The shadows and under-tones, also, are enlivened by a thousand local hues and flickering lights, and his masses by innumerable varieties and play of parts; yet all softened, and blended, and combined by an undefinable harmony. Hence, nothing more easy than apparently to copy Titian--nothing more difficult than really to imitate his faithfulness and splendor. The third principle refers to his practice; the colors are laid on pure, without mixing, in tints by reiterated application, and apparently with the point of the pencil. Titian died in 1576, at the venerable age of 96 or 99, having survived the glory of the Venetian school, the last disciple of decided eminence being Tintoretto, called the lightning of the pencil, from his miraculous despatch. The Bassans are powerful colorists, and wonderfully true to nature. Paul Veronese wantons in all the luxuriance of fresh and magnificent coloring, but is correct neither in taste nor drawing. Giorgione, of all the early Venetian masters, gave greatest promise of uniting purity with splendor, but died in 1511, at the age of 33;--thus leaving Titian, to whom he had in some measure been instructer, to reap an undivided harvest of fame. In the annals of genius, no name bears more strongly on the popular sense attached to the term of a heaven-born inspiration, superior to circumstances and independent of tuition, than that of Antonio Leti--better known as Corregio. This artist, who was born about 1494, and died at the age of 40, is the model rather than the founder of the Lombard school. From the bosom of poverty, without master, without patron, without even the commonest appliances of his art, he bursts at once upon the view in all the blaze of original talent--unpraised, unknown--in an age of knowledge, to sink unmarked like the meteor of the desert, leaving but the memorials of his graceful pencil--in his own phrase, 'anch' io son pittore'--to cry aloud that he also was a painter,--that such a man, contemporary with Raphael and Michael Angelo, and their nearest compeer, should have lived in ignorance of them, of Rome, of the antique, of all but nature--to die at last unrewarded in Parma--is utterly inexplicable. The principal works of this master are the two noble cupolas of the cathedral churches of Parma, painted in fresco--one subject the Assumption of the Virgin, the other the Ascension of the Saviour. Of his easel paintings, the most precious, representing a Holy Family, and called the 'Night,' is in the Dresden gallery. The beauties of Corregio are grace and exquisite management of light and color, united with inexpressible harmony,--'thus was completed the round of art.' 'Everything I see,' says Annibale Caracci, on beholding fifty years afterwards these works of Corregio,'astonishes me, particularly the coloring and beauty of the children, who live, breathe, and smile, with so much sweetness and vivacity, that we are constrained to sympathize in their enjoyment.'