The Life and Writings of Henry Fuseli, Volume 3 (of 3)

If the most sublime degree of expression be entitled to the right of originality, Mengs must be followed in his decision on the Ecce Homo, formerly in the Palace Colonna, without much anxiety whether it be the same that belonged to the family of Prati at Parma, or that which Agostino Carracci engraved.

The Madonna seated beneath a palm-tree, bending in somnolently pensive contemplation over the Infant on her lap, watched by an Angel above her, and attended by a Leveret, known by the name of "La Zingarella" or the Egyptian, from the sash round her head, formerly in the gallery of Parma, and now at Naples in that of Capo di Monte, has suffered so much from a modern hand, that little of the master remains but the conception. Nearly a duplicate of it was presented by Cardinal Alessandro Albani to king Augustus of Poland; but Mengs hesitates to pronounce it an original.

In the period of these, about 1530, we may probably place the two celebrated pictures of Leda and Danae, than which no modern works of art have suffered more from accident and wanton or bigoted barbarity, or been tossed about by more contradictory tradition.

If the subject that takes its name from Leda be, as Mengs says, rather an allegory than a fable, it alludes to what would aggravate even the story of that mistress of Jupiter. The central figure represents a female seated on the verge of a rivulet with a swan between her thighs, who attempts to insinuate his bill into her lips; but at her side, and deeper in the water, is a tender girl, who with an air of innocence playfully struggles to defend herself from the attacks of another swimming swan; farther on, a girl more grown up to woman, gazes, whilst a female servant dresses her, with an air of satiate pleasure after a swan on the wing, that seems just to have left her; at some distance appears half a figure of an aged woman, draped, and with looks of regret. On the other side of the principal group, the graceful form of a full-grown Amor strikes the lyre, and two Amorini contrive to wind some horn instruments. The scene of all this is a charming grove on the brink of a pellucid lake.

The second picture represents the daughter of Acrisius, but with poetic spirit. The virgin gracefully reclines on her bed; a full-grown Cupid, perhaps a Hymen, lifts with one hand the border of the sheet on her lap that receives the celestial shower, whilst his other presents the mystic drops to her enchanted glance: two Amorini at the foot of the bed try on a touchstone, that, one of the golden drops, this, the point of an arrow, and he, says Mengs, has a vigour of character much superior to the other, plainly to express, that Love proceeds from the arrow, and its ruin from gold; he likewise finds that the head and head-dress of Danae are imitated from those of the Medicean Venus.

Vasari, and after him Mengs with others, tell that in 1530, Federigo Gonzaga, then created Duke of Mantoua, intended to present Charles the Fifth at the ceremonial of his coronation with two pictures worthy of him, and in the choice of artists gave the preference to Correggio. From this, a correct inference is drawn against that pretended obscurity in which Correggio is said to have lingered; for at that time Giulio Romano lived at the Court of Mantoua, and Tizian was in the service of the Emperor. Vasari is silent on the date of the pictures, but he affirms that, at their sight, Giulio Romano declared he had never seen a style of colour approaching theirs. So far all seems correct; but that they were actually presented to Charles, sent to Prague, and after the sacking of that city by Gustavus Adolphus, carried to Stockholm, is unproved or erroneous. If it is not likely that the Emperor, instead of sending them to Madrid, the darling depository of his other works of art, should have sent them into a kind of exile to Prague, it is an error to pretend they were removed from thence by Gustavus Adolphus, who was slain at Lutzen sixteen years before the Swedes sacked that city, 1648. The truth is, that these pictures were not given to the Emperor, but placed in his own gallery by the Duke, where they remained till 1630, when the Imperial General Colalto stormed Mantoua, sacked it, deprived it of its cabinet of treasures, of the celebrated vase since possessed by the House of Brunswick, and transmitted its beautiful collection of pictures to Prague, from whence by the event of war we have mentioned, they became the property of Queen Christina, at whose abdication, when the whole was packing up for Rome, the two pictures in question were discovered in the royal stables, where they had served as window-blinds, mutilated and despised. Whether so unaccountable a neglect be imputable to the Queen's want of taste, as Tessin asserts, or to accident, or, what is most unlikely, to her modesty, cannot now be decided. They were repaired, and at her demise left to Cardinal Azzolini, of whose heirs they were purchased by Don Livio Odescalchi, and by him left to the Duke of Bracciano, were sold to the Regent of France, whose son, from a whim of bigotry, had the picture of the Leda cut to pieces in his own presence, in which state Charles Coypel requested and obtained it for his private study. At his death it was vamped up, repieced, disposed of by auction, and, at a high price, sold to the King of Prussia. What became of the Danae is matter of dispute.[162 - Du Change. Copy of the Leda in the Colonna.]

The picture of Io embraced by Jupiter, inbosomed in clouds, by a silent water in which a stag quenches his thirst, was their companion: a work to which the most lavish fame has done no justice, and beyond which no fancy ever soared. The Io shared a still more barbarous fate. Not content with mangling her like the Leda, the bigot prince burnt her head; and, were it not for the beautiful duplicate which fortune preserved in the Gallery of Vienna,[163 - In the palace Godolphin.] we should be reduced to guess at Correggio in the fragments at Sans Souci, and the prints of Surregue and Bartolozzi. The Imperial Gallery possesses, likewise, the Rape of Ganymede, by Correggio, of the same size with the Io; a Mountain Scene; a full-grown Cupid, seen from behind, with his head turned to the spectator, shaping a bow, accompanied by a laughing and a weeping infant, in struggling attitudes, which was likewise sold by the heirs of Don Livio Odescalchi, has equally exercised opinion. Vasari, Tassoni, Du Bois, de St. Gelais, &c. ascribe it to Parmegiano; Mengs and Fiorillo, who judge from the duplicate at Vienna, with greater probability give it to Correggio. The contrast of the attitudes is produced more by naïveté than affectation, the lines have more simplicity than the style of Mazzuola admitted of, and the colour more breadth. The conception of the whole, whether the infants be the symbols of successful and unsuccessful love, or denote the dangers of love, or be simply children, though not beyond the fancy of Parmegiano, has more the air of a Correggiesque conceit. Numberless copies were made after it, some by Parmegiano himself, whose handling may be recognized in the picture at Paris.

We are now arrived at those works of Correggio's which cannot be fixed to a certain period. Such are probably, in the Gallery of Dresden, those known under the names of S. Giorgio and S. Sebastiano, of both of which Mengs gives a circumstantial account. He is, however, mistaken when he imagines the last to have been voted by the City of Modena after a plague: the commission of it was given by the fraternity of St. Sebastian.

The half-length portrait, formerly known at Modena as that of Correggio's Physician, belongs to the same doubtful period. Mengs, though he praises the colour and the impasto of it, is inclined to think it painted about the time of his first Cupola, when he had not yet sufficiently studied detail of forms and variety of tints. The style resembles that of Giorgione, but is less vivid, though of equal pasto, and somewhat more limpid.

The last, though not least celebrated piece of Antonio in this Gallery, is the small Meditating Magdalena: of the pictures mentioned, it is the only one painted on copper, the rest are on panel. It is little more than a palm in height, and not quite a palm and a half long. It was, with other small pictures, stolen out of the Gallery in 1788, but soon recovered. The purchase price, according to Mengs, when the Gallery was disposed of, was 27,000 Roman crowns. It has been copied by Albani, and, if we believe Richardson, by Tizian.

Besides the spoils of Parma, there is now (1802) in the Gallery of the Louvre, from the former collection of Versailles, a picture representing in half-length figures of natural size the Wedding of St. Catherine, with a St. Sebastian, and their Martyrdom in the distance. It does not appear that Mengs ever saw more than some good copy of it, or the prints engraved from it, else his praise would have probably been nearer to astonishment than admiration; and though none would dare to repeat what he ventures to say of the Magdalen's head in the St. Jerome, it might safely be asserted, that perhaps no other picture can boast to have united in the same degree the tints of Tizian, the glow and impasto of Giorgione, and the breadth of Guido, with that bloom of hue and suavity of manner peculiar to Correggio.

This divine performance was presented by Cardinal Barberino to Cardinal Mazarin, with two others painted in water colours on canvass, representing in allegoric figures the heroism of Virtue and the debasement of Vice. The first, in physiognomy and attitudes, abounds in what is commonly called the grace of Correggio; the second in picturesque energy and expression: they are likewise placed among the collections of the Louvre. An unfinished repetition of the first in the House Doria Panfili at Rome, is adduced by Mengs as a proof of Correggio's intelligence in sketching, and the superiority of his principle in the progress of a work.

Of two pictures in the Cabinet at Madrid, the principal is that of Christ praying in the Garden, with an Angel on high pointing to a Cross and a Crown of Thorns on the ground, scarcely discernible. The open but drooping arms of the Saviour express his entire resignation to the will of his Father. The most poetic singularity of this picture is its chiaroscuro: Christ receives his light from Heaven, the Angel from Christ: at a distance on lower ground, and nearly evanescent, are the three Disciples in graceful and picturesque attitudes, and farther off, the approaching host of captors. At first sight, the whole seems to be divided into two masses only of light and darkness, but on inspection, the ambient medium and the more and less of distinctness in the objects as they approach the light or recede from it, is divinely expressed. There is a tale, which even Lomazzo and Scanelli repeat, that Correggio parted with this picture to his apothecary for four scudi, which he owed him; that afterwards it was sold for five hundred crowns to Pirrho Count Visconti, who resold it for seven hundred and fifty gold doubloons, to the Marchese Camarena, Governor of Milan, by whom it was bought in commission for Philip the Fourth. Every day discovers some copy, or, if you choose to believe those who wish to dispose of them, some duplicate or triplicate of this picture. Padre Resta possessed not one, but four, all of which he insisted on being believed in as originals: one on copper, another on wood, which Lelio Orsi was said to have copied on canvass; a third, likewise on panel but somewhat worm-eaten, disposed of to Monsignor Marchetti, and a fourth again on copper. Some of these are probably in England.

The companion of this picture is the Madonna dressing the Infant, with Joseph planing a board in the back-ground; a performance though inferior in style to the former, not less original from the pentimenti still discoverable in the two principal figures.

The Duke of Alba possesses of Correggio, in figures somewhat less than Nature, Mercury teaching Cupid to read in the presence of Venus. Venus has the singular attribute of wings, and of a bow in her left hand; and Mengs persuades himself to discover in her forms a reminiscence of an imitation of the Apollino, formerly in the Villa Medici at Rome. The characteristic excellence of the execution, and an evident pentimento in the arm of the Mercury, leave no doubt of its having a better claim to originality than the duplicates in France and Germany. It formerly made part of the collection of Charles the First, and Sandrart saw it in the Palace of Whitehall, from whence it was purchased by an ancestor of the Duke of Alba.

Not to waste time on conjectural works, we finish this list with a picture formerly in the house Barberini, now supposed to be in England: it is painted on panel, and represents from the narrative of S. Marc, the young man who followed our Saviour at the moment of his captivity, but fled on being laid hold of, and left his garment in the hands of the captors. Mengs describes a duplicate of this picture, painted on canvass, at his time in the hands of an Englishman at Rome, and though, in his opinion, only the study for the other, in the principal parts, especially the figure of the youth, highly finished: his expression, form and attitude, remind the critic so strongly of the same in the eldest son of the Laocoon, that he is persuaded they are an imitation, though in a style more consonant with Correggio's manner.

The cause and circumstances of his death we are not acquainted with, since the idle tale has been discarded which Vasari tells, of his perishing in consequence of having carried home a load of sixty scudi in copper, which he had received in payment at Parma. He who considers what strength would be required to carry sixty crowns in quattrini, will find its confutation in the tale itself; let it be added that the extreme heat which is said to have aggravated the fatigue, and accelerated his death, is, even in Italy, not coincident with the season in which he must have taken the journey,[164 - In the obituary of the Franciscans at Correggio we read, "A di 5 Marzo 1534 mori Maestro Antonio Allegri Dipintore e fu sepolto a 6 detto in S. Francesco sotto il Portico."] as he died on the fifth of March. The magnificence and number of his commissions; the deference paid to his powers in the face of rival artists, by the very patrons of those men, or societies, that might have saved expense by admitting concurrence; the handsome, though not quite metropolitan prices, which he received, and what Mengs has observed, the expensive goodness of his colours, of his panels, and canvasses – make it not only extremely improbable that he should have lived in the depressed circumstances, to which vulgar tradition has sunk him; but add an air of truth to the opinion of those who thought him, if not opulent, yet nearer allied to affluence than want.

Correggio was a monument without a tomb; but it appears strange that a century and a half should have elapsed before the thought of erecting him one occurred to the Senate and citizens of his native place, and then was suffered to evaporate in ineffectual projects. The boastful intentions of Padre Resta proved equally nugatory: the tombstone set and inscribed by Girolamo Conti still remains a solitary offering to his genius:

D. O. M

Antonio. Allegri. Civi

Vulgo. Il Correggio

Arte. Picturæ. Habitu. Probitatis

Eximio

Monum. Hoc. Posuit

Hier. Conti. Concivis

Siccine. Separas. Amara. Mors

Obiit. Anno. Ætatis. XL. Sal. MDXXXIV

On such a face as Correggio's, physiognomy might have established principles or drawn some inferences from it, had not a perverse destiny left us as ignorant of it, as of his complexion, stature, character, and habits. Vasari's exertions to obtain a portrait of him were not only unsuccessful, but hopeless; and the profile which is shown in the dome of Parma as his, becomes inadmissible from the very name of the artist to whom it is ascribed.[165 - Lattanzio Gambara.] The head which found its way into the third and every following edition of Vasari, has certainly nothing repugnant with the notions we may form of his character, but age. Meditation, simplicity, serenity, compose it. It is said to have been copied from a picture not quite finished, which appears to have the touch of Correggio, and came from Sicily to Naples. He is represented contemplating a design, the original of which, report has placed at Vienna with Prince Esterhazy. The portrait which is at Turin, in the "Vigna della Regina," engraved by Valperga, with the epigraph, in part hid by the frame, but read by Lanzi "Antonius Corrigius f." (i. e. fecit) though by some believed genuine, appears spurious from this very circumstance, the large character of the letters and the space they occupy; a manner of writing often used to indicate the person painted, never the painter. Another portrait, which from Genoua is said to have been carried to England, with the indorsed inscription "Dosso Dossi dipinse questo ritratto di Antonio da Correggio," fronts the Memorie of Ratti. Without examining the authenticity of this inscription, it is sufficient to observe, that Antonio da Correggio is likewise the name of Antonio Bernieri, a celebrated miniature painter, and fellow citizen of Allegri, whose date coincides with that of Dosso, and whom there will be occasion to mention again.

Of Correggio's numerous pretending imitators, Lodovico Carracci appears to be the only one who penetrated his principle. The axiom, that the less the traces appear of the means by which a work has been produced, the more it resembles the operations of Nature, is not an axiom likely to spring from the infancy of art. The even colour, veiled splendour, the solemn twilight; that tone of devotion and cloistered meditation, which Lodovico Carracci spread over his works, could arise only from the contemplation of some preceding style, analogous to his own feelings and its comparison with Nature; and where could that be met with in a degree equal to what he found in the infinite unity and variety of Correggio's effusions? They inspired his frescoes in the cloisters of S. Michele in Bosco: the foreshortenings of the muscular labourers at the hermitage, and of the ponderous demon that mocks their toil; the warlike splendour in the Homage of Totila; the Nocturnal Conflagration of Monte Casino; the wild graces of deranged beauty, and the insidious charms of the sister nymphs in the garden scene, equally proclaim the pupil of Correggio.

His triumph in oil is the altar-piece of St. John preaching in a chapel of the Certosa at Bologna, whose lights seem embrowned by a golden veil, and the shadowy gleam of Valombrosa; though he sometimes indulged in tones austere, pronounced, and hardy: such is the Flagellation of Christ in the same church, whose tremendous depth of flesh-tints contrasts the open wide-expanded sky, and less conveys than dashes its terrors on the astonished sense.

THE SCHOOL OF BOLOGNA

Three epochs divide the history of painting in Bologna and the neighbouring districts. The first is from its restoration to the time of Francesco Raibolini, or Francia; the second reaches from him to the Carracci, when it attained its height, and gradually decayed in the variety of deviations which mark the third.

Bologna, at an early period of the fifth century, appears to have been considered as a nursery of sciences and arts; the foundation of its University is dated up to Petronius, its bishop at that period; afterwards, under the successive invasions of barbarians, when the alternate prey of clerical and secular rapacity, as a powerful republic, or oppressed by civic usurpation, and at last reduced to a Papal province, Bologna never lost its predilection for sciences and arts.

Of the progress made in painting anterior to the time of Cimabue, some monumental relics still remain, though by far the greater part were ignorantly destroyed at the beginning of the last century. Some that escaped the whitewasher's hand are ascribed to an artist who marked his work with the letters P.F. Of these, one which represents a Maria, is preserved in the Church della Baroncella, and was done about 1120. Two others are in the Basilica of S. Stephano.

Baldi, a collector of antique pictures, in a MS. quoted by Malvasia, mentions some of Guido da Bologna, painted in 1178 and 1180, and others executed by Ventura da Bononia in 1197. Of this last something still remains, especially one picture with the date 1217, and the inscription Ventura pinsit: and the name of Urso, or Ursone, a contemporary of Guido da Siena, is found on a picture inscribed Urso f. 1226; and some others ascribed to him have dates of 1242 and 1244. In those times painting, sculpture, architecture, chasing, were frequently exercised by one man. A certain Manno, contemporary with Cimabue, is mentioned as the painter of a Madonna by Baldi, and as the sculptor of Pope Bonifazio VIII. by Ghirardacci who calls him likewise a goldsmith. His dates are from 1260 to 1301. Some remains or rather ruins of these masters are still visible in the palace Malvezzi.

The age of Giotto and Dante gives Art an air of greater certainty. Tradition and monument go hand in hand. Franco of Bologna, with his supposed master Oderigi of Gubbio, are celebrated in the poet's poem of the Purgatory. Franco was called to Rome by Bonifazio VIII. to decorate the books and missals of the Vatican library with miniature; and on his return to Bologna founded a school which numbered among its scholars Vitale, Lorenzo, Simone, and Jacopo d'Avanzi, whose works, especially what remains of the two last, make it probable that Vasari is correct when he asserts that Franco excelled in large as well as in miniature painting. Michael Agnolo and the Carracci are said to have been struck with the fire of conception and the tone of colour in the pictures still preserved of Simone and Jacopo d'Avanzi, at the Madonna di Mezzaratta, and to have advised a careful restoration of the decaying parts. Simone, who loved to paint the crucifix, from the number which he executed obtained the surname of "de' Crocefissi;" and Jacopo, smitten with the love of Maria, was marked by the title "dalle Madonne." He excelled, however, in subjects of a martial kind, if the conflict in the Chapel of S. Jacopo del Santo at Padova, and the Capture of Jugurtha, with the Triumph of Marius, in a saloon at Verona, be his performances: works which excited the wonder of Mantegna. As he sometimes subscribed "Jacobus Pauli," it has been surmised that he was of Venetian extraction, and perhaps the son and assistant of that Paolo who painted the Ancona of S. Marc.

Of the artists who at that period painted in Mezzaratta, Cristoforo, whether of Ferrara, Modena, or Bologna, for he is claimed by all, seems to have shared the highest repute. He had the commission of the principal altar, where he painted on panel the Madonna with the Infant between her knees, and some figures kneeling before her; it still exists, marked with his name Christofano, 1380. A most copious work of his, divided into ten compartments of saints, rudely designed, languid in colour, but of original style, is preserved among the fragments of the house Malvezzi.

Lippo di Dalmatio, – who was supposed to have been a Carmelite, till Bianconi, in Piacenza's edition of Baldinucci, produced proofs of his wife and family, – came from the school of Vitale, and from his predilection for the Mother of Christ acquired, like Jacopo d'Avanzi, the byname of "Lippo dalle Madonne." There goes a tale that he gave instruction to Saint Catherine Vigri, of whom certain miniatures and an Infant Christ on panel still remain. A better union of tints, and some easier arrangement in the folds of his draperies, though with a profusion of gold lace, is all that discriminates him from the crudeness and exility of the ancient style. Such, however, was his felicity in the character of Madonnas, that they captivated Guido Reni,[166 - Malvasia.] who used to repeat that Lippo, in expressing at once the majesty, the sanctity, and the mildness of the divine mother, must have been assisted by a celestial power. Some of these Madonnas are said to be in oil colours, with dates of 1376, 1405, and 1407. Guido is likewise the guarantee of certain frescoes representing facts of Elia, painted with great spirit by the same master.

After 1409, the last date of Lippo's pictures, the School of Bologna somewhat declined, nor could it be otherwise: no vigorous school ever sprang from the timid precepts of a portrait painter, and Dalmatio possessed more of that than of historic power: this, rather than the supposed imitation of certain images imported from Constantinople, was the cause of that insignificance which consigned, with few exceptions, his school and successors to oblivion. Of Pietro Lianori, Michele di Matteo, Bombologno, Severo and Erçole Bologna, Catherina di Vigri, Giacopo Ripanda, Marco Zoppo, time has left little but the names, and of that little, enough not to regret the loss of what vanished. Let us not, however, be too fastidious to repeat what tradition has persevered to report of some; if Bombologno may be left to the votaries of the crucifix, and Catherina to the rubric that saints her, Michele Lambertini claims the attention of artists for a mellowness of tints which Albano judged superior to the tints of Francia; Giacopo Ripanda for the dangers which he braved in designing the groups of the Trajan pillar;[167 - "Floret item nunc Romæ Jacobus Bononiensis, qui Trajani Columnæ picturas omnes ordine delineavit, magna omnium admiratione, magnoque periculo circum machinis scandendo." – V. Raphaelis Volaterrani Anthropologia, p. 774. A. ed. 1603. fol.] and Marco Zoppo as no despicable competitor of Andrea Mantegna, and the reputed master of Francesco Francia.

Francesco Raibolini, surnamed Francia, born in 1450, may be considered as the head of the Bolognese school, because his works appear to have been framed on that collective principle which became its leading feature in the sequel, and was probably the result of the long theory that preceded his practice, assisted by that readiness in design which distinguished him as a goldsmith, chaser,[168 - "Unum apud modernos reperio, de quo apud antiquos nulla extat memoria, de incisoribus seu sculptoribus in argento; quæ sculptura Niellum appellatur. Virum cognosco in hoc celeberrimum et summum, nomine Franciscum Bononiensem, aliter Franza, qui adeo in tam parvo orbiculo seu argenti lamina, tot homines, tot animalia, tot montes, arbores, castra ac tot diversa ratione situque posita figurat seu incidit, quod dictu ac visu mirabile apparet." – Camillo Leonardi, Speculo Lapidum, lib. iii. c. 2.The assertion that Niello was unknown to the ancients, it is unnecessary to refute here. Francia was master of the mint during the usurpation of the Bentivogli, after their expulsion by Giulio the Second, and continued to superintend its issue to the Pontificate of Leo. His coins and medals are said by Vasari to equal those of the Milanese Caradosso; and it is probably for their excellence that he was looked up to as a god (un Dio) at Bologna.] and die-cutter, professions to which he had been trained up from his infancy, and which he raised to celebrity before he attained complete manhood.

Francia was fortunate in contemporaries; the School of Squarcione had furnished him with style and form; the genius of Lionardo da Vinci, with effect and chiaroscuro; Pietro Vanucchi with arrangement if not composition, and though not beauty, with amenity of aspect; and Bellino with tone, breadth of drapery and colour. Ardour of mind, energy of application and dexterity, supplied the want of early practice, and we find him in the palace of Giov. Bentivoglio on a par with the most expert Frescanti conscribed from Ferrara and Modena, and soon after intrusted with the commission of painting the altar-piece of his chapel at S. Jacopo, a work of great subtlety of execution; though modestly inscribed "Opus Francia Aurificis," and a pledge of that superior style at which he aimed and in the sequel attained.

If from what has been premised of Bolognese artists anterior to Cimabue, it is evident that the germs of art belong to their own soil, their claim to originality in the progress of style has been and still is matter of dispute between the champions of the Tuscan school and those of their own. The Florentines insist on having taught the Bolognese, what the Bolognese deny to have learnt from the Florentines.[169 - Δύο – ἐνείκεον —– ὁ μὲν εὔχετο, πάντ' ἀποδοῦναι,Δήμῳ πιφαύσκων· ὁ δ' ἀναίνετο, μηδὲν ἑλέσθαι.Ilias. Lib. xviii. l. 498.] As in a dispute of this kind, candour is often sacrificed to the fervour of patriotic vanity, and the obstinacy of local attachment, the real state of the question is better learnt from those monuments of the fourteenth century, which still remain scattered over Romagna or collected and more classically arranged in Bologna itself. Among all these some specimens will be found evidently Greek, others as evidently Giottesque; some in a Venetian style, and not a few in a manner peculiar to Bologna only. These have a body of colour, a taste in perspective, a mode of design in figures, and a choice of forms and hues in draperies, which no other school practised. From all which it appears, that if Giotto during his stay at Bologna raised pupils, and formed imitators, his own school had no influence on, nor dislodged, that aboriginal one which continued to disseminate and to improve the principles imbibed from the antique mosaics and the painters of miniature.

THE END

notes

1

Vel duo vel nemo – turpe et miserabile!

2

Tacit. Annal. lib. VI. "Nullam ob eximiam artem, sed quod par negotiis, neque supra erat."

3

D. Longin. περι ὑψους, § 34.