A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . CRUCIFIXIONBy Berna From a fresco in the Collegiata, San Gimignano III.—To face page 82. BERNA 83 better condition than the remainder, which in most parts isbarbarously repainted.^ The Saviour in the Baptism, a heavy nude, stands in the act ofbenediction, and is fairly if not nobly defined. Two diminutiveangels with large heads minister in flight, contrary to the usualcustom, whilst on the opposite side 2 the Baptist, high up on abank, pours water over the Eedeemers head. Eegular softfeatures
A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . CRUCIFIXIONBy Berna From a fresco in the Collegiata, San Gimignano III.—To face page 82. BERNA 83 better condition than the remainder, which in most parts isbarbarously repainted.^ The Saviour in the Baptism, a heavy nude, stands in the act ofbenediction, and is fairly if not nobly defined. Two diminutiveangels with large heads minister in flight, contrary to the usualcustom, whilst on the opposite side 2 the Baptist, high up on abank, pours water over the Eedeemers head. Eegular softfeatures mark the bride in the Marriage of Cana, whilst in theResurrection of Lazarus, Mary and Martha pointing to theirbrother, are in vehement action and stretch long necks as theydraw their garments together with one hand. Barna indeedexaggerates in these figures Simones close-fitting draperies, mus-cular limbs, and stiffened action,^ his long thin nose and archedbrows. Barnas pupil Giovanni d Asciano,* who painted after hismasters death at San Gimignano, may have completed thedecoration. Barna in the whole of this work shows himself acontinuator of Duccios system of spacing and arrangemen
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Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
