File:Antonio Pollaiuolo (1907) (14742041646).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:
ly built, yet exceedingly muscular and with thebone well emphasised. With the abandon of Donatello\sputti the figures combine the rhythmic dignity of anantique frieze. Beneath are remains of architectural designs, deeparches and windows, and winged putti^ in all of whichfaint traces of colour are visible. Above the fireplaceon the other side are fragments of foliage, fruits, andflowers. It is uncertain whether the dancing figureswere continued round the other walls, but no trace ofthem has been discovered. Signor Guasti* is of opinion that the frescoes werewashed over at an early date, since, he considers,paintings of such beauty and importance wouldcertainly have been mentioned by Vasari, Albertini, orsome of the early writers, had they been known to them.He suggests that they were covered over at the time ofSavonarolas onslaught on so-called licentious works of * Gaetano Guasti, *Gli affreschi del secolo xv scoperti in unavilla ad Arcetri,* *• Rassegna Nazionale, February i, 1900.
Text Appearing After Image:
,^3 oo < o ^ PAINTINGS AND STUDIES 121 art, as one of the Lanfredini was a Piagnone. It seemshowever likely that, had they really been washed over atso early a date, they would have been better preserved. Very different in subject, yet closely connected tothese frescoes by its decorative character and har-monious combination of movement, is the engravingcalled The Battle of Ten Nudes of which the bestexample exists in the Collection of Prince Lichtensteinat Feldsberg* (Plate XXIII.). As the plate hasalready been considered from the technical point ofview (p. 34) the following notes refer only to its artisticqualities. It is signed on a cartello attached to a treeOpvs. Axtonii. Pollaiolo. Florentini., and is the onlyexisting engraving that can be attributed to his hand.In the shading of the background, by which the figuresare thrown into relief, it recalls the technique of theni^Z/o-worker and this peculiarity has great decorativevalue. The engraving, taken as a specimen of Antonios

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