Identifier: centuryillustratv37newy (find matches)
Title: The century illustrated monthly magazine
Year: 1882 (1880s)
Authors:
Subjects: American literature
Publisher: New York : Century Co.
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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GROUP OF ANGELS, BY BENOZZO GOZZOLI. (FROM THE FRESCO IN THE CHAPEL OF THE RICCARDI PALACE, FLORENCE.) of the Renaissance ; and in the densest part of It is such a collection of unquestionable por- the crowd, and no matter what his action, traits as I do not know elsewhere in the world, every actor turns his face more or less so as to The groups of worshiping angels at the be seen and recognized by those who know right and left of the altar are exquisite testi- him. There is no mistaking that for every one monials of the influence of Fra Angelico, and 6o BENOZZO GOZZOLI. their loveliness is rendered by Mr. Coles selec-tion, as the manner of portraiture is by thehead from the crowd at the end of the proces-sion which Benozzo marked as his own. One ing around the room,— the majesty of compo-sition that he had learned from Masaccio. Itis a work in all its qualities sui generis. Theexclusion of light and weather from it has
Text Appearing After Image:
PORTRAIT OF BENOZZO GOZZOLI, BY HIMSELF.(FROM THE FRESCO IN THE CHAPEL OF THE RICCARDI PALACE, FLORENCE.) sees that it is caught from life, but in the waythat a sculptor would have studied it, for pureform and character. In color the work has neither the gaiety ofFra Angelico nor the elementary harmony ofFra Filippo; nor has it, from the very natureof the subject,—being a long procession trail- preserved this great work so completely thatwe probably see it much as it was when fin-ished. Gozzolis frescos in the Campo Santo of Pisaare more deliberately planned and are worksof a higher order; but unfortunately, owing totheir exposed position and the want of care in THE VALLEY OF THE WINDING WATER. 61 times past, they are comparative wrecks, andkeep the record, not of their achievement, butof their intention. Here we recognize the in-fluence of Masaccio in the studied and mas-terly composition, in which the Noah, thefirst painted of the series of Bible historieswhich were his themes,—

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