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) (14781723145).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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paintings. Some claim that the Pariscopy is the original. The figures were drawn fromthe demonstrative Neapolitans of his own day,dressed in ancient Roman costume. The scene is in the Palace of Catiline. The light,falling from above, is so reflected from the marblewalls that it illuminates the heads and figures inthe centre and foreground. An effective shadowfalls upon the rest of the picture. In the centrean antique tripod serves as an altar, which is aboutto be used for the celebration of a ghastly ceremony.Salvator Rosa depicts that fearful moment whenCatiline, having employed all his marvellous elo-quence to detail the nature of his perilous enterprise, has induced the conspirators to bind them-selves to secrecy and to the terrible cause by takinga solemn oath, ratified by pledging each other inwine mingled with human blood. This ceremonyis now in process. Two men in the dress of theRoman nobility stand in the foreground, claspinghands above the altar. The one on the left, a weak.
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w 2 a t-i 3 ^ •—» H «4-lO H ■4-» u ei O C4enO u > m XEbe Iball of 5upftet 143 evil-looking dupe, is holding a cup to receive theblood which flows from his raised arm. He wasprobably chosen for this hideous sacrifice, to supplythe blood for the conspirators to drink, because ofhis brutal, uncertain nature, in hopes that this con-spicuous part in the ceremony might so impress hisimagination that he would be given additionalstrength to maintain secrecy and good faith. Thisfigure is intended for Quintius Curtius, and thedrawing of every lineament follows the descriptionof Sallust. Treachery may be seen in the meanand undecided lines of his countenance. Catiline himself is quite in the background, urg-ing these men to their duty with uplifted arm. Theconspirator who clasps the hand of Curtius is betterlooking than the traitor, but his beauty is of a brutal,fiery order. One would expect neither justice normercy at his hands. Neither of these men appears

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