Such is this Renaissance art of medals, this side branch of the great realistic portraiture in stone of the Benedettos, Desiderios, and Rossellinos; a perfect thing in itself; and one which, if we muse over it in connection with the more important works of fifteenth century sculpture, will perhaps lead us to think that, as the sculpture of Antiquity, in its superb idealism, its devotion to the perfect line and curve of beauty, achieved the highest that mere colourless art can achieve--thanks to the very purity, sternness, and narrowness of its sculpturesque feeling--so also, perhaps, modern sculpture, should it ever re-arise, must be a continuation of the tendencies of the Renaissance, must be the humbler sister of painting, must seek for the realistic portrait and begin, perhaps, with the realistic medal.
This kind of realism, where only the model is ugly, while the portrait is beautiful; which seeks decorative value by other means than the intrinsic excellence of form in the object represented, this kind of realism is quite different in sort from the realisms of immature art, which, aiming at nothing beyond a faithful copy, is content with producing an ugly picture of an ugly thing. Now this latter kind of realism endured in painting some time after decorative realism such as I have described had reached perfection in sculpture. Nor was it till later, and when the crude scholastic realism had completely come to an end, that there became even partially possible in painting decorative realism analogous to what we have noticed in sculpture; while it was not till after the close of the Italian Renaissance period that the painters arose in Spain and the Netherlands who were able to treat their subjects with the uncompromising decorative realism of Desiderio or Rosellino or Benedetto da Maiano. For the purely imitative realism of the painters of the early Renaissance was succeeded in Italy by idealism, which matured in the great art of intrinsically beautiful linear form of Michael Angelo and Raphael, and the great art of intrinsically beautiful colour form of Giorgione and Titian. These two schools were bound to be, each in its degree, idealistic. Complete power of mere representation in tint and colour having been obtained through the realistic drudgery of the early Renaissance, selection in the objects thus to be represented had naturally arisen; and the study of the antique had further hastened and directed this movement of art no longer to study but to achieve, to be decorative once more, decorative no longer in subservience to architecture, but as the separate and self-sufficing art of painting. Selection, therefore, which is the only practical kind of idealism, had begun as soon as painting was possessed of the power of representing objects in their relations of line and colour, with that amount of light and shadow requisite to the just appreciation of the relations of form and the just relations of colour. Now art which stops short at this point of representation must inevitably be, if decorative at all, idealistically decorative; it must be squeamish respecting the objects represented, respecting their real structure, colour, position, and grouping. For, of the visible impressions received from an object, some are far more intrinsic than others. Suppose we see a woman, beautiful in the structure of her body, and beautiful in the colour of her person and her draperies, standing under a light which is such as we should call beautiful and interesting: of these three qualities one will be intrinsic in the woman, the second very considerably so, the third not at all. For, let us call that woman away and replace her immediately by another woman chosen at random. We shall immediately perceive that we have lost one pleasurable impression, that of beautiful bodily structure: the woman has taken away her well-shapen body. Next we shall perceive a notable diminution in the second pleasurable impression: the woman has taken with her, not indeed her well-tinted garments, which we may have bestowed on her successor, but her beautifully coloured skin and hair, so that of the pleasing colour-impression will remain only as much as was due to, and may have been retained with, the original woman's clothes.