CHAPTER I
INTRODUCTION
The great change in ideas and ideals which, after the remarkable intellectual and artistic life of the Middle Ages, was manifested in the so-called Renaissance, is not always correctly conceived or fairly stated; and the character and merits of the Fine Arts of the Renaissance, as compared with those of mediæval times, have not, I think, been often set forth in an entirely true light. Of the merits of the best Italian art of the fifteenth and sixteenth centuries there can be no question, but the belief that this art is altogether superior to that of the Middle Ages will not bear examination in the light of impartial comparison.
The Fine Arts are always an expression of the historical antecedents, the intellectual, moral, and material conditions, and the religious beliefs of the peoples and epochs to which they belong. They derive their whole character from these antecedents and conditions, and cannot be rightly understood or appreciated without reference to them. Thus a brief consideration of these conditions in the Middle Ages on the one hand, and in the period of the Renaissance on the other, may help us to understand the nature of the above-mentioned change, and to gain a more discriminating appreciation of the real character of the artistic productions of the latter epoch.
During the Middle Ages ideas and imagination were governed by a religious faith which, though in many ways mistaken and misguided, was for the most part firm and unquestioning. Mediæval Christianity was a living power with the masses, and an inspiration to men of genius. The mediæval Christian mythology was well fitted to stimulate artistic invention, and the ideals which it maintained were full of beauty. It is true, indeed, that human conduct was not wholly governed by this faith; but the precepts of the Christian religion, as defined and interpreted by
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