Of the Tuscan School that succeeded these, the main body not only added nothing to their discoveries, but, if their blind attachment to the singularities rather than the beauties of the third be excepted, equally inattentive to expression, character, propriety of form, the charms of chiaroscuro, and energies of colour, contented themselves to give to tame or puerile ideas, obvious and common-place conceptions, a kind of importance by mastery of execution and a bold but monotonous and always mannered outline; and though Andrea del Sarto, with Francia Bigio, Giacopo da Pontormo, and Rosso, may be allowed to have thought sometimes for themselves and struck out paths of their own, will it be asserted that they enlarged or even filled the circle traced out before? The most characteristic work of Andrea's original powers, is, no doubt, the historic series in S. Giovanni dei Scalzi; yet, when compared with the patriarchal simplicity of the groups in the Lunette of the Sistine Chapel, the _naïveté_ of his characters and imagery will be found too much tainted with contemporary, local, and domestic features, for Divine, Apostolic, and Oriental agents. His drapery, whenever he escapes from the costume of the day, combines with singular felicity the breadth of the _Frati_, and the acute angles of Albert Durer; but neither its amplitude, nor the solemn repose and tranquillity of his scenery, can supply the want of personal dignity, or consecrate vulgar forms and trivial features. The Roman school like an Oriental sun rose, not announced by dawn, and, setting, left no twilight. Raffaello established his school on the Drama; its scenery, its expression, its forms; History, Lyrics, Portrait, became under his hand the organs of passion and character. With his demise the purity of this principle vanished. Julio Romano, too original to adopt, formed a school of his own at Mantoua, which, as it was founded on no characteristic principle, added nothing to Art, and did not long survive its founder. Polydoro Caldara was more ambitious to emulate the forms of the antique than to propagate the style of his master, which was not comprehended by Penny, called Il Fattore, mangled by Perrino del Vaga, became common-place in the hands of the Zuccari, barbarous manner during the usurpation of Giuseppe Cesari, sunk to tameness in the timid imitation of Sacchi and Maratta, and expired under the frigid method of Mengs.