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