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Margot and Rudolf Wittkower explore the history of the familiar idea that artistic inspiration is a form of madness, a madness directly expressed in artists' unhappy and eccentric lives. This idea of the alienated artist, the Wittkowers demonstrate, comes into its own in the Renaissance, as part of the new bid by visual artists to distinguish themselves from craftsmen, with whom they were then lumped together. Where the skilled artisan had worked under the sign of light-fingered Mercury, the ambitious artist identified himself with the mysterious and brooding Saturn. Alienation, in effect, was a rung by which artists sought to climb the social ladder. \u003cp\u003e\u003c\/p\u003eAs to the reputed madness of artists--well, some have been as mad as hatters, some as tough-minded as the shrewdest businessmen, and many others wildly and willfully eccentric but hardly crazy. 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