. The art of the Italian renaissance; a handbook for students and travellers. ble nose, andwhich is recognised assuch ill antique statues, isan ideal which oiih- re-vived with the ClassicAge. There is beautv in allthat gives an impi-essionof repose and power, and the notion of regular beautv may have been formed at this period,with which it was in perfect harmonv. Regular beauty does not meanonly a svinmetrical correspondence between the t\so hahes of the face, butan absolute distinctness and coherent proportion of features, difficult todefine in detail, but at once discernible in the general
. The art of the Italian renaissance; a handbook for students and travellers. ble nose, andwhich is recognised assuch ill antique statues, isan ideal which oiih- re-vived with the ClassicAge. There is beautv in allthat gives an impi-essionof repose and power, and the notion of regular beautv may have been formed at this period,with which it was in perfect harmonv. Regular beauty does not meanonly a svinmetrical correspondence between the t\so hahes of the face, butan absolute distinctness and coherent proportion of features, difficult todefine in detail, but at once discernible in the general impression. Portrait-painters began to insist on this regularity, and more and more was expectedfrom them in the second generation of the Cinquecento. What smooth,regular features Bronzino paints in some of his undeniably excellent portraits ! Pictures are more explicit than words on these points ; an instructi\-eparallel may be drawn between Piero di Cosimos .S/Mr^/ifrtc/. and the so-called Her wonder each astonished maiden showsWith wrinkling forehead and uplifted \ittoria Cululilia (su-cailud), Ijy .Michiilaiigulu 234 THE ART OP THE ITALIAN RENAISSANCE Vittoria Colonna by Michelangelo,! both ideal types, which epitomise thetaste of the two periods. The fifteenth century busts of Florentinemaidens have no parallel in the sixteenth century. The Cinquecentogaller\ of beauty contains none but mature types, the Donna Velata,the Dorothea at Berlin, the Fornariiia of the Tribuna, the magnificentfemale figure bv Andrea del Sarto at Madrid &c. Taste reverted to thefuUv developed woman. ^ 3 ? The playful fanc\ of the fifteenth century let loose all its caprices in thetreatment of tlie liair. Painters depicted magnificent coiffures with infinitewealth of plaits and braids of difi^erent kinds, sprinkled with jewels andentwined with ropes of pearls. Tliis fantastically exaggerated adornmentmust be distinguished from the st\le in which the hair was really worn,and that \vas f
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