ich is their glory. Whereof the ignorance is shown
in all evil colorists by the violence and positiveness of their hues,
and by dulness and discordance consequent, for the very brilliancy and
real power of all color is dependent on the chastening of it, as of a
voice on its gentleness, and as of action on its calmness, and as all
moral vigor on self-command. And therefore as that virtue which men
last, and with most difficulty attain unto, and which many attain not at
all, and yet that which is essential to the conduct and almost to the
being of all other virtues, since neither imagination, nor invention,
nor industry, nor sensibility, nor energy, nor any other good having, is
of full avail without this of self-command, whereby works truly
masculine and mighty are produced, and by the signs of which they are
separated from that lower host of things brilliant, magnificent and
redundant, and farther yet from that of the loose, the lawless, the
exaggerated, the insolent, and the profane, I would have the necessity
of it foremost among all our inculcating, and the name of it largest
among all our inscribing, in so far that, over the doors of every school
of Art, I would have this one word, relieved out in deep letters of pure
gold,--Moderation.

FOOTNOTES

[29] It is to be carefully noted that when rude execution is
evidently not the result of imperfect feeling and desire (as in
these men above named, it is) but of thought; either impatient,
which there was necessity to note swiftly, or impetuous, which it
was well to note in mighty manner, as pre-eminently and in both
kinds the case with Tintoret, and often with Michael Angelo, and in
lower and more degraded modes with Rubens, and generally in the
sketches and first thoughts of great masters; there is received a
very noble pleasure, connected both with ideas of power (compare
again Part I. Sect. ii. Chap. I.) and with certain actions of the
imagination of which we shall speak presently. But this pleasure is
not received from the beauty of the work, for nothing can be
perfectly beautiful unless complete, but from its simplicity and
sufficiency to its immediate purpose, where the purpose is not of
beauty at all, as often in things rough-hewn, pre-eminently for
instance in the stones of the foundations of the Pitti and Strozzi
palaces, whose noble rudeness is to be opposed both to the useless
polish, an