The study and criticism of Italian art . [ Bergamo. GALL1CCIOLI MADONNA BARTOLOMMEO MONTAGNA. [Xatioual Gallery, Loudon. MADONNA ANTONELLO DA MESSINA 97 tino DArte for 1910. But perhaps the most strik-ing instance is the Madonna in the National Gallerywith the Child seated on a book. In this design, asearly as the Farrer one, the intention to attain geo-metrical mass is as plain as in any of Antonellosworks. The only question is whether Montagnawas in this instance thinking of the Benson picture,or had in mind some work, since lost, in whichAntonello, in order to attain the pyramidal effect,ha
The study and criticism of Italian art . [ Bergamo. GALL1CCIOLI MADONNA BARTOLOMMEO MONTAGNA. [Xatioual Gallery, Loudon. MADONNA ANTONELLO DA MESSINA 97 tino DArte for 1910. But perhaps the most strik-ing instance is the Madonna in the National Gallerywith the Child seated on a book. In this design, asearly as the Farrer one, the intention to attain geo-metrical mass is as plain as in any of Antonellosworks. The only question is whether Montagnawas in this instance thinking of the Benson picture,or had in mind some work, since lost, in whichAntonello, in order to attain the pyramidal effect,had placed the Child so that He should break aslittle as compatible with naturalness through thesilhouette, and interfere as little as possible with thegeometrical If it cannot be actually proved that Bellini andMontagna were acquainted with Mr. Bensons Ma-donna, it results at all events from the discussionthat they must have known a work singularly closeto it. They certainly allowed themselves to be in-fluenced by a design like the one of that picture,and, granted that that design i
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