DOI Page / Citation link:
https://doi.org/10.11588/diglit.7597#0489
446
ANTONIO DEL POLLAJUOLO.
[chap. vi.
spirited group of two combatants, armed with daggers, which the
reader will find carefully copied in the annexed plate. The back-
ground represents a forest; and, on the left, upon one of the trees,
a large tablet is suspended, on which is this inscription:—opus.
ANTONii. pollaioli . Florentine This piece, which was probably-
engraved between the years 1460 and 1470, measures twenty-four
inches and a half in width, by about sixteen inches and a half
in height. The outlines of the figures are engraved with a firm
and deep stroke, and the internal parts are shaded, with sin-
gular delicacy and neatness of workmanship, by zigzag diagonal
hatchings. The whole, while it justifies the observation of Vasari,
that Pollajuolo possessed a far more perfect knowledge of the con-
struction of the human figure than all the artists who had preceded
him, appears also to merit the eulogium bestowed on it by Lanzi,
who eloquently styles it—" la celebre bdttaglia de' nudi, ultimo e
" vicinissimo grado aljiero stile di Michelangiolo."*
Of the following engraving of Pollajuolo, described by Mr.
Bartsch,f I am not aware that any impression exists in the collec-
tions of this country.
HERCULES COMBATING THE GIANTS.
Hercules, whose figure appears near the centre of the print,
wears a sabre by his side, on the scabbard of which is inscribed his
name, thus: hercules. He grasps an axe, with which he com-
bats the giants, who are assailing him on all sides, armed with bows,
poniards, and sabres. In the middle, at the bottom of the print,
under the figure of a giant, who, being thrown to the ground,
covers himself with his shield, is the following inscription: Quo-
MODO . hercules . percussit . et VICIT . DUODECIM . GIGANTES. This
piece, continues Mr. Bartsch, does not bear the name of Pollajuolo,
* " Stoiia Pittorica," torn. i. p. 94. f " Peintre Graveur," torn. xiii. p. 203.
ANTONIO DEL POLLAJUOLO.
[chap. vi.
spirited group of two combatants, armed with daggers, which the
reader will find carefully copied in the annexed plate. The back-
ground represents a forest; and, on the left, upon one of the trees,
a large tablet is suspended, on which is this inscription:—opus.
ANTONii. pollaioli . Florentine This piece, which was probably-
engraved between the years 1460 and 1470, measures twenty-four
inches and a half in width, by about sixteen inches and a half
in height. The outlines of the figures are engraved with a firm
and deep stroke, and the internal parts are shaded, with sin-
gular delicacy and neatness of workmanship, by zigzag diagonal
hatchings. The whole, while it justifies the observation of Vasari,
that Pollajuolo possessed a far more perfect knowledge of the con-
struction of the human figure than all the artists who had preceded
him, appears also to merit the eulogium bestowed on it by Lanzi,
who eloquently styles it—" la celebre bdttaglia de' nudi, ultimo e
" vicinissimo grado aljiero stile di Michelangiolo."*
Of the following engraving of Pollajuolo, described by Mr.
Bartsch,f I am not aware that any impression exists in the collec-
tions of this country.
HERCULES COMBATING THE GIANTS.
Hercules, whose figure appears near the centre of the print,
wears a sabre by his side, on the scabbard of which is inscribed his
name, thus: hercules. He grasps an axe, with which he com-
bats the giants, who are assailing him on all sides, armed with bows,
poniards, and sabres. In the middle, at the bottom of the print,
under the figure of a giant, who, being thrown to the ground,
covers himself with his shield, is the following inscription: Quo-
MODO . hercules . percussit . et VICIT . DUODECIM . GIGANTES. This
piece, continues Mr. Bartsch, does not bear the name of Pollajuolo,
* " Stoiia Pittorica," torn. i. p. 94. f " Peintre Graveur," torn. xiii. p. 203.