A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . t. Augustine and a saint whose form cannot be traced, form thetotal of the piece. The medallion to the right is gone with the intonaco whichheld the close of the lines of the inscription. ^ These are the heads of St. Ansanus, the two angels offering flowers, , St. Catherine, the female saint in a diadem opposite to her, and theVirgin and Child. The incisions and joints of the new intonaco are distinctly visiblein these heads which are well preserved, whilst in those of St. Savin
A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . t. Augustine and a saint whose form cannot be traced, form thetotal of the piece. The medallion to the right is gone with the intonaco whichheld the close of the lines of the inscription. ^ These are the heads of St. Ansanus, the two angels offering flowers, , St. Catherine, the female saint in a diadem opposite to her, and theVirgin and Child. The incisions and joints of the new intonaco are distinctly visiblein these heads which are well preserved, whilst in those of St. Savinus and St. Victorthe colours are almost gone. The hands of St. Peter have been retouched in thefifteenth century ; some other heads have been injured by repainting, and the picturein general has no longer the brilliancy of fresco on account of damp and left side of the picture is that which has been most essentially damaged, par-ticularly by damp, the saints and medallion figures being reduced to mere outlines,shadowed with a reddish brown preparation. No one can doubt that the eight.
Size: 1263px × 1978px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
