The study and criticism of Italian art . GLORY OF ST. URSULA J35 course to the drawings of creative artists, not tothose of paste-and-scissors compilers and plagiaristslike the Florentine Bacchiacca, and the VenetianGirolamo S. Croce. Then I believe that it could beestablished that the looser draughtsmanship of thesketches, and better still, the fuller, robuster model-ling belong to a much later date in Carpaccios careerthan 1491. Finally we return to the fact, so obviously-true of the full face, that nothing at all resembling itas head-gear, not to speak of type, occurs any whereelse in the S
The study and criticism of Italian art . GLORY OF ST. URSULA J35 course to the drawings of creative artists, not tothose of paste-and-scissors compilers and plagiaristslike the Florentine Bacchiacca, and the VenetianGirolamo S. Croce. Then I believe that it could beestablished that the looser draughtsmanship of thesketches, and better still, the fuller, robuster model-ling belong to a much later date in Carpaccios careerthan 1491. Finally we return to the fact, so obviously-true of the full face, that nothing at all resembling itas head-gear, not to speak of type, occurs any whereelse in the St. Ursula series. If she reminds us ofanything, it is of drawings and paintings by Peruginoand Pintoricchio and Raphael, dating from the firstyears of the Cinquecento. Furthermore, had Car-paccio really made this drawing in 1491, he certainlywould have changed it and brought it up to date in 1510. I can recall but two cases in his active careerwhen he all but repeats the same figure. One is thewoman with the striped shawl in the St. Geo
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Keywords: ., bookcentury1900, bookdecade1910, booksubje, booksubjectartitalian
