By Raimond Van Marle
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Example text
John the Baptist and Catherine (fig. 39) and to the right SS. Augustine and Francis, the latter in much the same artificial attitude of devotion as the corresponding figure in the painting of I49I in London. It is a strange picture and one in which we again notice an intermingling of different phases in Crivelli's evolution but the linear effects are not exaggerated. The central figures, and more especially the smooth sweet face of the Virgin, remind us most of the period in which he created the Demidoff altar-piece, that is to say I476; St.
Photo Gray. CARLO AND VITTORIO CRIVELLI Fig. 34. Carlo Crivelli, the Blessed Ferretti. National Gallery, Photo Nat. Gal. London. CARLO AND VITTORIO CRIVELLI 49 Fig. 35. Carlo Crivelli, Madonna and Saints, I491. National Gallery, London. Photo Nat. Gal. Less rigid but still showing the virtuosity of drawing which in this phase was so typical of Crivelli's art, is a half-length figure of the Madonna of the Annunciation from the Thieme collection, Leipzig, which was recently for sale in Amsterdam; the panel has the peculiar shape of a polyptych terminal (1).
44) speaks of a polyptych by Crivelli in the sacristy of this church, but the only figures which correspond are those of SS. Dominic and Stephen. The latter also refers to a Marriage of St. Catherine which in all probability occupied the central panel. He describes it as a work of cold expression CARLO AND VITTORIO CRIVELLI Fig. r6 . Carlo Crivelli, St. Bernard. Museum, Berlin. Mus . Photo. 25 26 CARLO AND VITTORIO CRIVELLI and mediocre conception. At one time Signor Grassi of Rome had in his pcssession a Madonna of 1476.