File:A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century (1871) (14576488280).jpg

Identifier: historyofpaintin01crow (find matches)
Title: A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century
Year: 1871 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting Painting, Gothic Painting, Renaissance
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
e relicof the cross being carried as usualto the burial of one of the brethrenwho had expressed incredulity asto its miraculous powers, wasarrested by some invisible force,and could not be taken furtherby the efforts of its bearers. An-other cross was brought from aneighbouring chapel, and the in-credulous brothers funeral thenproceeded. There are inany partsrestored in the picture, especiallyin the dresses. The gondolier inthe foreground, with his back tothe spectator, the man near himlooking at the spectator, and afigure next to him, are all new.(See the engraving in Zanotto,Pinac. dell Accad. Venez. Fasc.XXVIII.) But Mansueti is also the authorof a second canvas in San Gio-vanni, now under the name ofLazzaro, representing, accordingto some accounts, Antonio Eicciocongratulated by his friends at hisrescue from shipwreck by virtueof an appeal to the relic. Thispiece (Ven. Acad. No. 545, canvas,m. 360 h. by 2*95) was properlyassigned to Mansueti by Sanso-vino (Ven. Desc. 284), Zanetti
Text Appearing After Image:
Chap. IX. MANSUETI. 221 I of San MarcO; where he painted S^ Mark curing Anianusthe cobbler; he draws the latter seated with the shoestrapped down to his knee, and showing a handwounded by the awl; S^ Mark restores him with ablessing, but the people who £11 the market-place ofAlexandria, where the miracle took place, are short andhelpless as before, and coloured in a dull viscous tone,after a fashion compounded of Gentile, Carpaccio, andCima.^ Still more animated, and for Mansueti a master-piece, is the second canvas of the school of San Marco,where the populace of Alexandria is represented listeningto S Mark^s sermon in a distant temple.^ There is nopicture, not excepting the baptism of Anianus, at theBrera,^ in which Mansueti more nearly approachesCarpaccio. Sometimes he varied, as men of smallpowers will do, in delineating the human shape, re-minding us in 1500 of Luigi Vivarini by the slender-ness of the saints in the glory of S* Sebastian at theVenice Academy,^ or reverting to hi

Note About Images