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superficial observer. The Fra Angelicos, the Filippo Lippis,
superficial observer. The Fra Angelicos, the Filippo Lippis,
the Benozzo Gozzohs, the Botticellis, the Fih'ppino Lippis of
the Benozzo Gozzolis, the Botticellis, the Filippino Lippis of
the century express pleasantly in their work various phases of
the century express pleasantly in their work various phases of
feeUng, devotional, idyllic or pensive, and enjoy a proportionate
feeUng, devotional, idyllic or pensive, and enjoy a proportionate
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Ghirlandajo, to whom is ascribed a characteristic saying. When
Ghirlandajo, to whom is ascribed a characteristic saying. When
disturbed in hours of work about some domestic affair he
disturbed in hours of work about some domestic affair he
exclaimed: " Trouble me not about these household matters;
exclaimed: “Trouble me not about these household matters;
now that I begin to comprehend the method of this art I would
now that I begin to comprehend the method of this art I would
fain they gave me to paint the whole circuit of the walls of
fain they gave me to paint the whole circuit of the walls of
Florence with stories." Ghirlandajo was entering into the
Florence with stories.” Ghirlandajo was entering into the
heritage of technical knowledge and skill that had been laboriously
heritage of technical knowledge and skill that had been laboriously
acquired by his countrymen and their Umbrian comrades
acquired by his countrymen and their Umbrian comrades
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was only drawn on to give a general sense of space without the
was only drawn on to give a general sense of space without the
eye being attracted too far into the distance. As a specimen of
eye being attracted too far into the distance. As a specimen of
the monumental style nothing can be better than Ghirlandajo's
the monumental style nothing can be better than Ghirlandajo’s
fresco of the " Burial of S. Fina " at S. Gimignano in Tuscany
fresco of the “Burial of S. Fina” at S. Gimignano in Tuscany
(see fig. 19, Plate V.). We note with what architectural feeling
(see fig. 19, Plate V.). We note with what architectural feeling
the composition is balanced, how simple and monumental is the
the composition is balanced, how simple and monumental is the
effect.
effect.


§ 16. The Fifteenth Century in the other Italian Schools. — It has
§ 16. ''The Fifteenth Century in the other Italian Schools''.—It has
been already noticed that the painting of the 14th century in
been already noticed that the painting of the 14th century in
the Umbrian cities was inspired by that of Siena. Through
the Umbrian cities was inspired by that of Siena. Through
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An Umbrian who united the suavity of style and feeling
An Umbrian who united the suavity of style and feeling
for beauty of the Peruginesques with a daring and scientific
for beauty of the Peruginesques with a daring and scientific
mastery that were Florentine was Piero de' Franceschi's pupil,
mastery that were Florentine was Piero de’ Franceschi’s pupil,
Melozzo da Forli. His historical importance largely resides
Melozzo da Forlì. His historical importance largely resides
in the fact that he was the first master of the so-called Roman
in the fact that he was the first master of the so-called Roman
school. As was noticed before in connexion with the early
school. As was noticed before in connexion with the early
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chapel of the Vatican, called from its founder the Sistine. These
chapel of the Vatican, called from its founder the Sistine. These
artists were not native Romans but Florentines and Umbrians,
artists were not native Romans but Florentines and Umbrians,
and among them was Melozzo da Forli, who by taking up his
and among them was Melozzo da Forlì, who by taking up his

residence permanently at Rome became the founder of the
residence permanently at Rome became the founder of the
Roman school, that was afterwards adorned by names like
Roman school, that was afterwards adorned by names like
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occupies an important place. He carried further the notion
occupies an important place. He carried further the notion
of a perspective treatment of the figure that was started by
of a perspective treatment of the figure that was started by
Masaccio's angel of the " Expulsion, " and preceded Corrcggio
Masaccio’s angel of the “Expulsion,” and preceded Correggio
in the device of representing a celestial event as it would appear
in the device of representing a celestial event as it would appear
to a spectator who was looking up at it from below.
to a spectator who was looking up at it from below.


On the whole, the three Umbrians, Piero de' Franceschi,
On the whole, the three Umbrians, Piero de’ Franceschi,
with his two pupils Luca SignoreUi and Melozzo, are the most
with his two pupils Luca Signorelli and Melozzo, are the most
important figures in the central Itahan art of the formative
important figures in the central Italian art of the formative
period. There is one other artist in another part of Italy whose
period. There is one other artist in another part of Italy whose
personalty bulks more largely than even theirs, and who, like
personalty bulks more largely than even theirs, and who, like
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strongest that we meet with in the annals of Italian art, and he
strongest that we meet with in the annals of Italian art, and he
stamped this on all he accomplished. No figures stand more firmly
stamped this on all he accomplished. No figures stand more firmly
than Mantegna's, none have a more plastic fullness, in none are
than Mantegna’s, none have a more plastic fullness, in none are
details of accoutrement or folds of drapery more clearly seen
details of accoutrement or folds of drapery more clearly seen
and rendered. The study of antique remains supphed him with
and rendered. The study of antique remains supphed him with
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classical nudes there is a firmness of modelling, a suppleness in
classical nudes there is a firmness of modelling, a suppleness in
movement, that we look for in vain among the Florentines.
movement, that we look for in vain among the Florentines.
Fig. 20, Plate VI., which shows a dance of the Muses with Venus
Fig. 20, Plate VI., which shows a dance of the Muses with Venus
and Vulcan, is typical. Mantegna was not only a great personality,
and Vulcan, is typical. Mantegna was not only a great personality,
but he exercised a powerful and wide-reaching influence
but he exercised a powerful and wide-reaching influence
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followed by Correggio.
followed by Correggio.


Mantegna's relations with the school of Venice introduce us
Mantegna’s relations with the school of Venice introduce us
to the most important and interesting of all the Italian schools
to the most important and interesting of all the Italian schools
save that of Florence. Venetian painting occupies a position
save that of Florence. Venetian painting occupies a position
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