maps. (The
was provided
for Renaissance
book may be
deals
only
with
his
particu-
educated
lay-
do not need
In recent years,
been
the English-speaking
of
and sculpture strike
no
matter
how
strict
the
conventions
story
of
ele-
mentary
information
about the same num-
for such
meetings, preferably
being
used
classes
students
printed here (notably
book,
for
which
missing
information
will
be
most
welcome
from
producing
when
it
various beautiful
have
benefited
steal space
1
16
Botticelli
and
141
PARTTWo
IHF
3.
150
4.
Sculpture 214
Titian's Later
322
Nicolaus
of Rogier
Renaissance
Flemish
Painting
362
and Sculpture 381
Palaces and Other Buildings in Spain
392
Palaces
398
The
409
before El
Architects
437
iously affected
be
small extent. The book is the
definition. But a
desire remains to
The easiest
such
a
to
tilings
in
the
role, so that the cjualiiies of the things in
the
world
can
artists must report
find a means i
visual
j
truth.
The
|
visible
world,
people is in
to the
Individual
that
place.
on the
of Impressionism),
 
we m y think of the arts of the Renaissance affected
by the
conditions natural
High
Renaissance
that
hap-
sculpture,
just
aissance
the
lead
It
seems
character-
from
one
medium
to
value
given
to
all-embracing
for the
and
of
the
international
into more modest,
European
theoretical formula-
the
seven-
teenth
century,
into
that
even
the
rejection
when
we
The career of
but his imagination
(like Picasso); or
by a
suspicious
of an artist who is committed to his social structure
and
works
himself, but we
raise
such
would resent him if he did anything else. To accept
this
motivation
in
way
that
anthropology
has
attitudes to
but
Western
such as the
helpfully
Such general connections are in part stimulat-
ing
but
is
of the Ba-
end of
torians, though
Renaissance innovations
modified,
modifications
occur
Hein-
rich
Wolfflin's
broader
symbolized by Louis
of
philosophic
pothesis
would
may be that a mutation in
culture is likely to happen
in a place
Renaissance either
never came
and Byzantine artists
many
talented
dy is
among
all
the
by
their
cru-
bronze
sculptures.
or
two
body,
but.
to transmit social in-
now
line pat-
con-
vention
only what we
elements whose
can
than a
in both his
the
crucifixes
are
still
5.
Giunta
Pisano.
Cross.
1250.
ordinate elements
He
was
stimulat-
in Pisa
then
had,
at
most,
ed
the
of
dense
understand
the
relationship
to
of a
Roman base.
angles, as n Reims,
his second
swarming life we
slab
be labeled  Italian High
a
created
a
Italy, and the
trained
in an
unexpected rhythm.
in
the
pulpit
for
1301;
figs.
9,
10),
carved scenes. Small
down to
large
ence,
are
how
far
the
later
his
supervision
and
a
that remain in all Arnolfo's carving.
14.
Arnolfo
di
Cambio.
Effigy
is
still
com-
pletely
Byzantine
in
his
that
most
lines
(fig.
ifi).
of
craftsmanship
color in
at the same
altarpiece in
Siena, one
him
that
survive.
da Siena, is
given
The greatest
surviving
work
is
painted
servative, omitting
lines in
to
Giovanni
Pisano's.
While
unrealistic Byzantine
vocabulary and
not involved with
where
surface
painting,
city
There
Pietro
Caval-
lini
(docs.
1273-1308)
the
mosaics that
look like
stroke, distinct
that of the spatial
ings constructed like
more complex
and
with
se-
ries
the
lower
in
work
independent
work
thin
Its
vehicle
the
error
would
not
change
his
life.
was
anx-
but that order
fKJor
society, feudal to capi-
will
yield
were some
a
central
might make
Comedy, saying
of fashion
to do
Padua, near Venice.
of
a
rich
banker,
Its
ftescoes
and
her
parents
Joachim
and
Detailed
temple
shepherds, his employees
of the
usual
distractions
a drama, a
more subdivided,
Madonna
(fig.
25),
2).
This
Pisano's Herod
Pisano's
similar
apparent
in
1328-1348)
altarpieces
emphasis
have
they turn before
are
all
 
sudden
controlled
vision.
us
faces and
strict lines
wars fought
Roman
Empire,
while
Florence
had
figs. 8,
character of Si-
(see
colorplate
2).
prophets; Duccio's is
crystallized
and
the
Madonna's
in a
Angels.
1285.
Panel,
and show the stimulus
and
less
Gothic of northern
of a flat patterned wall
that
resembles
was
the
widest
panel
underneath
up like
to the heart
in
swiveling
Christ, a
there
is
a
shortly
after
1300
the
finest
ones
Giotto.
with
two
mysterious
names.
.A
preserved
anywhere,
rival
of
Giovanni
Pisano
even
Reims,
making
but
time,
and
the
Last
Judg-
int'iit,
the elaborate tomb
much
emperor between standing
like .Arnolfo's. The
emperor is a
the counselors
are the
tough cubes,
articulated with
where
he
tone that later,
through indirect (hannels.
will ^ti^lulate
time.
Jewel-
like
around
brothers, Andrea
(docs. i344?-d.
Dominican
order,
Santa
with
and theolo-
cele-
are
43.
Okc.Mj.sa.
among
Saints
(see
colorplate
I'aradise, where
saints appear
giacefuUv
curving.
It
sol-
dier
in
between
prevents
its vehicle.
 
to produce
the
The
but it
has had
additional
baid, based
plaic
t),
fig.
(2).
leiuurv
is
pre-
dominantly
activities
.\rnolfo, and
away to .Avignon in
wan-
gna. In Vitale dei Cavalli (dots.
1334-
13,59).
known
elsewhere
as
Vitale
witii a dashing
there
minican saints, all WTitingat
suffered from
generation, near
in
Padua
Baptistery
this period is a
to
imitate
Tino
di
Camaino
(d.1329;
fig.
53),
Gothic, decorative,
doors
were
public,
of the
a
no
less
solid
again
explore
52
Croce.
Flurence
figures
it is that Gentiles faces
are not
the
little
and Rome, little
in
the
most
(color-
plate
1
1),
62).
The
cof-
fin
of
Isaac
such
ma,
Jacopo's
surface,
and
the
swelling
was
being
thought
Workings
The
1401-2
Florence
was
the
Baptist
(1412-15),
classical
Saiut
Matthew
(1419-22),
standing
seriously
in
a
and
hands.
The
classi-
cal
pose
sentinel.
stretch
is
choreographed
a
tendency
to
treat
the
world
as
design,
and
an
Baroque).
His
in-
ventiveness
tional
to
steps and passages.
but the Fiaiinbtan
articulate
the
cup in
structure
and
ulation
original in replacing
of building it in
white
ribs
(fig.
77).
Such
as since
for the people
1419-26.
Height
(including steps
The
plan
of
Santo
Spirito
(begun
14.S6;
fig.
81)
church,
giv-
room with
Gilded
bronze,
31
combines
the
ordinary
aa.
to front;
changes
also
pays
iweiitv-seven.
relief
sculpture,
and
similarly
Masaccio's.
Measured
walled
are a yardstick of
the smoothly
apparatus of
lier
in
his
gave him
kept
trying
out
in
difficult
special
cases
in
than the
things pleased him for their own sake. The fresco of
Noah's Flood (colorplate
many
works
of
 Doors of
notice).
the
6'
x
the
form, Domenico
da
Fabriano
Adnration
of
the
Magi,^^
watched Masaccio
the start.
a full-fledged painter,
justifving
painting was alsosuperbly sure in drawing, sharpen-
ing the contours to catch
gestures and movements.
His space accepts
fourteenth-century formulas
His
Madonna
less appreciated
1400
time. The
context ofartist-personalities, most successful artists
in mid-career
but the
age;
George and other
produced
prophets for the Bell Tower of Florence Cathedral.
They take the contrast
that the artist has pulled
at
with
rapid
pressures,
Donatello
was
also
carved, yet
(see
fig.
79),
located
overhead
works are typical of
saw classical
remains. With
medieval
books,
which
and third
architecture
tating Rome, and in
others,
whom
faulty execu-
tion, and
church,
San
front the first
arch and two
the thickness of the
dramatic units,
arch contrast-
Or
seen
walling
the
.\lberti, that man
form and
space yields,
Figures
stand
before
rama, all
tine soldier-statesmei\
Dona-
to
painted
figures.
Saint
Sebas-
Medici
town
house
(1460).
precision of
line, high
low
statuesquely
isolated
above
the
world,
cal
skill
probably en-
any distinguished painter or
inserted in a fourteenth-century altar.
''
design perspec-
cessors, and may thus suggest that it
seemed old-
fashioned to
the mod-
b\
the onl\
first theorist
scholastics
in
Florence
the close relations of
after
about
1450.
.At
mid-century
the
cavalcade
with
golden
ornament.
.At
its
two
and C ,astagno.
Lippi,
and
in
worked
for
horse
literally
from
and
even
tators
them
all
yet that did
line, and
seems
ernacles to
well
accepting the formulas of Bernardo. In his time he
was
labeled
 lovely
is
not
so
thin smiles
and alabaster
Castagno-like
Saint
Sebastian
(fig.
1
16),
spiral
brother's
decora-
tive
boxed
bust, such as
though
interested
tury
and
medieval
comfortablv
realistic
(fig.
120).
His
of
anv
immediate
of him. When some of the more
poster-like
paint-
ings
related
to
to
modern
Florence,
especially
good-
ated
with
a
with
of Ghiberti's bodily flexibil-
ab-
Veneziano
to jump into the Renaissance
is made by Vecchietta
did
much
work
away
chelozzo, who was at
have
an art that is satisfactorily Renaissance
but tio
and soon
that
most famous
(fig.
123;
colorplate
18).
the rel-
cross in
and
shows
But at this point Piero's
work
seems
to
have
been
inteiTupted
by
space
measure-
ments.
123.
tire ways of re-
native town of
work
of
about
1447.^
Piero's
the famous
They
stand
with
in coiniection
with Cezanne
and Seurat.
In later
nottunial
a similar
on reworking
the carlv twentieth
in
1423
was
in
Florence,
subtle
amendment
to
have
taken
two
objects; both are
soon mixed
gieat noinevolutionaiy
on anv
(see fig.
him, again,
\isual innovation
at independent
we
may
infer
from
not
Stoty oj iht
(jVlt^U^U.
and
the
which .Mantegna
sorts of
picture plane
established by
fifteenth<en-
in
emerged,
paint-
ers
10
Donatellos
the
metal
filigree
of
twining
frescoing
a
pleasure
villa
application
of
yet
in a
forceful discharge,
of
violence.
All
lozenge
patterns
that
move
athletes (see figs.
of his bronzes,
that
we
busts of the
fig.
109),
com-
smiling
the
modula-
bronze ornament, but
for
niche Christ stands and
touch
His
handled.
large
irregu-
larities
of
the
stringy
Verrocchio,
too,
(1481;
fig.
143),
but
decorative
and
more
earlier
strength of the
these diverse
at Ferrara;
the style
space.
After
the
king's
the
provincial
was
normal
Mary, and secular portraits. They
are
of
a
verv
ing lip or
of
space
nello all the time. One larger panel of
SainI Sehas-
but the cylinder of
his
wanderings,
medals,
the
portraits of
sud-
traits
him,
space
in
Pollaiuolo's
Hercules
to
The patrons
1500.
Canvas.
43
comparative
was
Botticelli's
works,
order.
A
more
between
the
like
from it.
Perugino (docs.
lo
Sainl
Peler
(colorplate
21),
Behind
which
we
sky. Here the sym-
less
intense
effect.
in
work
154)
square pillar,
of
gradually
them
to
the
did
his
many
followers.
Just
Reversing Perugino's
with
thesis that is
in
of
Christ,
even
flesh, ^'et it also
Signorellis people remain constructed
doubt gained
emotional distance
work.
Me-
lozzo
were
dominated
by
loose
and
that
Forli
according
to
Me-
lozzo's.
With
Melozzo's impres-
Sixtus
IV
(detached),
g'g
X
7'io .
own
retreat. It is isolated by being
built
im-
replacement
of
a ser-
is skillfully
he has
been called
is
with active elaborations of perspective,''*
his
later
drawings of
effect is
decoration, not
and indeed
Crivelli had
Benozzo
1465-3^1507), Jacopo's
painter,
senate
for
we have some
of
narratives
San Giovanni Evangelista (149B-1501;
centering on its relic
minute linear
portraits
of
to the eighteenth century. Splendor accrues from
associations
Mantegna's images
that
gives
ample
by geometry; suitable
geometry but
from
the
trumpets. This shape
his art between
society
(1502-7).
In
his friend
in
Heaven,
and
this
the subtle
light flood-
the chairs and
papers have been
pushed aside. This
unity
their
qualities.
S. Maria dei Miracoli, Venice.
Compk-ted
1489.
52'
x
38'
creating
cool
light,
harmonious
proportions,
and
Coducci, a heavily framed
ornamentation.
and
brothers. Cristoforo
Their
carving
all
over
so
as
provincial
ornament
48
F^anel.
more optical;
the viewer's
as
oddly jointed
in Ecstasy
the subject,
making people
pleasingly warm. Light's
in works
Both
strange
Sn<
ri-d
Giovanni
does
not
comprehensible.
Here
who, like Doiiatello, de-
beautifully
adjust-
ed
sun
(fig.
173).
In
Thrologica, written
Ser\'i,
S. Croce, Florence: life of St.
Francis, Bardi Chapel
Pinacoteca.
Siena.
Siena
altarpiece, now dispersed
in numerous collections).
Museo
deirOpera
del
Duomo.
Siena.
13.
Tino
di
Camaino.
tomb
of
Child with
Saints, Annunciation,
and Assumption.
two
S.
.Marco,
Florence.
29.
Museo di
1521.
39.
theme
62. Battista
note
49.
63.
Antonio
di
phy
of
Brunelleschi.
64.
Bust
45.
Desiderio
da
Cardinal
Perspective
Montejeltro,
Count
of
L'rbino.
and
Battista
Sforza.
Countess
of
L'rbino.
Uffizi
Galler\\
Florence.
Triumph
of
countess' panel. The Triumph
Theological
Virtues.
50.
Giovannino
56. Jacopo
Bellini, .Madonna
and Child,
.^ccademia, Venice
Rome.
69.
Benedetto
da
Sistine Chapel wall frescoes: left wall, scenes from the life
of
Moses;
right
wall,
scenes
Rosellt.
Pinturicchio.
Piero
di
Cosimo.
71.
Perugino,
Pope Pius II (Aeneas
d'.Aracoeli,
Rome.
75.
Luca
Signorelli,
Scourging
of
Basilica
of
by
many
o
but
they
are
in
different
ways.
One
and sits up
as
landscape that is a con-
tinuum of
level has been mas-
to turn a
new side. Life
had created
was felt
(so
older
in honor); later generations
probabh
brown tone
be leaning
with
the
process
the
showed two groups meeting each other in profile,
the Holy Family and the Three Magi, a natural
treatment. Leonardo
central emphasis and
thus a stronger focus on the Holy Family. He is like
a
scientist
tion
177).
The
suits Leonardo,
thirteen people like
the spontaneous
it in tlie usual
bv
granted. He
man on a leaping horse, using a
design
seen
on
Roman
coins,
but
had
failed.
in adding
piled
—all use sensibility
comedy of the
modeled but
their gestures
Leo-
Death
of
landscape.
A
head
of
real
his
a
interesting
in
secular
villa
about
inflexible poles
Foppa,
where
during the same
but
is
strange
engiaving,
to painters,
parallel to
an
architect.
His
remodeling
of
with
the
convex
mass,
and
windows
Decisive managing
units,
alternate
to Bramante.
barrel
arm to
suggestion is made
Santa ,\Iaria
cosmos, but
it is
and studying
career among
the many
(1504)
as
equal
forces,
thus
the original modules. .Attached to the piers are not
classical half
the
unity
of
shrine built
 
defining the High
within which
Vatican,
Rome.
1506.
544'
square
(anonymous
plants, a sinuous-
reduction of the
formed
republican
government
intended
and the
artist.
Horses
leap
interlocked,
painting
was
\56
his anatomical studies,
anatomy as physi-
text-
books,
speculated
about
that had covered
the
drawings
physical
experiments
to
personal feeling or
a dramatic creation.
stayed in
then prac-
objects
and
men
and
centaurs
outdoor
space.
It
was
followed
Medici
(courtesy Courtauld
Institute of
undramatic local
from
just traced
the area.
204),
where
shift-
ing
curved
line
portraits while continuing
This is when
and child
enclosing each
other reciprocally.
painters, are com-
will
resemble
In the resulting Stanza
groups
of
evades lining
them up
turn their
a
muse's
con-
tinuous
feet.
Homer
very
to a scTibe who twists
his head
With this work,
The famous
tones,
as
a
was what
Andrea needed
as a
strict balances between soft parts.
A
classic
instance
of
twehe
figures, while
this by
idea
scenes taken
three of .A.dam
of
and
others).
Michelangelo
first
painted
the
last
scenes
and
the
adjacent
prophets
and
about the
Sibyl is a sym-
[.zekiel
and responding
Thus
we
ate
given
the
the
and
expelled
(fig.
213)
will bring.
goes through the
the
stable beginning.
difficult
Libyan
Sihyl
In
returning to
the pope's
the
lived
longer.
But
ihequalitiesof
the
modern
different
proving
Sainl Peter
and
having
a
variant
oftheguardsat
thesides.
This
luminous
the
angel
us recurs
Heliodorns a tiny praying figure
at the far end of the funnel triggers the action, and
its results are
figures. The
Incendio
(1514-' )
in
stops
of
curves packed
fresco of
changed to a
tight and loose. .Such
power, high,
events
MiiniiJ.Tiing to
most younger
(from
1504),
consisting
(It
using
the
thickness
of
that
of
But
villa
and giving the
X'atican the scale
two conidors,
(WO big
ni( lies
contains
sliops;
a
livelv
in-
andout
1515.
Height
48'9 ,
21
'4
square
223.
A.NTONIO
da
Sa.NGALLO
dimension.
268).
friend
Bramante,
Orefici
the inside
interior, the very
Villa
Madama,
Facade,
Palazzo
Farnese.
Rome.
1534-46.
95'
X
195'
taken
over
his life
Rome
Mint
(1523-24;
fig.
223).
It
Bramante's
scheme
the
vocabulary
(1539)
equal-armed
Its
front
omits
all
window
framing is
built, but in the
palette are
pastoral
poetry
which
rejects
Yoit Like It.
230.
Jacopo
by a
pheric sweep.
paintings,
engraved
linear
style,
wilted lilies. This was developed from some
late
iiad been
Grien.
He
view-
opinion
craftsmen,
and
master. The engravings
(fig.
232),
all
in
small
corners
handling
relating the
land-
a
'dotted manner.
over
figure is
Tullio l.ombardo
when
a
portrait
something
specific
spent years
Antonio, Padua
figurines (fig.
to distinguish
city of Bergamo,
in that town is
(docs.
1509-1547);
offers
a
traditionally labeled  .^riosto. ^
blond nudes are all
backed up by heavy
but the
women are
Ovid's
Metamorphoses,
the
Fall
of
was
certainly
interesting
to
Raphael,
silhouettes of
surfaces
in
a
deep
mooidit
regional style. Bologna
Boccaccino
painted many crisph
broad swashy
brush stroke
equally
down-to-earth
earlier to accompany
recorded in
date were
often far
nervously with fantasy figures,
cheek, often in rags
ideas. After
two sets
grand seated
figure wearing
tone.
dog and
Titian's
Woman
Taken
in
Adiil-
Physicallv
emphatic
people
height and spatial
to
his
the
ures,
more like one
sumption
(1516-18;
fig.
243)
reverts
the
end
focus.
and clouds
following years, using
begun by Giovanni
At forty he
with
the
monumen-
perhaps also the spatial
Christ's
road
be-
tween
tween him
mingled with
of
twisted
mythologies,
more easily exploited. .As
and holds
of
Correggio;
he
died
privately about
to
imprison
them
a
big
of
251.
Michelangelo.
5/(ji/
Xight in
214),
ulate
blindness,
Ban-
difficult
drawings
he was an effective teacher. Perhaps he can be most
happily remembered
night
1540s
del
Sarto,
was
reflects unsureness, but
positive
longer
easy
strangely shoots
us. Then in the
of
the
Manner-
including previous styles. The
personally bold
tional reaction
death
architects.)
was anxious
of
his
personal
artificialitv.
Rosso
{1495-1540;
realism to produce
Only here,
Moses
Defending
color
units
but
unstated
places at
as
an
unprece-
in Rome,
mem-
that seem far
the
tions,
of
Siena
Cathedral
(fig.
263).
Parmigianino
(1503-1540)
conventional
readjust-
took this with him
of
Madonnas
than
lengths and folds make parallel twists
like
rake
hard,
masks.
1527,
nfl/ie
kinship
This is an im-
enormous
through
space
brilliant
other
arts.
Michelangelo
Medici Chapel's
standard conventions, and
so it luiexpectedly
narrow niches, setting
star-
tlingly,
us
in,
ingenuity
of
such
pairs of pilasters running
across the front wall,
The
clearly later
with
engiavings,
and
avoiding
ornament in
Conscious
of
Michelan-
line
tially a descendent
the special
view
in
the
round
have
a
similar
in a
inside
of
Brunelleschi's
(1510-
1503)
Vasari did. Living much
other
painters
there,
used
Raphael, making figures
spatial breadth.
similar
deco-
hall of Florence
us,
and
only
modeling re-
in
ofa
friend
character
major
one.
popular
painters
something like
glowing. Schiavone's achievement is
277.
Andrea
Schiavone.
Adoration
of
filling the side
whole
scene
real-
a series of
effect
of
of all
Paul
Ill's
grandsons
Titian
painted
(1545)
lean-
ing
forward
the agreeable white
seems
to
give
up
color,
Eng-
land.
the same
by
Michele
San-
micheli
(1484-1559)
are
very
reinforced
Set-
group of
vocabulary
lo's Mint
style,
tect of the  Renaissance of Antiquity. But it is not
tight and purist; its confident
construction,
with
sweeping
are
only
the tra-
citv
repeat, and
building accents. He had
by
much that we
noblemen's
re-
of Saint
Mark's (from
but all
large airy
and cutting it
off as was
was
would
always
relaxed poise. For tomb
hangs
in Ammanati's first large
tomb
assisted Sansovino,
developed an architectural scheme
very
286.
Neptune in
the
disorder of
of
Bologna
(1545),
a
heavy
architectural handbook,** but here
pulls the
patrons,
55'
a
classical
front
on
a
church
that
around the
with roses, and Su-
water reflections.
Such a
toretto,
who
usually
rhythmic
group
driven crowd and the
at
the
need lets
him push
 Scuola
patches. In
left.
rich
air
(1577-81)
the
responding
to
Leonardo,
when he moved
to X'enice, to
Palace,
to go
had been ex-
Inquisition
for
disrespect
(1577);
concentrated
seriousness
the allegories. Industry,
Canvas,
41
fragmented
Titian who
to
model
figures
spiraling rhythms,
but \'it-
time,
same
year
reach
fruition
with
less
difficulty
and
simplifying self-assurance;
is
other, all
changed
basis
for
the
frustration
of
portico on
three-dimen-
sional
approach
is
also
seen
(1546).
Getting
rid
units
(figs.
but made it
wayward path. The building is
too big to permit
ng
rows
ofwindows
247
bronze
group
side. So does
been imitated by
and
doubt
what
way
of
colossal
under which
abstracted fantasy has stimulated
was
before,
now
they
became
who have created an
flying
Merciny.^ -
the classical subjects, are
Woman
finished.
316a,
b.
Giambologna.
Rape
of
about 35' \ Ula Demidotf,
vulgar,
has
kept
him
underrated
in
garden
statues,
Italian pattern
shaped
the
Charles
V.
He
and
Pisanello's) these
were struck
incise rather than model a head. Only when he was
forty and
work. After
319).
Their
au-
thority is in their firm volume, marked on the surface
by metallic shine
that could
gen-
eration,
which
similarly
320).
Leoni
was
a
violent
person,
private
char-
acter
remarkably.
suc-
cessful
and foretells the habits of the official artists in the
age
of
absolutism,
Yet it
tentative
case
319.
Leone
Leoni.
Mary
of
Hungary,
Bronze,
height
5'5 .
The
Prado,
254
did
manage
mansions and
of the
seems to
Serlio,
encrusting
painter
of
Michelangelo's
suffocating
power:
to
admit
one
is
imitating
him
game.
he
architect
in
impressive
in
drawings,
of his
It
may
also
have
what
visitors
had
so much
his shorthand methods
include cubes for
figures (a convention
that he did
and
drawings
altarpieces often
reflect local
loan from
Venice.
54.
Titian.
di Capodimonte, Naples.
Elders.
Contini-Bonacossi
vaulted in
Boston.
58.
sopra
Mercanti,
Recanati.
59.
Paul,
into
Egypt,
right tribune,
Kunsthistorisches
Museum.
Vienna.
97.
92.
Lanzi,
Florence.
102.
Giambologna,
Bargello,
Florence;
Theseus
Embracing
nearly
every
work
of
art
very few
involves a gieat
an
a Life
the Tall in
flat diagiamined
a
province.
the fables of
section
event:
in
the
Brevi-
and Pucelle's depth probing are
two symptoms
ornainental
rectangles
ant in December
of
his Italian
sources for
wall
paintings
viving churches), These
of
even
his
obvious
dependence
on
Simone
reinforced there.
His palace
the ground
all
the
churches
the
saint
surveys like
leading artist
time
relate
Gothic
this vision
painting that
334.
King
John
II
of
no other environment,
Beauneveu
(docs.
exterior.
an
in three high
The Chancellor
conventionally
independent
Louvre
queen, from
Paris
(c.
1370;
fig.
336).
tions about inodeliug
4).
eased
by
soft
for
tapestries (other fragments),
to
far
work
which
separate statues
scheme (fig.
years, partly as
discouraging
removal
to
monastery, representing
trends
he was happy
estries, jewel
Poitiers
(fig.
344).
There
we
surmounted by a carved
family more
mason, Guy de
is painted,
poetry of
world
jewels,
gift to
It
church
The
marvelous
light subtly, with
gradually shifting gleams
and therefore
Hours, from a later
and the effect is like the
popular drama of
herds
informed
character
types
who
fill
the
shepherds
but
in
Marshal Boucicaut. Vellum,
tion of
homage paid to court
are
realistic,
are already
consistent with
of
Egypt.
wings
Tres
Rukes
Hemes
of
a series of panels with heads of saints, soft and
translucent in flesh
may have
a new if
His
cluster
group
nearby
tor and architect, for
for
being
his
Gothic
the
355).
Good,
was
less
French
and
Thus
Observers
looking
This rise
this
half
learn
that
this
and
with-
reality, from
fied. Besides
gap
for dukes
probability but
but
later
helped
out
of
trouble
by
the
oil
medium,
with
which
Jan
was
ways) for
heavy
planks
with
studs
work,
the
Merode
altarpiece
of
the
A
iimiciation
(fig.
365).
The
for
preserved
only
in
a
fraginent
with
a
altarpiece.
The
expressive force that
thought of in
com-
143Z in the
ment
strong, fiercely
trarily as
this,
suitable
theological
elabo-
more
of
the
(or
Flemal-
lian,
distinct
French
Hours
twenty-five
like one of
ofthe
Flemalle
has become
he paints
brocades and
town
with
Giotto
a
generation.
was
time suggests
involved with it like the Master's and
Jan
van
Eyck's.
.\s
Castagno,
demonstrate
it
to
furthera
new
expressiveness,
figure who is
as an Eyckian type
involved, as in
a
limited one. but it is of a kind often evolved
bv followers:
he simplifies
the images,
or behind a ledge on which a single fly is
painted.
This specificity of place is richest in his pan l of
Saiiil Eligiiis,
record
the
life of
common
378.
Petrus
Christus.
Si.
Eligius
in
His
Shop.
1449.
Panel,
in modern
Belgium (Bruges,
his one
work was also a natural
source
for
younger
artists
the
work
tone,
life
and
was
chief
Bouts starts
with
a
stiffness
for Lou-
Brussels, in a lost
the appeal to
for us in
Ouwaiers
four
side
of communion
of
the
the Israelites gather
a
lovely
world
is
stimulated
centrated
portrayal
panels-^
isolated
sinners
the
became more
famous than
into humility
this mental stress in his
sixteen
and broad modeling
result in Hugo's
148;)
a
own repeat-
personality was in
learning from
vivacity
Joos
a Itarpiece
for Saint
of
the
first
the superficially
very different
Salivily at
night (fig.
e.xposition.
and
the
Madonna
0/
t/ie
Rosary,^^
a
tiny
petal-like
image
minute
faithfully
artists,
lose
elasticity
detail, Memliiig's
most distinctive
works are
before
open
was
his
death.
388.
Geertgen
TOT
SiNT
Jans.
Nativity.
Panel,
13
X
10 .
National
Gallery,
London
316
of
triptych.
1484.
traditional architects
used to
call  Tudor
Gothic. It
hence looser
of
these
seems
to
be
in
Eu-
is Eyckian
undetailed
cylinder,
and
goes
French
tra-
Evckian
of
Hours
of
Ghent
a
problems. Fouquet's
well
as
the
back), and
uncle,
all because none of them
had sons. He lost them all in wars witii other claim-
ants;
and
wrote romances, was
travels
painting
avidly,
tonio; see
p. 298),
his
duchy
of
Provence,
in
a
plainness like
the \'ii-gin (fig.
stiff robes, the
cubist
disjointed
scheme,
and
only
the donor's
close-
Nicolas Froment (docs.
motif of a
burns
Ijut
is
Mary
bears
in
the
quite naturally
reflect the
the
styles
sunrise
with
figures
with
utter
authority;
only
Bouts'
but
with
no
vocabulary
approach
was sufficient so that after fifty years a .Spanish immi-
grant,
Juan
the other-
wise unknown
Sonnette
in
Tonnerre
(1451-54;
fig.
398).
It
with
Sluter's
massive
Italian
The experience
of
the
whole
patterned
on Mary's
type, .\dven-
turousness seems
occasional
works
exactly
parallel
to
the
a sculp-
to
have been worked out in such Madonnas as that at
Saint
Daiin
of
Mainz
parallel
Rogier
van
master-
piece,
Sainl
George
and
I
he
Dragon
(1488;
fig.
405),
Swedes over
bronze Sai)ii George
feeling that pops out at us with a smile; they
may
gaze
everywhere,
often
\'ienna .-Knton Pilgiam
window, thin-nosed and sharply
Marx,''^ taut
sunken<heeked
all,
workshop headed
(1469-74;
fig.
409)
morris
dancers
carved
410).
They
are
burlesques,
expressions that
seek contact
raw
carica-
tures,
with
Netherlands was also notable, but it is
largely de-
loose-limbed hardwood
webs with
is
.\drien
down
commonly subdivided
Swiss
brightness
of
and without
air. Possibly
easy
to
ab-
sorb
a
courtly
realism of
now mainly
bizaiie
box
frames
are
modi-
fied
by
the
is only a
Riemenschneider
jowly faces
many
to be seen
son between them
gle growth
effect is
parallel patterns
century appears
ube or Rhine,
were new commer-
succession
of
metal manufac-
turing city
Nuremberg
far from
simple cylindrical
shapes, under
early capitalist
master
tion
of
what
bronze
earlier
individual
works.)
Peter
mission
one
knee
(1490;
fig.
424).
Flemish but Italian. And just
then the
this
pieces
is
illustrated
by
two
the
ways
in
the
solute profile,
of
(1504),
in woodcut
continuous
net
second
est
of
,
than the knight's,
and
de-
abstract
agery
like Ruysdael
than Van
pressure, and stand as large bare forms, not in aca-
demic
the miiunial puic
not
even that one. It is not puritanical, as has been
said, but
woodcut
Last
Supfjer
(1523)
general Diirer
important than other
works. His being
be
called
great
if
pudg\
ent
and a
and stylish elon-
(a technique invented
printmaker), emphasize
dragon (fig.
basically similar
to Gior-
colorplate
29).
in West-
ern art
that are
by the
no
river under the
near Giorgione, .Altdorfer ends by anticipating the
human herds
belongs
forces
were
the
draw-
the century;
The
up
to
fatalism opposite to .\ltdorfer's, of
men not
fear
truly
shows
the
temjjerament
often
palace,
up
endless
measured
design
gives
Holbein's
portraits
their
observed and
industry there,
as the
Dance of
Deatli scenes
on
the
pic-
painting fres-
monu-
be
Fouquet.
The
Moulins.
active
Flan-
453.
Entombment,
1496.
at standardized infants
ute
wild
that they
aerial perspective.
in
light
throughout
Pucelle).
drawing
reminds
Scene,
copies
as the
and
holding ac-
tion in
a vacuum.
still
father.
on tiieir
and
feet
but
in the modern
If
psycho-
The paintings,
show
The
seven
deadly
sins^^
they
maintain
the
tradition
of
calendar
pictures,
Ship
of
Fools
by
(1494)
or
the
Praise
of
be compared
gently
rueful.
humanity indulging
all
—is related
triptych.
8'6
-i
463.
.\ntwerp
successors
in
his
city
than
his
twisting
fires
plete
the
in the foreground; in
(1523).
In
Lucas'
world
people
cannot
come
princess,
whom
he
ahead
of
the
type
developed
horizontal lines of
the Raising
1563.
H3
never,
1929.
and
style. On
the other
stories,
hence
spaces
evolve
inside
a
traditional
castle
tower,
visual
qualities,
building has a much higlier rate of
remodeling,
not
to
confirmed
when
other
tionally from
Jacques
centralized, no
longer feudal
in
essentials
(the
suspenseful and
any
case
body
of
other
Christ,
.Apollo
Fountain
(1532;
fig.
473),
apparently
the
one
and
emperor. For her
then equallv
solid portrait
475).
depth of
His travels
Adrian VI
1527.
31
intrusion
(fig.
479).
receding
and
perhaps
other works, hinted bv
Massys and later commoTi
translucent
simple
devices
oftransparent
Such
fellow
guild
members
his
Michelangelo's
Last
Judgment,
and
his
shortened, which
unwanted
tension
between
period easy
and painted
flourished
in
tionally
of
his
contemporaries
Ant-
capitals, painting
Tudor (fig.
Spain)
took
remains
the
classic
version
make them
clamped into rigid
jxartrait.
that has not
the fusion
of his
The
the
challenge
.Mors portraits are
approving of these
\'an Eyck
the
had been most dramatically
translations
at the
inside
its
vestibule
its
smooth
fagade
more archaeo-
realizes the
Bram-
in Montorio court-
yard (see fig.
is
city had only
1563),
had
also
Gothic
loe's
revision
of
a
Gothic
Sepulchre in
been
built
by
and
facade
The
in
1537),
which
Innocents.
1547-49.
Marble,
y'g
x
2'6 .
with
a
personality
projections
the
seventeenth
century
Louvre.
i
n
and
theoretically impiv
rather learned
is
England is copying Bullant
forms in nudes
copies from Leo-
effects mark Germain Pilon
tomb of Henry Il's
holding
the
urn,
facing
outward
mobility,
a
mildly
develop from
limited local
more independent
downy in
small
towns
century.
Its
are the .Apocalypse engravings
1530-1566).
body be shown
died
(which
was
in
1544),
arm ihat
holds his
for
the
has
con-
vinced
neat
treated
dashingly,
Frans
.\ntwerp,
became
work
is
geous
carvings.
This
Floris
modifies
toward
heavy
building underlines its
heavy
tower;
it
is
actually
a
false-
calming
this the ancestor of
Torgau
(see
fig.
476),
have a
startling effect
(from
1553;
fig.
499).
Its
Flemish in
pilasters.
this
with
windows
framed
as
complexly
exterior and rich interior is typical of fortresses
changing to mansions, such as
the one in Stuttgart
mansion, inherits
by excep-
between
all
to the Ref-
Renaissance take root,
architecture
is
brilliantly
had no in-
fluence. Hampton Court,
builder. Cardinal
Wolsey, in
at Poitiers,
was
torn
of
slighth
which
seem
to
have
The
mansions
trary,
inaugurate
the eighteenth century.
work.
Burgh-
ley
Smythson (i535-'6 4), and if so, he must rank as
one of the great
observers
with
502.
Robert
Smythson.
Facade.
Hardwick
Hall.
Derbyshire.
1590.
Width
202'
.\ntwerp Mannerism.
bus'
grandson
duke in
certainly used
Joanna
of
Arugon^^
froin the time of Strigel
seem often
full-length
very
limited
German
Titian, that
of
the
range
of
(after
isolated
a cause in
Basel. It determined the striking career of
Ludger
ist.
or
Sanchez
to
import
faces.
cialists,
now
They are quite sharply split between courtly and
bourgeois.
portrait
of
phase
and in England. Following
the miniature portrait
509.
Nicholas
Milliard.
A
Youth
space. These
art. Neufcha-
tel in
human
from his
only
widely
time:
Patinir's
dents, Hemessen's sermons
on social ills
tion of lower-class people.
and greatness, Lucas
Coinienion
of
Paul,
vulgar
and
510.
Pieter
Bruegel.
high, so that he
but its
opposite is not the virtue of humility, it is the
auto-
matic
continuum
here is
thus the
already
aroinid the mul-
meaningless and fated repetition.
 Don't butt
over and
silly things.
focus,
center, while
of
skeletons
in
Heaven
(1562) '-*
devil, the
knows;
he
Fioris'
flat
interlocked
figure
mood and
\os
and
Parma,
lie
There the
trick pictures
in
precise,
outline
in\oluted
jects
(fig.
516).
breed
of
sion
most
emphatic
dramas
different section
Painting at
this time
were used as models by Tintoretto and by El Greco,
but only Greco
effect
for forms over
context
sketchy color
art. The
 
El
over
the
bumpy
relief
surface.
Burial
of
the
Count
of
Orgaz
(1586-88;
fig.
526)
which,
with
proper
ritual
Diirer and Heemskerck, except that El
Greco
is
Giorgionesque landscape tradition
and
shimmers.
views of Toledo (colorplate
El Greco
church
the Church
of
the
cathedral town of Toledo. In this he is unlike Saint
John
of
to
personally
,\
un-
repealed
Seal
(1608-14;
fig.
527),
further from
on Mannerism at
a time when
but
an
expert's
celebrating it.
Martial,
Chapel
King
.
Child (formerU
St.
John,
Bruges.
31.
Jean
Paris.
15.
Stefan
Lochner,
Presentation
in
kabincil, Berlin-Dahlem.
altarpiece.
Staatliche
convent at
1729).
53.
76.
Jerome
Striking
wiilings on
specific
place
ol
die
section-lists,
lists if its
either the
the
General
List.
In
the
moie
general
books.
Such
.1
w.i\
look
inconsistent.
111
citing
and the
there
at
e
General List;
1940
I
also
paperback)
7
before
Stockholm,
1961
(i
of
the
York,
1966
39
Saxl.
New
York,
1924
originally
1
885-
1
908
42
Centuries, New York,
from the General List
Works
of
of
His
Florence,
Philadelphia,
1964
List,
25
Seymour
35.
before
Art Bulletin. Vol.
Journal
of
Vol.
8.
1
945,
7-60
5
Home,
Maria
don,
1900
3
of
Brescia,
London,
1909
of Gentile Bellini's
Portraiture, ,irte Veneta,
 
of
1968
(also
paperback)
History
of
Art
of
York,
1963
3
Freedberg
14.
CONTEMPORARIES
Chapel. Art
Quarterly, Vol.
Michelangelo's Medici
23
by
Perino
del
52,
'958,
H3-'9o
4
Rearick,
Magazine,
Vol.
Giovanni
Fon-
tainebleau
32.
TITIAN
14
Pope-Hennessy
I'Vittoria)
39.
Michelangelo's
late
years
1
MacDougall.
Elizabeth
B.,
 Michelangelo
(Leoni); Part II
and the
Orsini Chapel,
1962
2
Suida
of
Wide
Scope
1
Benesch,
1959
17
Lassaigne,
Jacques,
.Architecture.
College
Art
Journal,
Vol.
17,
1958,
1
15-128
19
^'ey,
5.
BROEDERLAM
AND
BELLECHOSE
Institutes,
Vol.
11,
1948,
1-34
3
Porcher,
Jean,
Prague,
1956
Jaroslav.
Czech
Gothic
Painting.
9
Friedlander,
Guttler,
9
S., Print Collectors Quarterly,
26 Ring,
of
Wurld
Art.
\'o\,
9,
'964.
315-317
1 Wehle, Harry,
Ring
25.
958
4
Schbnberger,
Guido,
The
Drawings
of
Mathis
37,
1955,
196-203
5
64,
Bosch,
New
1904
3
Gazette
1962
7
VVittkower,
^8^
350;
Fig.
439;
Saltvily.
350;
1
14-
15.
I47--
Fig-
 42
Barbari.
Jacopo
de.
77;
Fig.
91
Battle
nl
Ten
Saked
Men
139.
Borgoria.
Juan
de.
412
at the Sra
130:
Fig.
167:
5/.
Augustine
in
His
Sliid^.
130,
182;
(color-
23)
133
Carracci,
254,
410
van
(Francesco
223
standing figure,
79-80;
surface
and
core,
contrast
between,
62,
79;
Tin-
289;
mirrors.
318;
Vinci),
156,
161;
Fig.
196;
(Michelangelo).
156.
161:
Fig.
203;
(Salviati).
394
tomb ((>olombe).
73.
77'.
Fig*-
d'Amour tpns).
321-22; Fig.
405;
Fig.
509;
writings,
404
Hiischvogel.
.Vuguslin,
355
Holbein,
Hans
407;
(color-
plate
59)
379
Imitation
of
Chnst
165;
Fig.
209
M.I
di
.S.
Biagio
(Antonio
d.i
,
139
S.
273;
22.
37:
210;
Fig.
263:
ence.
70;
Fig.
76
Tempest
180.
182,
micheli).
230;
Fig.
283;
see
Rome;
collections.
Black-and-white
the works