. The study and criticism of Italian art : second series. o trace of Angelicos influence. A hasty glancemight discover a likeness to that master in theangels; but careful inspection reveals the superfi-ciality of this likeness. What there is, is of the kinddue to contemporaneity rather than to the author of this panel been an imitator ofAngelico, why should he have confined his imitationto the draperies only of the angels ? One surelywould have expected him to copy the faces, most ofall the Virgins. Nor was he crude in execution ;for nothing could well be more dainty, gay and cha
. The study and criticism of Italian art : second series. o trace of Angelicos influence. A hasty glancemight discover a likeness to that master in theangels; but careful inspection reveals the superfi-ciality of this likeness. What there is, is of the kinddue to contemporaneity rather than to the author of this panel been an imitator ofAngelico, why should he have confined his imitationto the draperies only of the angels ? One surelywould have expected him to copy the faces, most ofall the Virgins. Nor was he crude in execution ;for nothing could well be more dainty, gay and charm-ing than is this Trinity. Note how carefully hefinishes all the extremities, how he has thoughtout everything with regard to the draperies. Heseems to realize that they should be functional, andhe makes them all that an artist could make them,who has an as yet imperfect feeling for form andstructure, and habits of calligraphy that he cannotquite shake off. All this indicates an artist who waspushing forward, struggling with the most advanced MASOLINO. Bruckmann phoio.~\ THE MADONNA AND CHILD, WITH ANGELS {Munich, PAINTINGS BY MASOLINO 85 ideas of his age, and not one who took up these ideasafter everyone else. We can safely set aside, there-fore, the statement of the Munich catalogue regard-ing the date of this Trinity. It must have beenpainted not in 1440, but some twenty years earlier. And by whom ? One who knows Masolinospaintings at Castiglione dOlona as well as he knowsthe faces, the gestures, and the step of his mostintimate friends—and only when he does so know agiven master has the student a right to discuss whatis attributed to him—one who thus knows Masolino,must recognize at a glance that he was the authorof our Trinity. It is so obvious that, for thisvery reason, attempting to demonstrate it seems asabsurd, and really is as difficult, as to prove topeople who never have seen him that such a personis such and such a friend of ours. Yet in this casethe attempt
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