. The cicerone: an art guide to painting in Italy for the use of travellers and students; . a, 1475-1517), originally a pupil of CosimoKosselli; he owed to Lionardo hisdeliverance from the chains of thefifteenth century; his positive*qualities are his own. He was thefirst painter capable of fuUy con-ceiving, and again arousing thelofty feeling which springs out ofthe harmonious union of grandcharacters, pure, imposing (h-ape-ries, and grouping, not simply sym-metrical, but arranged in architec- • The two wonderfully beautiful littleeasel pictures in the Ufflzi (Adoration ofthe Child and Presen
. The cicerone: an art guide to painting in Italy for the use of travellers and students; . a, 1475-1517), originally a pupil of CosimoKosselli; he owed to Lionardo hisdeliverance from the chains of thefifteenth century; his positive*qualities are his own. He was thefirst painter capable of fuUy con-ceiving, and again arousing thelofty feeling which springs out ofthe harmonious union of grandcharacters, pure, imposing (h-ape-ries, and grouping, not simply sym-metrical, but arranged in architec- • The two wonderfully beautiful littleeasel pictures in the Ufflzi (Adoration ofthe Child and Presentation in the Temple)are regarded as early works, of the timehefore the master had entered the conventof S. Marco (therefore before 1600). Re-peated study of the pictures makes oneless and less able to agree with this assumeddate. [Yet these little pictures are alto-gether in the style of Pra Bartolommeo.—Ed.) The certain series of the works of theFrate then begins (exclusive of the LastJudgment in S. M. Nuova of 14SS—99) withthe Madonna di S. Bernardo, of 1506—7, inthe oaSS oo < OS oo w H So 04 Fra Bartohmmeo. 129 tonically built-up personal feeling has not alwaysbeen strong enough fuUy to givelife to this great framework ; andin this he is inferior to Lionardo,who always gives beauty, life, andcharacter combined. Also hewould not have been equal todramatic compositions. Bat whatis wanted, in the stricter sense,for an altar-piece has been repre-sented by no one with more perfectBTiyimity. The freedom and grandeur of hisconception of character can be beststudied in detail in a number ofheads of Saints in fresco in the a Academy at Florence; in additionto which is a splendid Ecce Homo Sin the P. Pitti. Though not pos-sessing Lionardos endless energy,they are yet pictures of humanbeings grandly conceived, some-times with a truly heavenly ex-pression. Two circular fresco pic- c tures, also in the FlorcTux Academy,Madonnas, are remarkable as pr
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Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
