. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . Chap. IX. CAEPACCIO. 201 though the crowd is gathered on one spot; the chiefincidents are clearly and forcibly indicated^ and a monu-mental breadth is gained by the solid structure of thebattlements and towers overlooking the landscape. Butof all these canvases^ that which takes the prize forcomposition^ resolute movement, firm drawing and wellbalanced light and shade, is the introduction of theambassadors to King Maurus. The monarch sits betw
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . Chap. IX. CAEPACCIO. 201 though the crowd is gathered on one spot; the chiefincidents are clearly and forcibly indicated^ and a monu-mental breadth is gained by the solid structure of thebattlements and towers overlooking the landscape. Butof all these canvases^ that which takes the prize forcomposition^ resolute movement, firm drawing and wellbalanced light and shade, is the introduction of theambassadors to King Maurus. The monarch sits betweenfour councillors in an open terrace-lodge, through whichwe see a landing-place and distant edifices. The envoyand suite kneel before him in presence of the court,and the lower company stand outside in a the right, a room in which the king converseswith his daughter, and a hunchbacked nurse sitsmoody on a stone. There is great art in the mode ofrelieving the principal personages on the light groundof the distance, in the broad touches with which thebusy people on the piers and quay are thrown off; anda very good contrast is afforded,
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Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
