File:Antonio Pollaiuolo (1907) (14578603407).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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Text Appearing Before Image:
The painting byMelozzo da Forli in the Vatican gives a better idea ofhis temperament. This is due no doubt to the statuehaving been executed from already existing portraitsand not from life. But the modelling of the face isfaultless, on broader lines and more plastically treatedthan any work we have yet seen. The goldsmithbetrays himself in the elaborate and carefully wroughttiara and vestments, but the face has the breadth of thesculptor in marble. The slab on which the body is laid is covered withelaborate brocade, and rests on a base on which arerepresented the Seven Virtues, while round the sidesrecline the Arts and Sciences, all the figures in highestrelief. The Inscription at the foot runs as follows: SIXTO QVAR PONT MAX EX ORDINI MINORVM DOCTRINA ET ANIMI MAGNITVDINE OMNIS MEMORI^ PRINCIPI TVRCIS ITALIA SVMMOTIS AVCTORITATE SEDIS AVCTA VRBE INSTAVRATA TEMPLIS PONTEFORO VIIS BIBLIO THECA IN VATICANO PVBLICATA IVBILEO CELEBRATO LIGVRIA SERVITVTE LIBERATA CVM MODICE AC PLANO XLIII
Text Appearing After Image:
Anderson SIXTUS IV. FROM THE TOMB BY ANTONIO POLLAIUOLOS. PIETRO, ROME Face p. I02 THE TOMBS OF THE POPES 193 SOLO CON DI NE MANDAVISSET IVLIANVS CARDINALIS PATRVO B . M . MAIORE PIETATE QVAM IMPENSA F . CVR OBIIT I DIB . SEXTIL . HORA AB OCCASV QVINTA AN CHR MCDLXXXIIIJ VIXIT ANNOS LXX DIES XXII HORAS XIJ. On either side of this inscription are the RovereArms—the oak tree—surmounted by the Cardinalshat. On the raised slab behind the head of the statueis Antonio^s signature and the date: OPVS . ANTONI . POLAIOLIFLORENTINI . ARG . AVRO PICT . AERE . CLARIAN . DO . MCCCCLXXXXIIJ. In the compartment below this inscription reclinesthe Charity, recalHng in her attitude the Ariadne ofthe Vatican. She rests one elbow on a low stool, andgazes down on a child at her breast. Another playsagainst her knee. In one hand she holds the horn ofplenty, curved like a graceful lily, and in the other thesymbolic flaming heart. No conception could be moredifferent to the conventionally treated relief

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