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By Michael Levey

“From Giotto to Cezanne: A Concise historical past of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, unfastened from prejudice, regularly neat, usually stimulating. No higher creation to Western portray has eve been produced.» (The Sunday Times). « combining severe scholorship with a presentation uncomplicated sufficient to curiosity the final reader and making use of a typical of replica more than enough to make the outcome either an highbrow and a classy pleasure.» ( the Burlington magazine).

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His sardonic, satiric powers spring into genius at Orvieto cathedral where he frescoed a terrifyingly dramatic Last Judgment (pi. yy). Angels blow vast trumpets and out of a sandy desert, blasted of all vegetation, the dead begin to stretch and rise. Gloating devils, not grotesque caricatures but human and muscular, carry off the damned. The living groan and are smitten by the fire which falls from the darkened heavens. The whole scheme anticipates Michelangelo in its passionate delineation of the nude from every angle, used to express a gamut of emotions, and in its apocalyptic fury; while its sense of desolation is even deeper.

Michelangelo's famous if not totally accurately recorded judgment reveals an Italian artist's awareness of the very different standards existing in the North 'In Flanders they paint with a view to exter- illuminated manuscripts. II THE RENAISSANCE IN NORTHERN EUROPE nal exactness To Michelangelo all such work lacked harmony, symmetry, proportion. And it is Northern painters made man no demigod, preferring to record him just as he true that the was, highly conscious of mortality, usually clothed rather than naked, and with careful depiction of the world he lived in.

48) they too have a wiry nervousness, a sense of energy only temporarily held in check, which runs The breeze of movement like fire religious note. piety is a wood in the now (pi. apparent; and the Adoration 4J ) David in returns to the world not of (pi. become a gale 49) of Andrea Castagno has (1423-57), with its harsh vigour and emphasis on the body in action. Closer to Donatello than to Masaccio, Castagno sought deliber- 36 ; through the work of a younger man, Antonio Pollaiuolo (c. 1432-98), whose David (pi.

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