The art of the Italian renaissance; a handbook for students and travellers (1903)
Wölfflin, Heinrich, 1864-1945, Armstrong, Walter, Sir, 1850-1918 · New York, G. P. Putnam's sons; London, W. Heinemann · leaf 160
a crowd, andthe half-length may be considered,generally, the domain in which hefelt himself most secure. His \ery distinguished style finds its best expression in the Vl^/fiitidii in the I^ouvre.The Vi-s/t{ifioii of the school of Raphael in the Prado, in spite of itslarge figures, looks commonplace… … Tlie Traustit,air;itinii, liy L. C;in;icci. 1 It is impossible that this very poor composition was designed b} Rapliael. (Cf.Dollmayr, p. 344 ; by Penni). - This celel^rated pictuie was not only executed hy otlier liands, but must also liavebeen copiously edited in composition. Tiie chief motive of…
Art · Art, Renaissance
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