File:The study and criticism of Italian art (1916) (14594224938).jpg

Identifier: gri_33125001581517 (find matches)
Title: The study and criticism of Italian art
Year: 1916 (1910s)
Authors: Berenson, Bernard, 1865-1959
Subjects: Art, Italian Painting, Italian
Publisher: London, G. Bell and sons, ltd.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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shall try to make it seem probable that Carpacciodid not paint his Glory of St. Ursula in 1491, assigned and dated, but nearly twenty years later. Ifmy conclusions are accepted, we are confronted withan enigma, for the inscription is authentic. I may aswell confess, at the start, I am more interested inleading up to the enigma than in solving it, althoughI may venture upon a solution. My real aim, how-ever, is to promote a state of mind that will hesitateto accept documentary or even epigraphic evidence,with regard to a work of art, without first criticizingit in the light of all that can be learnt from the in-ternal testimony of the work itself. I Let us see what internal evidence has to sayabout the Glory of St. Ursula. The picture, which hangs in the Venice Academy,is familiar. On a palm tree against the sky, framedin by the mighty arch of an hypaethral structure,stands Ursula in ecstasy, the Eternal hovering overher to bless, naked baby angels crowning her and 124 VICTOR CARPACCIO
Text Appearing After Image:
(Academy, Venire. GLORY OF ST. URSULA GLORY OF ST. URSULA 125 fluttering- around her, waving scarves, and a greatcrowd of worshippers, chiefly women, kneeling ather feet. Above, over the opening in the vault,appear putti, who throw down shrubs and flowers.Cherubim form a sort of capital to the trunk of thepalm at the point where it begins to burst intofoliage. This work has not had full justice done to it. Itscondition is, perhaps, bad and certainly unpleasant,and the device of the tree, be it ever so justifiablesymbolically, is visually clumsy and incongruous.There is, however, a further reason, namely, thatthe whole picture is entirely out of tune with theother scenes of the St. Ursula series. They are gay,lyrically narrative, rich in episode, with a minimumof intellectual design. We are won by their spon-taneity and vivacity, and, after revelling in theseenchanting qualities, we rather resent the intrusionof a solemn chorale like this Glory of St. Ursula. Nevertheless, with the exc

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