The forms of Titian are those of sanguine health; robust, not grand; soft without delicacy. Tintoretto attempted to fill the line of Michael Angelo with colour, without tracing its principle. As Michael Angelo was impressed with an idea of grandeur, so Correggio was charmed with a notion of harmony: his line was correct when harmony permitted; it strayed as harmony commanded. Elegance (sueltezza) was the principle of Parmegiano's line, but he forgot proportion. Annibale Carracci, one of the founders of the Eclectic school, attempted to combine in his line the appearance of Nature with style, and became the standard of academic drawing. The medium, not the thing, was the object of the _Tuscan_ and _Venetian_ schools; the school of Urbino[31] aimed at subjecting the medium to the character of things; the _Lombards_ strove to unite the separate attainments of the three with the unattainable spell of Correggio; the _Germans_, with their Flemish and Dutch branches, now humbly followed, now boldly attempted to improve their Italian masters; the French passed the Alps to study at Rome and Venice what they were to forget at Paris. Domenichino aimed at the characteristic line of Raffaelle, the compactness of Annibale, and the beauty of the antique; and mixing something of each fell short of all. Rosso carried anatomy, and the Bolognese Abbate the poetry of their art to the court of Francis. To the haggard melancholy of the Tuscan and the laboured richness of the Lombard, the French added their own cold gaiety, and the French school arose. The forms of Guido's female heads are abstracts of the antique. The forms of his male bodies are transcripts of models, such as are found in a genial climate, though sometimes distorted by fatigue or emaciated by want. Pietro Testa copied the Torsos of antiquity, and supplied them with extremities drawn from the dregs of Nature. The forms[32] of Caravaggio are either substantial flesh or the starveling produce of beggary rendered important by ideal light and shade. The limbs of Joseph Ribera are excrescences of disease on hectic bodies. Andrea Mantegna was in Italy what Albert Durer was at Nuremberg; Nature seems not to have existed in any shape of health in his time: though a servile copyist of the antique, he never once adverted from the monuments he copied to the originals that inspired them.