The midsummer of Italian art . ooth limbs and clear-cutdraper\ of his figures. The perfect realism of theirattitudes is supplemented by a rythmic grace ofoutline; and those who only know Michel Angelosart from the David, the Mous^ and his great fres-cos, should study these earlier and less ambitiousdesigns in order to realize the wide range of hissympathies. The relief is modem in conceptionbut Hellenic in execution. PAETTING. Michel Angelo made some attempts in the use ofcolor at this time, but not altogether with satisfac-tory results. Of his surviving efforts \h^ Entombnunt in the National
The midsummer of Italian art . ooth limbs and clear-cutdraper\ of his figures. The perfect realism of theirattitudes is supplemented by a rythmic grace ofoutline; and those who only know Michel Angelosart from the David, the Mous^ and his great fres-cos, should study these earlier and less ambitiousdesigns in order to realize the wide range of hissympathies. The relief is modem in conceptionbut Hellenic in execution. PAETTING. Michel Angelo made some attempts in the use ofcolor at this time, but not altogether with satisfac-tory results. Of his surviving efforts \h^ Entombnunt in the National Gallery may perhaps have pre-ceded the Doni Holy Family. It was pronounceda Michel Angelo by Cornelius, and a glance at it issufficient to confirm this opinion. If it is a failure—and we may suppose that Michel Angelo thoughtso himself and consequently left it unfinished—it isnevertheless a most impressive study. The mannerin which Christs hair is painted connects it closelywith the Holy Family painted for Angelo Doni, and. STATUE OF DAVID by MICHELANGELO The Works of Michel Angela. 75 the stalwart figure of Nicodemus is a forethought ofthe Sistine Chapel. The body of Christ is being carried over a flightof steps by Nicodemus, Mary Magdalen, and Josephof Arimathea. His posture is an awkward one, butthere is great beauty and truthfulness to nature inhis form, especially the lower limbs. A strange factnoticed by Grimm in Raphaels E?itombment, is thatthe face evidently shows that Christ is not dead butonly in a trance. The figure of Nicodemus is mag-nificent, and is the first indication of that grandeurof design in which Michel Angelo has never beenequalled. The body of Christ is supported on astout scarf, the ends of which are held by Nicode-mus and Mary Magdalen ; and the manner in whichthe former grasps this with his left hand is a mas-terly piece of painting. So also the foreshorteningof his right leg—the pose of the head, throat, andshoulders; all wonderful. Mary Magdal
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
