humour of each man is refreshing to us from its very distinctness; but the effort to add any other qualities to this refreshing one instantly takes away the distinctiveness" (_Two Paths_, § 58). It was not an attempt to unite the various characters of _nature_. On the contrary, "these painters, in selecting, omitted just those features which had given grace and character to their models. The substitution of generic types for portraiture, the avoidance of individuality, the contempt for what is simple and natural in details, deprived their work of attractiveness and suggestion. It is noticeable that they never painted flowers. While studying Titian's landscapes, they omitted the iris and the caper-blossom and the columbine, which star the grass beneath Ariadne's feet.... They began the false system of depicting ideal foliage and ideal precipices--that is to say, trees which are not trees, and cliffs which cannot be distinguished from cork or stucco. In like manner, the cloths wherewith they clad their personages were not of brocade, or satin, or broadcloth, but of that empty lie called drapery ... one monstrous nondescript stuff, differently dyed in dull or glaring colours, but always shoddy. Characteristic costumes have disappeared.... After the same fashion furniture, utensils, houses, animals, birds, weapons, are idealised--stripped, that is to say, of what in these things is specific and vital"[27] (Symonds, _ibid._ p. 233). With regard to the historical development of the declining art whose general characteristics we have been discussing, it is usual to group the painters under three heads--the Mannerists, the Eclectics, and the Naturalists. By the first of these are meant the painters in the several schools who succeeded the culminating masters and imitated their peculiarities. We have already noticed, under the Florentine School, how this "mannerism" set in, and all the other schools show a like process. Thus Giulio Romano shows the dramatic energy of Raphael and Michael Angelo passed into mannerism. Tiepolo is a "mannerised" Paolo Veronese, Baroccio a "mannerised" Correggio. Later on, however, and largely under the influence of the "counter-Reformation"--the renewed activity, that is, of the Roman church consequent on the Reformation,[28]--a reaction against the Mannerists set in. This reaction took two forms. The first was that of the Eclectic School founded by the Carraccis at Bologna in about the year 1580. This school--so called from its principle of "selecting" the qualities of different schools--includes, besides the Carraccis themselves, Guido Reni, Domenichino, Sassoferrato, and Guercino. The last-mentioned, however, combined in some measure the aims both of the Eclectics and of the other school which was formed in protest against the Mannerists. This was the school of the so-called Naturalists, of whom Caravaggio (1569-1609) was the first representative, and whose influence may be