DOI chapter:
Chapter XVI: Lost and Attributed Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.62110#0331
LOST AND ATTRIBUTED WORKS 219
Michele, yet in spite of this and certain other superficial
resemblances testifying to the influence of Verrocchio, the
work appears to me to have none of the qualities of his
style. The draperies are without the elaboration or beauty
of his later manner, the proportion of the figures is bad,
for example, the thighs and lower part of the body of Christ
and of the Evangelist are far too small for the large head
and shoulders, and the work is full of similar faults of which
Verrocchio would not, certainly at this date, have been
guilty.
In the Museum of the University, Perugia, is a square
bronze relief representing the “ Flagellation,” the archi-
tectural background of which, in the same low relief, bears
much resemblance to that of the “ Discord.” This work is
by both Dr. Bode and Prof. Venturi attributed to Ver-
rocchio, the latter making the singular error of naming it
“ The Martyrdom of S. Sebastian.” * The scourging takes
place in the middle distance. Christ—an ignominious figure
—is bound to the column in the centre, an executioner
swinging his rope with a violent gesture on the left, and
Herod being seated on the right. The foreground is occu-
pied with figures of the Virgin, the Evangelist, and some
sleeping Apostles. The architecture, resembling that of
the Paduan reliefs of Donatello, is excellent, and the per-
spective well indicated, but the modelling of the figures is
weak and without the energy of Verrocchio. The work
shows strong traces of the influence of Mantegna, and the
figure of the soldier leaning on his shield to the right, is
obviously imitated from the fresco in the Church of the
Eremitani.
* Venturi. " Un bronzo del Verrocchio nel Museo dell’ Universita,
Perugia.” (L’Arte, v., 1902, p. 43.)
Michele, yet in spite of this and certain other superficial
resemblances testifying to the influence of Verrocchio, the
work appears to me to have none of the qualities of his
style. The draperies are without the elaboration or beauty
of his later manner, the proportion of the figures is bad,
for example, the thighs and lower part of the body of Christ
and of the Evangelist are far too small for the large head
and shoulders, and the work is full of similar faults of which
Verrocchio would not, certainly at this date, have been
guilty.
In the Museum of the University, Perugia, is a square
bronze relief representing the “ Flagellation,” the archi-
tectural background of which, in the same low relief, bears
much resemblance to that of the “ Discord.” This work is
by both Dr. Bode and Prof. Venturi attributed to Ver-
rocchio, the latter making the singular error of naming it
“ The Martyrdom of S. Sebastian.” * The scourging takes
place in the middle distance. Christ—an ignominious figure
—is bound to the column in the centre, an executioner
swinging his rope with a violent gesture on the left, and
Herod being seated on the right. The foreground is occu-
pied with figures of the Virgin, the Evangelist, and some
sleeping Apostles. The architecture, resembling that of
the Paduan reliefs of Donatello, is excellent, and the per-
spective well indicated, but the modelling of the figures is
weak and without the energy of Verrocchio. The work
shows strong traces of the influence of Mantegna, and the
figure of the soldier leaning on his shield to the right, is
obviously imitated from the fresco in the Church of the
Eremitani.
* Venturi. " Un bronzo del Verrocchio nel Museo dell’ Universita,
Perugia.” (L’Arte, v., 1902, p. 43.)