DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61668#0232
148 POLLAIUOLO
evidently copied from that of S. James in the S. Miniato
Altarpiece. The brocaded robe has partly escaped, as
also has a detail of much beauty—the water in the
bowl with its delicately painted bubbles. The figure is
of the characteristic construction of Piero, and the face
has his insignificant features, and without the proof
given by the documents the painting would be recog-
nised as his work.
There remain the Hope and Justice, neither of which
are mentioned in the documents, but which by analogy
with the Madonna of the Berlin Annunciation, must
certainly be by Piero. They are on a larger scale than
any of the foregoing, and evidently matched each other
on the walls. They are badly damaged and repainted,
though less so than the Faith and Temperance. In
both the lower part of the work, from the draperies
downward, is entirely modern.
The Hope is a coarse and robust female, solidly
modelled but without feeling for bone, giving the
impression of inflation peculiar to Piero’s figures. In
construction she resembles closely the Virgin of the
Berlin Annunciation, with her round, boneless face, small
shoulders, and huge stomach and legs. The mantle
drawn across the knees has been heavily daubed by the
restorer, but the brocaded gown, though much re-
touched, is better preserved.
The Justice is built on the same heavy lines, but is
less vulgar than the Hope. The face and the flat
unmodelled neck have much resemblance to those of
the Prudence. The mantle is the work of the restorer,
evidently copied from that of S. James in the S. Miniato
Altarpiece. The brocaded robe has partly escaped, as
also has a detail of much beauty—the water in the
bowl with its delicately painted bubbles. The figure is
of the characteristic construction of Piero, and the face
has his insignificant features, and without the proof
given by the documents the painting would be recog-
nised as his work.
There remain the Hope and Justice, neither of which
are mentioned in the documents, but which by analogy
with the Madonna of the Berlin Annunciation, must
certainly be by Piero. They are on a larger scale than
any of the foregoing, and evidently matched each other
on the walls. They are badly damaged and repainted,
though less so than the Faith and Temperance. In
both the lower part of the work, from the draperies
downward, is entirely modern.
The Hope is a coarse and robust female, solidly
modelled but without feeling for bone, giving the
impression of inflation peculiar to Piero’s figures. In
construction she resembles closely the Virgin of the
Berlin Annunciation, with her round, boneless face, small
shoulders, and huge stomach and legs. The mantle
drawn across the knees has been heavily daubed by the
restorer, but the brocaded gown, though much re-
touched, is better preserved.
The Justice is built on the same heavy lines, but is
less vulgar than the Hope. The face and the flat
unmodelled neck have much resemblance to those of
the Prudence. The mantle is the work of the restorer,