Obscene jest books 154 CHAPTER XXVI Mediæval art almost exclusively religious 157 The introduction of types and traditionary forms 157 A picture by Botticelli denounced as heretical (note) 158 The choice and treatment of sacred themes 159 Modified by the personal character of artists 160 Instances of this 161 Devotional feeling of early painters 161 Shown in the rules of their guilds at Siena and Florence 162 Case of Giorgio Vasari 163 The gloomy character of Spanish art 163 The subject to be considered apart from sectarian views 164 Christian art modified in the fifteenth century 166 Gradual innovation of naturalism 167 Followed by paganism and classicism 168 Rise of the "new manner" 169 Religious prudery in Spain fatal to art 170 Von Rumohr's definition of Christian art 170 Opinions prevailing in England 171 Hogarth and Savonarola 172 Burnet and Barry 172 Reynolds and Raffaele 172 Obstacles to a due appreciation of this subject among us 173 Mr. Ruskin and Lord Lindsay 174 Sir David Wilkie 175 It does not necessarily lead to popery 175 Nor is it a desirable "groundwork for a new style of art" 176 St. Francis of Assisi, his legends and shrine 177 Their influence renders Umbria the cradle of sacred art 178 Opinions of Rio, Boni, and Herbert Seymour 179 CHAPTER XXVII The Umbrian school hitherto overlooked 184 The cathedral of Orvieto and the sanctuary of Assisi attract many artists 185 The dramatic or Dantesque character of Florentine painting 186