It may, therefore, be asserted, that although he did not retrograde from want of practice, he had no opportunity of advancing further by the concentration of his genius on design.

This accounts, I think, for the change in his manner which we notice when he began to paint in Rome under Pope Paul III.

The fourth stage in his development of form is reached now.

He has lost nothing of his vigour, nothing of his science.

But he has drifted away from Nature.