To Titian the glory of the world, to Rembrandt all that man has felt and suffered, parting and sorrow, and the awakening of joy.

We do not compare the one painter with the other; we say: "This is Titian, that is Rembrandt; each gives us his emotion." Foolish indeed it seems in the face of these two pictures, and a thousand others, to say that art should be this or that,--that a picture should or should not have a literary or a philosophical motive.

Painters give us themselves.

We amuse ourselves by placing them in schools, by analysing their achievement, by scientific explanations of what they did just by instinct, as lambs gambol--and behind all stands the Sphinx called Personality.
There are moods when the appeal of Velasquez is irresistible.

Grave and reticent, a craftsman miraculously equipped, detached, but not with the Jovian detachment of Titian, this Spanish gentleman stalks silently across the art stage.