. The study and criticism of Italian art : second series. gelist; and between them and Christ you seethe figures of St. Leonard, and of a monastic saintwhom I cannot identify. The upper part of thepanel is decorated with a hanging lamp, chains ofbeads and balls, and fruit. Christ has a very highforehead, with bright auburn hair falling in curlsdown to his shoulders. A white mantle wraps himabout, leaving visible his right shoulder, which iscovered with a richly embroidered tunic. The Baptisthas curly, reddish hair, and wears a red mantle overa tunic of mauve. The Evangelist has an aureoleof ye
. The study and criticism of Italian art : second series. gelist; and between them and Christ you seethe figures of St. Leonard, and of a monastic saintwhom I cannot identify. The upper part of thepanel is decorated with a hanging lamp, chains ofbeads and balls, and fruit. Christ has a very highforehead, with bright auburn hair falling in curlsdown to his shoulders. A white mantle wraps himabout, leaving visible his right shoulder, which iscovered with a richly embroidered tunic. The Baptisthas curly, reddish hair, and wears a red mantle overa tunic of mauve. The Evangelist has an aureoleof yellow hair, wears a pink mantle and an em-broidered tunic. The figures are over-tall, but holdthemselves proudly. The faces have great beauty,even inspiration. The whites of the eyes are ratherprominent and bluish. The general tone is verybrilliant. On the pedestal there is an inscrip-tion which reads: salvator mundi salva The painter of this altar-piece, whoever he was,either enjoyed the acquaintance of the young Man- GIROLAMO DA CREMONA. Alinari photo.\ [Cathedral, Viterbn CHRIST IN THE MIDST OF FOUR SAINTS GIROLAMO DA CREMONA 99 tegna, or shared in the latters novitiate at picture clearly reveals that much. To beginwith, the hanging lamp, beads, and fruit are a speciesof decoration almost confined to the Padua-Ferrara-Venetian painters usually termed figures are over-tall, as in the earlier work, atleast, of all those masters who felt the influence ofJacopo Bellini. The feeling for form is considerable,but the artist shares in the mannerisms as well as inthe dryness of the Squarcioneschi. Compare the legsof the Baptist here, their absurdly curved knees, andtheir calves, with the legs of Mantegnas Baptist inhis St. Zeno altar-piece at Verona (Alinari, 13543),of Bonsignoris St. Christopher in his polyptych atSS. Giovanni e Paolo in Venice (Alinari, 13699),or of Bernardo Parenzanos figures in the picture ofthe Doria Gallery in Rome, r
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartital, bookyear1902
