the masters are, for the most part, placed separately in that one or other of the acknowledged schools to which their manner approaches most nearly, or to which their master belonged." The distinguishing marks of the schools are ably laid down. The author confesses that he feels a difficulty in generalizing the characteristics of the Florentine school. He adopts the somewhat exaggerated (as he allows) account of M. Levesque. His characteristics are--fine movement, a certain sombre austerity, an expression of vigour, which excludes perhaps that of grace, a character of design, the grandeur of which is in some sort gigantic. They may be reproached with a kind of exaggeration; but it cannot be denied that there is in this exaggeration an ideal majesty, which elevates human nature above the weak and perishing nature of reality. The Tuscan artists, satisfied with commanding admiration, seem to disdain seeking to please. The description of the Roman school we conceive to be not so fortunate. Its excellence is attributed to the antique, distinguished "by great beauty in the forms, a composition elegant, although often singular, and by expressions ideal rather than natural, of which a part is often sacrificed to the preservation of beauty." If we receive as models of these two most celebrated schools, Michael Angelo Buonarroti, and Raffaelle, (though it should be observed, if we look to the actual genius of these great men, we must not forget the early age at which Raffaelle died,) such distinction as this may be drawn. That the Florentine school had for its object the personal, the absolute bodily power and dignity of man, and such strong intellect and energy as would be considered in necessary agreement with that perfect condition of the human form. That there is therefore, in their vigorous delineations, a great and simple, and, as it were, gigantic rudeness very perceptible. On the contrary, in the Roman, the subordination of the person to the cultivated mind is decidedly marked. It is the delineation of man further off from his ruder state, showing in aspect, and even in bodily movements, the mental cultivation. The one school is of an Antediluvian, the other of a Christian race. Hence, in the latter, under the prerogative of love, grace and a nicer beauty are assumed; and a delicacy and purity arising from minds educated to bear, to forbear, chastened by trial, endowed with a new greatness not inconsistent with gentleness. Yet was simplicity strongly marked in the Roman school; nor do we think the blame thrown upon their colouring justly thrown, as it was most consistent with the characteristic dignified simplicity; nor do we agree with those who think it inharmonious in itself. Baroccio is praised, in that he added somewhat of the colouring of Correggio to the study of the antique and the works of Raffaelle; but it is more than doubtful if the innovation upon the Roman simplicity be not a deterioration of the school. The