. The art of the Italian renaissance; a handbook for students and travellers. en curbed. Men appreciated their symmetry,for they had themselves adopted similar proportions, and the keener eyenow desired exact measurements. Excavations were made, and Raphaelhimself was half an archaeologist. One stage of development had been 1 Von Pulsky (Beitrdue zu Rajfaeh Studium der Antique, 1877) is no doubt rightin referring it to the Medicean gem of Marsyas and Apollo. 246 THE ART OP THE ITALIAN RENAISSANCE ])asse(l, and ditttrent periods^ in tlio aiiti(|ue ^\ere distiiig-iiished, vet inspite of this cle
. The art of the Italian renaissance; a handbook for students and travellers. en curbed. Men appreciated their symmetry,for they had themselves adopted similar proportions, and the keener eyenow desired exact measurements. Excavations were made, and Raphaelhimself was half an archaeologist. One stage of development had been 1 Von Pulsky (Beitrdue zu Rajfaeh Studium der Antique, 1877) is no doubt rightin referring it to the Medicean gem of Marsyas and Apollo. 246 THE ART OP THE ITALIAN RENAISSANCE ])asse(l, and ditttrent periods^ in tlio aiiti(|ue ^\ere distiiig-iiished, vet inspite of this clearer insight the age did not lose itself, but remainedmodern, and the blossom of archaeologic-al study produced the fruit oftlieHarocpie period. Cf. also the so-calleil lU/port of lidpluiil on the Roman excavations (printeil initr aliuin Ouhl, Kiiii-illerl/riefi I.), and the surprising criticism of Michelangelo on the architecturalperiods of the Pantheon, in which, so far as 1 can see, he forestalls the most modernresearch. (Vasari IV. .il2. in the Lift of A. Sidisofiiio).. Copy from Jliirc Antnnios c iiigTaviii;; Ill THE NEW PICTORIAL FORM In this last chapter we propose to discuss the new method ofrepresenting objects. We mean the way in which the given object isarranged as a picture for the eye, in which sense the term pictorial form may be applied to the whole domain of the visible arts. It is obvious thatthe new feeling for the human body and its movements, explained above,would react upon the pictorial form of the same, and that conceptions ofrepose, grandeur, and importance in pictorial reproductions would imposethemselves independently of the special subject of representation. Butthis enumeration does not exhaust the elements of the new pictorial form ;others must be added which cannot be deduced from the previousdefinitions, and are independent of feeling, the results merely of a morethorough development of the visual faculty. These are the actual artisticprinciplpsAJi
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