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) (14781730255).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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ignificant an ex-ample of the best features of his work as could beselected. The picture was painted for the nuns of SantaChiara. This subject is usually called in art aPieta. There was a rich Florentine merchant, oneFrancesco Pugliese, who offered the nuns threetimes the original cost if they would sell it to him;he also promised them a replica by the hand ofthe same artist; but they rejected his offer, forPerugino admitted that he was not confident thathe could ever reproduce the picture. After the sup-pression of the Convent of Santa Chiara, this pic-ture went first to the Academy, and then, underthe order of the French Commission, it was broughtto the Pitti. One of the finest of Andrea del Sartos pictures,and among the-most celebrated, is the Dispute ofthe Holy Trinity, or The Disputa. It waspainted for the monks of San Gallo early in 1518.It has passed through many vicissitudes. Thechurch was destroyed during the siege of Florence,in 1529, and the picture was sent to San Giovanni
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HEAD OF MARY CLEOPHASDetail from the Deposition, by Perugino; in the Hall of Saturn JLbc Iball ot Saturn 187 tra Fossi. Then the flood of the Arno in 1555 roseto such a height in this building that the picturewas badly soaked, and still shows evidence of thisfact. In the seventeenth century it came to thePitti Palace. Crowe and Cavalcaselle speak of itin terms of great appreciation: In order to showthat he was at home in every mood, he accepted acommission from the monks of San Gallo, andthought out the noble altar-piece of the fathers dis-puting on the doctrine of the Trinity, in every lineof which stern power and boldness are discerned.Yet as usual there are abundance of the atmosphereand vapour which are now his peculiar characteris-tics . . . the attitudes are grandiose; the formsare well-proportioned, weighty, and nobly draped. Andrea here shows his intellectual power more,perhaps, than in any other of his works. The groupexhibits attitudes and expressions admirably con-trasted,

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