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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nd wellfilled forms. The face is soft in its foreshortened round-ness, the features regular, and the high-waisted red dressrichly embroidered in gold. No one after Giotto betteror more artistically coupled dignity with elegance andgrace; and if severe simplicity is not attained in theFlorentine measure, it is that the Siennese were of adifferent stamp and spirit from their rivals. And nowlet us carefully trace the somewhat delicate thread ofthe allegory. A couple of lines pass from the waists of the angels inthe disks. One is red, the other white. These lines falland unite themselves in the left hand of Concord seated 1 Her mantle is yellow spotted ; 3 In red tunicwith black. The book is red. 2 The words: Diligite justitiam(justitiam is now obliterated) quijudicatis terram indicate her sym-bolic character which is likewiserevealed by her occupation. 4 In a white tunic. 5 Forster has not caught thespirit of the allegory, he calls thisJustice communicativa. VideBeytrage ub. sup. p. 183.
Text Appearing After Image:
Chap. V. ALLEGORIES BY AMBROGIO. 139 on a throne immediately beneath Justice, a gentle figurecrowned Avith a diadem, with a flame burning in its centre,and holding in its hand a carpenters plane inscribed withthe word Concordia. She passes the double line to aminiature personage standing near her, who hands it on tohis neighbours, forming a long procession of twenty fourpersons, advancing in couples to the foot of a throne onthe right, where a vast figure sits with a sceptre in onehand and a seal in the other, symbolizing the governmentor reggimento of Sienna. The idea seems to be, thatWisdom, Justice, and Concord are the results of Sienneseadministration regulated by the twenty four of the noblesand people, evidently painted from life by Ambrogio anddistinguished in the arms of each by the red and whitecolours, both in the thread which unites them, the cap whichcovers the head of the enthroned Sienna, and the loopwith which it is bound to his chin. This colossal figurerepresents a ma

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