NOTES. XXI 



hews how long the "antique mode of composition" maintained itself in Con- 

 stantinople. I was indebted, at the time of my public lectures in 1828, to 

 the kind and valuable communications of this profound connoisseur of art 

 (Professor Waagen, Director of the Gallery of Paintings of my native city), 

 for interesting notices on the history of art after the time of the Roman 

 empire. What I afterwards wrote on the gradual development 01 landscape 

 painting, I communicated in the winter of 1835, in Dresden, to the distin- 

 guished and lamented author of the Italienischen Forschungen, Baron von 

 Rumohr ; and I received from him a great number of historical illustrations, 

 which he gave me permission to publish entire in case the form oi my work 

 should permit. 



( 117 ) p. 78. Waagen, in the work above referred to, Th. i. 1837, S. 59 ; 

 Th. iii. 1839, S. 352359. 



( 118 ) p. 79. " Already Pinturicchio painted rich and well-composed land- 

 scapes in the Belvidere ot the Vatican as independent decorations. He 

 influenced Raphael, in whose paintings many landscape peculiarities cannot be 

 traced to Perugino. In Pinturicchio and his friends we also already find those 

 singular pointed forms of mountains which, in your lectures, you were inclined 

 to derive from the Tyrolese dolomitic cones, which Leopold von Buch has 

 rendered so celebrated, and by which travelling artists might have become 

 impressed in the transit between Italy and Germany. I rather believe that 

 these conical forms in the earliest Italian landscapes must be regarded either 

 as very old conventional mountain forms, in antique bas-reliefs and mosaic 

 works, or as unskilfully foreshortened views of Soracte and similarly isolated 

 mountains in the Campagna of Rome" (from a letter addressed to me by Carl 

 Friedrich von Rumohr, in October 1832). To indicate more precisely the 

 conical and pointed mountains which are here in question, I recal the fanciful 

 landscape which forms the background in Leonardo da Vinci's universally 

 admired picture of Mona Lisa (the wife of Francesco del Giocondo). Among 

 the artists of the Flemish school, who more particularly formed landscape 

 into a separate branch, we should name further Patenier's successor, Herry de 

 Bles, named Civetta from his animal monogram, and subsequently the 

 brothers Matthew and Paul Bril, who, during their sojourn in Rome, produced 

 a strong impression in favour of this particular branch of art. In Germany, 

 Albrecht Altdorfer, Durer's scholar, practised landscape painting even some- 

 what earlier and more successfully than Patenier. 



( n9 ) p. 80. Painted for the church of San Giovanni e Paolo at Venice. 

 ( 12 ) p. 81. Wilhelm vou Humboldt, gesammelte Werke, Bd. iv. S. 37. 



