from Giorgione), that stood as an ear-mark of his
whole school. From the continuous use of black shadows the school got
the name of the "Darklings," by which they are still known. Giordano
(1632-1705), a painter of prodigious facility and invention, Salvator
Rosa (1615-1673), best known as one of the early painters of
landscape, and Ribera, a Spanish painter, were the principal pupils.

THE LATE VENETIANS: The Decadence at Venice, like the Renaissance,
came later than at Florence, but after the death of Tintoretto
mannerisms and the imitation of the great men did away with
originality. There was still much color left, and fine ceiling
decorations were done, but the nobility and calm splendor of Titian's
days had passed. Palma il Giovine (1544-1628) with a hasty brush
produced imitations of Tintoretto with some grace and force, and in
remarkable quantity. He and Tintoretto were the most rapid and
productive painters of the century; but Palma's was not good in
spirit, though quite dashing in technic. Padovanino (1590-1650) was
more of a Titian follower, but, like all the other painters of the
time, he was proficient with the brush and lacking in the stronger
mental elements. The last great Italian painter was Tiepolo
(1696-1770), and he was really great beyond his age. With an art
founded on Paolo Veronese, he produced decorative ceilings and panels
of high quality, with wonderful invention, a limpid brush, and a light
flaky color peculiarly appropriate to the walls of churches and
palaces. He was, especially in easel pictures, a brilliant, vivacious
brushman, full of dash and spirit, tempered by a large knowledge of
what was true and pictorial. Some of his best pictures are still in
Venice, and modern painters are unstinted in their praise of them. He
left a son, Domenico Tiepolo (1726-1795), who followed his methods. In
the late days of Venetian painting, Canaletto (1697-1768) and Guardi
(1712-1793) achieved reputation by painting Venetian canals and
architecture with much color effect.

[Illustration: FIG. 55.--CARAVAGGIO. THE CARD PLAYERS. DRESDEN.]

NINETEENTH-CENTURY PAINTING IN ITALY: There is little in the art of
Italy during the present century that shows a positive national
spirit. It has been leaning on the rest of Europe for many years, and
the best that the living painters show is largely an echo of
Dusseldorf, Munich, or Paris. The revived classicism of David in
France affected nineteenth-century paintin