. The art of the Italian renaissance; a handbook for students and travellers. before Bronzinos Christ in I/nnho we fancy we are looking at ananatomicalVmuseum. Tliere is nothing but anatomical pedantry, not atrace of unsophisticated vision. The sense of the material, the feelingfor the delicacy of the human skin, and the charm of the surface of thingsseemed to be extinct. Plastic art Ieigned su])reme, and painters becamepictorial sculptors. In their infatuation they threw away all their wealthand found themsehes paupers. The chaiming subjects of earlier times,such as the Adortition of the Shep
. The art of the Italian renaissance; a handbook for students and travellers. before Bronzinos Christ in I/nnho we fancy we are looking at ananatomicalVmuseum. Tliere is nothing but anatomical pedantry, not atrace of unsophisticated vision. The sense of the material, the feelingfor the delicacy of the human skin, and the charm of the surface of thingsseemed to be extinct. Plastic art Ieigned su])reme, and painters becamepictorial sculptors. In their infatuation they threw away all their wealthand found themsehes paupers. The chaiming subjects of earlier times,such as the Adortition of the Shepherds, or of Tlw Three Kiu^-s, were nowmerely pretexts for more or less ))erfunctory combinations of curves, amultiplicity of nude forms. , (Cf. Til)aldis Adoration ofthe Shej)herds.) It may be asked, what had Ix-come of the splendid scenes of theRenaissance P Why should a picture like Titians Presentation in the Templeof 1540 !ia\e become inconceivable in Central Italy ,^ INlcn had lost alljoy in themselves. They looked for some universal principle, which lay MICHELANGELO. and Aiiuir (// (.?io,,/), liy V;is; hovond this j)rescnt Morld, and svstcniatisint; tbniiod a proHtahlc alliaiu-ew itii learned unti(|uaTianisin. Tlie ditiereiiee I)et\\eeii tlie loeal schools dis-api)eared. There was no longer a jiopiilar art. Under these eirenmstaneesart was beyond all aid, it \vas dying at the roots, and the hanefidainl)ition to jn-cnluee nothing Init monumental works only liastcned theealanutv. It could not revi\e bv its o\\ n ettbrts, its sabation had to comefrom witliout. It was in the (iernianic North of Italy that the fountain ofa new naturalism began to How. Caravaggio caused a memorableimpression at a time when men had ga/ed until they were stupid at thespiritless productions of the ^lannerists. Once more there was originalityof idea and sentiment, based on the real experience of the artist. TheKiitotnbtiiott in the \atican (iallery may ajipeal to few of the modernpul)lic bv its ma
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