of the _Stanze_ in the Vatican, do not at first captivate our
admiration, as do the _Violin-player_ in the Sciarra Palace, the
portraits of the Doria family, and the _Vision of Ezekiel_ in the
Pitti Gallery, the _Christ bearing His Cross_ in the Borghese
collection, and the _Marriage of the Virgin_ in the Brera at Milan.
The _Saint John the Baptist_ of the Tribuna, and _Saint Luke painting
the Virgin's portrait_ in the Accademia at Rome, have not the charm of
the _Portrait of Leo X._, and of the _Virgin_ at Dresden.

And yet they are all of equal merit. Nay, more. The _Stanze_, the
_Transfiguration_, the panels, and the three easel pictures in the
Vatican are in the highest degree perfect and sublime. But they demand
a stress of attention, even from the most accomplished beholder, and
serious study, to be fully understood; while the _Violin-player_, the
_Marriage of the Virgin_, and the _Vision of Ezekiel_ go straight to
the heart through the portal of sight, and make their home there. It
is a pleasure to receive them thus without an effort; if it is not the
highest phase of art, it is the happiest. This fact proves that, in
the begetting of works of art, there is as much chance in the
character of the offspring as there is in a family of children; that
some will be happily graced, born beautiful, and costing their mothers
little suffering, creatures on whom everything smiles, and with whom
everything succeeds; in short, genius, like love, has its fairer
blossoms.

This _brio_, an Italian word which the French have begun to use, is
characteristic of youthful work. It is the fruit of an impetus and
fire of early talent--an impetus which is met with again later in some
happy hours; but this particular _brio_ no longer comes from the
artist's heart; instead of his flinging it into his work as a volcano