. The art of the Italian renaissance; a handbook for students and travellers. There is,on the other hand, no longer anytrace of gilding. Closely connectedjdih_the-£^ a work which went outof the country immediately after itscompletion, and therefore left nomarked traces in Italy, although theconrpletehuT problem treated in- it - would have made the greatestimpression. The seated ]\Iadonna with the Child, the endlessly varied theme of thealtar-picture, is rarely found among the Florentines as a plastic is more frecjuent in clay than in marble, and the material, unattractivein i
. The art of the Italian renaissance; a handbook for students and travellers. There is,on the other hand, no longer anytrace of gilding. Closely connectedjdih_the-£^ a work which went outof the country immediately after itscompletion, and therefore left nomarked traces in Italy, although theconrpletehuT problem treated in- it - would have made the greatestimpression. The seated ]\Iadonna with the Child, the endlessly varied theme of thealtar-picture, is rarely found among the Florentines as a plastic is more frecjuent in clay than in marble, and the material, unattractivein itself, was usually elaborately But with the sixteenth centurythe use of clay became less popular. Increased pretensions to monu-mentality could only be satisfied in stone, and when clay was still used,as in Lombardx, it was left uncolouied by preference. ?The figure shows in suliordiiiate parts a second weaker hand. JlicheUuigelo seemsto have left it behind unfinished on his second journey to Rome in K. and Child, Ijj Ucnedcttu da Majanu. 50 THE ART OP THE ITALIAN RENAISSANCE
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
