DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0107
MATURITY
65
an earnest, steady look. And what a powerful
representation is that of St. Jerome ! The muscular
old anchorite kneels before the crucifix, shouting with
religious ecstasy and just about to strike his breast,
which he is uncovering, with a stone; the background
is formed by a strangely impressive, gigantic rock-
formation. Both pictures are executed with a broad,
masterly touch, and the tone is of an extraordinary
brilliancy.1
The two pictures of the suffering Christ are imbued
with a deeply tragic spirit. The one in the Casa
Franco at Vicenza shows Him clad in a purple tunic
dragging His cross ; His beautiful brown-haired
head is bleeding under the crown of thorns, His eyes
are blood-shot and beneath them the pains endured
have left traces in the shape of broad blue lines ; His
mouth opens slightly in a groan. The glance of noble
reproach which His sombre eyes direct towards the
spectator is most pathetic. May we assume that
Montagna before creating this work had seen the
most dignified and much-imitated painting of the
same subject by Giorgione, once a treasure of the
Palazzo Loschi of Vicenza, which is at present in the
collection of Mrs. Gardner at Boston ?2 In the Louvre
panel, again, the Saviour looks at us, as He stands
naked, with bound hands and a halter round His neck,
crowned with thorns and wounded in the side. The
head is similar to that in the former picture, although
here the expression of pain is less emphasised.3
1 Milan. Museo Poldi-Pezzoli. No. 618. St. Paul. No. 617.
St. Jerome. The saint wears a violet coat. On wood. 1.12 x 0.50.
Formerly in the Archinti collection at Milan. Crowe and Cavalcaselle,
Geschichte der Italienischen Maierei, v. 455. Ph. Anderson.
2 Vicenza. Casa Franco. Dark background. Bust, about two-
thirds of life-size. On wood.
8 Paris. Louvre. No. 1393. Christ is seen, wearing a violet loin-
cloth, against a dark background. Below, to the left, a cartelline fastened
65
an earnest, steady look. And what a powerful
representation is that of St. Jerome ! The muscular
old anchorite kneels before the crucifix, shouting with
religious ecstasy and just about to strike his breast,
which he is uncovering, with a stone; the background
is formed by a strangely impressive, gigantic rock-
formation. Both pictures are executed with a broad,
masterly touch, and the tone is of an extraordinary
brilliancy.1
The two pictures of the suffering Christ are imbued
with a deeply tragic spirit. The one in the Casa
Franco at Vicenza shows Him clad in a purple tunic
dragging His cross ; His beautiful brown-haired
head is bleeding under the crown of thorns, His eyes
are blood-shot and beneath them the pains endured
have left traces in the shape of broad blue lines ; His
mouth opens slightly in a groan. The glance of noble
reproach which His sombre eyes direct towards the
spectator is most pathetic. May we assume that
Montagna before creating this work had seen the
most dignified and much-imitated painting of the
same subject by Giorgione, once a treasure of the
Palazzo Loschi of Vicenza, which is at present in the
collection of Mrs. Gardner at Boston ?2 In the Louvre
panel, again, the Saviour looks at us, as He stands
naked, with bound hands and a halter round His neck,
crowned with thorns and wounded in the side. The
head is similar to that in the former picture, although
here the expression of pain is less emphasised.3
1 Milan. Museo Poldi-Pezzoli. No. 618. St. Paul. No. 617.
St. Jerome. The saint wears a violet coat. On wood. 1.12 x 0.50.
Formerly in the Archinti collection at Milan. Crowe and Cavalcaselle,
Geschichte der Italienischen Maierei, v. 455. Ph. Anderson.
2 Vicenza. Casa Franco. Dark background. Bust, about two-
thirds of life-size. On wood.
8 Paris. Louvre. No. 1393. Christ is seen, wearing a violet loin-
cloth, against a dark background. Below, to the left, a cartelline fastened