. The study and criticism of Italian art : second series. h, later, in the frescoes of the StrozziChapel, and in almost all Filippinos subsequentworks. The dwarfs who support the capital in thispicture resemble the marine gods who surround thethrone of the Virgin in S. Spirito. The decorationof the pillar is the same in both pictures. The lefthand of the Virgin in the latter work is identicalwith that of St. Margaret here, and her righthand corresponds exactly with St. Catherines inS. Spirito. Furthermore, both pictures give us, forthe first time in Filippinos works, a landscapebackground fill
. The study and criticism of Italian art : second series. h, later, in the frescoes of the StrozziChapel, and in almost all Filippinos subsequentworks. The dwarfs who support the capital in thispicture resemble the marine gods who surround thethrone of the Virgin in S. Spirito. The decorationof the pillar is the same in both pictures. The lefthand of the Virgin in the latter work is identicalwith that of St. Margaret here, and her righthand corresponds exactly with St. Catherines inS. Spirito. Furthermore, both pictures give us, forthe first time in Filippinos works, a landscapebackground filled with picturesque architecture ofNorthern style. Signor Cavalcaselle was inclined to believe thatFilippino painted the altar-piece of S. Spirito,before beginning the frescoes in S. Maria sopraMinerva at Rome, that is to say, immediately afterhaving finished the Badia picture : in support ofthis view he cites the fresco of St. Thomas beforethe But I, for my part, find that the1 Storia della Pittura italiana, vol. vii., p. 26. FILIPPINO LIPPI. Alinariphoto.\ \Sto. Spirito, Florence. THE VIRGIN AND CHILD WITH VARIOUS SAINTS BY FILIPPINO LIPPI 95 stylistic differences between the pictures of theBadia and S. Spirito, are too great to allow of hishaving begun the latter, as Cavalcaselles hypothesisdemands, immediately after finishing the , one may reasonably doubt whetherthe interval of time between the termination of theBadia Vision and the commencement of theMinerva frescoes was really enough to permit himto carry through the execution of two masterpiecesof such size as the S. Spirito altar-piece and tondo. These two pictures are much tooclose in style for us to imagine that the one waspainted before, and the other after, the Romanfrescoes. The two panels, moreover, present char-acteristics which are not found in the frescoes, nor,a fortiori, in the earlier works. The pillars, forexample, are decorated with panoplies, a detailwhich continu
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