In some cases these conditions result partly from feeling, partly from ignorance of the facts of nature, or incapability of representing them, as in the first type of the treatment found in Giotto and his school; in others they are observed on principle, as by Benozzo Gozzoli, Perugino, and Raffaelle. There is a beautiful instance by the former in the frescoes of the Ricardi palace, where behind the adoring angel groups the landscape is governed by the most absolute symmetry; roses and pomegranates, their leaves drawn to the last rib and vein, twine themselves in fair and perfect order about delicate trellises; broad stone pines and tall cypresses overshadow them, bright birds hover here and there in the serene sky, and groups of angels, hand joined with hand, and wing with wing, glide and float through the glades of the unentangled forest. But behind the human figures, behind the pomp and turbulence of the Kingly procession descending from the distant hills the spirit of the landscape is changed. Severer mountains rise in the distance, ruder prominences and less flowery vary the nearer ground, and gloomy shadows remain unbroken beneath the forest branches. Sec. 11. Landscape of Perugino and Raffaelle. The landscape of Perugino, for grace, purity and as much of nature as is consistent with the above-named conditions, is unrivalled; and the more interesting because in him certainly whatever limits are set to the rendering of nature proceed not from incapability. The sea is in the distance almost always, then some blue promontories and undulating dewy park ground, studded with glittering trees; in the landscape of the fresco in St^a. Maria Maddalena at Florence there is more variety than is usual with him; a gentle river winds round the bases of rocky hills, a river like our own Wye or Tees in their loveliest reaches; level meadows stretch away on its opposite side; mounds set with slender-stemmed foliage occupy the nearer ground, a small village with its simple spire peeps from the forest at the bend of the valley, and it is remarkable that in architecture thus employed neither Perugino nor any other of the ideal painters ever use Italian forms but always Transalpine, both of church and castle. The little landscape which forms the background of his own portrait in the Uffizii is another highly finished and characteristic example. The landscape of Raffaelle was learned from his father, and continued for some time little modified, though expressed with greater refinement. It became afterwards conventional and poor, and in some cases altogether meaningless. The haystacks and vulgar trees behind the St. Cecilia at Bologna form a painful contrast to the pure space of mountain country in the Perugino opposite.[76] Sec. 12. Such Landscape is not to be imitated.