The answer is that Vollon and Carlsen exhibit more feeling for beauty and more imagination in matters that especially belong to painting, while Leutze went outside of painting. Let me explain myself. Leutze saw beauty in the heroism of Washington and his soldiers, fighting against tremendous odds for a great cause in the terrible cold of winter. His imagination was kindled by the importance of the cause and the devotion of those who fought for it. It was the facts, as they appealed to his mind, and the ideas that his mind formed about them which he tried to represent. But the special field for the artist, as I have already said, is not covered by his mind but by his eyes. It is with what he can see that he should be first and chiefly concerned--the beauty of the visible world. And his imagination as an artist is chiefly shown in the capacity that his mind has for discovering unexpected beauties and rendering them. Thus to ourselves, and even to some artists, a pumpkin may seem but a bright orange mass, with a rough or shiny rind as the case may be; an attractive spot of color and shape, a thing to be admired for a moment and then forgotten. Another artist, on the contrary, sees a great deal more in it. He sees subtle differences of color, according to the way the light falls on it, various delicate differences in the roughness or smoothness of the rind; curiously beautiful accidents of color, as it reflects the colors of other objects near it; mysteries of shadow, some deep and strong, others so faint that an ordinary eye might not detect them. These and other qualities, that his sensitive eyes perceive, create impressions in his brain that fill his imagination with a sense of beauty somewhat as music does. He cannot tell you why he enjoys it so much, or explain in words the effect it has on his imagination. The whole impression is a vision of his imagination, excited by the sense of sight, and this vision he sets to work to interpret on his canvas, in order that it may be communicated to our eyesight, and, in turn, excite our imagination. We receive from form and color feelings of pleasure that we cannot describe in words but which are not less real on that account. It is an abstract enjoyment, free from any distinct connection with words or facts. On the other hand, in _Washington Crossing the Delaware_ it is the record of facts, presented in the picture, that chiefly interests us. Neither the forms nor the arrangement of color have in themselves any separate abstract quality of beauty.