. The art of the Italian renaissance; a handbook for students and travellers. hen we compare such a work as Sartos Blytli(if the Virff/ii (1514) with the frescoes of (ihirlandajo and his lying-in-rooms. The gait of the women has (piite changed. Instead of a stiff,mincing step there is a dignified progression; the tempo has sloweddown to an andante maestoso. There are no longer any short quickbends of the head or limbs, l)ut slow and complete turns of tJie bod\-, andinstead of spi-awling attitudes and angular outlines there are easy positionsand sustained rhythmic curves. The lean hguies of the
. The art of the Italian renaissance; a handbook for students and travellers. hen we compare such a work as Sartos Blytli(if the Virff/ii (1514) with the frescoes of (ihirlandajo and his lying-in-rooms. The gait of the women has (piite changed. Instead of a stiff,mincing step there is a dignified progression; the tempo has sloweddown to an andante maestoso. There are no longer any short quickbends of the head or limbs, l)ut slow and complete turns of tJie bod\-, andinstead of spi-awling attitudes and angular outlines there are easy positionsand sustained rhythmic curves. The lean hguies of the early Keuaissancewith their sharp joints no longer realise the ideal of beauty ; Sarto depictsmagnificently modelled forms and splendidly develo])ed necks. Thedrapery falls in heavy masses sweeping the ground, wheieas Giiirlandajopainted short stiff dresses with tightly-fitting sleeves, (iaiments, whichformeily gave expression to rapid nuiscular movement, were now intendedl)\ their to £;ive an effect of reticence in action. 226 THE ART OP THE ITALIAN RENAISSANCE. Thu Diith uf Julm the BnlitiNt, l>y Uhirlundajn The movement in the second half of the fifteenth century is dainty,and often affected. When the Madonna has the Child in her arms, sheusually thrusts out the point of her elbow, and extends the little fingerof the hand with which she fastidiously holds the Balje. Ghirlandajois not one of the subtler artists, but he comjiletelv assimilated thismannerism. Even a painter of such powerful indi\idualitv as Signorellimakes concessions to the prevailing taste, and aims at graceful effects byunnaturally refined methods. The ^Mother, worshipping the Child, doesnot clasp her liands simply ; only the two first fingers touch, Avhile theothers are separated ;md point upwards. Sensiti\e persons like Filij)pino seem absolutely to shrink from thesuggestion of grasjiing any object firmly. Suppose a holv monk has tohold a book, or the Jiaptist his cross ; they are rejiresente
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