By Eric Newton
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Extra resources for European Painting and Sculpture
Again came the anticlimax, again the slackening of the stream, but not such a sudden slackening as in Florence. The two streams joined, became sluggish. Both Florence and Venice had drawn their vitality from excitement at their own visual discoveries - in the one case the discovery of structure, with its attendant emphasis on line, in the other the discovery of colour with its attendant emphasis on surface. To unite the two discoveries was an artistic problem but it was not in itself a discovery.
But Michelangelo was ' ' not in the centre of the Florentine stream. Its central figure was Raphael, who perfected the science of picture-making in the same way that an engineer might perfect the science of bridge-making. If Masaccio had developed the painter's sense of structure, Raphael developed the painter's sense of balance. With him harmony - the relation of the parts to the whole - the prime objective. is Meanwhile Venetian plain another tributary, bigger than the Sienese tributary, began to make its way towards the main stream.
Nor, of course, is it necessary to do so in order to enjoy it. And yet, even though the proof of any particular pudding may be in the eating, if we are to trace the history of puddings down the ages we must have some knowledge of what ingredients were used and how they were mixed - how chef A despised eggs so that all who followed him produced eggless puddings, until that great artist, chef B, reinstated the egg, and an eggy period followed, modified later by C, whose passion for currants and is to achieve flicting ingredients, raisins altered, for the time being, the attitude of mind of half a continent towards the making of puddings how the chefs of the East based their puddings on rice and invariably : them cold, while those of the West made them of and liked them piping hot.