A new history of painting in Italy : from the II to the XVI century . t spirit is throwninto the draped figure to the right, leaning an elbow on a staff. Thereis vigour and Umbrian grace in the back views of the men in the tightcostume of the period. The females are less successful than the males,heavy in type and stiffly angular in form, as might be expected from apupil of Francesca, whilst the children are clumsy and aged in frameand head ; but the group of women and children may be due to DonBartolommeo della Gatta, who was at Rome with Signorelh and Perugino,and laboured as their assistant
A new history of painting in Italy : from the II to the XVI century . t spirit is throwninto the draped figure to the right, leaning an elbow on a staff. Thereis vigour and Umbrian grace in the back views of the men in the tightcostume of the period. The females are less successful than the males,heavy in type and stiffly angular in form, as might be expected from apupil of Francesca, whilst the children are clumsy and aged in frameand head ; but the group of women and children may be due to DonBartolommeo della Gatta, who was at Rome with Signorelh and Perugino,and laboured as their assistant at the Sixtine. The drawing is at oncebold and broken, in contrast with carefulness of general handling and apatient application of gold in the Signorelli holds an honourable place in the Sixtine Chapel. He is 1 VASARI, vol. vi., p. 143. 1 In the great aisle of the church are twenty-six monochrome figures com-pletely renewed by Pomarancio. 3 Some portions of the flesh tints, which are generally reddish, and the lowerpart of the foreground, are Alinari, SlGNORELLI. HOLY FAMILY Uffizi, Florence.
Size: 1581px × 1581px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondondent, bookyea
