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) (14801568913).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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rtolommeo. It is one of themost perfectly dignified Depositions in the worldof art. In the words of an accepted critic: It isnot possible to cite an instance in which a lifelessform is rendered with more flexibility or with moreanatomical accuracy. As regards the foreshorten-ing, the Magdalen is unsurpassed. The body ofChrist, extended on a linen cloth, is sustained bySt. John; on the right the Magdalen embracesthe feet of the Saviour, while the Virgin in the cen-tre holds tenderly the head of her dead Son, whileshe kisses him on the forehead, and supports his armin her other hand. There were two figures of St.Peter and St. Paul which were formerly supplemen-tary to this group, but they were afterwards sepa-rated from the rest. Woltmann alludes to the factthat the emotional sentiment of the scene is ren-dered with classic reserve and perfect beauty of lineand expression. The background is a sombre andgloomy landscape, in keeping with the subject andthe hour when the scene is depicted.
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< H OQ < X 4) J3 O Bo pq XEbe t)all ot Hpollo 85 Bartolommeo was born in 1469. Living- nearthe gate of San Pietro Gattolini, he acquired thenickname, Baccio della Porta (Bat of the Gate).He was one of the Piagnoni, that is to say, a followerof Savonarola, of whom he painted a masterly por-trait. After the death of his leader he became aDominican in order, as he believed, to save his soul.He did not care for the ancient Greek ideals, pre-ferring the models of Lippi, Orcagna, and Massac-cio; going back even as far as Giotto for inspira-tion. He forms an interesting link between themediaeval painters and Michelangelo. His large compositions were as clever as his por-traits, and his simplicity and beauty of arrangementand clearness of outline are among his chief char-acteristics. His figures are strong, with calmnessand reserve of expression; his perspective is good,and his comprehension of the proportions of thehuman form unerring. He draws most correctly,and his colouring is sober

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