THE ITALIAN MIND(ITALIAN PAINTING)

Books Recommended: As before, Burckhardt, Crowe and Cavalcaselle, Eastlake, Lafenestre, Lanzi, Habich, Lacroix, Mantz, Morelli, Burton, Rumohr, Stillman, Vasari; also Crowe and Cavalcaselle, History of Painting in North Italy; Berenson, Florentine Painters of Renaissance; Berenson,Venetian Painters of Renaissance; Berenson, Central Italian Painters of Renaissance; Study and Criticism of Italian Art; Boschini, La Carta del Navegar; Calvi,Memorie della Vita ed opere di Francesco Raibolini; Cibo,Niccolo Alunno e la scuola Umbra; Citadella, Notizie relative a Ferrara; Cruttwell, Verrocchio; Cruttwell,Pollaiuolo; Morelli, Anonimo, Notizie; Mezzanotte,Commentario della Vita di Pietro Vanucci; Mundler, Essai d'une Analyse critique de la Notice des tableaux Italiens au Louvre; Muntz, Les Précurseurs de la Renaissance; Muntz,La Renaissance en Italie et en France; Patch, Life of Masaccio; Hill, Pisanello, Publications of the Arundel Society; Richter, Italian Art in National Gallery, London; Ridolfi, Le Meraviglie dell' Arte; Rosini,Storia della Pittura Italiana; Schnaase, Geschichte der bildenden Kunste; Symonds, Renaissance in Italy—the Fine Arts; Vischer, Lucas Signorelli und die Italienische Renaissance; Waagen, Art Treasures; Waagen, Andrea Mantegna und Luca Signorelli (in Raumer's Taschenbuch, (1850)); Zanetti, Della Pittura Veneziana. art oil paintings

THE ITALIAN MIND: There is no way of explaining the Italian fondness for form and color other than by considering the necessities of the people and the artistic character of the Italian mind. Art in all its phases was not only an adornment but a necessity of Christian civilization. The Church taught people by sculpture, mosaic, miniature, and fresco. It was an object-teaching, a grasping of ideas by[58] forms seen in the mind,art oil paintings for sale, not a presenting of abstract ideas as in literature. Printing was not known. There were few manuscripts, and the majority of people could not read. Ideas came to them for centuries through form and color, until at last the Italian mind took on a plastic and pictorial character. It saw things in symbolic figures, and when the Renaissance came and art took the lead as one of its strongest expressions, painting was but the color-thought and form-language of the people. original oil paintings