d stretched out the limbs of his
Madonna in actions as unlikely as they are uncomfortable.

In all early Gothic art, indeed, you will find failure of this kind,
especially distortion and rigidity, which are in many respects
painfully to be compared with the splendid repose of classic art. But
the distortion is not Gothic; the intensity, the abstraction, the
force of character are, and the beauty of color.

84. Here is a very imperfect, but illustrative border of flowers and
animals on a golden ground. The large letter contains, indeed,
entirely feeble and ill-drawn figures: that is merely childish and
failing work of an inferior hand; it is not characteristic of Gothic,
or any other school. But this peacock, being drawn with intense
delight in blue, on gold, and getting character of peacock in the
general sharp outline, instead of--as Rubens' peacocks--in black
shadow, is distinctively Gothic of fine style.

85. I wish you therefore to begin your study of natural history and
landscape by discerning the simple outlines and the pleasant colors of
things; and to rest in them as long as you can. But, observe, you can
only do this on one condition--that of striving also to create, in
reality, the beauty which you seek in imagination. It will be wholly
impossible for you to retain the tranquillity of temper and felicity
of faith necessary for noble purist painting, unless you are actively
engaged in promoting the felicity and peace of practical life. None of
this bright Gothic art was ever done but either by faith in the
attainableness of felicity in heaven, or under conditions of real
order and delicate loveliness on the earth.

86. As long as I can possibly keep you among them, there you shall
stay--among the almond and apple blossom. But if you go on into the
veracities of the school of Clay, you will find there is something at
the roots of almond and apple trees, which is--This. You must look at
him in the face--fight him--conquer him with what scathe you may: you
need not think to keep out of the way of him. There is Turner's
Dragon; there is Michael Angelo's; there, a very little one of
Carpaccio's. Every soul of them had to understand the creature, and
very earnestly.

87. Not that Michael Angelo understands his dragon as the others do.
He was not enough a colorist either to catch the points of the
creature's aspect, or to feel the same hatred of them; but I confess
myself always amazed in looking at Michael Ange