DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61670#0347
LATER ASSISTED WORKS
187
qualities in common, the same artificiality—almost affectation,
and the same oppressed gravity. The pose of S. Sebastian is
weak, and the nude not modelled with the science shown by
Andrea in the Verna Crucifixion, and there is more than a sug-
gestion of Perugino in the rather sentimental figure. In both
altarpieces the Predella scenes are roughly modelled and glazed,
and in this of Arezzo are as badly balanced as possible, both
as regards salience of relief and depth of colour.1
1 There is a fine variation of the figure of S. Giuliano in the Oratory of
S. Maria di Buonconsiglio, Prato, one of Giovanni’s best works while under the
influence of his father, which will be considered in Part III.
187
qualities in common, the same artificiality—almost affectation,
and the same oppressed gravity. The pose of S. Sebastian is
weak, and the nude not modelled with the science shown by
Andrea in the Verna Crucifixion, and there is more than a sug-
gestion of Perugino in the rather sentimental figure. In both
altarpieces the Predella scenes are roughly modelled and glazed,
and in this of Arezzo are as badly balanced as possible, both
as regards salience of relief and depth of colour.1
1 There is a fine variation of the figure of S. Giuliano in the Oratory of
S. Maria di Buonconsiglio, Prato, one of Giovanni’s best works while under the
influence of his father, which will be considered in Part III.