CONTENTS.

CHAPTER I.

THE PROBLEM FOR THE FINE ARTS.

Art in Italy and Greece-The Leading Phase of Culture--Esthe-

tic 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 Sculp-

ture in the Renaissance-Painting and Christian Story-Huma-

nization 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

Paganizes-Music-The Future of Painting after the Renais-

sance

PAGE

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 Build-

ings 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-Classi-

cal revival in Architecture-Roman Ruins-Three Periods in

Renaissance Architecture-Their Characteristics-Brunelles-

chi-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-Theo-

rists and Students of Vitruvius-Vignola and Scamozzi-Euro-

pean influence of the Palladian style-Comparison of Scholars

and Architects in relation to the Revival of Learning

PAGE

40

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-Sarco-

phagus 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 Floren-

tine 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 Gattame-

lata-Influence of Donatello's Naturalism-Andrea Verocchio

-His David-Statue of Colleoni--Alessandro Leopardi-Lio-

nardo's Statue of Francesco Sforza-The Pollajuoli-Tombs of

Sixtus IV. and Innocent VIII.-Luca della Robbia-His Treat-

ment of Glazed Earthenware-Agostino di Duccio-The Oratory

of S. Bernardino at Perugia-Antonio Rossellino-Matteo Civi-

tali-Mino da Fiesole-Benedetto da Majano-Characteristics

and Masterpieces of this Group-Sepulchral Monuments-An-

drea 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 Bandi-

nelli-Bartolommeo Ammanati-Cellini-Gian Bologna-Sur-

vey of the History of Renaissance Sculpture

PAGE

100

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 Loren-

zetti at Pisa-Dogmatic Theology-Capella 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

. 180

Mediæval motives exhausted-New Impulse toward Technical

Perfection-Naturalists in Painting-Intermediate Achievement

needed for the Great Age of Art-Positive Spirit of the Fif-

teenth 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-Gen-

tile da Fabriano-Fra Angelico-Benozzo Gozzoli-His Decora-

tive Style-Lippo Lippi-Frescoes at Prato and Spoleto-Filip-

pino 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 Paint-

ing-Extension of Art activity throughout Italy-Medicean

Patronage.

PAGE

224

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 Pie-

tistic 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

-

266

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. Zac-

caria-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 Per-

fection of Balance-Assumption of Madonna-Spirit common

to the great Venetians

347

CONTENTS.

CHAPTER VIII.

LIFE OF MICHAEL ANGELO.

xiii

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 Bo-

logna-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-Circum-

stances 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.

PAGE

384

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 Ab-

solution-Incantation in the Colosseum-First visit to France-

Adventures on the Way-Accused of Stealing Crown Jewels in

Rome-Imprisonment in the Cast:e of S. Angelo-The Gover-

nor-Cellini's Escape-His Visions-The Nature of his Reli-