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CONTENTS. X1l1
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sophistication of Rossellino and the Majani.—Sculpture is now separated from architecture, and
raised to a high art by three great men, Ghiberti, who gave it grace; Donatello, living truth ;
and Facopo della Quercia, soul—Ghibert’s early training and life—the bronze gates of the
Baptistery—story of the competition, contract, &c.—the second gates—is the pictorial style
legitimate ?—statues by Ghiberti—bas-reliefs at Siena—tombs—his gold work—his collection of
antiquities.—Dovatzello’s spontaneous art—his patrons, the Martelli family—early works in Rome
—statues for Duomo and Or San Michele—the Judith—the Davids—tombs—reliefs, “ relievo
stiacciato””—equestrian statue—life in Padua and other cities—his style and genius—his scholars.—
Facopo della Quercia—talent brought forth by influences different from those of the other two
artists—first model, which was the prototype of the modern clay model—life in Florence with
Ghiberti—return to Siena as master sculptor—the Fonte Gaia—doors of San Petronio, Bologna—
font in Baptistery at Siena—end of life——The Lucchese sculptor C¢vitalii—Rossellino, Benedetto da
Majano, Desiderio da Settignano, Mino da Fiesole, &c., analysis of their smooth finished style and
the influences which produced it.—Comparison with the literature of Politian, Pico, &c.—The
morbidezza of the Italians and the cércum/litio of Praxiteles.—Greater use of sculpture in domestic
furniture.—Verrocchio, his art and works. . . . . oo. . . 7 : + 103
CHAPTER IV.
PAINTING.
Division as in literature and sculpture—first group chiefly Pxr7sts—second, Naturalists—definition of
Purists, Naturalists, and Sensualists —classification—Comparison of “cinque-cento” Art with
Byzantine and with modern.—Thorough method of work—technical processes described by Cennini
—styles of art—the Purists spring chiefly from illuminators.—Dominican artists—/va Angelico and
his brother—works in San Marco, Florence—vicissitudes of order—works at Cortona and Rome—
character, aims, and style—Dox Lorenzo Monaco the Camaldolese—his style and frescoes—works
lately discovered, &c.—Gentile da Fabriano—colouring—character—works and style.—Benozzo
Gozzoli—naturalistic tendency—works at San Gemignano, Pisa, &c.—Paolo Uccello—hard style and
dry colouring—perspective—love of animals—frescoes—friendship with Donatello.—The Naturalistic
school really begins with A/aso/’no—nearly all the painters of this class were apprenticed to gold-
smiths—Masolino’s frescoes in Castiglione d’Olona, near Como.—JZasaccio, the first painter of
man as an articulated being—early works in the Brancacci Chapel—diagram and authentification
of frescoes there.—Fra Filippo Lippi, monk by force without vocation—restless life—frescoes at
Prato and Spoleto—the romance of Lucretia Buti—the true story deduced from documents—his
marriage to her by a dispensation from Pope Pius I].—Sandyvo Botticelli’, character and peculiar
style—love of poetry, most of his art being illustrations from the poets—curious dual character—
buffoon and saint—his works.—/vippino Lippi—parentage—masters—taste for antiquity seen in
his works—decorative style of the goldsmith painters—the St. Thomas Aquinas at Santa Maria
sopra Minerva compared with fourteenth-century renderings of the same subject—his realistic
paintings—his standing as a citizen and Art critic—Cellini’s description of his house.—Domenico
Ghirlandajo, realistic portrait painter—works in Sistine Chapel, Rome, in Florence, and San
Gemignano—matter-of-fact feeling for Art—worldly in aim—his shop and his scholars.—Rise of
oil painting—its origin inquired into.—The Vax Eycks, Domenico Veneziano, and Antonello da
Messina. Vasari’s story disproved.—Prero de’ Franceschi—his works and style.—Cosimo Rosselli
and Piero di Cosimo . : : . : . . . : . . . . . 2 + 129
CHAPTER V.
THE SCHOOLS OF PAINTING OF NORTHERN ITALY.
Seeds flung from Florence—Paduan school alone is of independent origin.—Sguarcione—his classic
taste, travels, collection of casts, and school at Padua.—Andrea Mantegna—early life—frescoes—
life at Mantua—cartoons—peculiarity of style and handling.—JLarco Zoppo.—Stefano da Ferrara.
—Ercole Grandi and Lorenzo Costa—Venetian school—Facopo Bellini—his life in Florence as
Gentile da Fabriano’s pupil—goes to the East—visits Padua—works and style—qualities of the
Venetian school.—Gentile Bellini —Giovanni Bellini, the Venetian Purist—his works, &c.—his
scholars.—The Vivariné of Murano. Géorgione—his style, colouring, and frescoes.—Bolognese
artists—Francia, and others . . . . . . . . . . . 7 : . 167