Berenson declares him "hardly inferior to Giotto and Masaccio in feeling for tactile values; in communicating values of force he is the rival of Donatello; he was perhaps the first to use effects of light for their direct tonic or subduing and soothing qualities; and, finally judged as an ill.u.s.trator, it may be questioned whether another painter has ever presented a world more complete and convincing, has ever had an ideal more majestic, or ever endowed things with more heroic significance."

Piero's two pupils, Melozzo and Signorelli, each of them starting, as Berenson says, with the heritage Piero left him, yet following the promptings of his own temperament and the guidance of his own genius, touched excellence in his own splendid way. Melozzo was the grander temperament, {66} Signorelli the subtler and deeper mind. Visitors to Loretto, who see the music-making angels in a cupola there, are likely to be surprised into an appreciation of the power of the painter to express something of the witchery of music. Berenson says of them: [Footnote 6] "Almost they are French Gothic in their witchery, and they listen to their own playing as if to charm out the most secret spirit of their instruments. And you can see what a sense Signorelli had for refined beauty, if, when seated with Guido's 'Aurora,' you will rest your eyes on a Madonna by him in the same pavilion of the Rospigliosi Palace."

[Footnote 6: _Op. cit_, p. 81.]

One of the very great artists of the Renaissance, who has come into his own of appreciation in recent years again, is Antonio Allegri, generally known as Correggio, from the small town near Mantua in which he was born. He is one of the most surprising figures in the history of art. So far as we know, he had no teachers and no pupils. He seems never to have visited any of the cities in which in his time (1494-1524) so many great pictures might have been seen, nor did he seek to make the acquaintance of any of his great contemporaries. All that we know of him was that he had "an uncle who painted, but was no artist." He influenced the artists of the after-time in Italy almost more than any of his contemporaries. By some he is placed among the decadent or "sweet" school of Italian painting, and undoubtedly such painters as Guido Reni and Carlo Dolci, who were for many centuries more popular than the greater masters, were deeply influenced by him.

While so negligent of others' achievements in life he was destined to form a school that attracted more attention from subsequent generations than almost any of his contemporaries. His pictures represent a climax of Italian religious art, and his painting of angels and celestial beings, together with that of Fra Angelico two generations before, serves to show how wonderfully the Italian painters of this time were able to visualize spiritual conceptions.

[Ill.u.s.tration: CORREGGIO, MARRIAGE OF ST. CATHERINE (LOUVRE)]

Grimm, in his "Life of Michelangelo," says of Correggio: "As Parma, where he (Correggio) painted, lies between Milan, Florence and Venice, so does Correggio's painting represent a middle term between the schools of these cities. Greater {67} than all who came after Michelangelo, Leonardo and Raphael there are many qualities of his art in which Correggio excels even these. Unlike the Venetians, he did not neglect drawing; he embraced the whole of his art and made a distinct advance."

Grimm goes as far as to say, "If we could think of streams flowing together out of the genius of Raphael, Leonardo, t.i.tian and Michelangelo to form a new spirit, that spirit would be Correggio's.

He has the dreamy smiling sweetness of Leonardo, and to add an external detail, his fate as to our absolute ignorance of his inner and outer life; he has the joyous, radiant, uncreated quality of Raphael with his brief life and its interruption in the very bloom of it; he has the boldness of Michelangelo, his liking for unprecedented att.i.tudes and his power to reproduce them in marvellous foreshortening; he has t.i.tian's soft coloring and the gift to picture the palpitating naked flesh as if the pulse was beating in it."

It is one of the world's greatest losses in art that he was cut off in his prime at the early age of thirty, yet what we have from him shows the supreme artist, and though we might have had further precious art treasures, we could scarcely have had a completer revelation of his genius.

Leigh Hunt, in his article on him in the "Catholic Encyclopaedia,"

emphasizes the far-reaching influence which Correggio's work had over artists after his time and how deeply the principles of his art prevailed in painting and sculpture in the seventeenth and eighteenth centuries over all Italy and France.

"Correggio is the most skilful artist since the ancient Greeks in the art of foreshortening; and, indeed, he was master of every technical device in painting, being the first to introduce the rules of aerial perspective. Radiant light floods his pictures and is so delicately graded that it pa.s.ses subtly into shade with that play of reflections among the shadows which gives transparency in every modulation. This is _chiaroscuro_. Even in Allegri's earliest works it was prominent, and later he became the acknowledged master of it. His refined feeling made Correggio paint the nude as though from a vision of ideal beauty; the sensuous in life he made pure and beautiful; earthly pleasures he spiritualized, and gave expression of mental beauty, the very culmination of true art. His angel pictures {68} are a cry of _Sursum Corda_. The age in which he lived and worked was partly responsible for this; but his modesty, his retiring disposition, his fondness for solitude, his ideal homelife, his piety and the fellowship of the Benedictine monks contributed far more to it."

A very great painter of Columbus' Century, though he is usually thought of as of a later period, was Jacopo Robusti, whom we know as Tintoretto. According to Ridolfi, himself born almost on the date of Tintoretto's death, the artist was born in 1512, though later dates up to 1520 have been a.s.sumed for him. Like many of the other great workers of the Renaissance, he too lived to be at least seventy-five and probably well beyond eighty. The same store of energy that enabled him to accomplish his work gave him length of days. He was the son of a dyer, and, as a boy, was fond of drawing, finding the colors used by his father valuable for practice in painting. While he lived at a time when many of the great painters of the Renaissance were at work, he was not deeply influenced by them, but fortunately for himself developed his own genius. He is famous for his drawing, his power over which he owed to dissection, drawing from life and from models draped and lighted in various ways, some of them suspended from the ceiling so as to get the correct prospective of flying figures. He invented an ingenious device, a rectangular framework with strings across it which, held before the eye, taught how to measure the proportions accurately. While Venetian painters generally are famous for their coloring, Tintoretto is the master of them all in drawing and one of the world's greatest artists in Italy.

[Ill.u.s.tration: GOSSAERT, VIRGIN AND CHILD JESUS (ITALIAN INFLUENCE OVER FLEMISH)]

Like every other great worker of the Renaissance, almost without exception, he had a pa.s.sion for work and has left us an enormous amount of finished painting. Some of his paintings, as, for instance, the "Bacchus and Ariadne," are looked upon as the greatest of their kind. Some of his great paintings in the palace of the doges at Venice have been a favorite study of artists ever since his time. Ruskin considered him one of the greatest painters who ever lived and has made his name and work familiar to English-speaking peoples. Probably no one has ever dared to attempt the solution of so many {69} problems in painting as Tintoretto, and no one has solved them better. He deeply influenced his own generation and has influenced every generation since that has had true critical spirit and appreciation for art. It has been well said of him, and without exaggeration, that he mastered every detail of his art. Ridolfi tells us his two favorite subjects of study were the works of t.i.tian and the reliefs of Michelangelo. He wrote on the wall of his studio these words, _Il disegno di Michelangelo e il colorito di t.i.tiano_ (the drawing and composition of Michelangelo and the coloring of t.i.tian). These were his ambitions. He as nearly accomplished this transcendent purpose as perhaps it is possible to be done.

An eminent painter of the Venetian school at this time, who is usually thought of as belonging to a later period, is Paolo Cagliari, better known as Veronese. He was twenty-two years of age, however, before Columbus' Century closed, and as he began his work very early in life he had received some important commissions before he was twenty-five years of age. He owes all his training to the great period at least.

His greatest picture, the "Marriage at Cana," was painted practically within the decade after the close of our period. He was very fond of huge compositions, and Tintoretto alone outdid him in the conception of large pictures and the filling of large canvases. Like most of the painters of the Renaissance, he was a man of tireless energy, as well as sharing the facility that so many of them possessed; his very large pictures did not serve to limit the number of his paintings to the extent that might otherwise be expected. He was a master of decoration and of the use of the sumptuous color that the Venetians had invented because of their familiarity with pigments and the making of gla.s.s, and no great decorative painter has equalled him in the effect produced by this wealth of color. Already the decadence is beginning and his great paintings lack feeling, and above all exhibit no trace of religious feeling, though many of them are on religious subjects, but they are splendid, unexcelled, cold triumphs of composition.

These great painters of the Renaissance, touched by the humanistic spirit abroad in the world of their time and with the old Greek ideas of the place of man as the very centre of {70} the universe, created a new way of looking at men in their relation to the world around them.

They h.e.l.lenized their vision of men and stamped it upon the culture and civilization of their time. Berenson has suggested in his "The Central Italian Painters of the Renaissance" that they thus influenced not only men's way of looking at men, but actually to some degree transformed men themselves by the mirror they held before them. He said: [Footnote 7]

[Footnote 7: Op. cit, p. 67.]

"The way of visualizing, affected by the artists, the humanists and the ruling cla.s.ses, could not help becoming universal. Who had the power to break through this new standard of vision and, out of the chaos of things, to select shapes more definitely expressive of reality than those fixed by men of genius? No one had such power.

People had perforce to see things in that way and in no other, to see only the shapes depicted, to love only the ideals presented. Nor was this all. Owing to this subtle and most irresistible of all forces, the unconscious habits of imitation, people soon ended either by actually resembling the new ideals or, at all events, earnestly endeavoring to be like them. The result has been that, after five centuries of constant imitation of a type first presented by Donatello and Masaccio, we have, as a race, come to be more like that type than we ever were before. For there is no more curious truth than the trite statement that nature imitates art. Art teaches us not only what to see, but what to be."

[Ill.u.s.tration: VAN DER WEYDEN, MATER DOLOROSA]

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CHAPTER V

PAINTING OUTSIDE OF ITALY

While it is the custom to think of our period, Columbus' Century, as the time of the Renaissance, owing its inspiration to the rebirth of Greek ideas into the modern world, it must not be forgotten that quite apart from this there was a "great wind of the spirit" of art blowing abroad at this epoch. The Renaissance is thought of as Italian, but the Teutonic countries exhibit in Columbus' Century a great artistic development at the beginning quite uninfluenced by the New Learning that came from the Greek rebirth. Painting, sculpture, architecture and the arts and crafts, all reached a climax of expression in the Teutonic countries, especially in the latter half of the fifteenth century, the evidence for which is to be seen in the monuments preserved for us particularly in the Low Countries and in Southern Germany.

Flemish art above all others reached a high level of perfection at this time that has scarcely ever or anywhere been surpa.s.sed. The work of the brothers Van Eyck, accomplished just before the opening of Columbus' Century, paved the way for a great new development of art and made their invention of painting in oil the favorite medium of pictorial expression. After such a work as "The Adoration of the Lamb," at Ghent, no one could doubt either of their genius as artists or the future of the new mode in painting. Their pupil, Roger Van der Weyden, did not excel his masters, but carried on worthily the tradition which they had established, and pa.s.sed on the torch which they had lighted to successors whose fame was to be undying. Memling is indeed a great master in painting, almost never excelled, seldom equalled and representing a phase of art development quite independent of the humanistic side of the Renaissance.

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The wonderful decorations of the casket of St. Ursula in the Hospital of St. John at Bruges, done just about the time of the discovery of America, are not unworthy to be placed beside the greatest art of Europe from any period. The almost more beautiful "Adoration of the Magi" in the same place shows a minute finish in detail, a marvellous power of composition, a charm of expression and a wonderful application of colors which have not faded during all these four and a half centuries, which deservedly place it among the world's supreme artistic triumphs. What Giotto is at Padua in the Arena, and Fra Angelico in San Marco at Florence, Memling is in the Hospital of St.

John at Bruges. The pictures must be seen in all the glory of their unfading colors to be properly appreciated or to enable those who are less familiar with the great work of the Netherlands painters to understand the encomiums of critics; but even uncolored reproductions give some idea of the charm of the originals.

Strange to say, because of the neglect of the biographical details of their painters' lives by the Teutonic nations, even Memling's name has not been quite certain until comparatively recent years. Bruges was one of the great merchant towns of this time, wealthy, populous, busy, enterprising, ambitious, the home of merchant princes who were as generous in their patronage of art as the ecclesiastics or n.o.bility of Italy, or as our own millionaires, though they believed in the creation of new works of art especially adapted to their surroundings rather than the collection of those that had an established reputation. During the first half of the fifteenth century Brabant had produced the group of famous artists whom we have mentioned, most of whom worked at some time or other in Bruges. As Weale, himself an a.s.sociate of the Royal Academy of Belgium, says in his "Hans Memlinc": [Footnote 8] "Of none of all the many celebrated men who made this town their home has Bruges more reason to be proud than of Hans Memlinc." While his works remained, however, the personal memory of him was lost, and hence it is only in our time that it has been quite sure that the initial letter of his name should be "M" and not "H,"

though the other form is often used by writers about art, and that the final letter should probably be "c" and not "g" though in English the latter terminal has been most frequent.

[Footnote 8: London: George Bell & Sons, 1907.]

[Ill.u.s.tration: QUENTIN MATSYS, LEGEND OF ST. ANN (CENTRE)]

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It was only in 1889 that Father Dussart, S.J., discovered in the Public Library of St. Omer in a ma.n.u.script by the historian, James De Meyere, an extract from a diary, in which the death of John Memmelinc, the painter, is placed on the 11th of August, 1494. He was probably born about 1435, or a little before, so that his accomplishment as a painter was all in the first half of Columbus' Century. Memling is the greatest of all these early painters of the Netherlands in his portraits, and yet there are many religious pictures which are full of the devotion of the best of the Italians and wonderful in their composition, in their solution of the technical problems of painting and their marvellous power of expression which show him to be one of the great painters of the world. His great picture, which has been called "Christ the Light of the World," is a triumph in every mode of the painter's expression. His shrine of St. Ursula, an oblong tabernacle of carved oak with gabled ends, for which Memling did a series of miniatures, is one of the most beautiful accomplishments of this kind in the world. In very contracted panels, Memling has placed hundreds of beautiful faces and details of architecture, shipping and water scenes that must be seen to be appreciated. "It has been said that Van Eyck, even when painting religious subjects, only awakes earthly ideas, whilst Memling, even when painting earthly scenes, kindles thoughts of heavenly things. It is easy to see by his paintings that he was indeed a man humble and pure of heart, who, when the arts were beginning to abdicate their position as handmaids of the Church in order to minister to the pleasures of men, preserved his love for Christian tradition, and in earnest simplicity painted what he believed and venerated as he conceived and saw it in his meditations. There is no affectation, no seeking after novelties, no mixture of pagan ideas in his works."

Memling's contemporary, Dirk Bouts, deserves scarcely less praise, and Quentin Matsys is another of the genius painters of the time. The story of his rise from blacksmith to painter is only a good ill.u.s.tration, whether legendary or not, of the {74} closeness of the mechanical arts, those of the goldsmith and the silversmith particularly, but of all the smiths, to the liberal arts of painting and sculpture. The divorce of these higher and lower arts from each other always leads to decadence, not alone in the mechanical, but also in the liberal arts. The goldsmith or silversmith in the Low Countries, in Italy, in Nuremberg, easily became a sculptor in the highest sense of the term, and not infrequently turned his attention successfully to other arts. It was an ideal condition, showing how deeply culture had penetrated, and whenever something of it at least does not exist the liberal arts are sure to be artificial and borrowed, not native and genuine.

Memling's successors in the Flemish tradition of painting maintained their master's distinction, and even when lacking in that genius which alone enables men to do great work did painting that is far above the mediocre, and that served to spread the spirit of culture among the people. Lucas van Leyden, in a short life of less than forty years, did some beautiful things that shall always keep his memory alive.

Gerard David falls only short of the work of such great contemporaries as Memling himself. David's pupil, Moestart, n.o.bly continues the tradition of his master. Michiel c.o.xcie and others do good work before the end of Columbus' Century, which, in a country less dowered with great artists than Flanders, would have secured them places of highest distinction in the history of national art.

The generation of Flemish painters after Memling who studied in Italy represent among them some great artists worthy to be mentioned even beside their Italian masters, though these are confessedly the great Renaissance artists. Justus of Ghent is the first of these, an actual contemporary of Memling and a man who not only learned from but also in turn deeply influenced the Italians with whom he was brought in contact. Jan van Mabuse-Gossaert, Bernard van Orley, Blondeel and Gerard David were touched by the spirit of the Italian Renaissance and its great painters, yet preserved the native fire of their genius and displayed national characteristics which have deservedly given them a place quite apart from the Italian schools. Some of their paintings are among those the world knows best and values most highly, and they have gained in prestige in later years as the knowledge and appreciation of Teutonic art has spread.

[Ill.u.s.tration: VAN ORLEY, DR. ZELLE]

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Great as was the distinction and achievement of the Low Countries, at this time it was not so far superior to Southern Germany as to eclipse its brilliancy. What Bruges was to the Low Countries, and especially Flanders as an art capital at the beginning of Columbus' Century, Nuremberg was to Southern Germany. The city well deserves the name of Northern Florence, for all the arts flourished luxuriantly and the monuments attest, even better than any traditions, how much was accomplished here for art. Her greatest artist in this, very like so many of his Italian contemporaries, was not limited in his powers of expression to any one narrow mode, for Albert Durer was painter, designer, engraver, but also like Leonardo a mathematician, and like Michelangelo a writer. Durer's place as a painter is too well known to need special description here. He is now acknowledged to be one of the world's greatest artists, worthy to be mentioned in the same breath even with his supremely great contemporaries, Raphael, Leonardo, t.i.tian, Botticelli and Correggio. In recent years he has come to be more generally known. His pious pictures have a certain Teutonic literalness added to their mystical quality that gives them distinction.

He is one of the great group of cultured intellectual people who made Nuremberg so famous at this time. While his art has many essential German characteristics, it is much more than national, though it shows very well the high standard of excellence that the German painters of this time had attained. His visits to Italy and the Netherlands broadened his views, developed his artistic sense, refined his taste and did much for him, yet the essential German character of his painting and his absolute individuality as an artist remained. Some of his Madonnas are quite as charming in their way, though very different from the Italian, as those of the great Renaissance painters in the peninsula. His "Adoration of the Magi" will bear comparison with the masterpieces even of Italy and the Netherlands, and his Madonnas, though of German type, have a sweetness all their own. In his second period some of his {76} painting at Venice shows how deeply he was influenced by the Venetian colorists and yet was never merely an imitator.

[Ill.u.s.tration: DuRER, t.i.tLE PAGE OF LIFE OF BLESSED VIRGIN (WOODCUT, 1511)]

Durer did fine work of real artistic quality, not only in painting, but also in wood engraving, and afterwards in engraving on copper.

Prints from his woodcuts or copperplates still command high prices, and indeed it is probable that only those of Rembrandt are valued more highly. He brought these two modes of art to great perfection. He was a fine craftsman, as well as an artist, and both etching and wood {77} engraving owe much to his inventive ability and handicraftsmanship.