icacy, grace, and devotional
feeling. I remember reading somewhere that Correggio had a large
family, and was a particularly fond father; and it is certain, that in
the expression of maternal tenderness, he is superior to all but
Raffaelle: his Holy Family in the Studii at Naples, and his lovely
Virgin in the gallery, are instances.

Guido ranks next in my estimation, as a painter of Virgins. He is
described as an elegant and accomplished man, remarkable for the
modesty of his disposition, and the dignity and grace of his manner;
as delicate in his personal habits, and sumptuous in his dress and
style of living. He had unfortunately contracted a taste for gaming,
which latterly plunged him into difficulties, and tinged his mind with
bitterness and melancholy. All his heads have a peculiar expression of
elevated beauty, which has been called Guido's air. His Madonnas are
all but heavenly: they are tender, dignified, lovely:--but when
compared with Raffaelle's, they seem more touched with earthly
feeling, and have less of the pure ideal: they are, if I may so
express myself, too _sentimental_: sentiment is, in truth, the
distinguishing characteristic of Guido's style. It is remarkable, that
towards the end of his life, Guido more frequently painted the Mater
Dolorosa, and gave to the heads of his Madonnas a look of melancholy,
disconsolate resignation, which is extremely affecting.

Titian's character is well known: his ardent cheerful temper, his
sanguine enthusiastic mind, his love of pleasure, his love of women;
and true it is, that through all his glowing pictures, we trace the
voluptuary. His Virgins are rather "_des jeunes epouses de la
veille_"--far too like his Venuses and his mistresses: they are all
luxuriant _human_ beauty; with that peculiar air of blandishment which
he has thrown into all his female heads, even into his portraits, and
his old women. Witness his lovely Virgin in the Vatican, his Mater
Sapientiae, and his celebrated Assumption at Venice, in which the eyes
absolutely float in rapture. There is nothing ideal in Titian's
conception of beauty: he paints no saints and goddesses _fancy-bred_:
his females are all true, lovely women; not like the heavenly creation
of Raffaelle, looking as if a touch, a breath would profane them; but
warm flesh and blood--heart and soul--with life in their eyes, and
love upon their lips: even over his Magdalenes, his beauty-breathing
pencil has shed a something which