. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . ta at Ascoli; sub-sequently at Milan, purchased byMr. Labouchere, and presented byhim to our national collection,inscribed: Opus Karoli Crivelli,Veneti, 1486 (see Eic. Mem. , 228); and the inscription onthe pillars of the colonnade nearthe Virgin. The latter, to theright, is curved, with arms across,over her desk, whilst the angel kneels in the court attended byS^ Emidius, patron of Ascoli. Inthe foreground, a cucumber and amelon. In the
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . ta at Ascoli; sub-sequently at Milan, purchased byMr. Labouchere, and presented byhim to our national collection,inscribed: Opus Karoli Crivelli,Veneti, 1486 (see Eic. Mem. , 228); and the inscription onthe pillars of the colonnade nearthe Virgin. The latter, to theright, is curved, with arms across,over her desk, whilst the angel kneels in the court attended byS^ Emidius, patron of Ascoli. Inthe foreground, a cucumber and amelon. In the air, a circle ofcherubs heads. On the Avail ofthe house, right, birds at libertyand in a cage; and a are figures in the distance,left. BeneaUi, three escutcheons(wood). ^ London, Dudley House, wood,figures under life-size. This pic-ture Avas originally in SanDomenicoof Fermo. (Ricci ub sup. Mem. ) S Peter receiA^es the keysfrom the infant Christ, in presenceof S^ Louis, tAvo saints in episco-pals, and three in monkish dress,inscribed: Opus Caroli CrivelliVeneti. See the engraving inRosini, pi. LXIV. North Italy. Vol. I. p. Chap. V. CARLO CRIVELLI. 91 cellent feeling and a fair knowledge of anatomy.^ TheBeato Ferretti of the same collection is most careful^ andshines in a bright enamel impasto.^ No gallery hasbetter examples of Crivelli than that of London. Next tothese in importance are the numerous specimens pos-sessed by the Earl of Dudley, some of Avhich remind usof the painters early Venetian time/^ whilst others emu-late in vigour the great creations of Mantegna. Of thelatter description none deserve so much attention as thedead Saviour between the Virgin, the Magdalen, andEvangelist, engraved with Mantegnas name, and remark-able alike for passion, for glow of colour, and relief ofchiaroscuro.^ Almost equally fine is the small and dra-matic lunette Pieta in the museum of the Vatican atRome, in which Crivelli almost reveals a personal contactwith Al
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Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
