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ledge of nature; but he is dry, and his manner little. His disciple was Raffaelle Sanzio, who, was born on Good-Friday, in the year 1483, and died on Good-Friday, in the year 1520; so that he lived only thirty-seven years complete. He surpassed all modern painters, because he possessed more of the excellent parts of painting than any other : and it is believed that he equalled the ancients, excepting only that he designed not naked bodies with so much learning as Michel Angelo ; but his gusto of design is purer and much better. He painted not with so good, so full, and so graceful a manner as Corregio: nor has he any thing of the contrast of light and shadow, or so strong and free a colouring as Titian ; but he had a better disposition in his pieces, without comparison, than either Titian, Corregio, Michel Angelo, or all the rest of the succeeding painters to our days. His choice of attitudes, of heads, of ornaments, the arrangement of his drapery, his manner of designing, his variety, his contrast, his expression were beautiful in perfection; but above all, he possessed the graces in so advantageous' a manner, that he has never since been equalled by any other. There are portraits (or single figures) of his, which are well executed. He was an admirable architect. He was handsome, well made, civil and good-natured, never refusing to teach another what he knew himself. He had many scholars: amongst
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others Giulio Romano, Polydore, Gaudenzio, Giovanni d'Udine, and Michael Coxis. His graver was Mark Antonio, whose prints are admirable for the correctness of their outlines. · Giulio Romano was the most excellent of all Raffaelle’s disciples; he had conceptions which were more extraordinary, more profound, and more elevated than even his master himself: he was also a great architect; his gusto was pure and exquisite. He was a great imitator of the antients, giving a clear testimony in all his productions, that he was desirous to restore to practice the same forms and fabrics which were antient. He had the good fortune to find great persons, who committed to him the care of edifices, vestibules, and porticoes, all tetrastyles, xistes, theatres, and such other places as are now in use. He was wonderful in his choice of attitudes. His manner was drier and harder than any of Raffaelle's school. He did not exactly understand either light and shadow, or colouring. He is frequently harsh and ungraceful ; the folds of his draperies are neither beautiful nor great, easy nor natural, but all of them imaginary, and too like the habits of fantastical comedians. He was well versed in polite learning. His disciples were Pirro Ligorio, (who was admirable for antique buildings, as towns, temples, tombs, and trophies, and the situation of ancient edifices), Æneas Vico, Bonasone, Georgio Mantuano, and others.
Polydore, a disciple of Raffaelle, designed admirably well as to the practical part, having a particular genius for friezes, as we may see by those of white and black, which he has painted at Rome. He imitated the ancients, but his manner was greater than that of Giulio Romano; nevertheless Giulio seems to be the truer. Some admirable groups are seen-in his works, and such as are not elsewhere to be found. He coloured sery seldom, and made landscapes in a tolerably good taste.
Giovanni Bellini, one of the first who was of any consideration at Venice, painted very drily, according to the manner of his time. He was very knowing both in architecture and perspective. He was Titian's first master; which may easily be observed in the earlier works of that noble disciple; in which we may remark that propriety of colours which his master has observed.
About this time Giorgione, the contemporary of Titian, came to excel in portraits, and also in greater works. He first began to make choice of glowing and agreeable colours : the perfection and entire harmony of which were afterwards to be found in Titian's pictures. He dressed his figures wonderfully well: and it may be truly said, that but for him, Titian had never arrived to that height of perfection, which proceeded from the rivalship and jealousy which prevailed between them.
Titian was one of the greatest colourists ever VOL. III,
known: he designed with much more ease and practice than Giorgione. There are to be seen women and children of his hand, which are admirable both for design and colouring; the gusto of them is delicate, charming, and noble, with a certain pleasing negligence in the head-dresses, draperies, and ornaments, which are wholly peculiar to himself. As for the figures of men, he has designed them but moderately well: there are even some of his draperies which are mean, and in a little taste. His painting is wonderfully glowing, sweet, and delicate. He drew portraits which were extremely noble: the attitudes of them being very graceful, grave, diversified, and adorned after a very becoming fashion. No man ever painted landscape in so great a manner, so well coloured, and with such truth of nature. For eight or ten years' space, he copied, with great labour and exactness whatsoever he undertouk; thereby to make himself an easy way, and to establish some general maxims for his future conduct. Besides the excellent gusto which he had in colouring, in which he excelled all mortal men, he perfectly understood how to give every thing those touches which were most suitable and proper to them: such as distinguished them from each other, and which gave the greater spirit, and the most of truth. The pictures which he made in his beginning, and in the declension of his age, are of a dry and
mean manner. He lived ninety-nine years. His disciples were Paolo Veronese, Giacomo Tintoret, Giacomo da Ponte Bassano, and his sons.
Paolo Veronese was wonderfully graceful in his airs of women, with great variety of brilliant draperies, and incredible vivacity and ease; nevertheless his composition is sometimes improper, and his design incorrect: but his colouring, and whatsoever depends on it, is so very charming in his pictures, that it surprises at the first sight, and makes us totally forget those other qualities in which he fails.
Tintoret was the disciple of Titian; great in design and practice, but sometimes also greatly extravagant. He had an admirable genius for painting, but not so great an affection for his art, or patience in the executive part of it, as he had fire and vivacity of nature. He yet has made pictures not inferior to those of Titian. His composition and decorations are for the most part rude, and his outlines are incorrect; but his colouring, and all that depends upon it, is admirable. · The Bassans had a more mean and poor gusto in painting than Tintoret, and their designs were also less correct than his. They had, indeed, an excellent maner of colouring, and have touched all kinds of animals with an admirable hand; but were notoriously imperfect in composition and design.
Corregio painted at Parma two large cupolas
of it, as he is art, or