. The art of the Italian renaissance; a handbook for students and travellers. rked incidentally thatlie added the element of created the figin-e of the CrucifiedLord who is casting His eyes up-wards, and whose mouth is openedto utter the cry of anguish.^ The motive of the bound figurepresents richer possibilities. fastened to the stake, orthe Christ of the Flagellation, oreven that series of Slaves fettered topillars which ^Michelangelo proposedfor the tomb of Julius. The influ-ence of these very Captives on re-ligious subjects can be clearly traced,and if Michelangelo
. The art of the Italian renaissance; a handbook for students and travellers. rked incidentally thatlie added the element of created the figin-e of the CrucifiedLord who is casting His eyes up-wards, and whose mouth is openedto utter the cry of anguish.^ The motive of the bound figurepresents richer possibilities. fastened to the stake, orthe Christ of the Flagellation, oreven that series of Slaves fettered topillars which ^Michelangelo proposedfor the tomb of Julius. The influ-ence of these very Captives on re-ligious subjects can be clearly traced,and if Michelangelo had completedthe full .series for the tomb, little more would have been left to discover. When we approach the subject of the unsupported standing figure, vastprospects naturally open out before us. AVe will only ask what the 1 Vasari (VII. 275) gives another interpretation: Alzato la testa raccomanda lospirito al padre. The composition is preserved only in copies. (Reproduction liafael und Mkhelanijelo.) This is the origin of the Seiccntist Crucified Christ,. (huvaiiuino, in the Berlin IMuseum. 266 THE ART OP THE ITALIAN RENAISSANCE sixteenth century would ha\e done withDonateUos bronze David ? It has suchatfinitv to the classical style in the lineof movement, and the differentiationof the limljs is so effective that, apartfrom the treatment of form, it mightwell have been expected to satisfv eventhis later generation. The ans\\er isgiven bv the Perseus of Ben\enutoCellini, a late figure (1550) but re-latively simply in composition, andtherefore suitable for purposes of com-parison. Here we see what was lack-ing in the David. Not only are thecontrasts of the limbs accentuated,but j the figure is no longer in oneplane, it extends backwards and for-wards. This change may be lookedupon as an ominous one, portendingthe coming decay of plastic art, but Iuse the example Ix-cause it is of the tendency. ^Michelangelo is certainly richer, yethis compositi
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