ose they were
intended, and by us at any rate they may always be received, as mere
symbols, the noblest that could be employed, but as much symbols still
as a triangle, or the Alpha and Omega; nor do I think that the most
scrupulous amongst Christians ought to desire to exchange the power
obtained by the use of this symbol in Michael Angelo's creation of Adam
and of Eve for the effect which would be produced by the substitution of
a triangle or any other sign in place of it. Of these efforts then we
need reason no farther, but may limit ourselves to considering the
purest modes of giving a conception of superhuman but still creature
form, as of angels; in equal rank with whom, perhaps, we may without
offence place the mother of Christ: at least we must so regard the type
of the Madonna in receiving it from Romanist painters.[75]

Sec. 8. Supernatural character expressed by modification of accessories.

And first, much is to be done by right modification of accessory
circumstances, so as to express miraculous power exercised over them by
the spiritual creature. There is a beautiful instance of this in John
Bellini's picture of St. Jerome at Venice. The saint sits upon a rock,
his grand form defined against clear green open sky; he is reading, a
noble tree springs out of a cleft in the rock, bends itself suddenly
back to form a rest for the volume, then shoots up into the sky. There
is something very beautiful in this obedient ministry of the lower
creature; but be it observed that the sweet feeling of the whole depends
upon the service being such as is consistent with its nature. It is not
animated, it does not _listen_ to the saint, nor bend itself towards him
as if in affection, this would have been mere fancy, illegitimate and
effectless. But the simple bend of the trunk to receive the book is
miraculous subjection of the true nature of the tree; it is therefore
imaginative, and very touching.

Sec. 9. Landscape of the religious painters. Its character is eminently
symmetrical.

It is not often however that the religious painters even go this length;
they content themselves usually with impressing on the landscape perfect
symmetry and order, such as may seem consistent with, or induced by the
spiritual nature they would represent. All signs of decay, disturbance,
and imperfection, are also banished; and in doing this it is evident
that some unnaturalness and singularity must result, inasmuch as there
ar