Renaissance in Italy Volume 3 | Page 2

Sculpture in the Renaissance--Painting and Christian
Story--Humanization of Ecclesiastical Ideas by Art--Hostility of the
Spirit of True Piety to Art--Compromises effected by the Church--Fra
Bartolommeo's S. Sebastian--Irreconcilability of Art and Theology, Art
and Philosophy--Recapitulation--Art in the end Paganises--Music--The
Future of Painting after the Renaissance.
CHAPTER II
ARCHITECTURE

Architecture of Mediaeval Italy--Milan, Genoa, Venice--The Despots
as Builders--Diversity of Styles--Local Influences--Lombard, Tuscan,
Romanesque, Gothic--Italian want of feeling for Gothic--Cathedrals of
Siena and Orvieto--Secular Buildings of the Middle Ages--Florence
and Venice--Private Palaces--Public Halls--Palazzo della Signoria at
Florence--Arnolfo di Cambio--S. Maria del Fiore--Brunelleschi's
Dome--Classical Revival in Architecture--Roman Ruins--Three Periods
in Renaissance Architecture--Their Characteristics--Brunelleschi
--Alberti--Palace-building--Michellozzo--Decorative Work of the
Revival--Bramante--Vitoni's Church of the Umiltà at Pistoja--Palazzo
del Te--Villa Farnesina--Sansovino at Venice--Michael Angelo--The
Building of S. Peter's--Palladio--The Palazzo della Ragione at
Vicenza--Lombard Architects--Theorists and Students of
Vitruvius--Vignola and Scamozzi--European Influence of the Palladian
Style--Comparison of Scholars and Architects in relation to the Revival
of Learning.
CHAPTER III
SCULPTURE
Niccola Pisano--Obscurity of the Sources for a History of Early Italian
Sculpture--Vasari's Legend of Pisano--Deposition from the Cross at
Lucca--Study of Nature and the Antique--Sarcophagus at Pisa--Pisan
Pulpit--Niccola's School--Giovanni Pisano--Pulpit in S. Andrea at
Pistoja--Fragments of his work at Pisa--Tomb of Benedict XI. at
Perugia--Bas-reliefs at Orvieto--Andrea Pisano--Relation of Sculpture
to Painting--Giotto--Subordination of Sculpture to Architecture in
Italy--Pisano's Influence in Venice--Balduccio of Pisa--Orcagna--The
Tabernacle of Orsammichele--The Gates of the Florentine Baptistery
--Competition of Ghiberti, Brunelleschi, and Della
Quercia--Comparison of Ghiberti's and Brunelleschi's
Trial-pieces--Comparison of Ghiberti and Della Quercia--The
Bas-reliefs of S. Petronio--Ghiberti's Education--His Pictorial Style in
Bas-relief--His Feeling for the Antique--Donatello--Early Visit to
Rome--Christian Subjects--Realistic Treatment--S. George and
David--Judith--Equestrian Statue of Gattamelata--Influence of

Donatello's Naturalism--Andrea Verocchio--His David--Statue of
Colleoni--Alessandro Leopardi--Lionardo's Statue of Francesco
Sforza--The Pollajuoli--Tombs of Sixtus IV. and Innocent VIII.--Luca
della Robbia--His Treatment of Glazed Earthenware--Agostino di
Duccio--The Oratory of S. Bernardino at Perugia--Antonio
Rossellino--Matteo Civitali--Mino da Fiesole--Benedetto da
Majano--Characteristics and Masterpieces of this Group--Sepulchral
Monuments--Andrea Contucci's Tombs in S. Maria del
Popolo--Desiderio da Settignano--Sculpture in S. Francesco at
Rimini--Venetian Sculpture--Verona--Guido Mazzoni of
Modena--Certosa of Pavia--Colleoni Chapel at Bergamo--Sansovino at
Venice--Pagan Sculpture--Michael Angelo's Scholars--Baccio
Bandinelli--Bartolommeo Ammanati--Cellini--Gian Bologna--Survey
of the History of Renaissance Sculpture.
CHAPTER IV
PAINTING
Distribution of Artistic Gifts in Italy--Florence and Venice
--Classification by Schools--Stages in the Evolution of
Painting--Cimabue --The Rucellai Madonna--Giotto--His widespread
Activity--The Scope of his
Art--Vitality--Composition--Colour--Naturalism--Healthiness--Frescoe
s at Assisi and Padua--Legend of S. Francis--The Giotteschi--Pictures
of the Last Judgment--Orcagna in the Strozzi Chapel--Ambrogio
Lorenzetti at Pisa--Dogmatic Theology--Cappella degli
Spagnuoli--Traini's "Triumph, of S. Thomas Aquinas"--Political
Doctrine expressed in Fresco--Sala della Pace at Siena--Religious Art
in Siena and Perugia--The Relation of the Giottesque Painters to the
Renaissance.
CHAPTER V
PAINTING
Mediaeval Motives exhausted--New Impulse toward Technical

Perfection--Naturalists in Painting--Intermediate Achievement needed
for the Great Age of Art--Positive Spirit of the Fifteenth
Century--Masaccio--The 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
Fabriano--Fra Angelico--Benozzo Gozzoli--His Decorative
Style--Lippo Lippi--Frescoes at Prato and Spoleto--Filippino
Lippi--Sandro Botticelli--His Value for the Student of Renaissance
Fancy--His Feeling for Mythology--Piero di Cosimo--Domenico
Ghirlandajo--In what sense he sums up the Age--Prosaic
Spirit--Florence hitherto supreme in Painting--Extension of Art
Activity throughout Italy--Medicean Patronage.
CHAPTER VI
PAINTING
Two Periods in the True Renaissance--Andrea Mantegna--His
Statuesque Design--His Naturalism--Roman Inspiration--Triumph of
Julius Caesar--Bas-reliefs--Luca Signorelli--The Precursor of Michael
Angelo--Anatomical Studies--Sense of Beauty--The Chapel of S.
Brizio at Orvieto--Its Arabesques and Medallions--Degrees in his
Ideal--Enthusiasm for Organic Life--Mode of treating Classical
Subjects--Perugino--His Pietistic Style--His Formalism--The
Psychological Problem of his Life--Perugino's Pupils--Pinturicchio--At
Spello and Siena--Francia--Fra Bartolommeo--Transition to the Golden
Age--Lionardo da Vinci--The Magician of the
Renaissance--Raphael--The Melodist--Correggio--The Faun--Michael
Angelo--The Prophet.
CHAPTER VII
VENETIAN PAINTING
Painting bloomed late in Venice--Conditions offered by Venice to
Art--Shelley and Pietro Aretino--Political Circumstances of

Venice--Comparison with Florence--The Ducal Palace--Art regarded as
an adjunct to State Pageantry--Myth of Venezia--Heroic Deeds of
Venice--Tintoretto's Paradise and Guardi's Picture of a Ball--Early
Venetian Masters of Murano--Gian Bellini--Carpaccio's Little
Angels--The Madonna of S. Zaccaria--Giorgione--Allegory, Idyll,
Expression of Emotion--The Monk at the Clavichord--Titian, Tintoret,
and Veronese--Tintoretto's Attempt to dramatise Venetian
Art--Veronese's Mundane Splendour--Titian's Sophoclean
Harmony--Their Schools--Further Characteristics of Veronese--of
Tintoretto--His Imaginative Energy--Predominant Poetry--Titian's
Perfection of Balance--Assumption of Madonna--Spirit common to the
great Venetians.
CHAPTER VIII
LIFE OF MICHAEL ANGELO
Contrast of Michael Angelo and Cellini--Parentage and Boyhood of
Michael Angelo--Work with Ghirlandajo--Gardens of S. Marco--The
Medicean Circle--Early Essays in Sculpture--Visit to Bologna--First
Visit to Rome--The Pietà of S. Peter's--Michael Angelo as a Patriot and
a friend of the Medici--Cartoon for the Battle of Pisa--Michael Angelo
and Julius II.--The Tragedy of the Tomb--Design for the Pope's
Mausoleum--Visit to Carrara--Flight from Rome--Michael Angelo at
Bologna--Bronze Statue of Julius--Return to Rome--Ceiling of the
Sistine Chapel--Greek and Modern Art--Raphael--Michael Angelo and
Leo X.--S. Lorenzo--The new Sacristy--Circumstances under which it
was designed and partly finished--Meaning of the
Allegories--Incomplete state of Michael Angelo's Marbles--Paul
III.--The "Last Judgment"--Critiques of Contemporaries--The Dome of
S. Peter's--Vittoria Colonna--Tommaso Cavalieri--Personal Habits of
Michael Angelo--His Emotional Nature--Last Illness.
CHAPTER IX
LIFE OF BENVENUTO CELLINI

His Fame--His Autobiography--Its Value for