Subsequent to this period, (1630, 1631,) in which the deaths of a number of artists occur, the traces of the old Venetian style, in its best school, began still more to disappear; and the Venetian paintings produced after the middle of the century, display for the most part a different character. It is remarked by Signor Zanetti, that several foreign artists established themselves about this period in the city, and held sway over the art at their own discretion. Attached to various schools, and chiefly admirers of Caravaggio, in his plebeian manner, they agreed amongst themselves in nothing, perhaps, except two points. One of these was, to consult truth in a greater degree than had before been done; an extremely useful idea to render art, now degenerated into a paltry trade, once more real art. But the plan was not well executed by many, who were either incapable of selecting what was natural, or of ennobling it when found; while, at all events, they were too apt to mannerize it with an excessive use of strong shades. The other plan was to avail themselves of very dark and oily grounds, which were as favourable to despatch as injurious to the duration of paintings, as we have more than once had occasion to observe. Indeed this had so far come into vogue, in most places, as even to infect, in some degree, the great school of the Caracci. Hence it has arisen that in many of those pictures the lights only have remained durable, and the masses of shade, the middle tints having disappeared; insomuch that posterity has distinguished this class of artists by the new appellation of the sect of _Tenebrosi_, or the dark colourists. Boschini, who first put forth his _Carta del Navegar Pitoresco_ in 1660, is very severe, as we have before stated, upon the sect of mere naturalists, stigmatizing them generally, and upbraiding them for coming to seek their bread at Venice; while, at the time that they employed themselves in crying down the taste, the spirit, and the rapid hand of the Venetians, their own productions bore ample witness to the pitiable efforts by which they were produced. He gives no names; but it is not difficult to gather from the whole his aversion to the Roman and Florentine artists, of whom we shall shortly give an account. Upon these he certainly does not bestow encomiums, as he does upon all others at that period engaged in Venice, his commendations being sometimes extremely vague, and at others extravagant.