nature, achieved a triumph in this line of labour. His Palazzo del Te will always remain the monument of a specific moment in Renaissance history, since it is adequate to the intellectual conditions of a race demoralised but living still with largeness and a sense of grandeur. Michael Angelo formed no school in the strict sense of the word. Yet his influence was not the less felt on that account, nor less powerful than Raphael's in the same direction. During his manhood the painters Sebastian del Piombo, Marcello Venusti, and Daniele da Volterra, had endeavoured to add the charm of oil-colouring to his designs; and long before his death, the seduction of his mighty mannerism had begun to exercise a fatal charm for all the schools of Italy. Painters incapable of fathoming his intention, unsympathetic to his rare type of intellect, and gifted with less than a tithe of his native force, set themselves to reproduce whatever may be justly censured in his works. To heighten and enlarge their style was reckoned a chief duty of aspiring craftsmen; and it was thought that recipes for attaining to this final perfection of the modern arts might be extracted without trouble from Michael Angelo's masterpieces. Unluckily, in proportion as his fame increased, his peculiarities grew with the advance of age more manneristic and defined; so that his imitators fixed precisely upon that which sober critics now regard as a deduction from his greatness. They failed to perceive that he owed his grandeur to his personality; and that the audacities which fascinated them, became mere whimsical extravagances when severed from his _terribilità_ and sombre simplicity of impassioned thought. His power and his spirit were alike unique and uncommunicable, while the admiration of his youthful worshippers betrayed them into imitating the externals of a style that was rapidly losing spontaneity and sense of beauty. Therefore they fancied they were treading in his footsteps and using the grand manner when they covered church-roofs and canvases with sprawling figures in distorted attitudes. Instead of studying nature, they studied Michael Angelo's cartoons, exaggerating by their unintelligent discipleship his wilfulness and arbitrary choice of form.