Note 368 — Chapter I · (continued 3)

This emphasis on the work of Raphael and Correggio is characteristic of the best art criticism of the times of Hegel, but marks its limitations. Neither Raphael nor Correggio can be called religious painters in the sense that those profound masters Tintoret and Michelangelo were such. The essentially academic aspect of so much of Raphael's later production is not noticed. And it is these three great names, Titian, Tintoret, and Michelangelo, who most truly mark the transition to our modern outlook.