DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0332
214
POLLAIUOLO
stained. It represents the Baptist, dejectedly leaning
his head on his hand and pointing to a skull. The
face, with its parted lips, between which one sees the
set teeth, is of the Hercules type, almost exactly similar
to the slain soldier who lies to the right in the engraving
of the “ Ten Nudes.” The other (Cornice 29, No. 699)
is less fine, but the characteristic touch makes its
authorship beyond question. * It is a rapid sketch of
the Baptist, again with an expression of suffering,
leaning against a rock, with one hand pressed to his
heart. It offers evidence of the care given by Antonio
to the construction of his figures, for each bone in the
hands and legs is inserted, and apparently dissatisfied,
he has drawn the hands again several times on the
sheet. One of these—in chalk, on a larger scale than
the rest—is a superb anatomical study. Below are
some words written in his own hand. “ S. Giovannj.”
“ S. Saverstro di Jachopo.” Apparently notes jotted
down on the sheet, the name being perhaps that of
the commissioner for whom the work was to be
executed.
Of importance also are three sheets of drawings, two
in the Uffizi, one in the Albertina, which evidently
belong to the same composition — studies for an
Adoration of the Magi. Of those in the Uffizi one
represents the old King attended by a negro page
(Cornice 34, No. 369). He is prostrate, in a curious,
rather animal-like posture, while the boy holds up his
mantle. The action of this latter figure is superb.
* It was formerly unaccountably attributed to Giorgione.
POLLAIUOLO
stained. It represents the Baptist, dejectedly leaning
his head on his hand and pointing to a skull. The
face, with its parted lips, between which one sees the
set teeth, is of the Hercules type, almost exactly similar
to the slain soldier who lies to the right in the engraving
of the “ Ten Nudes.” The other (Cornice 29, No. 699)
is less fine, but the characteristic touch makes its
authorship beyond question. * It is a rapid sketch of
the Baptist, again with an expression of suffering,
leaning against a rock, with one hand pressed to his
heart. It offers evidence of the care given by Antonio
to the construction of his figures, for each bone in the
hands and legs is inserted, and apparently dissatisfied,
he has drawn the hands again several times on the
sheet. One of these—in chalk, on a larger scale than
the rest—is a superb anatomical study. Below are
some words written in his own hand. “ S. Giovannj.”
“ S. Saverstro di Jachopo.” Apparently notes jotted
down on the sheet, the name being perhaps that of
the commissioner for whom the work was to be
executed.
Of importance also are three sheets of drawings, two
in the Uffizi, one in the Albertina, which evidently
belong to the same composition — studies for an
Adoration of the Magi. Of those in the Uffizi one
represents the old King attended by a negro page
(Cornice 34, No. 369). He is prostrate, in a curious,
rather animal-like posture, while the boy holds up his
mantle. The action of this latter figure is superb.
* It was formerly unaccountably attributed to Giorgione.