very natural results followed from the efforts of the time. The study of old Greek models rested exclusively on works of the chisel. Of these the material form became impressed on the painter’s eye. Sculpture thus invaded with its peculiarities the domain of painting. The demand for marbles and bronzes too continued to produce men equally able with the chisel and the brush; but who im ported the laws of bas-relief into painting, as Ghiberti had imported the laws of painting into bas-relief. Men who sought to impart to productions of the brush the polish and sharpness that dazzle in works cut out of metal. The subjects rendered familiar by the study of the antique became fashionable; and the Bible or saintly legends no longer formed the exclusive food for artistic activity. For this invasion of the old Christian ground by mythology, the time seemed aptly chosen. The ardor of religion had truly passed away or remained confined to a class. Purely religious painting, perfected with a view to exalt and embody the lessons of a fervent faith had sunk into the grave of Angelico who had lived to see new generations spring up around him unmoved by his example or careless of his honest enthusiasm. These still continued to represent religious subjects, but . did not preserve the stern simplicity neccessary to give them grandeur or impress the spectator with their solemnity. This was not all. Those who had been convinced that a study of nature, and not a mere imitation of the most perfect models, was necessary for the revival of the genius of an extinct art, were led to spend more than usual time in examining and analyzing all natural appearances. In this effort, most tarried by the way, lost sight of the aim towards which the subtle knowledge of nature should have led them, and became realistic imitators, who forget, that the ideal is based on selection. The characteristic features of Florentine art in the fifteenth century are thus, ob livion of the great aim which should animate every artist, a praiseworthy effort to master the various branches of perspective, light and shade, and the chemistry of painting,