A new history of painting in Italy, from the second to the sixteenth century (1864) (14578883898)

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



Text Appearing Before Image:
ght even believe, were itaffirmed, that some of the Campo Santo frescos were theirjoint production. This resemblance is to be found in thedisproportion, defects of extremities, and exaggerated move-ments of the figures; in the aimless draperies which sug-gest nothing as to the inner forms, the reddish tinge anddark shadows of the flesh parts, and the constant use ofwiry outlines. As Benozzo, in his great compositions, tethers his de-fective manner with the support derived from numberlessepisodes, and a will to render momentary action, so Ros-selli partially succeeds in the Passage of the Red-Sea atthe Sixtine. The best of his compositions in the chapel is the Ser-mon on the Mount, where he is more regular in the distri-bution of groups; and types of either sex are casuallybetter than before.2 The Last Supper, however, is the 1 The Virgin and child are be-tween S.S. Augustin and Monica,Nicholas, and Jerom. 2 The vast landscape is describ-ed by Vasari as by Pier di Cosimo.Vol. V. p. 32.
Text Appearing After Image:
; 1 ^Ua,,^ Chap. XXI. COSIMO ROSSKLLI. 523 poorest of his series and the worst fresco in the chapel,and it emulates in colour the brick tones of Gozzoli. It is not possible to ascertain the exact date of Cosi-raos stay at Rome, but Vasari suggests that it was pre-vious to 1484, by giving thatyear falsely, it is true, asthat of the artists death.1 There is reason to believethat the paintings of the Sixtine date before that of theBeato Philippo receiving the dress of the Servites fromthe Virgin, which is still visible in the court of the S.S.Annunziata at Florence; and Richa authorizes us to be-lieve that Cosimo completed this defective piece in 1476.2 His best wall painting, completed, one may conjecture,within the foregoing dates and not in 1456 as Rumohr.would persuade his readers,3 is in the chapel of the Sa-crament at S. Ambrogio, where the exhibition of a cha-lice, in which the blood of the Redeemer was said to havebeen miraculously deposited,4 is represented. A priestholds the cu