Poetry, that supplies the real features and materials of expression when it inspires the thought, arrives at the full display of its powers long before its sisters have disentangled themselves from the impediments of infancy; and of these, Sculpture, whose aim is infinitely less complex, raises the vigorous fabric of forms, whilst Painting is still impotently struggling with the rudiments of line, perspective, keeping, chiaroscuro, colour; which to unite in an equal degree has hitherto been found above the lot of humanity. The imitators of Giotto were in this state of struggle; they saw little in chiaroscuro, and less in perspective and line; their figures still slip from their planes, their fabrics have no true point of sight, their fore-shortenings depended solely on the eye: Stefano dal Ponte rather saw than overcame; the rest either avoided or palliated these difficulties. The Umbrian Pietro della Francesca seems to have been the first who called geometry to the assistance of painting, and taught by his works at Arezzo the principles of perspective; Brunelleschi formed it into system for architecture, and the mathematician Manetti roused the attention of Paolo Uccello, who owes the perpetuity of his name nearly exclusively to the study of that science. His immoderate attachment to perspective is become proverbial;[46] and almost equalled his fondness for birds, from which he got his surname. He applied it, from grounds and buildings, to the human body, which he foreshortened with a skill unknown to his predecessors: and some proofs of it still exist in the figures of God and Noè among the chiaroscuroes in the chiostro of Sta. Maria Novella, and in the equestrian colossus of Gio. Aguto (John Montacute), which he painted in chiaroscuro of terra verde, and which is still in the duomo. The art, since its revival, perhaps for the first time showed that, if it had dared much, it had dared well: nor did he fall short of it in the gigantic imagery of the House Vitali at Bologna; he was, however, more employed in painting private furniture: the triumphs of Petrarch on some small presses in the gallery of Florence are supposed to come from his hand. That he was a master of expression, the instances adduced by Vasari leave no doubt; and in describing the flying drapery of some friar in the series of pictures relative to S. Benedetto, the same writer tells us, that it served as a model to all succeeding artists: to such powers, praise of variety is added by the truth and diligence with which he copied trees, plants, birds and animals, and for which some critic styles him the Bassano of the first epoch. In the nearly general wreck of Paolo's works, it is difficult to form a judgment of his technic character independent of tradition: but, comparing what remains with what we are told, it is evident that he reached from one extreme of the Art to the other; and that, if he was blameable for frequently playing with a tool instead of using it,