File:Verocchio (1904) (14761447786).jpg

Identifier: verocchio00crut (find matches)
Title: Verocchio
Year: 1904 (1900s)
Authors: Cruttwell, Maud
Subjects: Verrocchio, Andrea del, 1435?-1488
Publisher: London : Duckworth New York, Scribner
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
ose best medium of expression was sculpture, with hispainted work, but in following a chronological system thisis unavoidable, for there can be no doubt that the earliestexisting production of Verrocchio is the Baptism of theAccademia. Of the history of this Altarpiece nothing isactually known except that it was painted for the Vallom-brosan monks of S. Salvi, but few works of the fifteenthcentury have been the subject of more speculation anddispute.f In spite of the constraint of composition, thestiffness of the figures, the dryness and angularity, it is * It has been suggested that a bronze plaque in the Berlin Museumrepresenting in flattest relief the Virgin, SS. Lorenzo and George, andAdoring Angels, is a proof-cast of one of these clasps, but the design istoo trivial to have been even a youthful work by Verrocchio. t The picture passed on the suppression of the Convent of S. Salvito that of Santa Verdiana, from whence, during the French occupation,it was removed to the Accademia.
Text Appearing After Image:
Alinari, Florence THE BAPTISM. ACCADEMIA, FLORENCE Face p. 42 EARLIEST WORKS 43 often placed by the critics at a late period in Verrocchio1slife, in order to make possible Vasaris statement that partof it was painted by Leonardo, a statement which restsupon no secure basis. Albertini, it is true, writing before Vasari, makes asimilar statement in the slight record of the picture hegives in his Memoriale. * His words are amplified byVasari both in his Life of Verrocchio and in that ofLeonardo, and his detailed and trivial anecdote has grownso popular and deep-rooted a tradition, that it is with diffi-culty the mind can free itself sufficiently to examine thetruth of the assertion without prejudice. Vasari tells us that Leonardo, then a boy in Verrocchiosbottega, helped him with this Altarpiece, and paintedthereon an Angel so much more beautiful than VerrocclnVsown work, that he, enraged to be outdone by a mere child,resolved never again to touch a brush, and from that timeonward renoun

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