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In his finely studied Sensations M. Paul Bourget, it seems to me, flogs the air and fails to climb it when he struggles to lay open the causes of poor Vannucci's embittering. If ever painting took up the office of literature it was in the fifteenth century. The quattrocentisti stand to Italy for our Elizabethan dramatists. This may have produced bad painting: Mr.
He adorned these edifices with masterpieces from the pencils and chisels of the wonderful Quattrocentisti, whose productions alone would have given Florence an immortal name in Art history. Yet he preserved a perfect simplicity of equipage and apparel.
Thus we call 1800 the first year of the nineteenth century, but they call it the first of the eighteenth; so the painters of what was to us the fifteenth century are called by Italians the "quattrocentisti," or men of the fourteenth century, and while to us the term "cinquecento" means the style of the sixteenth century, to the Italians the same century, which begins with 1500, is the fifteenth century.
Like father, like son, was true in this case, though the young De Chavannes, after some opposition, elected painting as his profession. He had fallen ill, and a trip to Italy was ordained. There he did not, as has been asserted, linger over Pompeii, or in the Roman Catacombs, but saved his time and enthusiasm for the Quattrocentisti.
The heads of the Virgin, of the infant Jesus, and the angels, are all fine, but the hands are badly drawn; this defect, however, is common with the Quattrocentisti, or artists of the 14th century.
The dramatic power and Flemish skill in portraiture of the man are, however, very visible, even in the darkness. No painter of his century approached him in animated grouping and powerful physiognomizing. Dignified, noble, powerful, and natural, he is the exact counterpart of Fra Angelico, among the Quattrocentisti.
Of Gentile da Fabriano, a very rare master, there hangs an Adoration of the Magi, marked May, 1423. One always feels grateful to such of the Quattrocentisti as enlarged the sphere of artistic action, by going out of the conventional circle of holy families, nativities, and entombments. There is a dash about Gentile, a fresh, cavalier-like gentility, quite surprising, and altogether his own.
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