si. But the want of a general distinctive
character prevents their being ranked under the general schools, and
the masters are, for the most part, placed separately in that one or
other of the acknowledged schools to which their manner approaches
most nearly, or to which their master belonged." The distinguishing
marks of the schools are ably laid down. The author confesses that he
feels a difficulty in generalizing the characteristics of the
Florentine school. He adopts the somewhat exaggerated (as he allows)
account of M. Levesque. His characteristics are--fine movement, a
certain sombre austerity, an expression of vigour, which excludes
perhaps that of grace, a character of design, the grandeur of which is
in some sort gigantic. They may be reproached with a kind of
exaggeration; but it cannot be denied that there is in this
exaggeration an ideal majesty, which elevates human nature above the
weak and perishing nature of reality. The Tuscan artists, satisfied
with commanding admiration, seem to disdain seeking to please. The
description of the Roman school we conceive to be not so fortunate.
Its excellence is attributed to the antique, distinguished "by great
beauty in the forms, a composition elegant, although often singular,
and by expressions ideal rather than natural, of which a part is often
sacrificed to the preservation of beauty." If we receive as models of
these two most celebrated schools, Michael Angelo Buonarroti, and
Raffaelle, (though it should be observed, if we look to the actual
genius of these great men, we must not forget the early age at which
Raffaelle died,) such distinction as this may be drawn. That the
Florentine school had for its object the personal, the absolute bodily
power and dignity of man, and such strong intellect and energy as
would be considered in necessary agreement with that perfect condition
of the human form. That there is therefore, in their vigorous
delineations, a great and simple, and, as it were, gigantic rudeness
very perceptible. On the contrary, in the Roman, the subordination of
the person to the cultivated mind is decidedly marked. It is the
delineation of man further off from his ruder state, showing in
aspect, and even in bodily movements, the mental cultivation. The one
school is of an Antediluvian, the other of a Christian race. Hence, in
the latter, under the prerogative of love, grace and a nicer beauty
are assumed; and a delicacy and purity arising from minds e