. Verocchio. of S. Giovanni executed in the previouscentury. The popularity of the work caused VerrocchiosBaptism to serve as the model in all later representa-tions of the theme. We find it repeated almost exactlyby Credi for the monks of S. Domenico a Fiesole, and bythe Robbias in each of their hexagonal fonts. Besides the reminiscence of Baldovinetti the paintingshows to a striking degree the influence of AntonioPollaiuolo, an influence which hardly survives in thework of his middle period, and is not at all perceptiblein his later productions. Though in general lines andattitude the figure
. Verocchio. of S. Giovanni executed in the previouscentury. The popularity of the work caused VerrocchiosBaptism to serve as the model in all later representa-tions of the theme. We find it repeated almost exactlyby Credi for the monks of S. Domenico a Fiesole, and bythe Robbias in each of their hexagonal fonts. Besides the reminiscence of Baldovinetti the paintingshows to a striking degree the influence of AntonioPollaiuolo, an influence which hardly survives in thework of his middle period, and is not at all perceptiblein his later productions. Though in general lines andattitude the figures of Christ and the Baptist follow thoseof Baldovinetti, in structure and feature they resemblethe athletes of Pollaiuolo. The brawny build, the knottedjoints, the tense muscle, the bent legs, the faces with theirstrongly accentuated bone, harsh features, and sparsebeards reproduce exactly the Pollaiuolesque type. The r vox DO/AiNirrorivitsvperaqvas- ps-xxvni c ,ESCEDI77LAVI7 SEPTIES lillORDANE-llK^V- C -; \. ,VEM!T-!ESVTmT^TVSE AiOHF WORDANEA i [aep!:etae! v;r gi/madoavs bam- ,^:;-;;: wum*—m—^m> Alinari, FlorenceTHE BAPTISM. BY ALESSIO BALDOVINETTI ? ACCADEMIA, FLORENCE Face p. 48 EARLIEST WORKS 49 oriental loin-cloth is used constantly by Pollaiuolo and hispupils, and seems to have been one of his special^ bottegaproperties. The colour and treatment of the distantlandscape is also somewhat Pollaiuolesque. With all its defects of composition and the lack oftechnical experience it reveals, the picture bears still morestriking evidence of the thoroughness of Verrocchio,straining in anatomy. The nude figure of Christ as ananatomical study is faultless. The construction of the head,torso and limbs, the indication of the bone, the realisation ofthe resistance of the muscle proves a complete knowledgeof the structure of the body. The excellence of the anatomyis incongruous to an almost grotesque degree with thenaivete of the action and the treatment of th
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyo, bookyear1904
