looked to their manner only and
habitual choice of subject, without feeling their power; and has
given work to the coarseness, mindlessness, and eclecticism of Guido
and the Carracci, which in its poetical demand of tenderness might
have foiled Pinturicchio; of dignity, Leonardo; and of color,
Giorgione.

[59] Fancy, in her third function may, however, become serious, and
gradually rise into imagination in doing so. Compare Chap. IV. Sec. 5.

[60] I am describing from a proof: in bad impressions this trunk is
darkened.

[61] The picture is in the Guadagni palace. It is one of the most
important landscapes Salvator ever painted. The figures are studied
from street beggars. On the one side of the river, exactly opposite
the point where the Baptism of Christ takes place, the painter, with
a refinement of feeling peculiarly his own, has introduced some
ruffians stripping off their shirts to bathe. He is fond of this
incident. It occurs again in one of the marines of the Pitti palace,
with the additional interest of a foreshortened figure, swimming on
its back, feet foremost, exactly in the stream of light to which the
eye is principally directed.

[62] This circumstance, like most that lie not at the surface, has
escaped Fuseli, though his remarks on the general tone of the
picture are very good, as well as his opposition of it to the
treatment of Rubens. (Lecture IX.)

[63] Note the shallow and uncomprehending notice of this picture by
Fuseli. His description of the treatment of it by other painters is
however true, terse, and valuable.

[64] Fresco in an out-house of the Ospedale St^a. Maria Nuova at
Florence.

[65] The same thing is done yet more boldly in the large composition
of the ceiling; the plague of fiery serpents; a part of the host,
and another sky horizon are seen through an opening in the ground.

[66] The Bacchus. There is a small statue opposite it
also--unfinished, but "a spirit still."

[67] I would have insisted more on the ghostly vitality of this
dreadful statue; but the passage referring to it in Rogers's Italy
supersedes all further description. I suppose most lovers of art
know it by heart.

"Nor then forget that chamber of the dead,
Where the gigantic shapes of Night and Day,
Turned into stone, rest everlasting