The cult of Sprezzatura faded to a glimmer before the end of the seventeenth century. Bernini was dead, and Carlo Maratta with a few others led the way in re-establishing the health if not the brilliancy and renown of Italian art. Nor did a recurrence of the movement occur in the next century. During this period there was comparatively little call for art in Italy, and at the end of it, when political disturbances made havoc with academies and artists, the principal occupation of Italian painters with talent was precisely that of their skilled brethren in Holland and Flanders--the manufacture of "old" masterpieces. It was reserved for the second half of the nineteenth century for Sprezzatura to make its reappearance, and this time Italy followed the lead of France. There are many methods and mannerisms which go under the name of Impressionism, but they are mostly suggestions in design or experiments in tones which were formerly produced solely as studies to assist artists in executing their complete works, or else eccentricities which are obviously mere camouflage for lack of skill.[12] Sometimes the sketches are slightly amplified with more or less finished signs, and now and then novelties are present in the shape of startling colour effects; but in all cases the impartial observer sees in the pictures only sensorial beauty of a kind which is inevitably short lived, while his understanding is oppressed with the thought, firstly that the picture is probably the result of a want of diligence on the part of the artist, and secondly that its exhibition as a serious work is somewhat of a reflection upon the intelligence of the public.