BY

AUTHOR OF

CHAPTER I--THE PROBLEM FOR THE FINE ARTS Art in Italy and Greece—The Leading Phase of Culture—Æsthetic Type of Literature—Painting the Supreme Italian Art—Its Task in the Renaissance—Christian and Classical Traditions—Sculpture for the Ancients—Painting for the Romance Nations—Mediæval Faith and Superstition—The Promise of Painting—How far can the Figurative Arts express Christian Ideas?—Greek and Christian Religion—Plastic Art incapable of solving the Problem—A more Emotional Art needed—Place of 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 Mediæval 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—Frescoes 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 Mediæval 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 Cæsar—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 the Student of History, Manners, and Character in the Renaissance—Birth, Parentage, and Boyhood—Flute-playing—Apprenticeship to Marcone—Wanderjahr—The Goldsmith's Trade at Florence—Torrigiani and England—Cellini leaves Florence for Rome—Quarrel with the Guasconti—Homicidal Fury—Cellini a Law to Himself—Three Periods in his Manhood—Life in Rome—Diego at the Banquet—Renaissance Feeling for Physical Beauty—Sack of Rome—Miracles in Cellini's Life—His Affections—Murder of his Brother's Assassin—Sanctuary—Pardon and Absolution—Incantation in the Colosseum—First Visit to France—Adventures on the Way—Accused of stealing Crown Jewels in Rome—Imprisonment in the Castle of S. Angelo—The Governor—Cellini's Escape—His Visions—The Nature of his Religion—Second Visit to France—The Wandering Court—Le Petit Nesle—Cellini in the French Law Courts—Scene at Fontainebleau—Return to Florence—Cosimo de' Medici as a Patron—Intrigues of a Petty Court—Bandinelli—The Duchess—Statue of Perseus—End of Cellini's Life—Cellini and Machiavelli. CHAPTER X--THE EPIGONI Full Development and Decline of Painting—Exhaustion of the old Motives—Relation of Lionardo to his Pupils—His Legacy to the Lombard School—Bernardino Luini—Gaudenzio Ferrari—The Devotion of the Sacri Monti—The School of Raphael—Nothing left but Imitation—Unwholesome Influences of Rome—Giulio Romano—Michael Angelesque Mannerists—Misconception of Michael Angelo—Correggio founds no School—Parmigianino—Macchinisti—The Bolognese—After-growth of Art in Florence—Andrea del Sarto—His Followers—Pontormo—Bronzino—Revival of Painting in Siena—Sodoma—His Influence on Pacchia, Beccafumi, Peruzzi—Garofalo and Dosso Dossi at Ferrari—The Campi at Cremona—Brescia and Bergamo—The Decadence in the second half of the Sixteenth Century—The Counter-Reformation—Extinction of the Renaissance Impulse. APPENDIX I—The Pulpits of Pisa and Ravello APPENDIX II—Michael Angelo's Sonnets APPENDIX III—Chronological Tables

Art in Italy and Greece—The Leading Phase of Culture—Æsthetic Type of Literature—Painting the Supreme Italian Art—Its Task in the Renaissance—Christian and Classical Traditions—Sculpture for the Ancients—Painting for the Romance Nations—Mediæval Faith and Superstition—The Promise of Painting—How far can the Figurative Arts express Christian Ideas?—Greek and Christian Religion—Plastic Art incapable of solving the Problem—A more Emotional Art needed—Place of 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.

Architecture of Mediæval 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.

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.

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—Frescoes 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.

Mediæval 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.

Two Periods in the True Renaissance—Andrea Mantegna—His Statuesque Design—His Naturalism—Roman Inspiration—Triumph of Julius Cæsar—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.

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.

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.

His Fame—His Autobiography—Its Value for the Student of History, Manners, and Character, in the Renaissance—Birth, Parentage, and Boyhood—Flute-playing—Apprenticeship to Marcone—Wanderjahr—The Goldsmith's Trade at Florence—Torrigiani and England—Cellini leaves Florence for Rome—Quarrel with the Guasconti—Homicidal Fury—Cellini a Law to Himself—Three Periods in his Manhood—Life in Rome—Diego at the Banquet—Renaissance Feeling for Physical Beauty—Sack of Rome—Miracles in Cellini's Life—His Affections—Murder of his Brother's Assassin—Sanctuary—Pardon and Absolution—Incantation in the Colosseum—First Visit to France—Adventures on the Way—Accused of Stealing Crown Jewels in Rome—Imprisonment in the Castle of S. Angelo—The Governor—Cellini's Escape—His Visions—The Nature of his Religion—Second Visit to France—The Wandering Court—Le Petit Nesle—Cellini in the French Law Courts—Scene at Fontainebleau—Return to Florence—Cosimo de' Medici as a Patron—Intrigues of a petty Court—Bandinelli—The Duchess—Statue of Perseus—End of Cellini's Life—Cellini and Machiavelli.

Full Development and Decline of Painting—Exhaustion of the old Motives—Relation of Lionardo to his Pupils—His Legacy to the Lombard School—Bernardino Luini—Gaudenzio Ferrari—The Devotion of the Sacri Monti—The School of Raphael—Nothing left but Imitation—Unwholesome Influences of Rome—Giulio Romano—Michael Angelesque Mannerists—Misconception of Michael Angelo—Correggio founds no School—Parmigianino—Macchinisti—The Bolognese—After-growth of Art in Florence—Andrea del Sarto—His Followers—Pontormo—Bronzino—Revival of Painting in Siena—Sodoma—His Influence on Pacchia, Beccafumi, Peruzzi—Garofalo and Dosso Dossi at Ferrari—The Campi at Cremona—Brescia and Bergamo—The Decadence in the second half of the Sixteenth Century—The Counter-Reformation—Extinction of the Renaissance Impulse.

The Pulpits of Pisa and Ravello

Michael Angelo's Sonnets

Chronological Tables of the Principal Artists mentioned in this Volume