. The art of the Italian renaissance; a handbook for students and travellers. the case in Feruo-inosportraits, but remains almost modestly in the greenish shadow. Thestrongest light, does not fall on the face, but on a scrap of shirt accidentallydisplayed at the neck. The hood and collar are neutral in tint, greyand bi-own. The large eyes look cahnly out of their orbits. With all its(|uivering pictorial \itality, the form gains absolute Hrnniess by the verticalline of tlie head, tlie full-face Niew, and the ((uiet application of light,which relieves one half of the head, and illuminates exactl
. The art of the Italian renaissance; a handbook for students and travellers. the case in Feruo-inosportraits, but remains almost modestly in the greenish shadow. Thestrongest light, does not fall on the face, but on a scrap of shirt accidentallydisplayed at the neck. The hood and collar are neutral in tint, greyand bi-own. The large eyes look cahnly out of their orbits. With all its(|uivering pictorial \itality, the form gains absolute Hrnniess by the verticalline of tlie head, tlie full-face Niew, and the ((uiet application of light,which relieves one half of the head, and illuminates exactly the necessarypoints. The head seems to have suddenly turned round and to have The Cieaoiii: ,i, (?..iitnuy o|,inioii : The hnest (|)lv his own portrait) isHI the Utiizi (X,,. 1147) : there rs a , of inferior merit, in the Pitti (Xo. titil. In the].ostliu,„o,is y,v;/,vy;,e --o- K„„.l<i,..-hi,hlr rou //„//, »,,T. Ihirehlianlt protested for the against tlie presnmption that the ).inures are |mrtraits of tl,o painter Siiiiposeil Ioitiait lit Himself. I>y Ai-chea Sartn. ANDREA DEL SARTO 181 })reseut(.Ml foi- a moment the view, in whieli tlie vertical and lioiizinital axesare seen in absolute puritv. The vertical line passes right up to the peakof the cap. The simjjlicitv of the line, and the repose given bv the greatmasses of light and shade, are combined with that clear detinition of formcliaracteristic of Andreas mature stvle. A firm touch is evcrvwheredistinguishalile. The way in which the angle between the e\e andnose is lirought out, in which the chin is modelled, and the cheek-boneindicated, recalls the st\le of the Dispufii, which was obviously paintedat the same This delicate and intellectual head may fairh be considered an idealexample of sixteenth century ccmceptions. One would be glad to include itand the Violht-pJdijcr, to which it l)ears an intrinsic and extrinsic affinity,in the series of Art
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
