. The study and criticism of Italian art : second series. cchio: the bent knees andbandy legs. The difficulty that the painter of the Sposalizio had in foreshortening the feet, and inbalancing his figures in correct equilibrium, can beobserved not only in this personage, but in almostall the other figures of the picture, and notably inthose in the middle distance. Such strangely curvedlegs are not to be found anywhere in Perugino ; butthey have their exact counterpart in the Crowningof ^Eneas Sylvius as Poet of Pinturicchio. Char-acteristic again, not of Perugino but of the lad
. The study and criticism of Italian art : second series. cchio: the bent knees andbandy legs. The difficulty that the painter of the Sposalizio had in foreshortening the feet, and inbalancing his figures in correct equilibrium, can beobserved not only in this personage, but in almostall the other figures of the picture, and notably inthose in the middle distance. Such strangely curvedlegs are not to be found anywhere in Perugino ; butthey have their exact counterpart in the Crowningof ^Eneas Sylvius as Poet of Pinturicchio. Char-acteristic again, not of Perugino but of the lad seated on the steps of the temple, a bit ofpure genre that occurs again in Pinturicchios frescoof 1501 at Spello, representing Christ among theDoctors. Surely, however low Perugino may standin our estimation, we should not dream of accusinghim of suddenly, at the height of his fame, settinghimself to imitate Pinturicchio, with the servilitythat is evident in the Caen Sposalizio. I have still another argument in support of my1 Perugia Gallery. LO SPAGNA. [Caen. 1HE MARRIAGE OF THE VIRGIN RAPHAEL
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartital, bookyear1902
