. The art of the Italian renaissance; a handbook for students and travellers. cially favourablefor observation. I referto Tlic Murder iif PdcrMartyr in the NationalGallerv, London, aspainted by a Quattro-centist,^ and as, on theother hand, it was re-duced to classical formby Titian in the burntpicture in the Church ofS. Giovanni e Paolo. The Quattrocentistspells out the elements ofthe story. There is a\»ood, and the persons at-tacked, namely, the saintand his companion ; the one riees this way, the other that. The one is stabljed to the right, theother to the left. Titian starts with the idea
. The art of the Italian renaissance; a handbook for students and travellers. cially favourablefor observation. I referto Tlic Murder iif PdcrMartyr in the NationalGallerv, London, aspainted by a Quattro-centist,^ and as, on theother hand, it was re-duced to classical formby Titian in the burntpicture in the Church ofS. Giovanni e Paolo. The Quattrocentistspells out the elements ofthe story. There is a\»ood, and the persons at-tacked, namely, the saintand his companion ; the one riees this way, the other that. The one is stabljed to the right, theother to the left. Titian starts with the idea that two analogous scenescannot be dej)icted in close proximity. Jhe death of Peter is the chiefmotive, with which nothing nmst compete. He accordingly leaves thesecond murderer out, and treats the attendant friar only as a fugitive. Atthe same time he subordinates him to the main motive; he is included in ^ The ascription of the picture to (iiovaiiiii Bellini now appears to be universallyaljandoned. Berenson attributes it to Gentile Bellini. (Venetiitu 1S94.). The Death of Peter .Mmtyr, l)j- Titiiin 280 THE ART OF THE ITALIAN RENAISSANCE the same eoiineetoil iiiove-iiient, and l)v continuinu;tlie (lii-ection intensifiestlie fiir\ of tile if he A\ere a fragmenthounding oft from themain grou[) at the shoek,he hurls himself forwardin the direction towardswhich the saint has a distracting andiidiarmonious element hasheeome an indispensahlelactor in the ettect. Ifwe use |)hilos()phic termsto describe tlie ])roeess,we may say that deyelop-ment here implies in-tegration and ditterentia-tion. Ivieh inoti\e isonly to appear once, (|uated e(|uiyalence ofthe jiarts is to he replacedliy absolute distinction,and at the same time theditterentiated elementsmust combine into a whole, where no jiart Ioiild be omitted without thecollapse of the whole stnu-ture. This system of classical art had beenanticipated by 15. Albeiti, when in an often (p
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