. The study and criticism of Italian art : second series. raphic tendencies ofthis art, the ear tends to have no marked character,although in so far as it has it at all, the form agreeswith the ears in the picture. Let me refer to theAlmsgiving (Lombardi, 198) as an example. Nocloser identity than exists between the ear of theDonor in the Viterbo picture, and the ear of in the Yale College Nativity, could wellbe. It is, moreover, so very peculiar that to thestudent who knows just how to use such evidence,the identity in authorship of these two works is putbeyond all doubt—and, as we
. The study and criticism of Italian art : second series. raphic tendencies ofthis art, the ear tends to have no marked character,although in so far as it has it at all, the form agreeswith the ears in the picture. Let me refer to theAlmsgiving (Lombardi, 198) as an example. Nocloser identity than exists between the ear of theDonor in the Viterbo picture, and the ear of in the Yale College Nativity, could wellbe. It is, moreover, so very peculiar that to thestudent who knows just how to use such evidence,the identity in authorship of these two works is putbeyond all doubt—and, as we have seen already, the Nativity is too obviously by Girolamo da Cremonato need demonstration. The hands in the picture are badly drawn ; so arethey in the illuminations, and in both they have thesame shapes and the same faults. Christ blesseswith a gesture almost identical with the one in His blessing the wine at Cana (Lombardi, 218).Both His blessing and His protecting hands areparalleled by the hands of God the Father in Ezekiels GIROLAMO DA CREMONA. Lombardi J>hoto.~\ [Cathedral, Siena. THE ASCENSION GIROLAMO DA CREMONA 107 Vision (Lombardi, 147). The right hand of theEvangelist, appearing from under his cloak, has theshape and movement of Christs hand in the illumin-ation representing him as addressing the kneelingApostles. The most singular hand of all is It runs out into an endless toothpickwhere the little finger ought to be. Now, we fre-quently find in the miniatures approaches to thismonstrosity, but I shall cite only one example,—oneof perfect identity,—the left hand of St. Jerome inthe illumination wherein we see this saint and conversing (Lombardi, 201). Now, a pecu-liarity so singular as this is not likely to occur in twodifferent artists having in common so many othercharacteristics as have the authors of the Sieneseilluminations and of the Viterbo picture. They musthave been painted by the same person. The most striking oddity in
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