DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0200
i3o POLLAIUOLO
apparently a detached study, a nude child marches
rhythmically, blowing a trumpet.
Lastly in this group of nude studies by Antonio’s own
hand, we have the curious pen drawings of Adam and
Eve in the Uffizi Collection* (Plates XXVI. and
XXVII.), (Cornice 31, Nos. 95 and 97 F.), curious,
because, while the technical qualities of drawing and
modelling, and certain mannerisms of construction, do
not permit the rejection of them as his authentic work,
there is, in the type of face, in the heavily built forms,
in the stiff angularity of pose, and in the treatment of
the detail, a certain Northern crabbedness which suggests
Diirer and the German schools which influenced him.
Mr. Berenson finds analogy between the Adam and the
work of the disciples of Domenico Veneziano, and draws
attention to its resemblance to the man leaning on a
staff in a similar pose, in Piero dei Franceschi’s fresco of
the Death of Adam in Arezzo, and while accepting the
drawings unhesitatingly as the work of Antonio, remarks
on their Northern character, “ which suggests Sluter
and the sculptors of Burgundy.” This trace of German
influence is not unique in the work of Antonio, for, as
has already been remarked, the females in the “ Discord,"'''
fat and heavily built, suggest the Northern type.
The form of Adam is of heavier build than any we
have yet met with in his work. The huge torso and
limbs suggest immense strength, but it is an ox-like
strength, lacking the elastic energy of his usual type.
* The drawings were attributed to Signorelli until Morelli first
gave them to Antonio (“ Italian Painters,” I. p. 93.)
apparently a detached study, a nude child marches
rhythmically, blowing a trumpet.
Lastly in this group of nude studies by Antonio’s own
hand, we have the curious pen drawings of Adam and
Eve in the Uffizi Collection* (Plates XXVI. and
XXVII.), (Cornice 31, Nos. 95 and 97 F.), curious,
because, while the technical qualities of drawing and
modelling, and certain mannerisms of construction, do
not permit the rejection of them as his authentic work,
there is, in the type of face, in the heavily built forms,
in the stiff angularity of pose, and in the treatment of
the detail, a certain Northern crabbedness which suggests
Diirer and the German schools which influenced him.
Mr. Berenson finds analogy between the Adam and the
work of the disciples of Domenico Veneziano, and draws
attention to its resemblance to the man leaning on a
staff in a similar pose, in Piero dei Franceschi’s fresco of
the Death of Adam in Arezzo, and while accepting the
drawings unhesitatingly as the work of Antonio, remarks
on their Northern character, “ which suggests Sluter
and the sculptors of Burgundy.” This trace of German
influence is not unique in the work of Antonio, for, as
has already been remarked, the females in the “ Discord,"'''
fat and heavily built, suggest the Northern type.
The form of Adam is of heavier build than any we
have yet met with in his work. The huge torso and
limbs suggest immense strength, but it is an ox-like
strength, lacking the elastic energy of his usual type.
* The drawings were attributed to Signorelli until Morelli first
gave them to Antonio (“ Italian Painters,” I. p. 93.)