pupils had sacrificed or consecrated to higher beauties, their successors, the subsequent Roman school from the Zuccari through Giuseppe Cesari down to C. Maratta, if they did not entirely lose in a heavy display of academic pedantry, or destroy by the remorseless "bravura" of mannered practice, the uniformly polluted by bastard theories and adulterated methods of shade. When I say that the Roman school uniformly erred in their principle of shade, I have not forgot M. Angelo da Caravaggio, whose darks are in such perfect unison with the lights of his chiaroscuro, that A. Caracci declared he did not grind colour but flesh itself for his tints ("che macinava carne"), and whom for that reason and on such authority I choose rather to consider as the head of his own school than as the member of another: in some of his surviving works, but far more frequently in those which without sufficient authenticity are ascribed to him, an abrupt transition from light to darkness, without an intervening demi-tint, has offended the eye and provoked the sarcasm of an eminent critic: but as long as the picture of the Entombing of Christ in the Chiesa Nuova at Rome may be appealed to; as long as the Pilgrim's kneeling before the Madonna with the child in her arms, of St. Agostino at Rome, shall retain their tone; or the Infant Jesus, once in the Spada palace, crushing the serpent's head, shall resist the ravages of time--it will be difficult to produce in similar works of any other master or any other school, from Lionardo down to Rembrandt, a system of chiaroscuro which shall equal the severe yet mellow energy of the first; the departing evening ray and veiled glow of the second; or, with unimpaired harmony, the bold decision of masses and stern light and shade of the third. The homage sparingly granted or callously refused to chiaroscuro by the two schools of design was with implicit devotion paid to it by the nurse of colour, the school of Venice. Whether as tradition, on the authority of Vasari, maintains, they received it as a principle of imitation from the perspicacity, or as a native discovery from the genius of Giorgione Barbarelli, though from what has been advanced on both sides of the question, it would be presumptuous positively to decide on either, it must be allowed, that if the Venetian received a hint from the Florentine, he extended it through a system, the harmony of which was all his own, and excelled in breadth and amenity the light which it could not surpass in splendour, added transparence to purity of shade, rounded by reflexes and discovered by the contrast of deep with aerial colour, that energy of effect which mere chiaroscuro could not have reached, and which was carried near perfection by Paolo Cagliari.