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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ning, the principal masses of the flesh beneaththem.2 But, that which betrays unmistakeably the edu-cation of Uccelli is the lozenge frame with its checqueredblack and white pattern, and the red background.3 Uccelli finds means to represent, in the deluge, motionand irresistible force, the rush of the wind, the fury ofthe elements and the helplessness of man. He does notattain the highest tragic awfulness, but he combines muchthat contributes to it. In this composition, especially,appears his tendency to import into painting the laws ofdistribution habitual to the sculptor of bas-reliefs. Hedivided his scene into three great parts, joining them welltogether for the sake of unity and introducing a strongrealism into the incidents. His power of keeping the humanform, even when draped, before the spectators eye is 1 Thus it is clear that thewhole of the figure of Noah is new. 2 The meandering line of the drapery skirts is a remnant of theteaching of Grhiberti. 3 The background though red
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