. Verocchio. d is closer to his style, but the differences of treatment aretoo great to allow of its acceptance as more than aside the quality of the modelling of the nudeparts, which is vastly inferior to that of Verrocchio, thesoft curving lines of the draperies are directly opposed tohis manner, which, even when the folds are most redundant,is sharp and has a tendency to angularity. The square flathand and fingers of the Virgin have in construction nothingin common with the hand of Verrocchio. The child, inwhich the protruding hip and rolls of fat of Verrocchio1stype are
. Verocchio. d is closer to his style, but the differences of treatment aretoo great to allow of its acceptance as more than aside the quality of the modelling of the nudeparts, which is vastly inferior to that of Verrocchio, thesoft curving lines of the draperies are directly opposed tohis manner, which, even when the folds are most redundant,is sharp and has a tendency to angularity. The square flathand and fingers of the Virgin have in construction nothingin common with the hand of Verrocchio. The child, inwhich the protruding hip and rolls of fat of Verrocchio1stype are grossly exaggerated, has a vulgarity of expressionin striking contrast to his graceful and gracious putti* Inthe treatment of the hair and general character it 1*imitated rather from the Christ-Child of Desiderio overthe Tabernacle of the Sacrament in S. Lorenzo, than fromVerrocchio. The dress of the Virgin is fastened with thewinged cherub, the favourite ornament of the Donatellesqne * Vasari, iii. 361. XXX. Allnari, Florence MADONNA AND CHILD. BY FRANCESCO DI SIMONE(?)BARGELLO, FLORENCE Face p. 122 THE MADONNA 123 School, never used by Verrocchio, and there is a suavity inthe spirit and treatment which points to an artist influencedas much in essentials by Desiderio and Rossellino as he issuperficially by Verrocchio. The relief is probably thework of Francesco di Simone at his best, the blending ofstyles being highly characteristic of this artist, of whommuch must be said later in studying the so-called Torna-buoni Relief and the Verrocchio Sketch-Book. Another work of greater artistic merit, probably by thesame hand, is in the possession of Mr. George Diblee, atpresent on loan in the Fortnum Collection, Oxford. It isin uncoloured gesso, and represents the Madonna holdingthe upright Child on her knee. It would be difficult to saywhich influence most predominates—that of Verrocchio, ofDesiderio, or of Fra Filippo, and in this case the combina-tion is more successful and att
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