As the Renaissance faded all over Italy, the country reflected, more than any other, the change of times. The ideals of the Renaissance were safeguarded for some decades, but its soul was stifled, enveloped in the sweeping waves of the Counter Reformation. Schooling and polish, the rich legacy of form and splendor remained, but the substance had vanished. The humanists disappeared, and the great art and music that remained were drawn within the orbit of the new church spirit. Palestrina’s music, turning away from the radiant madrigal, had only one purpose: to serve the Church. The greatest poet of the era, Tasso, morally and mentally crushed, repented the errors of his youth and, like Lassus, humbled himself ceaselessly in his anxiety to redeem himself. It was the excited impulse of the religious struggle, the triumphs and reverses of the Church, the Catholic consciousness, the warm breath of mysticism, ecstasy, the eroticism of martyrdom, dramatic, heroic, burning, and purposeful, which dominated a world formerly devoted to the calm, assured, and finely balanced atmosphere of the Renaissance.
随着文艺复兴在意大利各地的衰落，意大利比任何一个国家更加反映出时代的变迁。文艺复兴的理想虽然被捍卫了几十年，但文艺复兴的灵魂已经窒息，被反的滚滚浪涛所包围。教育与修养、形势与风采的丰富遗产犹存，但实质已亡。人文主义者消失了，留下的伟大艺术和音乐被纳入新的教会精神的轨迹。帕莱斯特里那的音乐脱离光彩动人的牧歌，抱定一个目的：为教会所用。一代大诗人塔索心力交瘁，痛悔少年时候的荒唐，像拉絮斯一样在不安中低声下气，渴望得救。以前热衷于文艺复兴宁静、持重、平衡、纤美气氛的世界，如今被宗教都整的兴奋刺激，被教会的胜败反复，，神秘主义狂喜的热情，戏剧性、英雄色彩、火热而有目的的殉教冲动所统治。
The High Renaissance embodied calm, assured, and mature human clarity. The strong, happy, and intelligent man who assimilated in himself classical culture was the ideal measure of all things. Proportion, harmony, clarity, comprehensiveness, unity in diversity were the aesthetic doctrines ruling the era. While the first half of the cinquecento was still occupied mainly with the problems of space, with the application and development of perspective, and with the representation of the human body, the second half of the century was more and more interested in the emotional side of action, from which the spatiotemporal unity of the composition develops. What was earlier a pure form of existence, with the artistic problems centering about spatial definition, developed here into a vividly felt phenomenon of action. The Renaissance strove for highest perfection of all parts merged into a quiet organic unity, and the Renaissance artist’s feeling for space was like his sense for nature—clear and happy. His architecture was slender, graceful; the palaces, colonnades, and gardens were open, and there was light in every corner. He made himself a hero-ideal, not the courtly armored knight of the Middle Ages but the handsome hero of the ancients.
文艺复兴盛期代表宁静、自信和成熟的人。吸收古典修养的强壮、快活、聪明的人是衡量一切事物的理想。比例、和谐、明朗、全面、异中有同，是那一时代的审美原则。16世纪前半叶仍主要探索空间问题、透视的应用和发展、人体的表现，后半叶则越来越对行动的情感方面感兴趣，由此而得到作品在时空方面的统一。以前只是纯粹的存在，是形式，艺术问题集中在空间的界定上，如今发展成有血有肉的行动和现象。文艺复兴追求最完美地把各部分融合成一个安静的有机的统一体，文艺复兴艺术家对空间的感觉和他对大自然的感觉一样：明朗、快活。他的建筑是纤美优雅的，宫殿、廊柱、花园都是开放的，每一个角落都有光。他理想中的偶像不是身穿甲胄的儒雅的中世纪骑士，而是古人心目中的威武的英雄。
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