uring. He worked less with chiaroscuro than colour,
which he endowed with all the sentiment of his subject. Mr Fuseli
considers landscape to have originated with Titian.

"Landscape, whether it be considered as the transcript of a spot, or the
rich combination of congenial objects, or as the scene of a phenomenon,
dates its origin from him:" so of portrait, he says--"He is the father
of portrait painting, of resemblance with form, character with dignity,
and costume with subordination." The yet wanting charm of art--perfect
harmony, was reserved for Correggio. "The harmony and grace of Correggio
are proverbial; the medium which, by breadth of gradation, unites two
opposite principles, the coalition of light and darkness, by
imperceptible transition, are the element of his style." "This unison of
a whole predominates in all that remains of him, from the vastness of
his cupolas to the smallest of his oil pictures. The harmony of
Correggio, though assisted by exquisite hues, was entirely independent
of colour; his great organ was chiaroscuro in its most extensive
sense--compared with the expanse in which he floats, the effects of
Leonardi da Vinci are little more than the dying ray of evening, and the
concentrated flash of Giorgione discordant abruptness. The bland,
central light of a globe, imperceptibly gliding through lucid demi-tints
into rich reflected shades, composes the spell of Correggio, and affects
us with the soft emotions of a delicious dream." Here terminates the
great, the primal era. Such were the patriarchs of modern art. Here, it
may be said, terminated the great discoverers. Mr Fuseli pauses here to
observe, that we should consider the characteristic of each of these
painters, not their occasional deviations; for not unfrequently did
Titian rise to the loftiness of conception of Michael Angelo, and
Correggio occasionally "exceeded all competition in expression in the
divine features of his _Ecce Homo_." If Mr Fuseli alludes to the _Ecce
Homo_ now in our National Gallery, we cannot go along with him in this
praise--but in that picture, the expression of the true "Mater dolorosa"
was never equaled. Art now proceeds to its period of "Refinement." The
great schools--the Tuscan, the Roman, the Venetian, and the
Lombard--from whatever cause, separated. Michael Angelo lived to see his
great style polluted by Tuscan and Venetian, "as the ostentatious
vehicle of puny conceits and emblematic quibbles, or the pallia