SYMMETRIA PRISCA.

[1]Any one who is sceptical of the Courtly derivation of the Italian popular song may, besides consulting the admirable book of Prof. d'Ancona, compare with the contents of Tigri's famous "Canti popolari Toscani," the following scraps of Sicilian and early Italian lyrics:—The Emperor Frederick II. writes: "Rosa di maggio— Colorita e fresca—Occhi hai fini—E non rifini—Di gioie dare— Lo tuo parlare—La gente innamora—Castella ed altura." Jacopo Pugliesi says of his lady: "Chiarita in viso più che argento—Donami allegrezze—Ben eo son morto—E mal colto— Se non mi dai conforto—Fior dell' orto."Inghilfredi Siciliano: "Gesù Cristo ideolla in paradiso— E poi la fece angelo incarnando—Gioia aggio preso di giglio novello—E vago, che sormonta ogni ricchezza—Sua dottrina m' affrezza—Cosi mi coglie e olezza—Come pantera le bestie selvagge."Jacopo da Lentino: "E di virtute tutte 1' altre avanza—E somigliante a stella è di splendore—Colla sua conta (cf. Provençalcoindeta, gentille) e gaia innamoranza—E più bella è che rosa e che fiore—Cristo le doni vita ed allegranza—E sì la cresca in gran pregio ed onore."I must finish off what might be a much longer collection with a charming little scrap, quite in rispetto tone, by Guinicelli: "Vedut 'ho la lucente stella diana—Ch' appare anzi che 'l giorno renda albore—Ch' a preso forma di figura umana— Sovr' ogni altra mi par che dia splendore—Viso di neve colorato in grana—Occhi lucenti, gai e pien d'amore—Non credo che nel mondo sia cristiana—Si piena di beltate e di valore."

[1]Any one who is sceptical of the Courtly derivation of the Italian popular song may, besides consulting the admirable book of Prof. d'Ancona, compare with the contents of Tigri's famous "Canti popolari Toscani," the following scraps of Sicilian and early Italian lyrics:—

The Emperor Frederick II. writes: "Rosa di maggio— Colorita e fresca—Occhi hai fini—E non rifini—Di gioie dare— Lo tuo parlare—La gente innamora—Castella ed altura." Jacopo Pugliesi says of his lady: "Chiarita in viso più che argento—Donami allegrezze—Ben eo son morto—E mal colto— Se non mi dai conforto—Fior dell' orto."

Inghilfredi Siciliano: "Gesù Cristo ideolla in paradiso— E poi la fece angelo incarnando—Gioia aggio preso di giglio novello—E vago, che sormonta ogni ricchezza—Sua dottrina m' affrezza—Cosi mi coglie e olezza—Come pantera le bestie selvagge."

Jacopo da Lentino: "E di virtute tutte 1' altre avanza—E somigliante a stella è di splendore—Colla sua conta (cf. Provençalcoindeta, gentille) e gaia innamoranza—E più bella è che rosa e che fiore—Cristo le doni vita ed allegranza—E sì la cresca in gran pregio ed onore."

I must finish off what might be a much longer collection with a charming little scrap, quite in rispetto tone, by Guinicelli: "Vedut 'ho la lucente stella diana—Ch' appare anzi che 'l giorno renda albore—Ch' a preso forma di figura umana— Sovr' ogni altra mi par che dia splendore—Viso di neve colorato in grana—Occhi lucenti, gai e pien d'amore—Non credo che nel mondo sia cristiana—Si piena di beltate e di valore."

Well; for many a year did the song of the peasants rise up from the fields and oliveyards unnoticed by the good townsfolk taking their holiday at the Tuscan villa; but one day, somewhere in the third quarter of the fifteenth century, the long-drawn chant of the rispetto, telling perhaps how the singer's sweetheart was beautiful as the star Diana, so beautiful as a baby that the Pope christened her with his own hands; the quavering nasal cadence of the stornello saying by chance—

Flower of the Palm, &c.,

did at last waken the attention of one lettered man, a man of curious and somewhat misshapen body and mind, of features satyr-like in ugliness, yet moody and mystical in their very earthiness; a man essentially of the senses, yet imperfect in them, without taste or smell, and, over and above, with a marvellously supple intellect; weak and coarse and idealistic; and at once feebly the slave of his times, and so boldly, spontaneously innovating as to be quite unconscious of innovation: the mixed nature, or rather the nature in many heterogeneous bits, of the man of letters who is artistic almost to the point of being an actor, natural in every style because morally connected with no style at all. The man was Lorenzo di Piero dei Medici, for whom posterity has exclusively reserved the civic title of all his family and similar town despots, calling him the Magnificent. It is the fashion at present to give Lorenzo only the leavings, as it were, of our admiration for the weaker, less original, nay, considerably enervate, humanistic exquisite Politian; and this absurd injustice appears to me to show that the very essence and excellence of Lorenzo is not nowadays perceived. The Renaissance produced several versatile and charming poets; and, in the midst of classic imitation, one or two, of whom one is certainly Boiardo, of real freshness and raciness. But of this new element in the Renaissance, this element which is neither imitation of antiquity nor revival of mediæval, which is original, vital, fruitful, in short, modern, Lorenzo is the most versatile example. He is new, Renaissance, modern; not merely in this or that quality, he is so all round. And this in the first place because he is so completely the man of impressions; the man not uttering wonderful things, nor elaborating exquisite ones, but artistically embodying with marvellous versatility whatever strikes his fancy and feeling—fancy and feeling which are as new as the untouched sculptor's clay. And this extraordinary temper of art for art's sake, or rather effect for effect and form's sake, was possible in that day only in a man equally without strong passions, and without strong convictions. He is naturally attracted most by what is most opposed to the academic, Virgilian, Horatian, or Petrarchesque æstheticism of his contemporaries; he is essentially a realist, and all the effects, which he produces, all the beauty, charm, or beastliness of his work, corresponds to beauty, charm, or beastli- ness in the reality of things. If Lorenzo writes at one moment carnival songs of ribald dirtiness, at the next hymns full of holy solemnity; it is, I think, merely because this versatile artist takes pleasure in trying whether his face may not be painted into grinning drunkenness, and then elongated and whitened into ascetic gentleness. Instead of seeking, like most of his contemporaries, to be Greek, Roman, or mediæval by turns, he preferred trying on all the various tricks of thought and feeling which he remarked among his unlettered townsfolk. His realism naturally drew him towards the classes where realism can deal with the real; and not the affected, the self-conscious, the deliberately attempted. Hence those wonderful little poems, the carnival songs of the gold-thread spinners, of the pastry-cooks, of the shoemakers, which give us so completely, so gracefully, the whole appearance, work, manner, gesture of the people; give them to us with ease and rapidity so perfect, that we scarcely know how they are given; that we almost forget verses and song, and actually see the pulling, twisting, and cutting of the gold-threads; that we see and hear the shoemaker's hands smoothing down the leather of the shoe in his hand, to convince his customers of its pliability; that we see and smell the dear little pale yellow pasties nestling in the neat white baskets, after having stood by and watched the dough being kneaded, chopped, and floured over, the iron plates heated in the oven, the soft, half-baked paste twisted and bent; nay, we feel almost as if we had eaten of them, those excellent things which seem such big mouthfuls but are squeezed and crunched at one go like nothing at all. Hence, I mean from this love of watching effects and reproducing them, originated also the masterpiece of Lorenzo dei Medici, the Nencia da Barberino.

This poem, of some fifty octaves, is the result of those Tuscan peasant songs, of which I have told you the curious Courtly descent, at last having struck the fancy of a real poet. It is, what Lorenzo's masterpiece necessarily must be, in the highest degree a modern performance; as modern as a picture by Bastien Lepage; as an opera, founded upon local music, by Bizet. For it is not by any manner of means a pastoral, a piece of conventional poetic decoration, with just a little realistic detail, more of the mere conventional or more of the realistic dominating according as it is a pastoral by Theocritus, or a pastoral by Quinault or Metastasio. It is the very reverse of this: it is the attempt to obtain a large and complete, detailed and balanced impression by the cunning arrangement of a number of small effects which the artist has watched in reality; it is the making into a kind of little idyl, something half narrative, half drama, with distinct figures and accessories and background, of a whole lot of little fragments imitated from the peasant poetry, and set in thin, delicate rims of imitation no longer of the peasant's songs, but of the peasant's thoughts and speech; a perfect piece of impressionist art, marred only in rare places by an attempt (inevitable in those days) to force the drawing and colour into caricature. The construction, which appears to be nowhere, is in reality a masterpiece; for, without knowing it, you are shown the actors, the background, the ups and downs of temper, the variation of the seasons; above all you are shown the heroine through the medium of the praises, the complaints, the narratives of the past, the imaginings of the future, of the hero, whose incoherent rhapsodizing constitutes the whole poem. He, Vallera, is a well- to-do young farmer; she, Nencia, is the daughter of peasant folk of the castellated village of Barberino in the Mugello; he is madly in love, but shy, and (to all appearance) awkward, so that we feel convinced that of all these speeches in praise of his Nenciozza, in blame of his indifference, highly poetic flights and most practical adjurations to see all the advantages of a good match, the young woman hears few or none; Vallera is talking not to her, but at her, or rather, he is rehearsing to himself all the things which he cannot squeeze out in her presence. It is the long day-dream, poetic, prosaic, practical, and imaginative, of a love-sick Italian peasant lad, to whom his sweetheart is at once an ideal thing of beauty, a goddess at whose shrine songs must be sung and wreaths twined; and a very substantial lass, who cannot be indifferent to sixpenny presents, and whom he cannot conceive as not ultimately becoming the sharer of his cottage, the cooker of his soup, the mender of his linen, the mother of his brats—a dream in which image is effaced by image, and one thought is expelled, unfinished, by another. She is to him like the Fairy Morgana, the fairy who kept so much of chivalry in her enchanted island; she is like the evening star when above his cottage it slowly pierces the soft blue sky with its white brilliancy; she is purer than the water in the well, and sweeter than the malmsey wine, and whiter than the miller's flour; but her heart is as hard as a pebble, and she loves driving to distraction a whole lot of youths who dangle behind her, captives of those heart-thievish eyes of hers. But she is also a most excellent housewife, can stand any amount of hard field labour, and makes lots of money by weaving beautiful woollen stuff. To see her going, to church of a morning, she is a little pearl! her bodice is of damask, and her petticoat of bright, colour, and she kneels down carefully where she may be seen, being so smart. And then, when she dances! —a born dancer, bouncing like a little goat, and twirling more than a mill-wheel; and when she has finished she makes you such a curtsey; no citizen's wife in Florence can curtsey as she does. It was in April that he first fell in love. She was picking salad in the garden; he begged her for a little, and she sent him about his business. las, alas! ever since then his peace has been gone; he cannot sleep, he can only think of her, and follow her about; he has become quite good-for-nothing as to his field work,—yet he hears all the people around laughing and saying, "Of course Valléra will get her." Only she will pay no heed to him. She is finer to look at than the Pope, whiter than the whitest wood core: she is more delectable than are the young figs to the earwigs, more beautiful than the turnip flower, sweeter than honey. He is more in love with her than the moth is in love with the lamp; she loves to see him perishing for her. If he could cut himself in two without too much pain, he would, just to let her see that he carries her in his heart. No; he would cut out his heart, and when she has touched it with that slender hand of hers, it would cry out, "Nencia, Nencia bella." But, after all, he is not to be despised: he is an excellent labourer, most learned in buying —and selling pigs, he can play the bagpipe beautifully; he is rich, is willing to go to any expense to please her, nay, even to pay the barber double that his hair may be nice and fuzzy from the crimping irons; and if only he were to get himself tight hose and a silk jerkin, he would be as good as any Florentine burgess. But she will not listen; or, rather, she listens and laughs. Yes, she sits up in bed at night and laughs herself to death at the mere thought of him, that is all he gets. But he knows what it is! There is a fellow who will keep sneaking about her; if Valléra only catch him near his cottage, won't he give him a taste of his long new knife! nay, rip him up and throw his bowels, like those of a pig, to dry on a roof! He is sorry—perhaps he bores her—God bless you, Nencia!—he had better go and look after his sheep.

All this is not the poetry of th Renaissance peasant; it is the poem made out of his reality; the songs which Valléra sang in the fields about his Nencia we must seek in the volume of Tigri; those rispetti and stornelli of to-day are the rispetti and stornelli of four centuries ago; they are much more beautiful and poetic than any of Lorenzo's work; but Lorenzo has given us not merely a peasant's love-song; he has given us a peasant's thoughts, actions, hopes, fears; he has given us the peasant himself, his house, his fields, and his sweetheart, as they exist even now. For Lorenzo is gone, and, greater than he, the paladins and ladies of Boiardo and Ariosto, have followed the saints and virgins of Dante into the limbo of fair unrealities; and the very Greek and Roman heroes of a hundred years ago, the very knights and covenanters of forty years since, have joined them; but Valléra exists still, and still in the flesh exists his Nenciozza. Everything changes, except the country and the peasant. For, in the long farms of Southern Tuscany, with double row of blackened balcony all tapestried with heavy ingots of Indian corn, and spread out among the olives of the hillside, up which twists the rough bullock road protected by its vine trellis; and in the little farms, with queer hood-shaped double roofs (as if to pull over the face of the house when it blows hard), and pigeon towers which show that some day they must have been fortified, all about Florence; farms which I pass every day, with their sere trees all round, their rough gardens of bright dahlias and chrysanthemums draggled by the autumn rains—in these there are, do not doubt it, still Nencias: magnificent creatures, fit models for Amazons, only just a trifle too full-blown and matronly; but with real Amazonian limbs, firm and delicate, under their red and purple striped print frocks; creatures with heads set on necks like towers or columns, necks firm in broad, well-fleshed chest as branches in a tree's trunk; great penthouses of reddish yellow or lustreless black crimped hair over the forehead; the forehead, like the cheeks, furrowed a good deal—perhaps we dainty people might say, faded and wrinkled by work in the burning sun and the wind; women whom you see shovelling bread into the heated ovens, or plashing in winter with bare arms in half-frozen streams, or digging up a turnip field in the drizzle; or on a Sunday, standing listless by their door, surrounded by rolling and squalling brats, and who, when they slowly look up at the passer-by, show us, on those monumental faces of theirs, a strange smile, a light of bright eyes and white teeth; a smile which to us sophisticated townspeople is as puzzling as certain sudden looks in some comely animal, but which yet makes us understand instinctively that we have before us a Nencia; and that the husband yonder, though he now swears at his wife, and perhaps occasionally beats her, has nevertheless, in his day, dreamed, argued, raged, and sung to himself just like Lorenzo's Vallera. The "Nencia da Barberino" is certainly Lorenzo dei Medici's masterpiece: it is completely and satisfactorily worked out. Yet we may strain possibilities to the point of supposing (which, however, I cannot for a moment suppose) that this "Nencia" is a kind of fluke; that by an accident a beautiful and seemingly appreciative poem has resulted where the author, a mediæval realist of a superior Villon sort, had intended only a piece of utter grotesqueness. But important as is the "Nencia," Lorenzo has left behind him another poem, greatly inferior in completeness, but which settles beyond power of doubt that in him the Renaissance was not merely no longer mediæval, but most intensely modern. This poem is the "Ambra." It is simply an allegorical narrative of the inundation, by the river Ombrone, of a portion, called Ambra, of the great Medicean villa of Poggio a Caiano. Lorenzo's object was evidently to write a semi-Ovidian poem, of a kind common in his day, and common almost up to our own: a river-god, bearded, crown of reeds, urn, general dampness and uproariousness of temper, all quite correct; and a nymph, whom he pursues, who prays to the Virgin huntress to save her from his love, and who, just in the nick of time, is metamorphosed into a mossy stone, dimly showing her former woman's shape; the style of thing, charming, graceful, insipid, of which every one can remember a dozen instances, and which immediately brings up to the mind a vision of grand-ducal gardens, where, among the clipped ilexes and the cypress trunks, great lumbering water-gods and long-limbed nymphs splash, petrified and covered with melancholy ooze and yellow lichen, among the stagnant grotto waters. In some respects, therefore, there is in the "Ambra" somewhat more artificial, more barrocco than that early Renaissance of Politian and Pontano would warrant. There also several bits, half graceful, half awkward, pedantic, constrained, childish, delightful, like the sedge-crowned rivers telling each other anecdotes of the ways and customs of their respective countries, and especially the charming dance of zephyr with the flowers on the lawns of Cyprus, which must immediately suggest pictures by Piero di Cosimo and by Botticelli. So far, therefore, there is plenty to enjoy, but nothing to astonish, in the "Ambra." But the Magnificent Lorenzo has had the extraordinary whim of beginning his allegory with a description, twenty-one stanzas long, of the season of floods. A description, full of infinitely delicate minute detail: of the plants which have kept their foliage while the others are bare—the prickly juniper, the myrtle and bay; of the flocks of cranes printing the sky with their queer shapes, of the fish under the ice, and the eagle circling slowly round the ponds—little things which affect us mixed up as they are with all manner of stiff classic allusions, very much as do the carefully painted daisies and clover among the embossed and gilded unrealities of certain old pictures. From these rather finikin details, Lorenzo passes, however, to details which are a good deal more than details, things little noticed until almost recently: the varying effect of the olives on the hillside—a grey, green mass, a silver ripple, according as the wind stirs them; the golden appearance of the serene summer air, and so forth; details no longer, in short, but essentially, however minute, effects. And then, suddenly leaving such things behind, he rushes into the midst of a real picture, a picture which you might call almost impressionistic, of the growth of rivers and the floods. The floods are a grand sight; more than a sight—a grand performance, a drama; sometimes, God knows, a tragedy. Last night, under a warm, hazy sky, through whose buff-tinted clouds the big moon crept in and out, the mountain stream was vaguely visible—a dark riband in its wide shingly bed, when the moon was hidden; a narrow, shallow, broken stream, sheets of brilliant metallic sheen, and showers of sparkling facets, when the moon was out; a mere drowsy murmur mixing with the creaking and rustling of dry reeds in the warm, wet wind. Thus in the evening. Look down from your window next morning. A tremendous rushing mass of waters, thick, turbid, reddish, with ominous steel-like lustre where its coppery surface reflects the moist blue sky, now fills the whole bed, shaking its short fringe of foam, tossing the spray as it swirls round each still projecting stone, angrily tugging at the reeds and alders which flop their draggled green upon its surface; eddying faster and faster, encircling each higher rock or sandbank, covering it at last with its foaming red mass. Meanwhile, the sky is covered in with vaporous grey clouds, which enshroud the hills; the clear runnels, dash over the green banks, spirt through the walls, break their way across the roads; the little mountain torrents, dry all summer, descend, raging rivers, red with the hill soil; and with every gust of warm wind the river rises higher and rushes along tremendously impetuous. Down in the plain it eats angrily at the soft banks, and breaks its muddy waters, fringed on the surface with a sort of ominous grime of broken wood and earth, higher and higher against the pierheads of the bridges; shaking them to split their masonry, while crowds of men and women look on, staring at the rising water, at the planks, tables, beams, cottage thatches, nay, whole trees, which it hurls at the bridge piers. And then, perhaps, the terrible, soft, balmy flood-wind persisting, there comes suddenly the catastrophe; the embankment, shaken by the resistless current, cracks, fissures gives way; and the river rushes into the city, as it has already rushed into the fields, to spread in constantly rising, melancholy livid pools, throughout the streets and squares. This Lorenzo saw, and, wonderful to say, in this soiled and seething river, in these torn and crumbling banks, in all the dreadfulness of these things, he saw a beauty and a grandeur. But he saw not merely the struggle of the waters and of the land; he—the heartless man who laid his hand even upon the saved- up money of orphan girls in order to keep up the splendour of his house and of his bank—saw the misfortunes of the peasantry; the mill, the cottage by the riverside, invaded by the flood; the doors burst open by the tremendous rushing stream, the stables and garners filled with the thick and oozy waters; the poor creatures, yesterday prosperous, clinging to the roof, watching their sheep and cows, their hay, and straw, and flour, the hemp bleached in the summer, the linen spun and woven in the long winter, their furniture and chattels, their labour and their hope whirled along by the foaming river.

Thus by this versatile Lorenzo dei Medici, this flippant, egotistic artist and despot, has at last been broken the long spell of the Middle Ages. The Renaissance has sung no longer of knights and of spring, but of peasants and of autumn. An immoral and humanistic time, an immoral and humanistic man, have had at length a heart for the simpler, ruder less favoured classes of mankind; an eye for the bolder, grander, more solemn sights of Nature: modern times have begun, modern sympathies, modern art are in full swing.

Mirator veterum, discipulusque memor,Defuit mini symmetria prisca. PeregiQuod potui; Veniam da mihi, posteritas.—Lionardo da Vinci's epitaph by Platino Piatto.

Into the holy enclosure which had received the precious shiploads of earth from Calvary, the Pisans of the thirteenth century carried the fragments of ancient sculpture brought from Rome and from Greece; and in the Gothic cloister enclosing the green sward and dark cypresses of the graveyard of Pisa, the art of the Middle Ages came for the first time face to face with the art of Antiquity. There, among pagan sarcophagi turned into Christian tombs, with heraldic devices chiselled on their arabesques and vizored helmets surmounting their garlands, the great unsigned artist of the fourteenth century, Orcagna of Florence, or Lorenzetti of Siena, painted the typical masterpiece of mediæval art, the great fresco of the Triumph of Death. With wonderful realization of character and situation he painted the prosperous of the world, the dapper youths and damsels seated with dogs and falcons beneath the orchard trees, amusing themselves with Decameronian tales and sound of lute and psaltery, unconscious of the colossal scythe wielded by the gigantic dishevelled Death, and which, in a second, will descend and mow them to the ground; while the crowd of beggars, ragged, maimed, paralyzed, leprous, grovelling on their withered limbs, see and implore Death, and cry stretching forth their arms, their stumps, and their crutches. Further on, three kings in long embroidered robes and gold-trimmed shovel caps, Lewis the Emperor, Uguccione of Pisa, and Castruccio of Lucca, with their retinue of ladies and squires, and hounds and hawks, are riding quietly through a wood. Suddenly their horses stop, draw back; the Emperor's bay stretches out his long neck sniffing the air; the kings strain forward to see, one holding his nose for the stench of death which meets him; and before them are three open coffins, in which lie, in three loathsome stages of corruption, from blue and bloated putrescence to well-nigh fleshless decay, three crowned corpses. This is the triumph of Death; the grim and horrible jest of the Middle Ages: equality in decay; kings, emperors, ladies, knights, beggars, and cripples, this is what we all come to be, stinking corpses; Death, our lord, our only just and lasting sovereign, reigns impartially over all.

But opposite, all along the sides of the painted cloister, the Amazons are wrestling with the youths on the stone of the sarcophagi; the chariots are dashing forward, the Tritons are splashing in the marble waves; the Bacchantæ are striking their timbrels in their dance with the satyrs; the birds are pecking at the grapes, the goats are nibbling at the vines; all is life, strong and splendid in its marble eternity. And the mutilated Venus smiles towards the broken Hermes; the stalwart Hercules, resting against his club, looks on quietly, a smile beneath his beard; and the gods murmur to each other, as they stand in the cloister filled with earth from Calvary, where hundreds of men lie rotting beneath the cypresses, "Death will not triumph for ever; our day will come."

We have all seen them opposite to each other, these two arts, the art born of Antiquity and the art born of the Middle Ages; but whether this meeting was friendly or hostile or merely indifferent, is a question of constant dispute. To some, mediæval art has appeared being led, Dante-like, by a magician Virgil through the mysteries of nature up to a Christian Beatrice, who alone can guide it to the kingdom of heaven; others have seen mediæval art, like some strong, chaste Sir Guyon turning away resolutely from the treacherous sorceress of Antiquity, and pursuing solitarily the road to the true and the good; for some the antique has been an impure goddess Venus, seducing and corrupting the Christian artist; the antique has been for others a glorious Helen, an unattainable perfection, ever pursued by the mediæval craftsman, but seized by him only as a phantom. Magician or witch, voluptuous, destroying Venus or cold and ungrasped Helen, what was the antique to the art born of the Middle Ages and developed during the Renaissance? Was the relation between them that of tuition, cool and abstract; or of fruitful love; or of deluding and damning example?

The art which came to maturity in the late fifteenth and early sixteenth centuries was generated in the early mediæval revival. The seeds may, indeed, have come down from Antiquity, but they remained for nearly a thousand years hidden in the withered, rotting remains of former vegetation; and it was not till that vegetation had completely decomposed and become part of the soil, it was not till putrefaction had turned into germination, that artistic organism timidly reappeared. The new art-germ developed with the new civilization which surrounded it. Manufacture and commerce reappeared: the artizans and merchants formed into communities; the communities grew into towns, the towns into cities; in the city arose the cathedral; the Lombard or Byzantine mouldings and traceries of the cathedral gave birth to figure-sculpture; its mosaics gave birth to painting; every forward movement of the civilization unfolded as it were a new form or detail of the art, until, when mediæval civilization was reaching its moment of consolidation, when the cathedrals of Lucca and Pisa stood completed, when Niccolo and Giovanni Pisano had sculptured their pulpits and sepulchres; painting, in the hands of Cimabue and Duccio, of Giotto and of Guido da Siena, freed itself from the tradition of the mosaicists as sculpture had freed itself from the practice of the stone-masons, and stood forth an independent and organic art.

Thus painting was born of a new civilization, and grew by its own vital force; a thing of the Middle Ages, original and spontaneous. But contemporaneous with the mediæval revival was the resuscitation of Antiquity; in proportion as the new civilization developed, the old civilization was exhumed; real Latin began to be studied only when real Italian began to be written; Dante, Petrarca, and Boccaccio were at once the founders of modern literature and the exponents of the literature of antiquity; the strong young present was to profit by the experience of the past.

As it was with literature, so likewise was it with art. The most purely mediæval sculpture, the sculpture which has, as it were, just detached itself from the capitals and porches of the cathedral, is the direct pupil of the antique; and the three great Gothic sculptors, Niccoló, Giovanni, and Andrea of Pisa, learn from fragments of Greek and Roman sculpture how to model the figure of the Redeemer and how to chisel the robe of the Virgin. This spontaneous mediæval sculpture, aided by the antique, preceded by a full half-century the appearance of mediæval painting; and it was from the study of the works of the Pisan sculptors that Cimabue and Giotto learned to depart from the mummified monstrosities of the hieratic, Byzantine and Roman style of Giunta and Berlinghieri. Thus, through the sculpture of the Pisans the painting of the school of Giotto received at second-hand the teachings of Antiquity. Sculpture had created painting; painting now belonged to the painters. In the hands of Giotto it developed within a few years into an art which seemed almost mature, an art dealing victoriously with its materials, triumphantly solving its problems, executing as if by miracle all that was demanded of it. But Giottesque art appeared perfect merely because it was limited; it did all that was required of it, because that which was required was little; it was not asked to reproduce the real nor to represent the beautiful; it was asked merely to suggest a character, a situation, a story.

The artistic development of a nation has its exact parallel in the artistic development of an individual. The child uses his pencil to tell a story, satisfied with balls and sticks as body, head, and legs; provided he and his friends can associate with them the ideas in their minds. The youth sets himself to copy what he sees, to reproduce forms and effects, without any aim beyond the mere pleasure of copying. The mature artist strives to obtain forms and effects of which he approves, he seeks for beauty. In the life of Italian painting the generation of men who flourished at the beginning of the sixteenth century are the mature artists; the men of the fifteenth century are the inexperienced youths; the Giottesques are the children— children Titanic and seraph-like, but children nevertheless; and, like all children, learning more perhaps in their few years than can the youth and the man learn in a lifetime.

Like the child, the Giottesque painter wished to show a situation or express a story, and for this purpose the absolute realization of objects was unnecessary. Giottesque art is not incorrect art, it is generalized art; it is an art of mere outline. The Giottesques could draw with great accuracy the hand: the form of the fingers, the bend of the limb, they could give to perfection its whole gesture and movement, they could produce a correct and spirited outline, but within this correct outline marked off in dark paint there is but a vague, uniform mass of pale colour; the body of the hand is missing, and there remains only its ghost, visible indeed, but unsubstantial, without weight or warmth, eluding the grasp. The difference between this spectre hand of the Giottesques, and the sinewy, muscular hand which can shake and crush of Masaccio and Signorelli; or the soft hand with throbbing pulse and warm pressure of Perugino and Bellini,—this difference is typical of the difference between the art of the fourteenth century and the art of the fifteenth century: the first suggests, the second realizes; the one gives impalpable outlines, the other gives tangible bodies. The Giottesque cares for the figure only inasmuch as it displays an action; he reduces it to a semblance, a phantom, to the mere exponent of an idea; the man of the Renaissance cares for the figure inasmuch as it is a living organism, he gives it substance and weight, he makes it stand out as an animate reality. Thence, despite its early triumphs, the Giottesque style, by its inherent nature, forbade any progress; it reached its limits at once, and the followers of Giotto look almost as if they were his predecessors, for the simple reason that, being unable to advance, they were forced to retrograde. The limited amount of artistic realization required to present to the mind of the spectator a situation or an allegory, had been obtained by Giotto himself, and bequeathed by him to his followers; who, finding it more than sufficient for their purposes, and having no incentive to further acquisition in the love of form and reality for their own sake, worked on with their master's materials, composing and recomposing, but adding nothing of their own. Giotto had observed Nature with passionate interest, because, although its representation was only a means to an end, it was a means which required to be mastered; and as such became in itself a sort of secondary aim; but the followers of Giotto merely utilized his observations of Nature, and in so doing gradually conventionalized and debased these second-hand observations. Giotto's forms are wilfully incomplete, because they aim at mere suggestion, but they are not conventional: they are diagrams, not symbols, and thence it is that Giotto seems nearer to the Renaissance than do his latest followers, not excepting even Orcagna. Painting, which had made the most prodigious strides from Giunta to Cimabue, and from Cimabue to Giotto, had got enclosed within a vicious circle, in which it moved for nearly a century neither backwards nor forwards: painters were satisfied with suggestion; and as long as they were satisfied, no progress was possible. From this Giottesque treadmill, painting was released by the intervention of another art. The painters were hopelessly mediocre; their art was snatched from them by the sculptors. Orcagna himself, perhaps the only Giottesque who gave painting an onward push, had modelled and cast one of the bronze gates of the Florence baptistery; the generation of artists who arose at the beginning of the fifteenth century, and who opened the period of the Renaissance, were sculptors or pupils of sculptors. When we see these vigorous lovers of nature, these heroic searchers after truth, suddenly pushing aside the decrepit Giottesque allegory-mongers, we ask ourselves in astonishment whence they have arisen, and how those broken-down artists of effete art could have begotten such a generation of giants. Whence do they come? Certainly not from the studios of the Giottesques. No, they issue out of the workshops of the stone-mason, of the goldsmith, of the worker in bronze, of the sculptor. Vasari has preserved the tradition that Masolino and Paolo Uccello were apprentices of Ghiberti; he has remarked that their greatest contemporary, Masaccio, "trod in the steps of Brunelleschi and of Donatello." Pollaiolo and Verrocchio we know to have been equally excellent as painters and as workers in bronze. Sculp- ture, at once more naturalistic and more constantly under the influence of the antique, had for the second time laboured for painting. Itself a subordinate art, without much vitality, without deep roots in the civilization, sculpture was destined to remain the unsuccessful pupil of the antique, and the unsuccessful rival of painting; but sculpture had for its mission to prepare the road for painting and to prepare painting for antique influence; and the noblest work of Ghiberti and Donatello was Masaccio, as the most lasting glory- to the Pisani had been Giotto.

With Masaccio began the study of nature for its own sake, the desire of reproducing external objects, without any regard to their significance as symbols, or as parts of a story; the passionate wish to arrive at absolute realization. The merely suggestive outline art of the Giottesques had come to an end; the suggestion became a matter of indifference, the realization became a paramount interest; the story was forgotten in the telling, the religious thought was lost in the search for the artistic form. The Giottesques had used debased conventionalism to represent action with wonderful narrative and logical power; the artists of the early Renaissance became unskilful narrators and foolish allegorists almost in proportion as they became skilful draughtsmen and colourists; the saints had become to Masaccio merely so many lay figures on to which to cast drapery; for Fra Filippo the Madonna was a mere peasant model; for Filippino Lippi and for Ghirlandajo, a miracle meant merely an opportunity of congregating a number of admirable portrait figures in the dress of the day; the Baptism for Verrocchio had significance only as a study of muscular legs and arms; and the sacrifice of Noah had no importance for Uccello save as a grand opportunity for foreshortenings. In the hands of the Giottesques, interested in the subject and indifferent to the representation, painting had remained stationary for eighty years; for eighty years did it develope in the hands of the men of the fifteenth century, indifferent to the subject and passionately interested in the representation. The unity, the appearance of comparative perfection of the art had disappeared with the limits within which the Giottesques had been satisfied to move; instead of the intelligible and solemn conventionalism of the Giottesques, we see only disorder, half-understood ideas and abortive attempts, confusion which reminds us of those enigmatic sheets on which Leonardo or Michael Angelo scrawled out their ideas—drawings within drawings, plans of buildings scratched over Madonna heads, single flowers upside down next to flayed arms, calculations, monsters, sonnets; a very chaos of thoughts and of shapes, in which the plan of the artist is inextricably lost, which mean everything and nothing, but out of whose unintelligible network of lines and curves have issued masterpieces, and which only the foolish or the would-be philosophical would exchange for some intelligible, hopelessly finished and finite illustration out of a Bible or a book of travels. Anatomy, perspective, colour, drapery, effects of light, of water, of shadow, forms of trees and flowers, converging lines of architecture, all this at once absorbed and distracted the attention of the artists of the early Renaissance; and while they studied, copied, and calculated, another thought began to haunt them, another eager desire began to pursue them: by the side of Nature, the manifold, the baffling, the bewildering, there rose up before them another divinity, another sphinx, mysterious in its very simplicity and serenity —the Antique.

The exhumation of the antique had, as we have seen, been contemporaneous with the birth of painting; nay, the study of the remains of antique sculpture had, in contributing to form Niccold Pisano, indirectly helped to form Giotto; the very painter of the Triumph of Death had inserted into his terrible fresco two- winged genii, upholding a scroll, copied without any alteration from some coarse Roman sarcophagus, in which they may have sustained the usual Dis Maniibus Sacrum. There had been, on the part of both sculptors and painters, a constant study of the antique; but during the Giottesque period this study had been limited to technicalities, and had in no way affected the conception of art. The mediæval artists, surrounded by physical deformities, and seeing sanctity in sickness and dirt, little accustomed to observe the human figure, were incapable, both as men and as artists, of at all entering into the spirit of antique art. They could not perceive the superior beauty of the antique; they could recognize only its superior science and its superior handicraft, and these alone they studied to obtain.

Giovanni Pisano sculpturing the unfleshed, caried carcases of the devils who leer, writhe, crunch, and tear on the outside of Orvieto Cathedral; and the Giottesques painting those terrible green, macerated Christs, hanging livid and broken from the cross, which abound in Tuscany and Umbria; the artists who produced these loathsome and lugubrious works were indubitably students of the antique; but they had learned from it not a love for beautiful form and noble drapery, but merely the general shape of the limbs and the general fall of the garments: the anatomical science and technical processes of Antiquity were being used to produce the most intensely un-antique, the most intensely mediæval works. Thus matters stood in the time of Giotto. His followers, who studied only arrangement, probably consulted the antique as little as they consulted nature; but the contemporary sculptors were brought by the very constitution of their art into close contact both with Nature and with the antique; they studied both with determination, and handed over the results of their labours to the sculptor-taught painters of the fifteenth century.

Here, then, were the two great factors in the art of the Renaissance—the study of nature, and the study of the Antique: both understand slowly, imperfectly; the one counteracting the effect of the other; the study of nature now scaring away all antique influence, the study of the antique now distorting all imitation of nature; rival forces confusing the artist and marring the work, until, when each could receive its due, the one corrected the other, and they combined, producing by this marriage of the living reality with the dead but immortal beauty, the great art of Michael Angelo, of Raphael, and of Titian: double, like its origin, antique and modern, real and ideal.

The study of the antique is thus placed opposite to the study of nature, the comprehension of the works of Antiquity is the momentary antagonist of the comprehension of the works of nature. And this may seem strange, when we consider that antique art was itself due to perfect comprehension of nature. But the contradiction is easily explained. The study of nature, as it was carried on in the Renaissance, comprised the study of effects which had remained unnoticed by Antiquity; and the study of the statue, --colourless, without light, shade, or perspective, hampered, and was hampered by, the study of colour, of light and shade, of perspective, and of all that a generation of painters would seek to learn from nature. Nor was this all; the influence of the civilization of the Renaissance, of a civilization directly issued from the Middle Ages, was entirely at variance with the influence of antique civilization through the medium of ancient art; the Middle Ages and Antiquity, Christianity and Paganism, were even more opposed to each other than could be the statue and the easel picture, the fresco and the bas-relief.

First, then, we have the hostility between painting --and sculpture, between the modus operandi of the modern and the modus operandi of the ancient art. Antique art is, in the first place, purely linear art, ¦colourless, tintless, without light and shade; next, it is essentially the art of the isolated figure, without background, grouping, or perspective. As linear art it could directly affect only that branch of painting which was itself linear; and as art of the isolated figure it was ever being contradicted by the constantly developing arts of perspective and landscape. The antique never directly influenced the Venetians, not from reasons of geography and culture, but from the fact that Venetian painting, founded from the earliest times upon a system of colour, could not be affected by antique sculpture, based upon a system of modelled, colourless form; the men who saw form only through the medium of colour could not learn much from purely linear form; hence it is that even after a certain amount of antique imitation had passed into Venetian painting, through the medium of Mantegna, the Venetian painters display comparatively little antique influence. In Bellini, Carpaccio, Cima, and other early masters, the features, forms, and dress are mainly modern and Venetian; and Giorgione, Titian, and even the eclectic Tintoret, were more interested in the bright lights of a steel breastplate than in the shape of a limb; and preferred in their hearts a shot brocade of the sixteenth century to the finest drapery ever modelled by an ancient.

The antique influence was naturally strongest among the Tuscan schools; because the Tuscan schools were essentially schools of drawing, and the draughtsman recognized in antique sculpture the highest perfection of that linear form which was his own domain. Yet while the antique appealed most to the linear schools, even in these it could strongly influence only the purely linear part; it is strong in the drawings and weak in the paintings. As long as the artists had only the pencil or pen, they could reproduce much of the linear perfection of the antique; they were, so to speak, alone with it; but as soon as they brought in colour, perspective, and scenery, the linear perfection was lost in attempts at something new; the antique was put to flight by the modern. Botticelli's crayon study for his Venus is almost antique; his tempera picture of Venus, with the pale blue scaly sea, the laurel grove, the flower-embroidered garments, the wisps of tawny hair, is comparatively mediæval; Pinturicchio's sketch of Pans and satyrs contrasts strangely with his frescoes in the library of Siena; Mantegna himself, supernaturally antique in his engravings, becomes comparatively trivial and modern in his oil-paintings. Do what they might, draw from the antique and calculate its proportions, the artists of the Renaissance found themselves baffled as soon as they attempted to apply the result of then linear studies to coloured pictures; as soon as they tried to make the antique unite with the modern, one of the two elements was sure to succumb. In Botticelli, draughtsman and student though he was, the modern, the mediæval, that part of the art which had arisen in the Middle Ages, invariably had the upper hand; his Venus, despite her forms studied from the antique and her gesture imitated from some earlier discovered copy of the Medicean Venus, has the woe- begone prudery of a Madonna or of an abbess; she shivers physically and morally in her unaccustomed nakedness, and the goddess of Spring, who comes skipping up from beneath the laurel copse, does well to prepare her a mantle, for in the pallid tempera colour, against the dismal background of rippled sea, this mediæval Venus, at once indecent and prudish, is no very pleasing sight. In the Allegory of Spring in the Academy of Florence, we again have the antique; goddesses and nymphs whose clinging garments the gentle Sandro Botticelli has assuredly studied from some old statue of Agrippina or Faustina; but what strange livid tints are there beneath those draperies, what eccentric gestures are those of the nymphs, what a green, ghostlike light illumines this garden of Venus Are these goddesses and nymphs immortal women such as the ancients conceived, or are they not rather fantastic fairies or nixen, Titanias and Undines, incorporeal daughters of dew and gossamer and mist? In Sandro Botticelli the teachings of the statue are forgotten or distorted when the artist takes up his palette and brushes; in his greater contemporary, Andrea Mantegna, the ever-present antique chills and arrests the vitality of the modern. Mantegna, the pupil of the ancient marbles of Squarcione's workshop even more than the pupil of Donatello, studies for his paintings not from nature, but from sculpture; his figures are seen in strange projection and foreshortening, like figures in a high relief seen from below; despite his mastery of perspective, they seem hewn out of the background; despite the rich colours which he displays in his Veronese altar-piece, they look like painted marbles, with their hard clots of stonelike hair and beard, with their vacant glance and their wonderful draperies, clinging and weighty like the wet draperies of ancient sculpture. They are beautiful petrifactions, or vivified statues; Mantegna's masterpiece, the sepia "Judith" in Florence, is like an exquisite, pathetically lovely Eurydice, who has stepped unconscious and lifeless out of a Praxitelian bas-relief. And there are stranger works than even the Judith; strange statuesque fancies, like the fight of Marine Monsters and the Bacchanal among Mantegna's engravings. The group of three wondrous creatures, at once men, fish, and gods, is as grand and even more fantastic than Leonardo's Battle of the Standard: a Triton, sturdy and muscular, with sea-weed beard and hair, wheels round his finned horse, preparing to strike his adversary with a bunch of fish which he brandishes above him; on him is rushing, careering on an osseous sea-horse, a strange, lank, sinewy being, fury stretching every tendon, his long-clawed feet striking into the flanks of his steed, his sharp, reed-crowned head turned fiercely, with clenched teeth, on his opponent, and stretching forth a truncheon, ready to run down his enemy as a ship runs down another; and further off a young Triton, with clotted hair and heavy eyes, seems ready to sink wounded below the rippling wavelets, with the massive head and marble agony of the dying Alexander; enigmatic figures, grand and grotesque, lean, haggard, vehement, and yet, in the midst of violence and monstrosity, unaccountably antique.. The other print, called the Bacchanal, has no background: half a dozen male figures stand separate and naked as in a bas-relief. Some are leaning against a vine-wreathed tub; a satyr, with acanthus-leaves growing wondrously out of him, half man, half plant, is emptying a cup; a heavy Silenus is prone upon the ground; a faun, seated upon the vat, is supporting in his arms a beautiful sinking youth; another youth, grand, muscular, and grave as a statue, stands on the further side. Is this really a bacchanal? Yes, for there is the paunchy Silenus, there are the fauns, there the vat and vine- wreaths and drinking-horns. And yet it cannot be a bacchanal. Compare with it one of Rubens's orgies, where the overgrown, rubicund men and women and fauns tumble about in tumultuous, riotous intoxication: that is a bacchanal; they have been drinking, those magnificent brutes, there is wine firing their blood and weighing down their heads. But here all is different, in this so-called Bacchanal of Mantegna. This heavy Silenus is supine like a mass of marble; these fauns are shy and mute; these youths are grave and sombre; there is no wine in the cups, there are no lees in the vat, there is no life in these magnificent colossal forms; there is no blood in their grandly bent lips, no light in their wide-opened eyes; it is not the drowsiness of intoxication which is weighing down the youth sustained by the faun; it is no grapejuice which gives that strange, vague glance. No; they have drunk, but not of any mortal drink; the grapes are grown in Persephone's garden, the vat contains no fruits that have ripened beneath our sun. These strange, mute, solemn revellers have drunk of Lethe, and they are growing cold with the cold of death and of marble; they are the ghosts of the dead ones of antiquity, revisiting the artist of the Renaissance, who paints them, thinking he is painting life, while that which he paints is in reality death. This anomaly, this unsatisfactory character of the works of both Botticelli and Mantegna, is mainly technical; the antique is frustrated in Botticelli, not so much by the Christian, the mediæval, the modern mode of feeling, as by the new methods and aims of the new art which disconcert the methods and aims of the old art; and that which arrests Mantegna in his development as a painter is not the spirit of Paganism deadening the spirit of Christianity, but the laws of sculpture hampering painting. But this technical contest between two arts, the one not yet fully developed, the other not yet fully understood, is as nothing compared with the contest between the two civilizations, the antique and the modern; between the habits and tendencies of the contemporaries of the artists of the Renaissance and of the artists themselves, and the habits and tendencies of the antique artists and their contemporaries. We are apt to think of the Renaissance as of a period closely resembling antiquity, misled by the inevitable similarity between southern and democratic countries of whatever age; misled still less pardonably by the Ciceronian pedantries and pseudo-antique obscenities of a few humanists, nd by the pseudo-Corinthian arabesques and capitals of a few learned architects. But all this was mere archæological finery borrowed by a civilization in itself entirely unlike that of ancient Greece. The Renaissance, let us remember, was merely the flowering time of that great mediæval movement which had germinated early in the twelfth century; it was merely a more advanced stage of the civilization which had produced Dante and Giotto, of the civilization which was destined to produce Luther and Rabelais. The fifteenth century was merely the continuation of the fourteenth century, as the fourteenth had been of the thirteenth; there had been growth and improvement; development of the more modern, diminishing of the more mediæval elements; but, despite growth and the changes due to growth, the Renaissance was part and parcel of the Middle Ages. The life, thought, aspirations, and habits were mediæval; opposed to the open-air life, the physical training and the materialistic religion of Antiquity. The surroundings of Masaccio and of Signorelli, nay, even of Raphael, were very different from those of Phidias or Praxiteles. Let us think what were the daily and hourly impressions given by the Renaissance to its artists. Large towns, in which thousands of human beings were crowded together, in narrow, gloomy streets, with but a strip of blue visible between the projecting roofs; and in these cities an incessant commercial activity, with no relief save festivals at the churches, brawls at the taverns, and carnival buffooneries. Men and women pale and meagre for want of air, and light, and movement; undeveloped, untrained bodies, warped by constant work at the loom or at the desk, at best with the lumpish freedom of the soldier and the vulgar nimbleness of the prentice. And these men and women dressed in the dress of the Middle Ages, gorgeous perhaps in colour, but heavy, miserable, grotesque, nay, sometimes ludicrous in form; citizens in lumpish robes and long-tailed caps; ladies in stiff and foldless brocade hoops and stomachers; artizans in striped and close-adhering hose and egg-shaped padded jerkin; soldiers in lumbering armour-plates, ill-fitted over ill-fitting leather, a shapeless shell of iron, bulging out and angular, in which the body was buried as successfully as in the robes of the magistrates. Thus we see the men and women of the Renaissance in the works of all its painters: heavy in Ghirlandajo, vulgarly jaunty in Filippino, preposterously starched and prim in Mantegna, ludicrously undignified in Signorelli; while mediæval stiffness, awkwardness, and absurdity reach their acme perhaps in the little boys, companions of the Medici children, introduced into Benozzo Gozzoli's Building of Babel. These are the prosperous townsfolk, among whom the Renaissance artist is but too glad to seek for models; but besides these there are lamentable sights, mediæval beyond words, at every street corner: dwarfs and cripples, maimed and diseased beggars of all degrees of loathsomeness, lepers and epileptics, and infinite numbers of monks, brown, grey, and black, in sack-shaped frocks and pointed hoods, with shaven crown and cropped beard, emaciated with penance or bloated with gluttony. And all this the painter sees, daily, hourly; it is his standard of humanity, and as such finds its way into every picture. It is the living; but opposite it arises the dead. Let us turn aside from the crowd of the mediæval city, and look at what the workmen have just laid bare, or what the merchant has just brought from Rome or from Greece. Look at this: it is corroded by oxides, battered by ill-usage, stained with earth: it is not a group, not even a whole statue, it has neither head nor arms remaining; it is a mere broken fragment of antique sculpture,—a naked body with a fold or two of drapery; it is not by Phidias nor by Praxiteles, it may not even be Greek; it may be some cheap copy, made for a garden or a bath, in the days of Hadrian. But to the artist of the fifteenth century it is the revelation of a whole world, a world in itself. We can scarcely realize all this; but let us look and reflect, and even we may feel as must have felt the man of the Renaissance in the presence of that mutilated, stained, battered torso. He sees in that broken stump a grandeur of outline, a magnificence of osseous structure, a breadth of muscle and sinew, a smooth, firm covering of flesh, such as he would vainly seek in any of his living models; he sees a delicate and infinite variety of indentures, of projections, of creases following the bend of every limb; he sees, where the surface still exists intact, an elasticity of skin, a buoyancy of hidden life such as all the colours of his palette are unable to imitate; and in this piece of drapery, negligently gathered over the hips or rolled upon the arm, he sees a magnificent alternation of large folds and small plaits, of straight lines, and broken lines, and curves. He sees all this; but he sees more: the broken torso is, as we have said, not merely a world in itself, but the revelation of a world. It is the revelation of antique civilization, of the palæstra and the stadium, of the sanctification of the body, of the apotheosis of man, of the religion of life and nature and joy; revealed to the man of the Middle Ages, who has hitherto seen in the untrained, diseased, despised body but a deformed piece of baseness, which his priests tell him belongs to the worms and to Satan; who has been taught that the monk living in solitude and celibacy, filthy, sick, worn out with fastings and bleeding with flagellation, is the nearest approach to divinity; who has seen Divinity itself, pale, emaciated, joyless, hanging bleeding from the cross; and who is for ever reminded that the kingdom of this Godhead is not of this world. What passes in the mind of that artist? What surprise, what dawning doubts, what sickening fears, what longings and what remorse are not the fruit of this sight of Antiquity? Is he to yield or to resist? Is he to forget the saints and Christ, and give himself over to Satan and to Antiquity? Only one man boldly answered, Yes. Mantegna abjured his faith, abjured the Middle Ages, abjured all that belonged to his time; and in so doing cast away from him the living art and became the lover, the worshipper of shadows. And only one man turned completely aside from the antique as from the demon, and that man was a saint, Fra Angelico da Fiesole. And with the antique, Fra Angelico rejected all the other artistic influences and aims of his time, the time not of Giotto or of Orcagna, but of Masaccio and Uccello, of Pollaiolo and Donatello. For the mild, meek, angelic monk dreaded the life of his days; dreaded to leave the cloister where the sunshine was tempered and the noise reduced to a mere faint hum, and where the flower-beds were tidy and prim; dreaded to soil or rumple his spotless white robe and his shining black cowl; a spiritual sybarite, shrinking from the sight of the crowd seething in the streets, shrinking from the idea of stripping the rags off the beggar in order to see his tanned and gnarled limbs; shuddering at the thought of seeking for muscles in the dead, cut-open body; fearful of every whiff of life that might mingle with the incense atmosphere of his chapel, of every cry of human passion which might break through the well-ordered sweetness of his chants. No; the Renaissance did not exist for him who lived in a world of diaphanous form, colour and character, unsubstantial and unruffled; dreaming feebly and sweetly of transparent-cheeked Madonnas with no limbs beneath their robes; of smooth-faced saints with well-combed beard and placid, vacant gaze, seated in well-ordered masses, holy with the purity of inanity; of divine dolls with pallid flaxen locks, floating between heaven and earth, playing upon lute and viol and psaltery; raised to faint visions of angels and blessed, moving noiseless, feelingless, meaningless, across the flowerets of Paradise; of assemblies of saints seated, arrayed in pure pink, and blue and lilac, in an atmosphere of liquid gold, in glory. And thus Fra Angelico worked on, content with the dearly purchased science of his masters, placid, beatic, effeminate, in an æsthetical paradise of his own, a paradise of sloth and sweetness, a paradise for weak souls, weak hearts, and weak eyes; patiently repeating the same fleshless angels, the same boneless saints, the same bloodless virgins; happy in smoothing the unmixed, unshaded tints of the sky, and earth, and dresses; laying on the gold of the fretted skies, and of the iridescent wings, embroidering robes, instruments of music, halos, flowers, with threads of gold.... Sweet, simple artist saint, reducing art to —something akin to the delicate pearl and silk embroidery of pious nuns, to the exquisite sweetmeat cookery of pious monks; a something too delicately gorgeous, too deliciously insipid for human wear or human food; no, the Renaissance does not exist for thee, either in its study of the existing reality, or in its study of antique beauty.

Mantegna, the learned, the archæological, the pagan, who renounces his times and his faith; and Angelico, the monk, the saint, who shuts and bolts his monastery doors and sprinkles holy water in the face of the antique; the two extremes, are both exceptions. The innumerable artists of the Renaissance remained in hesitation; tried to court both the antique and the modern, to unite the Pagan and the Christian—some, like Ghirlandajo, in cold indifference to all but mere artistic science, encrusting marble bacchanals into the walls of the Virgin's paternal house, bringing together, unthinkingly, antique-draped women carrying baskets, and noble Strozzi and Ruccellai ladies with gloved hands folded over their gold brocaded skirts; others, with cheerful and childlike pleasure in both antique and modern, like Benozzo, crowding together half- naked youths and nymphs treading the grapes and scaling the trellise with Florentine magnificos in plaited skirts and starched collars, among the pines, and porticos, the sprawling children, barking dogs, peacocks sunning themselves, and partridges picking up grain, of his Pisan frescoes; yet others using the antique as mere pageant shows, allegorical mummeries, destined to amuse some Duke of Ferrara or Marquis of Mantua, together with the hurdle races of Jews, hags, and riderless donkeys.

Thus little by little the antique amalgamates with the modern; the art born of the Middle Ages absorbs the art born of Paganism; but how slowly, and with what fantastic and ludicrous results at first; as when the anatomical sculptor Pollaiolo gives scenes of naked Roman prize-fighters as martyrdoms of St. Sebastian; or when the pious Perugino (pious at least with his brush) dresses up his sleek, hectic, beardless archangels as Roman warriors, and makes them stand, straddling beatically on thin little dapper legs, wistfully gazing from beneath their wondrously ornamented helmets on the walls of the Cambio at Perugia; when he masquerades meditative fathers of the Church as Socrates and haggard anchorites as Numa Pompilius; most ludicrous of all, when he attires in scantiest of --clinging antique drapery his mild and pensive Madonnas, and, with daintily pointed toes, places them to throne bashfully on allegorical chariots as Venus or Diana.

Long is the period of amalgamation, and small are the results throughout that long early Renaissance. Mantegna, Piero della Francesca, Melozzo, Ghirlandajo, Filippino, Botticelli, Verrocchio, have none of them shown us the perfect fusion of the two elements whose union is to give us Michael Angelo, Raphael, and all the great perfect artists of the early sixteenth century; the two elements are for ever ill-combined and hostile to each other; the modern vulgarizes the antique, the antique paralyzes the modern. And meanwhile the fifteenth century, the century of study, of conflict, and of confusion, is rapidly drawing to a close; eight or ten more years, and it will be gone. Is the new century to find the antique still dead and the modern still mediæval?

The antique and the modern had met for the first time and as irreconcilable enemies in the cloisters of Pisa; and the modern had triumphed in the great mediæval fresco of the Triumph of Death.. By a strange coincidence, by a sublime jest of accident, the antique and the modern were destined to meet again, and this time indissolubly united, in a painting representing the Resurrection. Yes, Signorelli's fresco in Orvieto Cathedral is indeed a resurrection, the resurrection of human beauty after the long death-slumber of the Middle Ages. And the artist would seem to have been dimly conscious of the great allegory he was painting. Here and there are strewn skulls; skeletons stand leering by, as if in remembrance of the ghastly past, and as a token of former death; but magnificent youths are breaking through the crust of the earth, emerging, taking shape and flesh; arising, strong and proud, ready to go forth at the bidding of the Titanic angels who announce from on high with trumpet blast and waving banners, that the death of the world has come to an end, and that humanity has arisen once more in the youth and beauty of Antiquity.

Signorelli's frescoes at Orvieto, at once the "latest works of the fifteenth century, and the latest works of an old man nurtured in the traditions of Benozzo Gozzoli and of Piero della Francesca, mark the beginning of the maturity and perfection of Italian art. From them Michael Angelo learns what he could not be taught even by his master Ghirlandajo, the grand and cold realist. He learns; and what he has learned at Orvieto he teaches with doubled force in Rome; and the ceiling of the Sixtine Chapel, the superb and heroic nudities, the majestic draperies, the reappearance in the modern art of painting of the spirit and hand of Phidias, give a new impulse and hasten on perfection. When the doors of the chapel are at length opened, Raphael forgets Perugino; Fra Bartolomeo forgets Botticelli; Sodoma forgets Leonardo; the narrower hesitating styles of the fifteenth century are abandoned, as the great example is disseminated throughout Italy; and even the tumult of angels in glory which the Lombard Correggio is to paint in far-off Parma, and the daringly simple Bacchus and Ariadne with which Tintoret will decorate the Ducal Palace more than fifty years later—all that is great and bold, all that is a re-incarnation of the spirit of Antiquity, all that marks the culmination of Renaissance art, seems due to the impulse of Michael Angelo, and, through him, to the example of Signorelli. From the celestial horseman and bounding avenging angels of Raphael's Heliodorus, to the St. Sebastian of Sodoma, with exquisite limbs and head, rich with tendril-like locks, delicate against the brown Umbrian sunset; from the Madonna of Andrea del Sarto seated, with the head and drapery of a Niobe, by the sack of flour in the Annunziata cloister, to the voluptuous goddess, with purple mantle half concealing her body of golden white, who leans against the sculptured fountain in Titian's Sacred and Profane Love, with the greenish blue sky and hazy light of evening behind her; from the most extreme examples of the most extreme schools of Lombardy and Venetia, to the most intense examples of the remotest schools of Tuscany and Umbria; throughout the art of the early sixteenth century, of those thirty years which were the years of perfection, we see, more or less marked, but always distinct, the union of the living art born of the Middle Ages with the dead art left by Antiquity, a union producing life and perfection, producing the great art of the Renaissance.

This much is clear and easy of definition; but what is neither clearly understood nor easily defined is the nature of this union, the manner in which the antique and the modern did thus amalgamate. It is easy to speak of a vague union of spirit, of the antique idea having permeated the modern; but all this explains but little: art is not a metaphysical figment, and all its phases and revolutions are concrete, and, so to speak, physically explicable and definable. The union of the antique with the modern meant simply the absorption by the art of the Renaissance of elements of civilization necessary for its perfection, but not existing in the medieval civilization of the fifteenth century; of elements of civilization which gave what the civilization of the fifteenth century—which could give colour, perspective, grouping, and landscape—could never have afforded: the nude, drapery, and gesture. The naked human body, which the Greeks had trained, studied, and idolized, did not exist in the fifteenth century; in its stead there was only the undressed body, ill-developed, untrained, pinched, and distorted by the garments only just cast off; cramped and bent by sedentary occupations, livid with the plague-spots of the Middle Ages, scarred by the whipmarks of asceticism. This stripped body, unseen and unfit to be seen, unaccustomed to the air and to the eyes of others, shivered and cowered for cold and for shame. The Giottesques ignored its very existence, conceiving humanity as a bodiless creature, with face and hands to express emotion, and just enough malformed legs and feet to be either standing or moving; further, beneath the garments, there was nothing. The realists of the fifteenth century tore off the clothes and drew the ugly thing beneath; and bought the corpses from the lazar-houses, and stole them from the gallows; in order to see how bone fitted into bone, and muscle was stretched over muscle. They learned to perfection the anatomy of the human frame, but they could not learn its beauty; they became even reconciled to the ugliness they were accustomed to see; and, with their minds full of antique examples, Verrocchio, Donatello, Pollaiolo, and Ghirlandajo, the greatest anatomists of the fifteenth century, imitated their coarse and ill-made living models when they imagined that they were imitating antique marbles. So much for the nude. Drapery, as the ancients understood it in the delicate plaits of Greek chiton and tunic, in the grand folds of Roman toga, the fifteenth century could not show; it knew only the stiff, scanty raiment of the active classes; the shapeless masses of lined cloth of the merchants and magistrates; the prudish and ostentatious starched dress of the women; and the coarse, lumpish garb of the monks. The artist of the fifteenth century knew drapery only as an exotic, an exotic with whose representation the habit of seeing mediæval costume was for ever interfering; on the stripped, unseemly, indecent body he places, with the stiffness of artificiality, drapery such as he has never seen upon any living creature; the result is awkwardness and rigidity. And what attitude, what gesture, can he expect from this stripped and artificially draped model? None, for the model scarce knows how to stand in so unaccustomed a condition of body. The artist must seek for attitude and gesture among his townsfolk, and among them he can find only trivial, awkward, often vulgar movement.

They have never been taught how to stand or to move with grace and dignity; the artist must study attitude and gesture in the market-place or the bull-baiting ground, where Ghirlandajo found his jauntily strutting idlers, and Verrocchio his brutally staggering prize- fighters. Between the constrained attitudinizing of Byzantine and Giottesque tradition, and the imitation of the movements of clodhoppers and ragamuffins, the realist of the fifteenth century would wander hopelessly were it not for the antique. Genius and science are of no avail; the position of Christ in baptism in the paintings of Verrocchio and Ghirlandajo is mean and servile; the movements of the "Thunder-stricken" in Signorelli's lunettes is an inconceivable mixture of the brutish, the melodramatic, and the comic; the magnificently drawn youth at the door of the prison in Filippino's Liberation of St. Peter is gradually going to sleep and collapsing in a fashion which is truly ignoble. And the same applies to sculptured figures or to figures standing isolated like statues; no Greek would have ventured upon the swaggering position, with legs apart and elbows out, of Donatello's St. George, or Perugino's St. Michael; and a young Athenian who should have assumed the attitude of Verrocchio's David, with tripping legs and hand clapped on his hip, would have been sent to sit in a corner as a saucy little ragamuffin.

Coarse nude, stiff drapery, vulgar attitude, was all that the fifteenth century could offer to its artists; but Antiquity could offer more and very different things: the naked body developed by the most artistic training, drapery the most natural and refined, and attitude and gesture regulated by an education the most careful and artistic; and all these things Antiquity did give to the artists of the Renaissance. They did not copy antique statues as living naked men and women, but they corrected the faults of their living models by the example of the statues; they did not copy antique stone draperies in coloured pictures, but they arranged the robes on their models with the antique folds well in their memory; they did not give the gestures of statues to living figures, but they made the living figures move in accordance with those principles of harmony which they had found exemplified in the statues.

They did not imitate the antique, they studied it; they obtained through the fragments of antique sculpture a glimpse into the life of antiquity, and that glimpse served to correct the vulgarism and distortion of the mediæval life of the fifteenth century. In the perfection of Italian painting, the union of antique and modern being consummated, it is perhaps difficult to disentangle what really is antique from what is modern; but in the earlier times, when the two elements were still separate, we can see them opposite each other and compare them in the works of the greatest artists. Wherever, in the paintings of the early Renaissance, there is realism, marked by the costume of the times, there is ugliness of form and vulgarity of movement; where there is idealism, marked by imitation of the antique, the nude, and drapery, there is beauty and dignity. We need only compare Filippino's Scene before the Proconsul with his Raising of the King's Son in the Brancacci Chapel; the grand attitude and draperies of Ghirlandajo's Zachariah with the vulgar dress and movements of the Florentine citizens surrounding him; Benozzo Gozzoli's noble naked figure of Noah with his ungainly, hideously dressed figure of Cosimo de' Medici; Mantegna's exquisite Judith with his preposterous Marquis of Mantua; in short, all the purely realistic with all the purely idealistic painting of the fifteenth century. We may give one last instance. In Signorelli's Orvieto frescoes there is a figure of a young man, with aquiline features, long crisp hair and strongly developed throat, which reappears unmistakably in all the compositions, and in some of them twice and thrice in various positions. His naked figure is magnificent, his attitudes splendid, his thrown-back head superb, whether he be slowly and painfully emerging from the earth, staggered and gasping with his newly infused life, or sinking oppressed on the ground, broken and crushed by the sound of the trumpet of judgment; or whether he be moving forward with ineffable longing towards the angel about to award him the crown of the blessed; in all these positions he is heroically beautiful. We meet him again, unmistakable, but how different, in the realistic group of the "Thunder-stricken"—the long, lank youth, with spindle-shanks and egg-shaped body, bounding forward, with most grotesque strides, over the uncouth heap of dead bodies, ungainly masses with soles and nostrils uppermost, lying in beast-like confusion. This youth, with something of a harlequin in his jumps and his ridiculous thin legs and preposterous round body, is evidently the model for the naked demi-gods of the Resurrection and the Paradise: he is the handsome boy as the fifteenth century gave him to Signorelli; opposite, he is the living youth of the fifteenth century idealized by the study of ancient sculpture; just as the "Thunder-stricken" may be some scene of street massacre such as Signorelli might have witnessed at Cortona or Perugia; while the agonies of the "Hell" are the grouped and superb agonies taught by the antique; just as the two arch-angels of the "Hell," in their armour of Baglioni's heavy cavalry, may represent the modern element, and the same archangels, naked, with magnificent flying draperies, blowing the trumpets of the Resurrection, may show the antique element in Renaissance art. The antique influence was not, indeed, equally strong throughout Italy; it was strongest in the Tuscan school, which, seeking for perfection of linear form, found that perfection in the antique; it was weakest in the Lombard and Venetian schools, which sought for what the antique could not give, light and shade and colour; the antique was most efficacious where it was most indispensable, and it was more necessary to a Tuscan, strong only with his charcoal or pencil, than to Leonardo da Vinci, who could make an imperfect figure, beckoning mysteriously from out of the gloom, more fascinating than the finest drawn Florentine Madonna, and could surround an insignificant childish head with the wondrous sheen and ripple of hair, as with an aureole of poetry; it was also less necessary to Giorgione and Titian, who could hide coarse limbs beneath their draperies of precious ruby, and transfigure, by the liquid gold of their palettes, a peasant woman into a goddess. But even the Lombards, even the Venetians, required the antique influence. They could not perhaps have obtained it direct like the Tuscans: the colourists and masters of light and shade might never have understood the blank lines and faint shadows of the marble; but they received the antique influence, strong but modified by the medium through which it had passed, from Mantegna; and the relentless self-sacrifice to Antiquity, the self-paralyzation of the great artist, was not without its use: from Venetian Padua, Mantegna influenced the Bellini and Giorgione; from Lombard Mantua, he influenced Leonardo; and Mantegna's influence was that of the antique.

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