He has a complete knowledge of the whole range
of his powers, and of his limitations. He can not help feeling pride
in his marvellous technique, that he can do what other men dream of
doing; but he knows that without aspiration the soul is dead.
Poor Andrea! History has treated him harshly. He is known throughout
all time as "the tailor's son," and Browning has given him in this
immortal poem a condemnation that much of his work does not really
deserve. For there is inspiration in many of Andrea's Madonnas.
Browning, with his fixed idea of the glory of the imperfect, the
divine evidence of perpetual development, could not forgive Andrea
for being called the "faultless painter." Thus Browning has made of
him a horrible example, has used him merely as the text for a sermon.
There was just enough truth to give Browning his opportunity. The
superiority of Rafael over Andrea lies precisely in the aspiration
of the former's work. Schopenhauer says the whole Christian religion
is in the face of Rafael's _Saint Cecilia_, "an entire and certain
gospel.
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