DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0233
MIDDLE PERIOD 177
raised above the others by a pedestal, occupies the
central place. She is a fair young woman, plump and
with soft golden hair, akin in type to Palma’s beauties
she bends her head gently towards the right and looks
dreamily in front of her ; in doing so, she presses her
right hand to her bosom, whilst the left one holds
forth the palm-branch. Her dress consists of a gold
brocade tunic, falling to her feet in stiff vertical
folds, over which flows her richly folded dark red
mantle. The figure is relieved against a dark green
curtain. A fragment of a large wheel—the instrument
of St. Catherine’s martyrdom—is leaning against the
pedestal.
To the left stands the Angel Raphael, a noble
figure, clad in a bright white robe. He holds by
the hand the little Tobias, wearing a yellow, puce-
striped costume of exquisite colour-scheme, and
looking up with a grave and confident expression on his
charming, childish face. The vivaciously rendered, tiny
white dog of Tobias is sitting on the first step of the
pedestal. On the opposite side, the black frock of
St. Nicholas forms an effective contrast to the large
white mass of the Angel. The friar holds a spray of
lilies in his right hand and (after the fashion, for
instance, of Bellini’s St. Benedict in the Frari triptych)
an open book in his left. His head is a good piece
of work, beautifully modelled in a grey tone. In the
distance, through the arcade in the middle, one sees
a softly and broadly treated landscape, with blue
mountains far behind ; a cavalier in gold and purpie
is riding there on a white steed, and a shepherd walks
with his flock. It is much to be deplored that this
remarkable, finely designed picture has to so great an
extent been brutally repainted.
That Buonconsiglio, in creating this work, had
Bartolomeo Montagna’s Glorification of St. Mary
M
raised above the others by a pedestal, occupies the
central place. She is a fair young woman, plump and
with soft golden hair, akin in type to Palma’s beauties
she bends her head gently towards the right and looks
dreamily in front of her ; in doing so, she presses her
right hand to her bosom, whilst the left one holds
forth the palm-branch. Her dress consists of a gold
brocade tunic, falling to her feet in stiff vertical
folds, over which flows her richly folded dark red
mantle. The figure is relieved against a dark green
curtain. A fragment of a large wheel—the instrument
of St. Catherine’s martyrdom—is leaning against the
pedestal.
To the left stands the Angel Raphael, a noble
figure, clad in a bright white robe. He holds by
the hand the little Tobias, wearing a yellow, puce-
striped costume of exquisite colour-scheme, and
looking up with a grave and confident expression on his
charming, childish face. The vivaciously rendered, tiny
white dog of Tobias is sitting on the first step of the
pedestal. On the opposite side, the black frock of
St. Nicholas forms an effective contrast to the large
white mass of the Angel. The friar holds a spray of
lilies in his right hand and (after the fashion, for
instance, of Bellini’s St. Benedict in the Frari triptych)
an open book in his left. His head is a good piece
of work, beautifully modelled in a grey tone. In the
distance, through the arcade in the middle, one sees
a softly and broadly treated landscape, with blue
mountains far behind ; a cavalier in gold and purpie
is riding there on a white steed, and a shepherd walks
with his flock. It is much to be deplored that this
remarkable, finely designed picture has to so great an
extent been brutally repainted.
That Buonconsiglio, in creating this work, had
Bartolomeo Montagna’s Glorification of St. Mary
M