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FOR Ti TIAN SPACE HAS ATMOSPHERIC DEPTH PERMEATED BY LIGHT AND COLOR; BY LOOSENING THE SURFACE HIS LIGHT LEGT 1/2 and colob emerge prom within and hence do not only reflect an M external source.

Space becomes fluid through movement BENEATH THE SURFACE, AND THE WORLD OF FORMS IS ENLARGED BEYOND THE LIMIT OF REALITY BY EXCLUSIVELY PAINTERLY MEANS, VASARI IS ONE OF THE PROTAGON I STS OF THE THESIS THAT THE ART OF ^^ Maritime Venice and ^ landlocked Rome stand in A SHARP AND fundamental GONFLICT , !

his life Ji^r^^^^ period^ which A w^ IS now dow^ n-^on to call Mannerism. iat g great many Plorentine and Bolognese painterjjstudiec^^ mach more th'-n we knew, antique^ sarcopriagi, and this influenced their worlr, for gnnri n ni \mi\ , £lt .

Roman disegno and Venetian colorel Hovjever ^no muot ■tithis contrast did not exist in .,..

t^ *^ r \ \ 3uch an outspoken way before 1^00- in other vords p/2 not before the time of Giorgione and more specifically of Titian.

''1o DEPN ART HISTORIANS DERIVE THE GENESIS OF SEVENTEENTH CENTURY Ba ROQUE PAINTING FROM THE LOOSENING OF TH I S CONTRAST!

THE ^' II N TRODÜf CT I ©N" OF Vt WFT I AN i COl HDRET TO : ROMAN^ 1DJ SE GWa4E R , OHC \Mil hÖT ror (ffi)Ttf EVg^T^ THIS CONTRAST DID NOT EXIST IN SUCH AN OUTSPOKEN WAY BEFORE ll500- IN OTHER WORDS NOT BEFORE THE TIME OF G I ORG I ONE AND MORE SPECIFICALLY OF Ti T l AN, STYLISTI CALLY CONSIDERED Ti TIAN LIVED MOST OF HIS LIFE /o F THE SIXTEENTH CENTURY/ DURING THE PERI OD^V^f H I CH M IS NOW VERY COMMON TO CALL ^ANNERISM.

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RECENTLY ONE HAS FOUND OUT THAT THE CENTRAL i TAtl AN PAINTERS OF THE SIXTEENT H CENTURY STUDIED AND USED, MUCH MORE THAN WE KNEW ANTIQUE MODELS, ESPECIALLY SARCOPHAG*^ AND THIS INFLUENCED THE I R WORK, FOR BETTER OR WORSE.