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) (14778578441).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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wreath of roses.Santa Rosa of Viterbo was a thirteenth centurysaint, and spent her life in deeds of charity. Whileshe lived, she was the guardian of the people ofViterbo, and after her death became their patronsaint. She was celebrated for her eloquence. Thepicture is on wood, and was painted in 1668. Schiavones large canvas representing Cain kill-ing Abel occupies the centre of one side of the room.It is an unusual composition. The two figures,necessarily in extremely active attitudes, fill thewhole space; the upraised arm of Cain reaches theframe at the top of the picture, while the elbow ofthe fallen Abel reaches the lower edge of the pic-ture. Thus, literally, the arms of the two men,meeting in the centre of the picture, form an un-broken link from top to bottom of the entire space.Cain is towering over his brother, who lies on theground, fighting for life. The picture is spirited,and is a good drawing of muscular brute force, dis-playing itself in both figures. The background is
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Ubc Dall of Saturn 197 a dark landscape with a luminous stretch of skyvisible between the bushes. One of Carlo Dolcis least affected pictures is thelittle St. John asleep, Number 154. The child liesin unconscious relaxation. Although the finish issmooth, it would be difficult for any one to painta more perfect representation of a sleeping child.The attitude is natural, and the expression of theface indicative of some dream which brings a trou-bled look to his little brow. He lies upon his cross,the insignia which the young St. John usually car-ries, and his mother, beholding him thus, is prayingbeside him, her face betokening a forecast of dreadfor his future. As the Madonna is often repre-sented as sorrowing in anticipation over the child,so St. Elizabeth is here shown as beholding thevision of all the pain that is to come. Carlo Dolci, born in Florence May 25, 1616, diedthere January 17, 1686. He studied with JacopoVignole, a prolific though careful painter. His pic-tures are marred

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