. Verocchio. y habit to criticise a work without acquaintance with the original, butin this case, although the relief is known to me only through the repro-duction given by Dr. Ulmann, the faults are so glaring that any hesita-tion as to its authenticity is impossible. k In the Collection of Baron Adolph de Rothschild, Paris, are twocarefully finished statuettes in terra-cotta, one of the page, the other ofthe warrior grasping the clab, which are accepted by Dr. Bode asgenuine studies for the Silver Relief. They are unknown to me evenby photograph. 172 VERROCCHIO his incapacity for reproducing
. Verocchio. y habit to criticise a work without acquaintance with the original, butin this case, although the relief is known to me only through the repro-duction given by Dr. Ulmann, the faults are so glaring that any hesita-tion as to its authenticity is impossible. k In the Collection of Baron Adolph de Rothschild, Paris, are twocarefully finished statuettes in terra-cotta, one of the page, the other ofthe warrior grasping the clab, which are accepted by Dr. Bode asgenuine studies for the Silver Relief. They are unknown to me evenby photograph. 172 VERROCCHIO his incapacity for reproducing the energy of the others,has discreetly left them in the rough but slightly modelledthough they are, they show the feebleness of the artistshand and brain. In the whole model there is that indefin-able yet unmistakable modern look impossible to reconcilewith Quattrocento work; and there is no doubt whateverbut that, like the Forteguerri Relief of S. Kensington, it isa forgery of comparatively recent date. XL. Alinari, Florence MADONNA AND SAINTS. DUOMO, PISTOIA. EY VERROCCHIOAND LORENZO DI CREDI Face p. 172 CHAPTER XIII THE PISTOIA ALTAR-PIECE Another work of a very different character to the Reliefof the Silver Altar was being executed simultaneously withit in the bottega of Verrocchio—the Madonna and Saintsof the Cathedral of Pistoia. Attributed to Leonardo inthe seventeenth century,* and later to Lorenzo di Credi, itwas Morelli who first detected in the work the hand ofVerrocchio himself, and the accuracy of this judgment hasbeen recently attested by the discovery of certain docu-ments. The history of the painting is as follows. The Chapelof the Sacrament in which it still hangs over the Altar, wasformerly separated by a wall from the body of the Cathe-dral, and was called the Oratory of the Madonna di was constructed as a memorial to Donato dei Medici,Bishop of Pistoia, who died 1474, and it was in honour ofhis memory that the Altar-piece was commissioned, thes
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