. The art of the Italian renaissance; a handbook for students and travellers. r details in hispictures. Later, the Lombard Cara\aggio caused a positive storm inliomc with a flower-\ase; it was the sign of a new art. If a Quattrocentist like Filippino paints Music (picture in Berlin), asa young woman, who is decking the swan of Apollo, while the wind makes hermantle, gay with the liright hues of the Quattrocento, flutter round her, thepicture with its putti and animals, its \\ater and foliage, has all the charmof a myth rendered ])y Bocklin. The sixteenth century would have selectedonly the scu
. The art of the Italian renaissance; a handbook for students and travellers. r details in hispictures. Later, the Lombard Cara\aggio caused a positive storm inliomc with a flower-\ase; it was the sign of a new art. If a Quattrocentist like Filippino paints Music (picture in Berlin), asa young woman, who is decking the swan of Apollo, while the wind makes hermantle, gay with the liright hues of the Quattrocento, flutter round her, thepicture with its putti and animals, its \\ater and foliage, has all the charmof a myth rendered ])y Bocklin. The sixteenth century would have selectedonly the sculpturesque motive. Lhe general feeling for nature can Ije no doubt that the development of art was not thereby bene-fited. The High Renaissance stood in a restricted domain, and there wasconsideralile danger that it would exhaust itself. The tendency towards a seulpturescpie style coincides in Italian art There A\as now a (lilleiencc between nionnniental ami non-monumental. Othercon-siilerations of style are clearly n(]ticeable in the small Cassone AUtjgiiry, tiy Filippino Ijippi. THE NEW BEAUTY 241 with an approximation to antique beauty. There is an inchnation toassume that the wish to imitate was the effectual motive in both cases,as if the picturesque world had been abandoned in favour of antiquestatues. But one must not judge from the analogies of our historicalcentury. If Italian art showed a new impulse at its apogee, it can onlyhave been due to a development from within. 6 In summing up we must once more speak of the relation of Italianart to the antique. The popular idea is, that the fifteenth century hadcertainly studied the antique monuments, but that it forgot alien influencesin the fervour of its own production, whereas the sixteenth century, lessgifted with a strong originality, never escaped from the impression oncereceived. This argument tacitly assumes that both centuries regarded theantique in the same light, but the assumption is not
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