by art, which precisely as art is rude and imperfect in many ways, is to
be ascribed to this source. Though here we must remember that the soul
is often more truly and artistically betrayed by the simple lispings of
childhood than by the ornate and finished eloquence of a rhetorician.

It is in regard to the matter expressed, rather than to the mode of
expression, that we have a right to look for a difference between such
men as Lippo Lippi and Fra Angelico. According to a man's inner tone and
temperament and character, will be the impression produced upon him by
the objects of his contemplation. These will determine him largely in
the choice of his themes, and in the aspect under which he will treat
them. Obviously in many cases there are noble themes of art for whose
appreciation no particular delicacy of moral or religious taste is
required. There is no reason why such a subject as the Laocoon should
make a different impression on a saint and on a profligate. It appeals
to the tragic sense, which may be as highly developed in one as in the
other. But if the Annunciation be the theme, we can well understand how
differently it will impress a man of lively and cultured faith, a
contemplative and mystic, with an appreciative and effective love of
reverence and purity; and another whose faith is a formula, whose life
is impure, frivolous, worldly. Why then is there not a more distinctly
marked inferiority in the religious art of Lippi to that of Angelico?
Why does it look "almost as pure," and "often quite as lovely"? Two very
clear reasons offer themselves in reply. First of all, the art of such a
man as Angelico falls far more hopelessly short of his ideal. Most of
the beauties which such a soul would find in the contemplation of Mary,
or of Gabriel, are spiritual, moral, non-æsthetic, and can embody
themselves in form and feature only most imperfectly. Given equal skill
in expression, equal command of words, one man can say all that he
feels, and more, while another is tortured with a sense of much more to