many of the greatest excellences of both. Raphael taught the friar the value of perspective, and Fra Bartolommeo initiated Raphael into many secrets of coloring. The distinctive characteristics of Fra Bartolommeo's works are the holiness of the heads, -especially those of the Madonnas and Childangels, the grandeur and grace of the drapery,* and the beauty of the architectural backgrounds. As three typical works, we may name the Madonna della Misericordia at Lucca; the S. Mark, in the Pitti Palace, Florence; and the Presentation in the Temple, in the Belvedere at Vienna. Much finer, though less celebrated than the figure of St. Mark, is a Deposition from the Cross, also in the Pitti Palace, in which the Virgin Mary gazing on the face of Christ, and the Magdalene bowed down with anguish over his feet, are remarkable for depth of pathetic expression. Intimately connected with the life of Fra Bartolommeo is that of Mariotto Albertinelli (1474-1515), his fellow-student in the bottega of Cosimo Rosselli. In 1509 they entered into partnership and conjointly executed many works. Albertinelli was very similar in his style to his more famous friend. To sum up the progress made since the opening of the fifteenth century-we find imitation of nature no longer imaginary but real; the laws of perspective had been fathomed and turned to practical account by Paolo Uccelli, Piero de' Francesci, Luca Signorelli, and their followers; great improvements had been effected in types of form, anatomical correctness, and physical beauty, by Masaccio and his followers, at Florence, Squarcione at Padua, and Mantegna at Mantua; love for spiritual beauty had been embodied in the works of Fra Angelico at Florence, Perugino at Rome, Francia at Bologna, and Fra Bartolommeo at Florence; whilst the true principles of coloring were carried out in Venice by the Bellini, Vivarini, and others. In a word, the way had been paved for the advent of the great Cinque-cento masters, in whose works were to be combined all the excellences divided amongst their predecessors. The names Pre-Raphaelites and Quattrocento Masters had been given to the painters of the fifteenth century. Fra Bartolommeo invented the jointed wooden figures (lay-figures) which have been so useful in promoting the better study of the fall of drapery. PAINTING IN ITALY IN THE SIXTEENTH CENTURY. The early part of the sixteenth century was for Painting what the age of Pericles had been for Sculpture. As we have seen, much had been done to prepare the way by many earnest workers in the fifteenth century; but the men we have now to consider were so original, so individual, in their genius that the connection between them and their predecessors is liable to be lost sight of. The appearance of any one of them would have been enough to raise the painting of the period to the very highest rank; but, instead of some single master-spirit, we have a group of original geniuses, each pursuing some great aim, each inspired with the same divine love of ideal beauty and endowed with the same power of embodying that ideal in masterpieces of undying perfection. We have traced the gradual casting off of the trammels of tradition, the slow and laborious working-out of individuality of form, the painful winning of the secrets of science, and their application to arts of design, and we have seen the various elements of excellence in Painting forming each the distinctive characteristic of some one school; but we have now to examine these elements as they appear when blended into one harmonious whole in the works of the five greatest masters of ItalyLeonardo da Vinci, Michelangelo, Raphael, Titian, Correggio-and their followers, each of whom united command over every art-element with special excellence in some one particular. Thus we see in Leonardo's celebrated picture of the Last Supper, that the whole is deepened and elevated by the manner in which it is worked out-namely, by a mind and hand possessing mastery over all the elements that are combined in the production of the highest works of art. Michelangelo was proficient in all the qualities that constitute a painter, but he carried several of them-namely, grandeur of design, anatomical knowledge, and power of drawing-far beyond all other artists, of his own or later times. Titian and Correggio, again, have each carried one quality further than all other artists—the former, color; the latter, light and shade. Raphael is generally allowed the first place among these five painters, for he excelled them in every other element but the one for which each was particularly distinguished, and in several of the highest qualities of art he attained to greater excellence than any other artist. IN THE CONVENT OF S. MARIA DELLE GRAZIE, MILAN. sentiment hitherto unattained -the result of his complete mastery of all the elements of perfect art. This picture also serves to illustrate Leonardo's great defect--a poverty of line, which presents a striking contrast to the wonderful play and power of outline possessed by his great rival Raphael. While at Milan, he executed a famous equestrian statue of Lodovico Sforza, which disappeared a few years after its completion, and is now only known by sketches for it left by Leon ardo. In 1499 Leonardo returned to Florence and executed many important works; of these a cartoon of the Holy Family, called the Cartoon of St. Anna, in the Royal Academy, is one of the most celebrated. A second, now lost, supposed to have been one of the masterpieces of modern art, was a cartoon, composed in competition with Michelangelo's Cartoon of Pisa, known as the Battle of the Standard, and representing the Victory of the Florentines over the Duke of Milan in 1440. Both these great works are unfortunately lost; but a copy by Rubens of a group of four horsemen from Leonardo's is preserved in the Louvre; and an engraving by Edelinck is also in existence. In 1514 he paid a short visit to Rome, but the last years of his life were spent in France, whither he accompanied Francis I. in 1516, and where he died. Of the various works now in the Louvre attributed LA VIERGE AUX ROCHERS. BY LEONARDO DA VINCI. IN THE LOUVRE, PARIS. to him many in reality were from the hands of his pupils; he himself worked very slowly, and often left pictures unfinished, but he was so full of grand conceptions, and supplied those studying with him with so many great designs, that a whole school of workers would not have sufficed to carry them out. Although the name of Leonardo not unfrequently occurs in the catalogues of public galleries, the undoubted works of his hand are few indeed. Dr. Richter, who has given many years to the close study of his doubted and undoubted pictures, and to the numerous drawings, sketches and manuscripts which he has left, admits only the following works to be undoubtedly by the hand of the great master: Mona Lisa. Madonna amid the Rocks. Vierge aux Rochers. Holy Family with S. Anne. Among the doubtful cepted are: La Monica. Head of Medusa. Portrait of Himself. Vierge aux bas-relief. La belle Féronnière. In the Louvre, Paris. In the National Gallery. In the Louvre, Paris (similar to the National Gallery picture). In the Louvre, Paris. In the Louvre, Paris. pieces most generally ac In the Pitti Palace, Florence. In the Uffizi, Florence. In the Uffizi, Florence. In the possession of Lord War wick. In the Louvre, Paris. The National Gallery contains a very beautiful composition of Leonardo's, probably executed by Bernardino Luini, of Christ Disputing with the Doctors. Leonardo was the author of several learned treatises; his book on the Art of Painting still remains a valuable aid to the student of his art. The chief characteristics of Leonardo's works are truth of tone, mastery of chiaroscuro, grandeur of design, and as we have hinted in speaking of the Last Supper-elevation of sentiment and dignity of expression; whilst those of his pupils are distinguished for what may be called a reflection of his spirit, especially in the transparency of their lights and shadows and the sweetness of the expression of the heads of their figures. Of these pupils Bernardino Luini (ab. 1470-aft. 1530) was the chief; his pictures illustrate well the qualities so much developed by Leonardo. The Dispute of Christ with the Doctors, alluded to above, is one of his best works. His frescoes in the Brera Gallery at Milan, collected from various churches, are likewise very fine; but he painted, comparatively speaking, so few easel pictures that it is by his frescoes alone he can be properly appreciated. We must also notice Andrea Solari, Marco d'Oggione, Andrea Salaino, Francisco Melzi, Giovanni Antonio Beltraffio, a nobleman who painted for pleasure, and Cesare da Sesto. Gaudenzio Ferrari (1484-1549), although not a pupil of Leonardo, was greatly influenced by him. He belongs rather to the old than the new Milanese school. His Last Supper in the refectory of S. Paolo at Vercelli, and his frescoes in the churches of Saronno and Varallo are among his best works. The celebrated Giovanni Antonio Bazzi, surnamed Il Sodoma (1473?-1549), must be named as one of |