It is this
groping effort after truth which results often in the _naive_ rendering
of details, and the quaintness of composition, which are so common in
the works of these early masters; but the deep feeling of the artists
penetrates through all, and thus even their awkward and imperfect drawing
frequently produces a stronger effect, and seems a better rendering of
nature, than the cold, unfeeling, academic accuracy of Bologna, or all the
finished science of the eclectic schools.
In passing down through the century one finds lamentable omissions at
Manchester. Fifty pictures, of which half at least have been restored,
(that is to say, in part or wholly spoiled,) and half originally the work
of inferior masters, do not represent the art of a century which was full
of the glow of reawakening life, and which, as the spring covers the
earth with flowers, covered Italy with cathedrals, campaniles, churches,
baptisteries, and camposantos, and decorated their walls with sculpture and
painting. Art was gaining gradually a knowledge of her own powers. Orgagna,
the Michel Angelo of his time, (one of his pictures is at Manchester,) was
opening a wider field for her progress; and ten years after his death Fra
Angelico was born.
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