A New History of Painting in Italy From the Ii to the Xvi Century volume 3

Cover A New History of Painting in Italy From the Ii to the Xvi Century volume 3
A New History of Painting in Italy From the Ii to the Xvi Century volume 3
Crowe, J. A. (Joseph Archer), 1825-1896
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Iv. , p. 23. The frescoes (which were in S. Agostino and S. Cata- rina) are gone.
4 VASARI says he studied in the Brancacci, vol. Iii. , p. 162.
8 See the Rhyme Chronicle in POTJGILEONI, Elogio Storico di Gio. Santi, p. 73.
6 We may believe that Perugino learnt perspective from Piero della Fran- cesca. But at Perugia he might also have perfected his knowledge of the science under Pacioli, who had a chair of mathematics there in 1478. See TIRABOSCHI, Stor. Della Lett. ; VERMIGLIOLI, Vita di Pint
...uricchio, ubi sup. , p. 254; and MARIOTTI, Lett. , ubi sup. , p. 127.
202 HISTORY OF PAINTING IN ITALY Both might labour simultaneously to fathom the secrets of colours and of mediums, the one with the precision of a trained mathematician, the other with the feeling of a colourist. 1 Both would necessarily go deep into the tecknica, seeking and searching like the Van Eycks, and applying the results according to the powers with which nature had endowed them. It would thus happen that Leonardo should add to the imperfect method of Piero della Francesca the atmosphere in which it was wanting, and ascend gradually to the culminating point of his career in the production of the Mona Lisa, whilst Perugino should arrive at a height almost equally surprising in the Madonna of the Certosa ; 2 the first attaining depth by calculation, the second yielding the same quality by an innate sense of the value of tone, and by peculiar knack of handling, both succeeding in that smoothness of tints which " caused the crowd to gather round their work and think it was a marvel.


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