San Francesco namely, both considered very beautiful figures. But one which caused astonishment in all artists, was that in the new cloister of the convent of Santa Croce: at the head of it, that is to say, opposite to the door: where Andrea dal Castagno, painted a fresco, representing Christ bound to the column and scourged, which is most beautiful in itself; but in addition, there is a Loggia, with the columns drawn in perspective, the cross-vaulting and ribs diminishing so finely, and the walls (partitioned into oval compartments) being depicted with so much art and knowledge, that he proved himself to understand the difficulties of perspective as perfectly as he did the art of design in painting[1] The attitudes of the men who are scourging the Saviour in this fresco, are exceedingly fine, and display extraordinary force; their faces betray their rage and hatred, while that of Christ is equally expressive of patience and humility.[2] In the person of the Saviour, which is fast bound to the column with cords, it would seem that Andrea desired to exhibit the suffering endured by the flesh, while at the same time, the Divinity concealed in that body makes itself manifest in a certain nobility and splendour, by which Pilate, who is sitting among his councillors, appears to be moved, and seeks to discover an opportunity for setting him free. This picture is, in fine, of such merit, that were it not for the carelessness which has permitted it to be scratched and injured by children and simple folks, wdio have maltreated the head, arms, and almost the entire persons of the Jews, as though they would thereby avenge the injuries inflicted on the Saviour, this work would, without doubt, be the most beautiful of all that Andrea executed. Had nature conferred on this artist the gift of imparting softness to his colouring, as liberally as she bestowed on him those of inven-
- ↑ Baldinucci bewails the loss of this work, which was replaced in his own day (1693) by another painting.
- ↑ The nature of Andrea dal Castagno was so thoroughly saturated with these evil passions, that he sometimes involuntarily imparted the expression of them to the heads of his saints. The face of St. John the Baptist, for example, in the chapel of the Cavalcanti, has an expression much more appropriate to the executioner who beheads him, than to that of a saint. The loss of the work here described is thus all the more to be deplored, as he had apparently sought to avoid this defect in the countenance of the Saviour as there depicted.—Masselli.
