Southern schools.

And so we find the same simple and sweet treatment, the open sky, the
tender, unpretending, horizontal white clouds, the far winding and
abundant landscape, in Giotto, Taddeo Gaddi, Laurati, Angelico, Benozzo,
Ghirlandajo, Francia, Perogino, and the young Raffaelle, the first
symptom of conventionality appearing in Perugino, who, though with
intense feeling of light and color he carried the glory of his luminous
distance far beyond all his predecessors, began at the same time to use
a somewhat morbid relief of his figures against the upper sky. Thus in
the Assumption of the Florentine Academy, in that of l'Annunziata; and
of the Gallery of Bologna, in all which pictures the lower portions are
incomparably the finest, owing to the light distance behind the heads.
Raffaelle, in his fall, betrayed the faith he had received from his
father and his master, and substituted for the radiant sky of the
Madonna del Cardellino, the chamber-wall of the Madonna della
Sediola--and the brown wainscot of the Baldacchino. Yet it is curious to
observe how much of the dignity even of his later pictures, depends on
such portions as the green light of the lake, and sky behind the rocks,
in the St. John of the tribune, and how the repainted distortion of the
Madonna dell' Impannata, is redeemed into something like elevated
character, merely by the light of the linen window from which it takes
its name.

Sec. 11. Among the Venetians.

That which by the Florentines was done in pure simplicity of heart, was
done by the Venetians with intense love of the color and splendor of the
sky itself, even to the frequent sacrificing of their subject to the
passion of its distance. In Carpaccio, John Bellini, Giorgione, Titian,
Veronese, and Tintoret, the preciousness of the luminous sky, so far as
it might be at all consistent with their subject, is nearly constant;
abandoned altogether in portraiture only, seldom even there, and never
with advantage. Titian and Veronese, who had less exalted feeling than
the others, affording a few instances of exception, the latter
overpowering his silvery distances with foreground splendor, the other
sometimes sacrificing them to a luscious fulness of color, as in the
Flagellation in the Louvre, by a comparison of which with the unequalled
majesty of the Entombment opposite, the whole power and applicability of
the general principle may at once be tested.

Sec. 12. Among the painters of lan