File:A new history of painting in Italy, from the second to the sixteenth century (1864) (14578877429).jpg

Identifier: newhistoryofpain02crow (find matches)
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
drapery in its flight, imitating the stiffness ofbronze; whilst the face of the nurse smiling at the babeassumes likewise an immobility almost betraying a plastic 1 No. 63. in that Gallery. 2 These according to modernjudgment, are Giovanni Torna-buoni, Pietro Popoleschi, Giro-lamo Giacchinotti and Leonardo,brother of Giovanni Tornabuoni. 3 On the frieze of the arch inthe distance, to the right, one readsthe words: An. MCCCCLXXXX,quo pulcherrima civitas opibus 4 The design for this piece isat the Uffizi. It represents S.Anna- and S. Elizabeth meetingon a terrace from which a distantview of a city and hills is gained.Three graceful females form thesuite of S. Anna, on the left. Twofollow S. Elizabeth and three lookon, the foremost of which, in richattire, is clearly a portrait, probablythat of Ginevra de Benci men- victoriis artibus. aedificiisque no- tioned by Vasari. (Vol. V. p. 77.)bilis copia salubritate pace per- The three of S. Annas suite arefruebatur. j slightly altered by time.
Text Appearing After Image:
Chap. XX. CHOIR OF S. M. NOVELLA. 481 model. The drawing of this piece, exhibited at Manches-ter, was excessively remarkable as showing that the mas-ter in his preliminary sketch only busied himself with thegeneral movement and in nowise with detail, * a peculiar-ity noticeable later in Michael Angelo. Less care is expended in the treatment and handling of Jo-achims expulsion from the temple than in the subjects previ-ously examined. The two groups at the extremes are, how-ever, full of merit, and interesting, because Ghirlandaio repre-sented himself again to the right in the attitude alreadyassumed by him at S. Trinita, accompanied, — by Sebas-tiano Mainardi, whose vacant gaze is not prepossessing ashe presents his iiead on the margin of the picture, — andBaldovinetti who looks pensive, standing at the other sideof Domenico in the hanging barret of the period.2 Thefigure of Joachim expelled by the priest is feeble andmore in the style of Mainardi than of his master.3 Thebirth of

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