Chapter XXVI
Reading edition
CHAPTER XXVI
Mediæval art almost exclusively religious157
The introduction of types and traditionary forms157
A picture by Botticelli denounced as heretical (note)158
The choice and treatment of sacred themes159
Modified by the personal character of artists160
Instances of this161
Devotional feeling of early painters161
Shown in the rules of their guilds at Siena and Florence162
Case of Giorgio Vasari163
The gloomy character of Spanish art163
The subject to be considered apart from sectarian views164
Christian art modified in the fifteenth century166
Gradual innovation of naturalism167
Followed by paganism and classicism168
Rise of the "new manner"169
Religious prudery in Spain fatal to art170
Von Rumohr's definition of Christian art170
Opinions prevailing in England171
Hogarth and Savonarola172
Burnet and Barry172
Reynolds and Raffaele172
Obstacles to a due appreciation of this subject among us173
Mr. Ruskin and Lord Lindsay174
Sir David Wilkie175
It does not necessarily lead to popery175
Nor is it a desirable "groundwork for a new style of art"176
St. Francis of Assisi, his legends and shrine177
Their influence renders Umbria the cradle of sacred art178
Opinions of Rio, Boni, and Herbert Seymour179