DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68668#0082
46
THE WALL FRESCOES
figures are grouped. The one kneeling with
upheld hands may be meant for Aaron,
excusing his misconduct at the expense
of his followers. In the distance we see
Moses giving his commands to the Levites
to slay the idolaters. The painter has
conscientiously carried out the Scripture
narrative, striving to show the calm and
benignant aspect of Moses as he nears the
camp after his heavenly vision, and the
sudden change to righteous indignation.
He makes the moment when the patriarch’s
wrath culminates and contrasts with the
careless bearing of the dancers, the most
prominent, as it is the most dramatic, of
the story.
Fresco VIII.—The Giving of the Law to
Christians.—Cosimo Rosselli.
This is one of the least attractive of the
scenes, and has no historic interest to atone
for its weakness and want of art. The
fresco is divided into two parts, is crowded
with figures and confused in composition.
THE WALL FRESCOES
figures are grouped. The one kneeling with
upheld hands may be meant for Aaron,
excusing his misconduct at the expense
of his followers. In the distance we see
Moses giving his commands to the Levites
to slay the idolaters. The painter has
conscientiously carried out the Scripture
narrative, striving to show the calm and
benignant aspect of Moses as he nears the
camp after his heavenly vision, and the
sudden change to righteous indignation.
He makes the moment when the patriarch’s
wrath culminates and contrasts with the
careless bearing of the dancers, the most
prominent, as it is the most dramatic, of
the story.
Fresco VIII.—The Giving of the Law to
Christians.—Cosimo Rosselli.
This is one of the least attractive of the
scenes, and has no historic interest to atone
for its weakness and want of art. The
fresco is divided into two parts, is crowded
with figures and confused in composition.