The individualities and liberties
which are causes of destruction may be recorded; but the loyal conditions
of daily breath are never told. Because Leonardo made models of
machines, dug canals, built fortifications, and dissipated half his
art-power in capricious ingenuities, we have many anecdotes of him;--but
no picture of importance on canvas, and only a few withered stains of one
upon a wall. But because his pupil, or reputed pupil, Luini, labored in
constant and successful simplicity, we have no anecdotes of him;--only
hundreds of noble works. Luini is, perhaps, the best central type of the
highly-trained Italian painter. He is the only man who entirely united
the religious temper which was the spirit-life of art, with the physical
power which was its bodily life. He joins the purity and passion of
Angelico to the strength of Veronese: the two elements, poised in perfect
balance, are so calmed and restrained, each by the other, that most of us
lose the sense of both. The artist does not see the strength, by reason
of the chastened spirit in which it is used: and the religious visionary
does not recognize the passion, by reason of the frank human truth with
which it is rendered.
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