File:Antonio Pollaiuolo (1907) (14762678134).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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foot of Hercules is not set upon thesevered head, but at some distance from it. It isunnecessary to give importance to the small buildings inthe background or the birds in the sky, which arestylistic, and may well have been added by the engraver.*In the Combat with Antceus the principal figures aresimilar, except that the head of the lions skin worn byHercules, hangs down below his thigh, and that theoutstretched leg of Antaeus is less foreshortened.Finally, while in the Uffizi paintings the shape of theCombat with Antceus differs from the other in being muchnarrower, in the engraving it is of the same proportionsas the Combat with the Hydra^ that is to say nearlysquare. It will be remembered that according to theInventory, the lost canvases were square. On one of the sheets of the so-called Verrocchio * An earlier impression than that in the British Museum, fromwhich the reproduction is made, exists in the Albertina Collection,Vienna, It is without the clouds. IX ■»-*gr«rr~- ^r-
Text Appearing After Image:
LJ^ Macbeth HERCULES SLAYING ANT^US. FROM AM ENGRAVING BY ROBETTA Face p. 74 EARLY PAINTED WORK 75 Sketch-Book in the Louvre Collection, is a pen-drawing of Hercules slaying the Hydra, accepted as acopy of the Uffizi painting, but which follows moreclosely the engraving of Robetta. The hand, as there,has not yet grasped the Hydras neck, but is stretchedtowards it, and resembles precisely that of Robetta,while the tail of the lions skin instead of flying outbehind, as in the painting, hangs down between thelegs, as in the engraving. Taking into account the resemblance between thedrawings of Antonio, of the anonymous author of theSketch-Book, and of the engraving, and the Pollaiuolo-esque character of Robettas variations, it seemsprobable that these engravings were copied more orless faithfully not from the small paintings of theUffizi—but from the lost canvases painted for Lorenzo.In the so-called Raffaelle Sketch-Book in the Acca-demia,Venice, is another sketch, in the style of Anto

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