File:A new history of painting in Italy, from the second to the sixteenth century (1864) (14763165474).jpg

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Identifier: newhistoryofpain02crow (find matches)
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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, in the midst ofwhich the naked Saviour is fast to a pillar crowned withan idol, and receives the flagellation from three executioners,whilst outside to the right, and at the top of a street re-treating to a distance of trees and sky, stands, in closerproximity to the spectator, the group we have endeavouredto describe.4 Piero had now polished the style but partially deve-loped at Arezzo. As a geometer, an architect, and a masterof perspective, he shines alike, giving a beautiful form to 1 Guida di Urbino. p. 1. Ugo- unum, is said to be inscribed lini. Storia ub. sup. Vol. I. p. 293, 2 The assassins desired the livesof the minions not that of Od-dantonio. They found it impos-sible to compass the former with-out the latter. 3 In the National gallery catal. of 18G3 a motto, convenerunt in I pulcri. near the figures. That motto hassomehow disappeared. See catal.p. 93. 4 On the step of the plat-form on which Pilate sits in pro-file, to the left, are the words:Opus Petri de Burgo sci. se-
Text Appearing After Image:
J o Chap. XXII. PIERO PATRONIZED AT URBINO. 547 the colonnade in which the principal scene is placed, dis-tributing the figures with judgment on their planes,and imparting to them their exact shade of tone withsufficient relief. The sense of depth and rotundity isnaturally assisted by carefulness and cleanness of tone,great softness and fusion of colour, and a perfect keepingin the parts, productive of a grand unity. Yet Pierosneglect of all but the block of human form is perceptibleas ever.1 A still more finished example of the technical progressof our painter is the diptych at the Uffizi, in which thefair side of Federigos countenance, left untouched for-tunately for him in a tourney, faces the profile of his wife.2Neither are agreable types, but nothing can exceed theLeonardesque precision of the drawing or the softness andfusion of the impasto. The obverse of each portraitcontains a triumph, in one of which Federigo is drivenon a car, engraved in these pages, and Battista isseated

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Source https://www.flickr.com/photos/internetarchivebookimages/14763165474/
Author Internet Archive Book Images
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(Reusing this file)		 At the time of upload, the image license was automatically confirmed using the Flickr API. For more information see Flickr API detail.
Volume
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2
Flickr tags
InfoField
  • bookid:newhistoryofpain02crow
  • bookyear:1864
  • bookdecade:1860
  • bookcentury:1800
  • bookauthor:Crowe__J__A___Joseph_Archer___1825_1896
  • bookauthor:Cavalcaselle__G__B___Giovanni_Battista___1820_1897
  • booksubject:Painting
  • bookpublisher:London__J__Murray
  • bookcontributor:Harold_B__Lee_Library
  • booksponsor:Brigham_Young_University
  • bookleafnumber:615
  • bookcollection:brigham_young_university
  • bookcollection:americana
Flickr posted date
InfoField
28 July 2014

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26 July 2015

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