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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mething to improve in the breadthof chiaroscuro, his brown-red shadows being darkest nearthe outline which remains hard as before, the resultbeing a certain flatness in the liquid yellowish flesh tones.Whilst Domenico, in obedience to the prevalent taste ofhis cotemporaries was introducing into Florence, for thefirst time, the mixture of sacred and profane thought pre-viously confined to the painters of the Siennese school,and was thus giving the cue to Perugino for the orna-ment of the Sala del Cambio at Perugia, Sixtus theFourth called him to Rome to exhibit his talents on a grand-er scale and on more sacred themes. But before he left Flor- removed the inscription, but theaction of the figure, holding itshand in a brazier, indicates suf-ficiently the person intended. 1 We may note that the classic style of the architecture and bas-reliefs is but a continuation of afeature already in Giottos frescoat S.Francesco, upper church ofAssisi, in which Trajans columnis introduced. See antea.
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Chap. XX. GHIRLANDAIO AT THE SIXTINE. 467 ence, he had occasion to test his power in a fresco of the an-nunciation painted on the walls of the oratory of S. Gio-vanni in the Pieve of S. Gimignano at the request ofJuliano Martini Cetti, its patron and founder. The styleof this piece, however, betrays already the help of Se-bastian Mainardi, Ghirlandaios brother-in-law and assist-ant,1 especially in the figure of Gabriel which is toomuch below the usual powers of the master to be his en-tirely. The fine head of the Virgin is more worthy ofhim, but S. Gimignano boasted later of better and moreimportant works from his hand. Hitherto Ghirlandaio had proved that a painter mightbe imbued with great qualities, and possess a combinationof power sufficient to raise his art to a high general le-vel, and yet be deficient in minor points subject to cor-rection by later practise. In the frescos of the Sixtinehe proclaims a partial, an all but complete victory overthe defects of his earlier time, an

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