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SECOND LECTURE.

conceptions of his mafter Julio on the gallic fide of theAlps, and with the affiftance of Nicolo, commonlycalled Dell’ Abbate after him, filled the palaces ofFrancis I. with mythologic and allegoric works, infrefcoes of an energy and depth of tone till then un-known. Theirs is the cyclus of pictures from theOdyfiea of Horner at Fontainbleau, a mine of claflicand pidturefque materials: they are decayed, and wemay eftimate their lofs, even through the difguife of themannered and feeble etchings of Theodore Van Tulden,

The compact ftyle of Polydoro (x)> formed on theantique, fuch as it is exhibited in the beft feries of theRoman military baflrelievos, is more monumental, thanimitative or characteriftic. But the virility of his tafte,the impafiioned motion of his groups, the fimplicity,breadth, and never excelled elegance and probability ofhif drapery, with the forcible chiarofcuro of his compo-fitions, make us regret the narrownefs of the walk, towhich he confined his powers.

No painter ever painted his own mind fo forcibly as Mi-chael Angelo Amerigi, furnamed II Caravaggi (yd. Tonone

nature

(x) Polydoro da Caravaggio was aflailinated at Medina in 1 , 543 , aged 51 .

(y) Michael Angelo Amerigi, furnamed II Caravaggi, knight of Malta, died1609 , aged 40 .