls and crisping pins, out of which I believe nothing can come but moral enervation and mental paralysis.

-- 27. Thirdly, ferocity and fear. The latter how to be distinguished from awe.

-- 28. Holy fear, how distinct from human terror.

-- 29. Ferocity is joined always with fear. Its unpardonableness.

Respecting those two other vices of the human face, the expressions of fear and ferocity, there is less to be noted, as they only occasionally enter into the conception of character; only it is most necessary to make careful distinction between the conception of power, destructiveness, or majesty, in matter, influence, or agent, and the actual fear of any of these, for it is possible to conceive of terribleness, without being in a position obnoxious to the danger of it, and so without fear, and the feeling arising from this contemplation of dreadfulness, ourselves being in safety, as of a stormy sea from the sh.o.r.e, is properly termed awe, and is a most n.o.ble pa.s.sion; whereas fear mortal and extreme, may be felt respecting things ign.o.ble, as the falling from a window, and without any conception of terribleness or majesty in the thing, or the accident dreaded; and even when fear is felt respecting things sublime, as thunder, or storm of battle, yet the tendency of it is to destroy all power of contemplation of their majesty, and to freeze and shrink all the intellect into a shaking heap of clay, for absolute acute fear is of the same unworthiness and contempt from whatever source it arise, and degrades the mind and the outward bearing of the body alike, even though it be among hail of heaven and fire running along the ground. And so among the children of G.o.d, while there is always that fearful and bowed apprehension of his majesty, and that sacred dread of all offence to him, which is called the fear of G.o.d, yet of real and essential fear there is not any but clinging of confidence to him, as their Rock, Fortress, and Deliverer, and perfect love, and casting out of fear, so that it is not possible that while the mind is rightly bent on him, there should be dread of anything either earthly or supernatural, and the more dreadful seems the height of his majesty, the less fear they feel that dwell in the shadow of it, ("Of whom shall I be afraid?") so that they are as David was, devoted to his fear; whereas, on the other hand, those who, if they may help it, never conceive of G.o.d, but thrust away all thought and memory of him, and in his real terribleness and omnipresence fear him not nor know him, yet are of real, acute, piercing, and ign.o.ble fear, haunted for evermore; fear inconceiving and desperate that calls to the rocks, and hides in the dust; and hence the peculiar baseness of the expression of terror, a baseness attributed to it in all times, and among all nations, as of a pa.s.sion atheistical, brutal, and profane. So also, it is always joined with ferocity, which is of all pa.s.sions the least human; for of sensual desires there is license to men, as necessity; and of vanity there is intellectual cause, so that when seen in a brute it is pleasant and a sign of good wit; and of fear there is at times necessity and excuse, as being allowed for prevention of harm; but of ferocity there is no excuse nor palliation, but it is pure essence of tiger and demon, and it casts on the human face the paleness alike of the horse of Death, and the ashes of h.e.l.l.

-- 30. Such expressions how sought by painters powerless and impious.

Wherefore, of all subjects that can be admitted to sight, the expressions of fear and ferocity are the most foul and detestable, and so there is in them I know not what sympathetic attractiveness for minds cowardly and base, as the vulgar of most nations, and forasmuch as they are easily rendered by men who can render nothing else, they are often trusted in by the herd of painters incapable and profane, as in that monstrous abortion of the first room of the Louvre, called the Deluge, whose subject is pure, acute, mortal fear; and so generally the senseless horrors of the modern French schools, sp.a.w.n of the guillotine: also there is not a greater test of grandeur or meanness of mind than the expressions it will seek for and develop in the features and forms of men in fierce strife, whether determination and devotion, and all the other attributes of that unselfishness which const.i.tutes heroism, as in the warrior of Agasias; and distress not agitated nor unworthy, though mortal, as in the Dying Gladiator, or brutal ferocity and butchered agony, of which the lowest and least palliated examples are those battles of Salvator Rosa, which none but a man, base-born and thief-bred, could have dwelt upon for an instant without sickening, of which I will only name that example in the Pitti palace, wherein the chief figure in the foreground is a man with his arm cut off at the shoulder, run through the other hand into the breast with a lance.[43]

And manifold instances of the same feeling are to be found in the repainting of the various representations of the Inferno, so common through Italy, more especially that of Orcagna's in the Campo Santo, wherein the few figures near the top that yet remain untouched are grand in their severe drawing and expressions of enduring despair, while those below, repainted by Solazzino, depend for their expressiveness upon torrents of blood; so in the Inferno of Santa Maria Novella, and of the Arena chapel, not to speak of the horrible images of the Pa.s.sion, by which vulgar Romanism has always striven to excite the languid sympathies of its untaught flocks. Of which foulness let us reason no farther, the very image and memory of them being pollution, only noticing this, that there has always been a morbid tendency in Romanism towards the contemplation of bodily pain, owing to the attribution of saving power to it, which, like every other moral error, has been of fatal effect in art, leaving not altogether without the stain and blame of it, even the highest of the pure Romanist painters; as Fra Angelico, for instance, who, in his Pa.s.sion subjects, always insists weakly on the bodily torture, and is unsparing of blood; and Giotto, though his treatment is usually grander, as in that Crucifixion over the door of the Convent of St. Mark's, where the blood is hardly actual, but issues from the feet in a typical and conventional form, and becomes a crimson cord which is twined strangely beneath about a skull; only that which these holy men did to enhance, even though in their means mistaken, the impression and power of the sufferings of Christ, or of his saints, is always in a measure n.o.ble, and to be distinguished with all reverence from the abominations of the irreligious painters following, as of Camillo Procaccini, in one of his martyrdoms in the Gallery of the Brera, at Milan, and other such, whose names may be well spared to the reader.

-- 31. Of pa.s.sion generally.