. The study and criticism of Italian art : second series. ng Virgin and the Child are not only Squar-cionesque in general, but prove clearly that Girolamowas acquainted with Mantegnas Nativity (in thecollection of A. R. Boughton Knight, Esq., DowntonCastle). The feeling for line, where it is at its best,is strongly Mantegnesque, even Crivellesque, andthe landscape has an equally Squarcionesque char-acter, modified somewhat, it is true, by the scale ofthe illuminators art. The character of Girolamo da Cremona, then, asdeduced from his authenticated works, correspondsto a remarkable degree with
. The study and criticism of Italian art : second series. ng Virgin and the Child are not only Squar-cionesque in general, but prove clearly that Girolamowas acquainted with Mantegnas Nativity (in thecollection of A. R. Boughton Knight, Esq., DowntonCastle). The feeling for line, where it is at its best,is strongly Mantegnesque, even Crivellesque, andthe landscape has an equally Squarcionesque char-acter, modified somewhat, it is true, by the scale ofthe illuminators art. The character of Girolamo da Cremona, then, asdeduced from his authenticated works, correspondsto a remarkable degree with that of the painter ofthe Viterbo altar-piece. His works and this picturereveal an identical spirit, an identical purpose, andan identical training. The difference is in the quality,a difference such as there must be between illumina-tion and serious painting,—but to this point I shallreturn later. Nor is there anything in the outer cir-cumstances of the Viterbo altar-piece that wouldprevent its being by Girolamo. It is dated 1472, GIROLAMO DA CREMONA. Lombardi photo. ] [Cathedral, Siena. THREE SAINTS GIROLAMO DA CREMONA 105 and in that year Girolamo left Siena for a while totake Liberales place at Monte Oliveto distance between this place and Viterbo, bothpractically on the high road to Rome, is so slight,that Girolamo could very well have gone from theone to the other in a day. Thus there is every probability that Girolamo daCremona was the author of the Viterbo picture. Itnow behoves us to see whether a minute examina-tion of diverse significant peculiarities will turn thisstrong probability into certainty. Let us begin with the types in the picture, andfirst of all with the head of Christ. It is very tall,with an exceptionally high forehead. We find thesepeculiarities strikingly exemplified in the illumi-nations, particularly where Christ is represented: Christ addressing the kneeling apostles ; Christhealing a leper (Lombardi, 216); Christ exor-cising the ev
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartital, bookyear1902
