wever, on a lower spiritual plane than the Christian. He remarks that
all mediaeval art was religious; the only concession to the secular being
found in the illuminations of some of the chivalry romances. Gothic
architecture was the expression of Teutonic genius, which is realistic
and stands for the reason, while Italian sacred painting was idealistic
and stands for the imagination. In the most perfect art, as in the
highest type of religion, reason and imagination are in balance. Hence,
the influence of Van Eyck, Memling, and Duerer on Italian painters was
wholesome; and the Reformation, the work of the reasoning Teutonic mind,
is not to be condemned. Reason is to blame only when it goes too far and
extinguishes imagination.[23]

"The sympathies of the North, or of the Teutonic race, are with Death, as
those of the Southern, or classic, are with Life. . . . The exquisitely
beautiful allegorical tale of 'Sintram and His Companions' by La Motte
Fouque, was founded on the 'Knight and Death' of Albert Duerer, and I
cannot but think that Milton had the 'Melancholy' in his remembrance
while writing 'Il Penseroso.'" [24] The author thinks that, whatever may
be true of Gothic architecture--an art less national than
ecclesiastical--"sculpture and painting, on the one hand, and the spirit
of chivalry on the other, have usually flourished in an inverse ratio one
to the other, and it is not therefore in England, France, or Spain, but
among the free cities of Italy and Germany that we must look for their
rise." [25] I give these conclusions--so opposite to those of Catholic
mediaevalists like Digby and Pugin--because they illustrate the temper of
Lindsay's book. One more quotation I will venture to add for its
agreement with Uvedale Price's definition of the picturesque:[26] "The
picturesque in art answers to the romantic in poetry; both stand opposed
to the classic or formal school--both may be defined as the triumph of
nature over art, luxuriating in the decay, not of her elemental and
ever-lasting beauty, but of the bonds by which she had been enthralled by
man. It is only in ruin that a building of pure architecture, whether
Greek or Gothic, becomes picturesque." [27]

Lord Lindsay's "Sketches" contained no illustrations. Mrs. Jameson's
very popular series on "Sacred and Legendary Art" was profusely
embellished with wood-cuts and etchings. The first number of the series,
"Legends of the Saints and Martyrs," was beg