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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I. 229) tobe Francesco Novello who died in1504; the flesh is here, as before,rosy-yellow and uniform, thedrapery broader in cast than heretofore, yet too full of de-tailed lines. 2 Late Northwick Gallery, andNo. 880 of its catalogue; wood,3f. 3 long by 2f. G/g, inscribed: Franciscus Bissolus; subject,the Virgin, child, and S Joseph,with a patron (half-lengths) in alandscape, of the same class andkind as the foregoing, but a littleless free, much use of ochre in theflesh and of bitumen in the sha-dows, done at one painting withliquid varnishy medium. 3 Florence, Pitti, No. 222, can-vas, half-length, m. 1-4 long by0*19; bust of a female in a redopen dress, and striped turban ona dark ground. This is an emptyimitation, feeble in drawing, coldin shadow, and w^rought up withdirty scumbles. It is not paintedon the broad principles of Titian,Giorgione, or Palma. We mighthesitate between Bissolo and ParisBordone, but that the executionis too feeble for the latter. North Italy. Vol. I p. m^--
Text Appearing After Image:
CORONATION OF ST. CATHERINE OF SIEN.VA; altarpiece, by Pietro Francesco Bissoloin the Academy at Venice Chap. X. BISSOLO. 289 flat filling of the contours.^ It would be easy to regis-ter in succession numerous examples of Bissolo in allthese stages of his development, many of them in Venice/^others in England; ^ we might cite one instance inwhich a portrait evidently by him at Rovigo is made topass under the name of Raphael.* One of the largest,if not one of the most powerful altarpieces by Bissoloin Venice is the coronation of S^ Catherine of Sienna,originally in San Pietro Martire of Murano. The sceneis laid in a landscape, where the principal group issurrounded by attendant saints. A calm religiousspirit pervades this piece and gives it a special charm.The drawing and colour are feeble and nerveless asbefore.^ ^ Berlin Museum, No. 43, wood,5f. 10 high by 2f. 9, from the Sollycollection; at the foot of thetomb a sleeping-guard, in rear tothe left, a frightened soldier. Thisis one of

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