Love'S Meinie — John Ruskin

1. Among the more splendid pictures in the Exhibition of the Old Masters, this year, you cannot but remember the Vandyke portraits of the two sons of the Duke of Lennox. I think you cannot but remember it, because it would be difficult to find, even among the works of Vandyke, a more striking representation of the youth of our English noblesse; nor one in which the painter had more exerted himself, or with better success, in rendering the decorous pride and natural grace of honorable aristocracy. Vandyke is, however, inferior to Titian and Velasquez, in that his effort to show this noblesse of air and persons may always be detected; also the aristocracy of Vandyke's day were already so far fearful of their own position as to feel anxiety that it should be immediately recognized. And the effect of the painter's conscious deference, and of the equally conscious pride of the boys, as they stood to be painted, has been somewhat to shorten the power of the one, and to abase the dignity of the other. And thus, in the midst of my admiration of the youths' beautiful faces, and natural quality of majesty, set off by all splendors of dress and courtesies of art, I could not forbear questioning with myself what the true value was, in the scales of creation, of these fair human beings who set so high a value on themselves; and, -as if the only answer, -the words kept repeating themselves in my ear, "Ye are of more value than many sparrows."