e no veritable forms of landscape but express or imply a state of
progression or of imperfection All mountain forms are seen to be
produced by convulsion and modelled by decay; the finer forms of cloud
have stories in them about storm; all forest grouping is wrought out
with varieties of strength and growth among its several members, and
bears evidences of struggle with unkind influences. All such appearances
are banished in the supernatural landscape; the trees grow straight,
equally branched on each side, and of such slight and feathery frame as
shows them never to have encountered blight or frost or tempest. The
mountains stand up in fantastic pinnacles; there is on them no trace of
torrent, no scathe of lightning; no fallen fragments encumber their
foundations, no worn ravines divide their flanks; the seas are always
waveless, the skies always calm, crossed only by fair, horizontal,
lightly wreathed, white clouds.

Sec. 10. Landscape of Benozzo Gozzoli.

In some cases these conditions result partly from feeling, partly from
ignorance of the facts of nature, or incapability of representing them,
as in the first type of the treatment found in Giotto and his school; in
others they are observed on principle, as by Benozzo Gozzoli, Perugino,
and Raffaelle. There is a beautiful instance by the former in the
frescoes of the Ricardi palace, where behind the adoring angel groups
the landscape is governed by the most absolute symmetry; roses and
pomegranates, their leaves drawn to the last rib and vein, twine
themselves in fair and perfect order about delicate trellises; broad
stone pines and tall cypresses overshadow them, bright birds hover here
and there in the serene sky, and groups of angels, hand joined with
hand, and wing with wing, glide and float through the glades of the
unentangled forest. But behind the human figures, behind the pomp and
turbulence of the Kingly procession descending from the distant hills
the spirit of the landscape is changed. Severer mountains rise in the
distance, ruder prominences and less flowery vary the nearer ground, and
gloomy shadows remain unbroken beneath the forest branches.

Sec. 11. Landscape of Perugino and Raffaelle.

The landscape of Perugino, for grace, purity and as much of nature as is
consistent with the above-named conditions, is unrivalled; and the more
interesting because in him certainly whatever limits are set to the
rendering of nature proceed not from incapabil