Mediaeval Motives exhausted--New Impulse toward Technical Perfection--Naturalists in Painting--Intermediate Achievement needed for the Great Age of Art--Positive Spirit of the Fifteenth Century--Masaccio--The Modern Manner--Paolo Uccello--Perspective--Realistic Painters--The Model--Piero della Francesca--His Study of Form--Resurrection at Borgo San Sepolcro--Melozzo da Forli--Squarcione at Padua--Gentile da Fabriano--Fra Angelico--Benozzo Gozzoli--His Decorative Style--Lippo Lippi--Frescoes at Prato and Spoleto--Filippino Lippi--Sandro Botticelli--His Value for the Student of Renaissance Fancy--His Feeling for Mythology--Piero di Cosimo--Domenico Ghirlandajo--In what sense he sums up the Age--Prosaic Spirit--Florence hitherto supreme in Painting--Extension of Art Activity throughout Italy--Medicean Patronage. CHAPTER VI PAINTING Two Periods in the True Renaissance--Andrea Mantegna--His Statuesque Design--His Naturalism--Roman Inspiration--Triumph of Julius Caesar--Bas-reliefs--Luca Signorelli--The Precursor of Michael Angelo--Anatomical Studies--Sense of Beauty--The Chapel of S. Brizio at Orvieto--Its Arabesques and Medallions--Degrees in his Ideal--Enthusiasm for Organic Life--Mode of treating Classical Subjects--Perugino--His Pietistic Style--His Formalism--The Psychological Problem of his Life--Perugino's Pupils--Pinturicchio--At Spello and Siena--Francia--Fra Bartolommeo--Transition to the Golden Age--Lionardo da Vinci--The Magician of the Renaissance--Raphael--The Melodist--Correggio--The Faun--Michael Angelo--The Prophet. CHAPTER VII VENETIAN PAINTING Painting bloomed late in Venice--Conditions offered by Venice to Art--Shelley and Pietro Aretino--Political Circumstances of Venice--Comparison with Florence--The Ducal Palace--Art regarded as an adjunct to State Pageantry--Myth of Venezia--Heroic Deeds of Venice--Tintoretto's Paradise and Guardi's Picture of a Ball--Early Venetian Masters of Murano--Gian Bellini--Carpaccio's Little Angels--The Madonna of S. Zaccaria--Giorgione--Allegory, Idyll, Expression of Emotion--The Monk at the Clavichord--Titian, Tintoret, and Veronese--Tintoretto's Attempt to dramatise Venetian Art--Veronese's Mundane Splendour--Titian's Sophoclean Harmony--Their Schools--Further Characteristics of Veronese--of Tintoretto--His Imaginative Energy--Predominant Poetry--Titian's Perfection of Balance--Assumption of Madonna--Spirit common to the great Venetians. CHAPTER VIII LIFE OF MICHAEL ANGELO