ALESSANDRO BOTTICELLI 1446-1510 Italian School of Florence
HANS MEMLING 1425 (?)-1495 (?) Flemish School of Bruges
WE have seen that the revival of painting began with the study of the appearances of objects and an attempt to represent them as real to the senses of sight and touch; that the painters learned from the sculptors, who themselves had learned from the remains of antique sculpture; and that the result was a closer truth to nature, in the representation both of the human form and of its movement. We have also seen how in Flanders Jan van Eyck developed a grand school of painting out of the national skill of craftsmanship in the minor arts of decoration,--goldsmith's work, stained glass, embroidery, tapestry, and the like,--and that to the truth of natural form he added also a true appearance of textures. Further, we have seen how in Fra Angelico appeared the most perfect flower of that old religious feeling which for centuries had been a light in the darkness of the world.
We have now to consider the effect produced upon painting by the revival of the study of Greek, which revealed to Italy of the fifteenth century a new light, in the joy of which the older light was dimmed. Botticelli typifies this new inspiration. I have coupled with him