Page:Rambles in Germany and Italy in 1840, 1842, and 1843 - Volume 2.djvu/173

as Milton and Shakspeare have embodied in verse, is not to be found in the works of these painters; or only found, because among their groups of worshippers at some miracle, we see the power of great actions sit upon the brow, and add majesty to the gesture of some among them. When they portrayed earthly love, they betook themselves to mythology, and depicted passion, without the touch of tender fear which must ever mingle with, and chasten the affection we feel one for another. As far as I remember, there is no picture such as would idealise Ferruccio Ferruccini or Bayard—nor can I recollect the representation of mutual and tender love in any picture by a great artist, with one exception—that called the Three Ages of Man, by Titian—the original of which is in the Bridgwater collection; and there is a fine copy in Palazzo Manfrin, at Venice. The expression of the lover’s face seems to say, “I love a creature who is mortal, and for whose safety I fear; yet in her life I live—without her I die;” and she catches the light of tenderness from his eyes, and the two souls seem fused in one commingling glance; but there is nothing to shock the most bashful mind—love is evidently hallowed by that enduring affection which is proof against adversity, and looks beyond the grave.