DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0242
156 POLLAIUOLO
the legs of Piero’s Saint, alike in outline, dangle as
feebly as a puppet’s.
Perhaps never has human energy been so concentrated
as in the two archers of Antonio. The bodies vibrate
with effort and strain, and even beneath the velvet of
the doublet the swell of the muscles is evident. Every
sinew in our own body responds more readily than
before the antique Hercules, or even than before the
athletes of Michelangelo. The two figures represent
the climax of physical force and energy. It will be
observed that, as is so often the case in quattrocento
art, the two are identical in posture and action, are in
fact, the same model seen from different points of
view. This is the case also with Piero’s two archers on
either side.
In appreciating the anatomy and action of Antonio’s
figures, the costume of the clothed archer should not be
overlooked. It is a marvellous bit of painting, with its
rich harmonious colour and admirable realisation of the
texture of the velvet.
The background, with its animated groups of soldiers,
must certainly be Antonio’s own work, as well as the
beautiful far-stretching landscape. In none of his other
paintings is the eye carried back thus far. In the
distance beyond the hill on which the martyrdom takes
place, are small figures as full of fire and life as a sketch
by Leonardo. To the left two mounted knights fight
with fierce gesture, and even at this distance we can
appreciate the fury of their combat. Balancing them
on the other side are two others, one of whom has
the legs of Piero’s Saint, alike in outline, dangle as
feebly as a puppet’s.
Perhaps never has human energy been so concentrated
as in the two archers of Antonio. The bodies vibrate
with effort and strain, and even beneath the velvet of
the doublet the swell of the muscles is evident. Every
sinew in our own body responds more readily than
before the antique Hercules, or even than before the
athletes of Michelangelo. The two figures represent
the climax of physical force and energy. It will be
observed that, as is so often the case in quattrocento
art, the two are identical in posture and action, are in
fact, the same model seen from different points of
view. This is the case also with Piero’s two archers on
either side.
In appreciating the anatomy and action of Antonio’s
figures, the costume of the clothed archer should not be
overlooked. It is a marvellous bit of painting, with its
rich harmonious colour and admirable realisation of the
texture of the velvet.
The background, with its animated groups of soldiers,
must certainly be Antonio’s own work, as well as the
beautiful far-stretching landscape. In none of his other
paintings is the eye carried back thus far. In the
distance beyond the hill on which the martyrdom takes
place, are small figures as full of fire and life as a sketch
by Leonardo. To the left two mounted knights fight
with fierce gesture, and even at this distance we can
appreciate the fury of their combat. Balancing them
on the other side are two others, one of whom has