the artist with an ardor in her representation
such as few of the older painters had experienced in their devotion to
religious subjects.

This expansion of thought and purpose was inaugurating an art attractive
to women, to which the increasing liberty of artistic theory and
practice must logically make them welcome; a result which is a
distinguishing feature of sixteenth-century painting.

* * * * *

The sixteenth century was noteworthy for the generous patronage of art,
especially in Florence, where the policy of its ruling house could not
fail to produce marvellous results, and the history of the Medici
discloses many reasons why the bud of the Renaissance perfected its bloom
in Florence more rapidly and more gloriously than elsewhere.

For centuries Italy had been a treasure-house of Greek, Etruscan, and
Byzantine Art. In no other country had a civilization like that of
ancient Rome existed, and no other land had been so richly prepared to be
the birthplace and to promote the development of the art of the
Renaissance.

The intellectually progressive life of this period did much for the
advancement of women. The fame of Vittoria Colonna, Tullia d'Aragona,
Olympia Morata, and many others who merit association in this goodly
company, proves the generous spirit of the age, when in the scholastic
centres of Italy women were free to study all branches of learning.

The pursuit of art was equally open to them and women were pupils in all
the schools and in the studios of many masters; even Titian instructed a
woman, and all the advantages for study enjoyed by men were equally
available for women. Many names of Italian women artists could be added
to those of whom I have written in the biographical portion of this
book, but too little is known of their lives and works to be of present
interest. There is, however, little doubt that many pictures attributed
to "the School of" various masters were painted by women.

* * * * *

Art did not reach its perfection in Venice until later than in Florence,
and its special contribution, its glorious color, imparted to it an
attraction unequalled on the sensuous plane. This color surrounded the
artists of that sumptuous city of luxurious life and wondrous pageants,
and was so emphasized by the marvellous mingling of the semi-mist and the
brilliancy of its atmosphere that no man who merited the name of artist
could b