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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, a covey of angels passing flowers toeach other or casting them on the floor of the heavens, —a dance of celestial children encircling the group, andfour dignified saints looking up or pensive on a meadowbelow. Botticelli succeeds in realizing at least the idea of in-finity and space. The joy of the spirits of paradise isnot mystically conceived as it was by Angelico. It isexpressed by elastic and mirthful motion and by a cer- 1 According to Vasari he alsocommented Dante. One of his il-lustrations, he adds, was an Inferno(Vol. V. p. 117). The editionof Dante is described in Passa-vants Peintre Graveur (8°.Leipzig 1860. Vol. I. p.p. 130.237—238), as published in 1482with engravings, partly from draw- ings of Sandro cut by BaccioBaldini, partly by Sandro himself.2 No. 47. Salle des grands ta-bleaux. The picture was origi-nally painted for S. Marco. Thefront figures are much injured andthe surface is scaling. The pre-della in the same collection re-presents the annunciation between
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THE HISTORY OF MOSES ; a fresco by Sandro Botticelli, in the Sistine Chapel.
Chap. XVIII. SANDRO AT THE SIXTINE. 421 tain grace which retrieves the want of nobleness in type.A balmy breeze waves through the locks and distendsthe draperies; and the eager angels who pass the flowersor cast them at the Virgins feet, foreshadow the similarproductions of Raphael and proclaim Botticelli as thecreator of models perfected by modern art. The influenceof Fra Filippo may still be traced; however, in the slen-derness of the Virgin, in the dresses and lithesome actionof the angels, whilst the realism and partiality to orna-ment of another school are revealed in the finely propor-tioned S. Augustin who meditates, in the heavily beardedS. John Evangelist who looks up and holds an armaloft; in the contemplative S. Eloisius who gives theblessing, and in the shaven Jerom in his cardinalsrobes. In the Sixtine chapel, where Botticelli, previous to 1484,painted scenes from the old and new testament,1 the fea-tures of his later style are all distinctly visible; but hiscompositions

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