bardi in Venice it is exquisite. But in many cases it is mere surface smoothing without expressive character, as in the leafage of Benedetto da Maiano in the pulpit of Santa Croce of Florence, where the expression of the beautiful leaf anatomy is almost wholly polished out.
Fig. 99. Arabesque by Filarete, Rome.
It is a fundamental weakness of this style of ornamentation that it is so largely made up of artificial convolutions and formal symmetries. Reduced to its linear elements, it mainly consists either of an axial line with scrolls and weak curves set symmetrically on either side of it, or of a formal meander with alternating scrolls. The wearisome repetition of these two schemes of composition is a characteristic of the art of the Renaissance. Many changes are wrung on these primary motives, but no possible variation of them can relieve their dulness. That they are derived from an ancient source does not justify their use. They are not, however, drawn from the best ancient source. In Greek art elements of a kindred nature had been treated in a finer way, with exquisite moderation of curvature and vitality
