The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . ll of spirit,they are angular in construction and of labouredforeshortening. Christ, in mid-air over the tomb,stands |0n a cloud, an elliptical golden glory com-pletely encircling him. This glory is of goldenstucco of innumerable round spots, over which raisedgolden flames are splayed. His right breast, shoul-der, and arm are uncovered by the voluminousdrapery that leaves his left leg from the knee downfully exposed. He is imperfectly conceived andweakly drawn. Far and away fr
The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . ll of spirit,they are angular in construction and of labouredforeshortening. Christ, in mid-air over the tomb,stands |0n a cloud, an elliptical golden glory com-pletely encircling him. This glory is of goldenstucco of innumerable round spots, over which raisedgolden flames are splayed. His right breast, shoul-der, and arm are uncovered by the voluminousdrapery that leaves his left leg from the knee downfully exposed. He is imperfectly conceived andweakly drawn. Far and away from the knowledgeand authority of the hand that painted the pontiff is so entirely draped by his magnificent,brocaded jewfel-bordered robe that only his headand hands are free. Even his short neck is nearly •swallowed from sight by the heavy collar. Yet thefigure beneath this swathing is almost as clearly feltas if Michelangelo himself had painted it. Not anunnecessary fold is there, either, in the gorgeouspapal costume as it hangs straight from the thickshoulders. It is in the face and hands, however,. ALEXANDER VI. Detail from Resurrection, by Pinturicchio; in the Hall of Mysteries Ube JBorgfa Hpartments 69 that the artist reveals himself as a portrait painterof high rank. The face is in direct profile, — a posi-tion that shows as little as may be the fat cheeksand extra layers of flesh running from cheeks andchin to neck. But a square full face would notmore truly have given the character of this Borgianpontiff. An insufficient, sloping forehead, full eyes,too close to the nose, which is large and with a highRoman arch to it, long upper lip over a heavy lowerone, a chin that leads by one diagonal line withouta curve inta the wide, short neck, a most abnormaldevelopment of the lower back part of head and neck,— these are the salient points of this portrayal whichcan be no caricature. For it must have pleased thePope, or it would not have remained on the walls,a
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Keywords: ., boo, bookcentury1900, bookdecade1900, booksubjectart, bookyear1903
