e, is associated
with choice of the most abominable features in the countenance.

Sec. 20. Thirdly, Pure ignorance. Necessarily such a mind as this must be
incapable of perceiving the truth of any form; and therefore together
with the distortion of all studied form is associated the utter negation
or imperfection of that which is less studied.

Fourthly, Delight in blood. I cannot use the words which would be
necessary to describe the second[102] painting of the Scourging, in this
missal. But I may generally notice that the degree in which the peculiar
feeling we are endeavoring to analyze is present in any district of
Roman Catholic countries, may be almost accurately measured by the
quantity of blood represented on the crucifixes.

The person employed to repaint, in the Campo Santo of Pisa, the portion
of Orcagna's pictures representing the Inferno, has furnished a very
notable example of the same feeling; and it must be familiar to all
travellers in countries thoroughly subjected to _modern_ Romanism, a
thing as different from thirteenth-century Romanism as a prison from a
prince's chamber.

Lastly, Utter absence of inventive power. The only ghastliness which
this workman is capable of is that of distortion. In ghastly
_combination_ he is impotent; he cannot even understand it or copy it
when set before him, continually destroying any that exists in the
drawing of Schoengauer.

Sec. 21. Such appear to be the principal component elements in the mind of
the painter of this missal, and it possesses these in complete
abstraction from nearly all others, showing, in deadly purity, the
nature of the venom which in ordinary cases is tempered by counteracting
elements. There are even certain feelings, evil enough themselves, but
more _natural_ than these, of which the slightest mingling would here be
a sort of redemption. Vanity, for instance, would lead to a more
finished execution, and more careful copying from nature, and of course
subdue the ugliness by fidelity; love of pleasure would introduce
occasionally a graceful or sensual form; malice would give some point
and meaning to the bordering grotesques, nay, even insanity might have
given them some inventive horror. But the pure mortiferousness of this
mind, capable neither of patience, fidelity, grace, or wit, in any
place, or from any motive,--this horrible apathy of brain, which cannot
ascend so high as insanity, but is capable only of putrefaction, save us
the