lowers and the clearness and brightness of the sky.

Sec. 13. Color, and Decoration. Their use in representations of the
Supernatural.

Another mode of attaining supernatural character is by purity of color
almost shadowless, no more darkness being allowed than is absolutely
necessary for the explanation of the forms, and the vividness of the
effect enhanced as far as may be by use of gilding, enamel, and other
jewellery. I think the smaller works of Angelico are perfect models in
this respect; the glories about the heads being of beaten rays of gold,
on which the light plays and changes as the spectator moves; (and which
therefore throw the purest flesh color out in dark relief) and such
color and light being obtained by the enamelling of the angel wings as
of course is utterly unattainable by any other expedient of art; the
colors of the draperies always pure and pale; blue, rose, or tender
green, or brown, but never dark or gloomy; the faces of the most
celestial fairness, brightly flushed: the height and glow of this flush
are noticed by Constantin as reserved by the older painters for
spiritual beings, as if expressive of light seen through the body.

I cannot think it necessary while I insist on the value of all these
seemingly childish means when in the hands of a noble painter, to assert
also their futility and even absurdity if employed by no exalted power.
I think the error has commonly been on the side of scorn, and that we
reject much in our foolish vanity, which if wiser and more earnest we
should delight in. But two points it is very necessary to note in the
use of such accessories.

Sec. 14. Decoration so used must be generic.

The first that the ornaments used by Angelico, Giotto, and Perugino, but
especially by Angelico, are always of a generic and abstract character.
They are not diamonds, nor brocades, nor velvets, nor gold embroideries;
they are mere spots of gold or of color, simple patterns upon
_textureless_ draperies; the angel wings burn with transparent crimson
and purple and amber, but they are not set forth with peacock's plumes;
the golden circlets gleam with changeful light, but they are not beaded
with elaborate pearls nor set with studied sapphires.

In the works of Filippino Lippi, Mantegna, and many other painters
following, interesting examples may be found of the opposite treatment;
and as in Lippi the heads are usually very sweet, and the composition
severe, the deg