This form of picture is by no means new, though except among the inventors of sprezzatura, and the modern impressionists, it has always been executed as a rough sketch for the purpose of settling harmonies for serious work. Lomazzo relates that Aurelio, son of Bernadino Luini, while visiting Titian, asked him how he managed to make his landscape tones harmonize so well. For reply the great master showed Aurelio a large sketch, the character of which could not be distinguished when it was closely inspected, but on the observer stepping back, a landscape appeared "as if it had suddenly been lit up by a ray of the sun."[a] From Luini's surprise, and inasmuch as we have no record of similar work before his time, it is reasonable to suppose that Titian was the first great artist to use this form of sketch for experimental purposes. [a] _Trattato dell' Arte de la Pittura._ [Illustration: PLATE 25 (See page 269) The Pleiads, by M. Schwind] NOTE 16. PAGE 40 The example of this picture at the Pitti Palace is specially noted because it seems impossible that the duplicate in the Uffizi Gallery can be by Raphael, for it has obvious defects, some of which have many times been pointed out. The expression is vastly inferior to that in the Pitti portrait, for instead of a calm, noble, benign countenance, we have a half-worried senile face which is anything but pleasant. Raphael was the last man to execute a portrait of a Pope without generalizing high character in the features. It will be observed also that in the Uffizi portrait, the left hand is stiff and cramped, and the drapery ungracefully flowing, while both uprights of the chair are actually out of drawing. There are other examples of the same picture in different museums, but the Pitti work is far above these in every respect, and seems the only one which can be properly attributed to the master. Passavant affirms that some of the repetitions of the work were certainly made in the studio of Raphael under his orders, and thinks that the duplicates passed for originals even in his time.[a] [a] _Raphael d'Urbin_, vol. ii. NOTE 17. PAGE 41 To the knowledge of the writer, the only logical connection between the work of Rembrandt and impressionism that has been suggested, is from the pen of Professor Baldwin Brown, who remarks[a]: Rembrandt in his later work attended to the pictorial effect alone, and practically annulled the objects by reducing them to pure tone and colour. Things are not there at all, but only the semblance, or effect, or impression of things. Breadth is in this way combined with the most delicate variety, and a new form of painting, now called "impressionism" has come into being.