[226] Modern Painters, vol. i. p. 87.
[227] I allude to the Tintoretto in S. Maria dell'Orto at Venice, and to the Luini in the Monastero Maggiore at Milan. Yet the model of Luini's S. Catherine was the infamous Contessa di Cellant, who murdered her husband and some lovers, and was beheaded for her crimes in Milan. This fact demonstrates the value of the model in the hands of an artist capable of using it.
[228] When I assert that the age was losing the sense of artistic reserve, I wish to refer back to what I have written about Marino, the dictator of the age in matters of taste. See above, pp. 273, 274.
[229] Go to S. Andrea nella Valle in Rome, to study the best of them.
[230] Michelangelo Amerighi da Caravaggio (1569-1609).
[231] For the historian of manners in seventeenth-century Italy those pictures have a truly precious value, as they are executed with such passion as to raise them above the more careful but more lymphatic transcripts from beer-cellars in Dutch painting.
[232] See above, part I. p. 47.
[233] But the men who used the word failed to perceive that what justified these qualities in Michelangelo's work was piercing, poignant, spiritual passion, of which their age had nothing.
'Strange that such difference should be
'Twixt tweedle-dum and tweedle-dee.'