Humanistic Studies of the University of Kansas, Vol. 1

by De Witt Clinton Croissant; Edmund Dresser Cressman; Pearl Hogrefe; Arthur Mitchell

Changes, surprises—and God made it all!

* * * * *

“But why not do as well as say,—paint these

Just as they are, careless what comes of it?”

Numerous instances might be cited as a proof of this—Guido, the Duke, the Bishop, and many others. All his human beings, then, Browning chose because their personality appealed to him, as a study, rather than because they compelled his admiration, whether he selected them from the world of art or elsewhere.

IV. Browning as the poet of humanity.

When he was once asked if he liked nature, he replied, “Yes but I love men and women better.” The arts—architecture, music, poetry, sculpture, and painting—he loved also; but he loved them most because they recorded human experience, and best when they most fully expressed the struggles of the soul, and thus became the direct embodiment of personality.

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APPENDIX

• I. Poems Containing Reference to Italian Art.
• 1. Pauline, 1833.
• 2. Paracelsus, 1835.
• 3. Sordello, 1840.
• 4. Pippa Passes, 1841.
• 5. My Last Duchess, 1842.
• 6. In a Gondola, 1842.
• 7. Waring, 1842.
• 8. The Boy and the Angel, 1845.
• 9. Time’s Revenges, 1845.
• 10. The Bishop orders his Tomb at St. Praxed’s Church, 1845.
• 11. Pictor Ignotus, 1845.
• 12. The Italian in England, 1845.
• 13. Luria, 1846.
• 14. A Soul’s Tragedy, 1846.
• 15. Christmas-Eve and Easter-Day, 1850.
• 16. Up at a Villa, 1855.
• 17. A Toccata of Galuppi’s, 1855.
• 18. Old Pictures in Florence, 1855.
• 19. By the Fireside, 1855.
• 20. Any Wife to Any Husband, 1855.
• 21. In Three Days, 1855.
• 22. The Guardian Angel, 1855.
• 23. Master Hugues of Saxe-Gotha, 1855.
• 24. The Statue and the Bust, 1855.
• 25. How it Strikes a Contemporary, 1855.
• 26. Fra Lippo Lippi, 1855.
• 27. Andrea del Sarto, 1855.
• 28. Bishop Blougram’s Apology, 1855.
• 29. One Word More, 1855.
• 30. James Lee’s Wife, 1864.
• 31. Abt Vogler, 1864.
• 32. Youth and Art, 1864.
• 33. A Face, 1864.
• 34. Apparent Failure, 1864.
• 35. The Ring and the Book, 1868–9.
• 36. Prince Hohenstiel-Schwangau, 1871.
• 37. Fifine at the Fair, 1872.
• 38. Red Cotton Night-Cap Country, 1873.
• 39. The Inn Album, 1875.
• 40. Pacchiarotto, 1876.
• 41. Cenciaja, 1876.
• 42. Filippo Baldinucci, 1876.
• 43. Pietro of Abano, 1880.
• 44. Christina and Monaldeschi, 1883.
• 45. With Christopher Smart, 1887.
• 46. With Francis Furini, 1887.
• 47. With Charles Avison, 1887.
• 48. Ponte dell’ Angelo, Venice, 1889.
• 49. Beatrice Signorini, 1889.
• II. Tabulation of References To Individual Arts.
• SCULPTURE
• I. Sordello.
• 1. Niccolo Pisano (1206–1278). By his study of nature and the ancients, gave the death-blow to Byzantinism and heralded the Renaissance.
• 2. Giovanni Pisano (c. 1250–1330). His many pupils carried the continuation of his father’s principles throughout northern Italy.
• II. Pippa Passes.
• 1. Canova (1757–1822). A refined, classical, but somewhat artificial reviver of Italian sculpture in the modern era.
• a. The Psiche-fanciulla—Psycheas a young girl with a butterfly, in the Possagno Gallery.
• b. Pietà—a statue of the Virgin with the dead Christ in her arms, in Possagno Church.
• 2. Jules. An imaginary young sculptor, studying Italian models.
• a. Almaign Kaiser.
• b. Hippolyta.
• c. Psyche.
• d. Tydeus.
• III. My Last Duchess.
• 1. Claus of Innsbruck. An imaginary Renaissance sculptor.
• a. Neptune taming a sea-horse.
• IV. The Bishop orders his Tomb at St. Praxed’s Church.
• 1. Tomb of the Bishop.
• 2. Globe in the Church of Il Gesu.
• V. Christmas-Eve and Easter-Day.
• 1. Early Christian attitude toward art.
• VI. Old Pictures in Florence.
• 1. Niccolo Pisano.
• 2. Ghiberti (1378–1455). A Florentine sculptor, also important for perspective in painting, whose ideal combined religious feeling with classical beauty.
• VII. The Statue and the Bust.
• 1. Giovanni da Bologna (John of Douay) (c. 1524–1608). An Italian Renaissance sculptor who combines technical knowledge with fine poetic feeling.
• a. Statue of Duke Ferdinand, by Giovanni.
• b. A bust of the Lady.
• VIII. The Ring and the Book.
• (I.)  1. Baccio’s marble (by Baccio Bandinelli)—statue of John of the Black Bands, father of Cosimo de’ Medici.
• 2. Bernini’s Triton.
• (III.)  3. Bernini’s Triton.
• (VI.)  4. Pasquin’s statue.
• (VII.)  5. Marble lion in San Lorenzo.
• 6. Virgin at Pompilia’s street corner.
• (XI.)  7. Bocca-dell’-Verità—the fabled test for the verity of witnesses, a mask of stone in the portico of the Church Santa Maria in Cosmedin.