movement, we have his "Expulsion" and his "Man Trembling with Cold" to
witness. But in his works neither landscape nor movement, nor the nude,
are as yet distinct sources of artistic pleasure--that is to say, in
themselves life-enhancing. Although we can well leave the nude until we
come to Michelangelo, who was the first to completely realise its
distinctly artistic possibilities, we cannot so well dispense with an
enquiry into the sources of our æsthetic pleasure in the representation
of movement and of landscape, as it was in these two directions--in
movement by Pollaiuolo especially, and in landscape by Baldovinetti,
Pollaiuolo, and Verrocchio--that the great advances of this generation
of Florentine painters were made.


VIII.

[Page heading: REPRESENTATION OF MOVEMENT]

Turning our attention first to movement--which, by the way, is not the
same as motion, mere change of place--we find that we realise it just as
we realise objects, by the stimulation of our tactile imagination, only
that here touch retires to a second place before the muscular feelings
of varying pressure and strain. I see (to take an example) two men
wrestling, but unless my retinal impressions are immediately translated
into images of strain and pressure in my muscles, of resistance to my
weight, of touch all over my body, it means nothing to me in terms of
vivid experience--not more, perhaps, than if I heard some one say "Two
men are wrestling." Although a wrestling match may, in fact, contain
many genuinely artistic elements, our enjoyment of it can never be quite
artistic; we are prevented from completely realising it not only by our
dramatic interest in the game, but also, granting the possibility of