Values of touch and movement, we remember, are the specifically artistic qualities in figure painting (at least, as practised by the Florentines), for it is through them chiefly that painting directly heightens life. Now while it remains true that tactile values can, as Giotto and Masaccio have forever established, be admirably rendered on the draped figure, yet drapery is a hindrance, and, at the best, only a way out of a difficulty, for we _feel_ it masking the really significant, which is _the form underneath_. A mere painter, one who is satisfied to reproduce what everybody sees, and to paint for the fun of painting, will scarcely comprehend this feeling. His only significant is the obvious--in a figure, the face and the clothing, as in most of the portraits manufactured nowadays. The artist, even when compelled to paint draped figures, will force the drapery to render the nude, in other words the material significance of the human body. But how much more clearly will this significance shine out, how much more convincingly will the character manifest itself, when between its perfect rendering and the artist nothing intervenes! And this perfect rendering is to be accomplished with the nude only.

If draperies are a hindrance to the conveyance of tactile values, they make the perfect rendering of movement next to impossible. To realise the play of muscle everywhere, to get the full sense of the various pressures and resistances, to receive the direct inspiration of the energy expended, we must have the nude; for here alone can we watch those tautnesses of muscle and those stretchings and relaxings and ripplings of skin which, translated into similar strains on our own persons, make us fully realise movement. Here alone the translation, owing to the mult.i.tude and the clearness of the appeals made, is instantaneous, and the consequent sense of increased capacity almost as great as can be attained; while in the draped figure we miss all the appeal of visible muscle and skin, and realise movement only after a slow translation of certain functional outlines, so that the sense of capacity which we receive from the perception of movement is increased but slightly.

We are now able to understand why every art whose chief preoccupation is the human figure must have the nude for its chief interest; why, also, the nude is the most absorbing problem of cla.s.sic art at all times. Not only is it the best vehicle for all that in art which is directly life-confirming and life-enhancing, but it is itself the most significant object in the human world. The first person since the great days of Greek sculpture to comprehend fully the ident.i.ty of the nude with great figure art, was Michelangelo. Before him, it had been studied for scientific purposes--as an aid in rendering the draped figure. He saw that it was an end in itself, and the final purpose of his art. For him the nude and art were synonymous. Here lies the secret of his successes and his failures.

[Page heading: MICHELANGELO]

First, his successes. Nowhere outside of the best Greek art shall we find, as in Michelangelo's works, forms whose tactile values so increase our sense of capacity, whose movements are so directly communicated and inspiring. Other artists have had quite as much feeling for tactile values alone,--Masaccio, for instance; others still have had at least as much sense of movement and power of rendering it,--Leonardo, for example; but no other artist of modern times, having at all his control over the materially significant, has employed it as Michelangelo did, on the one subject where its full value can be manifested--the nude. Hence of all the achievements of modern art, his are the most invigorating.

Surely not often is our imagination of touch roused as by his Adam in the "Creation," by his Eve in the "Temptation," or by his many nudes in the same ceiling of the Sixtine Chapel,--there for no other purpose, be it noted, than their direct tonic effect! Nor is it less rare to quaff such draughts of unadulterated energy as we receive from the "G.o.d Creating Adam," the "Boy Angel" standing by Isaiah, or--to choose one or two instances from his drawings (in their own kind the greatest in existence)--the "G.o.ds Shooting at a Mark" or the "Hercules and the Lion."

And to this feeling for the materially significant and all this power of conveying it, to all this more narrowly artistic capacity, Michelangelo joined an ideal of beauty and force, a vision of a glorious but possible humanity, which, again, has never had its like in modern times.

Manliness, robustness, effectiveness, the fulfilment of our dream of a great soul inhabiting a beautiful body, we shall encounter nowhere else so frequently as among the figures in the Sixtine Chapel. Michelangelo completed what Masaccio had begun, the creation of the type of man best fitted to subdue and control the earth, and, who knows! perhaps more than the earth.

[Page heading: LAST WORKS OF MICHELANGELO]

But unfortunately, though born and nurtured in a world where his feeling for the nude and his ideal of humanity could be appreciated, he pa.s.sed most of his life in the midst of tragic disasters, and while yet in the fulness of his vigour, in the midst of his most creative years, he found himself alone, perhaps the greatest, but alas! also the last of the giants born so plentifully during the fifteenth century. He lived on in a world he could not but despise, in a world which really could no more employ him than it could understand him. He was not allowed, therefore, to busy himself where he felt most drawn by his genius, and, much against his own strongest impulses, he was obliged to expend his energy upon such subjects as the "Last Judgment." His later works all show signs of the altered conditions, first in an overflow into the figures he was creating of the scorn and bitterness he was feeling, then in the lack of harmony between his genius and what he was compelled to execute. His pa.s.sion was the nude, his ideal power. But what outlet for such a pa.s.sion, what expression for such an ideal could there be in subjects like the "Last Judgment," or the "Crucifixion of Peter"--subjects which the Christian world imperatively demanded should incarnate the fear of the humble and the self-sacrifice of the patient?

Now humility and patience were feelings as unknown to Michelangelo as to Dante before him, or, for that matter, to any other of the world's creative geniuses at any time. Even had he felt them, he had no means of expressing them, for his nudes could convey a sense of power, not of weakness; of terror, not of dread; of despair, but not of submission.

And terror the giant nudes of the "Last Judgment" do feel, but it is not terror of the Judge, who, being in no wise different from the others, in spite of his omnipotent gesture, seems to be _announcing_ rather than _willing_ what the bystanders, his fellows, could not _unwill_. As the representation of the moment before the universe disappears in chaos--G.o.ds huddling together for the _Gotterdammerung_--the "Last Judgment" is as grandly conceived as possible: but when the crash comes, none will survive it, no, not even G.o.d. Michelangelo therefore failed in his conception of the subject, and could not but fail. But where else in the whole world of art shall we receive such blasts of energy as from this giant's dream, or, if you will, nightmare? For kindred reasons, the "Crucifixion of Peter" is a failure. Art can be only life-communicating and life-enhancing. If it treats of pain and death, these must always appear as manifestations and as results only of living resolutely and energetically. What chance is there, I ask, for this, artistically the only possible treatment, in the representation of a man crucified with his head downwards? Michelangelo could do nothing but make the bystanders, the executioners, all the more life-communicating, and therefore inevitably more sympathetic! No wonder he failed here! What a tragedy, by the way, that the one subject perfectly cut out for his genius, the one subject which required none but genuinely artistic treatment, his "Bathers," executed forty years before these last works, has disappeared, leaving but scant traces! Yet even these suffice to enable the competent student to recognise that this composition must have been the greatest masterpiece in figure art of modern times.

That Michelangelo had faults of his own is undeniable. As he got older, and his genius, lacking its proper outlets, tended to stagnate and thicken, he fell into exaggerations--exaggerations of power into brutality, of tactile values into feats of modelling. No doubt he was also at times as indifferent to representation as Botticelli! But while there is such a thing as movement, there is no such thing as tactile values without representation. Yet he seems to have dreamt of presenting nothing but tactile values: hence his many drawings with only the torso adequately treated, the rest unheeded. Still another result from his pa.s.sion for tactile values. I have already suggested that Giotto's types were so ma.s.sive because such figures most easily convey values of touch.

Michelangelo tended to similar exaggerations, to making shoulders, for instance, too broad and too bossy, simply because they make thus a more powerful appeal to the tactile imagination. Indeed, I venture to go even farther, and suggest that his faults in all the arts, sculpture no less than painting, and architecture no less than sculpture, are due to this self-same predilection for salient projections. But the lover of the figure arts for what in them is genuinely artistic and not merely ethical, will in Michelangelo, even at his worst, get such pleasures as, excepting a few, others, even at their best, rarely give him.

[Page heading: CONSTANT AIMS OF FLORENTINE ART]

In closing, let us note what results clearly even from this brief account of the Florentine school, namely that, although no Florentine merely took up and continued a predecessor's work, nevertheless all, from first to last, fought for the same cause. There is no opposition between Giotto and Michelangelo. The best energies of the first, of the last, and of all the intervening great Florentine artists were persistently devoted to the rendering of tactile values, or of movement, or of both. Now successful grappling with problems of form and of movement is at the bottom of all the higher arts; and because of this fact, Florentine painting, despite its many faults, is, after Greek sculpture, the most serious figure art in existence.

INDEX TO THE WORKS OF THE PRINc.i.p.aL FLORENTINE PAINTERS.

NOTE.

The following lists make no claim to absolute completeness, but no genuine work by the painters mentioned, found in the better known public or private collections, has been omitted. With the exception of three or four pictures, which he knows only in the photographs, the author has seen and carefully studied every picture indicated, and is alone responsible for the attributions, although he is happy to acknowledge his indebtedness to the writings of Signor Cavalcaselle, of the late Giovanni Morelli, of Signor Gustavo Frizzoni, and of Dr. J. P. Richter.

For the convenience of students, lists of the sculptures, but the more important only, have been appended to the lists of pictures by those artists who have left sculptures as well as paintings.

Public galleries are mentioned first, then private collections, and churches last. The princ.i.p.al public gallery is always understood after the simple mention of a city or town. Thus, Paris means Paris, Louvre, London means London, National Gallery, etc.

An interrogation point after the t.i.tle of a picture indicates that its attribution to the given painter is doubtful. Distinctly early or late works are marked E. or L.

It need scarcely be said that the attributions here given are not based on official catalogues, and are often at variance with them.

MARIOTTO ALBERTINELLI.

1474-1515. Pupil of Cosimo Rosselli and Pier di Cosimo; influenced by Lorenzo di Credi; worked in partnership with Fra Bartolommeo.

Agram (Croatia).

STROSSMAYER COLLECTION. Adam and Eve driven from Paradise. E.

Bergamo.

LOCHIS, 203. Crucifixion.

MORELLI, 32. St. John and the Magdalen. E.

Cambridge.

FITZWILLIAM MUSEUM, 162. Madonna and infant John. 1509.

Chartres.

MUSeE. Tabernacle: Madonna and Saints, Crucifixion, etc. E.

Florence.

ACADEMY, 63. Trinity.

167. Madonna and four Saints.

169. Annunciation. 1510.

PITTI, 365. Holy Family.

UFFIZI, 71. Last Judgment (begun in 1499 by Fra Bartolommeo).

1259. Visitation, with _Predella_. 1503.

CORSINI, 160. Holy Family (in part). 1511.

CERTOSA (near Florence). Crucifixion. 1505.

Geneva.

MUSeE. Annunciation. 1511.

Gloucester.

HIGHNAM COURT, SIR HUBERT PARRY, 7. Nativity.

24. Scenes from the Creation. E.

The Hague.

306. Holy Family with infant John (on Fra Bartolommeo's cartoon).

Madrid.

DUKE OF ALBA. Madonna.

Milan.

POLDI-PEZZOLI, 477. Triptych. 1500.

Munich.

1057. Annunciation and the two Saints.

New York.

MR. SAMUEL UNTERMEYER. Female Saint.

Paris.

1114. Madonna and Saints (begun by Filippino, who laid in the St.

Jerome. Albertinelli was a.s.sisted by Bugiardini in the execution of the rest, especially in the Child and landscape). 1506.

Pisa.

S. CATERINA. Madonna and Saints (on Fra Bartolommeo's cartoon).

1511.

Rome.

BORGHESE, 310. Madonna and infant John (on Fra Bartolommeo's cartoon). 1511.

421. Head of Christ.

Scotland.

GOSFORD HOUSE, EARL OF WEMYSS. Madonna.

Siena.

564. St. Catherine. 1512.

565. The Magdalen. 1512.

Stuttgart.

242, 243, 244. Coronation and two _putti_ (top of Fra Bartolommeo's altar-piece at Besancon). 1512.