III. TURNER AND HIS WORKS 115

worked out, so as not to justify us in considering their landscape as forming a class by itself.

88. Fig. 23, which is a branch of a tree from the background of Titian’s “St. Jerome,” at Milan,¹ compared with fig. 20, will give you a distinct idea of the kind of change which took place from the time of Giotto to that of Titian,

and you will find that this whole range of landscape may be conveniently classed in three divisions, namely, Giottesque, Leonardesque, and Titianesque; the Giottesque embracing nearly all the work of the fourteenth, the Leonardesque that of the fifteenth, and the Titianesque that of the sixteenth century. Now you see there remained a fourth step to be taken,-the doing away with conventionalism altogether, so

¹ [For other references to this picture, see Vol. III. p. 181 and n.]

[Version 0.04: March 2008]