File:The art of the Pitti Palace - with a short history of the building of the palace, and its owners, and an appreciation of its treasures (1903) (14595225937).jpg

Identifier: artofpittipalace1903addi (find matches)
Title: The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures
Year: 1903 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Palazzo Pitti Painting
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
gobliged to request him to desist while the offend-ing string was tuned. Then the father of thesetwo girls came up, and, when his opinion was asked,he observed that the guide-book said that thepicture represented in portrait Calvin, Luther, andMelancthon; presumably, then, the significance mightbe supposed to be that, while Luther struck the firstchord of the Reformation, Calvin joined in thechorus, and Melancthon, — well, Melancthon juststood by and listened! But the father continued, withan expression of great wisdom, to state his ownpersonal belief that this picture was but anotherrepresentation of the Three Ages of Man; the youth,in plumed pride of expectation, the mature manplaying in the midst of life, and the old man withhis violin out of tune — out of harmony with thespirit of the age. When these critics had withdrawn, two old ladiesambled up. One of them remarked upon the likenessof the old monk to the one we saw in the lager-beer saloon! They commented upon the extremely
Text Appearing After Image:
co oO I Ube Iball ot tbe ITltat) 209 disagreeable aspect of the painting, and proceededwith their inspection of the other masterpieces ofthe Pitti Palace. Originally this painting was of somewhat differentproportions. But it was cut from its frame and sentto Paris in the days of Napoleon. When the picturereturned to its rightful owners, a strip was addedat the top of the canvas, and the plume in the youngmans hat was carried up rather unduly, so that thehandling of that detail must not be visited uponGiorgione. There is a warm golden glow over the whole,which is perhaps a little dimmed by varnish. Thereis nothing more simple and at the same time effect-ive among the masterpieces of the sixteenth century.Morelli claims that it is an early Titian, and givessome rather good reasons for this. Grant Allenaccepts this amendment, and the Braun Catalogueenters it as a Titian. In any case, no matter bywhom (and who is to decide when experts disa-gree?), the picture is one of the most interesti

Note About Images