of art with paintings of that faultless perfection ancientfy exhibited by the figures of Apelles and Zeuxis; nay, we might even say more perchance, could the works of Ralfaello be compared or placed together with any by those masters: nature herself was surpassed by the colours of Raphael, and his invention was so easy and original, that the historical pieces of his composition are similar to legible writings, as all may perceive who examine them: in his works, the buildings, with their sites and all surrounding them, are as the places themselves, and whether treating our own people or strangers, the features, dresses, and every other peculiarity were at pleasure represented, with equal ease. To the countenances of his figures Raphael imparted the most perfect grace and truth; to the young as to the old, to men as to women; each and all have their appropriate character, for the modest he reserved an expression of modesty, to the licentious he imparted a look of licentiousness; his children charm us, now by the exquisite beauty of the eyes and expression, now by the spirit of their movement and the grace of their attitudes; his draperies are neither too rich and ample, nor too simple and meagre in their folds, still less are they complicated or confused, but all are so arranged and ordered in such a manner, that they appear to be indeed what they represent.
In the same manner, but softer in colouring and evincing less force, there followed Andrea del Sarto, who may be said to have been remarkable, were it only because his works were free from errors. It would be easy to describe the charming vivacity imparted to his paintings by Antonio Correggio; this master painted the hair of his figures in a manner altogether peculiar, separating the waves or tresses, not in the laboured, sharp, and dry manner practised before his time, but with a feathery softness, permitting each hair, in the light and easily flowing masses, to be distinguished, while the whole has a golden lustre, more beautiful than that of life itself, insomuch that the reality is surpassed by his colours.
Similar effects were produced by Francesco Mazzola, of Parma (Parmigianino), who was superior even to Correggio, in many respects excelling him in grace, in profusion of
