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) (14778566411).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

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Florence, he is placed out-side purposely. This is particularly likely to havebeen the plan, since Raphael has represented himas too old to be an integral part of the scene. Sit-ting apart, and pointing to the others, he seemsrather to be interpreting the picture than to be apart of it. The heads are exquisite in modelling,the aged face of Elizabeth and the fresh fair beautyof the Magdalen being in good contrast each tothe other. Indeed, the whole picture must be purelysymbolical, for it is as much an anachronism thatthe Magdalen should be a grown woman whileChrist is an infant, as that St. John should at thesame time be a stripling. The picture is sometimesattributed to Giulio Romano. There is doubtlessground for this theory, for Giulio worked some-what in the masters vein (that is during his secondmanner), and may have done a good deal of workon this among other of the Madonnas and HolyFamilies. The picture is on wood, and was paintedfor Bindo Altoviti, a young- and handsome Floren-
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JUDITH WITH THE HEAD OF HOLOFERNES By Allori; in the Hall of Mars Ube 1ball ot /lDar6 115 tine banker, about 1513. Altoviti had also a palacenear Raphaels villa on the bank of the Tiber inRome. The picture afterwards came into possessionof Grand Duke Cosimo, and it was placed in hischapel. In 1587 it was in the Uffizi. A grand bit of colour is Christofano AllorisJudith with the Head of Holofernes, Number 96.The figure of Judith is no imaginary female con-queror, — she is a very real person, being the mis-tress of the artist himself, and no doubt Allori shud-dered as he indulged his grim humour; for thispicture represents the famous Mazzafirra, Allorismistress, and has a sketch of her mother in the back-ground. The picture of Judith was ordered forCardinal Alexander Orsini, and Allori painted theseportraits in a sort of morbid resignation, puttinghimself as a corpse into the hand of Judith. Thehead of Holofernes is a portrait of ChristofanoAllori. He knew only too well that the price

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