Where this love of color came from is matter of speculation. Some say out of Venetian skies and waters, and, doubtless, these had something to do with the Venetian color-sense; but Venice in its color was also an example of the effect of commerce on art. She was a trader with the East from her infancy--not Constantinople and the Byzantine East alone, but back of these the old Mohammedan East, which for a thousand years has cast its art in colors rather than in forms. It was Eastern ornament in mosaics, stuffs, porcelains, variegated marbles, brought by ship to Venice and located in S. Marco, in Murano, and in Torcello, that first gave the color-impulse to the Venetians. If Florence was the heir of Rome and its austere cla.s.sicism, Venice was the heir of Constantinople and its color-charm. The two great color spots in Italy at this day are Venice and Ravenna, commercial footholds of the Byzantines in Mediaeval and Renaissance days. It may be concluded without error that Venice derived her color-sense and much of her luxurious and material view of life from the East.

THE EARLY VENETIAN PAINTERS: Painting began at Venice with the fabrication of mosaics and ornamental altar-pieces of rich gold stucco-work. The "Greek manner"--that is, the Byzantine--was practised early in the fifteenth century by Jacobello del Fiore and Semitecolo, but it did not last long. Instead of lingering for a hundred years, as at Florence, it died a natural death in the first half of the fifteenth century. Gentile da Fabriano, who was at Venice about 1420, painting in the Ducal Palace with Pisano as his a.s.sistant, may have brought this about. He taught there in Venice, was the master of Jacopo Bellini, and if not the teacher then the influencer of the Vivarinis of Murano. There were two of the Vivarinis in the early times, so far as can be made out, Antonio Vivarini (?-1470) and Bartolommeo Vivarini (fl. 1450-1499), who worked with Johannes Alemannus, a painter of supposed German birth and training. They all signed themselves from Murano (an outlying Venetian island), where they were producing church altars and ornaments with some Paduan influence showing in their work. They made up the Muranese school, though this school was not strongly marked apart either in characteristics or subjects from the Venetian school, of which it was, in fact, a part.

[Ill.u.s.tration: FIG. 36.--CARPACCIO. PRESENTATION (DETAIL). VENICE ACAD.]

Bartolommeo was the best of the group, and contended long time in rivalry with the Bellinis at Venice, but toward 1470 he fell away and died comparatively forgotten. Luigi Vivarini (fl. 1461-1503) was the latest of this family, and with his death the history of the Muranese merges into the Venetian school proper, except as it continues to appear in some pupils and followers. Of these latter Carlo Crivelli (1430?1493?) was the only one of much mark. He apparently gathered his art from many sources--ornament and color from the Vivarini, a lean and withered type from the early Paduans under Squarcione, architecture from Mantegna, and a rather repulsive sentiment from the same school. His faces were contorted and sulky, his hands and feet stringy, his drawing rather bad; but he had a transparent color, beautiful ornamentation and not a little tragic power.

Venetian art practically dates from the Bellinis. They did not begin where the Vivarini left off. The two families of painters seem to have started about the same time, worked along together from like inspirations, and in somewhat of a similar manner as regards the early men. Jacopo Bellini (1400?-1464?) was the pupil of Gentile da Fabriano, and a painter of considerable rank. His son, Gentile Bellini (1426?-1507), was likewise a painter of ability, and an extremely interesting one on account of his Venetian subjects painted with much open-air effect and knowledge of light and atmosphere. The younger son, Giovanni Bellini (1428?-1516), was the greatest of the family and the true founder of the Venetian school.

About the middle of the fifteenth century the Bellini family lived at Padua and came in contact with the cla.s.sic-realistic art of Mantegna.

In fact, Mantegna married Giovanni Bellini's sister, and there was a mingling of family as well as of art. There was an influence upon Mantegna of Venetian color, and upon the Bellinis of Paduan line. The latter showed in Giovanni Bellini's early work, which was rather hard, angular in drapery, and anatomical in the joints, hands, and feet; but as the century drew to a close this melted away into the growing splendor of Venetian color. Giovanni Bellini lived into the sixteenth century, but never quite attained the rank of a High Renaissance painter. He had religious feeling, earnestness, honesty, simplicity, character, force, knowledge; but not the full complement of brilliancy and painter's power. He went beyond all his contemporaries in technical strength and color-harmony, and was in fact the epoch-making man of early Venice. Some of his pictures, like the S.

Zaccaria Madonna, will compare favorably with any work of any age, and his landscape backgrounds (see the St. Peter Martyr in the National Gallery, London) were rather wonderful for the period in which they were produced.

Of Bellini's contemporaries and followers there were many, and as a school there was a similarity of style, subject, and color-treatment carrying through them all, with individual peculiarities in each painter. After Giovanni Bellini comes Carpaccio (?-1522?), a younger contemporary, about whose history little is known. He worked with Gentile Bellini, and was undoubtedly influenced by Giovanni Bellini.

In subject he was more romantic and chivalric than religious, though painting a number of altar-pieces. The legend was his delight, and his great success, as the St. Ursula and St. George pictures in Venice still indicate. He was remarkable for his knowledge of architecture, costumes, and Oriental settings, put forth in a realistic way, with much invention and technical ability in the handling of landscape, perspective, light, and color. There is a truthfulness of appearance--an out-of-doors feeling--about his work that is quite captivating. In addition, the spirit of his art was earnestness, honesty, and sincerity, and even the awkward bits of drawing which occasionally appeared in his work served to add to the general naive effect of the whole.

[Ill.u.s.tration: FIG. 37.--ANTONELLO DA MESSINA. UNKNOWN MAN. LOUVRE.]

Cima da Conegliano (1460?-1517?) was probably a pupil of Giovanni Bellini, with some Carpaccio influence about him. He was the best of the immediate followers, none of whom came up to the master. They were trammelled somewhat by being educated in distemper work, and then midway in their careers changing to the oil medium, that medium having been introduced into Venice by Antonello da Messina in 1473.

Cima's subjects were largely half-length madonnas, given with strong qualities of light-and-shade and color. He was not a great originator, though a man of ability. Catena (?-1531) had a wide reputation in his day, but it came more from a smooth finish and pretty accessories than from creative power. He imitated Bellini's style so well that a number of his pictures pa.s.s for works by the master even to this day. Later he followed Giorgione and Carpaccio. A man possessed of knowledge, he seemed to have no original propelling purpose behind him. That was largely the make-up of the other men of the school, Basaiti (1490-1521?), Previtali (1470?-1525?), Bissolo (14641528), Rondinelli (1440?-1500?), Diana (?-1500?), Mansueti (fl. 1500).

Antonello da Messina (1444?-1493), though Sicilian born, is properly cla.s.sed with the Venetian school. He obtained a knowledge of Flemish methods probably from Flemish painters or pictures in Italy (he never was a pupil of Jan van Eyck, as Vasari relates, and probably never saw Flanders), and introduced the use of oil as a medium in the Venetian school. His early work was Flemish in character, and was very accurate and minute. His late work showed the influence of the Bellinis. His counter-influence upon Venetian portraiture has never been quite justly estimated. That fine, exact, yet powerful work, of which the Doge Loredano by Bellini, in the National Gallery, London, is a type, was perhaps brought about by an amalgamation of Flemish and Venetian methods, and Antonello was perhaps the means of bringing it about. He was an excellent, if precise, portrait-painter.

PRINc.i.p.aL WORKS: PADUANS--Andrea Mantegna, Eremitani Padua, Madonna of S. Xeno Verona, St. Sebastian Vienna Mus., St.

George Venice Acad., Camera di Sposi Castello di Corte Mantua, Madonna and Allegories Louvre, Scipio Summer Autumn Nat. Gal. Lon.; Pizzoli (with Mantegna), Eremitani Padua; Marco Zoppo frescos Casa Colonna Bologna, Madonna Berlin Gal.

VERONESE AND VICENTINE PAINTERS--Vittore Pisano, St. Anthony and George Nat. Gal. Lon., St. George S. Anastasia Verona; Liberale da Verona, miniatures Duomo Sienna, St. Sebastian Brera Milan, Madonna Berlin Mus., other works Duomo and Gal.

Verona; Bonsignori, S. Bernardino and Gal. Verona, Mantua, and Nat. Gal. Lon.; Caroto, In S. Tommaso, S. Giorgio, S.

Caterina and Gal. Verona, Dresden and Frankfort Gals.; Montagna, Madonnas Brera, Venice Acad., Bergamo, Berlin, Nat. Gal. Lon., Louvre.

VENETIANS--Jacobello del Fiore and Semitecolo, all attributions doubtful; Antonio Vivarini and Johannes Alemannus, together altar-pieces Venice Acad., S. Zaccaria Venice; Antonio alone, Adoration of Kings Berlin Gal.; Bartolommeo Vivarini, Madonna Bologna Gal. (with Antonio), altar-pieces SS. Giovanni e Paolo, Frari, Venice; Luigi Vivarini, Madonna Berlin Gal., Frari and Acad. Venice; Carlo Crivelli, Madonnas and altar-pieces Brera, Nat. Gal.

Lon., Lateran, Berlin Gals.; Jacopo Bellini, Crucifixion Verona Gal., Sketch-book Brit. Mus.; Gentile Bellini, Organ Doors S. Marco, Procession and Miracle of Cross Acad.

Venice, St. Mark Brera; Giovanni Bellini, many pictures in European galleries, Acad., Frari, S. Zaccaria SS. Giovanni e Paolo Venice; Carpaccio, Presentation and Ursula pictures Acad., St. George and St. Jerome S. Giorgio da Schiavone Venice, St. Stephen Berlin Gal.; Cima, altar-pieces S. Maria dell Orte, S. Giovanni in Bragora, Acad. Venice, Louvre, Berlin, Dresden, Munich, Vienna, and other galleries; Catena, Altar-pieces S. Simeone, S. M. Mater Domini, SS.

Giovanni e Paolo, Acad. Venice, Dresden, and in Nat. Gal.

Lon. (the Warrior and Horse attributed to "School of Bellini"); Basaiti, Venice Acad. Nat. Gal. Lon., Vienna, and Berlin Gals.; Previtali, altar-pieces S. Spirito Bergamo, Brera, Berlin, and Dresden Gals., Nat. Gal. Lon., Venice Acad.; Bissolo, Resurrection Berlin Gal., S. Caterina Venice Acad.; Rondinelli, two pictures Palazzo Doria Rome, Holy Family (No. 6) Louvre (attributed to Giovanni Bellini); Diana, Altar-pieces Venice Acad.; Mansueti, large pictures Venice Acad.; Antonella da Messina, Portraits Louvre, Berlin and Nat. Gal. Lon., Crucifixion Antwerp Mus.

CHAPTER VIII.

ITALIAN PAINTING.

THE HIGH RENAISSANCE--1500-1600.

BOOKS RECOMMENDED: Those on Italian art before mentioned, and also, Berenson, _Lorenzo Lotto_; Clement, _Michel Ange, L. da Vinci, Raphael_; Crowe and Cavalcaselle, _t.i.tian_; same authors, _Raphael_; Grimm, _Michael Angelo_; Gronau, _t.i.tian_; Holroyd, _Michael Angelo_; Meyer, _Correggio_; Moore, _Correggio_; Muntz, _Leonardo da Vinci_; Pa.s.savant, _Raphael_; Pater, _Studies in History of Renaissance_; Phillips, _t.i.tian_; Reumont, _Andrea del Sarto_; Ricci, _Correggio_; Richter, _Leonardo di Vinci_; Ridolfi, _Vita di Paolo Cagliari Veronese_; Springer, _Rafael und Michel Angelo_; Symonds, _Michael Angelo_; Taine, _Italy--Florence and Venice_.

THE HIGHEST DEVELOPMENT: The word "Renaissance" has a broader meaning than its strict etymology would imply. It was a "new birth," but something more than the revival of Greek learning and the study of nature entered into it. It was the grand consummation of Italian intelligence in many departments--the arrival at maturity of the Christian trained mind tempered by the philosophy of Greece, and the knowledge of the actual world. Fully aroused at last, the Italian intellect became inquisitive, inventive, scientific, skeptical--yes, treacherous, immoral, polluted. It questioned all things, doubted where it pleased, saturated itself with crime, corruption, and sensuality, yet bowed at the shrine of the beautiful and knelt at the altar of Christianity. It is an ill.u.s.tration of the contradictions that may exist when the intellectual, the religious, and the moral are brought together, with the intellectual in predominance.

[Ill.u.s.tration: FIG. 38.--FRA BARTOLOMMEO. DESCENT FROM CROSS. PITTI.]

And that keen Renaissance intellect made swift progress. It remodelled the philosophy of Greece, and used its literature as a mould for its own. It developed Roman law and introduced modern science. The world without and the world within were rediscovered. Land and sea, starry sky and planetary system, were fixed upon the chart. Man himself, the animals, the planets, organic and inorganic life, the small things of the earth gave up their secrets. Inventions utilized all cla.s.ses of products, commerce flourished, free cities were builded, universities arose, learning spread itself on the pages of newly invented books of print, and, perhaps, greatest of all, the arts arose on strong wings of life to the very highest alt.i.tude.

For the moral side of the Renaissance intellect it had its tastes and refinements, as shown in its high quality of art; but it also had its polluting and degrading features, as shown in its political and social life. Religion was visibly weakening though the ecclesiastical still held strong. People were forgetting the faith of the early days, and taking up with the material things about them. They were glorifying the human and exalting the natural. The story of Greece was being repeated in Italy. And out of this new worship came jewels of rarity and beauty, but out of it also came faithlessness, corruption, vice.

Strictly speaking, the Renaissance had been accomplished before the year 1500, but so great was its impetus that, in the arts at least, it extended half-way through the sixteenth century. Then it began to fail through exhaustion.

MOTIVES AND METHODS: The religious subject still held with the painters, but this subject in High-Renaissance days did not carry with it the religious feeling as in Gothic days. Art had grown to be something else than a teacher of the Bible. In the painter's hands it had come to mean beauty for its own sake--a picture beautiful for its form and color, regardless of its theme. This was the teaching of antique art, and the study of nature but increased the belief. A new love had arisen in the outer and visible world, and when the Church called for altar-pieces the painters painted their new love, christened it with a religious t.i.tle, and handed it forth in the name of the old. Thus art began to free itself from Church domination and to live as an independent beauty. The general motive, then, of painting during the High Renaissance, though apparently religious from the subject, and in many cases still religious in feeling, was largely to show the beauty of form or color, in which religion, the antique, and the natural came in as modifying elements.

In technical methods, though extensive work was still done in fresco, especially at Florence and Rome, yet the bulk of High-Renaissance painting was in oils upon panel and canvas. At Venice even the decorative wall paintings were upon canvas, afterward inserted in wall or ceiling.

[Ill.u.s.tration: FIG. 39.--ANDREA DEL SARTO. MADONNA OF ST. FRANCIS.

UFFIZI.]

THE FLORENTINES AND ROMANS: There was a severity and austerity about the Florentine art, even at its climax. It was never too sensuous and luxurious, but rather exact and intellectual. The Florentines were fond of l.u.s.treless fresco, architectural composition, towering or sweeping lines, rather sharp color as compared with the Venetians, and theological, cla.s.sical, even literary and allegorical subjects.

Probably this was largely due to the cla.s.sic bias of the painters and the intellectual and social influences of Florence and Rome. Line and composition were means of expressing abstract thought better than color, though some of the Florentines employed both line and color knowingly.

This was the case with Fra Bartolommeo (1475-1517), a monk of San Marco, who was a transition painter from the fifteenth to the sixteenth century. He was a religionist, a follower of Savonarola, and a man of soul who thought to do work of a religious character and feeling; but he was also a fine painter, excelling in composition, drawing, drapery, color. The painter's element in his work, its material and earthly beauty, rather detracted from its spiritual significance. He opposed the sensuous and the nude, and yet about the only nude he ever painted--a St. Sebastian for San Marco--had so much of the earthly about it that people forgot the suffering saint in admiring the fine body, and the picture had to be removed from the convent. In such ways religion in art was gradually undermined, not alone by naturalism and cla.s.sicism but by art itself. Painting brought into life by religion no sooner reached maturity than it led people away from religion by pointing out sensuous beauties in the type rather than religious beauties in the symbol.

Fra Bartolommeo was among the last of the pietists in art. He had no great imagination, but some feeling and a fine color-sense for Florence. Naturally he was influenced somewhat by the great ones about him, learning perspective from Raphael, grandeur from Michael Angelo, and contours from Leonardo da Vinci. He worked in collaboration with Albertinelli (1474-1515), a skilled artist and a fellow-pupil with Bartolommeo in the workshop of Cosimo Rosselli. Their work is so much alike that it is often difficult to distinguish the painters apart.

Albertinelli was not so devout as his companion, but he painted the religious subject with feeling, as his Visitation in the Uffizi indicates. Among the followers of Bartolommeo and Albertinelli were Fra Paolino (14901547), Bugiardini (1475-1554), Granacci (1477-1543), who showed many influences, and Ridolfo Ghirlandajo (1483-1561).

[Ill.u.s.tration: FIG. 40.--MICHAEL ANGELO. ATHLETE. SISTINE, ROME.]

Andrea del Sarto (1486-1531) was a Florentine pure and simple--a painter for the Church producing many madonnas and altar-pieces, and yet possessed of little religious feeling or depth. He was a painter more than a pietist, and was called by his townsmen "the faultless painter." So he was as regards the technical features of his art. He was the best brushman and colorist of the Florentine school. Dealing largely with the material side his craftsmanship was excellent and his pictures exuberant with life and color, but his madonnas and saints were decidedly of the earth--handsome Florentine models garbed as sacred characters--well-drawn and easily painted, with little devotional feeling about them. He was influenced by other painters to some extent. Masaccio, Ghirlandajo, and Michael Angelo were his models in drawing; Leonardo and Bartolommeo in contours; while in warmth of color, brush-work, atmospheric and landscape effects he was quite by himself. He had a large number of pupils and followers, but most of them deserted him later on to follow Michael Angelo. Pontormo (1493-1558) and Franciabigio (1482-1525) were among the best of them.

Michael Angelo (1474-1564) has been called the "Prophet of the Renaissance," and perhaps deserves the t.i.tle, since he was more of the Old Testament than the New--more of the austere and imperious than the loving or the forgiving. There was no sentimental feature about his art. His conception was intellectual, highly imaginative, mysterious, at times disordered and turbulent in its strength. He came the nearest to the sublime of any painter in history through the sole attribute of power. He had no tenderness nor any winning charm. He did not win, but rather commanded. Everything he saw or felt was studied for the strength that was in it. Religion, Old-Testament history, the antique, humanity, all turned in his hands into symbolic forms of power, put forth apparently in the white heat of pa.s.sion, and at times in defiance of every rule and tradition of art. Personal feeling was very apparent in his work, and in this he was as far removed as possible from the Greeks, and nearer to what one would call to-day a romanticist. There was little of the objective about him. He was not an imitator of facts but a creator of forms and ideas. His art was a reflection of himself--a self-sufficient man, positive, creative, standing alone, a law unto himself.

Technically he was more of a sculptor than a painter. He said so himself when Julius commanded him to paint the Sistine ceiling, and he told the truth. He was a magnificent draughtsman, and drew magnificent sculpturesque figures on the Sistine vault. That was about all his achievement with the brush. In color, light, air, perspective--in all those features peculiar to the painter--he was behind his contemporaries. Composition he knew a great deal about, and in drawing he had the most positive, far-reaching command of line of any painter of any time. It was in drawing that he showed his power. Even this is severe and harsh at times, and then again filled with a grace that is majestic and in scope universal, as witness the Creation of Adam in the Sistine.

[Ill.u.s.tration: FIG. 41.--RAPHAEL. LA BELLE JARDINIeRE. LOUVRE.]

He came out of Florence, a pupil of Ghirlandajo, with a school feeling for line, stimulated by the frescos of Masaccio and Signorelli. At an early age he declared himself, and hewed a path of his own through art, sweeping along with him many of the slighter painters of his age.

Long-lived he saw his contemporaries die about him and Humanism end in bloodshed with the coming of the Jesuits; but alone, gloomy, resolute, steadfast to his belief, he held his way, the last great representative of Florentine art, the first great representative of individualism in art. With him and after him came many followers who strove to imitate his "terrible style," but they did not succeed any too well.

The most of these followers find cla.s.sification under the Mannerists of the Decadence. Of those who were immediate pupils of Michael Angelo, or carried out his designs, Daniele da Volterra (1509-1566) was one of the most satisfactory. His chief work, the Descent from the Cross, was considered by Poussin as one of the three great pictures of the world. It is sometimes said to have been designed by Michael Angelo, but that is only a conjecture. It has much action and life in it, but is somewhat affected in pose and gesture, and Volterra's work generally was deficient in real energy of conception and execution.

Marcello Venusti (1515-1585?) painted directly from Michael Angelo's designs in a delicate and precise way, probably imbibed from his master, Perino del Vaga, and from a.s.sociation with Venetians like Sebastiano del Piombo (1485-1547). This last-named painter was born in Venice and trained under Bellini and Giorgione, inheriting the color and light-and-shade qualities of the Venetians; but later on he went to Rome and came under the influence of Michael Angelo and Raphael. He tried, under Michael Angelo's inspiration it is said, to unite the Florentine grandeur of line with the Venetian coloring, and thus outdo Raphael. It was not wholly successful, though resulting in an excellent quality of art. As a portrait-painter he was above reproach.

His early works were rather free in impasto, the late ones smooth and shiny, in imitation of Raphael.

Raphael Sanzio (1483-1520) was more Greek in method than any of the great Renaissance painters. In subject he was not more cla.s.sic than others of his time; he painted all subjects. In thought he was not particularly cla.s.sic; he was chiefly intellectual, with a leaning toward the sensuous that was half-pagan. It was in method and expression more than elsewhere that he showed the Greek spirit. He aimed at the ideal and the universal, independent, so far as possible, of the individual, and sought by a union of all elements to produce perfect harmony. The Harmonist of the Renaissance is his t.i.tle. And this harmony extended to a blending of thought, form, and expression, heightening or modifying every element until they ran together with such rhythm that it could not be seen where one left off and another began. He was the very opposite of Michael Angelo. The art of the latter was an expression of individual power and was purely subjective. Raphael's art was largely a unity of objective beauties, with the personal element as much in abeyance as was possible for his time.

His education was a cultivation of every grace of mind and hand. He a.s.similated freely whatever he found to be good in the art about him.

A pupil of Perugino originally, he levied upon features of excellence in Masaccio, Fra Bartolommeo, Leonardo, Michael Angelo. From the first he got tenderness, from the second drawing, from the third color and composition, from the fourth charm, from the fifth force. Like an eclectic Greek he drew from all sources, and then blended and united these features in a peculiar style of his own and stamped them with his peculiar Raphaelesque stamp.

In subject Raphael was religious and mythological, but he was imbued with neither of these so far as the initial spirit was concerned. He looked at all subjects in a calm, intellectual, artistic way. Even the celebrated Sistine Madonna is more intellectual than pietistic, a Christian Minerva ruling rather than helping to save the world. The same spirit ruled him in cla.s.sic and theological themes. He did not feel them keenly or execute them pa.s.sionately--at least there is no indication of it in his work. The doing so would have destroyed unity, symmetry, repose. The theme was ever held in check by a regard for proportion and rhythm. To keep all artistic elements in perfect equilibrium, allowing no one to predominate, seemed the mainspring of his action, and in doing this he created that harmony which his admirers sometimes refer to as pure beauty.

For his period and school he was rather remarkable technically. He excelled in everything except brush-work, which was never brought to maturity in either Florence or Rome. Even in color he was fine for Florence, though not equal to the Venetians. In composition, modelling, line, even in texture painting (see his portraits) he was a man of accomplishment; while in grace, purity, serenity, loftiness he was the Florentine leader easily first.