Degrees of descent in this respect: Rubens, Correggio, and Guido

§ 25. Degrees of descent in this respect: Rubens, Correggio, and Guido.
§ 26. And modern art.

Of these last, however, with whom ideality is lost, there are some worthier than others, according to that measure of color they reach, and power they possess, whence much may be forgiven to Rubens, (as to our own Etty,) less, as I think, to Correggio, who with less apparent and evident coarseness has more of inherent sensuality, wrought out with attractive and luscious refinement, and that alike in all subjects, as in the Madonna of the Incoronazione, over the high altar of San Giovanni at Parma, of which the head and upper portion of the figure,art oil painting online, now preserved in the library, might serve as a model of attitude and expression to a ballet figurante: and again in the [Page 126]lascivious St. Catherine of the Giorno, and in the Charioted Diana, (both at Parma,) not to name any of his works of aim more definitely evil. Beneath which again will fall the works devoid alike of art and decency, as that Susannah of Guido, in our own gallery, and so we may descend to the absolute clay of the moderns, only noticing in all how much of what is evil and base in subject or tendency, is redeemed by what is pure and right in hue, so that I do not assert that the purpose and object of many of the grander painters of the nude,abstract oil paintings for sale, as Titian for instance, was always elevated, but only that we, who cannot paint the lamp of fire within the earthen pitcher, must take other weapons in our left hands. And it is to be noted, also, that in climates where the body can be more openly and frequently visited by sun and weather, the nude both comes to be regarded in a way more grand and pure, as necessarily awakening no ideas of base kind, (as pre-eminently with the Greeks,) and also from that exposure receives a firmness and sunny elasticity very different from the silky softness of the clothed nations of the north, where every model necessarily looks as if accidentally undressed; and hence from the very fear and doubt with which we approach the nude, it becomes expressive of evil, and for that daring frankness of the old men, which seldom missed of human grandeur, even when it failed of holy feeling, we have substituted a mean, carpeted, gauze-veiled, mincing sensuality of curls and crisping pins, out of which I believe nothing can come but moral enervation and mental paralysis. large oil paintings for sale