. Essays and Belles Lettres. theforms of nature in all things; retaining, however, thus muchof the old system, that the distances were for the most partpainted in deep ultramarine blue, the foregrounds in richgreen and brown; there were no effects of sunshine andshadow, but a generally quiet glow over the whole scene ;and the clouds, though now rolling in irregular masses, andsometimes richly involved among the hills, were nevervaried in conception, or studied from nature. There wereno changes of weather in them, no rain clouds or fair-weatherclouds, nothing but various shapes of the cumulus o
. Essays and Belles Lettres. theforms of nature in all things; retaining, however, thus muchof the old system, that the distances were for the most partpainted in deep ultramarine blue, the foregrounds in richgreen and brown; there were no effects of sunshine andshadow, but a generally quiet glow over the whole scene ;and the clouds, though now rolling in irregular masses, andsometimes richly involved among the hills, were nevervaried in conception, or studied from nature. There wereno changes of weather in them, no rain clouds or fair-weatherclouds, nothing but various shapes of the cumulus or cirrus,introduced for the sake of light on the deep blue and Bonifazio introduced more natural effects intothis monotonous landscape : in their works we meet withshowers of rain, with rainbows, sunsets, bright reflections inwater, and so on; but still very subordinate, and carelessly Architecture and Painting 137 worked out, so as not to justify us in considering their land-scape as forming a class by Fig. 23., which is a branch of a tree from the hack-roundof Titians St. Jerome, at Milan, compared with fig. 20.,will give you a distinct idea of the kind of change which 138 Architecture and Painting-took place from the time of Giotto to that of Titian, andyou will find that this whole range of landscape may beconveniently classed in three divisions, namely, Giottesque,Leonardesque, and Titianesque; the Giottesque embracingnearly all the work of the 14th, the Leonardesque that of the15th, and the Titianesque that of the 16th century. Nowyou see there remained a fourth step to be taken,—thedoing away with conventionalism altogether, so as to createthe perfect art of landscape painting. The course of themind of Europe was to do this ; but at the very momentwhen it ought to have been done, the art of all civilisednations was paralysed at once by the operation of thepoisonous elements of infidelity and classical learningtogether, as I have endeavoured to sho
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