d contemporaneously with her sister, Sculpture,
and (like her) under the shadow of the Gothic Architecture, by Giotto
and his successors throughout Italy, by Mino, Duccio, and their scholars
at Siena, by Orcagna and Fra Angelico da Fiesole at Florence, and by the
obscure but interesting primitive school of Bologna, during the
fourteenth and the early years of the fifteenth century. The period is
one, comparatively speaking, of repose and tranquillity,--the storm
sleeps and the winds are still, the currents set in one direction, and
we may sail from isle to isle over a sunny sea, dallying with the time,
secure of a cloudless sky and of the greetings of innocence and love
wheresoever the breeze may waft us. There is in truth a holy purity, an
innocent naivete, a childlike grace and simplicity, a freshness, a
fearlessness, an utter freedom from affectation, a yearning after all
things truthful, lovely and of good report, in the productions of this
early time, which invest them with a charm peculiar in its kind, and
which few even of the most perfect works of the maturer era can boast
of,--and hence the risk and danger of becoming too passionately attached
to them, of losing the power of discrimination, of admiring and
imitating their defects as well as their beauties, of running into
affectation in seeking after simplicity and into exaggeration in our
efforts to be in earnest,--in a word, of forgetting that in art as in
human nature, it is the balance, harmony, and co-equal development of
Sense, Intellect, and Spirit, which constitute perfection."--Vol. ii.,
pp. 161-163.

* * *

57. To the thousand islands, or how many soever they may be, we shall
allow ourselves to be wafted with all willingness, but not in Lord
Lindsay's three-masted vessel, with its balancing topmasts of Sense,
Intellect, and Spirit. We are utterly tired of the triplicity; and we
are mistaken if its application here be not as inconsistent as it is
arbitrary. Turning back to the introduction, which we have quoted, the
reader will find that while Architecture is there taken for the exponent
of Sense, Painting is chosen as the peculiar expression of Spirit. "The
painting of Christendom is that of an immortal spirit conversing with
its God." But in a note to the first chapter of the second volume, he
will be surprised to find painting become a "twin of intellect," and
architecture suddenly advanced from a type of sense to a type of
spir