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The innumerable artists of the Renaissance remained in hesitation; tried to court both the antique and the modern, to unite the Pagan and the Christian some, like Ghirlandajo, in cold indifference to all but mere artistic science, encrusting marble bacchanals into the walls of the Virgin's paternal house, bringing together, unthinkingly, antique-draped women carrying baskets, and noble Strozzi and Ruccellai ladies with gloved hands folded over their gold brocaded skirts; others, with cheerful and childlike pleasure in both antique and modern, like Benozzo, crowding together half-naked youths and nymphs treading the grapes and scaling the trellise with Florentine magnificos in plaited skirts and starched collars, among the pines, and porticos, the sprawling children, barking dogs, peacocks sunning themselves, and partridges picking up grain, of his Pisan frescoes; yet others using the antique as mere pageant shows, allegorical mummeries, destined to amuse some Duke of Ferrara or Marquis of Mantua, together with the hurdle races of Jews, hags, and riderless donkeys.
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