Gal. Lon.; Moretto, altar-pieces Brera, Staedel Mus., S. M. della Pieta Venice, Vienna, Berlin, Louvre, Pitti, Nat. Gal. Lon.; Moroni, portraits Bergamo Gal., Uffizi, Nat. Gal. Lon., Berlin, Dresden, Madrid; Girolamo dai Libri, Madonna Berlin, Conception S. Paolo Verona, Virgin Verona Gal., S. Giorgio Maggiore Verona, Nat. Gal. Lon.; Torbido, frescos Duomo, altar-pieces S. Zeno and S. Eufemia Verona; Cavazzola, altar-pieces, Verona Gal. and Nat. Gal. Lon. CHAPTER XI. ITALIAN PAINTING. THE DECADENCE AND MODERN WORK. 1600-1894. BOOKS RECOMMENDED: As before, also General Bibliography, (page xv.); Calvi, _Notizie della vita e delle opere di Gio. Francesco Barbiera_; Malvasia, _Felsina Pittrice_; Sir Joshua Reynolds, _Discourses_; Symonds, _Renaissance in Italy--The Catholic Reaction_; Willard, _Modern Italian Art_. THE DECLINE: An art movement in history seems like a wave that rises to a height, then breaks, falls, and parts of it are caught up from beneath to help form the strength of a new advance. In Italy Christianity was the propelling force of the wave. In the Early Renaissance, the antique, and the study of nature came in as additions. At Venice in the High Renaissance the art-for-art's-sake motive made the crest of light and color. The highest point was reached then, and there was nothing that could follow but the breaking and the scattering of the wave. This took place in Central Italy after 1540, in Venice after 1590. Art had typified in form, thought, and expression everything of which the Italian race was capable. It had perfected all the graces and elegancies of line and color, and adorned them with a superlative splendor. There was nothing more to do. The idea was completed, the motive power had served its purpose, and that store of race-impulse which seems necessary to the making of every great art was exhausted. For the men that came after Michael Angelo and Tintoretto there was nothing. All that they could do was to repeat what others had said, or to recombine the old thoughts and forms. This led inevitably to imitation, over-refinement of style, and conscious study of beauty, resulting in mannerism and affectation. Such qualities marked the art of those painters who came in the latter part of the sixteenth century and the first of the seventeenth. They were unfortunate men in the time of their birth. No painter could have been great in the seventeenth century of Italy. Art lay prone upon its face under Jesuit rule, and the late men were left upon the barren sands by the receding wave of the Renaissance. [Illustration: FIG. 52.--BRONZINO. CHRIST IN LIMBO. UFFIZI.]