. The art of the Italian renaissance; a handbook for students and travellers. liii with six Siiints (;-JI), liv Aiidr ANDREA DEL SARTO I7r>. Kaphaers versions of this thcanf. .Vndreas artistic aim also as toproduce rich effects in a siiiafi s])ace. He makes jiis figures stoopand l^neel, thus bringing them close to the bottom of the picture, andmaking knots of three, four, and five persons. The ground is usuallvblack. There is a series of pictures of the kind. The best are thosewhere the spectator is first impressed by the naturalness of the gestures,and afterwards thinks of the problem
. The art of the Italian renaissance; a handbook for students and travellers. liii with six Siiints (;-JI), liv Aiidr ANDREA DEL SARTO I7r>. Kaphaers versions of this thcanf. .Vndreas artistic aim also as toproduce rich effects in a siiiafi s])ace. He makes jiis figures stoopand l^neel, thus bringing them close to the bottom of the picture, andmaking knots of three, four, and five persons. The ground is usuallvblack. There is a series of pictures of the kind. The best are thosewhere the spectator is first impressed by the naturalness of the gestures,and afterwards thinks of the problems of form. The Madojuia del Saccoof 152-1 (Cloisters of the Annunziata, Florence) holds a special positioneven compared ^\ith the works of Kaphael. This picture is a splendidexample of tender and accomplished fresco-work in general, and of pictur-esque effects of drapery in particular. It has the further merit of a bold-ness of design in the arrangement of the figures never again achieved bythe master. I\Iary is not sitting in the middle of the picture, but to oneside. The balance of tlie composition is restored h\ the Joseph f
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
