It will be well to speak of the whole set of frescoes in this place,
for although they belong to different times and styles, they are a
complete work, and might be taken almost as an epitome of Andrea's
career; from the one above mentioned in which Piero de Cosimo's
influence is apparent, to the Nos. 7 and 8, which very nearly approach
Michelangelo's power and freedom.
In No. 1 the expression of muteness about the mouth of Zacharias, as he
stands by the altar, is wonderfully given; you feel sure he could not
speak if he would. The other figures are superfluous to the motive,
though adding grandeur to the work as a whole.
In composition Andrea differs widely from Fra Bartolommeo. The latter
delighted in building up a single form, every figure in the whole
picture adding its hue and weight to perfect this pyramid or circle.
Andrea spreads his figures more widely; he likes a double composition,
dividing his pictures into two separate groups, connected by one
central figure, or divided entirely. This is seen in Nos. 3, 10 and 12,
which are all double groupings, the last completely divided in the
centre by a table and an archway behind it.
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