for its greatness on this sheet-anchor of central aim: true shape of
living man. Then take, for your type of the Italian school, Raphael's
"Disputa del Sacramento;" that will be an accepted type by everybody,
and will involve no possibly questionable points: the Germans will
admit it; the English academicians will admit it; and the English
purists and pre-Raphaelites will admit it. Well, there you have the
truth of human expression proposed as an aim. That is the way people
look when they feel this or that--when they have this or that other
mental character: are they devotional, thoughtful, affectionate,
indignant, or inspired? are they prophets, saints, priests, or kings?
then--whatsoever is truly thoughtful, affectionate, prophetic,
priestly, kingly--_that_ the Florentine school tried to discern,
and show; _that_ they have discerned and shown; and all their
greatness is first fastened in their aim at this central truth--the
open expression of the living human soul. Lastly, take Veronese's
"Marriage in Cana" in the Louvre. There you have the most perfect
representation possible of colour, and light, and shade, as they affect
the external aspect of the human form, and its immediate accessories,
architecture, furniture, and dress. This external aspect of noblest
nature was the first aim of the Venetians, and all their greatness
depended on their resolution to achieve, and their patience in
achieving it.

Here, then, are the three greatest schools of the former world
exemplified for you in three well-known works. The Phidian "Theseus"
represents the Greek school pursuing truth of form; the "Disputa" of
Raphael, the Florentine school pursuing truth of mental expression; the
"Marriage in Cana," the Venetian school pursuing truth of colour and
light. But do not suppose that the law which I am stating to you--the
great law of art-life--can only be seen in these, the most powerful of