n upon or procession from the
artistical aim of such period, the character of its chosen subjects, and
the effects proposed in their treatment upon the national mind. Mr.
Eastlake has as yet refused himself the indulgence of such speculation;
his book is no more than its modest title expresses. For ourselves,
however, without venturing in the slightest degree to anticipate the
expression of his ulterior views--though we believe that we can trace
their extent and direction in a few suggestive sentences, as pregnant as
they are unobtrusive--we must yet, in giving a rapid sketch of the facts
established, assume the privilege of directing the reader to one or two
of their most obvious consequences, and, like honest 'prentices, not
suffer the abstracted retirement of our master in the back parlor to
diminish the just recommendation of his wares to the passers-by.

103. Eminently deficient in works representative of the earliest and
purest tendencies of art, our National Gallery nevertheless affords a
characteristic and sufficient series of examples of the practice of the
various schools of painting, after oil had been finally substituted for
the less manageable glutinous vehicles which, under the general name of
tempera, were principally employed in the production of easel pictures
up to the middle of the fifteenth century. If the reader were to make
the circuit of this collection for the purpose of determining which
picture represented with least disputable fidelity the first intention
of its painter, and united in its modes of execution the highest reach
of achievement with the strongest assurance of durability, we believe
that--after hesitating long over hypothetical degrees of blackened
shadow and yellowed light, of lost outline and buried detail, of chilled
luster, dimmed transparency, altered color, and weakened force--he would
finally pause before a small picture on panel, representing two quaintly
dressed figures in a dimly lighted room--dependent for its interest
little on expression, and less on treatment--but eminently remarkable
for reality of substance, vacuity of space, and vigor of quiet color;
nor less for an elaborate finish, united with energetic freshness,
which seem to show that time has been much concerned in its production,
and has had no power over its fate.

104. We do not say that the total force of the material is exhibited in
this picture, or even that it in any degree possesses the lusciousness
a