New-York tribune., 1875-02-06
THE YALE ART LEC7 URES.
p,pIvTrArIAy PAINTING

PROF FATONs FOURTH LECTURE-THE ARTISTS OF
THE CAMPO sANTO-THE RETURN TO NATURE IN
TIE FIFTEENTH CENTURY-PRA ANGELICA.
IFRoM A SPECIAL CORRESPONDENT or TIE IRBUNE.I
NEW-HAvEN. Feb. 3-PrOf. EatoD's third
lecture on "The Artists Of the Campo santo,' was
familiar explanation Of several scenes ara pclurts'
thrown the screen showing the suoservency OF 'ue
artists Of the age religious and artistic TRADITION
Until the middle Of the fifteenth century art was thus
bound in by formulas which preeuded original merit or
artistic truth. The Campo Santo Cemetery at Pisa Is
about the only place where record OF this dismal
period is to be found The frescoes cover the walls
which inclose the place. Many examples OF these ffes
Goes were exhibited upon the screen. ana criticised
The concluded by saying that italian painting
OF the fourteenth century was at present an unh etes
ing study. II M Sht be that the thorough investga-
tions now in proares would bring light works OF true
artistic merit aul enable trace orderly artistic
Development Those thus far discovered ana classned
are interesting only as curo,tes and throwing light
on the complex and reactiye faith OF the period
In tho fourth lecture. delivered to-day. the Professor
entered the fifteenth century. when painting aided by
science found the true sources OF It's independence
Emancipation from ecclesiastical prescription was tue
first essential This naturally accompanied the nteec'
tual growth OF the nation. We have now reached the
period the revival OF learning aud the period OK the
establishment Of the great families whose prde gave
such ipetus art This is the day ioo OF ptoIounu
scientific inye>tg atoms. Geometry, optics ana chem-
istry contributed in important way to art. Olls
were also now first brought INTO general use Before
their introduction painting mainly OF two kinds
resco and Temporal but b. the close OF the fifteenth
century OIL painting had been Introduced Hom 'ue
NcthC rands and become popular.
or the scientists none is more deserving of mention
than Paoo UccelO who devoted himself 10 problems In
perspective studying Euclid with absorbing interest
Before his tine perspective was matter OF ACCIDENT.
hon fiOna at all wa I
lowed his eve alone guide him. out thereafter per-
spec,ive took proper place IN the elementary studies
Of art fresco OF Dis representing tie DcIuge, was
here showD illustrate his success In perspective,
especially foreshOTtenIng In another fresco, repre-
senng the thanksgiving OF Noah after the hood, cello
depicts the Almighty with His face do~nward ana
turned from tie spectator-a wonderful piece Ct bod
ness winch NAY well have surprised the artists VI the
period.
Donatclo was another remarkable artist OF this age
His statues present strength, purity, and simplcly
new to art. In his st. George what combination we
have Of the elements of sturdy, yOual vhlOr! After
gazing at the statue in silence for long tne Mchaei
Angelo suddenly exclaimed 10 it; "Mlreh' AHu IL
seems indeed as II II night at moment narch iOrtn
to new deeds OF proves for Chrstendon. GbDertrs
contribution to the pictorial art Was OF the greatest
shadows to modelling, that is, the process By when
figures II At surface are made 10 app.aT 10
stand out IN relief Up bis time painters hi1 wOiked
after the % manner OF GlOttO that - O1ect9 appear
n II cat OuI and paStcred against nat rufa'e ine
boundaries Of objects marked by strong lnes lghts
and snndows hot ignored are indicated by contrasts
of color Bnt I'm Ghbrrt's works artists col measure
and study shadows n the makes them. II was as
new world had been made, reduced 10 convenient sI'
| cyDrcss!y I for their contemplation.
N,v we're needed artists who, 1lled with the specla
genus OF painting, and thoroughly cJnVcrsih' WIN lo
Icchiuy, OF Giotts school, could snperadI ani moor
| porate the principles evolved ana estaOiShcd py
cccllo DonatclO aGd Ghbertl. Such were the artists
Of the Braucacc CudpcI at Florence. lime anu sne
suoke OF incense nave operated 70 interfere WIN our
dcurht In these trcScUes Stil enough lett 10 JUSTIFY
! lie encomiums Of cOtemporarlcs, and TO snow Tue
rig ME strides art had taken s.nce the time OF lhe
shown csuecitlly examples OF MGssacc0, WhO IN his
later work, as tor Instance the Expulsion "I Audln
ana Eve from Paradise reveals extIAordllity knoN
| edge of anatomy. No wonder aItsts crowded 10 lne
Brancacc Chapel for here displayed not ony some
thing entirely art but also the correct e lh0u py
which the new eXCelences were to he attained Ihese
piptiuCs remained studies down 10 the time OF kplaeI
and even that artst whe employed IN the decoration
Of the Vatican, represented the expulsion ~ an almost
! literal tranacriptOn OF MassacciOs painting.
Amid all changes aud advances one great artist
remained faithful to the traditions OF Ia" past. Fra
GiOyanai d FIesOle Fra Angelica as he Is commonly
kuown occupies place Oy himself Leading ne retired
/ life or a Dominican monk, ne devoted ms spcnulu
euus TO The DECOR the cells OF the brethren, AMI
sacn his supcrlDrs Iild upon nun host OI
ms DlutIugS are in the Convent or st Mark
on the story ana about the court were the ces
OF The monks the walls OF these II was tntt Au-
grcp csrecalIy devoted him 'tl In one no painted
crnctxoH, M another the resurrection, often repeating
subject but falling 10 infuse into edeh Work MS
oUu iIrty gcntlencss. and spirituality. In tine con-
temptation these beauties we forget the Imperfect
anatomy the useless aud Impossible Architecture,
Mitl Angelica ended the period or puleb apHltual
conceptions Of rel ios topics III art 1hOugn Douu-
Ice d. he was the truest inTerDreer of the pety
or 81 Francis, piety which nouriSAtd lse On OeauDc
obeyiDg all that required OF 1t. Of TINS spirit An
cc.o was the Last was the beet eApOneht. Att
heuccforth made its appeal 10 relgous sCntmul Ouiy
AS that sentiment accepted and sp1k rs ClI Riphaers
! tc