Examples among the Southern schools

And so we find the same simple and sweet treatment, the open sky, the tender, unpretending, horizontal white clouds, the far winding and abundant landscape, in Giotto, Taddeo Gaddi, Laurati, Angelico, Benozzo, Ghirlandajo, Francia, Perogino, [Page 44] and the young Raffaelle, the first symptom of conventionality appearing in Perugino, who, though with intense feeling of light and color he carried the glory of his luminous distance far beyond all his predecessors, began at the same time to use a somewhat morbid relief of his figures against the upper sky. Thus in the Assumption of the Florentine Academy, in that of l'Annunziata; and of the Gallery of Bologna, in all which pictures the lower portions are incomparably the finest, owing to the light distance behind the heads. Raffaelle, in his fall, betrayed the faith he had received from his father and his master, and substituted for the radiant sky of the Madonna del Cardellino, the chamber-wall of the Madonna della Sediola—and the brown wainscot of the Baldacchino. Yet it is curious to observe how much of the dignity even of his later pictures, depends on such portions as the green light of the lake, and sky behind the rocks, in the St. John of the tribune, and how the repainted distortion of the Madonna dell' Impannata, is redeemed into something like elevated character, merely by the light of the linen window from which it takes its name. oil paintings online