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) (14778591101).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:
facial expression remain to enchantus in spite of the very pink surface. The portrait of Philip IV. of Spain, by Velasquez,presents the monarch on horseback. This paintingis minute in finish and detail, and in keeping withthe petty nature of the sovereign whom it portrays.It is hardly a characteristic example of Velasquez*sbest work. Philip IV. (1605—1665), King ofSpain, was one of the weaklings on the Spanishthrone who succeeded such men as Charles V. andPhilip II. He did nothing to stay the decline ofSpanish power, but was an element in bringing itabout. He was ruled by his favourites and min-isters, and a mere figurehead in a kingdom whichrequired the strong arm of a soldier and a states-man. The charming head usually attributed to Garofolo, called La Zingarella, is given by Morelli toone Boccaccio Boccaccino, who served apprentice-ship in Ferrara and Venice. The best qualities inhis art are those derived from Bellini, Vivarini, andGiorgione. If he painted this head, he certainly
Text Appearing After Image:
LA ZINGARELLA By Garofalo; in the Stanza della Stufa Ube Stan3a Delia Stufa 305 was a master. The soft lines, the translucent eyes,which are unusually well treated, show that he couldcope with the subtleties of rendering the humanface. Morelli says that there are no other specimensof the work of Boccaccino in either Central or South-ern Italy. On the whole, it would be more interest-ing to believe that the virile little picture was byhis hand than that it was one of Garofolos. Thereare some cases in which it seems almost like dis-loyalty to take away from a time-honoured favouritehis traditional credit; but in this case the welcomingof a new artist in Florence is worth the sacrifice.The eyes of the Zingarella are remarkable for theirhonest, clear gaze. They seem to hold one in aspell. The head is that of a young girl, and is veryspirited, with a realistic, untamed gipsy look, andwith none of the tawdry theatrical mannerismadopted by some painters to express a wild childof nature. The

Note About Images