The Royal Acdemy Exhibition, 1875
Here, at least, is one picture meant to teach; nor failing of its purpose,
if we read it rightly. Very beautiful it might have been―and is, in no mean measure;
but as years pass by, the artist concedes to himself, more and more, the privilege
which none but the feeble should seek, of substituting the sublimity of mystery
for that of absolute majesty of form. The relation between this grey and soft cloud
of visionary power, and the perfectly substantial, bright, and near presence of
the saints, angels, or Deities of early Christian art, involves questions of too
subtle interest to be followed here; but in the essential force of it, belongs to
the inevitable expression, in each period, of the character of its own faith. The
Christ of the thirteenth century was vividly present to its thoughts, and
dominant over its acts, as a God manifest in the flesh, well pleased in the
people to whom He came; while ours is either forgotten, or seen, by those who yet
trust in Him, only as a mourning and departing Ghost.
(1)[This picture, under its other title "The Spirit of Christianity,"
is among thosepresented by Watts to the nation. It now hangs in the Tate Gallery,
No. 1637.]
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