File:The study and criticism of Italian art (1916) (14777731351).jpg

Identifier: gri_33125001581517 (find matches)
Title: The study and criticism of Italian art
Year: 1916 (1910s)
Authors: Berenson, Bernard, 1865-1959
Subjects: Art, Italian Painting, Italian
Publisher: London, G. Bell and sons, ltd.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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nearer in feeling to Correggio and Lotto than toour ordinary notion of Carpaccio. In his works theyare paralleled for the first and only time in a friezebelow the Madonna at the Schiavoni, a work ofno earlier date than 1510, and wholly designed, ifnot entirely executed by Victor.1 Suggestive, onceagain, of Correggio and Lotto are the putti peeringthrough the roof, and I should not wonder if Lottohad this motive in mind when, in 1513, he began hisgreat altar-piece for S. Bartolommeo at Bergamo.He was not a person to look for ideas in picturespainted twenty and more years ago. The landscape does not yield much material forour purpose, although some fanciful shapes on theright recall similar elements in Carpaccios laterbackgrounds, as, for instance, in that of the TenThousand Martyrs, dated 1515. But the Oriental 1 In the St. Thomas already referred to at Stuttgart dated1507, instead of a canopy, angels and cherubs stretch and toss astrip of cloth over him like a scarf. «■ uu< erfu
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GLORY OF ST. URSULA i.-u horsemen who are seen in the middle distance on.the left appear in these particular attitudes for thefirst time in Lord Berwicks Nativity, in theSchiavoni Triumph of St. George, and St. GeorgeBaptizing, and in the Correr Visitation —all worksof about 1508 and later—as well as in the TenThousand Martyrs of 1515, just referred to. It now remains for us to examine the worshippers,and see whether they, too, like the rest of this work,suggest many parallels with Carpaccios later works,and few, if any, with the rest of the St. Ursula series. We have already observed that these faceshave a fervour and a sentimentality without examplein that series, and only to be found in Carpaccioslater and latest works. Let us suppose for a moment that we did notknow when and where and by whom this Glory ofSt. Ursula was painted. Almost the first thing weshould do, in order to begin to place it, would be tolook at the heads and see what the types, their hairand their costumes t

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