greater beauty in any work, than may be found in this when viewed from the projDer distance; the boldness of the figures, and the peculiarities of the attitudes, which were such as no longer appeared in the works of the other painters, caused it to be considered somewhat singular at the time; but, although it was not then much extolled, the world has gradually attained to the perception of its excellences: the picture has now, therefore, received its due meed of praise. The parts which are most in relief, and those whereon the high lights are brought out most clearly, blend gradually with the parts which are more in shadow, with so much softness and harmony as they sink into the deepest shades, and the degrees of light are managed so judiciously, and with so much knowledge of art, while the intermediate shadows are brought in with such good effect, that every figure stands well out from the rest, and each assists in imparting relief to the other. This work has, indeed, so much force that we may truly affirm it to have been conceived as well as executed with more judgment and mastery than any other that has ever been painted by any master, however judicious.[1]
In the church of San Lorenzo this artist painted a picture for Carlo Ginori which is considered exceedingly beautiful, it represents the Espousals of the Virgin, and exhibits a facility in the treatment which was a quality wherein it is certain that Rosso was never surpassed; nay more, it may be with truth averred that in versatility and dexterity of hand no one ever approached him; his colouring was most harmonious, and his draperies were truly graceful in their rich variety; his love of art was apparent in all that he did, and secures him the high commendation and glory which his works so well merit.[2] Whoever shall examine the paintings of Rosso with due care, will acknowledge that what I have here said is strictly true; more particularly let him remark the nude figures, and he cannot but perceive the admirable manner in
- ↑ See Borghini, Riposo, for certain details respecting the execution of this work, which cannot here find place.
- ↑ Still in the church, and in the second chapel on the right of him who enters by the principal door. Borghini, as above cited, makes cerUiin remarks on this work also, and to him, Riposo, &c., the reader is referred. The colouring of this work has suffered greatly by cleaning and retouching.
in the Chapel of the Dei family. The subject is the Madonna, with St. Mary Magdalen and other saints.
