. The art of the Italian renaissance; a handbook for students and travellers. ut in the third he becomes severe, and builds upa design with an accentuated centre and syunnetrically developed sidescenes. He drives a \^edge into the croMd, making the central figuresretreat, and the picture gains depth, in contrast to that array of lines alongthe front edge of the picture, ^hich Ghirlandajo still employed almostexclusively. This central scheme is in itself no innovation in an historicalpicture, but the Avay in which the figures stretched out their hands to eachother is novel. There are no separat
. The art of the Italian renaissance; a handbook for students and travellers. ut in the third he becomes severe, and builds upa design with an accentuated centre and syunnetrically developed sidescenes. He drives a \^edge into the croMd, making the central figuresretreat, and the picture gains depth, in contrast to that array of lines alongthe front edge of the picture, ^hich Ghirlandajo still employed almostexclusively. This central scheme is in itself no innovation in an historicalpicture, but the Avay in which the figures stretched out their hands to eachother is novel. There are no separate rows placed one behind the other,but the various members emerge from the depth of the background in a cleailyarranged and unbroken sequence. This is the identical problem whichRaphael set himself at this same time, but on a far larger scale, in theDispnta and the School of Athens. The last picture, the Birth of theVirgin, marks Sartos transition from the strictly tectonic to the freelyrhythmical style. The composition swells in a mainiifi«ent curve: ANDREA DEL SARTO 159. The Birth of the Virgin, by Andrea del fiarto.(The upper part omitted.)! beginning from the left ^vith the women by the tire-place, the movementreaches its climax in the two walking women, and dies away in the gronpby the bed of the mother. The freedom of this rhythmical arrangementis indeed very different from the licence of the earlier unrestrained exists here, and the way in which the standing women dominate andbind the whole picture together first becomes imaginable as a motive inthe sixteenth century. As soon as he substituted strict composition for the preliminary loosejuxtaposition, Andrea del Sarto felt the necessity of calling in architectureto his aid. He looked to it to bind the whole together and to give stabilityto the figures. This was the beginning of that combined idea of spaceand figures, ?\\hich may be said to have been on the A\hole quite alien tothe Quattrocento pictures, in whi
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