. The study and criticism of Italian art : second series. annotseriously be compared in quality with those of hismaster Botticelli, or even of his father, Fra other painter who employed, as he did, theforms of the fifteenth century, departed so far fromthe artistic spirit of that epoch. He was, in fact, aprecursor of the aesthetic confusion of the had all its sentimentality, all its indiscriminateprofusion of ornament, all its fondness for emptydisplay. Like the painters of that later time, he 1 Seicentismo, like any other movement which takes its namefrom a century, ac
. The study and criticism of Italian art : second series. annotseriously be compared in quality with those of hismaster Botticelli, or even of his father, Fra other painter who employed, as he did, theforms of the fifteenth century, departed so far fromthe artistic spirit of that epoch. He was, in fact, aprecursor of the aesthetic confusion of the had all its sentimentality, all its indiscriminateprofusion of ornament, all its fondness for emptydisplay. Like the painters of that later time, he 1 Seicentismo, like any other movement which takes its namefrom a century, actually anticipated its nominal date by a genera-tion or more. Thus, what we know as the spirit of the eighteenthcentury, or, again, as the spirit of the nineteenth century, wasreally in many respects more clearly manifest before the end ofthe century preceding. By seicentismo, therefore, one does notmean a style confined to the seventeenth century, but one thatbegan long before, and culminated soon after, the beginning ofthat century. 90 FILIPPINO LIPPI. Aliuari photo .\ [Btiiiin Church, Florence. THE APPEARANCE OF THE VIRGIN TO ST. BERNARD MASTERPIECE BY FILIPPINO LIPPI 91 had ceased to listen to the still, small voice ; and,in his impatience to produce an effect, he forsook thesimplicity of his contemporaries, and rushed intothe baroque. He is akin rather to the family ofDomenichino, than to the descendants of Masaccio. To a certain degree, however, it is undeniablethat Filippino is the victim of ill-luck. (I use thepresent tense with intention, for I am speaking ofthe personality of the artist, not of the man, and hisartistic personality can never belong completely tothe past, so long as the works which express itendure.) Of his first works, painted before thesketch-books he made in Rome provided him withthe means to burst out as it were into the dubiousopulence of a nouveau riche, some have entirely dis-appeared ; others—like the admirable tondo of theCorsini Gallery at F
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