heir hands bound down to their sides:
therefore they should be thrown out to roll in the kennels naked.

None of these arguments are good, and the practical issues of them are
worse. For there are certain eternal laws for human conduct which are
quite clearly discernible by human reason. So far as these are
discovered and obeyed, by whatever machinery or authority the obedience
is procured, there follow life and strength. So far as they are
disobeyed, by whatever good intention the disobedience is brought about,
there follow ruin and sorrow. And the first duty of every man in the
world is to find his true master, and, for his own good, submit to him;
and to find his true inferior, and, for that inferior's good, conquer
him. The punishment is sure, if we either refuse the reverence, or are
too cowardly and indolent to enforce the compulsion. A base nation
crucifies or poisons its wise men, and lets its fools rave and rot in the
streets. A wise nation obeys the one, restrains the other, and cherishes
all.

157. The best examples of the results of wise normal evidence in Art
will be found in whatever evidence remains respecting the lives of great
Italian painters, though, unhappily, in eras of progress, but just in
proportion to the admirableness and efficiency of the life, will be
usually the scantiness of its history. The individualities and liberties
which are causes of destruction may be recorded; but the loyal conditions
of daily breath are never told. Because Leonardo made models of
machines, dug canals, built fortifications, and dissipated half his
art-power in capricious ingenuities, we have many anecdotes of him;--but
no picture of importance on canvas, and only a few withered stains of one
upon a wall. But because his pupil, or reputed pupil, Luini, labored in
constant and successful simplicity, we have no anecdotes of him;--only
hundreds of noble works. Luini is, perhaps, the best central type of the
highly-trained Italian painter. He is the only man who entirely united
the religious temper which was the spirit-life of art, with the physical
power which was its bodily life. He joins the purity and passion of
Angelico to the strength of Veronese: the two elements, poised in perfect
balance, are so calmed and restrained, each by the other, that most of us
lose the sense of both. The artist does not see the strength, by reason
of the chastened spirit in which it is used: and the religious visionary