His triumph in oil is the altar-piece of St. John preaching, in a chapel of the Certosa at Bologna, whose lights seem embrowned by a golden veil, and the shadowy gleam of Vallombrosa; though he sometimes indulged in tones austere, pronounced, and hardy: such is the Flagellation of Christ in the same church, whose tremendous depth of flesh-tints contrasts the open wide-expanded sky, and less conveys than dashes its terrors on the astonished sense. The schools of Bologna, Parma, Milano, with more or less geniality, imitated their predecessors, but added no new features to the theory of light and shade. As to its progress on this side of the Alps, it is better to say nothing than little on the wide range of Rubens, and the miracles of Rembrandt. FOOTNOTES: [90] Nella arte della pittura aggiunse costui alla maniera del colorire ad olio, una certa oscurità; donde hanno dato i moderni gran forza e rilievo alle loro figure. Vasari vita di Lion. da Vinci, p. 559. ed. 1550. [91] In the greater part of the Cartoons, it does not appear that chiaroscuro had more than an ordinary share of attention. In the Miraculous Draught plain day-light prevails. In the Miracle at the Temple-gate a more forcible and more sublime effect would have been obtained from a cupola-light and pillars darkened on the foreground. In the Excecation of Elymas, composition and expression owe little of their roundness and evidence to chiaroscuro. Apposition seems to have arranged the Sacrifice at Lystra. If Dionysius and Damaris, in the cartoon of the Areopagus, had more forcibly refracted by dark colours or shade, the light against the speaker, effect and subject would have gained. Considered individually or in masses, the chiaroscuro in the cartoon of Ananias appears to be perfect; but the Donation of the Keys owes what impression it makes on us in a great measure to the skillful distribution of its light and shade. [92] In the following absurd description of the well-known picture in the Palace Pitti: "It consists of three half-figures, one of which represents Martin Luther in the habit of an Augustine Monk, who plays on a harpsichord: Calvin stands by him in a chorister's dress, with a violin in his hand: opposite you see a young lively girl in a bonnet with a plume of white feathers; by her Giorgione meant to represent the noted Catharine, Luther's mistress and wife," &c. Fiorillo, vol. ii. p. 63. To expose the ignorant credulity which dictated this passage, it is sufficient to observe, that Giorgione died 1511, and that Calvin was born 1508.