xertion, even for a
moment, conceive either agitation, doubt, or fear--and all the actions
proceeding from such passions, or, _a fortiori_, from any yet more
criminal, are absurdly and powerlessly portrayed by him; while
contrariwise, every gesture, consistent with emotion pure and saintly,
is rendered with an intensity of truth to which there is no existing
parallel; the expression being carried out into every bend of the hand,
every undulation of the arm, shoulder, and neck, every fold of the dress
and every wave of the hair. His drawing of movement is subject to the
same influence; vulgar or vicious motion he cannot represent; his
running, falling, or struggling figures are drawn with childish
incapability; but give him for his scene the pavement of heaven, or
pastures of Paradise, and for his subject the "inoffensive pace" of
glorified souls, or the spiritual speed of Angels, and Michael Angelo
alone can contend with him in majesty,--in grace and musical
continuousness of motion, no one. The inspiration was in some degree
caught by his pupil Benozzo, but thenceforward forever lost. The angels
of Perugino appear to be let down by cords and moved by wires; that of
Titian, in the sacrifice of Isaac, kicks like an awkward swimmer;
Raphael's Moses and Elias of the Transfiguration are cramped at the
knees; and the flight of Domenichino's angels is a sprawl paralyzed. The
authority of Tintoret over movement is, on the other hand, too
unlimited; the descent of his angels is the swoop of a whirlwind or the
fall of a thunderbolt; his mortal impulses are oftener impetuous than
pathetic, and majestic more than melodious.

92. But it is difficult by words to convey to the reader unacquainted
with Angelico's works, any idea of the thoughtful variety of his
rendering of movement--Earnest haste of girded faith in the Flight into
Egypt, the haste of obedience, not of fear; and unweariedness, but
through spiritual support, and not in human strength--Swift obedience of
passive earth to the call of its Creator, in the Resurrection of
Lazarus--March of meditative gladness in the following of the Apostles
down the Mount of Olives--Rush of adoration breaking through the chains
and shadows of death, in the Spirits in Prison. Pacing of mighty angels
above the Firmament, poised on their upright wings, half opened, broad,
bright, quiet, like eastern clouds before the sun is up;--or going
forth, with timbrels and with dances, of souls more tha