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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e colour, as before stated, is of high sur-face, unglazed, and thus of another texture, and of moresharply contrasted keys, than that of Masaccio. The landscape, more minutely defined has likewise lessdepth and atmosphere. That portion of the resurrection of the boy whichMasaccio left incomplete is finished in the same style asthe parts but now alluded to,3 and exhibits the newer,the more advanced, but less noble, art of Filippino. If 1 The crucified Peter is, how-ever, a well studied natural nude.Great nature is also in the figuresabout the*cross, in those to theright especially, amongst which,one with his back to the spectatoris repeated with little variationin Andrea del Sartos fresco atthe &.S. Annunziata in Florence. 2 They have at the same timelittle relief by light and shade. 3 This part, and four portraitsat the left side of the fresco aremarked 1. and 2. in No. IX. ofplan. See Vol. I. Masaccio. Va-sari distinctly assigns these partsto Filippino. Vol. V. p.p. 243—4. ^3p^
Text Appearing After Image:
Chap. XIX. PORTRAITS AT THE BRANCACCI. 439 it be true that many of the personages depicted in thesefrescos are portraits, and that we are to consider thosewhich tradition so describes as likenesses taken at thetime of Filippinos actual labour, we may conclude thathe finished the Brancacci chapel between 1482 and 90. The son of the king, restored to life by S. Peter, is theportrait of Granacci,1 who was born in 1469, and looks asif he had reached his sixteenth or seventeenth year. Mes-ser Soderini whose head is the first from the left side ofthe same fresco is knoAvn to have died in 1485.2 The poetLuigi Pulci, to the right of Soderini and recognizeable bythe likeness to a portrait of him in the Uffizi, died in 1486,and if the two at each side of the monks head, alreadyshown to be by Masaccio, be Piero del Pugliese and PieroGuicciardini, these were alive at the foregoing dates.3 Theportrait of Antonio Pollaiuolo is on the right hand of theproconsul, that of Botticelli, as already stated

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