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By John C Van Dyke L H D

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The most of their work has perished, but what remains shows an intellectual grasp equal to any of the age. The Sienna frescos by Ambrogio Lorenzetti are strong in facial character, and some of the figures, like that of the white-robed Peace, are beautiful in their flow of line. -1356), Bartolo di Fredi (1330-1410), and Taddeo di Bartolo (1362-1422), were other painters of the school. The late men rather carried detail to excess, and the school grew conventional instead of advancing. ), Fra Angelico (1387-1455), have been put down in art history as the makers of the transition from Gothic to Renaissance painting.

M. Novella, equestrian portrait Duomo Florence, battle-pieces in Louvre and Nat. Gal. ; Andrea Castagno, heroes and sibyls Uffizi, altar-piece Acad. Florence, equestrian portrait Duomo Florence; Benozzo Gozzoli, Francesco Montefalco, Magi Ricardi palace Florence, frescos Campo Santo Pisa; Baldovinetti, Portico of the Annunziata Florence, altar-pieces Uffizi; Antonio Pollajuolo, Hercules Uffizi, St. Sebastian Pitti and Nat. Gal. ; Cosimo Rosselli, frescos S. , Nat. Gal. ; Filippino, frescos Carmine Florence, Caraffa Chapel Minerva Rome, S.

The Italians had to learn it all over again, almost without a precedent, almost without a preceptor. With the fifteenth century the horizon began to brighten. The Early Renaissance was begun. It was not a revolt, a reaction, or a starting out on a new path. It was a development of the Gothic period; and the three inclinations of the Gothic period—religion, the desire for classic knowledge, and the study of nature—were carried into the art of the time with greater realization. The inference must not be made that because nature and the antique came to be studied in Early Renaissance times that therefore religion was neglected.

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