DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0153
DRAWINGS 107
the work of Licinio, while he awards the series of sibyls and prophets,
formerly in the same scrap-book as these drawings, to Mocetto, Licinio’s
collaborator in the above window (“Archivalische Beitrage zur Geschichte
der venezianischen Malerei ” in Jahrbuch d,er kbniglich 'preussischen
Kunstsammlungen, xxiv. Beiheft, p. 48 sq.~). At the British Museum
the drawings under discussion are at present labelled “ School of
Montagna.”
I admit that there might be some reason for con-
necting these drawings with Licinio’s window paintings
as Dr. Ludwig does, but I see little evidence for that
writer’s thesis about the author of the sibyls and
prophets. On the other hand, the said drawings
remind me very strongly of Montagna by the general
character of the draperies and by particulars such as
the frequently occurring loops formed by the neck-
borders of the tunics (compare, for instance, St.
Bartholomew in the San Bartolomeo high altar-piece)
or the wrapping up of the arms in the mantles (in
1382 and 1388 ; compare St. Mary Magdalen in the
Firgin adoring the Child from San Bartolomeo and
Benedetto Montagna’s engravings, di he Risen Saviour
[No. 12] and St. Catherine [No. 43]); further by the
anatomical structure, the types, the three-parted
hands and the attitudes.
London. British Museum. Print Room. 5211—
Vol. 2.—No. 8. Three Male Saints in a Land-
scape.
In the centre of the foreground, a saint, throwing his head backwards
and looking towards heaven, while raising his right hand. To the left,
another, blessing with his right hand; to the right, a third saint,
leaning his left hand upon a staff. All wear mantles, which leave their
breasts uncovered, and which they hold up with their left hands. Farther
back, other figures; in the distance, mountains. On paper; pen and
bistre. The drawing has in the course of times been cut into three
pieces, each comprising the figure of a saint, marked (from the left to
the right) g. 56, g. 57, g. 58 (and besides 14), and measuring 0.12 x
0.068,0.122 x 0.059,0.12 x 0.062, respectively. Collection, Fawkener.
Ascribed at the British Museum to Montagna.
the work of Licinio, while he awards the series of sibyls and prophets,
formerly in the same scrap-book as these drawings, to Mocetto, Licinio’s
collaborator in the above window (“Archivalische Beitrage zur Geschichte
der venezianischen Malerei ” in Jahrbuch d,er kbniglich 'preussischen
Kunstsammlungen, xxiv. Beiheft, p. 48 sq.~). At the British Museum
the drawings under discussion are at present labelled “ School of
Montagna.”
I admit that there might be some reason for con-
necting these drawings with Licinio’s window paintings
as Dr. Ludwig does, but I see little evidence for that
writer’s thesis about the author of the sibyls and
prophets. On the other hand, the said drawings
remind me very strongly of Montagna by the general
character of the draperies and by particulars such as
the frequently occurring loops formed by the neck-
borders of the tunics (compare, for instance, St.
Bartholomew in the San Bartolomeo high altar-piece)
or the wrapping up of the arms in the mantles (in
1382 and 1388 ; compare St. Mary Magdalen in the
Firgin adoring the Child from San Bartolomeo and
Benedetto Montagna’s engravings, di he Risen Saviour
[No. 12] and St. Catherine [No. 43]); further by the
anatomical structure, the types, the three-parted
hands and the attitudes.
London. British Museum. Print Room. 5211—
Vol. 2.—No. 8. Three Male Saints in a Land-
scape.
In the centre of the foreground, a saint, throwing his head backwards
and looking towards heaven, while raising his right hand. To the left,
another, blessing with his right hand; to the right, a third saint,
leaning his left hand upon a staff. All wear mantles, which leave their
breasts uncovered, and which they hold up with their left hands. Farther
back, other figures; in the distance, mountains. On paper; pen and
bistre. The drawing has in the course of times been cut into three
pieces, each comprising the figure of a saint, marked (from the left to
the right) g. 56, g. 57, g. 58 (and besides 14), and measuring 0.12 x
0.068,0.122 x 0.059,0.12 x 0.062, respectively. Collection, Fawkener.
Ascribed at the British Museum to Montagna.