The same kind of talk went on here as in modern studios. When the
frame-maker came, Fra Bartolommeo would be vexed to see how much of his
work was hidden beneath the massive cornice, and would vow to dispense
with frames altogether, which he did in his _S. Sebastian_ and
_S. Mark_, by painting an architectural niche round the subject
like a carving in relief.
The first work begun at the convent studio was the picture for Father
Dalgano of Venice, the subject of which is the _Eternal Father in
Heaven_, surrounded by seraphs and angels. Perhaps in this we have
the source of the motive of Albertinelli's _Annunciation_. The
colouring is more brilliant than any of the Frate's works before his
visit to Venice. Vasari says that in this picture Giorgione himself
could not have surpassed him in brilliancy. The saints, although nearly
level with the ground, are given celestial rank by the cherubs and
clouds below them. Fra Bartolommeo was dissatisfied with his angels,
which seemed merely lovely children, and seeking other forms, he
thought to picture them better under shapes which at a distance seem
only clouds, but nearer are full of angels' faces, as in the _S.
Pages:
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83