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This historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1900. Not illustrated. Excerpt: ... CHAPTER III HIS CHARACTERISTICS It is not theMoreThis historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1900. Not illustrated. Excerpt: ... CHAPTER III HIS CHARACTERISTICS It is not the purpose of the following pages to dwell upon those superficial and general characteristics of Crivelli, which must be obvious to anyone who has made acquaintance with a number of typical pictures by him--let us say those in the National Gallery. His love of gold and splendid accessories, his unerring outlines and anatomical forms, the general impression conveyed by his figures of religious seriousness varied by gentle grace and, more rarely, by profound emotion--these are aspects of his art which must be apparent to all who have bestowed upon him more than a passing glance, and to which justice has already been done by previous writers. In these days, when the forms and methods of the oldest Italian painters have become tolerably familiar, there is little fear that even an archaic art like that of Crivelli will not be sufficiently appreciated. We are less likely now than formerly to hear his forms described as wooden, and his types as grotesque or affected. Leaving such considerations we shall be more usefully employed in regarding his art from the historical point of view, and in endeavouring to discover whether his pictures reveal the stages of development and progress through which he passed. First we may say a few words about Crivellis subjects. The small half-length Madonnas were no doubt executed for private patrons. But his typical productions are the large anconas containing several panels (generally ten, with, sometimes, a predella) destined for churches. Their arrangement is tolerably uniform. The Virgin and Child in the centre are flanked by four full-length saints. Above is a corresponding series of half-length panels, the central one being usually the Pieta, or some other representation of the de... Carlo Crivelli by Gordon McNeil Rushforth
