THE ITALIAN RENAISSANCE 605 to be for the most part Scriptural — Madonnas and Holy Families, or scenes drawn from church history and legend. This was partly because the Church was still the chief em- ployer of artists, partly because the ideal interests of most people were still prevailingly religious. Classical subjects, however, were also depicted and bits of classical detail were introduced in other paintings. Many portraits of contem- poraries were painted, and contemporary costumes and models and Italian scenery were employed in depicting Biblical scenes in ancient Palestine. The faces of the models were, indeed, sometimes too closely followed. Landscape and architecture were shown in the backgrounds, and animal and floral life were often brought in. Even in a portrait or group picture an exquisite landscape may be visible through an open window. But landscapes and still life were not painted separately as yet. There were now many schools of painting scattered over central and northern Italy — Tuscan, Florentine, Umbrian, Lombard, Sienese, and so on. Among the many Noted paint- great masters it is embarrassing to attempt a fifteenth 6 selection. Fra Angelico (1 387-1455), back in the century first half of the century, lacks many of the merits of the later masters, but is celebrated for the gleaming colors of his paintings and for the spiritual rapture which shines from their angelic faces. Toward the century's close come four great artists: Ghirlandajo (1449- 1494), noted for his por- traits and realism; Botticelli (1444-1510), admired for the dreamy beauty of his graceful figures and lovely "decora- tive composition"; Signorelli (1442-1524), who excelled in forcefulness and in representing muscular movement; Peru- gino (1446- 1 524), who expressed religious contemplation and ecstasy with consummate skill. With the opening of the sixteenth century we come to the three supreme geniuses who mark the "High Renaissance,' ■ Leonardo da Vinci (1452-15 19), Raphael (1483- The „ Hi h 1520), and Michelangelo (1 475-1 564). Leo- Renais- nardo, although also a sculptor, architect, and sance engineer, was primarily a painter. As such he is noted for
