Yet, notwithstanding the identity of form and color, we find a certain separation between the two, when we come to study pictures. The reason is that some artists are more sensitive to form, others to color. As I have already said, an artist paints only the particular impression of an object which his eye receives. Every eye has its own particular way of seeing. Even the eye, most sensitive to form, will not see it as other eyes will; nor will any one color seem the same to every eye that is chiefly interested in color. This is only another way of saying that the varieties in nature are inexhaustible. Nevertheless, although no two elm trees are exactly alike, all elm trees are sufficiently similar to be recognised at once as elm trees. So with artists, some group themselves as painters of form; others, of color. In the old Italian days this distinction separated the artists of Florence from those of Venice. The Florentines--Leonardo da Vinci, Michelangelo, Raphael, among the greatest--were masters of form; the Venetians, especially in the persons of Giorgione, Titian, Tintoretto, and Paul Veronese, were masters of color. The one group saw especially the shapes of things, the other saw the world as an arrangement of spots or masses of color.