. The art of the Italian renaissance; a handbook for students and travellers. e. One of the girl-angels, with downcast eyes, timidly oflcrs abasket of flowers to the Infant Christ, and while He rolls over delightedlyto one side and grasps at the present, two other angels graxelv sing a hynmfrom nmsic, although one glances up for a moment, and a smile passes overher features. Why did the sixteenth century never return to such motives ?The new angels have lost the charm of youHiful timidity, and have thrownoff their ingenuous ndivetc. They now have some share in the kingly stateand behave themse
. The art of the Italian renaissance; a handbook for students and travellers. e. One of the girl-angels, with downcast eyes, timidly oflcrs abasket of flowers to the Infant Christ, and while He rolls over delightedlyto one side and grasps at the present, two other angels graxelv sing a hynmfrom nmsic, although one glances up for a moment, and a smile passes overher features. Why did the sixteenth century never return to such motives ?The new angels have lost the charm of youHiful timidity, and have thrownoff their ingenuous ndivetc. They now have some share in the kingly stateand behave themselves with corresponding dignity. The spectator is nolonger to be allowed to smile. In representing the movement of flying angels the (in(|uecento revertsto the old solenni hovering familiar in Gothic art. Those incorporealflgures with the beautiful outlines of flowing drapery had become incom-prehensible to the realism of the fifteenth century. It reipiired a morematter-of-fact movement, and represented,the angels not as ho\ering, but 210 THE ART OP THE ITALIAN RENAISSANCE. Madnnua aiul Child witli Ang-cls. by Filiipiuo Lipii- as walking or running on a small substratum of cloud. Hence arose thosefigures of hurrying girls who, in a fashion neither beautiful nor dignified,but veiv convincing, throw out their legs and naked heels. Attempts torepresent the swinuning flight were once more revived, with \igorousaction of the legs, but it was High Art which first disco\ercd that ex-pression for deliberate and solenni movement in the air which has sincel)een accepted.^ Tlie luodiajval fljing figures are directl}- derived from the antique. Tlie Renaissance,by the iii:-ention of the running scheme, reverted iinconsciouslj to the stjle of move-ment in flight with which the most ancient Greek art had l^egun, and whicli is knownin archaeology as the running with bent knee scheme (the type is seen in the Xilce ofDelos, to which the angel bj- Benedetto da Majano in the illustration on page I
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