The longing for the perpetuation of one's fame, which has already been mentioned several times as one of the chief passions of the Renaissance, brought with it the more universal desire to hand down the memory of one's face and figure. The surest way to accomplish this end seemed to be the one which had proved successful in the case of the great Romans, whose effigies were growing more and more familiar as new busts and medals were dug up.
The earlier generations of the Renaissance relied therefore on the sculptor and the medallist to hand down their features to an interested posterity. These artists were ready for their task. The mere materials gave them solidity, an effect so hard to get in painting. At the same time, nothing was expected from them except that they should mould the material into the desired shape. No setting was required and no colour. Their art on this account alone would naturally have been the earliest to reach fruition. But over and above this, sculptors and medallists had the direct inspiration of antique models, and through the study of these they were at an early date brought in contact with the tendencies of the Renaissance.
The passion then prevailing for pronounced types, and the spirit of analysis this produced, forced them to such patient study of the face as would enable them to give the features that look of belonging to one consistent whole which we call character. Thus, at a time when painters had not yet learned to distinguish between one face and another, Donatello was carving busts which remain unrivalled as studies of character, and Pisanello was casting bronze and silver medals which are among the greatest claims to renown of those whose effigies they bear.
Donatello's bust of Niccolo d'Uzzano shows clearly, nevertheless, that the Renaissance could not long remain satisfied with the sculptured portrait. It is coloured like nature, and succeeds so well in producing for an instant the effect of actual life as to seem uncanny the next moment. Donatello's contemporaries must have had the same impression, for busts of this kind are but few. Yet these few prove that the element of colour had to be included before the satisfactory portrait was found: in other words, that painting and not sculpture was to be the portrait-art of the Renaissance.
The most creative sculptor of the earlier Renaissance was not the only artist who felt the need of colour in portraiture. Vittore Pisano, the greatest medallist of this or any age, felt it quite as keenly, and being a painter as well, he was among the first to turn this art to portraiture. In his day, however, painting was still too undeveloped an art for the portrait not to lose in character what it gained in a more life-like colouring, and the two of Pisanello's portraits which still exist are profiles much inferior to his best medals, seeming indeed to be enlargements of them rather than original studies from life.
The new portraiture
It was only in the next generation, when the attention of painters themselves was powerfully concentrated upon the reproduction of strongly pronounced types of humanity, that they began to make portraits as full of life and energy as Donatello's busts of the previous period. Even then, however, the full face was rarely attempted, and it was only in the beginning of the sixteenth century that full-face portraits began to be common.
The earliest striking achievement of this sort, Mantegna's head of Cardirial Scarampo (now in Berlin), was not the kind to find favour in Venice. The full-face likeness of this wolf in sheep's clothing brought out the workings of the selfseeking, cynical spirit within too clearly not to have revolted the Venetians, who looked upon all such qualities as impious in the individual because they were the strict monopoly of the State. In the portraits of Doges which decorated the frieze of its great Council Hall, Venice wanted the effigies of functionaries entirely devoted to the State, and not of great personalities, and the profile lent itself more readily to the omission of purely individual traits.
It is significant that Venice was the first state which made a business of preserving the portraits of its chief rulers. Those which Gentile and Giovanni Bellini executed for this end must have had no less influence on portraiture than their mural paintings in the same Hall had on other branches of the art. But the State was not satisfied with leaving records of its glory in the Ducal Palace alone. The Church and the saints were impressed for the same purpose -- happily for us, for while the portraits in the Great Hall have perished, several altar-pieces still preserve to us the likenesses of some of the Doges.
Choice of subjects
Early in the sixteenth century, when people began to want pictures in their own homes as well as in their public halls, personal and religious motives combined to dictate the choice of subjects. In the minds of many, painting, although a very familiar art, was too much connected with solemn religious rites and with state ceremonies to be used at once for ends of personal pleasure. So landscape had to slide in under the patronage of St. Jerome; while romantic biblical episodes, like the 'Finding of Moses', or the 'Judgement of Solomon', gave an excuse for genre, and the portrait crept in half hidden under the mantle of a patron saint. Its position once secure, however, the portrait took no time to cast off all tutelage, and to declare itself one of the most attractive subjects possible.
Over and above the obvious satisfaction afforded by a likeness, the portrait had to give pleasure to the eye, and to produce those agreeable moods which were expected from all other paintings in Giorgione's time. Portraits like that of Scarampo are scarcely less hard to live with than such a person himself must have been. They tyrannize rather than soothe and please. But Giorgione and his immediate followers painted men and women whose very look leads one to think of sympathetic friends, people whose features are pleasantly rounded, whose raiment seems soft to touch, whose surroundings call up the memory of sweet landscapes and refreshing breezes. In fact, in these portraits the least apparent object was the likeness, the real purpose being to please the eye and to turn the mind toward pleasant themes. This no doubt helps to account for the great popularity of portraits in Venice during the sixteenth century. Their number, as we shall see, only grows larger as the century advances.
Renaissance Art, Renaissance Painting, Giorgione, Italian Art, Lotto, Giotto, The School of Leonardo, Raphael, Tintoretto, Paolo Veronese, Velasquez, Longhi, Massacchio, Verocchio, Naturalism, Duccio, Simone Martini, Renaissance Painters, Donatello, Pisanello, Liberale, Boticelli, Melozzo da Forli, Luca Signorelli, Michelangelo, Butinole, Zenalle, Bramante, Bramantino, Correggio, Leoardo da Vinci, Tactile Values, Humanism, The School of Verona, The Umbrian School, The School of Perugia, Domenico Brusasorci, Vincenzo Foppa, Milanese Art, Venetian Art, The School of Piedmont, Florence Art