relations with any kind of falsity. One task, however, remains to us, namely, to observe the operation of the Theoretic and Imaginative faculties together, in the attempt at realization to the bodily sense of Beauty supernatural and Divine.

CHAPTER V.

OF THE SUPERHUMAN IDEAL.

In our investigation, in the first section, of the laws of beauty, we § 1. The subconfined ourselves to the observation of lower nature, or of humanity. here treated in ject is not to be We were prevented from proceeding to deduce conclusions respecting divine ideality by our not having then established any principles respecting the Imaginative faculty, by which, under the discipline of the Theoretic, such ideality is conceived. I had purposed to conclude the present section by a careful examination of this subject; but as this is evidently foreign to the matter immediately under discussion, and involves questions of great intricacy respecting the development of mind among those pagan nations who are supposed to have produced high examples of spiritual ideality, I believe it will be better to delay such inquiries until we have concluded our detailed observation of the beauty of visible nature; and I shall therefore at present take notice only of one or two principles, which were referred to, or implied, in the chapter respecting the Human ideal, and without the enunciation of which, that chapter might lead to false conclusions.

There are four ways in which Beings supernatural may be conceived § 2. The conas manifesting themselves to human sense. The first, by external types, signs, or influences; as God to Moses in the flames of the bush, and to Elijah in the voice of Horeb.

The second, by the assuming of a form not properly belonging to them; as the Holy Spirit of that of a Dove; the second person of the Trinity of that of a Lamb; and so such manifestations, under Angelic or other form, of the first person of the Trinity, as seem to have been made to Abraham, Moses, and Ezekiel.

ceivable modes of manifestation of Spiritual Beings are four.

§ 3. And these

are

in or

through crea

The third, by the manifestation of a form properly belonging to them, but not necessarily seen; as of the Risen Christ to his disciples when the doors were shut. And the fourth, by their operation on the human form which they influence or inspire; as in the shining of the face of Moses.

It is evident that in all these cases, wherever there is form at all, it is the form of some creature to us known. It is no new We can conceive of none.

ture forms fa- form peculiar to spirit, nor can it be.

miliar to us.

§ 4. Supernatural character be impressmay

Our inquiry is simply therefore, by what modifications those creature forms to us known, as of a lamb, a bird, or a human creature, may be explained as signs or habitations of Divinity, or of angelic essence, and not creatures such they seem.

This may be done in two ways. First, by effecting some change in the appearance of the creature inconsistent with its actual nature; ed on these as by giving it colossal size, or unnatural colour, or material, as of

either by pheno

mena inconsis- gold, or silver, or flame, instead of flesh; or taking away its pro

tent with their

common nature, perty of matter altogether, and forming it of light or shade, or (compare chap. in an intermediate step, of cloud, or vapour; or explaining it by 4, § 16.) terrible concomitant circumstances, as of wounds in the body, or strange lights and seemings round about it; or joining of two bodies together, as in angels' wings. Of all which means of attaining supernatural character (which, though in their nature ordinary and vulgar, are yet effective and very glorious in mighty hands) we have already seen the limits in speaking of the Imagination.

§ 5. Or by In

But the second means of obtaining supernatural character is that herent Dignity with which we are now concerned, namely, retaining the actual form. in its full and material presence, and without aid from any external interpretation whatsoever, to raise that form by mere inherent dignity to such pitch of power and impressiveness as cannot but assert and stamp it for superhuman.

On the north side of the Campo Santo at Pisa, are a series of paintings from the Old Testament History by Benozzo Gozzoli. In the earlier of these, angelic presences, mingled with human, occur frequently, illustrated by no awfulness of light, nor incorporeal tracing. Clear revealed they move, in human forms, in the broad daylight and on the open earth, side by side, and hand in hand with men. But they never miss of the angel.

He who can do this, has reached the last pinnacle and utmost power of ideal, or any other art. He stands in no need, thenceforward, of cloud, nor lightning, nor tempest, nor terror of mystery. His sublime is independent of the elements. It is of that which shall stand when they shall melt with fervent heat, and light the firmament when the sun is as sackcloth of hair.

Let us consider by what means this has been effected, so far § 6. 1st. Of the expression they are by analysis traceable; and that is not far, for here, as of Inspiration. always, we find that the greater part of what has been rightly accomplished has been done by faith and intense feeling, and cannot, by aid of any rules or teaching, be either tried, estimated, or imitated.

And first, of the expression of supernatural influence on forms actually human, as of Sibyl or Prophet. It is evident that not only here is it unnecessary, but we are not altogether at liberty to trust for expression to the utmost ennobling of the human form: for we cannot do more than this, when that form is to be the actual representation, and not the recipient of divine presence. Hence in order to retain the actual humanity definitely, we must leave upon it such signs of the operation of Sin and the liability to Death as are consistent with human ideality; and often more than these, definite signs of immediate and active evil, when the prophetic spirit is to be expressed in men such as were Saul and Balaam; neither may we ever, with just discrimination, touch the utmost limits of beauty in human form when inspiration only is to be expressed, and not angelic or divine being; of which reserve and subjection the most instructive instances are found in the works of Angelico, who invariably uses inferior types for the features of humanity, even glorified, (excepting always the Madonna,) nor ever exerts his full power of beauty, either in feature or expression, except in angels, or in the Madonna, or in Christ. Now the expression of Spiritual influence without supreme elevation of the bodily type we have seen to be a work of penetrative Imagination, and we found it accomplished by Michael Angelo; but I think by him only. I am aware of no one else who, to my mind, has expressed the inspiration of Prophet or Sibyl; this, however, I affirm not, but shall leave to the determination of the reader, as the principles at

present to be noted refer entirely to that elevation of the Creature form necessary when it is actually representative of a Spiritual being.

§ 7. No repreI have affirmed in the conclusion of the first section that "of sentation of that which is that which is more than Creature no Creature ever conceived." I more than crea- think this almost self-evident, for it is clear that the illimitableness ture is possible. of Divine attributes cannot be by matter represented (though it may be typified); and I believe that all who are acquainted with the range of sacred art will admit, not only that no representation of Christ has ever been even partially successful, but that the greatest painters fall therein below their accustomed level; Perugino and Fra Angelico especially; Leonardo has, I think, done best; but perhaps the beauty of the fragment left at Milan (for in spite of all that is said of repainting and destruction, that Cenacolo is still the finest in existence) is as much dependent on the very untraceableness resulting from injury as on its original perfection. Of more daring attempts at representation of Divinity we need not speak; only this is to be noted respecting them, that though by the ignorant Romanists many such efforts were made under the idea of actual representation, (note the way in which Cellini speaks of the seal made for the Pope) by the nobler among them I suppose they were intended, and by us at any rate they may always be received, as mere symbols, the noblest that could be employed, but as much symbols still as a triangle, or the Alpha and Omega; nor do I think that the most scrupulous amongst Christians ought to desire to exchange the power obtained by the use of this symbol in Michael Angelo's creation of Adam and of Eve for the effect which would be produced by the substitution of any other sign in place of it. Of these efforts then we need reason no farther, but may limit ourselves to considering the purest modes of giving a conception of superhuman but still creature form, as of angels; in equal rank with whom, perhaps, we may without offence place the mother of Christ at least we must so regard the type of the Madonna in receiving it from Romanist painters.1

1 I take no note of the representation of Evil Spirits, since throughout we have been occupied in the pursuit of Beauty; but it may be observed generally that there is great difficulty to be overcome in attempts of this kind, because the elevation