DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61668#0250
162
POLLAIUOLO
cerned. The picture has been badly repainted, espe-
cially the faces and draperies, yet in spite of this the
figures retain much energy and force. The wrinkled
face of the Saint is admirably constructed, and the
strong limbs, with their well-defined bone and muscle,
and the sinewy beautifully shaped hands, must surely be
the work of Antonio himself. To none of his figures,
however well he has imitated the structure, has Piero
been able to impart the strength of this. The Angels,
with their square jaws and prominent cheek-bones,
their large cutting wings and vehement action, are of
the same family as those in the fresco of S. Miniato and
on the Silver Cross. The swift movement of the one
which flies impetuously out of the cave is specially
characteristic. In the hands of Piero, judging by all
precedent, the energy and concentration, the rapidity of
movement and all the qualities which make the painting
so impressive, would have vanished, and we should have
had, as in the archers of S. Sebastian, mere flaccid and
lifeless forms.
In connection with this painting it is of interest to
note that the husband of Maddalena, the second
daughter of Antonio, belonged to a family settled in
Staggia—Bruno, son of Ser Benedetto, probably notary
of the town.
Another example of Piero imitating Antonio’s style
and failing to reproduce more than the forms is to be
seen in a work which must date from about the same
time as the Altarpiece of S. Sebastian. This is the
fresco of S. Christopher, now in the Metropolitan
POLLAIUOLO
cerned. The picture has been badly repainted, espe-
cially the faces and draperies, yet in spite of this the
figures retain much energy and force. The wrinkled
face of the Saint is admirably constructed, and the
strong limbs, with their well-defined bone and muscle,
and the sinewy beautifully shaped hands, must surely be
the work of Antonio himself. To none of his figures,
however well he has imitated the structure, has Piero
been able to impart the strength of this. The Angels,
with their square jaws and prominent cheek-bones,
their large cutting wings and vehement action, are of
the same family as those in the fresco of S. Miniato and
on the Silver Cross. The swift movement of the one
which flies impetuously out of the cave is specially
characteristic. In the hands of Piero, judging by all
precedent, the energy and concentration, the rapidity of
movement and all the qualities which make the painting
so impressive, would have vanished, and we should have
had, as in the archers of S. Sebastian, mere flaccid and
lifeless forms.
In connection with this painting it is of interest to
note that the husband of Maddalena, the second
daughter of Antonio, belonged to a family settled in
Staggia—Bruno, son of Ser Benedetto, probably notary
of the town.
Another example of Piero imitating Antonio’s style
and failing to reproduce more than the forms is to be
seen in a work which must date from about the same
time as the Altarpiece of S. Sebastian. This is the
fresco of S. Christopher, now in the Metropolitan