. The art of the Italian renaissance; a handbook for students and travellers. se silhouettewould thus be absence of these figureshas shifted the accent ofthe whole. There was, how-e\er, no synunetrical distri-bution of masses, such asthe picture now seems tosuggest; a free rhythmicalarrangement was aimed at, l)ut the three heads to the left certainlyrequire some counterpoise. Later, the base of a cross \yas added in themiddle of the group, obyiously incorrectly ; for this particular place shouldhe unaccented. (.ompared with Perugino, ^\\\o seemed so calm among his contempo-raries
. The art of the Italian renaissance; a handbook for students and travellers. se silhouettewould thus be absence of these figureshas shifted the accent ofthe whole. There was, how-e\er, no synunetrical distri-bution of masses, such asthe picture now seems tosuggest; a free rhythmicalarrangement was aimed at, l)ut the three heads to the left certainlyrequire some counterpoise. Later, the base of a cross \yas added in themiddle of the group, obyiously incorrectly ; for this particular place shouldhe unaccented. (.ompared with Perugino, ^\\\o seemed so calm among his contempo-raries, Bartolonnneo is even more restrained and impressive in line. Thegreat parallel horizontal lines on the liorder of the foreground only serve toexpress the very simple, irUcvo-Yike grouping of the figures^, with the twodominating piofiles. IJartolonmieo nuist ha\e realised the beneficial resultsof thus giving repose to the picture. lie succeeds in conveying a similar 1 The tigiues were put in, but Merc expunged. For the complete group see AlbertiuellisJiiJd in the The Risen Christ with tlie lur Eviuigelists, Ijyrr;i UartuluinuiOLi. PRA BARTOLOMMEO 153
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
