Admiration did not here fall upon one with lightning speed; it was slowly, irresistibly that one grew charmed.

And the contrast was like that of Racine beside Corneille, Lamartine beside Hugo, the eternal pair, the masculine and feminine genius coupled through centuries of glory.

With Raffaelle it is nobility, grace, exquisiteness, and correctness of line, and divineness of harmony that triumph.

You do not find in him merely the materialist symbolism so superbly thrown off by Michael Angelo; he introduces psychological analysis of deep penetration into the painter's art.

Man is shown more purified, idealised; one sees more of that which is within him.