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

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nes he endeavours to depict.The flesh is without modulation, of a rosy tinge, withpurple frosting to mark the transition of semitone intolight grey shadow. Little time elapsed before Girolamo perceived theadvantage of a broader style, and, struck by Carotosart in applying certain rules of the Mantegnesques, fellto imitating that master. He did not carry imitationto any prohibited length, but he used for his faces theflat oval mould with the high forehead and large tearfuleye peculiar to Caroto. This we see to a slight extentin the nativity at the museum at Verona, which wasdone for Santa Maria in Organo, and in the madonnawith saints at Sant Anastasia. In the first, however,he still remains a miniaturist in finish and copiousdetail; he is not unmindful of the laws of distribution Malsesine, ch, of, canvas, oil, touched in some heads, especiallyfigures life-size, repainted in sky, in that of the Magdalen and theand indeed in all the blues, re- male near her. North Italy. Vol. I. p. 49t
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CHRIST DEPOSED FKOM IHE (JROSS ; au altarpiece in ihe Cliurca of Malsesitie.by Girolamo dai Libii. Chap. XVI. GIROLAMO DAI LIBRI. 495 in appropriately setting the Virgin^ the Baptist, S^Jerom and S* Joseph in adoration round the recumbentand foreshortened figure of the infant Christ. He cleverlyadapts the main lines of his landscape to those of hisgroups, and models the parts with great carefulness ofblending and polish of surface, but he wants freshnessand light; and the aged air produced by hard promi-nences of bone in the figures is as disagreeable as thedull effect created by neutralizing strong tints by juxta-position, and shading flesh with dull greyJ At Sant Anastasia the subject is the favourite one ofthis time, the Virgin enthroned between two saints; thetreatment bolder and more skilful than before, but thegeneral features the same as of old.^ A deeper study of the pure Mantegnesque is to befound in the Virgin and child with four saints, a largealtarpiece now in the Hamilton

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