. The art of the Italian renaissance; a handbook for students and travellers. houlder, and such-like gestures, veryvaried contours of torso and limbs maybe obtained. No sooner did these Ije-come general than certain rules for theapplication of motives of movementMere formulated, and the system ofdiagonal correspondence, in ^^•hich, forexample, the bend of the left arm cor-responds to that of the right leg andvia- vcrmi, is called the term contraposition cannotl)e applied to the entire j)henonienon. It might now be thought desirableto draw up a scheme of the differen-tiation
. The art of the Italian renaissance; a handbook for students and travellers. houlder, and such-like gestures, veryvaried contours of torso and limbs maybe obtained. No sooner did these Ije-come general than certain rules for theapplication of motives of movementMere formulated, and the system ofdiagonal correspondence, in ^^•hich, forexample, the bend of the left arm cor-responds to that of the right leg andvia- vcrmi, is called the term contraposition cannotl)e applied to the entire j)henonienon. It might now be thought desirableto draw up a scheme of the differen-tiation of the correlative parts, thearms and legs, shoulders and hips, andof the newly discovered possibiHties ofmovement in the three dimensions. Butthe reader must not expect this here,and, as so much has already been saidaljout plastic richness, he must besatisfied with a few selected examples. .The methods of the new style willbe most clearly shown in the cases where the artist has to deal with theperfectly motionless form, as in the theme of the Crucified Christ, a figure,. rcrsuuB (cast), by Cellini. THE NEW PICTORIAL FORM ?205 which owing to the hxitv of the ex-tremities, does not seem susceptihleof variation. Yet the art of tlieCinquecento gave no\eltv even tothis barren motive, bv doing awavwith the symmetrical disposition ofthe legs, and placing one knee oxerthe othei-, while bv a general turn ofthe tigm-e it produced a contrast ofdirection between the upper andlower parts of the body. This treat-ment has been already discussed inthe case of Abertinelli (cf. p. 154).IMichelangelo worked out this motiveto its logical conclusion. And itmay be remarked incidentally thatlie added the element of created the figin-e of the CrucifiedLord who is casting His eyes up-wards, and whose mouth is openedto utter the cry of anguish.^ The motive of the bound figurepresents richer possibilities. fastened to the stake, orthe Christ of the Flagellation, o
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