ose steadily to a vertex,
as the Carrara hills to their crests. Let us observe this a little more
in detail.

Sec. 21. The sculpture of the Pisans was taken up and carried into various
perfection by the Lucchese, Pistojans, Sienese, and Florentines. All
these are inhabitants of truly mountain cities, Florence being as
completely among the hills as Inspruck is, only the hills have softer
outlines. Those around Pistoja and Lucca are in a high degree majestic.
Giotto was born and bred among these hills. Angelico lived upon their
slope. The mountain towns of Perugia and Urbino furnish the only
important branches of correlative art; for Leonardo, however
individually great, originated no new school; he only carried the
_executive_ delicacy of landscape detail so far beyond other painters
as to necessitate my naming the fifteenth-century manner of landscape
after him, though he did not invent it; and although the school of Milan
is distinguished by several peculiarities, and definitely enough
separable from the other schools of Italy, all its peculiarities are
mannerisms, not inventions.

Correggio, indeed, created a new school, though he himself is almost its
only master. I have given in the preceding volume the mountain outline
seen from Parma. But the only entirely great group of painters after the
Tuscans are the Venetians, and they are headed by Titian and Tintoret,
on whom we have noticed the influence of hills already; and although we
cannot trace it in Paul Veronese, I will not quit the mountain claim
upon him; for I believe all that gay and gladdening strength of his was
fed by the breezes of the hills of Garda, and brightened by the swift
glancing of the waves of the Adige.[110]

Sec. 22. Observe, however, before going farther, of all the painters we
have named, the one who obtains most executive perfection is Leonardo,
who on the whole lived at the greatest distance from the hills. The two
who have most feeling are Giotto and Angelico, both hill-bred. And
generally, I believe, we shall find that the hill country gives its
inventive depths of feeling to art, as in the work of Orcagna, Perugino,
and Angelico, and the plain country executive neatness. The executive
precision is joined with feeling in Leonardo, who saw the Alps in the
distance; it is totally unaccompanied by feeling in the pure Dutch
schools, or schools of the dead flats.

Sec. 23. I do not know if any writer on art, or on the development of
natio