History, mindless of its real object, sinking to Biography, has been swelled into a diffuse catalogue of individuals, who, tutored by different schools, or picking something from the real establishers of Art, have done little more than repeat, or imitate through the medium of either, what those had found in Nature, discriminated, selected, and applied to Art, according to her dictates. Without wishing to depreciate the merit of that multitude who felt, proved themselves strong enough, and strenuously employed life to follow, it must be pronounced below the historian's dignity to allow them more than a transitory glance. Neither originality, nor selection and combination of materials scattered over the various classes of Art by others, have much right to attention from him who only investigates the real progress of Art, if the first proves to have added nothing essential to the system by novelty, and the second to have only diluted energy, and by a popular amalgama to have pleased the vulgar. Novelty, without enlarging the circle of knowledge, may delight or strike, but is nearer allied to whim than to invention; and an eclectic system, without equality of parts, as it originated in want of comprehension, totters on the brink of mediocrity. The first ideas of Expression, Character, Form, Chiaroscuro, and Colour, originated in Tuscany: Masaccio, Lionardo da Vinci, M. Agnolo, Bartolomeo della Porta. The first was carried off before he could give more than hints of dramatic composition; the second appears to have established character on physiognomy, and to have seen the first vision of chiaroscuro, though he did not penetrate the full extent of its charm; the third had power, knowledge, and life sufficiently great, extensive, and long, to have fixed style on its basis, had not an irresistible bias drawn off his attention from the modesty and variety of Nature; Baccio gave amplitude to drapery, and colour to form.