ducated to
bear, to forbear, chastened by trial, endowed with a new greatness not
inconsistent with gentleness. Yet was simplicity strongly marked in
the Roman school; nor do we think the blame thrown upon their
colouring justly thrown, as it was most consistent with the
characteristic dignified simplicity; nor do we agree with those who
think it inharmonious in itself. Baroccio is praised, in that he added
somewhat of the colouring of Correggio to the study of the antique and
the works of Raffaelle; but it is more than doubtful if the innovation
upon the Roman simplicity be not a deterioration of the school. The
colouring, the chief characteristic of the Venetian school, represents
mankind in a still further onward (we use not the word advanced,
because it may be misunderstood) state, in the state of more
convention, of manners, and of luxury. Hence even most refined
subjects of the Venetian are, with regard to purity, and moral and
intellectual beauty, in a grade of inferiority to the Roman and
Florentine. They are of the age of a civil government rather than of a
religious influence. The countenances indicate the _business_ of the
world; the more varied costume, the more rich covering of the figures,
with less of the _nude_, are marks of merchandise and traffic. This is
perceptible, and possibly somewhat to the disparagement of the full
display of the subject, in the grand picture of Del Piombo, the
_Raising of Lazarus_, though perhaps that picture, bearing such
evidence of the design if not the hand of Michael Angelo, may by some
not be admitted as belonging to the Venetian school. We mean not to
say that the Venetian school did not advance the art by the new power
of colour, the invention of that school; it opened the way to a new
class of subjects, which still admitted much of the grand and the
pathetic. It certainly did more; it showed that there was a grand and
a pathetic in colour alone, a principle of art which, though first
shown, and not in its perfect degree by the Venetians, has never yet
been carried out as a principle. We hear much of its beauty, its
harmony, in a limited sense of its power, but seldom of its sentiment.

The remarks of M. de Burtin upon the _Peter Martyr_ of Titian are
very strange. He must have been much deceived when he saw this
wonderful picture, either by its position or the state of his own
vision. We saw the picture out of its frame, and down against the
wall, and saw no factitiou