e:
one, the Madonna in the Sacristy of the Frari, with two saints beside
her, and two angels at her feet; the second, the Madonna with four
Saints, over the second altar of San Zaccaria.

In the first of these, the figures are under life size, and it
represents the most perfect kind of picture for rooms; in which, since
it is intended to be seen close to the spectator, every right kind of
finish possible to the hand may be wisely lavished; yet which is not a
miniature, nor in any wise petty, or ignoble.

In the second, the figures are of life size, or a little more, and it
represents the class of great pictures in which the boldest execution is
used, but all brought to entire completion. These two, having every
quality in balance, are as far as my present knowledge extends, and as
far as I can trust my judgment, the two best pictures in the world.

219. Observe respecting them--

First, they are both wrought in entirely consistent and permanent
material. The gold in them is represented by painting, not laid on with
real gold. And the painting is so secure, that four hundred years have
produced on it, so far as I can see, no harmful change whatsoever, of
any kind.

Secondly, the figures in both are in perfect peace. No action takes
place except that the little angels are playing on musical instruments,
but with uninterrupted and effortless gesture, as in a dream. A choir of
singing angels by La Robbia or Donatello would be intent on their music,
or eagerly rapturous in it, as in temporary exertion: in the little
choirs of cherubs by Luini in the Adoration of the Shepherds, in the
Cathedral of Como, we even feel by their dutiful anxiety that there
might be danger of a false note if they were less attentive. But
Bellini's angels, even the youngest, sing as calmly as the Fates weave.

220. Let me at once point out to you that this calmness is the attribute
of the entirely highest class of art: the introduction of strong or
violently emotional incident is at once a confession of inferiority.

Those are the two first attributes of the best art. Faultless
workmanship, and perfect serenity; a continuous, not momentary,
action,--or entire inaction. You are to be interested in the living
creatures; not in what is happening to them.

Then the third attribute of the best art is that it compels you to think
of the spirit of the creature, and therefore of its face, more than of
its body.

And the fourth is that in the face