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enormous influence they have both exercised on posterity: and without carrying the parallel farther than the limits imposed by the difference of their circumstances and their method of expression, it may fairly be said that Titian, in painting, stands for us to-day much as Shakespeare stands for in letters. "Titian," says M. Caro Delvaille, "is the father of modern painting.
Comte, Cours de philosophie positive, vi. 321 sqq.; Buchez, Introduction a la science de l'histoire, i. 99 sqq. More recently M. Jules Delvaille has attempted to trace its history fully, down to the end of the eighteenth century. His Histoire de l'idee de progres is planned on a large scale; he is erudite and has read extensively. But his treatment is lacking in the power of discrimination.
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