Blackwood's Edinburgh Magazine - Volume 54, No. 338, December 1843. Various

Gothic adventurers, not unencumbered with senseless superstitions, yet with wondrous rapidity, raised itself to the noblest conceptions of both purity and magnificence. Sculpture had, indeed, preceded painting in the works of Ghiberti Donato and Philippo Brunelleschi, when Massaccio appeared. "He first perceived that parts are to constitute a whole; that composition ought to have a centre; expression, truth; and execution, unity. His line deserves attention, though his subjects led him not to investigation of form, and the shortness of his life forbade his extending those elements, which Raffaelle, nearly a century afterwards, carried to perfection." That great master of expression did not disdain to borrow from him—as is seen in the figure of "St Paul preaching at Athens," and that of "Adam expelled from Paradise." Andrea Mantegna attempted to improve upon Massaccio, by adding form from study of the antique. Mr Fuseli considers his "taste too crude, his fancy too grotesque, and his comprehension too weak, to advert from the parts that remained to the whole that inspired them; hence, in his figures of dignity or beauty, we see not only the meagre forms of common models, but even their defects tacked to ideal torsos." We think, however, he is deserving of more praise than the lecturer was disposed to bestow upon him, and that his "triumphs," the processions, (at Hampton Court,) are not quite justly called "a copious inventory of classic lumber, swept together with more industry than taste, but full of valuable materials." Yet when it is said, that he was "not ignorant of expression," and that "his Burial of Christ furnished Raffaelle with composition, and even "some figures and attitudes," the severity of the opinion seems somewhat mitigated. Luca Signorelli, more indebted to nature than the study of the antique, "seems to have been the first who contemplated with a discriminating eye his object; saw what was accidental, and what essential; balanced light and shade, and decided the motion of his figures. He foreshortened with equal boldness and intelligence." It was thought by Vasari, that in his "Judgment," Michael Angelo had imitated him. At this period of the "dawn of modern art, Leonardo da Vinci broke forth with a splendour which distanced former excellence; made up of all the elements that constitute the essence of genius; favoured by education and circumstances—all ear, all eye, all grasp; painter, poet, sculptor, anatomist, architect, engineer, chemist, machinist, musician, man of science, and sometimes empiric, he laid hold of every beauty in the enchanted circle, but without exclusive attachment to one, dismissed in her turn each." "We owe him chiaroscuro, with all its magic—we owe him caricature, with all its incongruities." His genius was shown in the design of the cartoon intended for the council-chamber at Florence, which he capriciously abandoned, wherein the group of horsemen might fairly rival the greatness of Michael Angelo himself; and in the well-known "Last Supper," in the refectory of the Dominicans at Milan, best known, however, from the copies which remain of it, and the studies which remain. Fra Bartolomeo, "the last master of this period, first gave gradation to colour, form and masses to drapery, and a grave dignity, till then unknown, to execution." His was the merit of having weaned Raffaelle "from the meanness of Pietro Perugino, and prepared for the mighty style of Michael Angelo Buonarotti." Mr Fuseli is inspired by his admiration of that wonderful man, as painter, sculptor, and architect.

      "Sublimity of conception, grandeur of form, and breadth of manner, are the elements of Michael Angelo's style. By these principles, he selected or rejected the objects of imitation. As painter, as sculptor, as architect, he attempted—and above any other man, succeeded—to unite magnificence of plan, and endless variety of subordinate parts, with the utmost simplicity and breadth. His line is uniformly grand. Character and beauty were admitted only as far as they could be made subservient to grandeur. The child, the female, meanness, deformity, were by him indiscriminately stamped with grandeur. A beggar rose from his hand the patriarch of poverty; the hump of his dwarf is impressed with dignity; his women are moulds of generation, his infants teem with man; his men are a race of giants. This is the 'terribile via' hinted at by Agostino Caracci; though, perhaps, as little understood by the Bolognese as by the blindest of his Tuscan adorers, with Vasari at their head. To give the appearance of perfect ease to the most perplexing difficulty, was the exclusive power of Michael Angelo. He is the inventor of epic in painting, in that sublime circle of the Sistine chapel which exhibits the origin, the progress, and the final dispensations of theocracy. He has personated motion in the groups of the cartoon of Pisa; embodied sentiment on the monuments of St Lorenzo; unraveled the features of meditation in the prophets and sibyls of the Sistine chapel; and in the 'Last Judgment,' with every attitude that varies the human body, traced the master trait of every passion that sways the human heart. Though, as sculptor, he expressed the character of flesh more perfectly than all who went before or came after him, yet he never submitted to copy an individual—Julio the Second only excepted; and in him he represented the reigning passion rather than the man. In painting, he contented himself with a negative colour, and as the painter of mankind, rejected all meretricious ornament. The fabric of St Peter's scattered into infinity of jarring parts by Bramante and his successors, he concentrated; suspended the cupola, and to the most complex, gave the air of the most simple of edifices. Such, take him for all in all, was Michael Angelo, the salt of art; sometimes, no doubt, he had his moments of dereliction, deviated into manner, or perplexed the grandeur of his forms with futile and ostentatious anatomy; both met with armies of copyists, and it has been his fate to have been censured for their folly." This studied panegyric is nevertheless vigorous—emulous as that of Longinus, of showing the author to be—

      "Himself, the great sublime he draws."

      It hurries away the mind of the reader till it kindles a congenial enthusiasm, we have the more readily given the quotation, as it is not an unfair specimen of Mr Fuseli's power, both of thought and language. Our author is scarcely less eloquent in his eulogy of Raffaelle which follows. He has seized on the points of character of that great painter very happily. "His composition always hastens to the most necessary point as its centre, and from that disseminates, to that leads back, as rays, all secondary ones. Group, form, and contrast are subordinate to the event, and common-place ever excluded. His expression, in strict unison with, and inspired by character; whether calm, agitated, convulsed, or absorbed by the inspiring passion, unmixed and pure, never contradicts its cause, equally remote from tameness and grimace: the moment of his choice never suffers the action to stagnate or expire; it is the moment of transition, the crisis, big with the past, and pregnant with the future."

      It is certainly true—the moment generally chosen by Raffaelle, is not of the action completed, the end—but that in which it is doing. You instantly acknowledge the power, while your curiosity is not quenched. For instance, in the cartoon of the "Beautiful Gate," you see the action at the word is just breaking into the miracle—the cripple is yet in his distorted infirmity—but you see near him grace and activity of limb beautifully displayed, in that mother and running child; and you look to the perfection which, you feel sure, the miracle will complete. This is by no means the best instance—it is the case in all his compositions where a story is to be told. It is this action which, united with most perfect character and expression, makes the life of Raffaelle's pictures. We think, however, that even in so summary a history of art as this, the object of which seems to be to mark the steps to its perfection, the influence of Pietro Perugino should not have been omitted. He is often very pure in sentiment, often more than bordering on grace, and in colour perhaps superior to Raffaelle. Notwithstanding Mr Fuseli's eulogy of Raffaelle, we doubt if he fully entered into his highest sentiment. This we may show when we comment on another lecture. While Rome and Tuscany were thus fostering the higher principles of art, the fascination of colour was spreading a new charm to every eye at Venice, from the pencils of Giorgione, and of Titian. Had not Titian been a colourist, his genius was not unequal to the great style; perhaps he has admitted of that style as much as would suit the predominant character of his colouring. He worked less with chiaroscuro than colour, which he endowed with all the sentiment of his subject. Mr Fuseli considers landscape to have originated with Titian.

      "Landscape, whether it be considered as the transcript of a spot, or the rich combination of congenial objects, or as the scene of a phenomenon, dates its origin from him:" so of portrait, he says—"He is the father of portrait painting, of resemblance with form, character with dignity, and costume with subordination." The yet wanting charm of art—perfect harmony, was reserved for Correggio. "The harmony and grace of Correggio are proverbial; the medium which, by breadth of gradation, unites two opposite principles, the coalition of light and darkness, by imperceptible transition, are the