File:Antonio Pollaiuolo (1907) (14578359170).jpg

Identifier: antoniopollaiuol00crut (find matches)
Title: Antonio Pollaiuolo
Year: 1907 (1900s)
Authors: Cruttwell, Maud
Subjects: Pollaiolo, Antonio, 1426?-1498 Pollaiolo, Piero, ca. 1443-1496
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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prominent cheek-bones,their large cutting wings and vehement action, are ofthe same family as those in the fresco of S. Miniato andon the Silver Cross. The swift movement of the onewhich flies impetuously out of the cave is speciallycharacteristic. In the hands of Piero, judging by allprecedent, the energy and concentration, the rapidity ofmovement and all the qualities which make the paintingso impressive, would have vanished, and we should havehad, as in the archers of S. Sebastian, mere flaccid andlifeless forms. In connection with this painting it is of interest tonote that the husband of Maddalena, the seconddaughter of Antonio, belonged to a family settled inStaggia—Bruno, son of Ser Benedetto, probably notaryof the town. Another example of Piero imitating Antonio^s styleand failing to reproduce more than the forms is to beseen in a work which must date from about the sametime as the Altarpiece of S. Sebastian. This is thefresco of S. Christopher, now in the Metropolitan XXXV
Text Appearing After Image:
S.CHRISTOPHER. FRESCO BY PIERO POLLAIUOLO METROPOLITAN MUSEUM, NEW YORK (By kind permission of the Director) Face p. 162 THE PUCCI ALTARPIECE 163 Museum, New York, evidently a copy of Antonio^swork. (Plate XXXV.) It would seem to be a replicaon a reduced scale of a perished fresco, mentioned byVasari as having been painted by Antonio on the facadeof the now-demolished Church of S. Miniato fra leTorri, which stood near Or S. Michele in the streetwhich still bears its name. For S. Miniato fra leTorri, outside the door, Antonio painted a S. Cristofano,ten braccia high, a very beautiful work, executed in themodern style. It is the best-proportioned figure of thesize that had been done up to that time.** AntonioBilH and the Anonimo Gaddiano ^ also mention thefresco, but attribute the execution to Piero, and thedesign only to Antonio.f Albertini attributes theentire work to Piero. J In the time of Baldinucci the fresco was still to beseen, though much injured, and of it he gives thefollowin

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