countered in the attempt to master a new method of procedure. Although Léonard, Jean Court, and one or two others speedily forced their work to yield the modulations of which they were in search, others, like the Penicaud, rested satisfied with ruder harmonies. Many enamels of this school, like that of the 'Deposition,' also in the British Museum, contain passages of coarse and unmodified colour, whilst the space-patterning is already remarkable for its refined and sharpsighted adjustment.

Parmigiano did not obtain the entire allegiance of Jean Penicaud II. The grisaille plaque of Hope,' also in the British Museum, shows the operation of a fresh influence, but one which brought with it no fresh inspiration. The genius of the younger Penicaud was facile and perhaps somewhat vulgar. He could cover surfaces with dexterity, manipulate his material cleverly, and, though wanting in delicacy of perception, employed colour with judgment and gave diligent care to the development of a certain graceful propriety of line. To an artist of this stamp the charm and elegance of Parmigiano would be intelligible and instructive, but any attempt to assimilate a style of more powerful quality could only lead to failure. The large and somewhat grandiose vigour of Giulio Romano had proved a snare to many of his contemporaries, and Jean II. did not escape. To him, as to so many others, the wealthy invention and royal design of Raphael's

VOL. II.

scholar became a hindrance. The 'Hope' of the British Museum shows that it was easier to imitate the formal manner of Giulio Romano than to develop that dignity of bearing with which he clothes the most empty forms; that it was easier to reach the freedom of his work than the science by which that freedom was controlled; that, in short, it was easier to appropriate his defects than to seize on the finer qualities by which those defects were redeemed.

In point of technical execution this half-length figure which the painter has christened 'Spes' is very perfect. The greys of the body-clothing are transparent and delicate, the flesh tints are evenly warmed with red, and the deep translucent green of the background lies well away from the eye; the surface is exquisitely smooth and united, the hatchings are broad and open, suggesting masterly management of the point, and the slight gold enrichments are put in with a fine touch: but the general effect is hard and thin; the face and hands are rather wanting in expression; and the emphasis which in Giulio Romano is often a little too weighty, here becomes mere mouthing. We are reminded of the empty pompous circumstance of some of Delaulne's later and poorer work-work done when he too had been attracted by the same dangerous and powerful influence.

The date 1541, which appears together with the initials J. P. on the upper right-hand corner of this