. The study and criticism of Italian art : second series. figures on his right, is even remoter fromPerugino than are the two heads. Not only is theline inconceivably feeble, producing at times scarcelythe effect of free-hand drawing, but the hatching isdenser and minuter than it ever is in here again we encounter Lo Spagna, we seefrom such characteristic traits as the concavethumbs, the straight line for Josephs sleeve (cf. theUffizi cartoon for the Christ in the National Gallery Agony in the Garden), and the extremely broadface of the youth, which resembles one of the youthsin
. The study and criticism of Italian art : second series. figures on his right, is even remoter fromPerugino than are the two heads. Not only is theline inconceivably feeble, producing at times scarcelythe effect of free-hand drawing, but the hatching isdenser and minuter than it ever is in here again we encounter Lo Spagna, we seefrom such characteristic traits as the concavethumbs, the straight line for Josephs sleeve (cf. theUffizi cartoon for the Christ in the National Gallery Agony in the Garden), and the extremely broadface of the youth, which resembles one of the youthsin the Albertina drawing (Sc. Rom., 39). Thefourth of the sketches in question, is one in silver-point heightened with white, in the Malcolm Collec-tion at the British Museum (No. 156, photo. Braun, Beaux Arts, 98). Less, even, than in the otherscan there be question here of Peruginos represents the three central figures, and is of sucha poverty as draughtsmanship, and so exaggeratedlyLo Spagnesque, that I question whether it is not LO SPAGNA. [Brunswick FOR FIGURES IN THE CAEN SPOSALIZIO THE CAEN SPOSALIZIO 13 perhaps a copy after the picture by Lo Spagnas well-known assistant and follower, Jacopo Siculo. Atall events, not one of these four drawings corrobo-rates the attribution of the picture to Perugino. Ill We have now adduced proof to demonstrate thatthe Sposalizio of Caen, inasmuch as it showsgreater affinities with Pinturicchio and Raphael thanwith Perugino, cannot have been executed, or evendesigned, by the latter. We have also pointed outthat the distinctive characteristics of this work are inperfect agreement with the manner of Lo speaking of his altar-piece at Perugia, Cavalca-selle says that it shows a very judicious combinationof elements borrowed from Raphael, from Perugino,and from Pinturicchio. We who have made, on ourside, an analysis of the Sposalizio, know to whatdegree its author shows precisely these aptitudes forassimilat
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartital, bookyear1902
