DOI Page / Citation link:
https://doi.org/10.11588/diglit.73713#0080
76
THE WOKKS OF
In Italy, where it was principally renewed,
they painted entire facades for churches, cha-
pels, and church-yards, representing mysteries
of the passion of Our Lord, and of other simi-
lar things; from whence, even from the begin-
ning, the art inclined to a state of abundance
and superssuity, rather than perfection ; and
even till now the system is not changed, as
painting serves to content the vulgarity of riches
and power, more than philosophy and good
taste; quite the contrary to that which hap-
pened among the Grecians. Thus it follows,
that painters seek not perfection, but abun-
dance and facility, because perfection is but
for few, and the rest is attainable to all, even
to the molt ignorant, who at presont are the
legislators of taste.
Since nothing in this world is constant, and
men are extravagant in their ideas, by exalting
that which is low, and abating that which is
high, painters could not do less than seek new
modes to surpass one another, and, by that, they
have proceeded by adding some theorical parts
to that barbarous practice in which they began.
The first part they found was perspective,
by the knowledge of which, and that of fore-
ihortning, they put themselves in a state to ad-
vance more their inventions.
Domenico Ghirlandajo, of Florence, was the
first, who, by means of that part, improved
the mode of competition, and placing the figures
in groups, and distinguishing the drapery by
just gradations, hegave profundity to his com-
THE WOKKS OF
In Italy, where it was principally renewed,
they painted entire facades for churches, cha-
pels, and church-yards, representing mysteries
of the passion of Our Lord, and of other simi-
lar things; from whence, even from the begin-
ning, the art inclined to a state of abundance
and superssuity, rather than perfection ; and
even till now the system is not changed, as
painting serves to content the vulgarity of riches
and power, more than philosophy and good
taste; quite the contrary to that which hap-
pened among the Grecians. Thus it follows,
that painters seek not perfection, but abun-
dance and facility, because perfection is but
for few, and the rest is attainable to all, even
to the molt ignorant, who at presont are the
legislators of taste.
Since nothing in this world is constant, and
men are extravagant in their ideas, by exalting
that which is low, and abating that which is
high, painters could not do less than seek new
modes to surpass one another, and, by that, they
have proceeded by adding some theorical parts
to that barbarous practice in which they began.
The first part they found was perspective,
by the knowledge of which, and that of fore-
ihortning, they put themselves in a state to ad-
vance more their inventions.
Domenico Ghirlandajo, of Florence, was the
first, who, by means of that part, improved
the mode of competition, and placing the figures
in groups, and distinguishing the drapery by
just gradations, hegave profundity to his com-