File:A history of painting in Italy - Umbria, Florence and Siena from the second to the sixteenth century (1903) (14595241160).jpg

Identifier: gri_33125001989728 (find matches)
Title: A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century
Year: 1903 (1900s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897 Strong, S. Arthur (Sandford Arthur), 1863-1904 De Nicola, G Borenius, Tancred, 1885-1948 Douglas, R. Langton (Robert Langton), 1864-1951
Subjects: Painting, Italian
Publisher: London : J. Murray
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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Text Appearing Before Image:
wn to the right of the altar the Virgin sits betweenSt. Francis ^ and another saint, talking to the Infant and pointing ^ Beneath the penitent thief, the Virgin falls swooning into the arms of one ofthe Marys, forming a purely Sienese group. A figure looking over her, with anugly face and a broad nose, is one of the types most common in Lorenzetti, whilstthe Marys have the usual pointed and projecting chin. Close by, on the contrary,a youthful and fine female profile contrasts with the curiously exaggerated one of anaged woman. A nimbed figure on horseback standing in profile in front, affected inthe action of the arms (much discoloured), is said to be a portrait of the Duke ofAthens, and near him is supposed to be the likeness of Cavallini; but these arefables to captivate the idle, not to convince the serious observer. The group is com-pleted by soldiers, as it is on the opposite side, where two guards on horsebackfraternise by giving an arm to each other.Part of the figure is gone.
Text Appearing After Image:
II.) PIETRO LOEENZETTI 103 back with her thumb. With some slight variety her form is arepetition of that in Pietros altarpiece at Arezzo. Beneath this,and between two shields of which the blasonry is gone, the Cruci-fixion is repeated in miniature, and a figure in prayer, said to be aportrait of Cavallini, but probably the patron, kneels to theright.^ The Deposition is a composition of the usual vehemence inaction and improved by Pietros vigour from the original of Duccio.^ The type of the Saviour in the Entombment is as fine as thecomposition, in the pure Sienese style, is animated. The fourbusts of saints below are all but effaced. The Eesurrection andLimbus illustrate the well-known tendency of Pietro to repeatsubjects in consecrated forms and treat them technically in apeculiar way. His excessive and uncompromising realism is shownin the Judas hanging from a beam with his bowels dropping out,^a fresco at the side of a door, in the arching of which St. Francisin a medallion shows t

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