File:The art of the Italian renaissance; a handbook for students and travellers (1903) (14766879352).jpg

Identifier: cu31924032642708 (find matches)
Title: The art of the Italian renaissance; a handbook for students and travellers
Year: 1903 (1900s)
Authors: Wölfflin, Heinrich, 1864-1945 Armstrong, Walter, Sir, 1850-1918
Subjects: Art Art, Renaissance
Publisher: New York, G. P. Putnam's sons London, W. Heinemann
Contributing Library: Cornell University Library
Digitizing Sponsor: MSN

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creation, according to our taste, but it had a peculiar charm forhis disciples, as the countless imitations of the moti\e prove. \\c ma\pass it over and consider the last plastic ideas of the master, the differentdesigns for a Pieta, the richest of which, a composition of four figures(now in the Cathedral at Florence) was destined for his own tomb.- Thefeature connnon to them all is that the bod\ of the dead Christ no longerlies diagonallv across His mothers lap, but is partly upright, and huddledtogether on her knees. It was hardlv possible to get a beautiful outlinewith such a figure, nor did ^Michelangelo attempt it. The last thought hewished to express with his chisel was the shapeless collapse of a heavv ^ Unfortunately no such photograph could be obtaincil for reproduction in this volume.The point from which it .should be taken is more to the left. - Besides the familiar group in the Palazzo Eondauini at Rome a similar sketch in theCastle of Palestrina might also be examined. O
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All AlleijurT. Ijv Br. 194 THE ART OP THE ITALIAN RENAISSANCE mass. Fainting appropriated this scheme, and when we see Bronzinosversion of snch a group, with its harsh, zigzag lines, and offensivecrowding of the figures, it seems hardly credible that this ^\•as producedbv the generation which succeeded to the age of Kaphael and FraBartolommeo. ^. The Last Jiidgjient and the Paulixk. Chapei, Michelangelo certainly did not enter upon the great pictorial tasks ofhis extreme old age with the repugnance with \\hich he had painted theSistine ceiling. He felt the need of luxuriating in masses. In the LastJudgment (1534-41) he enjoyed the Fromethean happiness of beingable to realise all the possibilities of movement, position, foreshorteningand grouping of the nude human form. He wished to make these massesstupendous and to overwhelm the spectator. He attained his purpose.The picture seems too large for the chapel: the one enormous paintingextends frameless along the \vall, and annihilates

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