Renaissance in Italy Vol. 3

e Modern Manner-Paolo Uccello-Perspective-Realistic Painters-The Model-Piero della Francesca-His Study of Form-Resurrection at Borgo San Sepolcro-Melozzo da Forli-Squarcione at Padua-Gentile da Fabria

p the Age-Prosaic Spirit-Florence hitherto supreme in Painting

round of their frescoes with pompous vistas of palaces and city towers, or subordinating their figures to fantastic scenery of wood and rock and seashore. Many were naturalists, delighting, like Gentile da Fabriano, in the delineation of field flowers and living creatures, or, like Piero di Cosimo, in the portrayal of things rare and curious. Gardens please their eyes, and birds and beasts and insects. Whole menageries and aviaries, for instance, were painted by Paolo Uccello. Others, again, abandoned the old ground of Christian story for the tales of Greece and Rome; and not the least charming products of the time are antique motives treated with the freshness of romantic feeling. We look in vain for the allegories of the Giottesque masters: that stage of thought has been traversed, and a new cycle of poetic ideas, fanciful, idyllic, corresponding to Boiardo's episodes rather than to Dante's vision, opens for the artist. Instead of seeking to set forth vast subjects with the equality of mediocrity, like the Gaddi, or to invent architectonic compositions embracing the whole culture of their age, like the Lorenzetti, the painters were now bent upon realising some special quality of beauty, expressing some fantastic motive, or solving some technical problem of peculiar difficulty. They had, in fact, outgrown the childhood of their art; and while they had not yet attained to mastery, had abandoned the impossible task of making it the medium of universal expression. In this way the manifold efforts of the workers in the first half of the fifteenth century prepared the ground for the great painters of the Golden Age. It remained for Raphael and his contemporaries to achieve the final synthesis of art in masterpieces of consummate beauty. But this they could not have done without the aid of those innumerable intermediate labourers, whose productions occupy in art the place of Bacon's media axiomata in science. Remembering this, we ought not to complain that the purpose of painting at this epoch was divided, o

ower of telling a story with simplicity; but he understands the value of perspective for realising the circumstances of the scene depicted. His august groups of the Apostles are surrounded by landscape tranquillising to the sense and pleasant to the eye. Mountain-lines and distant horizons lend space and largeness to his compositions, and the figures of his men and women move freely in a world prepared for them. In Masaccio's management of drapery we discern the influence of plastic art; without concealing the limbs, which are always modelled with a freedom that suggests the power of movement even in stationary attitudes, the voluminous folds and broad masses of powerfully coloured raiment invest his forms with a nobility unknown before in painting. His power of representing the nude is not less remarkable. But what above all else renders his style attractive

reveals not only the originality of real creative genius, but a maturity that moves our wonder. What might he not have done if he had lived? Between his style in the B

e painters, like the sculptors, were trained as goldsmiths, and Paolo had been a craftsman of that guild before he gave his whole mind to the study of linear perspective and the drawing of animals. The precision required in this trade forced artists to study the modelling of the human form, and promoted that crude naturalism which has been charged against their pictures. Carefully to observe, minutely to imitate some actual person-the Sandro of your workshop or the Cecco from the marketplace-became the pride of painters. No longer fascinated by the dreams of medi?val mysticism, and unable for the moment to invest ideals of the fancy with reality, they meanwhile made the great discovery that the body of a man is a miracle of beauty, each limb a divine wonder, each muscle a joy as great as sight of stars or flowers. Much that is repulsive in the pictures of the Pollajuoli and Andrea del Castagno, t

Fabro. Posing for hours together naked in a cold studio, Pippo fell into ill health, and finally went mad. In his madness he frequently assumed the attitude of the "Bacchus" to which his life had been sacrificed, and which is now

ver forget the deep impression of solitude and aloofness from all earthly things produced by it. It is not so much the admirable grouping and masterly drawing of the four sleeping soldiers, or even the majestic type of the Christ emergent without effort from the grave, as the communication of a mood felt by the painter and instilled into our souls, that makes this by far the grandest, most poetic, and most awe-inspiring picture of the Resurrection. The landscape is simple and severe, with the cold light upon it of the dawn before the sun is risen. The drapery of the ascending Christ is tinged with auroral colours like the earliest clouds of morning; and His level eyes, with the mystery of the slumber of

re enough to prove that he continued the grave and lofty manner of his master.[168] Signorelli bears a name illustrious in the first rank of Italian painters; and to speak of him will be soon my duty. It was the special merit of these artist

owns of Italy, everywhere making drawings, copying pictures, taking casts from statues, and amassing memoranda on the relics of antiquity as well as on the methods practised by contemporary painters. Equipped with these aids to study, Squarcione returned to Padua, his native place, where he opened a kind of school for painters. It is clear that he was himself less an artist than an amateur of painting, with a turn for teaching, and a conviction, based upon the humanistic instincts of his age, that the right way of learning was by imitation of the antique. During the course of his career he is said to have taught no less than 137 pupils, training his appre

a sunrise. The sun has just appeared above one of those bare sweeping hill-sides so characteristic of Central Italian landscape. Part of the country lies untouched by morning, cold and grey: the rest is silvered with the level light, falling sideways on the burnished leaves and red fruit of the orange trees, and casting shadows from olive branches on the furrows of a new-ploughed field. Along the road journey Joseph and Mary and the infant Christ, so that you may call this little landscape a "Flight into Egypt," if you choose. Ge

try and anatomy, Fra Angelico sought to express the inner life of the adoring soul. Only just so much of realism, whether in the drawing of the body and its drapery, or in the landscape background, as seemed necessary for suggesting the emotion or for setting forth the story, found its way into his pictures. The message they convey might have been told almost as perfectly upon the lute or viol. His world is a strange one-a world

temporaries. Fra Angelico, now that we know all Masaccio can teach, has a quality so unique that we return again and again to the contemplation of his visions. Thus it often happens that we are tempted to exaggerate the historical importance of one painter because he touches us by some peculiar quality, and to over-estimate the intrinsic value of another because he was a motive power in his own age. Both these temptations should be resolutely re

tiles crowd his landscapes; while his imagination runs riot in rocks and rivers, trees of all variety, and rustic incidents adopted from real life. At the same time he felt an enjoyment like that of Gentile da Fabriano in depicting the pomp and circumstance of pageantry, and no Florentine of the fifteenth century was more fond of assembling the personages of contemporary history in groups.[173] Thus he showed himself sensitive to the chief influences of the earlier Renaissance, and combined the scientific and naturalistic tendencies of his age in a manner not devoid of native poetry. Wha

han to fresco.[175] Yet within the range of his own powers there are few more fascinating painters. His feeling for fresh nature-for hunters in the woods at night or dawn, for vintage-gatherers among their grapes, for festival troops of cavaliers and pages, and for the marriage-dances of young men and maidens-yields a delightful gladness to compositions lacking the simplicity of Giotto and the dignity of Masaccio.[176] No one knew better

he romantic poets for whom the cheerfulness of nature and the joy that comes to men from living in a many-coloured world of inexhaustible deli

natural beauty gave peculiar charm to this false treatment of religious themes. Nothing, for example, can be more attractive than the rows of angels bearing lilies in his "Coronation of the Virgin;"[180] and yet, when we regard them closely, we find that they have no celestial quality of form or feature. Their grace is earthly, and the spirit breathed upon the picture is the loveliness of colour, quiet and yet glowing-blending delicate blues and greens with whiteness purged of glare. The beauties as well as the defects of such compositions make us regret that Fra Filippo never found a more congenial sphere for his imagination. As a painter of subjects half-humorous and half-pathetic, or as the illustrator of romantic stories, we fancy that he might have won fame rivalled only by the greatest colourists. One such picture it was granted him to paint, and this is his masterpiece. In the prime of life he was commissioned to decorate the choir of the cathedral

fiery rays around her, glorified by her assumption into heaven. Christ is enthroned, and at His side stands a seat prepared for His mother, as soon as the crown that He is placing on her head shall have made her Queen. From the outer courts of heaven, thronged with multitudes of celestial beings, angels are crowding in, breaking the lines of the prismatic aureole, as though the ardour of their joy could scarcely be repressed; while the everlasting light of God sheds radi

armine at Florence. It is the best warrant of their excellence that we feel them worthy to hold the place they do, and that Raphael transferred one of their motives, the figure of S. Paul addressing S. Peter in prison, to his cartoon of "Mars' Hill." That he was not so accomplished as Masaccio in the art of composition, that his scale of colour is less pleasing, and that his style in general lacks the elevation of his mighty predecessor, is not sufficient to place him in any position of humiliating inferiority.[182] What above all things interests the student of the Renaissance in Filippino's work, is the powerful action of revived classicism on his manner. This ca

e as representing the interminglement of antique and modern fancy at a moment of transition, as embodying in some of his pictures the subtlest thought and feeling of men for whom the classic myths were beginning to live once more, while new guesses were timidly hazarded in the sphere of orthodoxy.[184] Self-confident sensuality had not as yet encouraged painters to substitute a florid rhetoric for the travail of their brain; nor was enough known about antiquity to make the servile imitation of Greek or Roman fragments possible. Yet scholarship had already intr

not even a more striking instance. Mars is a young Florentine, whose throat and chest are beautifully studied from the life, but whose legs and belly, belonging no doubt to the same model, fall far short of heroic form. He lies fast asleep with the corners of his mouth drawn down, as though he were about to snore. Opposite there sits a woman, weary and wan, draped from neck to foot in the thin raiment Botticelli loved. Four little goat-footed Cupids playing with the armour of the sleeping lad complete the composition. These wanton loves are admirably conceived and exquisitely drawn; nor indeed can any drawing exceed in beauty the line that leads from the flank along the ribs and arm of Mars up to his lifted elbow. The whole design, like one of Piero di Cosimo's pictures in another key, leaves a strong impression on the mind, due partly to the oddity of treatment, partly to the careful work displayed, and partly to the individuality of the artist.

s and feet together as they float. In the picture of "Spring" there is the same choice of form, the same purity of line, the same rare interlacement in the limbs. It would seem as though Botticelli intended every articulation of the body to express some meaning, and this, though it enhances the value of his work for sympathetic students, often leads him to the verge of affectati

s, a mere fancy to imagine that the corolla of an open rose suggested to Botticelli's mind the composition of his best-known picture, the circular "Coronation of the Virgin" in the Uffizzi. That masterpiece combines all Botticelli's best qualities. For rare distinction of beauty in the faces it

er than the artists of his day. Some of the stanzas of Poliziano and Boiardo, in particular, might have been written to explain his pictures, or his pictures might have been painted to illustrate the

rooms and marriage chests, affected his whole style, rendering it less independent and more quaint than that of Botticelli. Landscape occupies the main part of his compositions, made up by a strange amalgam of the most eccentric details-rocks toppling over blue bays, sea-caverns, and fantastic mountain ranges. Groups of little figures disposed upon these spaces tell the story, and the best invention of the artist is lavished on the form of monstrous creatures like the dragon slain by Perseus. There is no attempt to treat the classic subject in a classic spirit: to do that, and to fail in doing it, remained for Cellini.[192] We have, on the contrary, before us an image of the orc, as it appeared to Ariosto's fancy-a creature borrowed from romance and made to play its part in a Greek myth. The same criticism applies to Piero's picture of the murdered Procris watched by a Sa

the most comprehensive and his mastery of art the most complete. His life lasted from 1449 to 1498, and he did not distinguish himself as a painter till he was past thirty.[194] Therefore he does not properly fall within the limit of 1470, assigned roughly to this age of transition in painting. But in style and spirit he belonged to it, resuming in his own work the qualities we find scattered through the minor artists of

teration of calculated effects. He never arrests attention by sallies of originality, or charms us by the delicacies of suggestive fancy. He is always at the level of his own achievement, so that in the end we are as tired with able Ghirlandajo as the men of Athens with just Aristides. Who, however, but Ghirlandajo could have composed the frescoes of "S. Fina" at S. Gemignano, the fresco of the "Death of S. Francis" in S. Trinità at Florence, or that again of the "Birth of the Virgin" in S. Maria Novella? There is something irritating in pure common sense imported into art, and Ghirlandajo's masterpieces are the apotheosis of that quality. How correct, how judicious, how sagacious, how mathematically ordered! we exclaim

Renaissance masters, we accord to him the place of historical honour. It should be added that, like almost all the artists of this epoch, he handled sacred and profane, ancient and modern, subjects in the same style, introducing contemporary customs and costumes. His pictures are therefore valuable for their portraits and their ill

tion affected both alike; and thus the local differences of the Italians were to some extent abolished. The nation, never destined to acquire political union in the Renaissance, possessed at last an intellectual unity in its painters and its students, which justifies our speaking of the great men of the golden period as Italians and not as citizens of such or such a burgh. In the Middle Ages United Italy was an Idea to theorists like Dante, who dreamed for her an actual supremacy beneath her Emperor's sway in Rome. The reasoning to which they trusted proved fallacious, and

nt the nature of the patronage extended by the Medici to art. Excessive praise and blame have been showered upon these burgher princes in almost equal quantities; so that, if we were to place Roscoe and Rio, as the representatives of conflicting views, in the scales together, they would balance each other, and leave the index quivering. This bare statement warns the critic to be cautious, and inclines him to accept the intermediate conclusion that neither the Medici nor the artists could escape the conditions of their century. It is specially argued on the one hand against the Medici that they encouraged a sensual and worldly style of art, employing the painters to decorate their palaces with nude figures, and luring them away from sacred to profane subjects. Yet Cosimo gave orders to Donatello for

ce of lascivious patrons. "Per la città, in diverse case, fece tondi di sua mano e femmine ignude assai," says Vasari about Sandro Botticelli, who afterwards became a Piagnone and refused to touch a pencil.[196] We may, therefore, reasonably concede that if the Medici had never taken hold on Florence, or if the spirit of the times had made them other than they were in loftiness of aim and nobleness of heart, the arts of Italy in the Renaissance might have shown less of worldliness and materialism. It was against the demoralisation of society by paganism, as against the enslavement of Florence by her tyrants, that Savonarola strove;

spirit of freedom, if only as an idea, still ruled; where the populace was still capable of being stirred to

TNO

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Age of the De

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evival of Learn

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ow-worker, means "Pretty little Tom." Masolino was Tommaso di Cristofero Fini, born in 1384 in S. Croce. It is now thought that we have but little of his authentic

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d died at the age of about 73. He got his name Uccel

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what has been said ab

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lished in facsimile by Ottley, in his Italian School of Design. He wrong

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sco at Rimini, the o

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the Vatican. It is probable that the picture in the Royal Collection at Windsor, of Duke Frederick of Urbino listening to t

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, vol. x

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see Vol. II., Reviva

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by Messrs. Crowe and Cavalcaselle, Painting in North Italy, vol. i. chap

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ere he opened a bottega in S. Trinità. In 1423 he painted his masterpiece, t

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he Medicean family with Picino and Poliziano,

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tien, vol.

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o. It is remarkable that the "Adoration of the Magi" was

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d, the "Vintage of Noah" at Pisa, the attendants of the Magi in the Ricc

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gnano. Nothing can be prettier than the school children in the latter series. The group of the little

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rdi C

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a worshipping the infant Christ uphel

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y of Fine Art

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ice of Italian arts than for pupils to take their names from their masters, in

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ion with Perugino (see the same subject at Munich), without suffering by the contrast. The type of Our lady, striven after by Botticelli and other masters of his way of feeling, seems to me more thoroughly attained by Filippino than by any of his fellow-workers

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he last century and the beginning of this, our present preoccupation with Botticelli would have passed for a mild lunacy, because he has none of the qualities then most in vogue and most enthusiastically studied, and because the moment in the history of culture he so faithfully represents, was then but little understood. The pro

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in him, the fairy-story element, the echo of a beautiful lapsed mythology which he has found the means of transmitting." The words I have printed in italics seem to me very true. At the same time we must bear in mind that the scientific investigation of nature had not in the

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Natura, l

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ng to Lord Elcho is a charming instance of th

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conveying more than painting can compass; and, since he had not Lionardo's genius, he gives sadness, mournfulness, or discontent, for some more subtle mood. Next to the Madonna of the Uffizzi, Botticelli's loveliest religious picture to my mind i

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plete pendant to Botticelli's famous tondo. The faces of S. Catherine and Mad

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, describing the birth of Venus; and from Boiardo's Orlando Innamorato, I might quote the episode of Rinaldo's

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of my work on the Italian Poetry of the Renaissance. Th

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zi Ga

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e pedestal of his "Perseus

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ational

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g his youth and early manhood as a goldsmith and got his artist's name from the tr

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g of characteristic heads. They are as various as they are vigorous. What a nation

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roundels with his own hand