The art of the Italian renaissance; a handbook for students and travellers (1903) (14787022583)

Identifier: cu31924032642708 (find matches)
Title: The art of the Italian renaissance; a handbook for students and travellers
Year: 1903 (1900s)
Authors: Wölfflin, Heinrich, 1864-1945 Armstrong, Walter, Sir, 1850-1918
Subjects: Art Art, Renaissance
Publisher: New York, G. P. Putnam's sons London, W. Heinemann
Contributing Library: Cornell University Library
Digitizing Sponsor: MSN

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escoes of S. )Maria Xoyella inFlorence, it is amazing to find how) limpidly and calmly; ho works, how thespace clears itself, as it were, how assured the effect is, how transparentand comprehensible the whole. Similar merits will be noticeable on alike comparison of the works of Filippino or Botticelli, in who.se veins,nevertheless, the blood ran far less calmly than in Ghirlandajos. IJoTTicKLLi (l-i-16-1510) was a pupil of Fra Filippo, but only his veryearly ^\orks show any trace of this. They were men of quite distincttemperaments, the Frate with his broad laugh and his uniformlygood-tempered pleasure in the things of this world, and Botticelli, impetu-ous, fiery, full of suppressed emotion, an artist to whom the superficialelements of painting appealed but little, who found expression invigorous lines, and ga\e to his heads at all times a wealth of character andexpression. Recall his ^Madonna with the thin oyal face, the silent mouth i-l lieuriny C;ilidolal.rniLMajan 1 \ LiUL ktt U
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PRELIMINARY SURVEY 10 the sad and heavy eyes ; how different is liis outlook from FiHppos con-tented twinkle. His saints are not healthy beings with whom all goeswell ; he gives his Jerome the consuming tire of the spirit, and he thrillsus with the expression of rapture and asceticism in his youthful St. John.He is earnest in his treatment of the sacred legends, and his earnestnessgrows with age, till he abandons all charm of outward appearance. Hisbeauty has a careworn air, and even \\hen he smiles it seems but a passinggleam. How little mirth there is in the dance of the Graces in hisAllegory of Spring, how strange are the forms ! The crude spareness ofimmaturity has become the ideal of the time. In representing motion theartist seeks the strained and angular, not rich curves, and every form isdelicate and pointed, not full and rounded. The masters daintiness is allconfined to the flowers and grasses on the ground, the gauzy raiment andjewelled ornaments, and here the style becomes

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