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Notwithstanding the high admiration which he entertained for the works of Beethoven, certain portions of them always seemed to him too rudely sculptured; their structure was too athletic to please him, their wrath seemed to him too tempestuous, their passion too overpowering, the lion-marrow which fills every member of his phases was matter too substantial for his tastes, and the Raphaelic and Seraphic profiles which are wrought into the midst of the nervous and powerful creations of this great genius, were to him almost painful from the force of the cutting contrast in which they are frequently set.
Copies of the old masters in this sense are produced by thousands; there are artists, as we have said, who spend their lives in painting the works, or perhaps one single work, of one illustrious painter over and over again: thus they convert themselves into Guido machines, or Raphaelic machines.
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