File:A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century (1871) (14740169586).jpg

Identifier: historyofpaintin01crow (find matches)
Title: A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century
Year: 1871 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting Painting, Gothic Painting, Renaissance
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
her attitude, so pleasant the gracefulflow of her draperies.^ We are compensated by its We may here mention a pic-ture by o\ir artists mentioned bySansovino (Ven. Desc. p. 25^), whosays it existed in San Cosmo eDamiano at Venice, was paintedin 1446, and had a frame carvedby Christoforo Ferrarese. 2 Selvatico (P.) Storia estetico-critica, 8, Venice, 1856, II. pp.463—4. ^ Padua, San Filippo, wood, life-size; tempera; noticed by Brando-lese ( Pittura di Padova, ub. sup.p. 143) as the work of an unknown painter, but very clearly by ourartist. The crown and nimbus ofthe Virgin are slightly raised; thethrone is embellished with foliatedornament, and the base of it em-broidered with open work, throughwhich roses are seen. The arabes-que cut base of yellow marble restson a flowery meadow. One ofthe prettiest features is the grace-ful fall of drapery from the Vir-gins head over the shoulders ofthe child, and then again throughthe Virgins fingers. The flesh issoftly enamelled in a transparent
Text Appearing After Image:
Chap. II. THK MURANESE. 29 existence for the loss of the nativity executed for SanFrancesco of Padua in 1447. Life-size portions of analtarpiece, a Virgin and child and two saints^ were notlong since divided between the atelier of the late SignerMolteni at JMilan and the collection of the late Sir CharlesEastlake.- Another monumental work of the same handsand of this time is consigned to the unknown in theBrera collection at Milan, and is perhaps the nearestapproach made by Giovanni and Antonio to the devouttenderness of the Florentines, Lorenzo Monaco, orAngelico.^ An equally interesting and well-kept spe-cimen is the S Ursula between S Peter and S Paul,originally in San Pietro, and now in private hands at and well-fused flesli-tiut of a warmtinge, shaded off with greenish grey.There is evidently neither the olddeep p^reen ))reparation here, northe deep brown shadow. The wholeis toned up hy lioht rosy glazes. La terza i)ala a man manca(in 8an Francesco of Padua) fu demano de Antoniohistoryofpaintin01crow

Note About Images