mistaking an instrument of the Art for Art itself, and means for the end of execution, he has been deprived by partiality of the praise due to powers which he appears to have possessed in a degree unknown to the times that preceded Masaccio. Masolino da Panicale cultivated chiaroscuro: he was enabled to treat it with more truth than his predecessors, by a long practice of modelling under the tuition of Lorenzo Ghiberti, the master of design and grouping in those days, but whose animation he did not attain. Starnina instructed him in colour; and thus by uniting the characteristics of two schools, he produced that new style, which, though still infected by dryness and clogged by inelegance, possesses grandeur, union and breadth: the proofs still remain in the chapel of S. Pietro al Carmine, where, besides the Evangelists, he painted several subjects from the story of that Apostle. The remaining ones, which he did not live to finish, were some years afterward added by his scholar Tomaso Gisioli, celebrated by the name of Masaccio from his careless way of living. Historians, biographers, and poets, unite in dating a new period from Masaccio. The compass of his mind led him to uniformity of pursuit, and the introduction of style; he had formed his principles on the works of Ghiberti and Donatello; perspective he had learnt of Brunelleschi, and in an excursion to Rome, it is unreasonable to suppose that he did not improve himself on the antique. Gentile da Fabriano and Vittore Pisanello were then at Rome, and the high opinion which they are said to have expressed of him[47] as the first painter of the age has been recorded: it is, however, difficult to say on what that opinion could be founded: they were too far advanced in life to see more of Masaccio than his juvenile essays, perhaps such as the S. Anna in S. Ambrogio at Florence, or what he painted in the chapel of St. Catherine, in the church of St. Clemens of Rome, the figures of the ceiling excepted, all retouched, and though fine works for the time, of doubtful authority, and in no manner to be compared to the pictures del Carmine. Here appear the virility of his powers and the legitimacy of his superior claim: here the figures, however varied by attitude, pose or are foreshortened with that truth and uniformity of success which the less established principles of Paolo Uccello did not always reach. In expression, sublimity distinguishes Donatello; he always aims at, and sometimes succeeds in personifying a sentiment or a passion.[48] Masaccio, more dramatic, poises expression by character and propriety; hence he has been said, and truly said, to resemble Raffaello.