ad been vitiated by its measureless haughtiness.

But Tiepolo's feeling for strength, for movement, and for colour was
great enough to give a new impulse to art. At times he seems not so much
the last of the old masters as the first of the new. The works he left
in Spain do more than a little to explain the revival of painting in
that country under Goya; and Goya, in his turn, had a great influence
upon many of the best French artists of our own times.

=XXVII. Influence of Venetian Art.=--Thus, Venetian painting before it
wholly died, flickered up again strong enough to light the torch that is
burning so steadily now. Indeed, not the least attraction of the
Venetian masters is their note of modernity, by which I mean the feeling
they give us that they were on the high road to the art of to-day. We
have seen how on two separate occasions Venetian painters gave an
impulse to Spaniards, who in turn have had an extraordinary influence on
modern painting. It would be easy, too, although it is not my purpose,
to show how much other schools of the seventeenth and eighteenth
centuries, such as the Flemish, led by Rubens, and the English led by
Reynolds, owed to the Venetians. My endeavour has been to explain some
of the attractions of the school, and particularly to show its close
dependence upon the thought and feeling of the Renaissance. This is
perhaps its greatest interest, for being such a complete expression of
the riper spirit of the Renaissance, it helps us to a larger
understanding of a period which has in itself the fascination of youth,
and which is particularly attractive to us, because the spirit that
animates us is singularly like the better spirit of that epoch. We, too,
are possessed of boundless curiosity. We, too, have an almost
intoxicating sense of human capacity. We, too, believe in a great future
for humanity, and nothing has yet happened to check our delight in
discovery or our faith in life.

INDEX TO THE WORKS OF THE PRINCIPAL VENETIAN PAINTERS.

NOTE.

Public galleries are mentioned first, then private collections, and
churches last. The principal public gallery is always understood after
the simple mention of a city or town. Thus, Paris means Paris, Louvre,
London means London, National Gallery, etc.

An interrogation point after the number or title of a picture indicates
that its attribution to the given painter is doubtful.

Distinctly early or late works are marked E. or L.

It