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clear testimony in all his productions, that he was desirous to restore to practice the same forms and fabricks 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 antient edifices,) Æneas Vico, Bona, sone, Georgio Mantuano, and others.

Polydore, a Disciple of Raffaelle, designed admirably well as to the practical part, having a particular genius for freezes, as we may see by those of white and black,

which he has painted at Rome. He imitated the Antients, but his manner was greater than that of Julio Romano; nevertheless Julio seems to be the truer. Some admirable groups are seen in his works, and such as are not elsewhere to be found. He coloured very seldom, and made landscapes in a tolerably good taste.

Gio. Bellino, 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 Georgione, the contempo, sary 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 neyer 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 known: he designed with much more ease and practice than Georgione. 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 undertook; 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 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 Paulo Veronese, Giacomo Tintoret, Giacomo da Ponte Bassano, and

the greater

his sons,

Paulo 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 in beauty to those of Titian.. His oomposition 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 manner of colouring, and have touched all kinds of animals with an admirable hand; but were notoriously imperfect in composition and design.

Correggio painted at Parma two large cupolas in fresco, and some altar-pieces. This artist struck out certain natural and unaffected graces for his Madonnas, his Saints, and little children, which were peculiar, to himself. His manner, design, and execution are all very great, but yet without correctness. He had a most free

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