Beethoven. I do not mean that the preference will be the
result of choice, in an individual who appreciates the two styles
perfectly; but that the difference I allude to renders the works of the
greatest masters of Italy less easily understood.

With all the intelligence and taste necessary for the appreciation of a
picture of Raffaelle, many will have had a hundred opportunities of
studying such a picture, and will nevertheless have passed it by,
scarcely noticed; merely, because on the first occasion of seeing it,
they have not immediately caught the idea of the artist, nor entered
sufficiently into his feelings to trace the sparks of his inspiration
scattered over the canvass. How many are there too careless to return to
the charge, and thus to acquire the cultivation necessary to enable them
to judge of such works, who the moment a Murillo, or a Zurbaran meets
their view, will gaze on it with delight, for the simple reason, that it
is calculated to strike the intelligence the least cultivated.

The Spanish artists usually endeavoured to produce an exact imitation of
material nature; while the Italians aimed at, and attained higher
results. The object of the Spaniards being less difficult of attainment,
the perfection with which they imitated nature passes conception. To
that they devoted all the energies of their genius; while you may search
in vain in the best productions of Italy, not excepting the school of
Venice, the one that most resembles the Spanish,--for anything
approaching their success in that respect. By way of an example, in the
Spasimo of Raffaelle, we trace the operations of the mind, as they
pierce through every feature of every countenance, and the attitude of
every limb throughout the grouping of that great master-piece of
expression; from the brutal impatience of the one, and the involuntary
compassion of the other executioner, up to the intensity of maternal
suffering in the Virgin, and the indescribable combination of heaven and
earth, which beams through the unequalled head of the Christ; but there
is no deception to the eye. No one would mistake any of the figures for
reality; nor exclaim that it steps from the canvass; nor does any one
wish for such an effect, or perceive any such deficiency.

What, on the contrary, was the exclamation of Murillo before Campana's
Descent from the Cross? This master-piece of Pedro de Campana is seen at
the head of the sacristy of the cathedral. It was so fav