A new history of painting in Italy : from the II to the XVI century . Cc. s cvt-o fi, 2 c < s o =f^ < x O ( RIDOLFO GHIRLANDAIO 465 The latter, being distinctly assigned by Vasari to Benedetto, togetherwith a S. Lucy of the same class in S. Maria Novella,1 may thus be con-sidered typical of the man, and justify the name attached to a Christon the Road to Golgotha in the Gallery of the In this ill-favoured performance, an executioner, threatening theRedeemer with his fist, betrays an extraordinary absence of in the action only, which stiffly renders a quick and pas
A new history of painting in Italy : from the II to the XVI century . Cc. s cvt-o fi, 2 c < s o =f^ < x O ( RIDOLFO GHIRLANDAIO 465 The latter, being distinctly assigned by Vasari to Benedetto, togetherwith a S. Lucy of the same class in S. Maria Novella,1 may thus be con-sidered typical of the man, and justify the name attached to a Christon the Road to Golgotha in the Gallery of the In this ill-favoured performance, an executioner, threatening theRedeemer with his fist, betrays an extraordinary absence of in the action only, which stiffly renders a quick and passionatemovement, but in the coarseness of the face and expression, is vulgaritybetrayed. Meanness of station and want of breed are to be found inmost of the other actors in the scene, but chiefly in a S. Veronica, whoseface is altogether rigid and ignoble. The anatomy of the human frameis in every instance false, the drapery without style, the outline con-tinuous and wiry, the colour sombre and without transition. Such acombination of bad qualities in a man whose chief
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Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondondent, bookyea
