The cicerone: an art guide to painting in Italy for the use of travellers and students;

CORNELL

UNIVERSITY

LIBRARY

FINE ARTS LIBRARY

Cornell University Library
4»^611.B94 1908

The cicerone:an art guide to Pa'ntJUS j"

3 1924 016 330 940

DATE DUE

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Library

The original of this book is in
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"HOLY FAMILY."
MICHELANGELO.

AN ART GUIDE TO
PAINTING IN ITALY

"THE DREAM OF ST. URSULA.'

CARPACCIO.

Frontispiece.

THE CICERONE

AN"

AKT GUIDE

TO

PAINTING IN ITALY

FOB

THE USE OF TRAVELLERS AND STUDENTS

Translated from the Gennan
of Dr Jacob Jurokhardt by
Mrs A. H. Olough. A new
and illustrated impression, with
a preface by P. G. Eonody.

NEW YOEK

CHAELES SCEIBNER'S SONS

1908

p

A.t'«^^i-5 7

^i^ac^e^

PEEFACE.

Halp-a-Centuey has gone by since Dr Jacob Burckhardt
first published his Art Guide to Painting in Italy, and
nearly a quarter of a century since the appearance of the
last English edition, revised and corrected by J. A. Crowe.
The years that have passed since then have witnessed a
revolution in the methods of Art criticism ; and the game
of re-attribution — first so successfully played by Morelli, that
shrewdest and most reliable of all connoisseurs — has been
taken up eagerly by hundreds of experts and would-be
experts, with the result that, whilst on the one hand the
catalogues of the public galleries of Europe have been
cleared of many time-honoured blunders, and Art criticism
has become a more exact science, on the other hand the
ordinary amateur, who takes an intelligent aesthetic pleasure
in the contemplation of pictures, without being able or
willing to devote his life to this fascinating study, finds
himself confronted by such a mass of conflicting theories
and attributions, that he is apt- to lose the anchorage of
his solid beliefs and to drift about helplessly at the mercy
of every gust of wind. If he is told, for instance, by one
expert that the EuceUai Madonna, which in his youth he
has learnt to admire as Cimabue's masterpiece, is really
not by Cimabue at all, but by a Sienese painter, is this
not almost tantamount to the destruction of a cherished
illusion with all the romance attaching to it? No doubt,
the suggestion, with all the arguments that may be adduced
for or against it, is supremely interesting to the professional
student, but for the amateur it means the first violent tug

vjii Preface.

at the anchor. He has been accustomed to regard this
picture as the chief stepping-stone in Florentine Art from
Byzantinism to Giotto. How is he now to fill the gap?
Whether the Rucellai Madonna be by Cimabue or by a
Sienese, there can be little doubt that it is painted in the
manner in which Cimabue must have painted, and there-
fore the amateur may safely label it with the generic
name "Cimabue." Personally, I am firmly convinced of
the correctness of the Sienese attribution, and yet, were I
called upon to instruct a beginner in the rudiments of Art
history, I should tell him to judge Cimabue's style from
the Rucellai Madonna.

And thus the scientific expert may hold Dr Burckhardt's
Cicerone to be old-fashioned and superseded. As an intro-
duction to the study of Italian Art it still holds its own place
and fully justifies a reprint. More than that, it occupies a
unique place ; for the overwhelming mass of literature on
Italian Art, pi^inted during the last two decades, includes
ilot a single volume that can vie with Dr Burckhardt's,
as regards terse completeness and practical arrangernent.
It is the only book on the subject that combines the
qualities of a useful guide-book with those of a chrono-
logical history of the entire Art of Italy — an achievement -
that would be impossible without an ingenious and elaborate
system of sub-divisions, cross-references and indices. Dr
Burckhardt's history is indeed a Cicerone — a guide and
instructor, and it fulfils in the fullest sense of the word the
function claimed for it by the sub-title of the first German
edition : An Introduction to the Enjoyment of the Art
Treasures of Italy. P. G. KONODY.

London.

CONTENTS.

— ' «

OHAPTBE I.

' PA8K

Antique Painting .1-8

Paintiag on Pottery— WaU-Paintings.

CHAPTER II.

MEDi.a;vAL Painting 8 — 17

Cataoomba — The Byzantine Style.'

OHAPTBE m.
Romanesque Painting . y . . . . . 18—24

Cimabue — Duocio da Siena, ^

OHAPTBE IV.

The Gothic Style 24 — 57

Giotto and the Giottesques — Sienese School — North
Italian Schools — Fra AngeUco. ,

.^.. , OHAPTBE V.

Painting oe ■" e XVth Century 57 — 111

" The Renaissance" — Florentine School — Paduan School
—The Bresoiana and other Schools — The Venetians ; the
Vivarini, the Bellini — Umbrian, Bolognese, and Nea-
politan Painters — German and Flemish Masters — Paint-
ing on Glass.

^ Contents.

CHAPTEE VI.

FASI

Painting of the XVIth Century Ill— 22C

Lionardo da Vinci and MUanese School — Michelangelo
— Fra Bartolommeo — Andrea del Sarto— Raphael — Bolo-
gnese and Ferrarese Painters — Sodoma, and the Sienese —
Veronese Painters — Correggio — Titian and his Contem-
poraries — Tintoretto and his Contemporaries — The
Mannerists.

OHAPTBE Vn.
Painting of the XVIIth Oenttjrt 220—253

The Eclectic and Naturalistic Schools — Landjscape
Painters.

INDEX 259-305

*** To facilitate the use of the book, references a/re made not only to
the page, but also by means of letters, a, h, c, <fcc., to the very
sentence vn the page which contains the nmne of the place ■

LIST OF ILLUSTRATIONS.

Holt Family (Michelangelo)

Virgin and Child (Botticelli)

The Dream of St Ursula (Carpaccio)

"Virgin and Child (Fra Angelico) .

Virgin and Child (Luini)

Descent prom the Cross (Fra Bartolommeo)

The Vision of Ezbkiel (Eaphael) .

The Dance of Apollo with the Muses

(G-iulio Romano)
The Zingarella (Correggio) .
The Concert (Giorgione)
Sacred and Propane Love (Titian)
I The Eapb of Europa (Paolo Veronese)
St&EOPATRA (Guido Reni)
Venus and Adonis (Rubens)
The Drinkers (Velasquez) .
Diana Hunting (Domenichino)

ETid Poiper

»

. Frontispiece

To face

pctge 54

»)

118

)

128

»

144

jj

164

»

178

It

184

»

196

3»

212

))

226

tt

230

»

234

5)

246

HANDBOOK OF AET IN ITALY.

PAINTING.
— ♦ —

CHAPTER I.— ANTIQUE PAINTING.

PAINTING ON POTTERY.

Antique painting is only known
to us by poor and scanty remains ;
yet the fragments which have been
preserved enable us to measure the
power and discern the purpose of
the G-reeks and Romans in this
field of culture. The well-known
anecdotes of Parrhasius, Zeuxis,
and other great masters of anti-
quity, might lead us to believe
that the sole object of Greek
painters was to create illusion ;
yet to think so would be a serious
mistake ; for to represent a subject
or an incident worthily, they con-
' sidered it sufScient to combine the
' utmost possible clearness with the
simplest possible means. In com-
position, execution, and colour,
their system differed entirely from
that of the Moderns, but the pro-
duct was not the less the highest
and best of its kind.

Greek art, in its elementary
phase is illustrated by paintings
on numberless vases chiefly found,
and still being discovered, in the
sepulchral monuments of Attica,
Sicily, Southern Italy, and Etru-
ria. The most important collec-
tion of these is to be found in the
a JWiiseum of Naples. But there are
others of considerable value, and
for Italy quite remarkable, in the
S gallery of the Vatican at Rome,
sand the Miiseo Egiziaco (Vid Fa-
enza) at Florence.

The whole of this immeasurable
store is now generally accepted as
the work principally of Greeks,
who were immigrants in Etruria,
or employed by Etruscan makers.
It illustrates Greek customs, myths
and dress exclusively, belongs
mostly to the period lying between
the sixth and third century before
Christ, and precedes the date of
Roman conquest in Italy. When
South Italy became Roman this
style was already extinct, and no
vases of the Etruscans are found
in the ruins of Pompeii.

But few of the known vases were
apparently used for the kitchen,
the table, or the bedroom. They
were intended for festal purposes,
as prizes for combats, marriage
gifts, and the Hke ; if they had
adorned a man's dwelling in life,
they accompanied him in death to
his tomb. But many of the most
important were produced entirely
for the decoration of the tombs of
ancient Italy. They are usually
found placed round the corpse in
the sepulchral chambers, unhappily
almost without exception shattered
into fragments, wMch cannot al-
ways be successfully put together
again.

There are vases of every species
and form, from the massive am-
phora to the smallest cup. And as
they were not intended for com-
mon use, the makers were able in
every form — amphora, urn, pot,
B

Antique Painting.

saucer, or drmking-horn — to give
scope to their own ideas of what
was beautiful and expressive.

The eye dwells with the keenest
satisfaction even on the shape and
outlines given by the potter to the
vessel. Plastic decorations as found
in ornamented marble vases would
have been misplaced, but any sim-
ple forms which could be combined
with the work of the potter's wheel,
were freely employed, whilst the
free-hand work of the carved
handles was often beautiful and
pleasing, and the painted orna-
ments contributed not a little to
enliven the vases, as they were
designed exactly for given purposes
and defined spaces.

The lower limb of the handles
was often adorned with clusters of
palmetto leaves, and particularly
with an oval-pointed leaf accom-
panied by curling side leaves, in
which superabundant elasticity was
absorbed. A waving pattern of
flowers symbolic of the contents,
ran round the upper edge of the
vase, whilst simpler palmetto forms,
or vertical flutings, covered the
neck and swelled into richer orna-
ment as they crept over the wider
curve below it. Above, beneath,
and between the figure ornament
were garlands of waving flowers,
meanders, or rows of shells ; at
the narrow, near the base, thin-
pointed leafage; the whole fitly
resting on a plain and unadorned
foot.

These may seem but immaterial
details ; yet they show that the
aim was to produce a vase, and not
a, mere piece of ornament ; a fact
which seems to have been for-

fotteu by the makers even of the
nest Sfevrea porcelains.
The painters, too, one might
think, would make things easy by
repeating ornament with the help
of pouncing or stencilling ; but the
merest glance suffices to prove that
the whole was produced by light

and clever hands, though not fr^
at times from breaks or defectivl
curves. . '

As with ornament, so it was
with the figures. The paintej
knew them in part as the commotj
property of Greek art ; in part he
invented or composed them afresi
for every new subject he thougM
out. Great artists did not conde-
scend to this class of work ; and it
is but a mediocre and even humble
vein of the inexhaustible Gree||
capacity for art, which here comes
to the surface. Yet even with
these extremely limited means,
with but two, or at most three,
colours, how much that is admir- ]
able did they not produce.

We distinguish, first of aU, the
older form with black figures on a
red ground. The style of these,
though possessing much elegance,
is as yet stifij and corresponds
more or less to the elder GreeK
style of sculpture.

The more mature and, as regards
Apulia, the more declining art of
vase painting shows the figures,
left of the natural reddish tint of"
the baked clay, relieved upon a
dark painted ground. To these,
which are also the most numerous,
we must give our chief attention.

The subjects represented in one,
two, or even three rows of figures,
and on the paterte on the under
side round the foot, and also inside
in the centre, have become the
subject of very voluminous scien-
tific investigation. Very rare
myths, not represented in any baa-
reliefs nor in any Pompeian pic-S
ture, are here found. A very cur-
sory account of their artistic treat-
ment IS all that we can here allow
ourselves.

In general, the style foUows that
of the Greek bas-reliefs. They are
similar in the development of the
perspective of the figure, in the
principle of markings, and in the-
manner of telling the story. The

Wall Paintings.

3

figures are mostly single, and so far
as possible speaking in pose and
gesture. In draped figures the
limbs were first hastily sketched,
and then the drapery over them
indicated, giving just as much of
the folds as would serve to distin-
guish the figure itself and the flow
of the garment. The heads are
treated in a very general manner,
without any aim at particular ex-
pression or peculiar beauty. Space
is suggested simply and by symbols
on the customary black ground.
One star stands for night, a small
curtain for a room, a couple of
shells or dolphins for the sea, a
curving row of dots for the uneven
earth. A column with a vase for
the palsestra, and so on. Thus all
furniture, as, for instance, tables,
chariots, and so forth, are only in-
dicated by a few lines, to leave the
eye at liberty for the more essen-
tial parts.

The mythical subjects with many
figures usually afford less artistic
pleasure than a number of single
figures, often recurring, which, on
account of their recognised excel-
lence, were constantly repeated.
The visitor will soon discover them
in any collection of importance ;
we shall only call attention to a
few of the subjects which present
themselves, for instance, in a walk
a through the Museum of Naples.

Male figures, seated in a leaning
position. — Dancing Satyrs. Youths
of the wrestling school, nude or
wrapped in mantles, and often
leaning. — Hovering winged Genii.
— Beautiful dancing Bacchantes. —
A man speaking, nude, one foot on
a piece of rock. — Sitting female
figures, the upper half of the body
undraped, with one foot behind the
other, often of great beauty. — Fly-
ing goddesses of victory. — Veiled
female dancers. — Msenads. — The
toilette of a lady or bride, seated,
and putting on or taking off the
veil — among the attendants who

are bringing ornaments, baskets,
&c., sometimes a, very beautiful
naked figure in a cowering attitude.
— A female figure speaking, draped,
bent forward, one foot resting on a
stone, gesticulating with the right
hand. — A mourning veiled woman
seated. — EfiveUers of both sexes. —
The horses inaccurately drawn, but
always fuU of life. — A Quadriga
standing still or in rapid move-
ment, repeated hundreds of times.
— A rider in splendid action.

Such and other conceptions of
Greek art, which these unpretend-
ing memorials present in great
number, would alone suffice to in-
spire eternal admiration for the
genius of the Greek people.

WALL PAINTINGS.

The richness of what is left
makes us grieve over what is lost.
Not a line, not a pencil-mark,
nothing but the mere names re-
main to us of Polygnotus and the
ancient Athenian school, of Zeuxis,
Parrhasius, and the rest of the
lonians, of Pausias and Euphranor,
or of the great ApeUes, and a hun-
dred other Greek painters, who
were stiU known to Pliny and Quin-
tilian. It is hopeless to form an
idea of the style of these artists
from the casual remarks of early
writers, and it is always hazardous
to try to discover amongst existing
Pompeian and other paintings sub-
jects taken perchance from parti-
cular ancient masters.

As a general rule, it is certain
that in the best things we possess
in ancient painting, the invention
far surpasses the execution. The
great painters of antiquity still live
on in copies, though but a nameless
and shadowy life ; they were saved
to us by the practice characteristic
of all ancient art, the repetition of
what had once been recognised as
excellent.

This is especially true of the re-
B 2

mains preserved in a room of the
a VaMcam, Library built out towards
the garden. Both the Aldobran-
dini Marriage, a work which even
since the discovery of Pompeii re-
tains a great, even unique value,
and the five pictures of mythical
female personages, point to originals
of the best time. All else that
J exists in Kome, in the Baths of
Titus, iu private collections, in the
c Golumbaria of the Via Latina, and
d of the Tilla Pamfili and elsewhere,
appear to be either much injured
or of inferior value. Any other spe-
cimens of antique paintings than
those of Eome come chiefly from
Pompeii. Some newly discovered
e rooms behind the Baths of Cara-
aalla and in the French excavations
/on the Palatine are worthy of atten-
g tion. At Cortona {Museo) there is
an apparently genuine easel pic-
ture, a halt-length figure of a Muse,
painted upon slate.

By far the most important places
for the study of antique painting
are the buried cities of Vesuvius
hand the Museum of Naples. The
paintings are placed all together on
the right on the ground floor. The
principal ones stand in a gallery ;
and in five rooms, of which the
furthest back is counted as the 1st,
all to the right of the entrance.
{ Some wall-pain tings in the far-
thest room, which were found in
sepulchral chambers in Southern
Italy, especially at Psestum, repre-
senting riders, dances of women,
etc., belong to an earlier period of
Greek painting. Instead of any
well-executed colouring or plastic
modelling, we have only the simple
illuminated outline drawing, living
and often noble, corresponding to
the spirit of the elder Greek time.
In the treatment of the profile we
recognise the method of the Greek
relief, which so turns the bust as
to show it in all its beauty. (Com-
pare the good copies of Etruscan
sepulchral paintings of both earlier

and later style, in the Mitseo Et-j
rusco of the YaMca/ii).

The Pompeian paintings and Mo-
saics show us that ancient art iu
some sort had reached a high point,
with two limitations, which must
be noted ; in the first place we have .
here the painting of a not very im-
portant provincial town of Koman *
times ; secondly, it is only wall- J
decoration, which neceasanly fol- '
lows a different principle from easel
painting. The latter, especially in
the best period, was doubtless more
fully developed in all that concerns
illusion, fore-shortening, light, re-
flections, etc. In mosaics, accord-
ing as they were intended for pave-
ments or for wall-pictures, and also
as to whether they are composed
only of stones or with the help of
vitreous pastes, there is a complete
series to be gone through, from the
simplest to the most refined treat-
ment of colour, such as we find, for
instance, in the theatrical scenes of
Dioscorides.

Considering these remains gene-
rally, we may assume, as we have
said, that the best are everywhere
formed upon Greek originals, which
the artist learnt by heart, and
reproduced more or less literally.
There was no question of tracing or
stenciBiug ; any one who could
paint off a single part in so bold
and masterly a manner needed no
assistance for the whole form. The
paintings demonstrably of Roman
composition (e. g. the scenes of Pom- i
•peian town life, iu the 4th room on
the right wall, and the two Feasts
oflsis, 3rd room, 392—396) are farj
below the rest in invention, even
granting their inferior sUghtness of
execution to be merely accidental.

If we take as fair examples the
larger mythological subjects (espe-
cially those in the five rooms at the
entrance) we may describe the
mode of treatment as follows.
Special details are generally neg-
lected, but essentials are indicated

WalJ Paintings.

by a few lines with great force.
In the heads, along with very
striking traits, we find much that
is quite general in character, which
may, however, be laid to the ac-
count of the workman and of his
technical method. The execution
long considered a secret, but now
acknowledged to be fresco, is gene-
rally free and bold. The [space is
always arranged with a view not
to the realization of external ob-
jects, but to the higher claims of
composition ; the delineation of the
architectural or landscape back-
ground does not go beyond a mere
indication. (The Sacrifice of Iphi-
genia, in the 4th room, on the
pier.) By a conventional treat-
ment of perspective depth, the
more distant figures appear as if
they stood on a higher plane.
(Eecognitiou of Achilles.) The
light faUs consistently from one
side. The artificial grouping of
modem art, with its transitions in
the forms and its contrasts of light
and shadow, is entirely wanting ;
the chief object is to give expres-
sion to the figures, and for this
purpose to keep them separate.
In large groups the figures ap-
pear in stages above each other
(the poet teaching his drama to
the players in the passage to the
5th room). Generally, in all these
and in the other larger composi-
tions, the execution is very un-
equal. Some are good, as in the
a 2nd room. Mars and Venus, Bae-
i ckus and Ariadne ; 4th room, The-
seus rescuing the Children of the
Athenians ; in the left passage to
the 4th room, Medea ; in the right
c passage to the 5th room, the Pun-
ishment of Dine, two Goddesses
with Cupids : also the Music Les-
son of the young Fauns ; Perseus
and Andromeda; Chiron and
Achilles, Hercules with the Cen-
taurs, Achilles and Briseis, etc.
Yet in others, side by side with the
very best, and with single subjects

assignable only to the greatest of
ancient masters, we find some
very poor tilling indeed. We can-
not but conjecture that here we
have before us, sometimes crowded
together, sometimes in single frag-
ments, a number of different parts
taken from various compositions of
great merit. In Pompeii some of
the larger pictures remain in their
place : Diana and Actseon (in the
Oasa di Sallustio) ; a Hero prepar- d
ing for the Bath {Casa di Mele-e
agro) ; Venus and Adonis (Oasaf
d'Adonide).

To this judgment, the so-called
Battle of Alexander, the most beau-
tiful antique mosaic known, makes
a splendid exception (found in the
Casa del Fauno at Pompeii, now on
the floor of the Hall of Flora in the g
Museum at Naples). It represents
a battle between Greeks or Komans
and Barbarians ; probably the vic-
tory of Alexander over Darius at
Issus. I nowise blame the extreme
enthusiasm latterly expressed for
this work, but we must interpret
the meaning rightly, and not, for
instance, insist on regarding the
man in the chariot as the Barbarian
king, whilst the whole composition
points to the horseman clad with
regal splendour, who is overthrown
and pierced through by the enemy.
The merit of this unique work does
not consist so much in faultless
drawing, or in the expressiveness
of each single figure, as in the
power with which a momentous
crisis is presented to us with the
slightest possible means. On the
right, by the turn given to the
chariot and horses, and by some
telling attitudes and gestures, a
picture of helplessness and conster-
nation is given which could not be
more significant, or save in an out-
ward sense, more complete. On
the left (unhappily much defaced)
the victors press forward with
confident and resistless force.
Whether the whole was composed

6

Antique Painting.

to be executed in mosaic, or was
rather copied from a wall-painting,
remains to be decided.

With this exception, the little
genre scenes are usually to be pre-
ferred to the larger heroic pictures.
Pompeii has yielded some precious
and -costly works, such as the two
delicate mosaics bearing the artist's
"5 name, Dioscorides, representing
their favourite subject of theatrical
rehearsals. Yet to these we must
prefer some lightly-executed paint-
ing. Few things can equal the
quiet charm of the group of three
women conversing, with a column
and foliage in the back-ground.
Raphael was on this path when he
designed the second series of the
story of Psyche. Certain reddish-
brown drawings on marble slabs
seem to be the work of an uncer-
tain amateur hand; beneath this,
the genre-picture of the maiden
playing at bones points to a splen-
did original. Close by a small uu-
obtrusive picture, of the beautifully
conceived scene, "Who buys Cu-
pids ? " The lovers reveUing and
reposing, also carry us back to a
beautiful Greek idea.

Many, also, of the smaller myth-
ological pictures which formed (and
in part do stiU form) the centres on
the walls of ordinary Pompeian
houses, possess a special separate
value as complete and harmonious
works ; for instance, the best of
the pictures of Narcissus, the Bac-
chus and Ariadne, several Bacchus
scenes, and Venus as a fisher-
woman (several times repeated).
The injured picture of Hylas and
the Nymphs is very happily con-
ceived. In the Galleria degU og-
getti osceni is a, Faun kissing a
Nymph, besides several other ex-
cellent scenes, not more repulsive
than many that are exhibited in
the lower rooms.

But, according to my feeling, it
is not the complete pictures which
give the strongest and most harmo-

nious impression of Greek genius,
but the numerous single figures
and groups, employed for decora-
tion, which stand partly on a
ground of one colour, and partly
serve to enliven the pointed archi-
tecture of little temples, paviHous,
balustrades, and so forth. The best
of these can only belong to the
highest period of Greek art, and
were handed down for centuries
from one to another, till they too
found their place in the little town
under Vesuvius. The painter,
doubtless, learnt them by heart,
and reproduced them quite natu-
rally. They are so constantly em-
ployed in our modem decoration
that the visitor is sure to meet a
number of familiar forms, and pro-
bably will be astonished at the un-
pretendingappearauce andthedimi-
nutive proportions of the originals.
The most important specimens of
this kind are the following : — De-
meter with the torch and basket ; —
Zeus and Victory, on a red ground ;
— the Niobids, in gold colour, distri-
buted about on the feet and the
upper connecting bands of two
white tripods, quite different from
the well-kuown Florentine statues ;
— the famous Female Dancers, on a
black ground ; — unconnected with
each other, of exquisite beauty in
action, and the easiest expression
of floating both in their attitude
and their drapery ; the splendid
Centaurs in movement, on a black
ground : amongst whom is the
female Centaur playing cymbals
with the young Satyr, and the
Centaur bound, whose back a wild
Bacchante is spurning with her
foot; this last perhaps one of the
most beautiful creations of ancient
art ;— the no less famous series of
Dancing SatjTS, small figures on a
black ground (contrasted with the
collection of Amorioi of Roman
creation), who are represented as
engaged in all sorts of prosaic em-
ployments, even as shoemakers ;—

Wall Paintings; Landscapes.

a head of Medusa, on a yellow
ground ;— Tritons, Nereids, Sea-
monsters, etc. ; — Nereids on Sea
Horses and Sea Panthers, feeding
them ; — the female figure with the
style to her lips, a h5f-length, set
in a circular border (several times
repeated) ; — Bacchantes, Silenus,
etc., in circular settings; — a small
fragment, a half-length figure of a
Flute-player and his companion.
Besides these, the following objects
of merit : — a number of dancing
floating Satyrs, in the divisions of
a vault ; as, also, beautiful floating
Genii or Amorini ; — another series
of Amorini, with the attributes of
divinities, all wonderfully com-
posed, in a round setting ; — Victory
and a Greuius with divinities hover-
ing above, perhaps Koman of a
good time ;— Bacchus ; — a beautiful
Priestess with vessels for sacrifice,
a youth with a sword and shield ;
— a floating draped figure with a
sacrificial vase; — the seated girl
leaning her chin on her hand, on a
black ground;— a Youth sitting
with feet crossed (fine, and often
repeated) ; — a beautiful floating
Bacchante with a thyrsus and cup,
on a black ground. These instances
are selected only to call attention
to some of the finest pieces; any
one who remains long in these
rooms will be attracted by many
others also. If we ask. Could the
figure before us be more beautifully
conceived, more clearly expressed,
or more gracefully set ? we invari-
ably find that all, be it finished or
merely sketched, is perfect and
masterly.

ARCHITECTURAL LANDSCAPES.

Especial attention should be paid
to the landscapes and architectural
views of which there exist a great
number in the museum as well
as the ruins of Pompeii. The ar- '
chitectural views give an interest-
ing picture, not only of the general

style of the buildings of that time,
but more especially of those which
gave a special character to the
coast between Cumae and Sorrento
in Roman times : they are of course
somewhat fancifully exaggerated,
giving not merely a picture of what
really existed, but of what the
artist desired to see built. Villas
reaching out into the sea, the most
splendid country houses surrounded
with halls, temples, and palaces,
and above all, the most ornamental
harbour buildings, are fully dis-
played in bird's-eye perspective.
The chief impression we gain from
these views is that of architectural
richness. Lately very interesting
architectural views have been dis-
covered in the French excavations a
on the Palatine.

The landscapes again are dif-
ferently treated. They too unite
many objects looked at from a high
perspective point, and have no idea
as yet of the scheme of lines com-
mon to modern landscape painting.
Many are nothing more than lively
representations of pleasing or re-
markable objects, little temples,
pleasure-houses, ponds with open
courts, monuments with trophies,
Hermes, semicircular walls, bridges,
and so forth, in undulating country
interspersed with trees ; the pic-
tures of gardens with symmetrical
arbours and fountains come pro-
perly under the head of architec-
tural pictures. On the other hand
in the better landscapes an idyllic
character appears, a distinct at-
tempt to express a particular senti-
ment, though it sometimes fails for
want of better means of expression.
Round a lonely little sacred haunt
of the nymphs, or the Paphian
goddess, we see shepherds and
flocks or a country sacrifice, over-
shadowed by olive trees ; some-
times, too, personages out of the
Greek myths enliven the rocky
landscape. Of this last kind are
the scenes out of the Odyssey

8

Antique Painting.

whicli were found in Rome, and
are now to be seen in the rooms
a belonging to the Vatican lAirary,
where is also the Aldobrandini mar-
riage. The impression is of the
same kind as that made by the
Bucolic poets, and it is not impos-
sible that the painter may have
been inspired by them.

The subserviency of this whole
style to decorative purposes is
shown, among other things, by the
subordination of the whole to a
particular colour of the wall. Many
landscapes, for instance, are painted
brown on brown, green on green,
sometimes also, for a strong con-
trast, greenish white on a red wall.
There is no special character in the
details of the landscape, as for ex-
ample iuthe foliage ; theolive alone,
on account of its peculiar growth,
retains a certain character. Also
where garlands and leaf work ap-
pear as part of the decorations,

only the most necessary part of
the special form of the leaf is in-
dicated with bold effect.

In the numerous pictures of still
life (including kitchen utensils and
dead animals) we recognise an art
capable of creating illusion, yet
seeking to produce that effect in
wall paintings, at least in a very
limited measure. The painter in-
deed was required to delineate
those objects, but he was not
asked to reproduce them in the
finest and most idealized form by
means of groups, backgrounds or
light and atmosphere, as de Heem
was expected to render them by
his Dutch contemporaries. The
most graceful antique mosaic of
Eome, the Vases with the doves
(Museo Capitolmo: vase room) is/
perhaps one of the most instructive
examples of the degree of illusion
attempted in the most precious ma-
terials.

CHAPTER n.— MEDIiEVAL PAINTING.

The history of Christian painting
begins with the wall paintings of
the Catacombs, which contain me-
morials of this art dating from the
second to the eighth century. Nu-
merous fresh excavations in Rome
enable the traveller to gain for him-
self an idea of this art, the know-
ledge of which but a few years ago
was only to be obtained from old
and not very accurate copies. The
collection of (fairly good) copies in
J the Museo Cristiano of the Zateran,
and the excellent publications of de
Eossi"^nd Perret give, after a visit
to a single catacomb, a good insight
into the general contents of those
remarkable places. The oldest and
best pictures in Rome are to be
(. found in the Catacombs of S. Nereo
^amd Achilleo, S. Galisto, S. Pris-
geilla, S. Prcetemtatiis, S. Ponziano,
and S. Agnese: those of S. Sebas-

tiano, which are always accessible,
are nearly destroyed.

Of inferior interest to the Roman
Catacombs are those near S. Oen-
naro dei Poveri at Naples, where gi
also are found considerable remains
of both ancient Christian and Pa-
gan paintings, though the greater
number are figures of Saints, dating
from about the eighth century
backwards, already strongly Byzan-
tine in character.

The style of the Catacomb pic-
tures in the older works closely
resembles antique painting in form
and feeling, following step by step
its gradual degeneracy into stiff-
ness and want of form. Most im-
portant and characteristic for the
primitive relations of Christianity
to art are the conception and selec-
tion of subjects.

We find united with the forms

Catacombs.

9

and types of antique paintings, as
■we have become acquainted with
them in Pompeii and elsewhere,
the first traces of an artistic mode
of thought, which, after a long
period of entire degeneracy in art,
reappears in the movement which
revi-vified Christian art in the thir-
teenth century, and is not there-
fore to be found in the scTere and
narrow forms of the Mosaics.

Pre-eminent here stands Sym-
bolism : which is often but an out-
ward combination of incidents and
scenes, the true relations of which
must be known to the spectator
beforehand, being here without any
more necessary affinity than the
fish with the designation of Christ,
the initial letters of which repre-
sent the IX0T2 : (so the story of
Jonah or the raising of Lazarus as
the type of the Resurrection) ; at
other times it is a truly artistic
combination, which, with the aid
of antique themes, creates a beau-
tiful form for an ethical or religious
idea, through the characteristics of
the figures and their action, as in
the well-known figure of the Good
Shepherd in S. Calisto, S. Nereo
and AchUleo and elsewhere. Chris-
tian art also tries its powers in the
creation of typical images, of which
the special variations from the an-
tique are the same as those seen in
the oldest Christian sculptures of
the sarcophagi. Associated with
the first pictures of the Madonna
(J (S. Calisto, S. MarceUino e Pietro,
J S. PrisoiUa) are the earliest at-
g tempts at a portrait of Christ {S.
Nereo and AchUleo) ; the Apostles
also are first represented with the
characteristics by which they have
been identified through all after
times (same place, chapel of the
Evangelists). The artistic treat-
ment of the action and expression
does not go beyond what ancient art
supplied to the Christian painter ;
incidents like the Adoration of the
Magi, the Last Supper, the Miracle

of the Loaves, only appear as figures
standing in a row, with some slight
expression'in the attitudes, and the
signs of life here apparent soon
stiffen into a purely conventional
arrangement.

The ancient Christian sarcophagi
serve to complement the Catacomb
paintings, though they express
another set of ideas ; the figured
ground of drinking glasses (Vase
in Museo Oristiano of the Vatican) a
may also help to complete the pic-
ture of the oldest practice of
Christian art.

MOSAIC PAINTING.

In church mosaics we have an
almost uninterrupted and authen-
ticated series of Christian paintings
from the time when Christianity
became a state institution. We
must here give a short account of
the influences under which they
arose.

Art here is fettered by rules
more strict and rigid than those
of any earlier time. Ecclesiasti-
cal pomp and monumental effect,
and a firm conviction that work
once done must last eternally,
prompt the use of materials which
exclude the artist from participa-
tion in any labours but those of
drawing cartoons or choosing
glass pastes. The Church desires
or only permits what Church pur-
poses storictly demand. Her re-
quirements must be satisfied in an
imposing manner. The subject
being all in aU is set in just
so much accessory scenery as
suffices to explain the theme
without an appeal to sensual
beauty. The Church has other
means of affecting the imagina-
tion than those of artistic con-
trast in action, shape, or colour.
She provides quite a different feel-
ing for harmony than that derived
from beautiful formal contrasts.
The artist no longer invents ; he
has only to reproduce what the

10

Mediceval Painting.

Church has discovered for him.
For a time art still keeps up some
remains of the joyoua spirit in-
herited from aacient times, and
within its narrow limits still cre-
ates single forms that are grand
and lifelike. But gradually it
sinks and falls back at last into
mere mechanical repetition.

THE BYZANTINE STYLE.

This repetition of something
learnt by heart is the essential
characteristic of what we call the
Byzantine style. Thus, in Con-
stantinople, where in course of
time the practice of almost all the
best art of the Christian world was
concentrated, after about the time
of Justinian, there grew up a system
adopting a certain arrangement of
the scenes-to be represented, a par-
ticular manner of depicting single
figures according to their import-
ance and their rank, and a special
treatment of every detail. Every
one learnt this system by heart,
as far as his natural capacity al-
lowed, and then reproduced it, for
the most part without any reference
to nature. Therefore it is that we
find in this style so many almost
identical Madonnas ; therefore the
various representations of the same
scene so nearly resemble each other,
while the single sacred figures of
the same person are exactly alike.
It is astonishing to observe this
complete dying out of individual
character,* which is gradually sup-
planted by a uniform type, similar
in every detail. We have to com-
pare it with the art of ancient un-
progressive nations (^Egyptians,
Chinese, &c. ) to conceive how form
could be subjected to an uniform

• It takes refuge in illuminating, or at
least shows itself there in the reproduc-
tion of better ancient originals. But
gradually it died quite out, and when
new subjects, e. g., stories of martyr-
doms, have to be represented, it is only by
a new combination of familiar elements.

traditional law. The Byzantine sys-
tem was indeed partly founded on
reminiscences of antiquity, but so
stiff as hardly to be recognisable.
The expression of holiness always
takes the shape of moroseness,
since art was not permitted to
arouse the thought of the super-
natural by producing forms that
were free as well as grand. Even
the Madonna becomes stdky,
though the small lips and thin
nose seem to make a certain at-
tempt at loveliness ; in male heads
there is often a repulsive malig-
nant expression. The drapery,
arranged in a particular number of
conventional modes, has a special
way of falling into delicate stiff
folds and breaks; when the type
requires it, it is merely a surface
of ornaments, gold, and jewels ; in
other places, in easel pictures con-
stantly, and often in mosaics, gold
serves to represent the high lights.
The movements and positions be-
come more and more lifeless, and
in works of the eleventh century,
like the old mosaics of S. Marco, a
they preserve hardly a trace of
life.

This style now gained great in-
fluence in Italy also. Not only
did many important countries and
towns, Eome among the number,
remain for quite a thousand years
in an apparent and partially real
dependence on the Greek empire,
but Byzantine art likewise pos-
sessed special qualities, which for
a time assured its predominance
over all Italian art. In both
countries the religious feeling was
the same ; it was not till the mid-
dle of the eleventh century that the
ecclesiastical breach between Kome
and Byzantium was once for all
decided. Nothing, therefore, es-
sentially checked its influence.
Thus the broken and impoverished
life of Italian art could not but be
overshadowed by that of Byzan-
tine culture, now entirely unri-

Byzantine Style.

11

vailed in the metropolis at least,
even had the latter style possessed
no advantage beyond the tradition
of its artistic method. This, how-
ever, was a decisive point in those
times ; the Church which only
thought of creating an eiiect by
splendid materials and the richest
possible treatment of them, found
her purposes better answered
by the artists and works of art
brought from Constantinople than
by the native artists. Thus the
Italian painter, from the seventh to
the thirteenth century has but the
choice, either to exercise his un-
tutored pencil in meaner tasks, or
humbly to act as assistant to the
Byzantine artists. In particular
towns like Venice, whole colonies
of Greeks settled round a church
as Mosaic workers, even for a cen-
tury or more. It was a grand mo-
ment in Italian life when they
were dismissed, because a native
creative spirit had awakened
afresh, and was again capable
of representing sacred things inde-
pendently. The Byzantine influ-
ence lasted on a long time here
and there (in Venice, Lower
Italy, &c.), and even now has not
quite died out, because the Byzan-
tine style was so closely connected
in the popular mind with the sa-
cred types.

The Italian mosaics can be di-
vided into two tolerably marked
classes ; the ancient Christian, up
to the seventh century, in which the
antique ideas, more or less dying
out, can still be traced ; and those
produced under the Byzantine in-
fluence after the seventh centu^jy.
This influence varied in degree ;
there is a great difference between
the works of the Greeks themselves
who had colonized, and what was
afterwards more or less copied
from them, but for centuries we
find no single figure in Church
Mosaics quite unaffected by the
Byzantine style.

ANCIENT CHRISTIAN MOSAICS.

The ancient Christian Mosaics
have for two reasons great histo-
rical value. They show the form
which the ideas of that time gave
to the biblical characters, especially
those of the New Testament. The
type of Christ may have been
partly created out of an old tradi-
tion, but not so deiinitely as is often
assumed. The costume of Christ,
of his followers and Apostles, is an
ideal one adopted chiefly from
Koman art. Other personages are
characterized by a costume belong-
ing to their rank, often very splen-
did. In the heads there is un-
questionably an attempt at an
ideal (though not sensuously beau-
tiful) but the average of physical
form had sunk so low that hardly
any but peculiarly ugly faces
could be produced. In the second
place, we see here a system of reli-
gious modes of expression and
trains of ideas, created less by art
than by the Church, and forining a
historical memorial of the highest
value. And in truth it is mostly
the Ecolesia triumphans which here
speaks : the principal subject is
not the earthly wanderings of
Christ and the Saints, but their
Apocalyptic glorification. These
forms seem te exist without sur-
roundings, in infinite space, repre-
sented by a blue ground, and also
often, latterly always on a gold
ground : the earth provided for
them is either a simple fiat surface,
or adorned with fiowers, with the
river Jordan in addition, or the
rivers of Paradise. Their atti-
tudes are composed and solemn ;
they seem to exist rather than to
act. In order to understand the
cycle of ideas here developed, we
must put ourselves into the same
point of view. The mere choice of
position for instance, in placing
Apostles and Prophets opposite
each other, stands for an expres-

12

MeMceval Painting.

sion of Promise and Fulfilment ;
the simple action of stepping for-
ward, a bowing of the knee, suffice
as symbols of worship ; the raising
of the arms signifies speaking, pray-
ing or declaration of power, accord-
ing to the circumstances. The
spirit of the time is so strong that
it takes the slightest hint as a com-
plete expression, and is ready to
follow it without requiring any
expressions in the features corre-
sponding with the incident, or any
external explanation. As we have
said above. Art was never more
restricted; the public of the day
have never been disposed to con-
cede more or to require less of it.

MOSAICS OF THE FIFTH
CENTURY.

It would lead us very far, if we
attempted here to describe this
particular cycle of art ; of the Ro-
man Mosaics Platner's description
of Rome gives an exact account ;
those in Ravenna contain much
that is not to be found in Rome,
but here too the subject can be
guessed at. Our enumeration in-
cludes only the more important
works. Crowe and CavalcaseUe
give a most complete description.

a After the mosaics of S. Coslanza *
at Borne, of the time of Constantine,
mentioned before in connection
with ancient ornamentation, those
of the orthodox Baptistery, S. Cfio-

tvaimi in Fonte, in Kavenna, are
the earliest masterpiece (ante 430),
indeed the only one in which the
full decorative richness (settings,
ornamental figures, alternations of
stucco, relief and mosaic) of late
Roman work is combined with
good and lifelike drawing ; it is
also one of the most splendid spe-
cimens of ensemble of colour in the
whole of art.

* The rude and insignificant mosaics on
tile niclies of tlie side door heloug to tlie
seventli century. — R.

The biblical stories whicli are
represented in S. Maria Maggiore at
Borne, on the upper walls of thej
central nave, and on the arch of
triumph (earlier than 450, but
many of them much altered, or
quite modem) wUl stand as spe-
cimens of the picture Bible then in,,
use. In many compositions there.''
are subjects taken from Trajan's
column.

In the monumental chapel of
Galla, Plaoidia, now S. Nazwro e ,
Celso, at Eavenna, the beautiful^
coloured ornaments on a dark blue
ground are better than the figures
(about 450). Of the same date
(432^40?) is the Mosaic ornamen-
tation in the Vestibule of the Bap-t
tistery of the Lat&ram,. So also
the two female figures of the church
of the Jewish Christians and Pagan
Christians in 8ta. Sabina at Bome./

Under L.eo the Great (440—461)
were produced the front mosaics of
the Aroh of Triwmph in St. Paul at j
Bome, which have now again been ;
restored by means of fragments
and copies. They are the first ob-
tainable prototypes of a representa- i
tion, which afterwards became com-
mon, of the twenty-four Elders (out
of the Apocalypse); also the gigantic |
half-figure of SShrist in the centre
was one of the most remarkable in
ancient Christian art. The mo-
saics of the tribune appear to have
been madein the thirteenth century,
after an original of the fifth ; they
contain, Uke nearly all tribune
mosaics, Christ enthroned with
various Saints, and underneath
them the Saints of the Church and
also the Founders. Elsewhere
Christ is represented standing on a
hill or on clouds, not floating as
in the modern manner.

MOSAICS OF THE SIXTH
CENTURY.

This last position we find in the
most beautiful mosaic in Rome,

Mosaics of Fifth and Sixth Centuries.

13

% that of SS. Gosmas cmd Damian in
the Forum (526—530). Though
much restored, especially in the
part on the left, this grand work
embodies in a form already some-
what stiff, one of the last free
inspirations of Christian art. The
execution is still beautiful and
carefuL

The mosaics at Kavenna in the

jArian Baptistery (or S. Maria in
Gosmedin about 550 ?) are a mere
imitation of the painting in the
dome of the other Baptistery. Of
the same date (526 — 547) are those
of the niches of the Choir in 8.

c Vitale, which comprise among
others the splendid ceremonial pic-
tures of Justinian and Theodora,
works far more remarkable for the
subjects which they illustrate than
for execution ; on the walls next to
them are the bloody and bloodless
sacrifices of the Old Testament (the
Sacrifice of Abel, Abraham's Re-
ception of the Three Angels, the
Sacrifice of Isaac, the Keception
of Melchisedek) ; the History of
Moses ; Prophets. The two great
friezes with processions of Saints

dio. S. ApolUnare Nuovo, on the
upper parts of the walls of the
central nave (553 — 566) are for
size the most important pieces of
mosaic in the continent of Italy.
Of the two cities, Kavenna and

^. Classis (the ancient harbour of
Ravenna), from which the pro-
cessions are seen to issue, the for-
mer is represented by a most re-
markable view of the palace of the
Ostrogoth kings, now all but com-
pletely destroyed. * Apparently of
the sixth century are the mosaics
of the chapel of the archiepiscopal
palace, buUt presumably 439 — 450 ;
the prevailing architectural orna-
mentation of which is grand in

• Still more ancient are the Adoration
of tlie Kings and the Christ Entombed,
at the sides of the choir, the twenty-six
scenes from the New Testament, and the
single figures between the windows. — R.

character, whilst the method of
execution and a certain barbaric
richness of costume indicate the
growing Byzantine influence.

In the cathedral of Trieste, thee
side tribune on the left contains in
the niche two good figures of Apos-
tles in the same style. (The Ma-
donna in the central semi-dome
and all the mosaics of the side-
tribune on the right belong to the
advanced Byzantine school.)

In Milan, in the Cappella S.f
Aquilino, an octagonal building,
annexed to S. Lorenzo, are two
semi-domes with mosaics, repre-
senting Christ between the Apos-
tles, and the announcement of the
birth of Christ to the Shepherds,
moderately good works of the sixth
or even fifth (?) century. There
also are the newly restored mosaics
of the Chapel of S. Satire, in S. g
Ambrogio ; fifth century.

The origin of the mosaic in S. h
Pudenziana at Eome is disputed ;
it must have been executed after
an original of the fourth century,
and in spite of a great deal of
restoration, it may represent a
composition of the time of Con-
stantino. The tribune of S. Teo-t
doro at Eome (seventh century)
contains a partial repetition of the
mosaic of the SS. Gosmas and Da-j
mian. The mosaics of the inner
church of S. Lorenzo fuori (578 — Jc
590) over the Arch of Triumph
have been lately entirely renewed.

The transition to the Byzantine
style was, as may be imagined, a
gradual one ; a stony stiffening in
traditional types is in point of fact
Byzantinism.

In Ravenna this transition is
seen in the large and very remark-
able mosaic of the tribune of S.
ApolUnare in Olasse (671 — 677) ; I
besides the repetition of the Sacri-
fices of the Old Testament (from
S. Vitale), there is also here a ce-
remonial picture of the Empire.
The spandrils of the arches over

14

Mediceval Painting.

the columns of the nave are deco-
rated with a most complete collec-
tion of ancient Christian emblems
(in modern copies) ; the series of
portraits of the archbishops, which
surmount them like a frieze, is
almost the only specimen (pre-
served at least by a copy) of the
series of portraits of the early me-
dieval churches. *

Here, too, we must mention the

05 mosaics of the tribune of S. Agnese
fuori (625—638), in Some, and in
one of the adjoining chapels of the
Lateran Baptistery, the so-called

6 Oratorio di S. Venamio (640 — 642).
It is clear in this last work that the
artist has quite lost all freedom of
mind, all pleasure and interest in
his work. No wonder that he no
longer understands what he merely
repeats. Some smaller fragments
are found in the little Tribune of

aS. Stefano Rotondo — also on one of
d the altars on the left in S. Pietro in
Vincoli (S. Sebastian as a votive
picture for the plague of 680, here
clothed and represented as an old
man), and others.

We find traces of a last though
unsuccessful effort against the By-
zantine spirit in the (much-restored)
e mosaics of the Choir of St. Ambro-
gio at Milan (?832), though here
also the inscriptions are partly
Greek. The features are rudely
sketched, the drapery given in a
harsh, iris-hued colour (of white,
green, and red), the distribution of
the figures (very uneq^ual in size) is
quite unartistic, and yet there is
much more Kfe in it than in con-
temporary Koman works of the
period, t

* In S. Paul at Rome a series of new
mosaic portraits replace the old. Compare
the heads of the Popes used as consoles
in the cathedral of Siena.

t Also interesting as containing all the
patron saints of Milan of that time.
Christ enthroned under a glory, sur-
rounded by Michael and Gabriel, and
next to them S. Gervasius and S. Pro-
tasius, below in round settings S. Can-
dida, S. Satyrus, and S. Marcellina ; on the

After the beginning of the ninth
century, the Koman mosaics sink to
a degree of rudeness for which it is
not easy to find a historical reason
in the civilization of the time:
since Byzantine art, the influenci
of which is here everyTvhere visiblaj
shows less elegance in execution
here than anywhere else.

The most remarkable of these
mosaics, as to subject, that from
the Triclimium of Leo III. (about/
800) having been moved to the
chapel of Sancta Sanctorum (or
Scala Santa), has been subjected to
recomposition, though copied ex-
actly from the old. (The two iu-
vestitures at the side of the semi-
dome : Christ giving the keys to
S. Silvester, and a banner to the
great Constantino ; St. Peter giving
a stole to Leo III., a banner to
Charlemagne ; the portraits of the
latter have some semblance of au-
thenticity, but are iu very bad
condition.) Under the next Popes
mosaics grow ruder and more life-
less and become distorted to an
inconceivable degree. So we find
it in and above the Tribunes of SS.
Nereo and AchilUo, S. Maria dellas
Namcella (817—824), S. Cecilia and*
S. Prassede — the last three, buEd-»
ings of the time of Paschal I. (817—
824). S. Prassede has an Arch of
Triumph in mosaic, with the ex-
traordinary representation of the
heavenly Jerusalem and the little
chapel (on the right), "Orto del
Paradise, " the interior of which ia
all iu mosaic. In the semi-cupola

left the town of Tours, and 8. Ambrose at
the burial of S. Martin ; on the right the
town of Milan and S. Ambrose and S.
Augustine seated at desks.— There is in-
deed a great interval to be traversed be-
tween such elementary beginnings and
Haphael's Madonna di Foligno and Santa
Cecilia, or the Saute Conversazione of
Titian. .>

In an adjoining chapel on the right o^
the church the cupola contains the halfSj
length figure of S. Satyro on a gold
ground, somewhat earlier than the mo-
saics of the tribune.

Mosaics of Ninth Century.

15

J of the tribune of S. Marco (827—
844), are some others, mere carica-
tures.

Id Venice, where there was a
closer connection with Byzantium
and greater wealth than in Eome,
mosaics show not only the mode of
conception, but the neat and elegant
execution of the Byzautines. The

b church of S. Mark's, with its 40,000
square feet of mosaics, is by far the
richest monument of this Oriental
style.

Among these, we note as inte-
resting for the subject, the re-
ceived, conventional representa-
tions of gospel history in the
Byzantine manner (especially on
the vaultings and many wall sur-
faces of the interior); — the coUeo-
tion of numerous single figures of
saints (chiefly on the piers and in
the curves of the arches) ; — the
legendary method of narration (in

'^ the Gapella Zeno, with the story of
S. Mark, and in one of the five
semicircular niches of the fa9ade,
the story of his dead body) ; — here
among others the picture of the
church ; — another history of the
body of the Saint, in the right
transept (on the wall to the right) ;
— the baptism of the AJiostles and
the Angels of various ranks, dis-
tinguished by their various em-
ployments (shallow cupolas of the
Baptistery chapel) ; — lastly, in the
chief cupolas of the church, the
feast of Pentecost, where strangers
of various nations are distinguished
by their costume and appearance
(front cupola); — Christ, with four
archangels, attended by the Virgin
and the Apostles, and surrounded
by the only complete series in
mosaic of the Christian virtues
(central cupola) ; — the miracles of
the Apostles, &c. (left cupola).

Judging from the style, these
works are of very various dates ;
though, for convenience sake, we
mention them here together. The
severe, lifeless Byzantine school is

represented in the mosaics of aU
the cupolas (eleventh and twelfth
century), except those to the right ;
the Christ between the Virgin and
John, inside above the inner door,
is the earliest, and considered to
belong to the tenth century. The
mosaics above mentioned of the
Capella Zeno, also those of a wall(i
niche of the fagade, as well as
many others, are Byzantine in
style, though somewhat modified
and more lifelike, and very dehoate
in their details. In striking con-
trast with these are the mosaics of
the vestibule, both before the three
doors and on the left side of the
church, importantworksof thewest-
ern romanesque style of the thir-
teenth century (except some obvi-
ouslymodern additions), the history
of the creation as far as Moses, given
in a naive narrative manner. Again
more Byzantine, althoughnotearher
than the end of the thirteenth and
fourteenth century, are the mosaics
before mentioned and others in the
Baptistery. Those of the chapel ^
of S. Isidoro, in the left transept f
(about 1350), are unskilfully Giot-
tesque. About 1430, those in the
Cappella di Masooli, by Michiel „
(fiambono, * but only the left-hand
half of the vaulting ; the right
shows a much better hand (per-
haps not Venetian) of the end of
the fifteenth century. Scattered
over the whole church are composi-
tions by the Vivarini, Titian, and ft
many later painters. (The cupola
on the right. Paradise on the vault
in front, most of the semicircles of
the facade, &c.) None of these
mosaics, not even the earlier ones,
presuppose a distinct plan with
subordinate detail, nor do they
reveal an,y apparent progress in the
development of poetic or dogmatic
thought. Even round the High
Altar, the sacrifice of Cain and

* Perhaps father and son of the same
name, the latter of whom execated the
right-hand half.— Mr.

16

MedtcBval Painting.

Abel is the only instance of the
system of Old Testament allusions
to the sacrifice of the Mass such as

a we found in the Choir of S. Vitale. *
The churches of Palermo and its
neighbourhood contain the prin-
cipal monuments of Byzantine mo-
saic painting, chiefly practised by
Greek artists, under Norman rule.
In the work on Architecture we
have indicated how slight is the
organic connection between this
rich ornamentation and the archi-
tecture which it adorns. The
selection of types, and the skill
with which scenes are enriched
with numerous figures, as well as
technical knowledge, reveal the
practised Byzantine school, though
some mosaics display the hand of
native artists ; but we must not
regard the Greek and Latin inscrip-
tions as the criteria of this. The
order to be followed in the most
important monuments is, according
to Crowe and Cavalcaselle : the

5 Choir of the Cathedral of Cefalu
(after 1148) ; contemporary, but of
inferior workmanship, the Cappella

c PalatiTia, at Palermo ; fragments in

g, the Martorana (S. Maria delV Am-

e miraglio) ; the Cathedral of Mon-
reale, finished 1182, nearer the

f decline ; the Cathedral of Messina,
thirteenth century. On the main-
land we must mention here the
much-injured mosaics of the new

a side tribune ia the Cathedral of
Salerno (after 1084) ; and compare
with them the very rude wall

^paintings of S. Angela in Formis,
a few miles from S. Maria di
Capua,')* executed about the same

* The Mosaics in tlie Cathedrals of
Murano and Torcello are still entirely
Byzantine. — It [In S. Donate of Murano
an Assumption with the Four Evangelists
is a good example of the art of mosaics at
Venice in the twelfth century.— Ed.]

t These paintings, deacrihed as early as
1862 ty Crowe and C. were, according to
Neapolitan puhlications, discovered in
1868, and were to be " restored," without
delay, which, according to general ex-
pectation in South Italy, would he eiiui-

time ; the latter being almost the
only monument remaining in paint-
ing of the movement in art pa-
tronised by Abbot Desiderius, of
Monte Cassino [and the wall paint-
ings of Saut' Elia of Nepi, completed
in the beginning of the eleventh
century by John, Stephen, and
Nicholas of Kome.— Ed.] We looki
in vain in any of these works for
signs of real artistic development ;
the chief impression is that of a
high degree of splendour in deco-
ration. Where the representation
of the action does become really
lifelike, the violent movement of
figures, which in general are con-
ceived in a symmetrical arrange-
ment, and the realism of many in-
dividual gestures, becomes almost
comic, as, for instance, on the walls
of the central nave of the Cathedral
of Monreale ; and the best things^
done by this style of art will always
be the architecturally-severe figures
in repose in the niches of the Choir.

Taken as a whole, these careful
late Byzantine Mosaics and wall
paintings of Venice and Southern
Italy are wonderful evidence of the
conditions imposed on art by the
church of Gregory VII. The cor-
poreal presentment of Christ and
the Saints shrivels to a mere
emblem, but this emblem is brought
before us with a lavish expenditure
of costly materials and laborious
execution. The greatest possible
honour is to be paid to religion ;
but it is superfluous to suggest
personality or beauty, since devo-
tion can be excited strongly enough
without either.

The panel pictures on wood in
the Byzantine style now to be
found in Italy are innumerable,
especially pictures of the Madonna.
Very few date from before 1000 ;
for the greater number are copies

valent to destroying them. [They have
been restored, and in one or two pieces
above the portal completely renewed. —
Ed.]

Byzantine Easel Pictwes.

17

from special miraculous pictures of
the Madonna, and were produced
either towards the end of the
middle ages, or in quite modern
times; besides this, we must re-
member that Greek communities
appear here and there in Italy
amongst which the Byzantine mode
of representation has remained
consecrated. The peculiar colours
of the varnish, the green flesh-
shadows, the raised gold of the
hatchings, make these paintings
easily recognizable. I cannot say
with any approach to certainty,
whether in the type of theMadonna,
there are varieties to be distin-
guished ; it is difficult to trace this
back to such old originals as we
possess of the type of Christ. The
so-called Black Virgin is not a real
type, but rose from the mistaken
repetition of Madonnasgrowu brown

a with age. The picture in S. Ma/ria
Maggiore (chapel of Paul T.) was
certainly once (IXth century)
painted light ; but later copies,
particularly when darkened by age,
will give the impression of a deep
brown complexion.

Some especially instructive By-
zantine easel pictures are to be
found in the collection at the Mioseo

i Cristiano of the Vatican, which
was founded by the late Monsig.
Laureani, and contains a great
number of small pictures, some of
them very valuable, of the school
of Giotto and the beginning of the
fifteenth century. As Rome pos-
sesses few examples of monumental
art of this period, these are a wel-
come supplement. There, among
others, is the death of S. Ephraim,
painted in the eleventh century by

cthe Greek Umanuel Tzanfurnari.
There are also many Byzantine

d pictures in the Naples Museum.

In conclusion, we have still to

mention two works of art, of which
one was undoubtedly and the other
probably produced in Constanti-
nople itself. The altar-piece {Palae
d' Oro) in the ireasury of St. Mark's, *
at Venice (ordered in 976?), con-
sists of gold plates, lately put
together again, containing a con-
siderable number of figures, and
whole scenes in enamel. The style
is much the same as that of the
last-named mosaics ; the execution
exquisitely delicate ; in the absence
of gradations of tints, which were
unknown to the enamel work of
that time, the lights and the folds
of the drapery are expressed by the
most delicate gold hatchings. The
other is the so-called Dalmatica of
Charlemagne, to be seen in the
treasury of St. Peter, at Borne. Itf
is a deacon's robe, apparently of
the twelfth century, which several
emperors wore at their coronations.
On a ground of deep blue silk,
numerous groups of figures are
worked in gold, silver, and a few
colours ; in front, Christ in glory,
with angels and saints ; behind,
the Transfiguration on Mt. Tabor ;
on the sleeves, Christ as the dis-
penser of the Sacraments. It is a
remarkable relic of the time when
not only the Church, but the offi-
ciating priest was considered a
symbol, a theory expressed under
the veil of the most costly mate-
rials possible. Besides this, in the
Opera del Duottw at Florence is agr
piece of wax mosaic in miniature
dimensions, of the most delicate
execution, a marvel of minute
workmanship.

* Where I saw it in 1846. In the year
1854 there was [as there now is, 1879] a
covered altar-piece on the High altar
itself, with a back painted in the year
1345 [by Paolo, Luca, and Lorenzo of
Venice.— Ed.]

18

Romanesque Painting.

CHAPTER ni.— KOMA]SrESQUE STYLE OF PAINTING.

With the eleventh century paint-
ing enters as it were upon a new
life, and forms for itself a new style,
which we may call the Romanesc[ue.
Ill-conceived repetitions of the an-
tique are gradxially remodelled in
the spirit of modern times.

Alongside of the Byzantine style
which had become dominant in
Italy, there had always existed a
species of uneducated national art,
chiefly employed in the ornamenta-
tion of inferior churches which
could not afford the expense of
either mosaics or Greek artists. It
was from among the workers in
this style, which, in contradis-
tinction to the Byzantine, may be
called Old Lombardic, that the new
movement arose. The earliest mo-
numents of note are the waU-paint-
ings, mostly of legendary subjects,
in the reputed temple of Bacchus,

a S. Urbano alia OaffarcUa, at Some,
nominally of the year 1011. Simi-
lar fragments are to be found in

J the Lateran Museum, whither they
were taken from S. Agnese. The
chief characteristics of the new
style, marked action, and appropri-
ate, if not quite easy, gesture, are
already here in embryo. In spite
of incomplete execution, the sym-
pathy of the beholder is aroused ;
art begins to invent anew, after
long centuries of repetition and
combination. There is naturally a
mixture of acquired Byzantinism
even in this simple narrative wall-
painting ; and two later works, the
frescoes of the entrance into S.

eZorenzofuoH {-post A.TI. 1217, hardly
recognisable through modern resto-
ration), and those of the chapel of

dS. Silvestro in the front court of
SS. Quattro Coronati, both of the
beginning of the thirteenth century,
relapse again into a still more By-
zantine manner. Rude works like-
wise are the paintings of uncertain

date discovered in 1858, in the
lower church of S. Olemente, though «
in them we find occasional living
touches, as, for instance, a mother
embracing a child. But meantime
the new impulse had grown strong
enough to make itself felt even in
most monumental mosaic painting.
In S. Maria in Trastevere the semi-/
dome of the Tribune and the curve
of the Arch of Triumph, contain
the first important creations of the
Romanesque style in Italy (1139 —
1153) ; in spite of the rudeness of
the forms in these mosaics, we re-
cognise with pleasure a germ of
individual life in the appearance
of new incidents ; Christ and the
Virgin enthroned together are un-
Byzantine even in conception. The
Virgin between the Five Wise and
the Five Foolish Virgins, on
the fa9ade is of the same time,
extremely stiff. For the later
mosaics of the apse, ascribed to J
CavalKni, see below. The mosaics
of the choir, also, of S. Olemertteh
(before 1150) are, in their figures,
quite Romanesque ; the leaf orna-
ment in the semidome resembles
the splendid ornament in the Late-
ran, only in other colours and with
the addition of many little figures.
The mosaics in the niche in S.
Franeesca Bomana is merely a re-i
petition of older types, and ugly in
execution.

Still, either from historical causes
or because the right artist had not
yet appeared, this new Romanesque
movement produced, for some time,
no considerable result. The only
inspiration in art which can be
claimed for the time of Innocent
III. and his immediate successors
is found in the better works of the
Cosmati. Painting makes no ad-
vance. A relapse into the old By-
zantinism shows itself, for instance,
in the details of the large apsidsl

Rome — Venice — Parma.

19

a mosaics in 8. Paul (after 1216),
which appears to be a new arrange-
ment of what was placed there in
the fifth century; also in the mural
paintings just mentioned (p. 18).
In the mosaics [now completely
renewed] of the fagade of the Ca-

b thedral of Spoleto, which were exe-
cuted in 1207 by a painter named
Solsemus, the Byzantine is found
combined with a certain freedom
and dignity, especially in the ges-
tures of the Virgin and St. John ;
Christ appears again in the youth-
ful form for which the Byzantines
had substituted that of an old man.
The struggle between the two
styles took quite a different course
in diflferent districts. In Venice
the Romanesque, as we have seen,
came out splendidly in the mosaics

(5 of the vestibule of St. Mark,- al-
though at times falling back into
Byzantinism. In Parma the frescos

(2 of the Baptistery (excepting the
lower ones, which are unimportant
Giottesques) are among the most
remarkable early specimens of the
Romanesque style ; the work of
various hands, during the first half
of the thirteenth century, they
exhibit, especially in the narrative
parts at the edge of the cupola, the
characteristics of life and move-
ment, the passionate gestures pe-
culiar to this style, which is as yet
incapable of physiognomical ex-
pression. On the fa9ade of the

^Cathedral of Heggio (twelfth or
thirteenth century) are single fig-
ures of saints, mostly in repose, in
fresco, belonging indiscriminately
to both styles ; — also on the walls of

jS. Zenone at Verona, showing out
from behind half-ruined paintings
of the fourteenth century ; — in the

-vestibule of S. Ambrogio at Milan
(of various dates) ; and elsewhere.

I In the Saiyro speco at Snbiaco, its
picturesque interior derives a pecu-
liar charm from some inferior wall-
paintings of the twelfth and thir-
teenth centuries, with the artists'

names inscribed. There is here a
possibly genuine portrait of S.
Francis (the youthful monk with-
out the stigmata, on the right as
you enter the chapel of S. Gregorio),
which has indeed undergone fre-
quent repaintings.

DECAY OF BYZANTINE STYLE.

Before we begin to speak of Tus-
cany, let us reconsider the position
of art, as it was then developing
itself. A youthful style, which
has much to tell, but only a limited
capacity of expression, grows up
alongside of the style traditionally
hallowed by its devotion to reli-
gious purposes. It does not yet
aim at beauty and grace, but
neither is it confined to the severe
and ascetic ; almost unintentionally
the figures take a youthful form.
Nor does this style of art recognise
any peculiar sanctity in the well-
known sequence of Byzantine po-
sitions and dresses, in the fixed
types of sacred myths, etc. ; it gives
all according to its own impulses,
and forms for itself positions more
harmonious with Nature, flowing
garments, fresh, lively traits of
life. At first it is allowed its way
here and there on church walls,
with its simple few colours in dis-
temper. Next the workers in mo-
saic, who considered their method
inseparable from the Byzantine
manner, by and bye discover that
the new style has taken possession
of one of the patriarchal churches
in Rome, and is beginning to work
also in mosaic. From this point a
real struggle seems to have begun ;
the Byzantine party sometimes vi-
gorously uphold their old custom,
sometimes attempt to divert the
new style, mix it with their own,
and seek to take from it its true
bold character. In the works
above named at Parma and Venice,
it appears again quite uncontrolled,
yet alongside of it Byzantinism
2

20

Romanesque Painting.

asserts itself, botli in its stiff forms
as well as in its occasional conces-
sions to tlie new ; its complete de-
struction was brought about by the
school of Giotto. Its connection
with the most distinguished, most
traditionally sacred form of art,
mosaic, kept it up beyond its natu-
ral term. It was not till this art
had irrecoverably lost, not its per-
manence, but its predominance, till
all Italy was awake to the charm
of fresco, that then, too, the By-
zantine style perished.

TUSCANY.

At the beginning of the thirteenth
century, when the highest art of
the country, excepting in Pisa,
first arose, the Byzantine style was
undeniably supreme in Tuscany.
The merit of the Tuscan painters
of the time immediately succeeding,
with whom, following the lead of
Vasari, we used once to begin the
history of art, consisted less in the
immediate overthrow of the style,
than in the new life they brought
into it ; with a genera] Byzautinism
of conception, individual parts yet
became freer, more lively, and more
beautiful, till at last the old bonds
were altogether broken.

SIENA.

The importance of Siena's share
in the very early development of
art has become more doubtful since
a the date 1221 in the large Madowna
of Guido da Siena, in S. Domenico
(second chapel left of choir), has
been regarded as the falsification of
a date later by some fifty years.
The first beginning of beauty, and,
in the position of the child espe-
cially, of a feeling for lines, and a
life likeness in drawing, could only
have been a merit in Italy as op-
posed to the Byzantinism prevail-
ing in Siena, which one sees in the
oldest works of the Academy there.

(Crowe and Cavaloaselle moreover
consider the flesh parts of this pic-
ture to have been painted over in
the fourteenth century.) The con-
temporary pictures in the churches >
there and in the Academy are de-
cidedly inferior to the Madonna of
Guido. The student will find in
the painted covers of the account
books of the thirteenth century i
(Academy), works bearing the
names of artists of merely local
celebrity.

AREZZO AND PISA.

In Arezzo and Pisa also, Mwrga-
ritone of Arez^o (born about 1216)
and Oiunta da Pisa, who is said to
have painted in Assisi from the
year 1220, both mentioned by Va-
sari as the earliest examples of the
new movement, can claim no higher
place in the development of art.
GiwntaHs repulsive Crucifix va. 8.^
Bamieri e Leonardo, the thoroughly
feeble paintings of the same date in
S. Pie.ro in Grado, a few miles (j
nearer the sea than Pisa, and others
of a similar kind, show that the
advance made by the great sculptor
Niccolo Piscmo was no mere imi-
tation nor was it stimulated by
the painting of his immediate pre-
decessors at Pisa. We shall speak,
in their place, of the works as-
cribed to Giv/nta in S. Francesco
at Assisi. '

FLORENCE.

In Florence, the ornamentation
of the Baptistery was the principal
work of the first half of the twelfth
century and for a considerable time
later. The niche in the choir, the
mosaics of which were made after
1225 by a monk named Jmiolus,
contains an excellent and important
innovation ; kneeling figures on
Corinthian capitals are employed as
supporters of the central picture,
one of the first purely artistic con-

Tusea/ny.

21

ceptiona, for even though these
supporters may have a symbolical
sense, still their chief purpose is the
proper division of the space, a point
to which Byzantine art, devoted
simply to the subject, had paid no
attention ; they are the originals of
the figures supporting the arches
a and filling the niches of the Sistine.
In the cupola itself, the great
Christ by the Florentine Andrea
Tafi (born after 1250, died after
1320), though keeping to the By-
zantine outlines, is yet a very
remarkable figure, dignified yet lite-
like. The species of friezes in con-
centric lines, containing biblical
stories and groups of angels, which
occupy the rest of the dome, show
the work of four or five different
hands ; some is purely Byzantine,
and should most probably be attri-
buted to the Greek Apollonius, who
came, according to Vasari, from
Venice; some is pure Romanesque,
and reminds us of the Baptistery at
Parma; other parts again are of
mixed styles. (A great part has
lost its original character by restora-
tions.) Besides this, mosaic here
begins to serve the purposes of
architecture in friezes, balustrades,
and other details of building.

In the time of the crisis which is
commemorated by this monument
of art, fell the early years of the
Florentine [Cenui di Pepi, com-
monlyoalled.— Ed.] Cimaiwe (1240?
tUl after 1302). There is no trace
in his works of decided opposition
to the Byzantines ; even in his last
and greatest work, the Christ be-

fttween the Virgin and the Baptist,
in the niche in the choir of the
Cathedral at Pisa, he follows the
usual arrangement almost entirely.
But within the traditional limits
there is a movement towards beauty
and life. His two great pictures
of Madonnas made an epoch in

c Christian art. One now in the
Acadeimy at Florence does not in-

deed equal Guido of Siena in the
freedom and skilful arrangement of
the principal figures ; but it shows,
especially in the angels' heads, that
the master had a clear perception
of the causes and elements of
human grace. The other, in ;S. M. ,
Novella (Cap. Ruccellai, in the right ^
transept), is far superior, and more
unconscious; here we see the be-
ginning of a proper feeling for
nature, which can never again be
satisfied with the conventional re-
presentation of a narrow series of
facts. We fully comprehend, on
seeing this great picture, the over-
powering impression which it made
on its contemporaries, as though it
was a vision from above. There is
in it so little that is displeasing to
modern feeling, even the unpre-
pared and uninitiated eye, that
hardly any altar-piece of later times
can compare with this in solemnity
of impression and a touching mix-
ture of dignity and grace.*

Bat Cimabue first displayed his
whole capacity in the frescos of
the upper church of S. Francesco
at Assisi. These are unfortunately
much injured, so that each indi-
vidual picture requires a special
effort of imagination. Following
the very careful researches of Crowe
and Cavalcaselle, we have before
us in the wall pictures of Assisi, a
continuous series in which the
advance of art from Oimabiie's im-
mediate predecessors up to Giotto
can be observed. They divide the
pictures into the following groups :
( 1 ) in the nave of the Lower Church, «
the life of Christ and S. Francis (in
Vasari erroneously attributed to
Cimahue), by a rude hand some-
what like the painter of S. Piero in
Grade : in the Upper Church ; (2)
the southern transept, on the west-

* No other pictures ascribed to dmainie
are now regarded as genuine. The S.
Cecilia, with the scenes of her martyrdom
Ufa^i, No. 2), is far too free for him.

22

Romanesque Painting.

em wall, the Crucifixion, appa-
rently by Qivmta Pisamo, and in
the same antique feeble style the
other remains on this and the south
wall ; here are the scanty traces of
a Crucifixion of Peter, and a fanci-
ful scene of Simon Magus driven
about in the air by demons ; (3)

<''t\ie paintings in the choir, Scenes
out of the life of the Virgin, of
uncertain authorship, forming the
link with the better paintings,
those most resembling Cimabite in
the northern transept ; the remains
of a Christ enthroned, of a throne
with the symbols of the Evangelists
and winged skeletons ; (4) by Ci-

^mdbm himself: there are a. Ma-
donna with four angels among the
Giottesque pictures on the west
wall of the southern transept of

"the Lower Church; (5) the three
ceiling paintings, with figures, of
the Upper Church ; in the transept,
the four Evangelists with angels,
aU seated writing, bending towards
a tower-crowned city, much in-
jured, in the style of the northern
transept ; in the 3rd compartment
of the curved ceiling, counting
from the door, the painting men-
tioned in the volume on architec-
ture, on account of its decorative
effect ; circular pictures of Christ,
of the Virgin and two Saints, sup-
ported by angels represented as
Victories, encircled by festoons
issuing from vases, borne by naked
Genii; in the first arch from the
door the four Fathers of the Church
dictating to their copyists ; the two
last arches in a more advanced
style, bright colouring, and con-
ceived in a manner which recals

^ the Roman Mosaics of Rusutti and
Gaddo Oaddi (born about 1259, died
after 1333). Next (6) come the
two upper series of wall pictures
in the body of the buUding, with
sixteen histories of the Old and
sixteen of the New Testament ;
then the entrance wall with the
Ascension and the Feast of Pente-

cost, under the medallions of SS.
Peter and Paul. These almost en-
tirely ruined works, the latest of
which Vasari espeoiaUy extols as
the production of Oiinabue, are
probably the work of various hands
under the influence of Cimabue.
Energetic gestures, a fresh and
lively treatment of incidents, with
a telling arrangement of groups,
strike us as forcibly as do parti-
cular trivial and coarse traits which
one usually expects only in the
school of Oiotto. Lastly (7), the
lower series of wall pictures in the e
body of the building, the Life of
S. Francis, one of the most detailed
cyclical representations of the mar-
vellous legend. In the beginning
of this series of pictures (not in-
cluding the first picture/ we recog-
nise in the technical execution as
well as in the artistic conception,
an immediate connection with the
upper cycles ; in the continuation
of the narrative, the transition to
the method of Giotto, to which the
five last and the first pictures of
the series approach so nearly, that
we must attribute them to him as
their author, though certainly in
the period of youthful effort and
comparatively imperfect technical
experience.

Great diversity of feeling existed
among the immediate contempo-
raries of Cir/nibue, as to their ac-
ceptance of the new element intro-
duced by him. The unknown
author of the mosaics of the Tri-
bune of S. lliniato at Florence/
(1297 ?) is a stiff Byzantine ; the
only beginning of any feeling for
nature is in the figures of the ani-
mals, which people the green
meadow ground of his picture (now
entirely renewed so that the origi-
nal character ia quite destroyed).
On the other hand Gaddo Oaddi' s
Lunette, with the Coronation of
the Virgin within, above the prin- g
eipal entrance of the Cathedral,
shows, in spite of the full splendour

Buccio da Siena.

23

of the Byzantine method, the deep
impression which Oimahuis Ma-
donnas had produced. The mosaics
of the pulpits in the transepts of
" the Cathedral of Pisa are still more
in Giotto's style. (Annunciation
and Madonna with angels.)

SIENESE SCHOOL.

About this same time the Sienese
school also shows its future ten-
dency. Contemporary with Dioti-
salvi was Duccio [living 1282 to
1339], whose great altar-piece (1308

6 — 1310), now divided, is set up in
the Cathedral (at the two ends
of the transept), on the left the
Madonna with angels and saints ;
on the right the stories of Christ in
many smaller pictures.* If to
produce individually beautiful ob-
jects were the highest purpose of
painting, Duccio would have ex-
celled all the thirteenth and four-
teenth century, not even excepting
Orcagaa. Great must have been
his ]'oy, when he found himself
capable of reproducing for his asto-
nished contemporaries the beauty
of the human countenance and the
balanced grace of lovely movements
and attitudes by his own methods
(and not by following antique
models, like Niccolo Pisano). Yet
his method is still Byzantine, and
in his historical compositions he
rather, strictly speaking, gave life
to the traditional subjects of the
school than introduced any new
ones. Whether he produced much
or little else besides this altar-
piece, he undoubtedly gave the
tone to the school of his native
city during a whole century. By
his contemporary Tlgolino there is
nothing authentic to be seen in
Italy, since the altar-piece in Or-
sanmichele is declared not to belong
to him. By Segna there is an altar-

c piece at Castiglione Piorenti/no.

* The predella pictures are in the sa-
cristy.

ROMAN MOSAICS OF XIII. CENTURY.

Borne was about this time the
scene of a remarkable and original
movement, which suggests the idea
that the history of art might have
followed quite a different course
but for the catastrophe which re-
moved the Papal chair for seventy
years to the banks of the Rhone.

Between 1287 and 1295 the monk
Jaedbus Torriti completed the great
mosaic of the Tribunes of the
Altars in the Lateran and S. Ma/ria d
Maggiore. The former is stiU mo-
notonous and faulty as to grouping,
but remarkable for its expression
of enthusiastic adoration. [Crowe
and CavalcaseUe regard it as an
older work merely restored by Tor-
riti ; and the narrow parts between
the windows also as the work of a
master (the monk painted on the
left) before Torriti's time.] The
latter is one of the grandest pro-
ductions of the pre-Giottesques,
especially the circular picture in
the centre in blue starred with
gold; the Virgin, while being
crowned by Christ, lifts up her
hands in an adoring, and, at the
same time, modestly deprecating at-
titude. In addition to the beauty
and the sense of motion expressed
in the forms, there is, especially in
the angels, which remind us of
Cimabue, a truly lovely expression,
and in the arrangement of the
whole, the ground and decoration,
fuUness and freedom which Cima-
bue had awakened anew in full
force. Especial attention also
should be given to the mosaics of
the Oosmati, whose work in archi-
tecture and sculpture likewise is of
great excellence. By Jacob there e
exists a half-length picture of the
Saviour, simple in its line, over the
right-hand side-door in the vesti-/
bule of the Church at Civita Cas-
tellana, and the small picture of the
Saviour between two slaves, refer-
ring to the order of the Trinita-

24

The Gothic Style.

rians, on the porch now belonging
a to the Villa Mattei on the Ooelian ;
by Johamms is the Madonna on the
SDurand Monument in S. Ma/ria
esopra Miiierva, and of the Cardinal
Consalvo in S. Maria Maggiore,
equally noble and graceful Out
of the School of the Cosmati must
have arisen Fietro Gavallmi, to
whom Vasari attributes the lower
mosaics in the Tribune of S. Maria
in Trastevere, the single figures
from the story of Christ and the
Virgin. Here, as in the Tribune,
similar in style, of S. Grisogono
d(tihe fragment of a Madonna be-
tween S. Chrysogonus and S.
James), we recognise the transition
to the manner of Giotto. The
narrative mosaics of the old fajade
e of S. Maria Maggiore (conveniently
seen from the upper loggia of the
new one), completed about 1300 by
Filippo Busutti, are, in truth, not
very full of invention, but are re-
markable for their free arrangement

as architectural decoration, remind-
ing us here of the Pompeian work.
The lower series are perhaps by
Oaddo OoMi, to whom Vasari at-
tributes the whole. Crowe and
Cavalcaselle consider them related
to the pictures in the vaulting in
the Upper Church at Assisi.

While in these works at Home
the Byzantine style appears to be
nearly conquered, at Naples it still
predominates. The beautiful mo-
saic of a Madorma with two saints/
in S. Restituta (one of the chapels
on the left), is a specimen of this
style (about 1300), resembling Ci-
mabue in its feeling of dignity and
lifelikeness. A chapel in the Ca-
thedral (C. Minutoli, in the right;
transept) is said to have been
painted by a contemporary of the
latter, Tommuiso degli mtefam
(1230-1310?); but ancient and
modern repaintings have quite de-
stroyed the character of the work.

CHAPTER IV.— THE GOTHIC SlYLE.

Italian painting, in this its first
great development, which moves
parallel with Gothic art generally,
and which in this branch also we
designate as the Gothic style, has
one great external advantage over
painting in the north, that here it
is not merely the servant of archi-
tecture, but possesses its own inde-
pendent life. Wall surfaces are
placed at its disposal, such as
are never granted to it in the
north, at least in large churches,
and its assistance is counted upon
as an essential means of decora-
tion. Painting, as a special art,
attracts to itseli the greatest genius
of the time, Giotto. The position
which it holds in relation to the
other arts, even in the thirteenth
century, is wonderfully elevated
by his performances ; the taste for

fresco in large series of pictures,
which he and his followers did so
much to strengthen, laid the firm
foundation, without which Michael
Angelo and Raphael would never
have accomplished the works in
which their greatness was most
displayed.

Giotto lived 1266-1337. Among
his most important pupils and im-
mediate followers, chiefly Floren-
tine, we may name Taddeo Gaddi
(born about 1300, died 1366) ; Gi-
ottino, or (? Tommaso di StefaTw),
1324, tiU after 1395 (?) ; * Giovanni
da Melano [of Milan, but born at
Caverzaio, near Como, and a resi-

• [Under the name of Giottino Vasari
seems to have confounded two painters,
Maso di Banco (134S-60) and Giotto dl Ste-
fano, of whom there are records as late
as 1369. See Qaet. MUanesi, new ed. of
Vas., Svo, Hor. 187S, tom. i. p. 622.— Ed.]

Giotto — Florence.

25

dent at Florence in 1365 and 1366.—
Ed.] ; Atidrea Orcagna (or Orgagna,
either a special surname, money
changer, or else contracted from
Aroagnuolo, properly Andrea di
Cione), bom about 1308, died in or
soon after 1368 ; his brother, Nardo ;
then Agnolo Oaddi (died 1396) ;
Spindlo Aretmo (born about 1333,
died 1410) ; [Jacopo da Gasentino
(flourished in the middle of the
fourteenth century) ; Bernardo
JDaddi (born about 1300, died about
1350). — Ed.] ; Antonio Yeneziano,
Framcesco da VoUerra (both of these
worked in the Campo Santo at
Pisa towards the end of the four-
teenth century) ; Niccolb di Pietro,
and others. We may also provi-
sionally include among these the
painters who worked with them in
the Campo Santo at Pisa, the Sie-
nese Ambrogio and Pietro di Lo-
renso, whom we shall come back
to when we treat of the school of
their native city.

We proceed to enumerate the
most important works according
to the places where they are found,
always giving the name of the
master to whom they are attributed
by tradition. When it is necessary
to be acquainted with the contro-
versies concerning these names, they
will be alluded to as briefly as may
be. Some of the more important
altar-pieces are mentioned here
also.

PADUA.

a The chapel of S. Maria delV
Arena; the interior entirely co-
vered with the frescos of Qiotto
(of 1303, therefore his earliest
great work). The Life of the Vir-
gin, and the History of Christ in

' many pictures ; on the skirting,
done in grey on grey, the allego-
rical figures of the Virtues and
Vices ; on the front wall, the Last
Judgment. [The wall-paintings in
the choir by a feeble follower : in
the Last Judgment also some parts

by the hand of scholars — Crowe
and CavalcaseUe] (Best light in the
morning). Remains of paintings
by Qiotio in a hall near the Sa- b
cristy of II Santo. — In the dead
house of the Eremitani, a Madonna c
in the Giottesque style.

RAVENNA.
S. Giovcmni Evangelista. The<^
vaulting of the 4th chapel on the
left ; in each of these divisions a
Father of the Church and an Evan-
gelist seated at large desks (accord-
ing to Crowe and C. by Qiotto).

FLORENCE.

S. Oroce. In the choir: Agnolo^
Qaddi, Legends of the True Cross ;
[on choir arch Saints and Prophets
by Agnolo Gaddi. — Ed.].

In the ten chapels on the two
sides of the choir :

1st chapel on the right (the
smaller CappeUa Bardi) [outer side,
in a recess, St. Francis receiving
the Stigmata. — Ed.] : inside. Story
of S. Francis, by Qiotto. Upon the
altar, always covered, the figure of
S. Francis attributed to Cimdbue
[more probably by Margheritone
d'Areezo^.

2nd chapel on the right (G. Pe-
ruzzi) : the Story of John the Evan-
gelist (on the right) and John the
Baptist (on the left), quite cleared
of whitewash since 1863, by Qiotto.

3rd chapel on the right : half
eifaced representation of the Fight
of St. Michael and the heavenly
host with the Dragon, fipely con-
ceived ; author unknown.

[Ist chapel on the left, of old
Tosinghi, in a recess above the
entrance : Virgin in a Mandorla,
by Qiotto.— Ed.].

4th chapel on the left (C. dei
Pulci) : Bernardo Daddi, Martyr-
dom of S. Stephen and S. Lawrence.

5th chapel on the left (C. S.
Silvestro) : Qiottino, on the right,
three miracles of S. Silvester; on
the left, niches over a tomb with

26

The Gothic Style.

somewhat remarkable frescos of a
Last Judgment and a Deposition.
[Probably by Maso di Banco.]

At the end of the right transept
the great BaronceUi chapel [the
entrance wall of which is covered
with frescos by Taddeo Gaddi
(recovered from whitewash in
1868-9).— Ed.]: AltarpieoebyGJoito.
Frescos with the Life of the Virgin
by Taddeo Gaddi; the figures on
the ceiling by the same. (The
Madonna deUa Cintola on the wall
to the right is by Basticmo Main-
ardi.) The paintings by Taddeo
are among the best of the school ;
the treatment of the grouping and
the drapery here is especially re-
markable for its boldness and its
beauty.

In the C. del Sagramento, or
Castellani, the last on the right;
on the ceiHng the Evangelists and
the Doctors of the Church (very
much like Agnoh Gaddi, Cr. and
Cav.) ; on the walls, only cleared
from whitewash in 1868-69 ; on the
right, scenes from the Life of S.
Nicolas and John the Baptist ; on
the left, S. John the Evangelist
and S. Antony; according to Va-
sari, by Stamina (really by Agnolo
Gaddi.— m.).

In the passage before the Sa-
cristy, among other things, a
carved crucifix attributed to
Giotto.

In the C. Medici at the end of
the passage, a number of altar-
pieces of the end of the fourteenth
century. [Amongst them one by
Orcagna, and parts of another by
his pupil, Niceola Tonvmasi, and a
coronation of the Virginj by Lo-
renzo di Niccolo. — Ed.]

In the Sacristy, on the wall
to the right, the Scenes of the
Passion, probably by Niccolb di
Pietro Gerini; the lower ones
seem to be by an energetic, but
somewhat rude Giottesque ; above,
the kneeling disciples and angels,
round the risen Christ, very beau-

tiful. In the altar chapel (Rinuo-
cini) of the Sacristy, the Life of
the Magdalen and of the Virgin,
and as well as paintings on the
ceiling and the altar picture, date
1379, of the school of the Gaddi
(ascribed by Vasari to Taddeo)
[commissioned of Giovanni da
MeXano in 1.S65].

In the former refectory of the
cloister adjoining (now a ware-
house for the offices established in
the cloisters) a large, and, on the
whole, well preserved Last Supper
of Giotto. One of the purest and
most powerful works of the four-
teenth century, which has always
made me wonder why Giotto's au-
thorship should be so persistently
refused to it, while no other can be
named. Above are the Crucifixion,
the pedigree of the Franciscans,
and some scenes from the legend of
S. Francis and S. Louis, by inferior
hands. [Crowe and C. ascribe the
Last Supper to Taddeo Oaddi;
the Crucifixion to Niccolb di Pieiro
Gerini^

Almost all these frescos can be
best seen by morning light.

S. Maria Novella. CappeUa"
Strozzi, at the end of the left tran-
sept ; the Last Judgment (at the
back). Paradise (on the left) and the
altar-piece (1357) by Andrea Or-
cagna : Hell (on the right) by hia
brother Nardo. The Paradise is
remarkable as giving the highest
form of beauty and grace in the
shapes of the faces attained by the
school.

Chiostro verde : The history of i
Genesis painted in green on green,
by Paolo Vccello and Dello Delli.

Adjoining the cloister, the cele-
brated Oappella degli Spagnuoli,e
painted 1322-1355, according to
Vasari by Taddeo Gaddi and Si-
mone di Martina of Siena, which
is now denied. According to
Crowe and C. the ceiling pictures
of the ship of the Apostles, the

Giotto — Florence.

27

Kesurrection and the Descent of
the Holy Ghost, are probably exe-
cuted by Antonio Veneziamo, from
a composition of Taddeo; the As-
sumption, by a feeble contempo-
rary of the same school, showing a
resemblance to the Saviour in
Limbo on the northern wall, as-
cribed by Vasari to Simone. The
wall-pictures appear to indicate a
combination of Florentine and Sie-
nese influences, and resemble the
paintings attributed to Simone in
the Campo Santo at Pisa (the
upper series of the life of S. Ra-
nieri), probably by Andrea da Fi-
renze. It is a masterpiece of the
school, considering the general ar-
rangement, the richness of the com-
position in the Biblical scenes, and
the allegorical meaning of the two
pictures on the side walls ; the
Triumph of S. Thomas Aquinas,
and the Church Militant and Tri-
umphant. (Best light : between
10-12.)

Besides less important remains
in difierents parts of the Cloister :
in the so-called old refectory, a
Madonna enthroned with four
saints, more Sieuese than Floren-
tine in character, and

In a little vaulted room of the
Farmacia, some rude frescos of
the Passion by Spimello Aretino.
(Entrance from the Via Scala. )

In the Vault of the Strozzi

family underneath the OappeUa

degli Spagnuoli : the Crucifixion,

Adoration of the ChUd, Evange-

a lists and Prophets by Oiottino.

h San Miniato al Monte. Besides
several unimportant remains on
the walls of the church.

The Sacristy planned by Spinello
with the story of S. Benedict
(about 1385).

C Carmine. In the cloister : a
Madonna between saints ; the
founders underneath, a beautiful
fresco, probably by G-iovanni da
Melano. In the Sacristy : some-

what slight wall-paintings of the
Life of S. Cecilia, in the style of
the Bicci.

Sam Felice [above the lodge of the d
nuns and facing the high altar, a
fine crucifix by Giotto. — Ed.].

S. Felicitd,. Some buildings at- «
tached to the back of the church
on the right ; in an old chapter-
room, Christ crucified, with his
disciples ; in a passage near, an
Annunciation ; the last almost
worthy of Orcagna.

5th altar to the right : Ma-
donna, enthroned between saints,
altar-piece in 5 parts by T. Gaddi.

In the Sacristy, a large Crucifix,
Giottesque.

Ognissanti : [a crucifix by Giotto. /
• — Ed.] In the Sacristy: Fresco [pro-
bably by Niccolb di Pietro Gevini. —
Ed.], Christ crucified, with angels,
saints, and monks. [In the choir.
Madonna with saints, by B. Daddi.
—Ed.]

S. Ambrogio. Second altar ong
the right. Madonna nursing the
child, with two saints, by Agnolo
Gaddi (?).

3rd altar on the right : Descent
from the Cross, by Oiottino (?).

Bigallo. In the steward's room : h
Frescos by three different hands,
below it a Misericordia by Oiot-
tino (?) [a triptych of the Madonna,
with gospel scenes, dated 1333,
by Taddeo Gaddi. — Ed.]; the naive
picture of the Orphans is by a
late Giottesque of the fifteenth
century, Yentv/ra di Mora. *

Cathedral. The Apostles audi
saints under most of the windows
of the whole circle of chapels, like-
wise by a late Giottesque, Lorenzo
di Bicci. On one of the ^ont pil-
lars the beautiful S. Zenobius [of
1367-8, by Orcagna.— Ed.].

* Fiero Chelini was the painter of the
decorations.

28

The Gothic Style.

"■ S. Maria la mujva. Outside,
near the door, the two ceremonial
pictures by the son of Lorenzo Bicoi,
Biccd (U Lorenzo, much restored.

i Orsanmichele. In the tabernacle
of Orcagna the very beautiful votive
Madonna, formerly ascribed to
Ugolmo da Siena, more Florentine
than Sienese in character. (Fiiat
half of the fourteenth century.) [Ac-
cording to Crowe and 0. more likely
Don Lorenzo Monaco, though docu-
ments discovered by Sign. G. Mi-
lanesi suggest the authorship of
Bernardo Daddi.Y

" Palaso) del Podestd, (BargeUo),
now Museo nazionale. In the
Chapel : the frescos of Criotto ; on
the side walls scenes from the le-
gends of Magdalen, over the en-
trance the picture of Hell, opposite
to it Paradise with the celebrated
portraits of Dante, Brunetto Latini,
and Corso Donati. All very much
injured by former whitewashing
and the introduction of a mezzonin.
The restoration is older and not so
good as what has been done since
for the decorative paintings of the
Palazzo ; Dante's portrait, for in-
stance, is quite ruined.

Single remains of frescos, also
easel pictures in various churches ;

d several of the latter in the Gertosa
(older side-church).

The most important of the large

e altar-pieces in the TJfHzi : No. 6,
Christ on the Mount of Olives,
Griottesque, perhaps Lorenzo Mon-
aco. No. 7, Mourners round the
body of Christ, apparently by the
painter of the Orphans in the
Bigallo. Without a number, the
valuable altar-piece of Giovanni da
Melano from the Ognissanti.

f Jn the Accademiadelle belle Arti:
E,. Sala dei quadri grandi. No. 4
et seq. ; the doors of the shrine

* These documents, though clear in
themselves, are not proved to refer to the
Madonna in question,— Ed.

in the Sacristy, from S. Croce, by
Taddeo Gaddi, after Giotto's com-
positions. No. 15, A Madonna
enthroned, by Giotto. No. 31
(called Taddeo Qaddi), the great
Deposition, by Niccolh di Pietro
Qerimi. No. 30, the Annunciation,
by Lorenzo Monaco. No. 33, Ma-
donna with Angels and Saints, by
Agnolo Gaddi. (Crowe and Cav.)

PISA.
The Camipo Santo. Beginning from j
the chapel at the eastern small end,
there follow in order : —

The Ascension, Kesurrection, and
Passion, much painted over. Ac-
cording to Vasari, by Buffalmacco,
a painter [whose existence as early
as 1351 at Florence is proved by
records.- — Ed.], but to whom Vasari
ascribes the most diverse works,
among others, Pietro di Puccio's
pictures from Genesis. Crowe and
C. consider them the work of a
feeble hand of the end of the four-
teenth century, in style closely
resembling the Sienese pictures on
the south wall.

South mall. Triumph of Death, h
Last Judgment, and HeU. The
famous pictures ascribed to Orcagna
and his brother Nan-do. According
to Crowe and Cav. by a Sienese
artist, impossible to distinguish
from the Lorenzetti.

The Hfe of the hermits in the
Thebaid (about 1340-50), by Pietro
Lorenzetti and Ambrogio (also called
di Lorenzo, erroneously by Vasari
Laurati), of Siena.

The three upper pictures of the
legends of S. Ranieri, according to
Vasari, by Simone da Siena, com-
pleted, according to documents, in
1377, by a certain A ndrea da Firenze,
whose style, however, shows essen-
tial resemblances with that of the
Sienese master ; thus we find
single heads of angels and women
altogether Sienese in style ; so is
perhaps also the want of skill in
the arrangement.

Giotto and the Giottesques.

29

Antonio Veneziano. The three
lower pictures (1386-87).

Spinello Aretirw. Three pictures
with the legends of SS. Ephesus
and Potitus (1391).

Francesco da VoUerra (formerly at-
tributed to ffioSo). The remarkably
spirited Story of Job (1370 et seq.).
a North wall. Pietro di Puccio,
formerly attributed to Buffalmacco,
certainly not by the painter of the
Passion mentioned above : God as
Preserver of the World, and the
stories of Genesis as far as Noah's
sacrifice : also the Coronation of
the Virgin over the entrance of a
chapel 00 the same side. (The re-
maining stories from the Old Testa-
ment, by Benozzo Gfozzoli, will be
mentioned later. )
b In S. Francesco: the ceiling of
the choir, with the Saints floating
in pairs opposite each other, and
the allegorical figures of the Virtues,
by Taddeo Oaddi (1342).

In the chaptSr-house the much-
injured but remarkable scenes of
cthe Passion, by Niccolb di Pietro
Gerini (1392); on the roof, half-
length figures in medallions.
7 In S. Caterina: third altar on
the left, a Glory of S. Thomas, by
Francesco Traini, whom Vasari
calls Orcagna's best pupil [but
whose practice from 1322 to 1345
shows that he was the contem-
porary rather than the disciple of
Orcagna. — Ed.].
g In S. Martina: Frescos of the
fourteenth century, in a side chapel
on the right, and over the choir of
the nuns.
f Old pictures in S. Sanieri, in the
collection of the Academy {Traini' s
S. Dominic) and in private hands.

PISTOJA.
a In S. Francesco al Prato, on the
vaulted roof of the Sacristy, are
painted four saints between the
richly-adorned groining of the
arches, somewhat in the style of
Niccolb di Pietro.

d

The adjoining chapter-house con- h
tains frescos by various hands,
among others by Puccio Capanna
[admitted a member of the Floren-
tine guild in 1350. — Ed.] : the vault
is altogether occupied by the Beati-
fication of S. Francis ; on the
principal wall, Christ on the Cross,
which spreads out into branches,
with figures of saints, &c.

PRATO.

In the Cathedral (Pieve) the first i
On the left is the Cappella della
Cintola, painted by Agnolo Gaddi,
1365, with the Life of the Virgin
and the legend of the Girdle. Chef-
d'oeuvre of the school.

Chapel on the left next the choir :
rude legends of fourteenth century.

Chapel on the right next the
choir : Life of the Virgin and
legends of St; Stephen, insignificant
productions of the fourteenth cen-
tury ; painted over. [Crowe and
Cav., on the contrary, declare them
to be interesting works perhaps
begun by Stamina and completed
by Antonio Vite.']

In S. Francesco : what was ior-j
merly the chapter-house, painted
by N. di Pietro Gerini, the Passion
and Legends of S. Matthew and S.
Antony of Padua. A Crucifixion
and the ceiling certainly by Lorerao
di Niccolb. Cr. and Cav.

AREZZO.

In the Cathedral, a niche of the k
right side aisle, painted by Spinello,
but much painted over. (The Christ
Crucified with Saints. )

In S. Agostino, in a former chapel, I
high up on the wall : Madonna, by
Spinello, part of an Annunciation.

In S. Domenieo : frescos, much m
painted over, by Parri Spinelli, son
of the former, near the door ; the
Christ Crucified with Saints, and
two Apostles, both pictures sur-
rounded by martyrdoms with
smaller figures.

In the first court of the Cloister n

30

Ths Gothic Style.

of 8. Berna/rdo .- the legends of this
saint, in monochrome, reminding
us of the earlier painters in the
Chiostro verde in S. M. Novella ;
ascribed to Vccello.
a In S. Francesco: Cappella di S.
Michelangelo : remains of wall-
paintings by Spmdlo, St. Michael's
Combat with Lucifer. In the choir,
on the ceiling, the Evangelists, pro-
bably by Bicci di Lorenzo.

What else is to be found in other
towns in Tuscany is, to judge from
all we know, not important. We
shall speak later of Siena, which
developed a style peculiar to itself ;
for the present we must mention

bSpmello's frescos in the Palazzo
puhblico, Sala di Balia : the history
of the Emperor Frederick Barba-
rossa and Pope Alexander III. The
procession of the Pope, whose rein
is held by the Emperor, is one of
the best ceremonial pictures of
Giotto's school ; for some of the
other scenes it is less easy to
answer ; the rest clearly shows
itself to be the work of an inferior
painter (1 407-8).

c In the Academy at Siena are a
few smaU pictures by Spinello ;
among others, No. 245, a Death of
the Virgin, which shows the supe-
riority of the school of Giotto in
composition compared with the

^ S. PUro a Megognano at Poggi-
bonzi : in the Sacristy a remarkable
picture [Virgin and Child with
Angels] by Taddeo Gaddi (1355).

ASSISI.

S. Francesco. For the Upper
Church, comp. pp. 21-2.
e The Lower Church. — On the prin -
cipal vaulted roof over the tomb
the Allegories of Poverty, Chastity,
and Obedience, along with the
Beatification of S. Francis. Chef-
d'ceuvre of Giotto.

In the northern transept, remains
of a large and very rich Cruci-

fixion, given to Pietro Cavallini,f
who, however, in the mosaics men-
tioned p. 24, shows himself too
stiff to be capable of this work
[according to Crowe and Cav., by
Pietro Lorenzetti] ; farther on, the
Descent from the Cross, the Depo-
sition, and S. Francis receiving
the Stigmata ; on the vaulting,
small pictures of the Passion (per-
haps by Puccio Oapanna). [In the 9
neighbouring chapel of Napoleon
Orsini, next to the sacristy, half
lengths of the Virgin and Child,
between S. Francis and S. John
the Baptist, by Pietro Lorenzetti. h
—Ed.]

In the southern transept the pic-
tures from the story of Christ, and
S. Francis, on the east and west
wall, attributed by Rumohr to
Giovanni da Melano, by Crowe andi
Cav. to Giotto.

In the Cap. del Sagramiento {a,-pBej
of the southern transept), the his-
tory of S. Nicolas and the Apostles,
by Giottino (?) ; [altar-piece of the
Virgin and Child, between S. Fran-
cis and S. Nicholas, by Pietro
Lorenzetti. — Ed.] ; in that of the
Magdalen (in the 3rd chapel onii;
the right) the lite of the Magdalen
and S. Mary of Egypt, attributed
to Buffalmacco [according to Crowe
and Cav. by Puccio Gapanna] ; in
the Cap. Albornoz, southern apse
of the vestibule, mechanically exe-
cuted frescos of the fourteenth
century, also erroneously called
Buffalmacco.

In the chapel of S. Martin (IstZ
chapel on left), the legends of the
Saints, in ten pictures, one of the
best works of the Sienese school,
by Simone di Martino. Crowe and
Cav.

Over the chancel : the Corona-
tion of the Virgin, by Giottino, who
is also the author of several other
single figures here.*

* I advise every lover of art, if he have
the good fortune to come to Assist on
such a wonderful spring day as I had iu

Characteristics of the CHottesque Style.

31

I In S. Chiara ; on the four divi-
sions of tlie ceiling of the central
dome, female Saints arranged two
and two, surrounded by angels, by
CHottino (?) According to Crowe and
Cav. more feeble than the frescos
of the Cap. del Sagramento in S.
Francesco.

i In S. Peter, on the inside of the
fa9ade, the Navioella, originally a
composition of Giotto, although now
quite changed into a modern form
by repeated renovations, and even
new arrangement of the mosaics.

c In the Stanza Oapitolare of the
Sacristy : separate panels, taken
out of an altar-piece by Giotto.
Probably the Ciborium of Cardinal
Stefaneschi {1298, Crowe and Cav.).

d In the Vatican, the collection of
old pictures in the Miiseo Oristiano.

e In S. Giovanni in Laterano : on
one of the first pillars of the outer
side aisle to the right, a fragment
preserved of a fresco by Giotto :
Boniface VIII. proclaiming the bull
of Indulgence of the Jubilee of 1 300 :
with two followers.

NAPLES.
/ In the little church of the Jneo-
nomta, (not far from the Fontana
Medina) ; the paintings in the cen-
tral dome over the gallery to the
left of the present entrance (an-
ciently the vaulted roof of the west-
ern side-aisle), formerly ascribed to
Giotto : his authorship is contested
on account of several heads re-
garded as portraits (Marriage of
Louis of Tarentum and Joanna of
Naples, 1347), which certainly
would chronologically be a diffi-
culty : more than this, the church

the year 1848, to make his observations
hetimes. A second viait in 1853, in pour-
ing rain, made me bitterly regret all I
had formerly neglected. The lower church
was dark as night, only the golden robe
of S. l^VanciB gleamed down from the
vault above.

was not founded until 1352. Crowe
and Cav. suggest a second-rate pupH
of Giotto, the Neapolitan Bobertus g
de Oderisio, by whom there is a
Crucifixion in the chuch of S. Frarir-
cesco at Eboli. In seven divisions
of the ceiling the administration of
the Seven Sacraments ; in the
eighth (apparently) an allegory of
Christ and the Church . A master-
piece in the telling of the story by
a few incisive traits and truly dra-
matic clearness of representation.
Tolerably preserved (lately much
altered in tone by laying on of
varnish) and convenient to look at.
(Best view in the morning.) In
the same church there are various
remains of the fourteenth century;
as in the chapel left of the choir on
the vaulted ceiling ; the frescos on
the walls of the same chapel, of the
fifteenth century.

In S. Ohiara the miraculous pic- h
ture on the 3rd pier on the left, by
Giotto (?), perhaps the only remains
of his extensive frescos. In the
Municipio, but once in S. Antonio
Abate, St. Anthony enthroned, by
Niccolo Tommasi (1371).

In the large refectory adjoining, i
now Piazza S. TrinitE Maggiore,
Nos. 19-20, a, large wall-picture of
Christ enthroned between Saints,
Giottesque in style, [not improbably
by Cavallini. — Ed.] j

CHARACTERISTICS OF THE
GIOTTESQUE STYLE.
We may not seem justified after
this brief enumeration, in passing
on and endeavouring to describe
the general characteristics of the
School rather than to point out the
special peculiarities of individual
masters. But setting aside the
necessity to be brief, we reaUy can
hardly deal otherwise with artists
whose highest aim seems to have
been to perpetuate the peculiar
forms of their school. No painter
as yet had dreamt of freedom. The
school was destined to carry out

32

The Gothic Style.

fully and entirely its course of
thought and of painting in a given
form for a century, without essen-
tial advance or change in its
method of representation before it
broke down altogether under the
awakening spirit of the fifteenth
century, which gave free scope to
individual character. The school
only makes its full impression when
taken as a whole ; but then it
claims to rank amongst the greatest
monuments of our age.

It does not indeed move half-ab-
sent or satiated eyes ; but the mind
must go half-way to understand it.
No especial " Connoisseurship " is
needed, but a certain amount of
labour. Let us take, for instance,
the first work of the school which
meets the eye of the visitor to the
<s TJffizi at Florence, the Qethsemane
(No. 6, in the first gallery near the
door). Severe, apparently without
effects of light, individual character
or expression of feeling, this pic-
ture repels thousands of visitors at
once. Even when examined with
the glass it does not become more
beautiful. But perhaps some one
may remember other representa-
tions of the same subject, where
the three sleeping disciples are cer-
tainly arranged as to colouring and
effect of light according to all the
rules of refined art, but still they
are only three sleepers in idealised
drapery. Here it is clear that they
have fallen asleep while praying.
And many such traits of deep
meaning are to be found in the
works of this school, but only by
him who looks for them thought-
fully. We will now treat of some
special points.

Griotto's great merit did not lie
in the aim to express ideal beauty,
in which he was surpassed by the
Sienese (p. 23, b), nor in the power
of realistic execution carrried to
the point of illusion, in which the
most inferior modern painter can
surpass him, and in which the

sculptor, Giovanni Pisano, had ad-
vanced far beyond him in spite of
his far narrower scope. Single de-
tails are only given as far as is
necessary to express the whole.
Therefore we have as yet no de-
fining of the materials of which the
objects consist, no difference of
texture is given in drapery, archi-
tecture, flesh, etc. Even the
colouring follows a certain conven-
tional scale rather than the reaUty.
Red, yellow, and blueish horses,
for instance, in Spinello's frescos at i
the Gampo Santo of Pisa ; yellow
ground among other things.* In
general the colouring is fight, as
fresco requires, with clearer tints
for the light parts : the deep, rather
dull than transparent, tone of the
Byzantines was very properly given
up. (The most delicate execution
in fresco, on the whole, is that of
Antonio Veneziano, in the Campoc
Santo.) The drawing of the human
figure is carried out as far as is
required for the free expression of
mental and bodily action ; but the
latter is not yet represented for the
sake of its beauty and grace, but
for the sake of the subject. (The
very remarkable group of nude
figures in the Hell of the Oampod
Santo shows a naturalism of which
the first sign is to be looked for in
Griovanno Pisano. Similar, but less
free, is the history of the first
human beings by Pietro di Puceio, e
also there. The type of the heads
does indeed differ somewhat with
individual painters, and according
to the subjects of their pictures ;
but very much less than in later
painters who worked through con-
trasts and gradations of expression,
Giotto himself has a type always to
be recognised in men and women,
not unpleasant, but without any
attractiveness. The great Madonna
in the Academy at Florence is a/

* The dark i«d of much of the atmo-
sphere is only grounding, from which the
hlue has come off.

Charactenstics of the Giottesque Style.

33

good example of liis manner of
giving form and expression, especi-
ally in the profiles of the heads of

a angels. Also the picture in S.
Oroce. He individualises most,
perhaps, in his earliest great work,
the frescos of the Arena. In the
two Oaddis we constantly meet

6 with the same heavy chin. {Gap.
BaroTuxUi in S. Grace.) Andrea
Orcagna is the first to aim at real

c grace (Gap. Strozzi in S. Maria
Novella) ; in the Last Judgment
there the forms are more harsh and
decided. Individual character is
sometimes less, sometimes more dis-
tinctly marked ; has most accent
perhaps, in Antonio Veneziano. Spi-
nello, whose drawing is often coarse,
and who in parts of less importance
becomes entirely inanimate, has
little that is attractive in his heads.
The feeling for beauty, for melody
as one might say, is chiefly de-
veloped in the drapery, which, in
saintly personages, is essentially
ideal, just as the middle ages had
adopted it from the ancient Chris-
tian tradition. Not only does it
follow the pose and the movements
of the figures, but it posseses a
special, often unsiirpassable, beauty
of line, which essentially increases
the feeling of dignity and holiness.
The Last Supper in the ancient

d Befectory at S. Grace, contains some
of the best examples of this.

The scene is invariably ideal, and
suggested rather than realised iu
accordance with nature, not be-
cause art is in its infancy, for here
it already solves the most difiicult
problems, but because the painters
were quite aware that no men such
as they depicted, could really move
under such low-arched church
porches, between such small town
walls, doors, and trees, or on such
steep incMnes as they represented. *

* As regards perspective, their feeling
for the direction of lines was correct, but
they were not acquainted with its laws,
especially as to the necessity of assuming

But they gave what was needed to
make the story clear, simply and
beautifully (the Cathedral of Flo-
rence as the symbol of a church, in e
the G. degli Spagnuoli in S. M.
Novella) mostly in lines which har-
monised with the setting of the
whole picture ; so, for instance, the
plants and trees in a straight row
(Cap. degli Spagmtoli, Trionfo dellay
Morte, Ga/mpo Santa) ; the rocks
shaded oflf to make different planes,
and sharply marked, to divide the
different subjects. In the last
named picture there is a singular^
contrast between the carpet, im-
f oreshortened and without any per-
spective, under the group in the
garden, and the ground under the
party of riders, which is realistic-
ally represented, t But in another
sense also the feeling for space is
ideal. For Giotto space exists to be
filled as much as possible with rich
life, not for the sake of picturesque
effect ; it is merely a scene for ac-
tion . With him, as with Giovanni
Pisano, every action is developed
or imaged forth by the greatest
possible number of figures, so that
merely as regards space there is no
place for accessories. The school
is so rich in the best things that it
hardly knows what to do with its
wealth, and does not feel the need
of what is secondary. Again, the
close connection of the school with
architecture affords it far greater
freedom than in the North, and
larger surfaces to work on. In the
decoration of the lines of the
vaulted ceflings, in giving them
settings of ornaments and half-
length figures, painter and architect
so work together that they seem to

a definite distance of the spectator from
the picture, which discovery first enabled
the masters of the 10th century to achieve
a consciously correct perspective in their
drawing.

t It is a peculiarity of the Sienese
school, to represent all the patterns of the
drapery, in which they display remarkable
delicacy, quite flat, without any regard to
perspective and modelling,

P

34

The Gothic Style.

be but one person. In ceiling
paintings, by the way, we find as
yet no idea of f oresbortening. ( J»-
coronata at Naples : the master
fills the converging angles of his

« eight S-cornered lunettes, each with
a hovering angel, whose golden
garments harmonise splendidly with
the dark blue ground.)

Such were the oonditious out of
which the new conception of cha-
racter and action grew ; and this
is the great merit of the Giot-
tesque school. In feeKng it is not
more saintly or exalted than the
Byzantine, which sought to express
the supersensual and the eternal in
mummies. But the intention is
brought much more home to the
beholder, inasmuch as it is clothed
in a new and living expression.
Even for single figures, like the
Evangelists in the four corners of a
vaulted ceiling {e.g., the chapel of
the Madonna in the Cathedral of

b Prate), theGiottesques are no longer
satisfied with a symmetrical ar-
rangement, a book or an attitude ;
the lofty character of the subject is
given in the lite-like and noble turn
of the figure and the head, in the
expressive features, in the free and
yet solemn folds of the drapery.
How, for instance, can there be a
grander conception of the Apostle
John than that of this school, as a
venerable old man, gazing in deep
meditation, while his eagle glances
shyly up to him ?

Before going on to the larger com-
positions, it must be acknowledged
that in this school subject, incident
and action are repeated as in ancient
art. (Comp. e. g. the three lives of
the Virgin in the Cap. BaronceUi

cin S. Grace, in the Choir of the
Sacristy there, and in the Chapel of
the Madonna in the Cathedral at

d Prato. ) The painters of this school
were not on this account plagiarists,
nor did they regard each other as
such ; it was the common property
o£ the school, which each artist re-

produced according to his capacity,
not slavishly, but in a lifelike
manner, and with additions of his
own. There was a demand in
churches and cloisters for such re-
presentations of the Passion, the
Life of the Virgin, the Story of S.
Francis, &c., as were familiar, and
no other. As the artist was only
asked for the object itself, not for
a treatment of it which should ex-
press his personal genius ; the
wish was for something that was
beautiful and easy to understand,
not for anything individual. Never-
theless, as we shall shortly see,
there remained a vast field open
for independent creation in the
spirit of the age.

How much of this common pro-
perty belongs to CHotto himself?
The question is not unanswerable,
for any one who carefully examines
all the works of the school one
after another ; but this we cannot
attempt. This much is certain,
that he is the original source of a
stream of fresh invention and crea-
tiveness. Probably no other painter
ever so completely transformed and
gave a new and healthy direction
to his art.

His youthful work, the fresco in
Madonna delV Arena, at Padna, ise
especially characteristic of him,
and in every action the most im-
portant point is chosen out for
representation. We select only a
few incidents of secular, often
quite every-day life; their merit
Hes in what seems to be self-evident,
yet Giotto's Byzantine predeces-
sors had not understood, and could
not represent it in their works.

Deep grief wrapt up in itself;
Joachim with the Shepherds; he
comes towards them walking as
in a dream. — The loving meeting ;
Joachim's return to Anna, who
takes his head in both hands quite
sweetly and kisses him.— Intense
expectation; the suitors of the
Virgin kneeling before the Altar,

GHotto's Style of Narration.

35

some in earnest prayer, some in
the highest tension of feeling ; a
most dignified group without any
display of emotion. — Silent ques-
tioning and guessing ; the wonder-
ful group of the Temptation. — The
divided action of the central figure
in the raising of Lazarus ; he
stretches out his right hand towards
Christ, to whom he appears a
moment before to have been kneel-
ing in entreaty ; now he turns
towards Lazarus, with a gesture of
intense emotion. — The secret mes-
sage ; the treaty of Judas with the
Priest, whose two hands (as is often
the case with Giotto) appear to
speak.— Christ mocked; in the

froup of scoffers the approaching
gure bowing ironically is especially
masterly. — The lofty moderation in
pathos ; in the group under the
Cross, the Virgin fainting yet stiU
upright, is supported in the arms
of her friends ; their sorrow is not
(as in the painters of the seven-
teenth century) for the fainting
itself, but for her terrible agony. —
A dialogue in gestures ; the soldiers
with the robe of Christ ; one fancies
one hears them speaking. — The
lamentation round the dead Christ
has nothing extravagant ; * the body
is as it were wrapt round in love
and grief ; the shoulders and back
lie on the knees of the mother, who
embraces him ; a female saint sup-
ports his head, another holds up
his right hand, another the left ;
the penitent Magdalen, holding the
feet on which her eyes are fixed.
Everywhere the subjects are con-
ceived in a higher and more intel-
lectual manner than by many of
the greatest of Giotto's successors.
Observe how the inferior painter of
flthe wall-pictures in the choir has
gone beyond the mark ; in the As-
sumption of the Virgin the Apostles
fall to the earth not only in devo-

* Unless it is going too far that John
should endeavour to throw himself on the
body.

tion but struck by the rays which
issue from her glory.

What here we feel to be great in
a monumental work of the highest
rank, is not less so in the small,
almost slightly sketched histories
of the life of Christ in the Flo-b
rentime Academy. (These, as weU
as the stories of S. Francis treated
as parallels, are taken from the
shrine of the Sacristy of S. Croce ;
of the original twenty-six, six are
wanting.) Here, too, the narrative
is most telling and fuU of spirited
touches. (Compare with the gate
of Andrea Pisano. )

The beholder must come to
Giotto's creations with the intention
to seek for these immortal ideas.
The schools inherited them from
him and made use of them. But
where they speak to us with such
glorious directness as in the works
above mentioned and in the Last
Supper in the Eefectory of S. Croce,
there we feel ourselves in the very
presence of the Master himself.

The bystanders who enliven par-
ticular scenes by their presence are
not mere filling, such as modern
art has often added merely with a
view to picturesque effect, to please
the eye, but always really useful
for the explanation of the story,
reflections without which the action
would be less speaking. Look at the
resurrection of John the Evangelist,
by Giotto, in the C. Fervxzi at S.
Croce; here the miracle is first
realised by the action of the ter-
rified and astonished spectators,
which is given with fuH dramatic
effect. Opposite, in the history of
the Baptist, the scene where his
head is brought in receives its full
effect from the two spectators, who
press against each other full of
horror. Innumerable other in
stances might be given.

Occasionally, single figures and

groups stand apart from the action,

because they are only intended to

give definiteuess to a locality or a

D 2

36

The Gothic Style.

person ; they are in reality mere
genre-figures. So the fisherman in

a Giotto's Navicella ( Vestibule of S.
Peter) ; although we may also con-
sider him as a sjnnbolio counterpart
to the Christ standing on the right ;
a complete fishing scene hj Antonio

J Venezicmo (Ccmipo-Scmto, legend of
S. Ba/imri), &c. The Campo Santo
contains in the " Life of the Her-
mits," by the Sienese Pietro di

c Lorenzo, or Lorenzetti, a great col-
lection of single subjects, of which
the best, most happily treated, may
be defined as genre ; they are mo-
tives of repose, work done while
seated, quiet talking, fishing, &c.
The Sienese genre painter was far
better qualified to represent sub-
jects of this kind, than those involv-
ing the powerful expression of
changing emotion.

The more deeply pathetic scenes
sometimes overstep the true limit,
as certain pictures of the Passion
win show. The doubtful compo-
sition in the Campo Santo, attri-

(^buted to Buffalmacco, contains
amongst splendid groups of specta-
tors, one that is painful to cari-
cature, of the Virgin sinking lifeless,
and her attendants; one of the
executioners lifts up his arm with
the most violently strained action,
to break the limbs of the wicked
robbers. (The finest Crucifixion of
the Giottesque school, most rich in
beautiful touches, is probably that

ein the 0. degli Spagnuoli; one of
the most important series of the
Passion anywhere was formerly in

/the Chapter-house of S. Francesco at
Fisa.)

With these exceptions inner emo-
tion often comes out most beauti-
fully aud truly. See (Campo Santo,
gPr. da Volterra) the gestures of
dignified reproach with which Job
speaks to God, while pointing to
his lost flocks ; or the deep feSing
with which S. Kanieri (in the upper
series of pictures) makes his vow to
the holy Monk. Most powerful is

the effect which the author of the
TrivMiph of Death (Campo Samto)
has produced in the group of
cripples and beggars vainly crying
to Death to relieve them; their
parallel gesture with their muti-
lated arms is most telling, taken
together with the expression of
their features. It is a case where
even repulsiveneas appears to be
fully justified in art. This alone
gives the fuU meaning of contrast
to the group in the garden ; it is,
by the way, the best executed
picture of worldly life given by the
Gothic school ; the working out of
what the miniatures in our Min-
nesingers' manuscripts only indi-
cate ; yet with a distinct flavour of
Boccaccio.

In the group of riders the deep
horror of the three corpses is ex-
pressed with inimitable beauty in
their cautious approach, their lean-
ing over and holding back ; pic-
torially, also, it is an excellent
composition. In simpler produc-
tions, for instance in the sacristy
of S. Mimiato at Florence, Spinelhi
displays his rude grandeur. The
subject here is the often-repeated
legend of S. Benedict, given in the
simplest manner. Power and cahn
authority could hardly be better
represented than here continually
in the gestures aud form of the
holy abbot ; the temptation also,
and the penance of the youthful
monk, the humiliation of the king
of the Goths, the group of monks
round the stone which the devU
has taken possession of, are among
the most spirited conceptions of
the Florentine school. Much he-
sides is, on the other hand, slightly
conceived and rudely executed.
(Also considerably painted over.)

Each according to their subjects,
these painters at times attain the
highest possible expression of men-
tal feeling. I do not think that
the scene of Christ showing his
wounds was ever so perfectly con-

The Last Judgment. Glories,

37

ceived as in the group, only par-
es tially preserved, in the Oa/m/po Santo,
attributed to BiiffalTnacco. Instead
of Thomas alone, there are several
disciples who recognise the Saviour,
and, amid worshipping and adoring,
contemplate his wounds with tender
sympathy ; together they form one
of the most beautifully arranged
groups of the school. (Compare
with this Guercino'a excellently
painted and yet so coarsely con-
6 ceived picture in the Vatican gal-
lery.) In the picture of the As-
c cension also, immediately following
this, the great amount of painting
over cannot wholly destroy the
beautiful old conceptions ; we clearly
recognise how the apostles are
divided between wonderment, pro-
testation, and devoted adoration.
But any one who wishes to see with
whatsmallmeansagreat, andforthe
time, overpowering impression, can
be produced, should contemplate
d the " Sacrament of Penance " in the
Incoronata at Naples ; the priest is
turning away almost in horror from
the woman in confession, while the
penitents are moving away, veiled
and bowed down. In this respect,
the Incoronata is altogether one of
the most important of art monu-
ments.

The representation of the celes-
tial, holy, supersensual is conceived
on the same principle as in the
Byzantine period; symmetrical in
grouping and position, 'it seems to
descend among earthly things as if
it was natural and true, and as
revelation ; in the ideal mode of
conceiving the space, the outward
representation also seems the right
one. (The fifteenth century first
began to depict the sky by means
of strata of clouds, and Correggio
first gives to the clouds the definite
cubic contents and degree of con-
sistency which adapt them for
giving a local support to angels and
saints.) The same ideas which
have been traditional in art since

the early Christian times, and are
impressive even in the meagre By-
zantine form, here come forth in
beautiful freshness. What for so
many centuries was but sugges-
tion, at last reaches a sublime
realisation, in accordance with the
feeling of the age.

Here we may take occasion to
speak of the representations of the
Last Judgment. Many such had
existed both in the East and in the
West before Orcagna [Lorenzetti], or e
whoever was the author of the work,
painted his in the Campo Santo.
But here, for the first time, the
Judge becomes not merely a func-
tion, but a personal character, to
whom the attitude and a celebrated
gesture give a grand life-likeness.
The belief of the age gave the Ma-
donna a place as intercessor in the
Last Judgment; the painter gave
her the same almond-shaped glory
as to Christ; her inferior position
is only indicated by her attitude
following his nearly line for line.
The Apostles are here no longer mere
inanimate spectators, but they take
the most lively interest in the
scene ; we see them lamenting,
some looking up aghast to the
Judge, some wrapped in their own
sorrowful thoughts, some talking
together. Even one of the herald
angels crouches trembling upon a
cloud, covering his mouth with his
hand. Below, five archangels carry
out most energetically the duty of
dividing the souls ; in the two who
drive back into hell those who are
struggling out, the most violent
action is aimed at and attained.

Even Glories in this school are
always worthy of attention. The
traditional symmetrical arrange-
ment of the principal figure, and of
the groups of angels is more or less
preserved, but thoroughly inter-
penetrated with a grand feeling of
life. Nothing can be more original
than the Vision of God with six
angels {Campo Santo, story of Job)^

38

The Gothic Style.

in an oval Glory, above a landscape
with a green sea, yellow earth, and
red (though doubtless formerly blue)
sky ; Satan stands upon a rock near
to God. No effects of light or dis-
tance could heighten the simple,
grand character of this Theophany.
Or (just over the eastern en-
trance of the south wall) the Asceri-

asion of the Virgin; three angels on
either side, and two more powerful
male angels support and hold the
border of the Glory in which the
Virgiu floats towards her son. Do
we not believe much more genuinely
that she really floats and has a
supernatural existence than we be-
lieve it of those numerous Madon-
nas of later centuries which rest
on masses of clouds sown with
scattered angels, with effects of
light and landscape below. The
floating, also, is not seldom in the
school of Giotto represented with
such grace and solemnity that one
seems to see the highest develop-
ment of art. In the Last Judg-

h meut (Cwmpo Santo) there are two
angels whose Uke is hardly to be
found again before KaphaeL

Besides the Biblical and legend-
ary subjects, the school developed
itself in large, freely-conceived, al-
legorically symbolic pictures, and
series of pictures. It was imder
the influence of a learned, literary,
and poetical culture, which took
the lead and was represented by
the genius of Dante. Even with
the great poet we ask ourselves
whether he is great on account of
his symbolism or in spite of it. Sym-
bolism did not arise with him, as in
antiquity, through and along with
poetry and art, but poetry and art
had to accommodate themselves to
it. In Dante, indeed, all is insepa-
rably woven together ; he is just as
much a scholar and a theologian as
a poet. The artist, on the other
hand, was here employed on some-
thing lying beyond his sphere ; his
part was to serve, and he did it

with solemn earnestness. But we
are not bound to foUow the line of
thought of a time fuU indeed of
aspiration, but not yet in harmony
with itself, still less to adapt our-
selves to a strange encyclopaedia of
various elements of culture; we
must rather distinguish between
that which was perishable and
feeble and that which remains the
immortal in Giotto's school of art.
Allegory is primarily the rejire-
sentation of an abstract conception
in a human form. In order to be
intelligible, it must correspond with
this conception as far as possible in
character and attributes ; it can not
always be explained by inscriptions.
I confess that of aU the allegories
of the Giottesque school only one
really impresses me, the figure of
Death represented as a winged
woman, " la Morte," in the Trionfo'^
della Morte; but Death is, indeed,
not simply an allegory, but a de-
moniac power. The Virtues and
Vices, as they are set forth by
Giotto in the Arena (lower divisions) *
only interest us as part of the
history of culture, as attempts to
give form to the abstract ; they
have no place in our mode of
thought. Any one who has seen in
Italy some hundred representations
of the four cardinal virtues, of all
periods of Christian art, will per-
haps join with me in wondering
that so little of them remains in
his remembrance, while historical
figures remain strongly impressed
on his memory. The cause is simply
that they have not touched oiu-
souls, but only passed before our
eyes. The three Christian virtues.
Faith, Love, Hope, make a deeper
impression, because they are usually
characterised not by their essential
external attributes, (but by an in-
tensified expression of feeKng, and
therefore call forth feeling in us.
The Arts and Sciences set forth in
a long and complete series in the
Cappella dcgli Spagnuoli, va S. M.t

Allegory. — SymhoKsm.

39

Novella, and accompanied by their
representations, would leave us
quite cold but for the sweet Sienese
heads : Giotto in hia reliefs on the
a Campanile, which may be ten years
later than these pictures, not with-
out purpose substituted for the alle-
gorical figure some dramatic action
expressive of the quality. And
whence we may ask arose the im-
pulse towards this allegorising taste
which pervades the whole (also the
Byzantine) middle ages? It was
originally a remnant of antique my-
thology, which Christianity had
deprived of its true signification.
The progenitor was Marcianus Ca-
peUa, and lived in the fifth cen-
tury. Art will never quite dispense
with allegory, and could not do so
in ancient times, but in its best
period art will use it moderately
and give it no over-prominent po-
sition by laying stress on the
mystery.

Figures of this kind wiU, then,
in the best period be principally
represented separately, and not in-
troduced into historical scenes.
(Compare Baphael, ceiling of the
h Oa/mera della Segnatv/ra, and Hall
of Gonstaniine. ) Giotto was bolder,
he allowed himself to be tempted,
undoubtedly through Dante, to
paint in the Lower Chwch at
<! Assist, among other things, a real
marriage ceremony between S.
Francis and a figure which repre-
sents Poverty ; in the poet the inci-
dent remains symbolic, and the
reader is not for a moment de-
ceived ; but with the painter it is
really a betrothal, even though he
throws iu innumerable hints and
indications, though Christ intro-
duces Poverty to S. Francis, and
yet allows two boys to Ul-treat her,
though her linen garment is falling
into rags, and so forth. To repre-
sent the obligation to poverty as a
marriage witjbi her is a metaphor,
and a work of art ought never to
be founded on a metaphor, that is,

an idea transferred to a new ficti-
tious reality, which gives a neces-
sarily false result in a picture.
When later artists wished, for in-
stance, to represent Truth come to
Light through Time, an absurd
picture was produced of a naked
winged old man, with hour-glass
and scythe, uncovering a veiled
woman. Ab soon as the allegorical
figures are to be put into action,
nothing can be done without meta-
phor, and with it arise simple ab-
surdities. The remaining allegories
also of the central dome of the
Lower Chwch of Assisi, are in ^
themselves as quaint as those of
the seventeenth century. There Pe-
nitence drives away Profane Love
with a scourge, and casts Impurity
down over a cliff. Chastity sits
well guarded in a tower; Purity
washes naked people, and Strength
reaches forth the cloth to dry
them. Obedience, accompanied by
double-headed Prudence and Hu-
mility, lays a yoke upon a monk ;
one of the angels present drives
away a centaur which signifies wil-
fulness, that is, fanciful caprice.
But for the deep seriousness of
Giotto, who expresses only what is
necessary as clearly as possible,
without any coquettish sweetness,
these scenes would have a profane
and wearisome effect.*

The insufficiency of all Allegory
could not fail to be felt in art. As
a complement were produced the
representations of abstract ideas
mostly derived from antiquity, and
used sicglyin connection with allego-
ries, of which the Capella degli Spag- « _
mtoli forms the most perfect speci-
men. (Dante also makes the greatest
use of this mode of representation.)
Such figures, particularly when they
are not better in style than those
of Taddeo di Bartolo (ante-room of
the C.del Palazzo pubblico in Siena), /

* In the first parts of Yasari many other
allegories are mentioned in detail, taken
from works no longer in existence.

40

The Gothic Style.

remain mere curiosities ; they give
the measure of the naive historical
knowledge of the age, which set
up new ideals taken from Valerius
Maximus and other sources of the
same kind.

In Giotto's school the symbolic
element was far more important
and more independent than that of
allegory. There are lofty sublime
ideas, which cannot be embodied
in any merely historical composi-
tion, and yet look to art for their
highest rendering. A work of
art which attempts this will be
impressive in proportion as it
contains less allegory and more
living distinct action. Symbolism
in art is expressed partly by groups
and series, partly by weU-known
historical characters. The great-
est works in this kind least bear
the mark of purely subjective in-
vention ; they rather express great
conceptions proper to a special age,
which almost force themselves upon
art.

Everjrthing connected with the
world beyond the grave, though
not without limitation, comes into
this class of subjects. As far as
the Gospel and the Apocalypse go
in their prophecies, art still occu-
pies an equal rank with histoiy.
Pure symbolism begins with the
motives which go beyond this.
The Last Judgment in its three
parts : the Judgment, Paradise,
and HeU, has been represented
three times with more or less suc-
cess by this school ; the much in-
jured picture by ffiott(?,*onthefront
a wall of the Arena at Padua, that

* Singularly enough, Giotto is in his
arrangement freer than Orcagna; he repre-
sents moving groups of figures, di-vided
from one another by different distances,
Christ and the Apostles have not as yet
the momentary expression which Orcagna
bestowed on them. To judge from the
neat, sharp, handling, the Last Judgment
may be the earliest portion of the frescos
of the arena. [Crowe and Cav. suggest
that much was done by the hands of
pupils.]

of the two Orcagnas in S. Maria No-
vella (Gapella Strozzi), and that in
the Campo Santo (the lower part*
of HeU quite changed by the infe-
rior painter who has retouched it).
The HeU is in both the latter
places divided, with an obvious
aUusion to Dante, into Strata or
Bolge, on which are arranged the
various classes of sinners accord-
ing to their merits. I leave it to
each person to judge as he will of
Dante's idea, of his arbitrary im-
prisonment of the whole past and
contemporary world in the differ-
ent reservoirs of his three great
divisions ; only one cannot but ask
oneself privately, where would he
have put me ? It is not difficult to
point out the different circles of
Hell in which most of the present
worshippers of the poet would
themselves find their place. Too
often in the poem appears the
spirit of inexorable, inextinguish-
able discord, which caused the
misfortune of Italy. The symbolic
meaning of the Divina Commedia,
laboriously and skilfully as it is
worked out, is only valuable as li-
terature and history, not as poetry.
The poetical value rests entirely on
the lofty artistic representation of
single incidents, on the measured
grand style through which Dante
became the father of later Western
poetry.

Only a part of his characteristics
could be expressed in painting ;
many beautiful episodes were lost
in pictures of heU, and the only
artistically useful element lay in
the grouping of nude figures in
their separate divisions. In the
picture in the Gampo Santo, theii
one group of souls cowering toge-
ther, gnawing at each other, is of
especial significance. The picture
in S. Maria Novella, on the other*
hand, which attempts a complete
representation of the circles of heU,
and therefore contains only small
figures, is artisticaUy worthless.

Allegorical Pictures.

41

The Last Judgment itself is obvi-
ously not influenced by Dante. The
art of the fourteenth century was
here grand in its limitation ; it
practically gave up the attempt to
represent space pictoriaUy, and to
make the passive element physi-
cally and dramatically interesting ;
in regular layers of heads was
expressed on one side, joy and
blessedness ; on the other, grief
and condemnation, in a collective
manner ; the episodes are kept in
the background, but excellently
chosen ; iu the picture in the CaTnpo

a Scmto there is a touch of the truest
symbolism in the picture of women
clutched by the hands of devils,
who are carrying oflF other women
with them, not involuntarily, but
as companions and fellow sinners ;
or the intense fervour of John the
Baptist, who kneels on a cloud at
the end of a long line of figures ; it
is a true and beautiful thought
that the forerunner of Christ should
thus become a sharer in this high-
est act of his power. Of the
heavenly group we have already

6 spoken. In S. Maria Novella
there is a peculiar representation
of Paradise which in the tender
beauty of its heads surpasses in
some ways the more powerful pic-
ture in the Campo Santo. The
contrast of the life of the Blessed
with the terrible act of Judgment
is expressed by placing the heads
not iu profile looking towards
Christ, but turned full face towards
the spectator. With such slight
means has Art to work.

The Devils, wherever they ap-
pear (they are especially numerous

cin the 0. degli Spagnuoli, where
Christ appears in Umbo, as well as
in the pictures above mentioned)
are pure caricatures ; Satan himself
most of all. Through sheer devilish-
ness they have nothing demoniacal
about them.

Of the remaining symbolical
compositions of the school, the

Trionfo della Morte is far the most d
important. It needs no further
explanation, because the symbolic
thought comes out clearly in the
picture. The contrasts are dis-
tinctly enough expressed by the
different groups. The author, as
an artist also, was fully equal to
the whole grand conception.

This is true, though certainly in
a far less degree, of the great sym-
bolical fresco by Ambrogio Loren- a
zetti in the P. Pubhlico {Sala delle
Balestre) at Siena, with the repre-
sentation of the consequences of
good and of tyrannical government ;
the Allegory is at least interspersed
with touches of true and beautiful
symbolism.

The painters of the GappellaJ
degli Spagmmli in S. Maria No-
vella were not wanting in power to
give form to the grandest subjects.
Besides the great allegorical picture
(left waU) where S. Thomas Aqui-
nas is enthroned in the midst of all
Sciences and Arts, they have pro-
duced on the right wall a symbo-
lical picture; the destination and
power of the church upon earth
(details in guide-books). A work
only too rich iu figures, carefully
and beautifully executed, but pro-
duced entirely out of literary not
artistic fancy, for which reason
it requires a book to explain it.
With what a different clearness
and force does the Trionfo delle
Morte speak to the mind. How
far more grand might the picture
of the church too have been, given
iu a sjrmbolic manner. It is true
that in the cloister of S. Maria
Novella, even an Orcagua might
have felt himself constrained to
accept a given Dominican pro-
gramme without objection.

This theological tendency has
more than once injured the
genuine formative impulse of art.
See in Pietro di Fuccio {Campo 9
Santo) God represented as Creator
and Lord of the World. It is a

42

The Gothic Style.

gigantic figure holding an immense
shield with the concentric spheres
of heaven in front of the body;
the feet appear below. Such a
representation certainly destroys
any idea of the immanence of God
in the world. *

Or the Glory of S. Thomas Aqui-
nas above an altar to the left in S.
' Caterina atFisa, hy Francesco Traini
(in itself an inferior picture). Here
the spiritual impression was to
be represented symbolically, which
the Saint had received from various
sides, and exercised upon the faith-
ful. The painter (or his patrons)
contrived this by the simple ex-
pedient of using golden rays.
From the figure of Christ placed
above one ray goes out to each of
the six Apostles and three to St.
Thomas enthroned in the midst ; a
ray also goes to the head of Thomas
from each Apostle, and from the
heathens, Plato and Aristotle,
standing far below ; from the book
of Thomas (the Summa) many rays
go to the monks assembled below ;
in the midst, upon the earth, lies a
convicted heretic. The essential
idea in this whole picture might be
expressed with a ruler.

* How rude this great period could still
sometimes be appears from the repetition
of the most absurd symbolic makeshifts of
the earlier mediseval times. Even Spirtdlo
ventured, in a fresco now destroyed, to
paint the four Evangelists as draped human
figures, but with l^e heads of their em-
blems. (We find this, among other places,
represented on the lintel of the side-door
(of early romanesque architecture) of SS.
Annunziata at Arezzo.) The too cii-cum-
stautial connection of the Evangelist with
the pen is an early mediseval device, which
BmioU) of Siena, for instance, again adopted
(Academy of Siena, 1st Gallery, No. 91) :
Mark cuts his pen, Luke looks at it, Mat-
thew dips it in the ink, only John writes.
If any one can find a deeper meaning in
this, I should be unwilling to destroy his
pleasure in it. [Tasari praises a St. Luke
by Buffalmaoco in the Badia di Settimo,
who blows on the pen in the most natural
manner to make the ink flow. ] This passed
along with other peculiarities from Siena
to the Peruginesque painters and reappears
in Pinturicchio.

Traini is not a painter of import-
ance : but as to greater artists we
cannot but lament that theology
should have prescribed their course
to them, whereas, left to their own
powers, they would have expressed
the given fundamental ideas in a far
more noble and beautiful manner.

Happily Giotto himself had be-
come more free, when he painted
the Glory of S. Francis in his divi-
sion of the above-mentioned roof of
the Lower Church at Assist; the 6
Saint glorified, in a gold in-woven
deacon's robe, with a banner of
the Cross, surrounded by choirs of
angels. This is genuine clearly ex-
pressed symbolism. The Glory of
S. Thomas Aquinas, on the other
hand, had to be compounded of
allegories, because the subject pre-
scribed was the triumph of the
learned Saint over all separate
sciences and arts.

EASEL PICTURES, ALTAR-PIECES.

It is in frescos and dramatic
action that the school of Giotto
displays its full freedom and gran-
deur. The altar-pieces of this
school, which are almost entirely
of a calm and devotional order,
give a very limited conception of
its character, but are useful in en-
abling us to form a judgment as
to the technical capacity and in-
tention.

The pictures most important in
art history have been mentioned
before. Besides this, nearly every
old church in Tuscany possesses
some specimen, and also those
brought together from many
churches and cloisters in the Aca-
demy at Florence, form a large and
complete collection (chiefly in the
Sala dei Quadri Grandi).* Any one
who has the time and inclination
may gradually classify them ac-

* Besides a number in the Medici chapel
at 8. Crooe, at the end of the passage be-
fore the Sacristy.

Attar-Pieces.

43

cording to the manner and the spe-
cial masters ; here we can only offer
a, few general observations.

The subject is almost invariably
a Madonna enthroned with angels
and saints ; next in frequency
comes the Coronation of the Virgin
by Christ.* The Saints stand
sometimes singly, sometimes in
rows one behind another at the
sides ; usually each single figure
divided from the rest by its own
framing, pillars, or the like. The
position, mostly a three-quarter
view, so that the figure may be
turned as much toward the pious
beholder as towards the Virgin);
only those who kneel before her are
represented quite in profile. There
are no side glances for the sake of
variety as yet. The position is
usually one of repose ; only some-
times we find John the Baptist
with his arm raised, or pointing to
the child. The expression of the
Virgin is always simple, without
any touch of especially elevated
feeling: the child is now, for the
first time, represented as occupied
with some innocent pleasure, with-
out which, in reality, no healthy
child can sit quiet ; as, for instance,
playing with a goldfinch. The co-
louring, on the whole, light, as is
required by tempera. The chief
colours used are red, blue, and
gold. (The circles of cherubs'
heads are all blue or aU. red. ) In
the drapery, the splendid patterns,
represented as worked, are far less
symmetrically employed than by
the Sienese,t whQe a noble and
beautiful fiow of line is more ob-
viously the principal object. We
can see how art works out with

• The assumption and coronation of tlie
Virgin, who had been bom a mere earthly
woman, were a testimony and a symbol of
blessed immortality to every individual.
On this account this subject appears
especially often on tombs, in pictures of
family chapels, &c.

t For the characteristic difference of
treatment, see p. 33, d.

effort a comparatively small num-
ber of principal points : the mantle
of the Madonna enthroned, that
of the figures lying on oue knee,
the mantle of the standing figure
caught up with one hand, the
straight falling cowl of the Monks,
the thickly embroidered Dalmatic
of the Deacons, etc. In the heads
the school expresses its meaning
more clearly than in most frescos.
If I do not err, much that is pecu-
liarly Florentine comes out in the
oval and in the form of the nose
and the mouth. The expression of
passing feeling is not yet to be
looked for here.

The altar steps (PredeUas) repeat
in their histories very much the
compositions of the frescos ; they
are thus miniatures of the larger
pictures. In Northern art, on the
contrary, the larger pictures are
often a magnifying of what had
been conceived in miniature.

For the proper appreciation of
the easel pictures by the followers
of Giotto and the Sienese, we must
represent to ourselves the altar-
pieces as wholes, which now are
met with in galleries, churches,
and sacristies, usually split up into
their separate parts, as a rule, be-
cause, in some alteration of the
church, they were found no longer
to suit the baroque style of the
modern altars, the width of the
picture all'in one being too great.
Examples in complete preservation,
vfith all their appurtenances, are
very rare : one, for instance, is
found in the Academy of Florence a
(tjala dei Quadri Grandi) ; another,
more perfect, in S. Domenico at J
Cortona, on the left wall. This
altar-piece by a not specially re-
markable master, Lorenzo, son of
Niccolb di Pietro Gerini, possesses,
besides the principal picture (Coro-
nation of the Virgin), all its acces-
sary pictures, the fillings of frieze
and gables, the upper subjects,

44

The Gothic Style.

predellas, and on the surfaces of
the little turrets at the sides aU the
small pictures with single saints ;
also all the architectural part, as
usual the effigy of a church, is well
preserved. This first explains to
us for what place and what part of
a collective work Fiesole, for in-
stance, painted all the pictures
now scattered over the world. It
is not to be expected that an altar-
piece of this kind, with such a
number of separate parts, should
create a grand and quiet impres-

CRUCIFIXES.

Lastly, there exist in Tuscany a
number of painted Crucifixes of the
13th and 14th centuries, often of
colossal size. Originally, according
to the custom of the Catholic
world, they hung high and free
above the high altar ; but in the
baroque period, they had to give
place to the well-known pompous
architectural decorations with pic-
tures, and took up their position,
perhaps, over the chief entrance,
and later also in galleries. (Several
a in the Academy at Siena.) In
general we shaU find that the older
they are the less is their value ;
the attitude is strained, and the
colour of the body greenish. Qiotto
first introduced something which
can be called a Victory over Death ;
although the Crucifix in the pas-
sage to the Sacristy in S. Croce can
hardly be his, yet but for him such
a work could not have existed.
(Two others in the Sacristy itself. )
On the four ends of the wood are
commonly the four Evangelists, or,
on the right and left, the Sun and
Moon as Persons, veiling their
heads ; the sinking of the head of
Christ is usually marked in a naive
manner by the oblique direction of
the upper transverse beam

SCHOOL OF SIENA.

In the Sienese school, which
had in the thirteenth century
under Duccio (p. 23, 6) developed
such striking elements of beauty,
the influence of Giotto in the four-
teenth century goes hand in hand
with the traditional national ten-
dency. In the easel pictures,
altar pieces and single frescos in-
tended for purposes of devotion,
this tendency takes a special deve-
lopment, in which religious fervour
and exclusiveness are as predomi-
nant features as is a marked sense
for flow and symmetry in the Hues,
richness of colour and delicate or-
namentation in the architecture,
the patterns of the dresses, the
nimbi and the gold grounds. The
points which the Florentines ruth-
lessly sacrificed to distinctness of
expression, the solemn positions
and turns of the body, the grace-
ful type of the faces, the gently
waving folds of drapery, the lines
of which flow as it were melo-
diously in harmony with the
bendings of the limbs, are here by
preference retained, and repre-
sented by a careful miniature-like
delicate method of colouring and
modelling, which aims rather at a
beautiful effect of colour and
roundness than a naturalistic re-
presentation of the contrasts of
illuminated and shadowed surfaces.
The most remarkable works of the
Giottesque school, to which accord-
ing to the latest investigations
belong the pictures of the Last
Judgment and the Triumph of
Death, formerly ascribed to Orca-i
gna, show the special qualities of
the Sienese school chiefly in the
form of the face and in an attempt
to modify the traditional manner-
ism in position, gesture, and dra-
pery, by the lively expression of
action or emotion required by the
new school.

School of Siena.

45

The most important master of
the Sienese school in Giotto's
time, Simone di Martina [born 1283 ;
died 1344], is best represented in
Italy by his devotional pictures.
The frescos formerly ascribed to him
on Vasari's authority in the Campo
Santo at Pisa and the Cappella degli
Spagnuoli are not his, but only dis-
play Sienese subjects much akin to
his in style. He worked, as is
known, in the last years of his life
at the Papal Court in Avignon, and
the Giottesque character of the
wall paintings there appears to
have given rise to the tradition,
now contradicted on documentary
evidence, of Giotto's stay in this
place. His Madonnas are by the
splendour of their decoration, and
their miniature-like delicacy, by
the flow of their drapery and the
peculiar beauty of the features, real
jewels of mefiffival art ; althoiigh
the conventional form of the eyes
and mouth which does not strike us
in Duccio, gives them a character of
strangeness. Those of undoubted
authenticity are very rare and
mostly out of Italy ; by him and

"• Iiippo Memmi is the great Annun-
ciation at Florence, first gallery in
the Uffizi, dated 1333 ; unpleasing
on account of the attitude of the

i Madonna.* At Pisa the remains of
a very remarkable altar-piece ; six
panek in the Seminario Vescovile,
the seventh with a predella in the
Academy. In Siena, Choir of S.
AgosHno, the representation of the
Blessed Agostino Novello, by him
or Lippo Menmii. At Orvieto,

c Opera del Duomo, a Madonna with

d Saints ; at Naples, S. Lorenzo,
seventh chapel to the right, S.
Louis, of Toulouse, handing the
crown to his brother, Robert of

* The awkward drawing down of the
comers of the mouth gives a fretftll ex-
pression— "Smorfia," just like what we
see in an old Byzantine pictme of the
Academy of Siena (No. 15, the little An-
nunciation on the right). — Mr.

Naples. Simone's great /resco about «
1315, in the Palazzo pubblico at
Siena (Sala del CousigUo, or Delle
Balestre), the Madonna surrounded
by many saints, some of whom
hold a canopy over her, is as sym-
metrical and unemotional as any
altar-piece, but in special points it
possesses a beauty which the Flo-
rentines never even attempted.
There, also, is an equestrian por-
trait of Guidoriooio de' Fogliaui.
By his pupil, Idppo Memmi [in/
practice 1317 to 1356 ?], there is in
the Palazzo pubblico of S. Gimi-
gnano, a "Majestas" of 1317;
almost exactly copied from one?
by Simone, of the Madonna of
the city, at a later period restored
and finished by Benozzo Gozzoli,
in the Gathedx-al at Orvieto, a Virgin
of Mercy. Siena possesses at least
one other known picture of the
Madonna in the Church della Con- A
oezione or de' Servi (fresco in the
right transept, over the door of the
passage to the Sacristy) ; the large i
altar-piece in the Academy (first
room. No. 94) is only coujecturally
attributed to him. For the rest,
the collection in the Academy of
Siena (1st to 3rd room) gives a sur-
vey of the painting of the school-
drawing during the fourteenth cen-
tury, which on the whole displays
a remarkable stagnation, a narrow
adherence to the form of face once
adopted, and to special Byzantine
mannerisms (high lights laid on,
splendid patterns in the drapery
and grounds, green flesh shadows,
perhaps become so only through
the alteration of some mineral
colours, &c.)i-

We must leave the special cha-
racteristics of artists to be studied
by those who can do so on the
spot, for we have to occupy our-
selves not with those who remain
behind, but with those who are

t We refer our readers to Crowe and
Cavalcaselle for the exact analysis of the
technical Sienese manner of painting.

46

The Gothic Style.

striving onwards. Giotto's manner
of narration, now become the com-
mon property of the nation, in-
evitably spread from Florence and
all the rest of Italy to Siena also.
Ambrogio Lorenzetti [practised from
1324 to 1345] painted in the Sala
della Pace of the Palazzo pubbUoo,
1337-39, the three great symbolical

a compositions in the Qiottesgue
style, the "Rule" of Siena, with
an artistic allegory concerning the
duties of justice, the Procession of
the dignitaries of the town, an in-
teresting series of portraits, the
consequences of Good and Bad
Government, with numerous genre
scenes (nearly effaced). He also
painted a presentation in the
Temple (1342) in the Florentine
Academy of Arts, and an annun-
ciation (1344) in the Academy of
Siena ; together with his brother
Pietro [laboured from 1329 to 1348]

J he produced the great fresco in the
Gampo Samio at Fisa, of the her-
mits in the Thebaid, so rich in
beautiful details ; only that here,
as in the easel pictures of the
school, the historical and narrative
element tates quite a secondary
place in the composition and draw-
ing. [If we attribute to them the
authorship of the Last Judgment
and the Triumph of Death at Pisa,
in accordance with the latest in-
vestigations, they certainly fully
equal the Florentine pupils of
Giotto, it they do not excel them. ]
We need not include the childish

c chronicle - like Battle pictures,
painted in brown on brown, in
the Sola del Cojmg'Mo,, which are,
perhaps erroneously, ascribed to
Ambrogio ; they are nevertheless
of much interest, owing to their
subjects. [According to Crowe and
Cavalcaselle, we must now ascribe
the following pictures to the Loren-

d zetti ; in Assisi (part of which has
already been mentioned), the Cru-
cifixion (formerly attributed to
CavaHini), as well as scenes of the

Passion and St. Francis receiving
the Stigmata, in the northern tran-
sept of the Lower Gkwrch; in Siena, g
S. Francesco, some remains of
frescos, among them a remarkable,
very expressive Crucifixion, by
Pietro himself, the "most beautiful
Madonna of the Sienese school " in
the little church of S. Anscmo,t
before the Porta de^ Pispmi at
Siena ; the Birth of the Virgin in »
the Sacristy of the Cathedral ; in
the Pieve [now in the Public Gal- %
lery], at Arezzo, a large altar-piece,
a Madonna between saints [in the j
Uffizi at riorence, a Virgin and
child ; in 8. Marco at Cortona, a
Crucifix ; and in the cathedral of
the same city, a Madonna. — ^Ed.] ;
a fine fresco of the Coronation of
the Virgin, in the Misericordia sAj
Monte Puleiano.] Their best con-
temporary, Ba/rna da Siena, has
nothing worthy of mention in his
paternal city ; the much repainted
frescos on the Tabernacle of the
Laieran at Borne appear to havej;
been formerly very graceful ; his
works in the Gathed/ral of S. Gimig- 1
nano (right transept) already contain
a number of genre touches and ac-
cessary details, which we are used
to consider as innovations of the
Quattro-cento, especially in the
work of Benozzo Gozzoli at Pisa.
In the works of this school we
shall always prefer the purely de-
votional pictures; thus, for in-
stance, an assumption by Pietro
Lorenzetti (Academy, 1st room, No. m
63) gives at least the deep solem-
nity, the splendid gold patterns,
the symmetrical floating groups of
angels, and so forth, in all their
early perfection.

The influence of this style parti-
ally impressed by the spirit of
Giotto stretches on to Bartolo di
Fredi da Siena [1330-1410], and
his pupils Taddeo di Bartolo [1362-
1422] and Domemco di Bartolo [in
practice 1428-1444], till far into
the fifteenth century. Their devo-

The Kemaining Italian Hcfiooh.

47

ational pictures {Academy) subsist
on the inspiration of Pietro Loren-
zetti and others, though they are
apparently richer. Taddeo's frescos
in the upper chapel of the Palazzo

ipubblico are not superior to mode-
rately good Giottesque productions ;
those before the grating (the great
men of antiquity, planet gods, &c. )
are even less good. There is more
merit in Bartolo's frescos in the left
aisle of the Cathedral at S. Gimig-

c nano, in Taddeo's wall pictures in
the central nave of the same church
and the remains of wall pictures in

d S. Francesco at Fisa, where is to be
seen the singular composition of the
Apostles floating down to visit the
Virgin. With Domenico the style
ends, and the realism of the fifteenth
century comes in, though sometimes
only in parts, so that on the whole
the old conception is still retained,
and very much of the old forms in
the details. The masters of this

e marvellous mongrel style (Academy,
3rd room), a certain Giovanni di
Paolo, Pietro di Giovanni, Samo di
Pietro, Pietro di Domenico axe
not worth mentioning by the side
of their contemporaries in other
schools. We shall shortly speak of
those Sienese artists who embraced
the new style more decidedly, such
as Matteo di Giovcmni and others.
Ugolino di Prete Ilario, who covered

/ the Chapel del Corporale at Orvieto
with feeble frescos of legends, is an
offshoot from the Sienese school.

The splendid Siena, which in the
year 1300 seemed to lead in Italian
painting, lost that position which
she only regained two centuries
later, when her painters, secluded
and almost unknown, raised aloft
the standard of true art higher
than any school in Italy except
the Venetian.

THE REMAINING ITALIAN
SCHOOLS.
After enumerating what was
produced by Giotto himself, and

under his direct and indirect in-
fluence, we pass on to observe the
spreading waves which carried his
influence over Italian art far
beyond his own time. Very pro-
bably there were other contempo-
rary local schools following a
course similar to his own, and the
time which matured him, worked
on them also, bringing them more
or less under his dominion. From
Padua to Naples he left important
monuments behind him in so many
places, that his innovations be-
came everywhere known and fol-
lowed ; and if the works of his
school are to be also counted, there
existed in all Italy no artistic
power capable of standiag against
this great mass of grand and new
ideas. Only the incapable re-
mained apparently independent.

Among the Italians of the North,
the Bolognese were necessarily most
exposed to the full influence of the
Florentine school. But their ar-
tistic work and capacity was in the
fourteenth century extraordinarily
imperfect and insignificant. Here,
early in the middle ages, the art of
miniature had been brought to some
celebrity by Oderisio di Guido, of
Gubbio [living 1268-1271], whose
skill was celebrated by Dante. He
was followed at Gubbio and Fa-
briano by Guido Palmerucci (1280-
1352), and Allegretto Nuzi (living
1346-1385), whose painting shows
the decided influence of Sienese
traditions in Umbrian art. (Ex-
amples of Nuzi in the Museo g
Cristiano at Borne, the Duomo of
Macerata, and in the gallery of
Fabriano. ) At Bologna Vitale, a
contemporary of Giotto, is, to judge
from a picture in the Pinacotecah
(1320, a Virgin enthroned with two
angels), sweet and graceful, in the
Sienese manner, so as to recall
Duccio. The remaining semi-
Giottesque painters are mostly so
inferior in their easel-pictures that
in Florence their names would not

48

The Gothic Style.

even be meutiooed. And this same
mode of treatment and absence of
talent characterise the school till
after the middle of the fifteenth
century. Among these paiaters of
Madonnas and Crucifixes those
principally known are —

{Andrea da Bologna, at Pausola,
near Macerata, a Virgin and child,
and a composite altar-piece with a
Madonna, and gospel scenes in the
hospital of J?ermo.]

lAppo di Salmasio, Servi, one of

a the end chapels behind the choir ;
Madonna with S. Cosmas and
Damian ; [a fresco above the gate
of S. Procolo : a Madonna in S.
Domenico ;] in the same church
several old Madonnas by various
hands.

J Simone de' Crocefissi. In the
fourth of the seven churches of S.
Stefano (S. Pietro e Paolo), on the
right, near the choir, a Crucifixion ;
in the seventh (S. TrinitS.), on a
pier, S. Ursula with her compa-
nions. In the first of these churches,
by the way, are frescos of the
Bearing of the Cross, on the left of
the choir, — and of the Crucifixion,
on the High Altar, by a painter of
unknown extraction of the fifteenth
century. In a passage to the
seventh church, a number of small
old Bolognese pictures. In S.

c Giacomo Maggiore, third chapel on
the right, behind the choir, Simone's
best Crucifix, dated 1370. Some
pictures here and there in the

d Pinacoteca.

Jacdbo degli Avanzi (not the one
employed in Padua, who is men-

«tioned later,) a GriMifixion in the
Colonna Gallery at Kome ; two
Crucifixions and a large Altar-piece

/with biblical scenes in the Pina-
coteca, No. 159-161.

Also a certain Jacopo di Paolo.

g Several pictures in the Pinacoteca ;
over the great altar in S. Oiacomo

ji Maggiore, thici chapel, space behind
the choir, on the right the Corona-
tion of the Virgin.

The only church where any large
number of frescos of this school
are preserved stands before the
Porta CastigUone, on the way to
the Villa A Idvni ; it is the Madonna i
of the Mezzaratta. Here are to be
seen, now carefully cleaned and
made accessible, paintings by Vitale
(thePresepio); /asco Jits (apparently
Jac. Pauli, among others the Pool
of Bethesda and the Story of
Joseph), Simone (the sick man let
down through the roof) ; Christo-
foro or LoreTizo (History of Moses,
&c.) The average is considerably
above that of easel pictures.

In S. PetronAo, the fourth chapelj
on the left contains unimportant
wall frescos (somewhereabout 1400),
ascribed to Buflfalmacoo or Vitale,
both chronologically impossible.
The painter desired to be more
distinct and more real than the
Pisan master, as, for instance, in
his Last Judgment ; his Saints sit
upon twelve rows of benches on
both sides of Christ, forming as it
were a council. Latterly attributed
to Simone or Giovanni da Modeiia.
[Given by Crowe and Cavalcaselle to
the Ferrarese Antonio Alberti. ] The
two frescos in the first chapel on the k
left are insignificant, like whatever
of this period is found in the church.

The painting in Bologna as late
as 1452-1462 is seen in the Pina-
coteca in the pictures of Pietro Zia- 1
nori, Michele di Matteo Lwmbertini,
and the Blessed Nun, Gaierina
Vigri. (There is also a better
altar-piece by Matteo in the Aca- in
demy at Venice, No. 2. )

In Modena I have never seen
anything either by Thomas or Bar-
nabas, both painters named after
the town. The first is interesting
from his being sent for to Prague,
and his paintings at the Karlstein,
after 1357. Ai altar-piece in the
gallery at Modena (1386), and wall«
pictures in the church and the
chapter-house of S. Niccolb at Tre- o
vise, show him to be a moderately

The Remaining Italian Schools— Padua.

49

a good master. By Barnabas [wbo
painted from 1367 to 1380], there
is a picture signed in the Academy
at Pisa [another, a Virgin and child,

6 with angels, in S. CHo. Baitista at
Alba. — Ed.] — Or. and Gaval.

c At Parma the frescos of that
time in the Cathedral are some-
what unimportant. (Fourth chapel
on the right ; fifth chapel on the
left ; rooms next the Crypt. ) The
Baptistery (see p. 19 d).

d At Ferrara S. Domenico contains
(fifth chapel on the left) one of the
more beautiful Madonnas of the
fourteenth century ; uninfluenced
by Criotto.
Bavenna, see above (p. 25 c2).

NORTH ITALY— PADUA.

By far the most important town
for painting in North Italy at this
period is Padua, where Giotto's
great work (see above) must have
awakened the feeling for monu-
mental art. The decoration of the
Santo, which lasted so long, and
the love for art in the princely
House of Carrara, were essential
advantages in fresco painting.
Probably not nearly aU has been
preserved.* The authentic chro-
nological series begins in 1376 with
e the Gappella S. Felice in the Santo
(to the right, opposite the chapel of
S. Anthony). It appears from re-
cords that the Veronese AUichieri
da Zevio was commissioned to exe-
cute, and received payment for,
this very striking series of frescos,
and, as the older local writers all
name a Jacobo d'Avanzo, pre-
sumably from Verona, as a con-
temporary of Altichieri, we must
see in the difference of hand in
these paintings the traces of a
directing master and his assistant.
The seven first pictures, from the
Legend of S. James, show an ori-
ginal and spirited acceptance of the

* Or it may lie hid under the whitewash,
for instance in the Santo.

principles of the style of Giotto.
The master is one of the best nar-
rators, draughtsmen, and painters
of this period. The other pictures
from the Legend, and the great
Crucifixion on the wall at the
back, are works, the painter of
which has made a great advance
beyond Giotto and his school. He
elevates the physiognomical expres-
sion of his individtial figures as to
character and action to the utmost
intensity, so that the rhythm of
the composition is quite secondary
to it. In the year 1377, the two
masters began the painting of the
Cappella S. Giorgio in the Piazza in
front of the Santo. (Best light at
noon.) The separate authorship of
the two cannot here be entered
upon. From documents we know
nothing on this point. The oldest
writers sometimes mention Alti-
chieri alone, sometimes both mas-
ters. Ernst Fbrster, to whom we
are indebted for the re-discovery
and restoration of the chapel, found
" Avancius," in an inscription now
destroyed ; still it does not follow
from this that the direction of the
work belonged to him. In twenty-
one large pictures are here repre-
sented the youth of Christ, the
Crucifixion, the Coronation of the
Virgin, and the Legends of S.
George, S. Lucy, and S. Catherine.
The composition shows throughout
the good qualities which distinguish
the best followers of Giotto ; besides
the telling clearness of the action,
the grouping is beautiful in itself,
but the principal point is that here,
in hundreds of figures, the charac-
ter of the individual, and of the
moment, from the highest to the
lowest of the whole great scale is
made real, yet without caricature,
and in accordance with the type of
the century. In the beauty of
single heads, the masters surpass
most Giotfcesque painters. Lastly,
they excel them in their far more
accurate modelling, ia the grada-
E

50

The Gothic Style.

tion of tones, * even (in the last pic-
ture of S. Lucy), and in remarkable
attempts at iUusion. (More accu-
rate architectural perspective, di-
minution of the more distant figures,
and even aerial perspective. ) In the
Capella S. Felice also, the effect of
perspective is quite striking.

This great example remained for
a time without any imitators in
Padua itself. The very extensive
frescos subsequently executed be-
long principally to the weak, even
to the weakest, works of the style
derived from Giotto. The frescos
a of the Baptistery in the Cathedral,
by the two Paduans, Giovanni and
Antonio (1380), or, according to
other accounts, by Giusto Padovano,
son of Giovanni de' Menabuoi, a
Florentine by birth, are only of
value as a very complete and con-
veniently arranged cycle of the
sacred personages and scenes proper
to the place. Also, in comparison,
at any rate, with the mosaics of the
orthodox Baptistery in Ravenna,
the increase of materials in the
world of church painting during
1000 years is to be observed.
Probably by Giusto; the frescos
J) of the Gapella S. Luca, in the Santo
(next to the chapel of S. Anthony),
of the year ] 382, with the histories
of the Apostles Philip and James
the Less, certainly rude, but yet
with some happy and life-like mo-
tives. Of the fifteenth century
(probably painted over or copied
from older paintings in the original
building destroyed by fire), the
frescos of the immense hall in the
c Palazzo delta liagione, by Giovanni
Miretto and his companions (after
1420), a gigantic production of
nearly 400 pictures, representing
the influence of the Constellations
and the Seasons on human life (de-
picted in true genre pictures) fuU
of inexplicable allusions of all kinds,
but in artistic thought either feeble

' Their palette is twice as rich as tha
the other Giottesques

and unskilful, or mere reminiscences
of something better. (Formerly
the Magician Pietro d'Abano was
looked on as the inventor, Giotto
as the painter of this work. ) Also
the frescos in the choir of the
Eremitani, related to these in aged
and style, formerly ascribed (as
now again by Crowe and Cavalca-
seUe) to a painter of the fourteenth
century, Gv/i/riento [1338-64], are
only remarkable on account of their
subjects, especially the astrological
accessory pictures in monochrome.

For the paintings on tombs at
Padua, we refer to the vol. on
Sculpture.

At Verona, there exists nothing
by Altichieri and d'Avanzo. [But
the primitive art of the place is
well represented by Turone, whose
altar-piece of 1360 in the Museum
shows the influence of Umbro-
Sienese tradition in Northern
Italy ; whilst numerous frescos in
Veronese churches (S. Fermo, S.
Siro) prove the extent of the mas-
ter's practice. — Ed.] To the grace-
ful Stefan^ da Zevio [born 1393, and
painter of an Epiphany dated 1435
in the Brera of Milan (No. 281), as
well as of an altar-piece at lllasi
near Verona, and a Madonna in
the P. Colonna at Eome. — Ed.]
were formerly ascribed the frescos
over a side-door of S. Eufemia, and e
in an outside niche of S. Fermo, as
also, on the wall round the Chancel,
a number of heads of Saints and
Prophets, of which a certain Fra
Martin/} is now said to be the
author. The inferior lunette over
the entrance of S. Fermo contains/
a good Crucifixion. S. Zenx> i&g
tolerably rich in single figures of
Saints (p. 19/.) The greatest num-
ber are in S. Anastasia ; the lunette A
over the door, with S. Zeno and S.
Dominic, who are presenting the
citizens and the monks of the
Cloisfe r to the Trinity, devoid of
style, but touching from the sim-
plicity of the intention ; also in the

The Remaining ItaKan Schools.

51

second chapel, on the right of the
choir, a really excellent votive
piotxire (of the Cavalli family), along
with smaller things ; in the first
chapel, to the right of the choir,
two monumental niches, with good
Madonnas enthroned, &c.

In Milan, little or nothing has
been preserved. The frescos of
the chapel at the back, in S. Oio-

" va/nni a Carhona/ra at Naples (with
the tomb of Caracciolo), are in part
by a Milanese (Lionardo de Sisuc-
do, from Bisozzo, after 1433), still
essentially of the G-iottesque style.
Remains of genre wall paintings,
by a jjainter called Michelmo, in

* Ccisa Borromeo, second court.

Anything else that may exist
scattered through Lombardy and
Piedmont is either without interest
in style or unknown to the author.
In Genoa hardly a single painting
seems to have existed. [The ear-
liest picture by the Genoese Bar-
tolommeo de Camulio is a Madonna
in the gallery of Palermo (1340). —
Ed.] The two old pictures of the
beginning of the fifteenth century

flin S. Maria <U Castello (first and
third chapel on the left) make it
seem possible that a German Jiistus
de AUeTrmgnawaa employed for the
decoration of the adjoining cloister
in 1451.

For the country between Bologna
and Ancona, I must refer to hand-
books. [One or two TJmbrian
artists, however, deserve special
mention. Ottamano NelU [1403-
1444] displays the influence of
Sienese art extending to Gubbio
and Foligno, a Virgin with Saints in
fresco (1403) in S. M. Numa of Gub-
bio ; frescos (1424) in the chapel of
the government palace at Foliguo.
But the influence of this master is
null compared with that of Gentile
da Fabriano (1370-1450), whose
principal masterpiece — Ed.] the
Adoration of the Kings, in the

Academy at Florence, shows us ad
change from Giotto's manner,
which, as it were, introduces us to
the fifteenth century. Instead of
giving himself up without restraint
to what is characteristic, real, in-
dividual, the pure youthful fancy
of Gentile takes hold of what is
beautiful and charming, and creates
a sort of realism heightened into the
marvellous (also by external modes
of ornament : for instance, laying
on the lights in gold). There are
few pictures which make us so en-
tirely understand that the painter
had in himself the conception of an
ideal world ; few which give forth
such an overpowering fragrance of
poetry. Besides this picture, and
a Goronaticm of tJie Virgin in thee
Brera at Milan, next to four beau-
tiful and delicately coloured single
figures of Saints (Nos. 75, 102, sq. ),
the few works to be found in Italy
are either in out-of-the-way places,
or hung up in bad lights. Side-
wing of an Altar in the choir of
S. NiccoU at Florence, and also an/
interesting little picture in the
sacristy there, or, uncertain, (Coro-
nation of the Virgin in the Academy
at Pisa). The only wall-painting, g
a Madonna, in the Cathedral of A
Orvieto, with a peculiar play of the
hands.

The Venetian style of art, re-
stricted, with few exceptions, such
as the Mosaics in the Cappella S.
Isidore, and the C de' Mascoli in
S. Marco (antea), to altar-pieces,
was the least influenced by Giotto.
The splendour of the dress, the
deep colours of the varnish, also
the greenish shadows in the flesh,
and the handling of the colours
distinctly remind us of the long-
continued predominance of the By-
zantines ; in the sweetness of cer-
tain heads there seems to be an
echo of the Sienese School. [The
masters who represent this early
phMe of Venetian art are — Paolo, i
E 2

52

The Gothic Style.

whose shrine at S. Marco was ex-
ecuted in 1345, but of whom we
have altar-pieces, of 1323, in the
gallery of Vicenza, and of 1358 in

a Germany. Lorenzo, the painter of
two Annunciations, of 1357 and
1371, in the Academy of Venice ; a
Death of the Virgin, of 1366, in the
Duomo of Vicenza ; and Christ giv-
ing the keys to Peter, of 1369, in

6 the Correr College at Venice. Ste-
fano. Madonnas, of 1379 and 1381,
in the Academy and Correr Gal-

c hry at Venice. Semdteeolo (1351 to
1400), whose chief works are a Co-
ronation of the Virgin (1351) and a
Madonna (1400) in the Venice Aca-
dem/y, and an Altar-piece (1369) in

d the Gaihedral of Padua. Jacoiello
del Fiore (b. 1374, still living in
1439), whose most characteristic
piece is a Coronation of the Virgin
in the Duomo of Ceneda (1430).

e NegropoTite and Donato, Altar-pieces
in San Francesco delta Yigna and
the Venice Academy. These local
masters had rivals in Oentile da
Fabriano and Vittore Pisano, who
painted in the public palace at the
opening of the fifteenth century.
These were followed by artists who
founded the school of Murano, from
whose workshops then came, towards
the middle of the century, those
splendid altar-pieces which show,
even in the Gothic frames which
inclose them, the desire to produce
the most brilliant effect of richness.
— Ed.] The style of the Muranese
was modified under the influence
of two currents of art. There is a
German influence recognizable in
the beautiful calm of some of their
figures ; the tender flesh tints re-
call Gentile da Fabriano, who lived
a long time in Venice. * The deep

* In the S. Glustina of the Altarpiece of
1443, and the hedge of roses of S, Sahina,
the influence of the Cologne school is un-
mistakable; and that of Gentile in the
youthful S, Icerius and the cherubs on
each side — a work by the same hand in the
Brera, No, 114, there erroneously called
Scuola Fiorentina. — Mr.]

transparent colour is to be observed
as contrasted with the easel pic-
tures of the old Florentines ; it is
the transition from the Byzantine
colouring to that of Giovanni Bel-
lini. The drapery has the solemnity
of the Gothic style ; but in the
whole tendency to individualizing
is felt the approach of the fifteenth
century, which produces hard and
gloomy heads and afiected figures.
[The partnership of Johannes,
doubtless a German, who calls him-
self Alamannus, and Antonius, an
Italian, both established at Mura-
no, begins in 1440. Joint works :
Glory of Christ (1440) at the Aca-
demy; Altar-pieces of 1441, 1443,
1444, and 1446, in S. Stefamo, S.
Zaccaria, S. Pantaleone, and the
Academy at Venice. In 1450 An-
tonio labours at Ferrara and Bolog-
na. Here he is no longer associated
with Johannes, but with Bartolom-
m£o (Vivarini). Altar-piece of
1450, in the Pinacoteca of Bologna,/
commingling the careful delicacy
of Antonio with the classic of the
rising school of Padua. Glory of
S. Peter (1451) in the GalUry oi9
Padua. After this Bartolommeo
paints alone (see postea) ; but An-
tonio continues in practice till 1470
(Glory of S. Anthony, in the Mvr
seum of S. Gio Later ano at Borne, h
1464). Hia disciple, Quiricio of
Murano, is known by a Glory of S.
Lucy (1462) in the Palazzo Silvestri
a^Eovigo, and aVirgin in Adoration
in the Academy of Venice — Ed.] i

Any remains existing in Naples
of this period, besides the works
already mentioned, are valuable
only as a part of the history of
art. By the mythical Simone Na-j
poletfOMo there exists no work
signed. The picture ascribed to
him in S. Lorenzo (left transept), Ic
a S. Anthony of Padua surrounded
by angels, is of 1438 ; S. Louis of
Toulouse, also there, is by Simone
di Martina, see above. In S. JDo- 1

Fra Angelica.

53

menico Maggiore (second, Cappella
Branoaoci, on the right) are the
legends of S. Magdalen, late Giot-
tesque frescos of moderate merit,
much painted over. Sixth chapel
on the right (del Crocefisso), be-
sides the Bearing of the Cross,
a Madonna nursing the child;
seventh chapel on the right, another
in the niche of a tomb; in the
further chapel towards the Strrada

a dMla Trinita, two old pictures (by
Stefmwne ?) according to Schulz,
later than 1456, a combination of
Sienese and Giottesque elements.
Oolanionio del Piore, once known
among the famous artists at Na-
ples, has no longer any importance
in the school there. The only
work [assigned to him is, as before
observed (p. 31 h), by Niccolo Tom-

h masi] the Glory of S. Antonius Ab-
bas, formerly in the choir of S. An-
tonio. The lunette over the door

cof S. Angela a Nilo, also ascribed

to him, is quite invisible from dust.

For the history of the type of

the Madonna, see the Madonna

della Rosa, in a chapel on the left

aside of the cathedral of Capua;
severely Gothic, and perhaps of
the thirteenth century ; the re-
maining Neapolitan Madonnas of
that time are still Byzantine.

FRA ANGELICO.

Before we enter upon the style
of the fifteenth century we mftst
speak of a Florentine master in
whose works the leading inspira-
tion of Giotto and the Gothic style
in general flames forth as in a
glorious vision, and attains its
highest and final eminence, the
Jieaio Fra Giovanni Angelica da
Fiesole, 1387—1455.

To the elements of beauty which
Orcagna introduced into the school
this master, unique of his kind,
superadded that of celestial purity
and intense devotional feeling.
One of those elements which give

an ideal grandeur to the Art of the
Middle Ages shows itself complete,
full and glorious in his works.
How the kingdom of heaven, the
home of the angels, saints, and
blessed ones was mirrored in the
devout imagination of that early
time, we learn most accurately and
completely through him, so that to
his pictures is for ever secured the
position of records of the highest
worth to religious history. For
any one whom Fiesole altogether
repels, mediaeval art can have no
real attraction; we may acknow-
ledge the narrow piety of the
monk, and yet recognize in the
heavenly beauty of many indivi-
dual forms, and in the perpetually
fresh and happy faith which ac-
companied it, a revelation of the
highest kind, which has no equal in
the whole domain of the history of
art. In the dramatic power of tell-
ing a story Fiesole is always one of
the best followers of Giotto ; as he
was from childhood a great artist,
he strove his life long to keep up
an even flow of inspiration in all
his creations. On closer examina-
tion we shall find that he is one of
the first who, in the treatment of
heads in place of mere general cha-
racter, always gives a personal life
of the most tender kind ; only to
his tone of mind the expression of
passion or vidckedness was impos-
sible, and his embarrassment in
such a case becomes comic in a
strict Eesthetic sense.

As his training was originally
that of a miniaturist (illuminator),
his smaller pictures executed in the
miniature style give tis the com-
plete artist. In the first place come
the Glories, as for instance the
splendid picture in the Uffiid (No. e
1290), also the company around the
Redeemer, and the reception of
the Blessed in the pictures of the
Judgment (the most beautiful in
the Palazzo Corsini at Eome,/
seventh room, 22, 23, 24; another

Fra Angelica.

55

small cells of specially distinguished
members of the order ; and there-
fore one seems to feel the inspira-
tion more clearly in the frescos of
the cells than in the altar-pieces of
the master. Seven cells, aU in the
upper story, were opened to me,
and I may say that the wall
paintings on them, as a whole, ap-
proach the highest possible expres-
sion of what they attempt, in spite
of the stiffness and limitation im-
posed by Fiesole's form of art.
(Christ in Limbo ; a Sermon on the
Mount ; the Temptation in the
Desert ; Christ on the Cross, with
his Disciples and the weeping S.
Dominic ; another Christ Cruomed,
with the Disciples ; the Marys at
the Tomb ; the Coronation of the
Virgin ; and the Adoration of the
Kings, a late and rich work which
perhaps shows rivalry with Masao-
cio. ) The superabundant richness
in these most beautiful and naive
heads is united with a spirit and
depth in the conception of the
events belonging only to the
greatest masters.* There are in
the cells, besides those above men-
tioned, eighteen smaller pictures ;
a in the passages, the Christ Orucified
with S. Dominic, nearly corre-
sponding to the picture in the
further gallery; the greeting of
the Angels, one of the most beau-
tiful of this subject, and a Ma-
donna enthroned.

How Fiesole painted for more
public devotion is seen in the fres-
cos of the further gallery on the
ground floor. There are five lu-
nettes with pointed arches with
half-length figures, among which
the Christ with two Saints of the
order is especially beautiful ; (the
subject of the Disciples at Emmaus
is a poetical and characteristic or-
nament suitable for the Refuge for
Pilgrims) ; farther on, Christ on the

* Since 1867 the convent has been trans-
formed into the **Museo Florentine di S.
Marco."

Cross, with S. Dominic, life-size ;
lastly, the famous fresco of thei
chapter-house adjoining ; the Christ
Crucified with the two thieves, his
Disciples and SS. Cosmas, Damian,
Lawrence, Mark, John the Baptist,
Dominic, Ambrose, Augustine, Je-
rome, Francis, Benedict, Bernard,
Bernardino of Siena, Eomuald,
Peter Martyr, and Thomas Aqui-
nas. It is a mournful lament of the
whole Church, here assembled at
the foot of the Cross in the persons
of its great teachers and founders
of orders. As long as painting
exists, these figures will be admired
for the unequalled intensity of the
expression, the contrasts of devo-
tion, of grief, of convulsed feeling
and calm inward meditation (in S.
Benedict, who overlooks the group
of the rest of the founders like a
father), have never been more finely
combined for general effect than
here.

It is a remarkable fact during
these centuries never to be for-
gotten in the history of art, that
several of the greatest artists pro-
duced most of their works and
their best at a late period in life,
at least after their 50th year. Lio-
nardo was near this age when he
painted his Last Supper at Milan ;
Giovanni Bellini's noblest pictures
dated from after his 80th year(?)
Titian andMichael Angeloboth pro-
duced their most wonderful works
when they were old men. There
exists a well-known small engraving
of the sixteenth century, represent-
ing an old man in a child's wheel-
chair, with the inscription, " An-
chora imparo," I stUl learn. And
this was no mere phrase. The inde-
structible vital power of these men
was really united with an equally
continuous power of appropriation.

This was also in some degree the
case with Fiesole ; the quality in
which he was so especially great,
the deep, peaceful blessedness of
the figures of holy personages is

56

The Gothic Style.

expressed in his later works with
indescribable power and fulness,
very different in this respect from
Perugino, who became poor and
conventional with years. Consider

a Fiesole's pyramidal-shaped group of
the Prophets in the vaulting of the
Chapel of the Madonna in the Ca-
thedral of Orvieto,*and ask whether
any work of art on earth, Kaphael
not excepted, could so represent
silent devout adoration. (The Judge
of the World on the waH behind
has indeed been taken from the
Last Judgment in the Campo Santo,
without equalling the original.)
Still later, after his 60th year (1447,

6 he painted the Chapel of Nicolas V.
in the Vatican and the four Evan-
gelists on the vaulted roof, and one
or more of the teachers of the
Church, as, for instance, S. Bona-
ventura, still appear quite in har-
mony with these celestial forms.
And not only did he develop with
increasing power in his own special
line, but also he kept his mind
open to the advance of other con-
temporaries. The legends of S.
Stephen and S. Lawrence in the
last-named chapel prove that the
now elderly man strove with all his
strength to keep up to whatever
Masaccio and others had gained in
the meantime, as far as was con-
sistent with his own tendency.
The graceful narrative manner of
these frescos shows touches of real
life and an external truth of colour-
ing superior to any earlier works of
the master. Violent actions, even
merely long strides, never succeed
with him ; but we find ample com-
pensation for this in such figures
as that of the young woman who
listens with rapt devotion to the
preaching of S. Stephen, and only

* The designs of the four divisions of the
vault in the southern part of the chapel
are by Fiesole, as we now know from docu-
ments; only the Prophets and Fathers,
however, are executed by his hand, while
I/UAXh SigTiorelU painted the two other parts
after Fiesole's sketches.

holds her restless child with her
hand to keep it stUl. If we go
through this work scene by scene,
we shall find in it a treasure of ,

beautiful lively touches of tlfis
kind. Independently of this, it is
quite beyond price as a complete
whole preserved nearly entire from
the time of the great period of
early art.

Fiesole lies buried at Rome in S.
Maria sopra Minerva. Perhaps
with a wish to do him honour, the ^

vaulted roof of this church was
painted in our time in his manner.
We observe apostles and teachers
of the Church on a blue ground
starred with gold. But Fiesole
would neither have approved these
pictures nor been grateful even for
the good intention which they dis-
play.

We may pass by the works of
Angelioo's brother Fra Benedetto,
whose miniatures are still in exist-
ence in the choral books of S. Marco
and S. M. del Fiore at Florence.
A contemporary and brother monk,
the Camaldole friar Don Lorenzo (in
practice from 1390 to 1413), en-
tered on the same line as Fiesole,
but stopped at the first outset.
We may believe that his very rare
works cost him great labour and
thought. In the Annunciation in
the iS. Trinitd, at Florence (fourth d
chapel on the right) he finds his
reward ; the quiet grace and the
thoughtful character of the two hap-
pily-placed figures has given a sort
of typical value to the picture, and
caused a desire for numerous copies.
The Adoration of the Kings ( Uffizi, e
No. 20) is also excellent in arrange-
ment, and likewise remarkable as
one of the latest pictures in which
the drapery of the Gothic style is
given in its full sweep. His prin-
cipal work, a Coronation of the
Virgin, of 1413, from the Badia of/
Cerreto, is still (since 1867) in the
magazine of the Uffizi. A triptych

" The Renaissance.'

57

a at Monte Olvoeto, Annunciation in
in S. Trinitk, Nativity in S. Luca,
at Florence, a more feeble Annun-

i ciation in the Academy, Qu. Grandi,
No. 30, and several others in the
collection there. A beautiful Ma-

donna, with Saints, in the Oolleg: e
giaia at Empoli; a Coronation of
the Virgin at Certaldo, [the wings
of which are still erroneously as-
signed to the school of TaddeoGad-
di, in the National Gallery. — ^Ed.].

CHAPTER v.— PAINTING OP THE FIFTEENTH CENTTIRY.
"the renaissance."

CHARACTER OF THE RENAISSANCE.

In the beginning of the fifteenth
century a new spirit entered into
the painting of the west. Though
still employed in the service of the
Church, its principles were hence-
forward developed without refer-
ence to merely ecclesiastical pur-
poses. A work of art now gives
more than the church requires ;
over and above religious associa-
tions, it presents a copy of the real
world; the artist is absorbed in the
examination and the representation
of the outward appearance of
things, and by degrees learns to
express all the various manifesta-
tions of the human form as well
as of its surroundings (realism).
Instead of general types of face,
we have individuals ; the tradi-
tional system of expression, of ges-
tures and draperies is replaced by
the endless variety of real life,
which has a special expression for
each occasion. Simple beauty,
which hitherto has been sought for
and often found as the highest at-
tribute of the Saints, now gives
place to the distinctness and ful-
ness in detail which is the prin-
cipal idea of modern art ; and
wherever it does appear it is a
different and sensuous beauty,
which must not be stinted of its
share in the real and earthly, be-

cause else it would find no place in
the modern world of art.

In this sense a work of art gives
less than the church requires or
might require. For a simple rea-
son, to which few people give a
thoaght, the religious element can
only assert itself by claiming abso-
lute sway. In itself a negative
quantity, it shrinks to nothiaw
when brought into contact with
the profane ; and when profane
elements are purposely introduced
into art the picture necessarily
ceases to be religious.

If we but think of it for a mo-
ment, art has but scant means of
expressing devoutuess. It may
suggest in a head or a gesture, re-
pose and tenderness, resignation
and longing, or humility and
mourning. All these are essen-
tially human, and not exclusively
Christian elements. But they are
not capable of awaking Christian
devotion in the Christian mind
unless we keep them free from
disturbing causes, by suppressing
aU but the indication of those sur-
roundings or parts of the human
shape which are unfitted for this
frame of mind. For this purpose
the general solemnity of drapery is
very important, which precisely, by
its contrast with the costume of
the time, by its want of definiteness
in the materials (which do not
distinguish silk from velvet), and

58

"The Renaissance." Florentine School.

still more by a secret association of
ideas, which we cannot pursue fur-
ther, helps to strengthen the im-
pression of something beyond what
is temporal and earthly.

Now, on the other hand, begins
an enthusiastic study of the nude,
and, in general, of the human figure
and its action ; in the flow of the
garments also we note the attempt
to give the character of the indivi-
dual and the given moment ; actual
materials are represented, in easel
pictures especially, with inimitable
delicacy : the richest possible
variety of colours and the pictu-
resque contrasts of the personages
in action become the essential
principle, so that apart from the
religious even the dramatic im-
pression suffers from superabund-
ance. Xiastly, quite a new feeling
for space grows up ; whereas the
painters of the fourteenth century
filled up given wall surfaces as
much as possible with human
figures, now the action, and the
incident is properly developed on
large surfaces, so that nearness and
distance, motion backwards and
forwards, may serve as essential
means of illustration ; and instead
of simply indicating the localities,
as far as is necessary to be intel-
ligible, we now find a real lands-
cape and a real architecture given
more or less in perspective.

This attention to individual
forms could not fail before long to
be followed by the division of paint-
ing into different kinds : accord-
ingly, profane painting, chiefly
taking its subjects from mythology,
allegory, and ancient history,
quickly assumes an important po-
sition.

In the north this great transition
is marked by the immortal brothers
Tan Eyck, who cast their solitary
shining light far over the century
over all German, French, and Spa-
nish art. They extended the scope
of painting to such an extent that

their successors could not keep
pace with them, and contented
themselves with a much narrower
circle of forms. Not for nearly a
hundred years after them did por-
traiture, genre pictures, and land-
scape in the north again reach the
point where the Van Eycks had left
them, and then continue to ad-
vance by their own strength. No
single painter for several genera-
tions, north of the Alps, not even
their best Flemish disciples, under-
stood the human form even ap-
proximately so well as they, or
handled it in so living a manner ;
a sort of paralysis seems to have
fallen on them ; and when, too late,
appeared Dtlrer, Metsys, and Hol-
bein, they had first to throw off
the burden of a mass of worn-out
forms, the product of the fifteenth
century.

Art in the south early adopted
what was harmonious with it in
the widely known works of the
great Flemings ; no Italian school
(with the exception of a few Nea-
politan masters) was essentially
affected by them, but neither did
any remain entirely uninfluenced
by them. The treatment of
materials in drapery and orna-
ments, but especially of landscape,
shows much of the Flemish man-
ner ; stiU more important was
painting in oil, confessedly learnt
from the Flemings (?), that is, the
new treatment of colours and var-
nishes, ■which render possible a
transparency and depth of tone
hitherto nnthought of, and a most
enviable durability.

The influence of antique sculp-
ture is often regarded as an essen-
tial advantage possessed by Italian
painting over that of the north.
But the evidence of our eyes shows
us that every advance was gained
from nature, and with infinite ef-
fort, which was not the case in the
north. This is distinctly seen in
the Faduan school, which alone of

Florentine Frescos.

59

all the schools chiefly occupied it-
self with the antique, and yet, as
we shall see, hardly derived from
it anything beyond the ornamenta-
tion. It was not natural to an art
striving onward with such vast
powers, to accept its ideal from
without; it must itself discover
the beautiful, which was to become
its own.

It possessed, as an original gift
from heaven, the tact to foUow out
external reality not into every detail,
but only so far as that the higher
poetic truth might not suffer from
it. Where it is too rich in details
it is superabundant in architecture
and decoration, and in beautiful
draperies, not in the prosaic acci-
dents of external life. The impres-
sion, therefore, is not of weariness,
but of splendour. Few give the
essential parts grandly and nobly ;
many lose themselves in fanciful-
ness, which is the general tendency
of the fifteenth century, yet the
general grandeur of the forms gives
to their fancies a tasteful and even
pleasing character.

FLORENCE.— FRESCOS.

The great advance of the new
period, like that formerly made by
the school of Giotto, would have
been impossible if painters had
been restricted to devotional and to
easel pictures. Florence, again, is
the point whence the new hght of
a grand historical school of painting
streams forth, covering the walls
of churches, cloisters, and town
halla with frescos.* No other
school can claim equal merit with
this ; the Lombard remained con-
fined within the narrow circle of
ideas of miraculous pictures and

* Till Giotto's time, according to tie
present view, they only painted in tempera
on the walls ; after Giotto, they painted in
fresco, and painted over al secco ; not till
the end of the fourteenth century did fresco
painting proper begin in the special sense.

pictures of the Passion ; the Vene-
tian was never really at home in
fresco, and long confined itself to
altar pictures and mosaics ; if we
count the great Andrea Mantegna
as a Venetian, he, in his wall-
paintings, (to their detriment) went
beyond pure fresco, the really solid
treatment of which is a special
merit of the Florentines. Eome
depended almost entirely on foreign
artists ; Perugia drew her inspira-
tions first from Florence and Siena,
and at her highest point did but
little for the dramatic historical
element. Naples does not enter
into consideration. Tuscany alone
presents a grand style of historical
painting, carried on in healthy un-
interrupted development, always
exercising an indirect influence on
easel-painting, which else would
prematurely have degenerated into
over-refined prettiness.

With the exception of the addi-
tion of profane painting, the sub-
jects remained the same ; the calm
symmetrical Holy Family, the his-
tories of the Bible, and the legends
of the Saints, and, lastly, the pic-
tures intended for private devotion.
Only they are aU changed in cha-
racter. Of the single figures, the
Christ at the age of manhood pre-
serves most of the traditional type ;
the Christ Crucified sometimes is
very noble and refined in form, and
has an expression which the schools
of the seventeenth century vainly
endeavour to surpass in depth.
The greatest change is in the Ma-
donna; she does, indeed, in some
solemn representations remain the
Queen of Heaven, but otherwise
becomes the tender or calmly re-
joicing mother, and replaces her
antique ideal costume by the bodice
and hood of the ItaUan renaissance;
the family picture is completed by
giving the lively, even restless
Child-Christ his long wished-for
playfellow in the little John. In
this earthly interpretation of life

60

" The Renaissance." Florentine School.

the foster-father Joseph for the first
time finds his right place ; a do-
mestic yet not viilgar tone begins
to prevail in all the scenes hitherto
so solemn : the Annunciation, the
Visitation, the Adoration of the
Shepherds, the Birth of the Vir-
gin, the Birth of John, etc. Un-
doubtedly the story was brought
nearer and more present to the be-
holder ; whether devotional feeling
gained or lost by it, is another
question. The celestial region also
is filled with expressive individual
heads and figures, beginning with
God the Father, in a robe bordered
with fur ; the crowd of the blessed
and the angels are no longer em-
ployed to give general effect to the
grand symmetrical glory of the
whole, but each figure is interesting
in itself. The grown-up angels
(often quite Florentine in costume)
are now divided from the troops of
little naked winged children (Putti),
who enliven the works of art of
this period, as companions of the
Child- Christ, as singers and musi-
cians, and useful filling up and de-
corative figures.

It was the highest joy of Italian
artists to take from nature some
speaking action, some passing event
full of life, and express it in a
beautiful manner ; they aimed pre-
cisely at what the northerners
avoided. There is as yet but little
investigation of the anatomy of the
human form ; but the constant un-
tiring contemplation of daily ac-
tions enlightened the artists as to
the cause of every motion and
every expression ; the study of the
nude, and of perspective, which
had to be created out of nothing,
did the rest.

Thus arose a school of painting
no longer restricted to suggestions
and indications, but capable of re-
presenting any kind of action, any
sensuous form, or intellectual emo-
tion.

In Florence this great innovation

is connected with the name of
Masacdo (1401-1428). [But Ma-
saccio was preceded by Masolino da
PanicaU, a master of no mean
capacity, who first commingled the
devout feeling of Angelico with the
realism of Angelico's successors.
Masolino painted between 1428 and
1435 the frescos of the Church and
Baptistery of CaMiglione d'Olona, in a
the earlier series of which (vault-
ing of the choir of the church)
the tenderness of Fiesole is com-
bined with the energy of the earlier
Giottesques, whilst in the Baptistery
we note the change produced by
increased study of detail in the
human form, without incresise of
skill in composition or advance on
the old methods of contrasting
light and shade. According to the
testimony of Vasari, Masolino also
painted in the CappeUa Brancaooi,
at the Carmine of Florence; and 6
some judges stiU assign to him a
part of the pictures of that cele-
brated chapel. But others again
think (and I am of this number)
that if Vasari's statement is correct,
it can only apply to wall paintings
which have since been destroyed or
obliterated. It is most desirable
that some fresh light should be
thrown upon the history of this
great artist, whose life will remain
obscure so long as we cannot dis-
tinctly prove that he is identical
with Tommaso di Cristoforo di
Fino, who was born in 1383, em-
ployed at Florence in 1425, in the
pay of Pippo Spano, at Stuhlweis-
senburg, in Hungary, about 1427,
and is supposed to have died in
Oct., 1447.— Ed.]*

Masaccio was Masolino's pupil,
but chiefly formed his style under
the influence of Ghiberti, Donatello,

* We should note as of Masolino's time,
a Virgin and Saints (1426) in S. Miniato,
a Cmcifixion (1440), and Christ in the
Tomb, frescos in the rooms of the first floor
ahove the cloisters in S. AppoUonla at
Florence, all by Pctoio di Stefano.

Masacdo — Masolin o .

61

and Brunellesco, who represented
the new principle in sculpture.
[At an early age he went to JJome,
where, according to Vasari, he
painted a chapel in San Clemente,
with a series of frescos represent-
ing the Crucifixion, and scenes from
the legend of St. Catherine.] In
spite of over-painting, these remark-
able pictures show how closely
Masaccio followed the manner of
his master, and asserted his supe-
riority over the Giottesques.

In some of the better preserveu
heads, life and character are very
powerfully expressed. * [Equally
remarkable as art is that other
work which Vasari ascribes to
Masaccio, the Virgin in a Mandoria
and Pope Liberius tracing the
groimd plan of S. M. Maggiore at

a Rome, a diptych in the Musev/m of
Naples, erroneously catalogued as
by Gentile de Fabriano. It shows
in a striking manner how deeply
imbued Masaccio was in his youth
with the tenderness of Angelico's
creations. — Ed.]
Masaccio's genius is fully dis-

6 played in the Oarmiiie at Florence
(Brancacci chapel at the end of the
r. transept), where he continued
the series of frescos begun (and
since obliterated) by Masaccio. As
Eve in the fall of man is one of the
first really beautiful nude female
figures of modern art,+ so in the
Baptism of Peter, we see the first
reaUylife-like action of malefigures;
the two nude figures in motion (in
the Expulsion from Paradise) are
also perfect in treatment of lines.
The remaining pictures also are
enriched by an amount of free and
noble traits hitherto quite unknown
in art. Giotto and his school were

* [The theory of Dr. Von Zahn that these
frescos are by Masolino, and not by Masac-
cio, is shared by some critics, but rejected
by others, amongst whom the writer of
these lines ventures to take rank. — Ed.]

t [Dr. Burckhardt thought the Eve a
work of Masolino, an opinion which no one
now upholds. — Ed.]

fond of enlivening their dramatic
scenes with numerous and sym-
pathising spectators ; but now Ma-
saccio introduces the whole of con-
temporary Florence into the midst
of the story as actors or spectators
(Raising of the King's Son, part of
which is the work of Filippino
Lippi) : he divides and combines,
the scenes, groups, and persons no
longer according to architectonic
laws, but for pictorial effect, and
with a naturalistic representation
of the localities (Finding the Penny
in the Fish's mouth ; Healing the
Cripples ; the Giving Alms). But
in his great success as to pictorial
effect Masaccio did not overlook
the principal object ; his chief cha-
racter, the Apostle Peter, is always
represented with a dignity and
force, and his attitude and move-
ments rendered in a manner only
possible to a really great historical
painter. None but a great artist
fuUy takes in the single idea of the
whole action ; all his followers up
to Lionardo revel in their posses-
sion of vast new opportunities in
art ; Masaccio alone knows how to
be moderate, and thus attains the
impression of a harmonious whole.
How simply has he given the dra-
pery which combines the highest i
nobleness of style with the most
life-like flow. He does not court
the difficulties of modelling and
foreshortening ; but where they
meet him, he masters them com-
pletely. (Best light, afternoon at
four o'clock.) In the parts com-
pleted by Filippino, very easily to
be recognized, the exceedingly beau-
tiful composition is due apparently
to Masaccio's design.

The simple grand picture of S.
Anna with Mary and the Child, in
the Academy at Plorence (Quadric
graudi, No. 34), clearly shows the
realistic painter developedout of the
ideal idealizing school. The remains
of a fresco painting of the Trinity,
much iniured, now on the right of

62

" The Renaissance." Florentine School.

the entrance porob in S. Mwria
a Novella. The heads ascribed to
Masaccio in the TJfi^ are not his.
The lunettes in the little church
hot S. Martino (FraiemUa de? Buo-
nomini) at Florence, are justly re-
garded as the work of an excellent
scholar of Masaccio : they give a
grand richness of life without the
overladen and quaint character of
the later Moren tines of the fifteenth
century. I cannot look on them
as youthful works of FUippino
Lippi, as there is in them no remi-
niscence of his master Sandro.
Crowe and CavalcaseUe assign them
a later date, and consider them as
works of the school of Filippiuo.

FILIPPO LIPPI.

The advance made by Masaccio
is carried still further by Fra Fi-
lippo lAppi (1406 — 1469), under
the guidance of a less high and
severe mind but a rich and playful
fancy. He lets himself go, but not
through laziness, but rather in au-
dacious experiments in what may
be allowed to art. With what
freedom and openness he reveals to
us in the figures with which he fills
up his scenes, the deepest nature of
those whom he conceived, with
what feeling he represents — the
first to do so — the sensuous loveli-
ness and exuberant, even wild, play-
fulness of youth! He is the first who
heartily enjoyed the fulness of life,
even in its chance manifestations.

His greatest works in fresco, the
histories of John the Baptist and
S. Stephen in the choir of the
cGathedral of Prato (1452 — 6 ; best
light 10-12 ; in winter almost in-
visible, on account of the low roof
of the choir — a sort of temporary
roof of planks, only used in the
winter months), would already have
made an epoch in art through their
method and their colouring. The
scenes are not all lofty in concep-
tion ; the artist has so much that is

new to say in all possible directions
that the deeper purpose suffers
under the crowd of often beau-
tiful, purely pictorial ideas. None
of his predecessors express attitude
and motion so beautifully as he
does in his grand and lifelike
draperies, several of which {e.g., in
the Lamentation over the body of
Stephen) hardly find an equal be-
fore the time of Raphael. In the
four Evangelists in the segments of
the ceiling, Filij)po did not adhere
to the symmetrical arrangement;
Fiesole's Evangelists, for instance,
on the ceiling of the Chapel of
Nicolas v., win always be pre-
ferred.

Towards the end of his life (1466),
Fihppo painted the apse of the
choir of the Cathedral of Spoleto. d
His Coronation of the Tirgin in this
church is one of the first semi-dome
pictures that is arranged with free-
dom ; yet the severe symmetry of
the earlier style is stiU felt agree-
ably. The Virgin and Child are
not equal in earnestness to the
Giottesques ; but there is compen-
sation in the lifelike expression of
accessory groups. Of the three
lower pictures in the hemioyde, the
Death of the Virgin is very impres-
sive, though the result is reached
by quite different methods from
those employed by the Giottesques.

In his easel pictures the predomi-
nant sentiment is that of pleasure
in natural beauty, healthy and play-
ful youth ; the Madonna, a figure
out of Florentine domestic life, the
ChUd-Ohrist always very beautifully
formed. [Remark the peculiar form
of the head often resembling that
of a bull, which gives a stubborn
look to many of his figures, often
even to those of the Cluld-Christ.
—Mr.] At Prato, in the Refectory e
of S. Domenico, a Birth of Christ,
with S. Michael and S. Thomas
Aquinas ; — in the Pinacoteca of the/
Palazzo del Commune, a Madonna
della Cintola, a poor feeble Ma-

Mli/ppo Lippi — Sandro Botticelli.

63

doDDa, and a Predella. At

a Florence, in the Academy (Quadri
grandi, No. 49), a beautifiJ. Ma-
donna with four Saints, all under
an architectural building, the moat
beautiful of his easel pictures as re-
gards drapery ; — there also (Quadri
grandi, Ko. 41) the large Corona-
tion of the Virgin — late, as is shown
by his own portrait as an old man,
and the low toned, but quite clear,
colouring ; it gives an impression
of over-fulness, because the subject,
a Glory, is represented in a definite
earthly spot ; but along with this
it is also rich in essentially new
life ; also the beautiful Predella,

b Vffizi, No. 1307 ; two angels Hft
towards the Madonna the child
that longs for her ; she lingers
praying [there also, No. 1167, the
wonderful head of an old man,
ascribed to Masaccio, fresco. — Mr.]
Pal. Pitti, No. 338, large circular

c picture of the Madonna seated (half
length) ; behind, the Birth of the
Baptist and the Visitation, a subject
which naturally led to the union of
the incidents formerly divided into
separate scenes by gold lines in one
picture, converting the family altar

A into a family picture. Sati Lorenzo,
in a chapel of the left transept, a
fine Annunciation of the Virgin

e (damaged). Pal. Corsmi, several
pictures. [Pra Klippo's ordinary
assistants should not be forgotten.
Fra Diamiamte (b. 1430 at Terra
Nova, died after 1492, ) was jour-
neyman at Prato and Spoleto, and
guardian to Filippino Lippi. Jacopo
del Sellaio (b. 1442, d. 1493), prac-
tised at Florence. Crucifixion in
the church of Cestello. PeseUino ;
(see postea).]

SANDRO BOTTICELLI.

Samdro Botticelli (1447—1510)
the pupil of Fdippo, never tho-
roughly accomplished what he
intended. He loved to express life
and emotion sometimes in even

vehement movement, and often
painted with a great deal of hurry.
He strove after an ideal beauty,
but remained chained to a type of
head, always recurring and recog-
nizable from afar, which he repro-
duced occasionally in a most lovely
manner, but which often was rude
and lifeless. (It is not the head of
the Bella Simonetta, if the doubtful
profile picture in the PaL Pitti,
Sala di Pi-ometeo, No. 353, really
represents this maiden.) Sandro
is one of the first of the Florentines
who showed a constant attachment
to profane mythological and alle-
gorical subjects, painted according
to the feeling of theEenaissance.*

His most beautiful work is one
of the two circular pictures (Ma-
donnas with Angels) in the tTffizi
(No. 25),t with wonderful angels'
heads, a real jewel in execution ;
there also is his best composed his-
torical picture, an Adoration of the
Kings (No. 1286), which rivals in
its noble cast of drapery the best
works of his master, an interesting
parallel with Flemish pictures of
the same subject; then two little
Stories of Judith (Nos. 1231 and
36) and the well-known, so often
painted Allegory of Appelles of
Calumny (No. 1288), subjects whose
grand and ideal significance was
not adequately expressed by his
here strangely mannered realism;
also "Strength" (No. 1299) is not
a happy conception; but at last
came the Venus floating on a shell
on the ocean (No. 39) ; for this
Sandro studied and produced not
only a really beautiful nude, but a
most charming, fairy Ukeimpreasion,
which unconsciously takes the place
of the mythological one. In the
Academy (Quadri antichi, No. 24), /

* Very remarkable symbolical composi-
tions are found among his engi-avings for
the edition of Dante of 1481.

t Perhaps only a repetition of the still
more beautiful specimen in the possession
of Count Alessandri.

64

" The Renaissance." Florentine School.

the Garden of Venus, or whatever
the picture may be called; again
reaUstically imperfect in the forms
of the nude figures ; also (in the
large room, No. 47), a large Coro-
nation of the Virgin with four
Saints, in parts insignificant, and
harsh in colour, and even rude ;
much better the Madonna with
four Angels and six Saints (No. 52),
one of the splendid large pictures
in which the fifteenth century
transforms the heavenly sphere
into a real, earthly, but stiU solemn
and dignified court ; the angels not
only mt up the curtain, but they
also hang it careftilly on the posts
of the architectural edifice. Other
a works of his in P. Pitti, P. Oorsini,
i and elsewhere. In the Ognissanti,
on the right S. Augustine, counter-
part to Ghirlandajo's Jerome. The
e battle-piece in the Turin Gallery is
more in the style of Ucoello.

FILIPPINO LIPPI.

Filippino lAppi (1461 — 1504), son
of Filippo and pupil of Saudro,
whom he much excels in spirit,
fancy, and feeling for beauty. How
he naturally succeeded Sandro is
best seen in the large Madonna
enthroned with the four Saints, in

dthe Ufflzi, No. 1268 (1485). There
also, an Adoration of the Kings —
full of figures (No. 1257), certainly
inferior to the perhaps contempo-
rary one by Lionardo, and not devoid
of the faults of the later works of
PiUppino (too bright colouring,
overcrowding, and heavy, puffed-
out drapery), but unusually beau-
tiful in its expression of timid
approach, of adoring devotion.
The little S. Jerome sitting in the
niche, named as "Filippo L." is
certainly by Filippino. His best

t easel picture, in the Bad/ia, left of
the door, S. Bernard visited by the
Madonna and Angels, a work full
of naive beauty, is certainly of an
early date (1480): also early, the

beautiful Altar-piece in S. MicheU,f
at Lucca, first altar on the right;
the Descent from the Cross, on the
other hand, in the Academy sttg
Florence (Qu. gr.. No. 57), of
which Perugino painted the lower
group, as well as the Marriage of
St. Catherine with Saints in S. Do-
menieo at Bologna (small chapel im- h
mediately to right of choir), dated
1501, belong to his later works, in
which, with much that is beautiful,
one misses the harmonious flow of
inspiration. A few long, narrow
pictures, with many small figures,
such as that with the Death of
Lucretia (P. PiUi, No. 388) audi
the story of Esther {P. Torrigicmi, j
at Florence), are evidence of the
manner of various contemporary
Florentine artists, representing
profane history in theatrical scenes
full of figures. The splendid pic-
tu e in S. Spirito (coming from the
nave, the fifth altar of the right
transept) is attributed also to FiUp-
pino's pupil, Baffaellino del Ga/rbo;Tc
it is a Madonna with Saints
and Donators under a porch, with a
beautiful view over a city ; some of
the heads have a melancholy grace,
like the most beautiful pictures of
Lorenzo di Credi. Probably by
him, the fine panel picture with
four Saints in S. Felice in Piazsa. I
[In S. Teodoro, at Genoa, a large
Altar-piece of 1503 ; there also, in m
P. BalM, a small communion of»
S. Jerome, of which what is per-
haps the original belongs to the
Marchese Gino Capponi at Florence.
In Venice (Pinacoteca Manfredini, o
in the Seminary of the Salute), two
tender little pictures, Christ with
the Magdalen, and the "Woman of
Samaria, there called D. Crespi. —
Mr.] The frescos of Filippino in
the Carmine at Florence, which areP
probably the earliest, are also the
best ; they form a worthy and
harmonious continuation to the
work of Masaccio, whose composi-
tion he may be supposed to have

Cosimo Rosselli — Paolo Doni Uccello.

65

followed. There are two groups
easily to be recognized as his in the
representation of the King's Son
Kaised from the Dead ; also Peter
and Paul before the Pro-consul
(here the last head to the right is
the portrait of the painter by him-
self, with which compare the por-
o trait in the Uffiai, wrongly named
Masaocio in the collection of por-
trait painters); and Peter visited in
the dungeon by Paul, and his deli-
verance by the angel. But also
in the Miracles of the Apostles
John and Philip, with which he

i decorated the Gappella Strozzi, in
S. M. Novella (the first on the
right of the choir), I can perceive
nothing like any diminution in his
artistic capacity, only that here he
narrates more in his own manner
than one of the great dramatic
painters of the fifteenth century
would have done. At the same
time the faults are very obvious,
such ss overloaded and complicated
composition, heavy, lumpy, wide
spread out draperies and conven-
tional heads, which, however, are
outweighed by casual traits of
the greatest beauty. There is a,
decided inferiority in the frescos in

cthe Minerva at Rome (Gap. Garafa,
1488—91), in which he certainly
attempted a subject no longer in
harmony with the fifteenth cen-
tury; the Glory of S. Thomas, as
an allegorical ceremonial picture.

dA. beautiful tabernacle at Prato,
corner of the Strada di S. Mar-
gherita (1488).

Parallel with Sandro and Klip-
pino is Gosiwjo Bossdli (born 1439,
died 1507), whose best fresco at

« Florence, in S. Ambrogio, in the
chapel left of the choir, represents
a procession with a miraculous cup.
The heads are beautiful and fuU of
life, the composition overcrowded
and somewhat wanting in dignity.

fin the entrance court of the An-
numiata at Florence, the Investi-

ture of S. Klippo Benizzi. In 8.
M. MaddahTM de' Pazzi (second gr
chapel on the left), the Coronation
of the Virgin, formerly ascribed to
Fiesole ; in S. Ambrogio, an As-
sumption of the Virgin. In general,
Cosimo worked on the inspiration
of others, which, at this time of
greater individual freedom, was no
longer so allowable as it had been
one hundred years earlier.

Piero cU Cosimo (bom 1462) was
RosseUi's pupil, and, though he
lived tin 1521, and was at a later
period influenced by Lionardo,
yet he still belongs in his style of
conception to the fifteenth century.
His best picture, the Conception A
with six Saints ( Uffizi, TSo. 1250), is
remarkably solid in composition and
character, really a model picture
of the school. [His next best is the
Virgin and Saints in the church of
the In7iocenti.'\ Of the four mytho-
logical long, narrow pictures, Nos.
21, 28, 32, 1246, at the Ujffizi, the
last, Perseus and Andromeda, is
exquisite in some of its details.
[The want of proportion in some of
his heavy, awkward figures is
striking. — Mr.]

Paolo Doni Uccello (born in 1397,
died 1475) should here be interca-
lated as a precursor of Benozzo.
The paintings in the Chiostro verde i
of S. M. Novella, begim, whether by
him or some one else, in the obso-
lete Giottesque style, were com-
pleted by him in two scenes (Flood,
Sacrifice of Noah), which show a
very cultivated realism in progress
towards discoveries in perspective.
The equestrian portrait painted
monochrome, of the famous Gap-j
tain Sir John Hawkwood, in the
Gathed/ral of Florence, is, like the
fellow picture painted by Castagno
(the military leader, Niccolb Mau-
ruzzo da Tolentino), much restored,
but better conceived than the latter,
which represents only a stiff -legged
F

66

" The Renaissance." Florentine School.

cavalry soldier on a plough horse.
Besides this, there is by Uccello a
a very lively battle piece in the UflBzi
(No. 29).

BENOZZO GOZZOLI.

Benozzo Oozzoli (bom 1424, died
about 1498), a pupil of Piesole,
shows few traces of his master's

6 spirit. In the Cathedral of Orvieto,
where he was Fiesole's assistant, he
was not allowed to complete the
unfinished work, and his first in-
dependent productions are found
in the little Umbrian town of
Montefalco (S. Francesco, chapel of

cthe choir, the hfe of S. Prcmds,
1452, and some wall pictures; S.

dFortimato outside the town, seve-
ral paintings). The best things
here are some graceful figures,
apparently portraits, and genre
incidents. In 1463 he painted in the

e chapel of the Palazzo Riocwrdi at
Florence (by lamplight) the Pro-
cession of the Three Kings, which
extends over three walls, and ends
at the place for the altar — a won-
derful work, full of individual
beautyand tasteful splendour in the
rich cavalcade moving through the
fine woody landscape, with two
fairy-like, graceful choirs of angels
(reflected light moderately good at
2). Between 1463—1467 he com-

/pleted the rich series of frescos in
the choir of S. Agostino at S.
Grimignano, the Life of S. Augus-
tine, the wall picture over the
altar of S. Sebastian, in the same
church, an easel picture in the

g choir of the Collegiate, and a Cru-

^cifixion at Monte Olweto, near the
town. A series of frescos, now

i fast disappearing, in 8. Chiara, at
Castel-Fiorentino, appears to have
been executed by pupils after his
drawings. But in the Campo

j Scmto at Pisa, almost the whole of
the northern wall (twenty-three
pictures), containing the stories of
the Old Testament, painted 1469-

85, is his work. Benozzo shows
complete enjoyment of the simple,
beautiful motives of life in them-
selves ; his chief aim is to repre-
sent figures in repose, or carrying,
stooping, running, falling, often of
great beauty and youthful charm,
with the full force of the action
of the moment ; on the other hand,
the story itself interests him com-
paratively but little. The spec-
tator feels the charm of this new
species of life-pictures, and desires
nothing beyond this endlessly rich
variety. Benozzo lavishes orna-
ment on his architectural buildings,
gardens, landscapes, with fabulous
splendour ; here, too, he is an en-
thusiastic discoverer of new sub-
jects for representation. The two
bad paintings on the west wall,
ascribed to Bondmossi, 1666, are
evidently overpainted compositions
of Benozzo.

TTiH e£isel pictures give no idea
of his excellence. There are seve-
ral in the Academy at Pisa ; a k
Madorma della Cintola is in the I
Lateran at Kome. * [By Benozzo's
assistant at Pisa, Zanobi Macchia-
velli, a Madonna and Family, in
the Acad, of Pisa.]

[Contemporary with Benozzo,
but a, follower of Fra Filippo,
Francesco di Stefano, commonly m
called Pesellino (bom 1428, died
1457) gives an impulse to the
realistic school of Florence, and
competes with Baldovinetti in the
effort to introduce oil painting
into Tuscany. (Annunciation in
the Spirito Santo ; Predellas in the
Buonarotti, Allessandri, and Tor-

* Here should be classed the fresco of
Lorenzo da Viterbo ui a chapel of 8. Maria
della Verity, in that place ; a Marriage of
the Virgin, very rich in figures, of the year
1469. [In the cathedral, in ijie sacristy,
is a beautiful picture of the Madonna robed
in white, with four saints, certainly by
him. — Mr.] By the same artist are the
weak legendary pictures, showing the in-
fluence of Piero della Francesca, in S.
Francesco at Montefalco. Cr. and C.

Benozzo GozzoK — GMrlandajo.

67

rigiaui collections, and a predella
at the Academy, Quadri Grandi,
No. 48, at Florence, also two fine
pieces of predellas, with scenes
from the legend of St. Sylvester,
in the P. Doria at Rome.) Ed.]
„ Alessio Baldcmmetti [bom 1427,
died 1499] is the painter of the
1 Adoration of the Shepherds, in the
c entrance Court of the Annumiata
H at Florence ; of a Madonna della
Omtola over the doors of the sa-
cristy of S. Niccolo ; of an easel
picture of a Madonna enthroned,
e Uffizi (No. 31). The remains of
/frescos in the C. Alvaro m S.
Miniato are probably his. A care-
ful, not unintelligent realist, chiefly
known as the master of

DOMENICO GHIRLANDAJO.

Domenico GMrlandajo (1449-
1494), the greatest of this series.
He opposes the realism which
threatens to lose itself in following
out its own principles in the name
of the permanent principles of
art. He, too, feels the charms of
living beauty, and is fully capable
of reproducing it, but he makes
this subordinate to the lofty
serious character of the holy perso-
nages, and the higher meaning of
the moment represented. The
beautiful figures taken from living
personages, collected in excellently
arranged groups, introduced as
spectators of the incidents, take
part in the noble and grand con-
ception of the whole. Of all his
predecessors, Filippo Lippi, espe-
g cially in his paintings in the Cathe-
dral of Prato, seems to have most
impressed Ghirlandajo ; and al-
though he has not equalled him in
the light and noble flow of the
drapery, nor rivalled either him or
some others in the representation
of various materials, or the har-
mony of colour, yet he surpasses
them all, both in the lines of the

composition and in the technical
execution of the fresco.

In the church of Ognissanti wiU
be seen on the left his fresco of 8. h
Jerome (1480), in which he follows
the Flemish method in the render-
ing of the place and the accessories ;
in the Refectory his Last Supper,
of which the arrangement is still
the antique Giottesque. In the
Refectory of S. Marco is a repeti- i
tion, not so good. The wall-
pictures of the Ghapel of S. Fima, j
in the Collegiata of the little town
of S. Gimignano, are attractive and
very beautiful decorative works.
Of the year 1845 are the frescos of
the C. Sassetti in S. Trimtcb (thei
farthest back in the right tran-
sept), representing the Legend of
S. Francis, already a mature
master-piece. (Best light, 9 a.m.)
Lastly, the frescos* in the Choir of
5. Maria Novella (1490) with the I
Ufe of the Virgin, the Baptist, and
other saints. The most striking
thing here is not any remarkable
dramatic motive, but the dignified,
loftily impressive picture of life,
which we know to be the glorifi-
cation of actual life in Florence.
These graceful, noble, and power-
ful creations elevate us the more in
that they approach us so nearly. +

Among the easel pictures in
Florence must be named the Ado- m
ration of the Kings at the back of
the Choir in the Church of the
Innocenti [1488 ; inferior to the
circular picture of 1487 in the
Uffizi ; the execution somewhat
wanting in charm, and indeed, in
general, Ghirlandajo's easel pic-
tures are not equal in beauty to
his wall paintings. — Mr.] ; then, in

* They are always badly lighted. The
tolerahly good moments, both before and
after noon, depend on the position of the
sun, according to the seasons of the year.

t Is it possible that the fi-esco of a
Fietd., with John and Magdalen, in a
corner of the town wall by the Amo, near
the Porta S. Fiediano, can be by Do-
menico ? In spite of decay and restoration
it is still a grand work.

F 2

68

" The Benaisscmee." Florentine School.

a the Academy, the Madonna with
four Saints, Quadri Antichi, No. 17,
and the splendid Adoration of the
Shepherds (14S5), Quadri gr.. No.
50, a masterpiece of the time in
grace of form and beautiful and
happy arrangement. Two pictures

b in the Ufisi, the brilliant Madonna
enthroned (No. 1295), and the
circular picture of an Adoration of
the Kings (No. 1297) ; — one in the

cP. Gorsini. — In the &c«s<i/ of the

d Cathedral of Lucca, an (early) Ma-
donna with four Saints. — [A Christ
in glory with Saints, formerly in

ethe BaMa at Volterra, now in S.
Framcesco in the same town (Crowe
and C). — A very important easel

/picture in the town-hall of Bltnini
in excellent preservation. — I con-

g aider the beautiful altar-piece in S.
SpiHto, Ploreuce, as a youthful
work of Ghirlandajo, the Trinity
with S. Mary Magdalene and S,
Catherine (Transept on the left,
fourth altar.) — Mr.]

Domenico's brothers, Damde and
Benedetto, have left no independent
works of any name ; his brother-in-
law, BastiMno Mainardi (p. 26), has

ji some frescos at S. Qimignano. His
pupil, Framcesco Oranacd, painted,
among other things, an Assump-
tion of the Virgin with four Saints,

i Academy, Qu. gr. , No. 75 ; and in
the Uffizi, No. 1280, a Madonna
reaching down the girdle to S.
Thomas, good pictures without any
very special character.

CASTAGNO— POLLAJUOLO.

Along with these great efforts
to depict a high and beautiful life
in a realistic spirit, there arose also
an exaggerated attempt to repre-
sent character. The pictures of
Andrea del Oastagno [bom about
1390, died 1457] are like painted
Donatellos, only with less sense
of proportion, and at times full
,-of coarse swagger. Academy; S.

Oroce, after the fifth altar on the
right, figures in fresco of S. Francis
and John the Baptist; CathedralTi
comp. p. 65;). His important fresco
of heroic male and female figures,
poets, heroes, sibyls, etc., formerly
in Casa Pcmdolfini. at Legnaia, now I
transferred to canvas in the Museo
Nazionale (Bargello), at Florence.
A Last Supper, in fresco, in the
ex-Convent of St. Apollonia, real-m
istic and grand, and remarkable as
showing that Castagno was a
thorough master of linear per-
spective.

Antonio [born 1429, died 1498]
Pietro [bom 1441, died before
1496] Pollajuolo at least combine
similar clearness with splendid
execution. (Uffizi; Prudentia, No. »
1306 ; small combats of Hercules,
No. 1153 ; an altar-piece with SS.
James, Eustace, and Vicentius,
No. 1301 ;) Pal. Pitti, a S. Sebastian, <,
No. 384; Pietro's Coronation of
the Virgin, in the Choir of the Col- p
legiata at S. Gimignano [1483], is
not important. Antonio's master-
piece of the Martyrdom of S. Se-
bastian, from the Anm/umidaia, 'vs.q
now in the NaMonal Gallery in
London. A set of thirty pieces
of tapestry, after the compositions
of the PoUajuoli, in the treasury of
the Battistero at Florence. Herei-
should be mentioned : Domenico
Venesiano, Castagno's partner in
S. Maria Nuova, whose only exist-
ing picture, formerly in S. Ludag
de Bardi, Madonna with four
Saints, is now in the TJfiB^i, No.
1305. Domenico was the master
of Piero delta Francesca, from Borgo
San Sepolcro, who afterwards
taught SignoreUi. His frescos in
the choir of S. Francesco at Arezzo t
(best light towards evening), repre-
senting the story of Constantine
and of the True Cross, show in the
parts that are preserved such
energy of character, such move-
ment, and such luminous colour,
that one completely forgets the

Andrea Verrocchio — Lorenzo di Credi.

69

want of a higher conception of the
facts. A Magdalen, near the door

a of the sacristy in the Oathecl/ral of
Arezzo is excellent, and in good
preservation. A little St. Jerome

bias, landscape, Academy at Venice,
much injured. Portraits of Fre-
derick of Montefeltro and his wife
(No. 1300) at the Vffizi. This
interesting master must be also
studied in his birthplace, where

c the Resurrection of Christ, a wall-
painMng in the Community, an

d altar-piece in the Chapel of the
Hospital, and other things, are
very remarkable. At Bimini {S.

e FraMcesco) the fresco of Sigismondo
Pandolfo Malatesta kneeling before
S. Sigismund. At Urbino (sacristy

/of the Cathed/ral) the precious
miniature-like little picture of the

g Flagellation. In the Town Oallery
at this place (taken from S. Chiara)
an architectural picture, of the
ideal kind, formerly much liked
in intarsiatura.

ANDREA VERROCCHIO.

Arubrea Verrocchio also, the
teacher of Lionardo, in almost the
only picture by him now existing,
the Baptism of Christ, in the
h Academy, No. 43, has fallen into
really poverty-stricken forms and
character, only he finishes them
most carefully : his modelling is
conscientious, and endeavours to
sound all the secrets of anatomy as
well as chiaroscuro ; but with all
this it is remarkable how lifeless
the drapery still remains. The
angel painted in by Lionardo shows
a sweeter type of head, which, in-
deed, was not unfamiliar to us in
Verrocchio's bronzes.*

LORENZO DI CREDI.

Lorerm) di Credi must here be

^ "* [The author ia unjust to Verrocchio,
who is realistic and searching, yet tender
and ^aceful, and carries the system of
paintmg in oil to perfection. — EcL

mentioned among Verrocchio's
pupils, though ultimately he fell
under the influence of hia greater
fellow-pupil. His earnest endeavour
to master a correct representation
of objects in perspective was, how-
ever, first excited by his teacher.
Every one of his pictures aims at
accomplishing this in a diflferent
way : he tries it with the highest
light, and the most delicate transi-
tions, as well as with deep shadows.
His male characters have, as, for
instance, in the beautiful picture of
the Madonna with two Saints i
(Cathedral of Pistoja, chapel near
the choir on the left), the nervous
uneasy expression of the Baptism
of Christ by Verrocchio. On the
other hand, in his Madonnas, some-
times (not always ;), and also in the
child, we find the most delicate
feeKng for beauty, so that they
must everywhere be regarded as
treasures of art (Academy of Flo-
rence I Uffisi ; Oalleria Sorgh^sej
at Borne, and elsewhere). Hiafe
only large composition, an Adora-
tion of the Child (Academy of Flo-
rence, Qu. gr.. No. 51), shows in a
remarkable way how a persevering
artist, even without the highest
gifts, could at that time produce
most excellent things, because his
sense of grace in form and expres-
sion was as yet unbiassed by fixed
theories and types ; because that
period did not yet aim at the
pathetic and emotional, in which
those who are only moderately
gifted must fail ; because, lastly,
the essential realistic impulse of
the time is a safeguard against
what is tedious, that is to say,
commonplace and conventional. In
the picture above named there is
something of the superfluous senti-
ment so prominent in the Perugi-
nesque school (see the youth with
the lamb), only that one forgets
this as well as the slightly artificial
arrangement of the group in the
enchanting beauty of most of the

70

" The Renaissance." Florentine School.

figures. The small pictures with

a biblical scenes in the Uffini (Souola
Toscana, first room) give no idea of
Lorenzo's artistic capability. (Can

h the Madonna with two Saints in
S. Spirito, at the back of the choir,
the last altm- on the right, be by
him — it is put down School of
Sandro ?) [It is too weak for him ;

c his masterpieces are : a Madonna
ietween Saints, in the CatTiedral

d at Pistoja, one of the most perfect ;
in S. Jbomenico, at Fiesole, the
Baptism of Christ, very good ; Pal.

eOolonma, Bome, a charming little
picture, from which Raphael might
have borrowed the idea of his Ma-
donna with the pink. — ^Mr.]

LUCA SIGNORELLI.

Unattached to this series stands
the great I/iica da Cortona, pro-
perly Signorelli (1441 ?— 1523). He
was a pupil of Piero della Frau-
cesca, and had received his
strongest impressions from Flo-
rence. The equal of Ghirlandajo
in the grandeur of his conception
of actions and personages, he is
nevertheless less selective in his
individual forms, and occasionally
produces very coarse things ; on
the other hand, the strong feeling
for the nude is first seen in him as
an essential point in the representa-
tion, even in the choice of subjects.
In this sense he is the most im-
mediate predecessor of Michel-
angelo.
/ His frescos in the Convent of
Monte Oliveto (south of Siena),
scenes from the life of S. Benedict,
eight frescos on the west wall, are
especially interesting on account of
particular powerful traits, which
distinctly recall Lionardo ; the
"Early German" (!!), in Signorelli,
comes out in the characteristic
figures of the warriors, while along
with this there are also other
youthful forms of truly Eaf aelesque

beauty. But his great work is the
fresco series in the Ohapel of the g
Madonna, in the Cathedral of
Orvieto (after 1499), which, to-
gether with those of Fiesole (from
whose design SiguoreUi painted on
the south side of the vaulted roof
the Apostles and Angels, with the
signs of the Passion), form a cycle
of subjects belonging to the Last
Judgment, Antichrist, the Resur-
rection of the Dead, Hell, and Para-
dise ; below, as a decoration, on a
breast high skirting, are represented
the poets both of classical and bibli-
cal antiquity in circular pictures,
surrounded by numerous allegorical,
mythological and decorative paint-
ings in monochrome. Though very
far from being the most adequate
or the most striking and real re-
presentation of these subjects,
"Paradise" and "Hell" are his-
torically most valuable, as being
the first really grand expression of
the delight of having mastered the
creation of nude form. This is
here set before us, not ideally con-
ceived, but in the fulness of youth-
ful heroic strength, with most
energetic modelling and colour.

Among his easel pictures the
finest is the one in the Cathedral ofh
Perugia [1484] (side chapel in the
right transept), the Madonna en-
throned with four Saints, and an
angel playing the lute ; in that
place a real relief to the eye that
has been satiated with Perugino's
sweet ecstaoies. The very inte-
resting pictures at Cortona are un- i
fortunately hung, for the most
part, in an extremely unfavourable
light. Three (?) powerful pictures
adorn the choir of the Cathedral ;
the famous Institution of the Com-
munion [1512] : Luca boldly aban-
doned the conventional mode of
representation,* removed the table,
and allows us to see Christ moving

* Justus van ffent however had given a
previous example of this arrangement in
his Last Supper at Urbino. See postea.

Luca Signorelli — Sistine Chanel.

71

among the group of Ms disciples,
all in perfect action; the Descent
from the Cross [1502], with a
great number of most beautiful
heads, especially females, regular
oval, with almost Greek profiles ;
the power of colouring and chiaros-
curo remind us of Seb. del Piombo :
the Conversion of Thomas is the
least important ; in the Sacristy is
a Lunette with a beautiful Ma-
donna, almost of the tjrpe of Lion-

oardo. In the Gesii, opposite the
Cathed/ral, is a (late) Adoration of
the Shepherds ; and the fellow to
it a Miraculous Conception, more
probably by his nephew Francesco.

h [In the Compagnia, di 8. Nieeolo a
panel painted on both sides : the
dead body of Christ at the tomb
supported by angels, and a Madonna
betweenS. Peter and S. Paul. B.] —

c In S. Domenico, third altar, right, a
Madonna with Saints, 1515. — In S.

dMedardo at Aroevia the Virgin
with Saints, an altarpiece in 31

e parts (1507).— In S. I)o7nenico,a,t
Siena, an Adoration of the Child,
said to be begun by Matteo di Gio-
vanni (last altar to the right in the
nave), might be a sweet youthful

/work of Luca (??). — In the Academy
of Siena, the Escape from the
Burning of Troy, and the Eansom
of Prisoners, the latter an excel-
lent composition of nude figures
[but clearly by one of SignoreUi's

jr scholars]. — At Florence the Aca-
demy contains (Qu. gr., No. 54) a
large very much mannered picture
of his later years, a Madonna with
two Archangels and two Saints. — In

A P. Corsini are several works of his.

i — In the Uffizi, lastly [a predella,
&c.], two remarkable circular pic-
tures, No. 1291, which fully re-
presents the serious, unadorned,
manly style of the master, and
No. 36, Madonna, in the back-
ground, undraped shepherds, and
above the round, figures in relief in
monochrome. The nude and the
sculpturesque, the beginning of

another epoch in art, are here
combined. Even the excellent
head of an old man in the Torri-j
giani Gallery has figures in action
in the background.- — The Scourging, Js
No. 306, in the Brera at Milan,
appears to be an early picture. —
In the gallery at Arezzo, a large t
altar-piece from the Convent of S.
Spirito, somewhat crowded, but
full of beauties ; [a Madonna with
Saints from S. Margarita]. — At
Borgo S. Sepolcro, Church of S. m
Antonio Abbate the [Crucifixion and
S. Anthony, a procession standard]
of striking beauty, truly grand in
feeling. At TTrbino, in Spirito n
Santo, Christ on the Cross, with
the wonderfully beautiful group of
women round the fainting Virgin,
only to be compared with the
altar-piece at Perugia, and the
Descent of the Holy Spirit. For
the rest, aU the towns of this
district, Borgo, Citta di Castello,
San Domenico : a Martyrdom of S. v
Sebastian, 1496 ; S. Cecilia : a Ma- p
donna with Saints ; in the town
gallery, from S. Qiovamni Decollate :
a Baptizing of Christ, fresco, and a q
Madonna enthroned, 1495 ; Palawo
Mancini : an Adoration of the
Shepherds, 1494, and a Coronation r
of the Madonna, 1515 — all of them
large and important works. — [At
Volterra, in the Cathedral, the
Annunciation (1491), and in the
Town Gallery from S. Francesco a
large Madonna with Saints. — ^At
Loretto — and recently admirably
restored — splendid frescos of the
Evangelists and Doctors of the
Church, in the vaulting, 12 Apostles,
and the Conversion of S. Paul, on
the walls, of the Sacristy of the
great Church. — Ed.]

TUSCAN PAINTERS IN THE
SISTINE CHAPEL.

A splendid coUeotive memorial of
Tuscan painting of the fifteenth
century exists in the twelve frescos

72

" The Renaissance." Paduan School.

from the life of Moses and of Christ
on the walls of the Sistine Ohapel.
Sixtus IV. (1471-84) had them
executed by the painters already
named, Sandro Botticelli, Cosi/mo
MosselU, Domenico Qhvrlandajo and
Luca Sigtwrelli, to whom must be
added also Pietro Perugino. Three
pictures by the last-named artist,
on the wall of the altar, the Find-
ing of Moses and the Adoration of
the Kings, as well as the Corona-
tion of the Virgin, which formerly
helped to render the connection
more distinct, were removed to
make room for the Last Judgment ;
the two on the wall by the door
are by late and inferior artists.
The series begins from the altar on
the wall to the left — 1. Journey of
Moses and Zipporah, by Perugino
(not Signorelli) ; 2. Moses's Mira-
cles in Egypt, by Botticelli ; 3
and 4. Drowning of Pharaoh, and
Destruction of the Golden Calf, by
Eosselli ; 5. Pall of Korah and his
Followers, by Botticelli ; 6. Publi-
cation of the Ten Commandments,
by SignoreUi.* On the wall to the
right— 1. The Baptism of Christ,
by Perugino ; 2. The Temptation,
by Botticelli ; 3. The Calling of the
Apostles Peter and Andrew, by
Ghirlandajo ; 4. The Sermon on
the Mount, by Eosselli ; 5. The
Investiture of Peter, by Perugino ;
6. The Last Supper, by RosseUi.

These works are of great merit,
and deserve a closer examination
than is usually accorded them.t
Those of Sandro, Cosimo, and Pietro
are among the best works of these
artists. Pietro moves with a Flo-

* Apparently assisted ly Don Barto-
lommeo della Gatta.

t The light is never favourable for those
on the south side. On sunny mornings
between 10 and 12 they have at least a
strong reflected light. Any one who de-
sires to enjoy the works of art in the
Vatican, will do well to spare his eyes on
the way, that is, on and heyond the Ponte
S. Angelo, and on the Piazza of S. Peter,
and rather choose the circuitous way
behind the Colonnades.

rentine liveliness not characteristic
of his later work ; the Fall of
Korah and his Followers is Sandro's
most important composition ; in the
one ascribed to Signorelli there are
at least some motives of marvellous
vigour, which could be the work of
no one but him. But the narrative
manner of the time, so rich in
figures, which takes here a broad
style, more than once so crowds the
principal action that the eye quite
attaches itself to the lively details,
to the pleasing copiousness, for in-
stance, to the landscape and archi-
tectural backgrounds. Here, along-
side the Prophets and Sibyls, close
to the Stanze and the Tapestry, we
understand how Paphael and Mi-
chelangelo were needed, and how
greatly art, which was losing itself
in simple delineation of life and
character, needed to be recalled to
its highest ideal.

And yet this highest ideal is
found realized here and there in
these paintings. In Ghirlandajo's
CaUing of Peter and Andrew he
has given the most striking and
solemn side of the incident, and
made it the principal idea ; it is
like an anticipation of Raphael's
Miraculous Draught of Fishes and
Feed my Sheep.

The splendour of decoration in
these paintings was quite in har-
mony with the taste of Sixtus V.,
who loved gilding and the glow of
colour beyond measure.

NORTH ITALY.
SQUARCIONE AND MANTEGNA.

In North Italy, meantime, the
Paduan School had attained a real-
istic development in a manner pe-
culiar to itself, and quite indepen-
dent of the Florentines.* — Its foun-

* [Dr. Burckhardt forgot when he wrote
this sentence that the school of Squar-
cione, of which Mantegna was the chief
ornament, was influenced by the Floren-
tine Donatello and by Jacopo Bellini, a
Venetian who studied at Florence.— Ed.]

Squareione.

73

der, Frcmcesco Sqimrdone (1423-
1474), had collected in Italy and
Greece antique statues, reliefs,
fragments of ornament, from irhich
artists studied in his atelier with
great industry, but in a narrow
and exclusive way. No one at
this time thought of entering into
the living principle of ancient
sculpture, wmch might have been
instructive, and in some degree
might have cultivated the sense
of proportion in painting. Not
to the simplicity of the general
conception, nor the ideal so at-
tained, was value attached, but
to the richness of details of form,
which, perhaps, was the quality
most admired in later over-refined
sculpture. To render in painting
the definiteness of the human form
which they found in sculpture, was
the object of this school : hence its
sculpturesque sharpness and hard-
ness. This most ornament-loving
school also borrowed a number of
decorative features from the an-
tique remains above mentioned, and
others, especially Roman buildings.
But at the same time the real-
istic tendency of the age was espe-
cially strong here, and combined in
a very remarkable way with the
study of the antique. The first
gave the spirit, the latter only
partly influenced the mode of ex-
pression. In the drapery especially
is seen the combination of the two
tendencies ; the whole cast and
arrangement aim at representing
something antique, but it is made
real by jewel-like lights, deep sha-
dows, and somewhat over-detailed
execution of particular motives.
Besides this, the deep juicy colour,
and the much developed chiar-
oscuro, and the sharp and power-
ful modelling, are qualities always
found in the school.

By Squareione himself there are

two genuine pictures formerly be-

a longing to the Lazstara family ; an

altar-piece with St. Jerome study-

ing in the centre, with the antique
delicacy of execution, and some-
what wanting in character, in the
Toion Oallery at Padua ; and a
Madonna, signed, a half-length
figure under festoons of fruit, more
resembling the usual character of
Squarcione's works,* stiU in the
possession of the Lazzara family, b
[Contemporary with Squareione,
•Taoopo Bellini settled at Padua, c
taking thither some of the Tuscan
principles which he had acquired
as a journeyman in the workshop
of Gentile du Fabriano at Florence
(1423). His early works. Madonna
in the Tadini Collection at Lovere,
are still reminiscent of Gentile.
But later ones already foreshadow
the style which was held in com-
mon by Mantegna and Giovanni
Bellini in their earliest days. Cru-
cifixion from the Yescovado, now
in the Oallery at Verona, frescos
in CappeUa S. Terasio at S. Zac-
oaria of Venice. — Ed.] By one of
Squarcione's immediate pupils,
Marco Zoppo, altar-pieces in the d
sacristy of San Giuseppe de' Gapuc-
cini, outside Bologna ; another in e
the Collegia di Spagna ; others in
S. Giovanni at Pesaro, and in the
National Gallery in London. Zoppo
is full of character and delicate in
execution ; though with certain
traits that are unbeautiful and
strange. Gregorio Schiavone has
much of the same character. His
best works in England, in the Na-
tional Gallery and Maitland Col-
lection. [As we write this collection
is being sold. — Ed.]

[Dario da Treviso, another dis-
ciple of Squareione, is better known
for house decorations in Serravalle
and Treviso than for pictures.
Madonna in the Gallery of Bassauo.

* Crowe and Cavalc, believe both pic-
tures to be the work of pupils in Squar-
cione's school. A Madonna, with a white
monk, praying, in the P. Maufrin at
Venice (1447), and the 'Sibyl with
Augustus,' in the Pinacoteca at Verona,
are not considered genuine.

74

" The Renaissance." Padua/n School.

Qirolamo da Trevico develops the
same style. Altar-pieces at Seriate,
near Bergamo, id the Cathedral of
<»Treviso (1487), and in S. Sahadore
of Colalto (1494). At Padua, Pa-
rentmo cultivates Squarciouesque
art. Allegory in the Gallery of
Uodena, and frescos in 8. GivMima
of Padua ; and is surpassed by
Jacopo MorUagnana, frescos in I^-
coped Palace at Fadua and St.
M. di Mont-Ortone. The Oomozzi
(Lorenzo and Christopher) illustrate
the same style in tarsias — Library
of S. Antonio of Padua, and Ca-
thedrals of Farma and Lucca. — Ed. ]

THE FERRARESE.

At Ferrara, Squarcioue's influ-
ence was felt through Cosimo Twra
[in practice 1451-1494, and Galasso
Galassi (1450-73), Trinity in the
Gallery and altar-pieces in the Oos-
tabili Coll. of Perrara.— Ed.] In
b the Palazzo Schifamoja or Scandiano
there, the large upper hall was
painted by Galasso, Tura, and Lo-
renzo Costa soon after the year
1470. The paintings were exe-
cuted between 1471-93, after the
design of one master, by different
hands. [The months, March, April,
and May, lively, clear, and natu-
ral works of one of the best pupils
of Piero di Francesca, perhaps the
elder Ercole da Perra/ra, are easily
distinguished from the puffed-up
forms by Cosimo Twra'sh3,nA. — Mr. ]
A most valuable monument of the
history of civilization of that age !
It is the life of a petty Italian sove-
reign, Borsod'Este, Dukeof Ferrara,
illustrated in the way which har-
monized with the feeling of the
century. Another series, below,
represents various actions of Borso,
very unimportant in themselves,
with splendid scenery of architec-
ture, and city Ufe, and rich cos-
tumes. A second series contains
the Signs of the Zodiac, with un-
intelligible allegorical accessory
figures on a blue ground ; a third.

gods and allegorical groups on
triumphal oars drawn by emble-
matic animals, along with scenes
from common Ufe, representing all
kinds of arts and occupations. The
whole is one of the astrological
emblematical encyclopeedias (like
that of Miretto at Padua, p. 50 c),
of which the cultivated men of that
time delighted to be in the secret.
The brilliant execution is so minia-
ture-like in its delicacy, even up to
a great height, that one requires a
movable stage to inspect it with.
Half of it is lost. There is by Tura,
in the choir of the Cathedral oic
Ferrara (formerly the panels of the
organ), an Annunciation and a S.
George, with very beautiful youth-
ful heads; in the Public Oalleryyd
two figures of S. Jerome standing,
one of them from S. Girolamo.

Another pupil of Squarcione was
Stefano da Ferrara [ (not to be con-
founded with a younger Stefamo
Falzagalloni), by whom there are
several pictures in the Ferrara Gal- e
lery. — Fr.] At this place one sees
late works in which, among others,
he appears to rival Garof alo ( Ateneo ;
Madonma with two Saints ; twelvey
heads of Apostles). Earlier works
in the energetic Faduan style ; two
Madonnas with Saints in the Brera
at Milan [No. 172 is by an imitator
of B.ondinello of Ravenna, if not by
Rondinello himself ; No. 175 is a
fine old picture of the Ferrarese
school.— Ed.].

[Of the Paduan school, but more
distinctly Mantegnesque than Tura,
is also Ercole Roberti Grandi (in
practice 1480, died 1513) ; examples
in the Gallery of Ravenna in the
lower Gallery at Venice — Ed.].

The remaining Ferrarese of the
fifteenth century are all more or
less Paduan in style. Like all the
elder Lombards, they were unable
to cope with the Florentines, were
it only because they had not mas-
tered the lively expression of inci-
dent, so that their feeling for

Lorenso Costa.

75

space remained imperfectly deve-
loped. But the seriousness of their
realism, the distinctness of their
forms, the precision of their model-
ling, and the chiaroscuro that they
attain even in temperapictures, give
to their works a permanent value.
This is the case with Francesco
Cossa. His Madonna with S. Petro-
nius and S. John the Evangelist
a (in the Pinacoteoa of Bologna, 1474)
is in the heads rustic and wanting
in charm, and yet an excellent
work, on account of the qualities
before mentioned. His great mar-
tyrdom of S. Sebastian (in S. Petro-
nio at Bologna, fifth chapel on
the left) [by Lorenzo Oosta. — Ed.],
displays the same qualities, with
harmonious, even dignified, and
beautiful characters. The Italian
realism only for moments sinks
down to baseness ; it always re-
turns to its attraction for the
beautiful.

LORENZO COSTA.

Lorenzo Costa (1461-1535), whose
principal works are all in Bologna,
went through a singular inter-
change of character with F. Fran-
cia, whose pupil he called himself,
but not with entire justice. He
entered into this connection already
a confirmed realist, and with much
greater knowledge than Francia
then possessed; he bowed before
the sense of beauty and the expres-
sion of feeling in Franoia, but pre-
served a more healthy tone. The

b altar-piece in S. Petronio (CappeUa
Baciocohi, the seventh chapel on
the left) a Madonna enthroned with
four saints, and a splendid Lunette
of Angels performing on musical
instruments (1492), is worthy to
be compared with any Francia.
There also, fifth chapel on the left,

cthe Twelve Apostles (1495), figures
without any grandeur of idea, with
large, well-drawn hands and feet,
very solemnly conceived. In the

(i Choir of S. Giovanni in Monte, at

the back, the Coronation of the
Virgin with six Saints (1497), who
here, as usual in the Bologna-Fer-
rara school, are grouped and not
merely arranged in a row, as by the
Peruginesques. In the same church,
in the seventh chapel on the right,
is another large picture, a Madonna
enthroned, with Saints and exqui-
sitely naive angels performing
music. The picture in the choir is
also one of the most excellent speci-
mens as to treatment of landscape,
iu which Costa first develops a
feeling for regular lines, in har-
mony with the figures, and a re-
markable mastery over tones of
colour. The subjects are chiefly
beautiful rich valleys, and views
over a smooth, not romantic dis-
tance. Of the frescos by him in
S. Oedlia (fourth picture on thee
left and fourth on the right), the
landscape is perhaps the best. The
large tempera pictures painted on
linen in the C. Bentivoglio at S.f
Giacomo Maggiore appear partly
quite painted over, partly con-
strained on account of the subject,
which was beyond Costa's capacity
(the two incomprehensible allegori-
cal triumphs (1490), partly painted
apparently unwillingly (the Ma-
donna with the ugly Bentivoglio
family in their strange costumes
(1488). The Assumption of the
Virgin in S. Martimo (fifth altar to g
the left) remains uncertain between
Costa and some Peruginesque. At
Ferrara, besides a picture of no
great importance in the Ateneo,Ji,
there is a celebrated work from the
Church alle Esposte, much injured,
in the possession of the Marchese
Strozzi. At Hantua, where he
died, a Madonna in .S". Andrea
(1525), a picture related in style to
the Court of the Muses by the
same hand at the Louvre. By his
pupU JErcole di Giulio Grandi,
several single figures in the Sacristy
of S. Maria in Vado : a S. Sebas- i
tian with two other Saints and the

76

" The Renaissance." Padudn School.

a family of the fouader in S. Paolo,
on the right near the choir. A
genuine little picture, signed, S.

6 George in a landscape in P. Cor-
smi at Borne, Eoom VIII., No. 12.
The feeble Domenico PandU re-
minds us both of Costa and of
Frauoia. No. 82 and 84 in the

c Museum of Ferrara, a Visitation,
and a S. Andrew [from the church
of S. Maria in Vado. In the Sa-
cristy of the same church] : the
passage of the Holy Family across
the Nile, a pleasing fresco-picture.

d Choir of S. Andrea : the ancient
altar — or organ— panels, with the
Angel's Salutation and two Saints,
already in the manner of Garofalo.
Michele Cortellini appears as a mere
imitator of Francia ; in his Madonna
enthroned with four Saints (1506),
formerly in S. Andrea, now No. 25
in the Ferra/ra, OalUry. Costa's
most important pupil, Mazzolino,
will be mentioned under the six-
teenth century.

ANDREA MANTEGNA.
The most distinguished repre-
sentative of the movement in art
which arose at Padua [under the
influence of Squarcione, Jacopo
Bellini, and DonateUo] is the great
Paduan, Andrea Mantegna (1431-
1506).

His most important works are
the paintings of the legends of S.
James and S. Christopher in the
/chapel of these saints in the Ere-
mitani at Padua. (Executed with
the assistance of Bono, Ansy/imo, and
Piwolo. ) In the higher conception
of the event, he does not surpass
the Florentines ; the entreaty of
James to be received is not digni-
fied ; in the Baptism of Hermo-
genes the grouping is very scat-
tered ; the carrying of the dead
body of S. Christopher is a Goliath-
Itke scene, painted for the sake of
the foreshortening. But in liveli-
ness of action and perfect truth of
character hardly any Florentine

can rival him. Observe, for in-
stance, the confused rusMng toge-
ther of the opponents of S. James,
when he calls up the demons
against them ; or how in the
' ' march to the place of judg-
ment," the simple stopping of the
procession is expressed ; or the
group of people aiming at S. Chris-
topher, who turn round in lively
astonishment to gaze at the pre-
fect struck in the eye by an arrow;
or that of the converted soldiers.
In the endeavour to attain the
most exact, even sharply cut
execution, Mantegna, like the
Paduan school in general, as, for
instance, the painter of the P.
Schifanoia, was not satisfied with
fresco, but in one picture after
another attempted different me-
thods of painting. Notice the
richness of distant groups, of archi-
tectural andlandscapebackgrounds,
of drapery overloaded with folds,
bright lights, reflections, and so
forth. The perspective is more or
less completely carried out ; the ad-
herence to one point of sight is quite
new and special to Mantegna. He
is, with Melozzo, the only North
Italian of this period, in whom the
feeling for space is well cultivated.
Many of the Florentines already
named must have learnt from
him, even though only indireotly(?).
In general he reminds us much
of Benozzo, only compared with
him Benozzo seems like a grace-
ful improvisatore alongside of an
artistic poet.

There are other frescos in Uan-
tna, Castello di Oorte, in the so-g
called Camera de' Sposi, or Stanza
di Mantegna, now the Archivio
notarile ; scenes from the life of
Lodovico Gonzaga, in graceful
landscapes, on the ceiling mytholo-
gical subjects, painted grey on grey.
On the same story the charming
vaultings of a loggia ; Putti, with
the attributes of hunting, which
seem to have suggested Correggio's

Andrea Mantegna — Melosso da Forli.

77

medallions in S. Paolo. Among
his easel pictures, the much re-
stored figure of S. Eufemia, in the

a Museum of Naples (1454), is the
earliest and perhaps grandest con-
ception of ideal beauty ever at-
tained by him. In smaller pictures
his execution becomes exquisite
miniature. The tripartite small

b altar-piece in the Uffini (Tribune),
and a small Madonna in a rocky
landscape (1025), are in this respect
perfect jewels, although none of the
characters are grand, and, except-
ing the head of the Madonna, are
hardly even pleasing. Of larger
altar-pieces one above the high

c altar of S. Zetume at Verona (Ma-
donna with Saints) has remained in
Italy ; a masterpiece as to the
whole feeling and capacity of the
school. Another is the St. Luke
and other Saints, a picture in 12
parts, Jifo. 187, at the Brera. At
Turin, a Madonna with five Saints,
half-length figures. [The so-caUed

d mortuary chapel of MamUgna in S.
A-ndrea at Mantua possesses an
altar-piece of a Holy Family by

ehim. — ^Mr.]* In the 5rera at Mi-
lan, No. 1591, the large picture in
tempera of S. Bernardino with
angels (1460 ?) remarkable, also, as
a splendid piece of decoration
[more probably by Dom°- Morcme.
— Ed.]. An altar-piece on linen of
large dimensions (1497) in the P.

fTrimhi at Milan ; a small, beauti-
fully conceived and executed Ma-

q donna in the Berga/mo Gallery. —
In emotional scenes Mantegna is
sometimes coarse and unbeautiful,
as, for instance, is shown in the

^Pieta in the Vatican Gallery, a
very vigorous and perhaps genuine
picture, t

Many works, undoubtedly, have
received his name erroneously.
Three little fanciful pictures of

♦ [This is rather by Francesco Mantegna.
—Ed.]

t [An early picture of Giovanni Bellini.
—Mr.]

B in the P. Doria at Rome
appear rather to be the work of a
Ferrarese artist [probably of An-
suino, more probably of Parentino.
Ed.]. Four miniature pictures in
the P. Adorno at Genoa are atj
least highly characteristic examples
of the antique and allegorical ten-
dency of his school, which here
turns into an agreeable rococo ; the
Triumph of Judith; the Triumph
over Jugurtha ; Love chained by
the Nymphs ; Love led away cap-
tive. [More probably Florentine,
between Botticelli and Ghirlan-
dajo, a fifth picture belonging to
these, the Triumph of Chastity in
the Turm Gallery (No. 587).— Mr.]j
At this time also lived another
painter who surpassed even Man-
tegna in his representations of per-
spective ; Melozzo da Forli, a pupil
perhaps of Squaroione [??], certainly
of Piero della Francesca. There is
to be seen in Borne, in the staircase-
porch of the Quirinal, a Christ sur- k
rounded by Angels, and in the
Stanza Capitolare of the Sacristy Z
of S. Peter, some portion of figures
of angels, very insufficient frag-
ments of a production of wonder-
ful beauty, the fresco of the As-
cension in the semi-dome of the
choir of the SS. Apostoli ; de-
stroyed in the last century. The
foreshortened view from below,
then regarded with wonder as a
great novelty, was, after Correggio's
time, many times surpassed by
third-rate artists, and has now only
a historical interest ; a far greater
quaKty in Melozzo is his perfectly
free, nobly sensuous feeling for
youthful beauty which he gives
manifold with the ease of inspi-
ration. The fresco in the Yaticanm,
Gallery, of Sixtus IV. with his
nephews, among whom it is hard to
make out the future Julius II.,
and, kneeling in the centre, the
learned Platina, painted in the
more severe Paduan style, is very
interesting on account of the dis-

78

" The Itenaissance." Paduan School.

tinotly marked portraits, the rich
architecture in perspective; and the
masterly clear colouring.

In close connection with Piero
della Franoesca and Melozzo are the
artists of the Mark of Ancona and
the Duchy of Urbino, whose works
are to be sought beyond the less
visited localities of their original
district, especially in the Brera at

a Milan. Pra Oamevale, properly
Bwrtolommeo Oorradini, from Ur-
bino (died 1484) appears to be a
follower of Piero deUa Francesca.

b Brera (No. 183), a Madonna with
Angels and Saints, and, kneeling
before her, Duke Federigo of Ur-
bino, in steel armour ; Gallery of

c Perugia, a tall picture in several
parts, with the Annunciation, a
Madonna enthroned and Saints [by
Piero della Francesca. Ed.] ; in
the church of S. M. delle Grade at

d Sinigaglia, an Annunciation. The
father of Raphael, Oiovamni Samti
(born before 1446, died 1494), had
been impressed by similar influ-
ences. The frescos of the Domi-

e nican church at Cagli are known as
his piinoipal work. [But many
altar-pieces from his hand have
been preserved : S. Jerome, in the
Gallery of the Zateram at Rome ;
Madonna and Saints in Santa
Grace; Visitation in S. M. Ntoova
of Fano ; Virgin and Child, with
Saints and Angels (1484) at Gra^
dara ; Buffi votive altar-piece in
the Gallery of Urbino; Madonna
and. Saints in MoTiiefiorentimo
(1489), and Morttefiore, and an An-
nunciation, No. 184, at the Brera.']

f Marco PalmezaaTio, from Forli, is
Melozzo's especial pupil, though far
from equal to him. [Fine frescos
in the CapeUa del Tesoro at
Loretto, and in S. Biagio of Fori}.
Ed.] There are at Forll numerous
examples [14 altar-pieces. — Ed.] of
— his figures of Saints, with their
prosaic faces and timid expression ;
one of the best is at Matelica, S.
Francesco de' Zocoolanti. In the

Brera, No. 193, a Nativity (1492) ■,g
No. 181, a Madonna with four
Saints (1493), and No. 174, a Coro-
nation of the Virgin, just the
same in style are the very late
pictures (1537) in the Uffiei, No.
1095, the picture of Christ Crucified
in a remarkably rocky landscape ;
in the Museum of the Lateran at
Borne, a Madonna enthroned with
four Saiats. [In various European
galleries, some score of Palmez-
zano's pictures. — Ed.] Girolamoh
Genga, from Urbino (1476-1551),
also a sculptor and architect, pupil
of SignoreUi and Perugino, is badly
represented in a later picture in the
Brera, No. 198, Company of Saints,
with a glory above them on a black
ground [the predeUa of which,
with Christ and the Samaritan at
the well, is in the Carrara Gallery
at Bergamo. — Ed.]

Tvnwteo della Tite, whose youth- i
ful works should here find their
place, must be looked for among
the pupils of KaphaeL

VICENZA AND VERONA.

The painters of Vicenza and
Verona, 1450-1500, are also essen-
tially Paduan in their training, al-
though in a few of them something
is seen of Giovanni Bellini's in- .
fluenoe ; they do not much attempt
the splendid colouring andcharacter
of the Venetians.

In Vicenza we must mention the
morose, but honest and thorough,
Bartolommeo Montagna [in practice^
in 1480, died 1523.— Ed.]. Three
pictures in the Pinacoteca ; in S.
Corona, the large picture in -tem-
pera on linen to the left near the
door ; in the cathedral, perhaps the
paintings of the fourth chapel on
the left ; in the fifth chapel on the
right, the two Apostles, and per-
haps also the Adoration of the
Child. Large altar-pieces in the
Academy at Venice, and in the
Brera at Milan. Excellent frescos

Pisanello — lAberale — Morone.

79

by him in S8. Nazaro e Celso at

a Verona, cap. di S. Biagio, 1493 ;
four pictures in the choir of the
same church. In the same church,
first chapel on the left, two panels,
each with two very beautiful figures
of Saints. Large picture of 1500,
in the church of Monte Berico, at

i Vicenza. A large altar-piece in 8.
Oiovarmi Uarione, between Verona
and Vicenza. A similar one in S.
Maria in Vamzo by the Seminario at
Padua. The Sacristy of the Certosa
at Pavia possesses a good picture.
[Contemporary with Montagna,

c Oiova/imi Bv/mconsiglio labours al-
ternately at Venice and Vicenza ;
he combines the searching cha-
racters of Paduan art with the glow
of colour of Antonello da Messina.
Altar-pieces in the gallery and
churches of Vicenza, Carrara Gal-
lery at Bergamo, Academy and S.
Spirito at Venice, and Montag-
nana. — Ed.]

Of the contemporary painters of
Vicenza, the chief are Francesco

d Verlas, an imitator of Penigino,
altar-pieces, No. 269, at tte Brera j
and others at Schio, Sarcedo, Velo,
and Trent ; Gfiovanni Speranza,
pictures in S. Giorgio of Vfelo, the
gallery and churches of Vicenza,
and private collections at Padua
and Belluno, and Marcello Pogolino;
pictures in the Pinacoteca and good
frescos in S. Lorenzo, chapel on the
left near the choir ; Martyrdom of
S. Peter, very interesting, but
nearly destroyed [altar-pieces and
frescos at Trent. — Ed.]

e At Verona there remain some
works of Pisanello, properly Vit-
tore Pisano (died about 1455), who
was one of the originators of the
style of the fifteenth century.
(Damaged fresco of an Annuncia-
tion in S. Fermo, wall over the
choir.) [Other works in S. Anas-
iasia; on the right, above the
vault of the choir, a S. George
killing the dragon. In the Gallery
of Verona, a Madonna with birds

and flowers. His pupil OrioU —
whose portrait of Lionel d' Este is
in the National Gallery, had a good
practice at Faenza between 1449
and 1461.— Ed.] AH the other
painters were entirely formed under
Mantegna's influence. In S. Anas-
tasia there are some anonymous
frescos, in the chapels right and left
of the choir.

Francesco Bonsignori, much re-/
sembling Montagna in character ;
Madonnas with Saints in the Pina-
coteca at Verona (1488) and in S.
Fermo, chapel near the left tran-
sept (1484). Girolamo Benaglio
(1487) has pictures in the Pima-
coteca.

Several of the churches have
pictures by Liberale da Verona g
(b. 1451, living 1515); among others,
in the Cathedral, an Adoration of
the Kings, with a rich landscape.
Frescos in S. Anastasia, over the
third altar to the right, a large
S. Sebastian in the Brera at Milan,
hard and sharp, a capital picture
of action in the Paduan style ; also
three small panel pictures in the
chapel of the archbishop's palace.
[(?. P. Falconetto (b. 1458, d. 1534), h
a follower of Liberale but imitator
of Melozzo, painted largely in Ve-
ronese churches. Frescos in the
Cathedral, SS. Nazaa-o e Celso, and
S. Fermo of Verona. — Ed.] By
Girolamo dai Libri [b. 1474, d. 1556] i
there is, among others in S. M. in
Orgamo, on the right of the entrance,
a beautifiU Madonna with Saints
under laurels [by Mocetto. — Ed.]
[a great picture in the church of
S. Giorgio in Braida. — Mr.] ; in the
Pinacoteca, a splendid Adoration of
the (boldly designed) Child with
Saints, and two Madonnas en-
throned with Saints, from S.Maria
delta Vittoria and from S. Andrea.
Dom^nico Morone (hornl442) painted^
in 1503 the refectory of the ancient
convent of S. Bernardino. His
celebrated son, Pramcesco Morone
(1473—1529), teacher ['contempo-

80

" The Renaissance." Brescians.

rary. — Ed.] of Girol. dai Libri,
from whom it is often difficult to
distinguish him, greatly resembles
Giov. Bellmi in two beautiful pic-
tures in the Pinacoteoa, a Christ in
Glory standing upon clouds, with
Mary and John the Baptist, (accord-
ing to Crowe and Cav., probably
by Morando,) and a Christ Cruci-
fied (1498) ; in the noble frescos of
the sacristy of S. M. in Organo,
(half-length figures of Saints, and,
in a central division of the roof the
Saviour floating with Saints, much
foreshortened) ; he appears as a
fully-developed master of the six-
teenth century. For Ca/roto and
Mooetto, see below.

BRESCIA, BERGAMO, AND
MILAN.

The farther we move towards
the west, the more we lose the ac-
curate knowledge of the human
form, and the enjoyment in sharply
delineating it which characterise
the Paduans ; in some Piedmontese
painters it is really altogether lost.

u, EventheBrescian Vi/ncenzo Foppa
the elder [practised 1456 to 1492],
in his fresco of the Martyrdom of
S. Sebastian (Brera) no longer at-
tains the thorough correctness of
form of the Veronese painters.
Many of his works are in the
churches of Brescia; a rich series
of frescos in the former chapter-
house of S. Barnabas, now a
printing-office. His best picture
in the Oarrwra Academy at Ber-
gmao is the Crucifixion, painted in
monochrome in a greenish tone
(1456). [But of more importance
is the Madonna with Saints, dated
1489, in the Cathedral of Savona.
—Ed.]

J [Foppa's pupils were Bernardino
Jacdbi, commonly called Biittincme
(1454 — 1507) and Bemardimo Mar-
tini, called Zenale (b. 1435, d. 1526),
both nativesof Treviglio. Biittinone,
a Paduan in style, is seen to less

advantage in single pieces [Madonna
of the Castelbarco coU. sold in 1870,
Virgin and Child with 2 Saints in
the Borromeo Palace at Isola Bella]
than in the works which he exe-
cuted in partnership vrith Zenale :
frescos in S. M. deUe Grazie and
S. Pietro in Gessate at Milan, altar-
pieces of 1485 in S. Martino of
Treviglio. Zenale shows more affi-
nity at first to the pure Lombards
than his partner. He afterwards
imitates da Vinci : Annunciation
and Christ crowned with thorns in
the Borromeo Coll., Madonna at
the Ambrosia/na, Madonna with
Ludovico and Beatrix Sforza, and
other panels in the Brera, and
frescos in S. Amhrogio, at Uilan.

Bramamivrw, more properly Bar- c
tolommeo Suardi (alive between
1491 and 1529), assistant to Bra-
mante at Milan, then painter with
an independent practice at Milan
and Rome, starts with local pecu-
liarities. Crucifixion in the Muni-
dpio, Christ of pity at 8. Sepolaro
at Mjlan ; then takes something
of the XJmbriau from Bramante ;
Martyrdom of S. Sebastian in S.
Sebastiano ; and finally conuuingles
the TJmbrianwith theLionardesque;
Madonna and Saints from S. Mi-
chele in the Ambrosiana; Flight
into Egypt at Locarno ; frescos in
S. M. delle Grazie, and various
pieces in the Brera at Kilan.

Vincenzo OivercTdo, who succeeded d
Foppa as town painter of Brescia,
oflfers a variety of the Veronese
style cultivated by Liberale. His
earliest work is an altar-piece (1495)
in S. Barnaba of Brescia; hislatest
the Baptism of Christ (dated 1539)
in the Tadini coll. at Lovere, dated
1539. Contemporary with him are
MoTiiorfano, whose Crucifixion of
1495 faces the Last Supper of da
Vinci in the refectory of the Grazie
at Milan, and Bernardo de Conti, by
whom we have a Madonna in the
Carrara Gallery (1501) at Bergamo.
—Ed.]

Piedmont.

81

Bargognone (properly Ambrogio
Fossano, died after 1524), whose
paintings were in very great de-
mand, was very successful in some
little fresco scenes (paintings at the

a back in S. Ambrogio : Christ among
the Doctors ; Christ Risen, with
Angels ; a PietS, all painted over) ;
but in large undertakings (the

i choir of S. Svmpliciano (1524)) the
attempt to transfer the ideas of
the sixteenth century to somewhat
inanimate forms of the fifteenth
produces a very insipid result. A

c great Assumption of the Virgin
(Brera) reminds us of vapid Peru-
ginesques. Special Madonnas, on
the other hand, which are met with
here and there, possess a very great
charm. Remarkable pictures in

dthe Certosa at Pavia [where are
also his earliest and most important
pictures, the Crucifixion of 1490,
fourth chapel to the right ; Am-
brose, with four Saints, sixth chapel
to the left. Various pictures be-
longing to the Duca Scotti at
Milan ; his great picture in the

cAmbrosicma betrays in its pale
flesh tones its connection with
Zenale. — Mr.]. There are many
pictures of this old school, also in
the manner of Borgoguone, in the
/Madonna delle Oranie, at Locarno.
[Also a fresco in San Satiro (1494),
and frescos in S. M. delle Passione,
at Milan, predeUas (1487) at the
Incoromita of Lodi, and an altar-
piece in S. Spirito of Bergamo
(1308).

GENOA.
[The earliest local form of art in
the Genoese territory is found in

J the works of Giovanni Mazone of
Alexandria, by whom a Nativity
and Crucifixion with Saints in the

A hospital of Savona recalls the rude
works of the Byzantines of Venice,
whilst a later Nativity in the Louvre
displays the subsequent influence
of Foppa. After Mazone, Lodomco
Brea takes an important place

amongst Genoese painters : St.
John Evangelist and other Saints
(1490) in the hospital; Assumption
(1495) in the left transept of the
Cathedral of Savona ; Coronation of %
the Virgin (1513) in S. M. di Cas-
tello at Genoa. Brea seems to
oscUlate between the Flemish style
of the school of Bruges and that of
the Peruginesques. Feebler and
coarser was Antonio Semino : Na-y
tivities in the town-house and in
S. Domenico (1535) of Savona;
and Teramo Piaggia : Virgin of the
Rosary in S. Domenico of Savona, i
St. Peter and St. Paul in S. Pan-
crazio at Genoa. Lorenzo de' Fasoli I
follows in the steps of Brea : Christ
taken from the Cross (1508) in S.
Ghiara of Chiavari, and the family
of Mary (1513) at the Louvre. Pier.
Francesco Sacchi (1512—27) takes
to Genoa a mixture of the Flemish
and Peruginesque style which for a
moment captivates the eye : St.
John leaving Joachim (1512) in
S. Maria of Genoa ; Glory of the
Virgin with Saints (1526) in S. M.
di Oastello ; Christ taken from the
Cross (1527), in S. Nazarro of Mnl-
tedo near Genoa. Teramo Piaggia
imitates Sacchi. — Ed.]

PIEDMONT.

[In Piedmont no artist of anyra
talent shewed himself tUl Macrino
d'AUa came into repute at the close
of the loth century. Early frescos
at Ranverso, pointing to Sienuese
or TJmbrian influence, are better
than the rude local work of Gio-
vanni Ca'navesi, or Gcmdoljmi, in
altar-pieces, at the Turin Miiseum
(1491 and 1493). Macrino (in prao- n
tice 1496 — 1508), though a native
of Alba, seems not to have been
locally taught. He reminds us at
different times of SignoreUi, Mon-
tagna, Borgognone, and Lionardo.
His style is a mixture of the Umbro-
Florentine and Lombard, powerful
and realistic in some measure ;

82

" The Renaissance." Venetian School.

surfaces unadorned with gay colour
or graceful outline, though deep
toned, and blended to a nicety ;
figures unaelect but strong. Of
Macrino's numerous altar-pieces the
following deserve mention : Virgin
and Child and Resurrection (1496),

a in the Oertosa of Pavia; Virgin and
ChUd in glory with Saints and
Angels (1498) ; from the Gertosa of
Asti, in the Turin Gallery, nu-
merous fragments of altar-pieces in
the same museum, and in the
churches and gallery of Crea,
Asti, and Alba (1501—8). Con-
temporary with Maoriuo, but on a

J lower level, DifemdenU Ferrari of
Chivasso, is a painter of numerous
pictures, chief of which are a Pietk
in the CatJiedral of Chivasso, altar-
pieces in the Ca&ed/ral of Ivrea
(1519—21), and a Nativity with
Saints (1531) in the church of

cRanverso. Qirolmno Giovenone of
Vercelli, by whom there are pic-
tures of 1513—1514 and 1527 in
the galleries of Vercelli, Turin, and
Bergamo ; and his relatives Joseph

<?aud Battista (Turin Gall. No. 60,
and Vercelli Casa Gattinara).
Crowe and Cav.]

MODENA.

At Modena I have, to my regret,
not met with any works by Cor-
reggio's master, FruTwesco Biamihi-
Ferrari. [One picture, the An-
nunciation (1506—10) in the Gall,
of Modena, No. 36, is by him, and
reminds us of Tura. — Ed.] Of
the old local painters in the Ducal
Gallery, Bartolommeo Boimsia (a
e Dead Christ lying in the tomb, with
Mary and John, 1485) is interesting
by his powerful colouring, and
Marco Meloni (a Madonna enthroned
between two Saints, 1504) by his
expression, rather in Francia's
manner. Bernwrdino Losco [b. 1489,
d. 1540], the sou of Jaoopo Losohi,
of Carpi (Madonna enthroned with
two Saints, 1515) is one of the best
of the old Lombards ; the so-called

"Gherardo di Harlem," on the
other hand (a large Crucifixion,
full of figures), one of the hard old
(West Lombard?) masters [Ferra-
rese, a late work of Stefano, or an
early one of Costa. — ^Mr.].

PARMA.
In Parma Correggio had no rivals
in predecessors like Jacobus de Lusei-
niis (Jacoho de Imschis, 1459 — 1504),
Gristofano Caselli, surnamed Tem-
perello,* liodovico da Parma, and
Alessandro Araldi (practising be-
tween 1500 and 1528). There are
pictures by these painters in the
Gallery there; by the latter also/
small scenes in fresco in the Ga/mera g
di S. Paolo, and a Madonna with
two Saints in S. Giovanni, first chapel h
on the right. Of the artist family
of Mazzola, who, later on, quite
attached themselves to Correggio,
Pierilario was living at this time,
by whom there is in the Gallery a
Madonna enthroned with three
Saints, and the more celebrated
Filippo Mawola [his pictures, 1491
to 1504], one of the hardest and
least graceful of aU the artists pro-
duced by the Faduan influence,
but, nevertheless, no mean draughts-
man. There is by him a very black
wooden Deposition, of 1600, in the*
Naples Museum; the altar-piece in/
the Baptistery at Parma; a Conver-i
sion of Paul in the Gallery. [A?
powerfully modelled portrait of a
man in the Brera, No. 178; am
suuUar one in the P. Doria atn
Eome.— Mr.] The picture which
is perhaps the most pleasing of this

* In the sacristy of the Salute at Venice
is a Madonna enthroned, hy this, hy no
means contemptible, pupil of Bellini ; an-
other excellent Madonna with S. Ilario
and John the Baptist, signed, 1499, in the
Sala del Consorzio at Parma, an Adoration
resembling Cima in softness and charm of
colour, on the third altar to the right in
S. Giovanni Evangelista. In the Btera, I
think No. 172 and No. 78 should be
ascribed to him. — Mr. [But see that No.
172 is by a pupil of Bondinello, and 78 by
Zenale.— Ed.]

The Vimrini.

83

school is without aname ; aMadonna
enthroned with three singing Angels
a and two Saints, in the Steccata,
(front corner chapel on the left).

We distinguish at Venice two
generations of painters during the
second half of the fifteenth century.

The first is altogether derived
from Padua : the principles of style
of the painters of Murano are en-
tirely changed in accordance with
it. We have already mentioned
Bartolommeo Vivarmi (paintiag
from 1450 to 1499), in connection
with Johannes and Antonius of
Murano. This painter is essentially
Paduan in his more characteristic
works ; in his splendid and accu-
rate execution he often resembles
Mantegna, but is colder in colour.
The personages of his altar-pieces
are always solemn, sometimes ex-
ceedingly dignified, sometimes al-
most fierce, seldom graceful. The
decorative parts, as is usual with
the Venetians formed under the
Paduan influence, are especially
rich. (Thrones, garlands of fruit,
leaf-covered espaliers, numbers of
Putti, &c. ) A Madonna enthroned
with four Saints standing and four
half-length figures floating (1465,

* ? 1469), in the Musewm, at Naples ;
" at Venice, altar-pieces in the Aca-
demy (No. 1 of 1464, No. 14 of

^ 1490) ; in S. Oiovarmi e Paolo,
St. Vincent on the second altar
on the right (much resembling
Mantegna, perhaps in great part
the work of Lwigi Yivarini* of
whom we shall speak later) ; in the
right transept a S. Augustine en-

* throned (1473); in S. Giovamni in
Bragora, a Madonna enthroned,
with side panels (by the first chapel
to the left, dated 1478) ; in the

J Prari a later, softer altar-piece

* This conjecture appears to me correct.
—Mr. [Probably by several hands, amongst
which Carpaccio doubtless took the lead
-Ed.]

(right transept, dated 1482), and,
perhaps quite a late picture, St.
Mark enthroned with Angels and
Saints (transept to the left) ; an
inferior work, in S. M. Formosa g
(second altar on the right) ; Ma-
donna, with suppliants under her
mantle.

The hardness and severity of
Bartolommeo is mellowed, partly
through the influence of Bellini, in
his younger brother or relation,
Lwigi Vivarmi, into a really noble
grace and fulness. Several pictures
in the Academy — a Resurrection in A
iS*. Giovanni m Bragora (entrance i
to the choir on the left, date 1498),
[two single figures of Saints ascribed
to him in S. Giov. Crisostomo
(second altar on the left) I consider
to be by Girolamo da Santa Croce.
— Mr.] The splendid large altar-/
piece in the Frari (third chapel left
of the choir), the S. Ambrose en- ft
throned between other Saints, was
completed by Basaiti (see below),
and belongs properly to the next
generation. On the other hand, a
Madonna with two barefooted I
Saints, in the Museiam of Naples,
is an early picture (1485). A finem
Adoration in Montefioreniino sa-
cristy. [Bartolommeo and Luigi
bequeathed their art to two second-
rate masters, Jacopo da Valencia
(1485-1509), pictures at Venice,
Belluno, and Ceneda ; and Andrea
da Mwrano, altar-pieces (1501) at
Trebaseleghe, (1502) at Mussolone.
Ed.]

Of the works of Carlo Ori-n
vein the greatest number are in
the Brera at Milan. Hard and
severe, like Bartolommeo, splen-
dour-loving beyond measure, yet
not without taste, in some specisil
characters resembling Johannes
Alamannus, he attains, at least in
a Madonna enthroned (1482), a very
high degree of grace. By him is
perhaps the Pope, St. Mark in S.
Marco at Rome (chapel right of the o
choir). [The figures by this master,
G 2

84

" The Renaissance." Venetian School.

often ugly, but never expressionless,
full of a strong inward life, are
distinguished by peculiarly clear
colouring, as if produced by the
most transparent vegetable juices ;
the beautiful garlands of Sowers
and fruit, in which he takes
especial pleasure, are remarkably
good. CrivelU is at home properly
in the March of Ancona and the
small places along the coast down

a to Aacoli. A beautiful MadonTM
in the Zoccolanti of S. Francesco at
Ancona. — Mr.] A lovely and ex-

jpressive Madonna in the Museo
Cristiano of the Vatican at Borne ;
a rich Coronation of the Virgin of

c 1493 in the Brera, Oggione Gallery.

THE BELLfNI.

The second generation of Vene-
tian painters begins with Gentile
Bellini (1426? to 1507) and Giovanni
Bellini (1427 ? to 1516), sons of Ja-
copo Bellini. The youth and middle
age of both brothers appear to
have been passed in a position of
dependence ; but little exists by
Gentile; Giovanni's early pictures
are mostly lost under other names,
and his numerous authentic works,
in the manner peculiar to him,
only began with his sixtieth year.
Of his numerous pupils or follow-
ers we name only the following : —
Fierfrancesco Bissolo, Piermaria
Pennacchi, Martina da Udine, Giro-
lamo da Santa Grace* (who worked

• Here we may mention, in passing, the
BeTgamasq,ae painter, Girolamo da Santa
Croce, who formed himself in Venice, but
chiefly worked at Padua. Best known hy
his earlier pictures with small figures
(Martyrdom of St. Laurence, in the
Museum of Naples), he did not succeed
later in gaining the freedom of the great
masters. Glory of St. Thomas d, Becket,
in S. Silvestro at Venice, first altar on the
left; large Cenacolo (1549) in S. Martino,
over the door; in S. Francesco at Padua,
the frescos of the second chapel on the
right [Burckhardt here confounds Giro-
lamo Santa Croce with Girolamo del Santo.
— Ed.]. His colouring always has the
Venetian glow. By a fellow-couDtryman,
Francesco, properly Biazo da Samta Croce,

chiefly in Padua), Vimcenzo Cate/na,
of Treviso, Andrea Previtali, Giam-
battista Ciina da Conegliamo, Gio-
vanni Mansueti, and others. Not
belonging to his school, yet in
various ways affected by it, Marco
Basaiti, Vittore Carpacdo, Lazzaro
Sehastiani, Baeacdno da Crenuma,
Marco Ma/rziale, and others.

The grandeur of this school, along
with its narrowness, is so uniformly
marked in all the individuals (in
spite of great differences) that it may
be discussed as a whole. Once more
in this century of unshackled sub-
jectivitythe individual subordinates
himself to the all-prevailing type.
Clearly the patrons of art, on the
whole, determine the course of the
school

Above aU, the school did not
deal in narrative painting ; and
when it did so, in spite of all glow
of colour and truth of detail, it is
immensely inferior in idea to the
Florentines. Even in the great
" Preaching of St. Mark at Alex- d
andria" of Gentile Bellini (Brera,
Milan) we have a crowd of figures
indifferently collected together, of
a certain doU-hke sharpness ; and
it is the same in his "Miracle of <
the Holy Cross," and in the "Pro-
cession " with the relic (Academy
at Venice. )+ Carpacdo, with Mam-
sueti and Sehastiani, carried on this
history of the Cross : he may be/
said to be the only narrator in this
school ; in the same collection
there are by him eight large his-
tories of S. Ursula, full of figures ;
and in the Sauola di S. Giorgio

a Last Supper in S. Francesco della Tigna,
second chapel on the left [early pictures
of 1513 in the Academy at Venice; later
on he imitated Girolamo da S. Croce in
small pictures with many figures ; among
others in the Museo Correr and elsewhere.
—Mr.}. Earliest work, the Annunciation,
once at Spino, now in the Carrara GalL
at Bergamo, 1504. Latest, Madonna at
Chirigna^o, near Mestre, 1541. — Ed.

t This is undeserved criticism of a great
master, whose pictures on the organ
shutters at S. Marco, Dr. BurckhMdt
appears not to have seen, — Ed.

Carpaccio — A. da Messina.

85

a degli Schiavoni, two series of
smaller histories of S. George and
S. Jerome. If namU in details,
picturesque and easy arrangement,
with much beautiful architecture
and landscape, heads fuU of life
and even exquisite in their youth -
fulness, lastly, an often remarkable
power of luminousness in colour,
could form a historical picture,
Carpaccio would have succeeded.
The most interesting point in these
miracle pictures is always the
motley delineation of mediaeval
6 Venice. In the Uffizi, No. 80 —
Mwnsaeti's Christ among the
Doctors. Many historical pictures,
indeed, were destroyed in the con-
flagrations of the Ducal Palace.
No frescos or series of frescos are
to be found.

The BibUoal events which these
Venetian painters represent, are
mostly exquisitely peaceful scenes,
of which the essential parts could
be expressed in half-length figures.
It is not without reason that the
Supper at Emmaus, for instance, is
so much in favour ; of which more
later.

It was in this school that the
Venetian colouring first was formed.
Possibly something was due to
Antonello da Messina [in prac-
tice 1465-93], who lived long in
Venice.

[The most valuablepictures of this
very remarkable master are, as is
well known, to be found in foreign
countries (London, Glasgow, Paris,
Berlin, Vienna, Antwerp). In
Italy are a Virgin and Child with
Saints, in S. Gregorio, of Messina,

cthe portrait of a man with black
hair in a fur coat, in the Jjffizi;

d another in the Academy at Venice,
No. 255 ; there also the Ecce
Homo, No. 264, both from the
Pal. Manfrin. Undoubtedlybyhim,
and probably a portrait of him-
self, the speaking-head in the

e Borghese Gallery at Bome, eleventh

room, No. 27 ; a good portrait,
again, that in the Giovanelli Collec-
tion at Venice.] [A portrait, quite
corresponding with this, is in the
Carrara CoUeotion at Bergamo ;
another belongs to the ManJiesaf
Trivulzi at Milan ; in the Stabil- g
mento Malaspina at Pavia is a very h
interesting picture of a man's face,
spare in feature, signed, unfortu-
nately much injured. — Mr.] [It is
desirable not to forget AntoneUo's
pupil Pietro da Messina, whose
pictures (S. M. Formosa, Venice,
Gallery of Padua, and KospigUosi i
Palace at Bome), are a mixture of
the styles of AntoneUo and Cima.
Sahio d'Antonio, in a Death of^
Mary at Messina (Duomo), proves
himself a painter of the Tuscan,
not of the Venetian school. Other
artists of the SiciUan school con-
temporary with Antonello are :
Tommaso de' Vigilia (Madonna of k
1488, in the Convent of the Vergimi,
at Palermo), Pietro Buzwlone, of
Palermo (Crucifix in the Chapel
of Termini), Antonio Crescemsio
(Triumph of Death in the hospital
of Palermo), an TJmbrian in style.
Antonello de Saliba, often con- 1
founded with AntoneUo himself
(altar-pieces of 1497 to 1531, in the
churches of Catania, Palermo, Mes-
sina, and Milazzo.) — Ed.] The
painters of Murano, however, were
the founders of the school. Without
anywhere losing themselves in re-
finement of detail, the school now
discovers the secrets of harmony
and of transitions, as well as the
mode of employing single colours
with the greatest effect of beauty.
It did not aim at producing illusion
by the representation of materials ;
in the drapery it gives a luminous
transparency, but in the nude it
achieves that indescribably soft
and nobly life-like substance which
is produced by the finest modelling,
working not in dark shadows but
only in tones of colour, partly by
secrets of glazing, and, indeed, in a,

86

" The Renaissance." Venetian School.

liuiidred different ways." By the
side of these productions everything
Paduan seems left very far behind.
The greatest of this school, Gio-
vanni BeUini, is greatest likewise
in colouring and in rendering ;
others retain certain hardnesses
(Carpaccio, even Cima), or incline
towards a weak scumbling. (Bel-
lini himself sometimes aims at a
hazy transparency. )

In richness of incident this school
is naturally far inferior to the Flo-
rentine ; but the figures are, as a
rule, easy, even noble in form and
action. The representation of S.
Sebastian as a standing figure keeps
up the drawing of the nude to a
remarkable height. The drapery
indeed follows more the general
laws of colour than a higher feeling
for lines ; yet it is freer from trivial
motives and overcrowding than is
the case, for instance, with Filip-
pino Lippi. The characters are the
principal object with the Venetian
painter. He puts them together,
not for the sake of sharp and there-
fore effective contrasts, but as tones
of one and the same chord ; neither
supersensual longing nor sudden
grief, but the expression of calm
happiness pervades them : it is this
which, expressed in energetic and
well-formed figures, fills the mind
of the spectator with that inward
satisfaction which no other school
produces in the same manner. This
type of the human race is so near
reality, that one feels it possible to
meet such characters and live with
them. •; Raphael does not lead us to
expect anything of the sort ; inde-
pendently of their ideal form, his
figures seem also removed from
us by their lofty relations and
actions.

Giovanni Bellini, though occasion-
ally equalled by most of those we

* In the UfiQzi is a remarkable drawing
on a gesso-ground, ascribed to Bellini, re-
presenting the. dead body of Christ sur-
rounded by seven persons.

have named, in their best moments,
even in the characters, always re-
mains far the greatest of all. Pro-
bably to him is owing (in Venice)
the new arrangement of the altar-
pieces ; instead of being set in
separate panels, the single Saints
are collected in a group round the
Madonna enthroned, in a "Santa
Conversazione, "which is beautif uUy
framed architecturally by a porch
either open or closed by a niche
in mosaic ; he constructs his group
almost with the same severe, beau-
tifully formed symmetry as Fra
Bartolommeo. Since the ill-omened
fire in S. Giovanni e Paolo, which
destroyed Bellini's greatest altar-
piece along with the Peter Martyr
of Titian, there still remain two
large altar-pieces, of the first rank,
by him in Venice— in S. Zcuxaria, a
(second altar on the left, of the year
1505) and in the Academy. The 5
mere juxtaposition of the saintly
figures, without definite emotion,
or even distinct devotion, gives an
effect of something supersensual by
the harmonious union of so many
free and beautiful characters in a
blessed state of existence. The
wonderful angels on the steps
of the throne, with their singing,
their lutes and violins, are but
the outward symbol of this truly
musical meaning. As this meaning
could make itself felt even in half-
length figures, hundreds of these
were produced, chiefly for private
devotion.

But not only in his arrangement
of the characters for a picture, but
also in his conception of individuals,
Giovanni Bellini was the model of
all the rest, and their deliverer
from old trammels. The scale on
which he moved was by far the
grandest of any. He could be bur-
lesque in his representation of the
classical mythological world : the
priceless (so-called) Bacchanalia in
the Camuccini collection finished
by Titian (now in England, in the

Giovanni Bellini.

87

poBsesBion of the Duke of Northum-
berland) travesties the Carouse of
Gods into a " Pesta" of Italian
peasants. When he fell into the
allegorising of the time, he was
capable of being as absurd as any
one; five very deHcate little pic-

atures in the Academy of Venice,
somewhat to be compared to Pin-
turicchio's Allegories in the P. Tor-
rigiani at Florence. The religious
pictures, on the other hand, are
pervaded by a harmonious dignity
and sweetness. The picture in S.
Giovanni e Paolo displayed in the
female Saints a splendid race of
full-grown maidens, who yet recall
Mantegna's S. Eufemia. The angels
by the throne were here, as in all
his pictures, eagerly devoted to
their music, and perfectly simple,
which is not always so, for in-
stance, in Francia and Perugiuo.

b His late picture in S. Giovanni
Grisostomo, first altar on the right
(1513), almost as free and broad as
a Palma, contains some of his best
male characters (in the great altar-
piece of the Academy some of his
most beautiful nude forms). In
the Madonna is seen an advance
from a severe and somewhat in-
animate type (for instance, the one
picture in the Brera at Milan,
several in Venice) to one of a grand
beauty, but still silways serious
and ideal even in costume. This
perhaps is, for the first time, well

c carried out in the Madonna of 1487
(in the Academy), and in the
splendid picture in the Sacristy of

dthe Frari (1488). An important
picture, of the same year, in S.
Pietro e Paolo at Murano, near the
second altar on the right, has been
unfortunately injured by the damp,
and "restored " in Venice. Among
several works in the Academy im-
fortuuately hardly one has been
untouched, in the Brera at Milan
(signed, 1510), and elsewhere. The
" two pictures in the sa,cristy of the
Kedentore, of which one was for-

merly a perfect jewel, are nearly/
destroyed. Among the Saints, the
females are generally the best.

But in Bellini the sublime con-
ception of the form of Christ is
the most important thing, which
through his infiuence was retained
also through the next generation of
Venetians. His infant Christ is
not only well formed, but as
sublime and impressive in action
and position as is possible without
destroying the expression of child-
hood. In the picture in S. Gio-
vanni e Paolo, the by no means
ideal Madonna possessed a solemn
charm in the repose of her sitting
figure, and the calm standing po-
sition of the child giving the bene-
diction. Also in the altar-piece of
the Academy the child is serious g
and grand, in marked contrast
with the angels playing on musical
instruments.* Befiini also ven-
tured to represent the mature
Christ giving the benediction as a
single figure, with a background of
landscape or tapestry, with the
dignified manliness, the same type
of head which one finds recurring
in certain pictures [? ascribed to]
Giorgione and Titian (gallery at
Parma). And now follows ' ' Christ ^l
at Emmaus" (S. Salvadore at
Venice, chapel on left of choir),
one of the first pictures of Italy
[certainly not by BeUini, but by
Carpaccio],t perhaps the most
sublime head of Christ in modern
art, only excepting Lionardo. i
Lastly, the master seems to have
had in hia mind the highest eleva-

* Bellini certainly also painted the
always insupportable scene of the Cir-
cumcision (S. Zaccaria, second chapel on
the left, in the space round the choir), and
many others followed him.

t Here and in similar pictures of the
Supper at Emmaus, "by Palma Vecchio
Titia/n, etc., the surroundings are quite
earthly and apparently commonplace, but
one has only to compare the insolent pic-
ture of Sontlwrst (Manfrini Gallery) to
understand that there are two kinds of
realism.

88

" The Renaissance." Venetian School.

tion, a Transfiguration on Mount
Tabor. The picture of this subjeot

flsin the Naples Miisewm, painted
with the most sincere endeavour
after a deeper conception of the
picture, was perhaps an early at-
tempt o^ this kind (a copy in S. M.

b Mater Dommi at Venice, first altar
on the left). It is possible that
the sketch of a head of Christ
looking a little upwards, in the
Academy, was the first idea of a

c Trcumfigv/ration that was never ac-
complished ? (A beautiful Baptism

d of Christ, in S. Corona at Vincenza,
fifth altar on the left. )
A splendid fresco of Bellini's

e adorns the church of S. Ntecolo at
Treviso (in the choir on the left),
a painted monument of the senator
Onigo, with two youthful warriors
standing at the sides, medallions,
ornaments; also the large picture
at the high altar.*

f [In the Town-hall at Bimini th ere
is an early and severe PietS,, similar
to the one in the Brera (by Zaga-
neUi. Cr. andCav.). On the altar

g of the left aisle of 8. Francesco at
Fesaro stands forth a grand im-
portant work of the master (much
injured by splits and restoring).

h Palazzo Oiovamelli, the only re-
maining art collection in Venice,
possesses a precious little picture,
signed. The gallery belonging to

I the town in the Palazzo Gorrer
must not be passed over. In the
churches of Venice also much that
is delightful will meet the visitor.
The great Eoman coUeotions in the

j Borghese and Boria palaces also
exhibit the master. — Mr.]

The pupils and contemporaries of
Giovanni Bellini above named are,
as a rule, excellent, just in propor-
tion as they approach the master.

* [The picture at the high altar, now
attributed to Fra Marco Pensahen, is by
Savoldo. — Ed.] See in the same church
the unbelieving Thomas in the early style
of S. Del Fiombo.

On the whole, Cima has the supe-
riority. His Baptism of Christ in
S. dwoamni m Bragora (at theft
back of the choir) is, in the dignity
of the head of Christ, in the beauty
of the Angels, and the solemn ges-
ture of the Baptist, incomparable ;
also the Constantino and Helena
(at the entrance of the choir to the
right) are beautiful in expression.
In the Abbazia (chapel behind the
sacristy), Tobias with the Angel, I
where the donors are introduced
as shepherds; in the Garmmem
(second altar on the right), the
wonderful Adoration of file Shep-
herds and Saints. His Madonna
is less charming and less life-like
than that of his master ; but the
Saints surrounding her, especially
the old men, are of great spiritusS
beauty. Excellent pictures of this
kind : Pmacoteca at Vioenza [Tern- n
pera, a very early, pleasing picture
of this master, of 14S9, a Madonna
under a canopy of vines. — Mr.] ;
Brera (and Ambrosiana ?) at Milan ; o
the gallery at Parma, some of the^
finest pictures of the master, etc.
The Madonna with Saints, life size, q
in the Academy of Venice, shows,
on the other hand, alongside of the
masterpiece of BelUni, an extra-
ordinary stifTness in arrangement,
as also in some of the figures.
There also is S. Thomas touching
the wound of Christ. [One of his
masterpieces, an altar-piece of
nearly twelve feet high, very much
injured, has remained in the cathe- r
dral of his native place. Any one
who win undertake the remunera-
tive journey by Treviso, Conegliano,
and that neighbourhood, to Friuli,
will find excellent works of the
master in various little places ; for
instance, S. Fior di Sopra, threes
miles from Conegliano. — Mr.]

Garpacdo^s merit comes out
chiefly in the paintings mentioned
above of the Lite of S. Ursula, and
those of S. Giorgio dd iScMavom.

SebasUani — Catena, etc.

89

In his smaller pictures he is exqui-
sitely full of life, yet he does not
equal Cima in beauty. Besides the
pictures already mentioned, which

a are more glowing in colour, I men-
tion that of the chief altar in S.
Vitale (1514), a lively conversation
of saints, who appear partly under
and partly above a balustrade ; [the
saint on horseback quite corre-

6 spends with the Gattamelata of
Donatello. — Mr.] ; the Coronation

cof the Virgin in S. Giovanni and
Paolo (left of the entrance into the
sacristy) ; the Death of the Virgin

d (1508) in the Ateneo at Ferrara : in
these two works he approaches
most nearly to Cima. His great

e Presentation in the Temple (1510)
and the Apotheosis of S. Ursula,
both in the Academy at Venice,
show, indeed, that he did not pos-
sess the capacity for giving full
life to such forms. In the Presen-
tation the child is conceived in
Bellini's manner.

/ Lazzaro Sebastiani has a picture
in 8. Donocto at Murano (over the
side door on the right), a really
beautiful lively scene of the Ma-
donna with two Saints, who are
introducing adoring angels and a
donor. [By the same weak fol-

jr lower of the Tivarini is a Pieta,
signed, in S. Antonino at Venice.
—Mr.]

Andrea Premtali, of Bergamo :
[Madonna of 1502 in the Gcmalli
Collection at Padua, Annunciationin
S. M. del Meseo at Ceneda, Virgin
and ChUd with Saints in the
Carra/ra Gallery at Bergamo, Christ
on the Mount (1512) at the Brera,
and numerous works with dates up
to 1525, in the ch. and private
collections of Bergamo. — Ed.]

Ji, Catena's masterpiece, inS. M. Ma-
ter Domini (end altar to the right),
represents a martyrdom of S. Chris-
tina, who was drowned with a

millstone round her neck. Ob-
serve how the honest old Venetian
treats this, and reflect a moment
on the emotional martyrdoms of
the seventeenth century. The
heads are most lovely. [Trinity
in S. Si/rmone, Madonna and Doge
Iioredano in the Public Palace, the
Flagellation in the Academy at
Venice.— Ed.]

BasaiM is in drawing, colour, and
characters more slight than Cima
and Capaccio : his male type often
repeats itself ; but the whole effect
is usually more lively. His Calling
of the Apostles James and Philip j
(Academy) is certainly distin-
guished by spirit and 'decision
(1510) ; the S. Peter enthroned
with four Saints in S. Pieiro di Oas-j
tello (third altar on the right) is ex-
cellent ; the S. George on horseback
(1520), end of the left aisle) is lovely
even in its injured condition. — ^Mr. ]
And sometimes this master rises
to lofty efforts. In the Assumption
of the Virgin (S. Pietro and Paolo at k
Murano, left, near the door of the
sacristy, injured, but not irredeem-
ably) he depicted the most beauti-
ful ecstacy; his S. Sebastian {Sa-l
lute, chapel on the right in the
Sagrestia Maggiore, in a wide land-
scape with a barren tree) is only
one degree removed from Titian.
[The Glory of S. Ambrose, begun by
Luigi Vivarini (p. 83 h, Fran, third
chapel left of the choir), was appa-
rently not essentially improved by
him. — Mr.].

Benedetto Diana only acquires the
BeUinesque form after giving up
that of the Paduans. Virgin and
Child and Transfiguration in the
Academy of Venice, Virgin and S.
Thomas in S. M. della Groce atm
Crema.

Vittor Belli di Matteo, altar-
pieces at Spinea(1524), and Gallery
of Bergamo, follows the style of
Carpaccio.

90

" The Renaissance." Venetian School.

Pier Framcesco Bissolo imitates,
but does not thorongMy acquire,
the Bellinesque manner. He some-
times signs Petrus de Inganuati.
Best works in the Venice Aca-
demy, S. Zaccaria, and Cath. of
Treviso.

Bartolorrvrmo da Venezia (1505
to 1530) paints portraits chiefly ;
Gallery of Bergamo and Perego
ColL at Milan.

Fier Maria Pemiacchi from Tre-
viso is author of the half-length
figures, nearly destroyed, in the

a soffits of the waggon roof of S. M.
dei MiracoU, and the roof paintings
in the vault in the Angeli at

h Mwamo, thirty-four divisions in
aU, tolerably restored. A Ma-

cdoruna in the principal church at
Treviso.

Oirolamo da Treviso the Tovmger,
apparently his son, is perhaps the
d author of a S. Boch in a landscape,
sacristy of the SaliiU, at Venice.

Marco Marziale, a pupil of Bel-
lini's, little known, also painted
e the Supper at EmTnaus with a very
pleasing conscientiousness, and with
something of the genre-like manner
of Carpaccio (1503, Academy).

Lastly, Soccaeino da Cremona
(1467-1525), who, in a Madonna
enthroned with four Saints, in S.

fGiuliano (first altar on the left),
most resembles Cima, shows rather
the previous influence of L. Viva-
rini, in a most finished and valu-

^able picture, in the Academy. It
is a Madonna with four Saints
seated in the open air ; one of the
earliest and most beautiful exam-
ples of this type of Sante conversa-
zioni with kneeling and sitting
figures in a landscape round them,
for which, later on, Palma and
Titian showed such strong predilec-
tion. [This master is little under-

stood, and must be visited in his
own native town ; in the Cathedral
there, the cTwir and the nave were h
painted by him and his son CamiUo,
with some other assistants. There
is, by CamAllo, a Madonna in thei
Brera, with Saints (1532).

The insignificant Marco Belloj
seems all his life to have repeated
but two compositions — the Mar-
riage of S. Catherine and the Cir-
cumcision (example in the town
collection at Rovigo). To Bellini's
school belongs also Niceolo Bondi-h
nelli of Bavenna (two pictures in
the Palazzo Doria, Kome). — ^Mr.]

SIENA.

Besides these great art centres in
Florence and North Italy, no other
school comes to the front in the
fifteenth century in which the en-
joyment of character and living
form, and the riches of human
figures, had expressed itself quite
freely and grandly. The inspira-
tions issuing from Florence and
Padua attracted all schools to them,
but the foundation was wanting —
the deep and severe studies of form.

Thus, for instance, the school of
Siena, from Bomenico di Bartolo
onwards, thinking it possible to
follow the new manner without
this preparation, ended by merely
copying the external specialities of
the Florentines on this faulty foun-
dation with unavoidable exaggera-
tion. Domenico's frescos in a haU
of the hospital of the Scala at Siena l
(histories of the foundation and
works of mercy) are indeed free
from coarse awkwardness, but only
interesting for the sake of costumes
and architecture. Of the rest, those
who partially adhered to the old
way have been mentioned before.
Among the more decided realists,
Vecchietta {Lorenzo di Pietro) is
quite unpleasing as a painter :
Francesco di Giorgio (Academy atm
Siena ; Adoration of the ChUd, and

Pietro Perugino.

91

Coronation of the Virgin) ; perhaps
the moat cultivated is Matteo di
Giovanni (M. da Siena), but un-
doubtedly the most repulsive. His
three treatments of the Slaughter
a of the Innocents {S. Agostmo, side
chapel to the right, 1482, Con-
i cezione, or Servi Si Maria, on the
eright, 1491, and the Musewm of
Naples, with a falsified date) are
among the most ludicrous excesses
of the fifteenth century ; Matteo
appears as the Italian Michel Wol-
gemuth. (Other pictures in the
Academy, and in S. Domenico,
second chapel left of choir.) [A
decidedly graceful picture of this
master in the (usually closed)

little church of Madonna della"'
Neve will probably bring about
a milder judgment than the fore-
going in favour of the attempt at
expression and character evident
also in the compositions of the
Murder of the Innocents. — Mr.]
Some also of the marble " Sgraffiti " «
on the floor of the Cathedral are by
his hand. A Christ in a glory of
Angels among many Saints in a rich
landscape (1491, Academy), by '
Benvenuto di Giovanni, is at least
painted without the affectation of
his fellow-pupil, Matteo.

Of Fungai, Paeehiarotto, &c., we
shall speak in considering the six-
teenth century.

PERUGINO AND THE PERUGINESQUE.

Moving southwards, we come to
the precipitous town of Perugia,
enthroned above the valley of the
Tiber, Assisi and Spelio higher still
on its mountain steeps, Foligno in
the plain, Spoleto looking down on
the vale of the CKtumnus. These
districts were the home of the
Umbrian school ; its influence
reached eastward to the mountain
towns of the Upper Apennines,
and beyond them into the March of
Ancona.

In this, the native country of St.
Francis, a stronger spirit of devo-
tion seems to have been kept up
than elsewhere in the profane
Italy of the Kenaissance. The
extraordinary intensity of expres-
sion in painting found here is
partly explained by the distance
from the proper home of the Re-
naissance ; the distributing of ta-
lents in various places (before Pe-
rugino all painting has a local cha-
racter) ; the more countrified, sim-
ple feeling of the patrons, whether
they were inhabitants of the steep
villages in the wine and oil dis-
tricts, or of retired convents ;

lastly, the influence of Siena, whose
latest idealists, like Taddeo di Bar-
tolo, worked in Perugia itself.
[But painting, if intensely tender
and devotional, was also feeble at
first, and very partially developed
even when it was affected by ex-
ternal influences, ex gr., the works
and example of Gozzoli, Piero della
Francesca, or the Vivarini. There
is little indeed to attract in the
Sansmerini (pictures and frescos at g
S. Severino, S. Gio. Battista of
Urbino, church of Pausola, Sar-
nano, and Matellica) ; in Giovanni
Boccati (Virgin and Child with
Saints (1447) in the Gallery of
Perugia) ; Oirolamo di Giovanni
(Madonna with Saints at Monte S.
Martino, near Fermo) or Barto-h
lommeo di Tommaso of Foligno
(practising 1430- 1452) ; Madonna in
S. Salvadore, Martyrdom of S.
Catherine, and other frescos in the
Comune of Foligno ; Matteo da
Gualdo,^ who chiefly laboured at
Assisi (1460-1503), was on a lower
level in art than even Bartolonmieo
(altar-pieces at S. Pietro, and
JSTasciano near Assisi, S. Francesco,

92

*' The Renaissance." Umhrian School.

S. Niccolo, and S. Margarita, of
Gualdo, and frescos at Sigillo).
His wall paintings (1468) at S. An-
tonio e Jacopo of Assisi are but part
of a series continued by Piercm-
tonio, a pupil of Gozzoli, whose
frescos at S. M. in Campis near
Foligno are imitations of older
Griottesques and Umbriaus (frescos
in S. Anna, wall paintings from
S. Lucia, S. Francesco, and S.
Domenioo in the Comune of Fo-
ligno.

Niccolo di Liberatore, better
known as Alunno of Foligno (born
circa 1430, died 1502), is the
pupil of B. diTommaso. — Ed.] He
is one of those who strikes the
chord which echoes so powerfully
in Perugino : it is the expression of
soul carried to enthusiastic ecstatic
devotion, in heads of the tenderest,
purest youthful beauty [??]. Nic-
colo's drawing of form was in-
ferior, his paintings sometimes
coarse, his arrangement awkward ;
but even now sometimes a painter
succeeds with as limited external
means in attaining a high though
only provincial importance, through
simple force of expression. Amongst
his works to be seen in public
collections (for instance, in the

aPalazea Colonna at Borne, in the

b JSrera at Milan, where there is a re-
markable Madonna with Angels, of
the year 1485), the most important
is an Annunciation with a Glory
and a Keligious Community (from
S. Maria Nuova) in the Pina^oteca

cat Perugia (No. 75, Tempera,
1466) ; the form of the heads of
Gabriel and the Madonna is won-
derful ; the devotion of the Angels

d thoroughly naive. In Foligno : S.
Maria infra portas; some ruined

e frescos ; S. Niccolo : large rich
altar-piece of several panels, his
best executed masterpiece ; also a
Coronation of the Virgin with two

/kneeling Saints. In the Cathedral of
Assisi, unimportant fragments of an
altar-piece let into the wall. Other

pictures at Diruta, S. Severino,
Gualdo, Nocera, and La £astia,g
near Assisi. [At La Bastia is one «
of his latest pictures, a Madonna
with Angels and Saints, of 1499.
A remarkable picture in the Itna- i
coteca at Bologna (No. 360), a
church standard, painted on both
sides ; in front the Madonna be-
tween Saints ; on the back the An-
nunciation. The painter has here
employed a gold ground as an
under-painting • for the whole pic-
ture. — Mr.] On the whole, Alunno
employs passionate intensity of ex-
pression with great moderation,
and, in some instances, rather re-
sembles the Paduans.

[The most important combination
of the Florentine and Umbrian
manner, that indeed to which we
mainly owe the expansion of Peru-
gino' s style is to be found in the
works of Benedetto Buonfigli (1453-
1496), whose education appears to
have been finished under the joint
influence of Domenico Veneziano
and Piero deUa Francesca. Though
at first BuonfigU showed affinity to
Matteo da Gualdo'aud Boccati (An-
nunciation and Epiphany in the
Gallery of Perugia), he displays ay
more decided Florentine style in
the frescos of the Palazzo, where
he illustrated the legends of St.
Louis and Ercolanus in a series of
finished compositions, andnumerous
altar-pieces in the Gallery of Peru-
gia which exhibit a gradual expan-
sion of his powers, till close on the
opening of the 16th century. He
was followed at Perugia by
Fiorenzo di Lorenzo, whose paintings ]c
at times so much resemble those of
Perugino that they might be con-
founded with them. We note
several pictures in the Gallery of
Perugia, amongst others eighty
panels with scenes from the legend
of S. Bernardino.— Ed.] No. 29,
from the sacristy of S. Frances-
co de' Conventuali, Peter, Paul,
and a lunette of a Madonna of

Pietro Perugmo.

93

1487, showing the diminished
energy of N. Alunno, almost a pro-
totype of Perugino in the grace of
the movement and forms of the
faces. The Adoration of the Kings,
wrongly ascribed to Ghirlandajo,
No. 39, quite like an early Peru-
gino. [Virgin and Child with
Saints and twelve members of the
Tribunjd of the Eota in the
Quirinal ; frescos of the legend of
the Cross in S. Grace in Gerusa-
lemme at Bome. — Ed.]

[The art which Piorenzo thus
took from TJmbria to Rome, he
bequeathed to Antonio di Benedetto,
commonly known as Antoniasso
(1460-1517), whose altar-pieces, in
S. Antonio of Kieti, the cathedral
of Velletri, and museum of Capua,
are curious illustrations of a style
which combines the tenderness of
Benozzo with that of the XJmbrians.
—Ed.]

Pietro Perugmo (de Castro Plebis,
as he calls himself from his native
city, Citta della Pieve, properly
VommKoi (1446-1524), is in his
earlier time essentially Plorentine.
How far Alunno or Piero deUa
FranBesca, or in Florence Verroc-
chio and L. di Credi, individually
afifeoted him, need not be seriously
considered ; the chief thing was
the impression of the artistic world
then as a whole, which altogether
decided his course. To this first
period belong his frescos in the

aSistine chapel, the Childhood of
Moses, the Baptism of Christ, and
the Giving the Keys ; perhaps also
the Adoration of the Kings, from

J S. Maria Nuova in the Pinacoteca
at Perugia (No. 39), works which,
along with great merit and beauty,
hardly show any trace of what
gave life to his later pictures.
Prom the best period of his life

c comes the Adoration of the Child-
Christ in the picture-gallery of the
Villa Albani (1491), and the beau-
tiful fresco in the Chapter-house of

dS. M. Maddalena dei Pazzi at Flo-

rence.* The life-size Crucifixion,
assigned to him by Vasari, in the
church of La Calza at Florence, e
near the Porta Komana, reminds
us of Signorelli. Even before 1495
Pietro settled himself in Perugia,
and opened his school. Prom this
point we date the great series of
pictures in which he seems to
carry to their deepest depths the
expression of devotion, of self-sacri-
fice, of holy grief.

How much in his works can one
now look on as pure coin ? In
Perugia clearly he fell in with the
already ruling tendency, which he
carried out with so new a sense of
beauty, and with far greater art-
istic talent than his predecessors,
that even the most mechanical re-
petition could not destroy it.
When he discovered that people
took an inexhaustible pleasure in
the peculiar expression of his faces,
and became aware of what they
exclusively admired in him, he
abandoned all the rest that he
knew and could do ; above all, the
incessant study of life, so remark-
able in the Florentine schooL He
left to Pinturicchio subjects rich in
movement and contrast, instead of
keeping himself fresh by means of
them. To the affected heads,
which people required of him, be-
long bodies and positions which, in
reality, look only like appendages,
and which the spectator very soon
knows by heart, because it was
obvious that the painter already
did so. Yet the same man drew
capitally as soon as he pleased, for
instance, in his nude figures. He
charmed his public also further by
clear bright colouring and easy
rich ornamented drapery. The
power of light in the colouring,
and the deKcate rendering of detail

* The pennesso (gratis) to be had in
the Palazzo del Ministero dell' Instruzione
Publica, Piazza Firenze. The entrance to
the Chapter-house is from tile Via della
Colonna.

94

" The Senaissance." ZTmhrian School.

iu many pictures, again show what
he could do whenever he pleased.
He places his Saints below side by
side without any further arrange-
ment, while all other schools group
them, and arranges his Glories, Co-
ronations, and Assumptions above,
according to one plan. On the
other hand, the detail, whenever he
pleased, showed the most delicate
feeling for lines. In the turn of
the drapery he seldom rises above
mechanical conventionality. In the
Sistine one sees what at an earlier
time he was capable of producing.

Of all artists who buried their
talent and sank into handicrafts-
men, Pietro is, perhaps, the greatest
and the most lamentable example.
He did, it is true, give clearly,
solidly, completely, what was re-
quired of him, even iu a late time
when his powers had diminished,
and no new idea could any longer
be expected of him.

As regards the heads, we must
recognize that Perugino adopted
juat the most beautiful motives
from the Florentine school of art,
then in a state of fermentation. It
must have been a heavenly moment
in his life when, for the first time,
he filled the loveliest form with the
expression of the sweetest enthu-
siasm, longing, and the deepest de-
votion. This moment was again re-
peated ; even in later pictures spe-
cial heads came out as strikingly
true, among others which only
render a similar expression with
the usual stereotyped means. In
order to feel distinctly about this,
one must analyse some of his heads
closely in type and expression, and
ask oneself how this peculiar oval,
these melancholy gazing dove-like
eyes, those small lips trembling
almost to tears, have been pro-
duced, and whether in the especial
place there is any necessity or jus-
tification for them. Sometimes he
satisfies us, but in most cases he
deceives us with an emotion quite

objectless and aimless. * Why does
Kesole afiect us quite differently?
Because there comes in a strong
personal conviction, which con-
strains him always to repeat the
highest expression as powerfully as
it is possible to him. Why is the
impression in the Delia Eobbias'
always fresh and pleasing? Be-
cause they do not attempt to ex-
press emotion, and remain in the
domain of a beautifid tone of feel-
ing. What is it that connects
Perugino with Carlo Dolce ? That
both commemorate an expression
which is essentially subjective and
momentary, and therefore belong-
ing only to one time.

We shall mention only the more
important of his later pictures.

In Bome, Vaiicam Gallery, fourth ^
room, No. 28, the Madonna with
the four Saints (1496) ; fourth room.
No. 24, the Kesurrection, executed
in great part by Raphael. [In the
Sciarra Gallery, a beautiful life-size
St. Sebastian ; in the Borghese Pa-
lace, under the name Holbein, a
remarkably beautiful portrait of
himself, seventh room, No. 35. —
Mr.]

In the Ocuthedral of Spello, on the 6

* We leave out the question altogether,
whether Pietro himself ever felt as his
creations feel. It is quite out of place,
and infringes on the eternal rights of
poetry. Even as an atheist, as Vasari
gives Mm out to be, in spite of the in-
scription with "Timete Deum" on his
portrait (?) in the Uffizi, Pietro might have
painted his Ecstacies, and they might
have heen grand and true ; only he must
have followed therein an inner poetical
necessity. Many confused ideas prevail
concerning the "profession of faith" of
the artist and the poet, according to
which it would be required that he should
constantly carry his heart on his tongue,
and in every work give out as complete a
programme as may be of his individual
thought and feeling. But as artist and
poet he needs no other sentiment than the
very strong one which is needed to give
his work the greatest possible perfection.
His religious, moral, and political convic-
tions are personal to himself. Here and
there they will be felt in his works, but
will not constitute the foundation of them.

Pietro Perugmo.

95

left, a PieU (signed) of 1521 ; [the
heads strikingly beautiful and full
of soul, considering the lateness of
the date. — Mr.], the expression in
John pure and beautifully inspired.

M, In Perugia : the frescos in the
two rooms of the so-called Cambio,
painted about 1500, by Perugino,
with the assistance of dell' In-
gegno (? ?), a beautiful and careful
work, which thoroughly illustrates
Perugino's views of the taste of
the Perugians ; isolated figures,
placed alongside, in the same line,
similarity of character in antique
heroes, law-givers, and prophets,
want of true power compensated
by sentimentality. [The pictures
out of the churches of Perugia are
almost all collected in the Piaaoo-
teca, where the whole school is
represented. Here is (extremely
injured) the ruined fresco of an

b Adoration of the Shepherds, from
S. Francesco del Monte, a compo-
sition in a lunette, not of great
importance, and many others.] In

c S. Agostino, the eight small panels
with half-lengths of saints (in the
sacristy), are more naive than the

d other pictures. In S. Pietro there
is a dignified Piet9, (by the first
altar in the left side aisle) ; in the
sacristy, a series of small panel pic-
tures with half-length figures, to
which also the three in the Vatican
Gallery once belonged ; in the
church, several copies, by Sasso-
ferrato, after similar half-length

e figures. In S. Severo, Perugino
had the courage, after Raphael's
death, in the year 1521, to paint
saints on the walls underneath his
fresco picture. [The great fresco

/of the Adoration of the Kings, in
S. Maria di Bianchi, in the neigh-
bouring Citta della Pieve, of 1504,
is a good composition, with excel-
lent special qualities, but dull
colouring. Other works also there

3 are in the Cathedral, S. Agostino,
Servi di Maria, near the town.—
Mr.]

In Florence, the Pitti contains
the famous Deposition (1495), a
collection of heads in a state of
passive emotion, the effect of which
is heightened by the absence of
other contrasts ; the head of Christ,
most unworthy, the whole distin-
guished more for evenness of exe-
cution than real depth ; there also.
No. 219, Madonna adoring the
ChUd, one of the truly felt pic-
tures, unfortunately much painted
over. — Uffizi: Madonna enthroned j-
with two Saints (1493), already
conventional ; two portraits. Aca-j
demy. Great Assumption of the
Virgin, below, four Saints, of 1500,
nearly related to the frescos of
the Cambio, partly conventional,
but with single heads of the
greatest exceUenoe ; also a Geth-
semane (early ?) ; the remaining
pictures there, even the group be-
neath, in Filippiuo's Descent from
the Cross, late, and quite fade in
parts.

In the Pinacoteca at Bologna : a ;j;
Madonna floating above four Saints,
a show picture of the rank of the
Assiunption first named.

[One of the most faultless of
Perugino's works is found in. S. i
Agostimo, at Cremona — a Madonna,
between Saints, of 1494 — Two
highly important altar pictures, in
S. Maria Nv/ma of Fano, Annuncia- ^jj
tion and Madonna enthroned be-
tween Saints, of 1497 and 1498. —
Mr.]

Ajnong Pietro's assistants, In-
gegno is mentioned by ancient
writers with especial emphasis.
However, the more accessible of
the works attributed to him are
doubtful, e.g., the excellent fresco ^
Madonna, in the chapel of the
Palace of the Conservatori on the
Capitol, with its restrained expres-
sion in the manner of Alunno. [A
beautiful youthful Archangel Mi- g
chaM, a fresco picture in the Pa-
lazzo Gualterio, at Orvieto, appears
to me decidedly a work of Signo-

" The Renamance." Umbrian School.

relU. — Mr.*] We may mention also
some early anonymous frescos of
the Umbrian school in Rome : in
aSS. Yito e Modesto, 1483, S. Cosi-
mato in Trastevere, &o.

Now comes Pimiwriochio, 1454 (?)
— 1513. He was early connected
with Fietro (e.g., as assistant in
the works in the Sistine), and in
the end he became, and continued
to be, the one painter of that
school, who, by preference, under-
took to execute by contract great
histories in fresco. At first the
Florentine manner aflfeoted him to
some extent ; afterwards he adopted
Perugino's style of stereotyped
expression. He never studied
thoroughly; he collects subject
and incident wherever he finds
them, repeats them even to the
tenth time, and often uses the help
of others. Confessedly a busi-
ness man and entrepreneur, we
may be sure with very small pro-
fits, he has at least this advantage,
that we expect but little from
him, and are then surprised, by
traits of exquisite nameU, beauti-
ful heads, and remarkable cos-
tumes, and delighted by the simple
way in which he uses his histories
as fillings up of a splendid locality
(buildings, gay landscapes, in the
Flemish style). He, too, produces
what was acceptable to his time,
especially in the society that sur-
rounded the Popes.

Under Innocent VIII. and Alex-
ander VI. he and others painted
the lunettes and vaulted roof in
6 five haUs of the Appartamenio
Borgia (Vatican). There we have
prophets, sibyls, apostles, sciences
enthroned, with attendants, legends
of various saints ; lastly, stories
from the New iestament, the
greater part without any special
expenditure of ideas. So, too, the

* Note this fresco, whicli is probaMy by
Eusebio di S. Giorgio, is now in tlie
Museum of Leipzig.

frescos in S. MaHa del Popoloe
(chapels one, three, and four on
the right, and the dome of the choir)
show only the geueral style of the
school. The remains in S. Pietrod
m Montorio, and in S. Onofrioe
(lower paintings of the niches in the
choir) appear to be by stUl inferior
Peruginesque hands ; [Crowe and
CavalcaseUe ascribe the latter to
Peruzzi, who executed the upper
part] ; the four evangelists on the
dome of the sacristy of S. GedUaf
more probably belong to Pinturic-
chio. — In the Ara Oeli (firsts
chapel on the right), the Miracles
and the Glory of S. Bernardino
are painted with far greater feel-
ing ; here the master, though with
insufficient power, strives after
Florentine liveliness. In the year
1601, he painted a whole chapel
(on the left) in the Cathed/ral at A
Spello ; the Annunciation, the
Adoration of the Shepherds and
Pilgrims, and Christ among the
Doctors ; on the ceiling are Sibyls.
Here, in a little country town, he
laboured quite naturally, and,
amidst much that is conventional
and mechanical, he produced a few
most charming things ; as, for in-
stance, the reverential approach of
the Shepherds and Pilgrims, Joseph
and Mary in the Temple, &c.
Rich, lofty backgrounds ; gold or-
nameots laid on. Also, in S. An-i
drea (side aisle on the right), the
gigantic large altar-piece of the
Madonna enthroned, the child-
like John writing at her feet, of
1504. In the years 1503-1507 he
painted, with the help of several
others, the Libreria (that is, they
room where the books of the choir
were kept) in the cathedral of
Siena. (Best light in the after-
noon.) The early supposition that
Raphael gave him all the skeletons
for this, even, indeed, made the
drawings, or worked with his own
hand on it. has been quite aban-
doned. I have only seen one of

Pinturicchw.

97

the very beautiful drawings for
two of those compositions — the
Landing in Libya, and the Recep-
tion of Eleonora of Portugal, in the
collection of original drawings in
«the Uffizi; the other is in the
Casa Baldesohi, at Perugia. I do
not regard the former as Raphael's
work, and by no means consider
that a sketch, however superior it
may be to the completed work,
must therefore necessarily be by
another artist. [The very beautiful
drawing in Casa Baldeschi is also
certainly the work of Pinturicohio.
— Mr.] There is in these scenes
out of the life of jEueas Sylvius
(Pius II.) nothing so good, and
nothing so bad, that it might not,
some time and mood, have been
conceived and painted by Pintu-
ricohio himself; the execution in
itself is very careful and very even.
A lofty historical conception, dra-
matic intensity of expression, in,
for the most part, ceremonial pic-
tures, are not to be expected ;
rather must we be satisfied that
the characters and forms capable
of life are here more numerous
than usual in Pinturicohio. The
life of the Pope became, under the
hands of the fortunate painter, a
graceful fable, a novel, all in the
dress and character of his own
time, not in that of fifty years
before. Even Pius himself shows
hardly anything like a portrait
likeness. Frederick III. is "the
Emperor," as he might appear in
any tale. This sort of simplicity
was an essential advantage for
those painters.*

There are easel pictures of Pin-

* The Last Supper, in fresco, which was
discovered several years ago, in the closed
convent of S. Onofrio in Florence, now
Museo Bgiziaco, and given out as the work
of Raphael, is a Pemginesque production,
and most probably by Pinturicohio.
Crowe and Cavalcaselle are disposed to
regard it as a work of Gerino da Pistoja,
who repeated in it an older composition
of the school.

turiochio's n tTn Museum, of J
Naples (the Assumption of the
Virgin), in the Pinacoteca of Pe-
rugia, No. 30, a large and excellent
altar-piece from S. Maria fra Eossi,
apparently of 1498 [in S. Girolamo
(de' Minori osservanti) there is in e
the choir a Madonna enthroned,
almost twelve feet high, with
saints. — Mr.] — Palazzo Borghese, ind
Borne, (a sort of chronicle of the
History of Joseph), a fine altar-
piece in S. Imcchese, above thee
town of Poggibonzi.

Among the actual pupils of
Pietro, after Raphael, Giovarmd di
Pietro, called Lo Spagna was the
most distinguished. His Madonna
with patron saints, in the Townf
'Sail of Spoleto, is one of the purest
and freshest of the whole school.
[There are pictures in two churches
of the little town of Trevi, lying gf
on the side of the Eoligno road, in
Madonna deUe lagrime, second
chapel on the left, the two especi-
ally beautiful figures of S. Cathe-
rine and S. Cecilia, the first hardly
surpassed by an early Raphael ;
in S. Martino, a delicate and mild h
Madonna in the Mandoria with S.
Francis and S. Antony, of 1511. —
Mr.] A Madonna with Saints, in
the lower church of S. Francis at i
Assist (chapel of S. Louis, first on
the right). [Doubtless his most im-
portant work, of 1516 ; the execu-
tion extremely careful and refined.
— Mr.] Frescos in the churches
of Gavelli, Bggi, and S. Jacopo, /
between Spoleto and FoHgno,
partly of his bold, mannered time ;
then, again, an early picture (if it
be by him), the Coronation of the
Virgins, in the choir of the church
of the Zoccolanti at JTarni (but 3,k
few steps from the road leading to
Terni) : the elevated tone of the
figures, especially of the beautiful
Madonna, still Florentine in con-
ception, is yet far removed from a
merely ecstatic emotion. [More

98

" The Renaissance." Umhrian School.

probably by Eidolfo Ghirlandajo
or Raffaelino del Garbo. — Mr.]

<*Iii the Vatican Gallery the Na-
tivity, a counterpart of which, at
Berlin, has long been attributed to

^Raphael. In the P. Colonna at
Rome, an excellent S. Jerome in the
Desert is attributed to Lo Spagna.

c[In the P. Pitti, Corridore deUa
Colonna, there is a tender Marriage
of S. Catherine, between S. An-
tony and S. Francis, with youthful,
innocent heads. — Mr.] There is

^ also by him a, beautiful Madonna
enthroned in the Pinacoteca at
Perugia, No. 25.

The remaining pupils and fol-
lowers, Giannicola Marnni, Tiberio
d'Assisi, Adone Doni, Eusebio di S.
Giorgio, Simibcddo Ibi, Berto di Oio-
vamni, Gerino da Pistoia, BertuaA
da Paenxa. The Oaporali, Melanzio,
DoTnenico and Orazio Alfani, and
Bernardino da Perugia, may be
looked for in the churches of Peru-
gia and the neighbourhood, and
especially in the Pinacoteca. By
Eusebio there are two good and
characteristic frescos, the Annun-

BeiaMon and the Stigmata of S.
Francis, in the cloister in the little
Capuchin convent of S. Damian at
Assisi. Of 1507, two years older,
is the beautiful Adoration of the
Kings, from S. Agostino, in the
Pinacoteca, No. 8 ; of 1512, is an
altar-picture in S. FroMcesco de'

fZoccolanti, at Matelica, near Fa-
briano. These scholars are, in
some of their more distinguished
works, more original and genuine
than the master in his average later
productions ; but for the most part
they are somewhat weak, and
when the last of them tried to
unite the principle of style of the
Roman school with their own
faulty rendering of form, they feE
into a poor manner.

[Giannicola Marmi. Principal
? picture, the Conversion of Thomas

in S. Tommaso at Perugia ; the
second room of the Camibio is of A
his later time, with Sienese influ-
ences. Several excellent single
Saints on a pier of the Cathedral, i
Tiberio d'Assisi painted a series of
frescos from the lite of S. Francis
in the Cappella della Bosa of S. M.}
degU Angeli, below Assisi. Among
Perugino's especial scholars, Simi-
baldo Ibi deserves mention (Gubbio,
the principal church ; Rome, S.
Francesco Smnama). The Alfanih
must be regarded rather as imi-
tators of Raphael than as pupils of
Perugino. The father, JDomenico di
Paris Alfani (1510-53), received
from Raphael the cartoon for a Ma- 1
donna with Saints of 1518 (Pinaco-
teca, No. 59), and he betrays this
overpowering influence in aU his
works. His son Oraxio (1510-83)
is entirely swayed by models of
the most different sorts. Adonem
Doni (1532-75) shows in the Ado-
ration of the Kings in S. Pietro
(fifth pier on the left) all sorts of
foreign influences along with Pera-
ginesque character. A Last Supper
of 1573 in the lower church oin
Assisi ; there, too, the mannered
frescos of the C. S. Stefano ; an o
altar-piece in the cathedral of
Gubbio. Gerino da Pistoja is a
constrained imitator of Perugino. —
Mr.J Altarpieee of S. Agostino,
of Borgo San Sepolcro (1502), and
Madonna with Saints (1509) in
S. Pietro, of CittS. di Castello.
Last Supper (1513) in S. Lucchese,
near Poggibonsi. [Bertucci or Gio- p
vamni Battista, of Faenza (1502-16)
imitates Pinturicchio and Pahnez-
zano. Most notable his Madonna
of 1506, in the Gallery of Faenza.
Jacopo Sicolo, a disciple of Spagna,
shows well in a Virgin with Saints q
(1538) in the church of S. Ma-
migliano, and a Coronation of the
Virgin (1541) at Norcia. B. Capo-r
rali combines the Peruginesque
with something of Fiorenzo and
Benozzo. Madonna at Castiglione

Francesco Franda and Ms School.

« del Lago. <?. B. Owporali, imitator
of Perugino and Sign orelli. Frescos
of theViUaPaaseriai, near Cortoua.

6 Melanzio's works are all in churches
in Montefalco and its suburbs.

I' Bernardino da Perugia, a sort of
double of Pinturicchio, is old-
fashioned and feeble, and in some
of his works a copyist of Raphael,
ex. g.. Marriage of St. Catherine in
S. Catherine, of Perugia. Other

d pieces in the Perugia Oallery.

FRANCESCO FRANCIA AND HIS
SCHOOL.

We return once again to Bologna,
on account of Francesco Fran/yia
(born about 1450, died 1518), whose
feeling is essentially related to that
of Perugino, or was directly inspired
by him. In painting, originally a
pupil of Zoppo di Squarcione (?), or
rather of Costa, he had, tUl late
in manhood, especially applied
himself to the goldsmith's art, and
also made arcfitectural plans and
sketches. Afterwards, between
1480 and 1490, most probably in
Florence, he might have learned to
know Perugino in his best time,
perhaps when he was painting the
fresco in S. M. de' Pazzi. (It must
be understood these are but hypo-
theses.) And accordingly one of
his earliest known pictures, the
Madonna Enthroned, with six
Saints and an Angel playing a lute,
of the year 1494 (the date has been
wrongly altered to 1490) (Pinaco-
eteca of Bologna, No. 78,) is the
most Peruginesque of all his works,
splendidly painted, and possessing
that depth of the partially ecstatic
expression which only belongs to
Pietro himself in his best middle
period. Also an Annunciation
with two Saints (No. 79 of 1500)
belongs doubtless to this time. The
Madonna enthroned between two
porches, with four Saints, as weU
as the Adoration of the Child with
Saints and Donators (No. 80 & 81

the last of 1499), are no longer in
their original condition. Later on
also, he appears constantly to have
had reminiscences of Perugino.

But by his connection with Lo-
renzo Costa there arose a singular
mixed style, which his pupils also,
among them Qiulio, his cousin, and
GiacoTno, his son, as well as Amico
Aspertimi, adopted. The healthy,
sometimes even coarse, realism
which Costa more especially repre-
sented, and which also existed in
Francia from the beginning, ap-
pears in continual opposition to
the TJmbriau sentimentality. This
when engrafted on stronger, coarser
forms assumes an air of peevish-
ness. Especially the female Saints
and the Madonnas seem to reproach
the beholder for having the indis-
cretion to look at them. Yet
Francia does not go into heavenly
languors. On the whole, there is
much more that is fresh, even
knightly in him, than in the younger
Perugino. He drew more carefully,
and not only placed his figures more
freely and less conventionally, but
he knew how to group them in a
life-like manner, although his feel-
ing for lines remained very much
undeveloped. The drapery is al-
most always natural, and freshly
conceived for each figure. As an
old East Lombard, he takes plea-
sure not in merely ornamental rich-
ness, but in the real appearance
and modelling of costumes, armour,
ornaments, &c. It was his wish
and his will in those things to equal
at least Mantegna. Still, narrative
and action generally is not his
strong point.

His most beautiful work in Bo-
logna is the altar-piece in the C.
Bentivoglio in S. Oiacomo Maggiore, f
dated 1490. Of the angels who
surround the Madonna, those near-
est to her are especially lovely;
among the Saints, S. Sebastian is
one of the most perfect forms of
the fifteenth century. Other re-
H 2

100

" The Retiaissance." Umhrian School.

markable pictures, the Madonna

a enthroned with Saints in S. Mar-
tmo (first chapel on the left), where
the landscape is given and treated
quite in a Ferrarese manner (and
indeed in Costa's). The altar-piece
in the great chapel on the left in

b S. S. Vitale ed Agricola, heautiful
angels hovering and playing on in-
struments round an old picture of
the Madonna ; the frescos on the
right by Giacomo Prancia, left by
JSagnacavallo, of a considerably
later time, but more especially the
Visitation by the latter, almost
entirely good and simple; in the
Virgin, a lofty and touching emo-
tion. The pictures from the An-

cnimziata of the year 1500; an
Annunciation with four Saints, a
Madonna with S. Paul, Francis
and the kneeUng Baptist, and a
Crucifix with Saints in the Pina-
coteca.

d The frescos in 8. Cecilia, of 1509, *
a work of the whole school, should
not be looked at when the impres-
sions of Florence are too recent.
The narrative part of them is felt
to have been borrowed thence, and
with considerable constraint. Only
as far as Francia's own design
seems to go, the forms are noble
and full of life; in both his own
pictures, this is true also of the
heads and of the whole treatment.
But why does Cecilia turn away
with such a fashionable modesty,
while Valerian puts on the ring ?
For she is not the less stretching
out her hand to him. (Costa's
landscape backgrounds, comp., p.
75.)

Of Francesco's works beyond
Bologna, the S. Stephen signed in

« the P. Borghese at Borne (where

* The arrangement, according to the
authors, is as follows : —

(Space for the altar).
Fr. Francia^ Ft. Fra/nda,

Lorenzo Costa, Lorenzo Costa,

Giacorm Frcmda, Giacomo Fra/nd,a (?)
Chiodarolo, Am. Aspertini,

4?». A^erti/ni, Arru Aspertmi.

there are also two Madonnas)might
be quite an early one ; the Madonna
enthroned with four Saints in the
Oallery of Parma has strikingly/
symmetrical positions of the heads.
The Descent from the Cross also,
one of the earliest examples for the
efifect of an evening sky. In the
Ocdlery of Modena is an excellent y
large Annunciation, early [by Bian-
chi-Ferrari, see anteap. 82, (i. — Ed.]
Of the famous picture at Munich
(Mary in the Bose-garden) a copy in h
the Pinacoteca at Bologna. A later
Annunciata in the Srera. Thet
Deposition in the Turin Gallery, I
know not how attested, resembles
one of the best Milanese. [Besides
these, the Trinity with Saints^
adoring, in S. Griov. Evaugelista at
Brescia [?byPerramola] (Baptistery
chapel on the left), and an altar-
piece at S. Frediano at Lucca, de- k
serve attention. — Fr.]

Giacomo FramAcCs masterpiece,
inspired indeed not by his father,
but by the Venetians, and there-
fore free from sentimentality, is
the beautiful Madonna seated with I
S. Francis, S. Bernardino, S. Se-
bastian, and S. Maurice, dated
1526, in the Pinacoteca at Bologna.
What there and elsewhere remains
of his shows a reproduction, some-
times pure, sometimes mixed, of
his father's thoughts. One of the
earliest pictures, the Adoration of
the ChUd, in S. Cristina, the first »>
altar on the right. Among the
principal works must be counted
the Adoration of the Shepherds of
1519 in S. Giovcmni at Parma, »
second chapel on the right. A
beautiful male portrait in the Pitti o
Gallery, Florence, No. 195 [really
by Bonsignori. — Ed.] Later pic-
tures, one of 1544, in the Brera. p

From time to time the atelier
became a manufacture of half-
length figures, and convention-
ality and absence of thought went
as far as in the worst moments

Amico and Guido Aspertini — SimonePapa — Lo Zingaro. 101

of Perugino. By the ennuy^
peevish expresaion, you can tell the
Madonnas of this period, even at a
distance.

Amico Aspertmi (1475 — 1552) in
his earliest picture (he calls it his
Tirocinium), which may have been
painted about 1495, adopted the
moat Peruginesque style of Francia.

a It is a large Adoration of the Child,
by Madonna, Donors, and Saints,
in the Pinacoteca at Bologna. The
frescos of a chapel on the left in

6 S. Frediaim at lucoa (stories of the
face of Christ, mUo santo, &o.),
are delicately and carefully exe-
cuted, with exquisite special detail,
betray all varieties of impreasion
as they were taken up en poisscmt
by a phantast who never became
truly formed and independent.
Once, when he was probably
inspired by Giorgione, he painted

cthe picture in S. Ma/rtino at Bo-
logna (fifth altar on the right) ;
the Madonna with the holy bishops,
S. Martin and S. Nicolas, with the
three maidens saved by the latter.
By his brother, Bwido Aspertmi,
there is a good, essentially Ferra-
rese Adoration of the Kings, in

<ithe Pinacoteca at Bologna, No. 9.
[Also Giulio Frcmeia, seemingly
brother of Giacomo, a certain /a-
ecobus deBoateriis {Pitti, No. 362),
and the before-mentioned Giov.
Maria Chiodwrolo (see note, p. 100) in
the Pinacoteca at Bologna, (No. 60)
belong to the followers of Francia.
Mr.]

At Naples, under the last of the
Anjoua, Keng, and under Alphonzo
of Arragon, pictures of the Flemish
school had attained such a repu-
tation that several national painters
formed themselves directly upon
them. This is true of Simone
Papa, the elder, whose picture of
/the Archangel Michael (Naples
Musewm) shows at least how gladly

he would have followed the Van
Eycks.

In the Flemish style there are g
besides in S. Domenico Maggwre;
in the sixth chapel on the right,
or del Crocefisso, the Carrying the
Cross ; near the altar, a Descent
from the Cross, and in the first
chapel left of the entrance, a very
brown Adoration of the Kings. In
S. Pietfro Martire, the excellently h
coloured panel of S. Vincenzo Fer-
rer, surrounded by small coloured
representations of his legends ; [in
the lower church of S. Severino, at »
the high altar ; above, the Ma-
donna, below, S. Severino, between
four Saints. — Fr.]

At this time appears the artist
whom the Neapolitans are accus-
tomed to boast of as the father of
their painting, Zimgaro{ or Antonio
Solaria). The entirely iincritical
Neapolitan history of art attri-
butes to him, besides a romantic
history, works of the most various
origin ; among them, some of those
above-mentioned ; while, in fact,
there exists by him no single au-
thenticated picture. What actually
comes out is only that along with
the Flemish influence the school of
Umbria found acceptance in Na-
ples ; of any independent character
in Neapolitan art there can be no
question. What deserves most at-
tention among the works ascribed
to Zingaro, are the twenty frescos
of one of the courts of a convent
at S. Severino (best light in the_;'
forenoon). This is an excellent
work of the end of the fifteenth
century, which shows a knowledge
of the Florentine and Umbrian
works of the time. Even the cos-
tumes only belong to this time.
The life of S. Benedict has never
been better represented, if we
except Signorelli's frescoes in Mon-
te OHveto (Tuscany). The type of
man here represented is indeed
inferior to the Florentine, and in
the nose, expression of eye and

102

' The Henaisscmce." Neapolitan School.

lip, has aomething coarse and low-
featured. But this is lost sight of
in the number of living and power-
fully depicted figures and like-
nesses ; the forms move with grace
and dignity on a middle distance,
behind which the architectural or
landscape background stands out
easily and pleasantly. The master
understood, for instance, as well
as Griorgione, the delightful eflfect
of slender stems, thinly clad with
foliage, which rise up before and
near steep masses of rock. In
general, the landscape is treated
here with complete understanding
as a scene for important events,
with the Flemish fancifulnesa and
overcrowding. One never sees any
sinking into conceits or heaviness ;
a harmonious noble style enlivens
the whole. * The quiet court, with
the gigantic plane splendid stiU in
decay, an oasis in. the midst of the
world of Naples, heightens the im-
pression (unfortunately badly re-
stored lately). [Next to this work
ought to stand the great Madonna
with Saints named Zingaro in the

« Musewm (Room 25, No. 6), a com-
paratively unintellectual work [of
Umbrian style] ; and the Ascension
of Christ with Saints at the sides,

i called Silvestro de' Biumi, in the
church of Monte OUveto, Cappella
Piccolomini on the left of the Porch.
— Pr.]

[The two DonzeUi are Florentines,
Piero (born 1451) being older than
his brother Ippolito (born 1455). —
Ed.] To them are ascribed some
pictures by divers hands in the
Museum of Naples, and a series of
wall pictures in the ex-refectory of
OS. M. NvMia ; on the north-east
wall the Adoration of the Kings
and the Coronation of the Virgin,

- Another life of 8. Benedict, in the
upper story of that double row of Ionic
columns at the Badia in Florence, always
seemed to me like an eaiMer work by the
same master.

in which Crowe and Cavalcaselle
trace the hand of an Umbrian
master, like Francesco da Tolen-
ti/no : on the south-west wall the
Bearing of the Cross, in life-size
figures. This is, according to
Schulz, by Vincen/io Amemolo. To
Sihiestro de' Biumi are further at-
tributed in S. Bestituta in the<i
Cathedral, Madonna with two
Saints ; other paintings in the Mu- 6
seum ; in his manner, Caihedral of/
Capua, in a chapel on the right, a
Madonna with two Saints ; Cathe-
dral of rondi, in a chapel on the g
right, a similar picture, signed. We
should not mention this painter,
nor his pupU Antonio dl Amaio (a
picture in S. Severino), but that^
among the works of the later Nea-
politan school the eye rests grate-
fully on such pictures, in which the
painters have sought to represent
lofty subjects with simple methods.*
In Kome, amongst other places in ,
the Palazzo dei Gonservatbri, and in *
the Neapolitan States, especially _
at Ascoli, appears Cola deW Arrm-3
trice, an inferior master, also influ-
enced by the Flemish school, who
painted in this style [from 1513 to
1543. -Ed.]

THE OLD GERMAN AND
FLEMISH MASTERS.

What impression will be made
by the old Flemish and old Ger-
man pictures alongside of those
products of a strong natural growth
of artistic talent ? It would be a
great error to believe that Italy in
the fifteenth and sixteenth century
did not esteem them ; the compa-
ratively large number in which
they are spread through Italian
galleries and churches, proves the
contrary. Even if here and there
it was esteemed only a luxury to

* The beautiful Adoration of the Shep-
herds, in S. Giovanni Maggiore, first
chapel on the right, might be by a Nea-
politan follower of Lionanio.

Justus V. Gent. — Justus de AUemagna.

103

possess northern pictures, tlie Ita-
lians of that time must always have
felt and prized something special
in northern art.

The old Flemish school of the
brothers Hubert and Jofm Vcm
EycTc had, ten years earlier than
Masaccio, fully carried out into
practice the reaUstio tendency of
the fifteenth century. Already in
the lifetime of both brothers some
of those pictures appear to have
reached Naples, which afterwards
had so great an influence upon the
school there. *

Subsequently, it was, above all,
the so-called technical method
which gave special worth to the old
Flemish pictures, that is, the deep
glowing light in the colours, which
diffuses a poetical charm even over
the prosaically-conceived characters
and events. As soon as possible,
they learnt the methods of the
Netherlanders. The new vehicle,
the oil (and the not less essential
varnish) was not, by any means,
the chief thing ; much higher pro-
blems of colouring (of harmony and
contrasts) must have been silently
worked out on this occasion.

They were likewise impressed by
the delicate completeness which
makes a perfect jewel out of every
good Flemish picture. Lastly, the

• [The S. Jerome with the lion, in hia
most realistically represented study (Mu-
seum of Naples) Sala di KaflfaeUe, No. 31,
can yet lay no claim to the name of
Suhert v, Myck. The colour, everywhere
scratched and cracked, as is never the
case in real Van Eyeks, the half heraldic
lion, the streaks and lines in place of real
letters in the inscriptions, hut after all,
the inferior execution mu.st, in spite of
all authorities, prevent us from giving
such a name ; and we must ascribe the
pictxu-e to one of the Neapolitans (??) af-
fected by Flemish influence— Fr.] The
Adoration of the Kings in the church of
the Castello Nuovo, in the choir on the
left, was also regarded formerly as a work
of /. V. Eyck ; it is a very weak, dull pro-
duction, with touches of Eaphael, Lio-
nardo and the Flemings, and there is no
question of its being the work of any
great Master. — Mr.

Flemish treatment of landscape
and architecture so true (compa-
ratively) in linear and agrial per-
spective, gave a decisive impulse
to Italian painting.

As to their conception in general,
the Flemings gave to the Italians
nothing which they could not have
obtained by their own powers,
though in a difi^erent manner. But
people felt in the devotional pic-
tures of the first the more harmo-
nious seriousness, disturbed by no
effort after beauty (being quite in-
different to the object represented).
In the time of Michael Angelo the
Flemish pictures were regarded as
more "pious " than the ItaKan.

The immediate pupils of the v.
Eycks, and also those indirectly
influenced by them, are in some
ways excellently represented in
Italy.* [Gristiis is to be studied a
in two fine portraits, male and
female. No. 749, in the TJffizi, and
a Virgin and Child (No. 359) in the
Gallery of Turin.— Ed.]

By Justus V. Oent is the chief
picture out of S. Agata, now No. b
46 in the town gallery of Urbino,
the Institution of the Last Supper,
1474. Among the spectators the
authentic portraits of the Duke
Federigo di Montefeltro, with his
wife and sons, and the ambassador
of the Shah of Persia. Justus de
AUemagna, who in 1451 painted a
great Anamnciation in fresco in the e
cloister of S. Maria di Castello in
Genoa, is apparently another Ger-
man master of that time, as more
particularly appears in the mild
rich-blond Madonna. The cir-
cular pictures with Prophets and
Sibyls in the vaulting seem to

* We have paid no attention to the
names showered on the old Flemish and
old German pictures still in Italian gal-
leries, where A. Dure, Olbeno, Luca
d'Olanda, are mere collective names, and
the reader must consider all pictures of
these masters not mentioned here as
essentially non-genuine.

104 " The Renaissance." Old German and Flemish Masters.

belong to a harder but still German
hand.

The most important work of
Bugo van der Goes, from S. M.

aNuma in Florence, now in the
newly-arranged Museum of the
Arcispedale, beside the church,
a large Adoration of the Child by
Shepherds and Angels ; on the
wings, the Donor, with his sons and
two protecting Saints; his wife, with
a daughter and two female Saints.
The Virgin and the angels display
the type of V. d. Goes, timid, yet
not devoid of charm ; but the side
pictures have aU the striking flem-
ish individuality. From this and
similar pictures the old Florentines
may have learnt the art of por-
traiture. [At PoUzzi in Sicily a
Madonna, with S. Catherine and
S. Barbara, like the Nativity of S.

h M. Nuova.] In the X7ffi,zi, the beau-
tiful little picture of a Madonna
enthroned with two angels, under a
splendidly ornamental Renaissance
arch. No. 703. No other contem-
porary school followed out pre-
cisely this idea ; no one could have
produced so brilliantly beautiful
and tender an easel picture. [Cer-
tainly by Memling, by whom, like-
wise, are a portrait of a Man, No.
769, and S. Benedict, panel of a
diptych once in S. Maria Nuova. —
Ed.] Much like H. v. d. Goes is the
painter of a precious little picture
of the Death of the Virgin in the

c Sdarra Gallery at Borne, if it is
actually not by him. The ema-
ciated, dreary features of most of
the spectators go indeed to an ex-
treme which even Castagno and
Verocchio did not overstep. [The
remarkable originjd picture of this
composition is in the National Gal-

d lery in London, ascribed to Martin
Schon. — Mr.] According to
Waagen, they belong to a. master
of the Caloar school.

" In the manner of Roger v. d.
Weyden " — [surely by Memling. —
Ed.], so must I designate a Descent

from the Cross which for several*
years has been exhibited in the
Doria Gallery at Rome. Here we
see northern art at a disadvantage,
not because of the expression of pain
carried nearly to grimace— Guido
Mazzoni, for instance, goes much
further, and adds pathetic ges-
tures to it, — but on account of the
want of beauty in the arrange-
ment, which is so common in this
school when it forsakes architec-
tonic or decorative symmetry, and
of the faulty form of the body,
otherwise so carefully executed.
Another Deposition in the Vffizi,f
No. 795, ascribed to B.v. d. Weyden,
raises the question how it could be
possible that the old Netherlanders
should observe the details of reaKty
with so sharp an eye, and copy it
with such a sure and unwearied
hand, and yet so misconceive life
and action as a whole. The delight
of the Florentines in lively action
was entirely wanting in them.
(There is another Deposition after
Roger v. d. Weyden, in the Musewm 9
of Naples.*)

A very famous triptych, said to
be by Van Eyck, miniature-like in
delicacy of execution, has lately
been placed in the gallery at Pa- ^

lermo M. H. [Now assigned to

Memling. — Ed.]

By Sans Memling there is a
masterpiece in the gallery at Turin i
of the greatest value, which sur-
passes all pictures of a similar
kind in Italy. The Seven Sorrows
of the Virgin all combined in one
picture, the counterpart to the
Seven Joys of the Virgin, in the
Pinacothek at Munich. There is an
old and good copy after the famous
S. Christopher at Munich, in the
gallery at Modena. There, too, by
a painter who may stand between
Memling and Metsys ; Mary and

* It is well known that to attribnte
this and similar pictures to 5. v. d. Wey-
den the younger has been found to be im-
posbible by authentic documents

Brugge. — Wohlgemuth. — Nicola Frmnenti. — B. v. Orley. 105

S. Anna in the open air, giving
fruit to the child.

According to the latest investi-
gations, another very important
master of the Van Eyok school,
a Oerard Damd of Bruges, has been
declared the author of an excellent
Madonna, two-thirds of life-size,
between S. Jerome and a bishop,
in the conference haU of the town
palace (formerly Doria Tarsi) at
Genoa. In the same hall are a
crucifix with Mary and John, by
an excellent early Netherlander,
beautiful and distinct in character.
Two other old German pictures are
late and insignificant. — Mr.]
h In the Oallery at Turin there is
a great Flemish Adoration of the
Kings of the end of the fifteenth
century [in the manner of Hier.
Bosch. — Mr.]

The picture of S. Catharine of

Siena, with a view of a town, in the

c Academy of Fisa, may be the work

of an early Dutch painter of the

fifteenth century.

Of the work of Germans of the
fifteenth century there is very little
to be seen in Italy. Theirworks gave
just what was most admired in the
Flemings, but imperfectly and at
second-hand ; namely, the delicate
splendid perfection of work, the
glowing colour, the picture of the
world in little. StUl, there are in
d the Museum of Naples various pic-
tures on folding panels, now di-
vided, among others, Adoration of
the Kings, of which one belongs to
Michael Wohlgemuth. There is
something touching in these fair,
helpless-looking creatures in their
kingly array, when one thinks of
the decided will and capacity of
the Italians contemporary with
them. But we need not especially
reverence the German school of the
fifteenth century. It persisted in
its deficiencies with a composure
which could hardly be quite faith-
ful. As it was too troublesome to
learn to represent the spiritual

through the corporeal, the expres-
sion of the soul in the movement
of the body, there arose a great
superfluity of unapplied fancy,
which then turned to what was
bizarre and extraordinary. One
sees, for instance, in the Uffizi, a <
Resurrection of Lazarus, with side
pictures and (better) outside pic-
tures, dated 1641, by Nicola Pru-
menti, whom we may guess to have
been a master from the district of
the Colmar school. Who gave
this (by no means unskilful) painter
the right to produce his horrible
grimaces? The life of Durer and
Holbein, who had the firm and
noble resolve to attain to the truth,
was passed for the most part in the
struggle against such and similar
mannerisms.

It is time to pass on to the great
masters of the beginning of the
sixteenth century. Italy possesses
considerable treasures also of this
period of northern art.

First, a masterpiece of one of
the most distinguished Flemish
masters, about 1500. In S. Donato,/
at Genoa, at the beginning of the
left aisle ; a rich Adoration of the
Kings ; on the side wings S. Stephen
with a Donor and St. Magdalen,
with a landscape background in the
manner of Patenier. [Probably by
Bernard von Orley, with a distinct
reminiscence of Mabuse. — Mr.]
Here the severity of the old
Netherlanders is lost in a mild grace
of feature and movement ; the
heads, as if freed from a curse, are
pale with the smile of recovery ;
the colours, no longer confined to
the gemlike brilliancy of the early
pictures, pass into soft transitions
and reflections ; but the love of
brilliant detail seeks for new pro-
blems — for instance, in special very
highly finished representations of
jasper pillars, gold ornaments, etc.
The double portrait in the collec-
tion of painters' portraits in the
Uffizi, signed 1520, which thena

106 " The Renaissance." Old German and Flemish Masters.

passed for that of Qtientm Metsys
and his wife, ought rather, on
account of the reddish flesh tones,
to be placed in the school of the
Master of the Death of the Virgin.
The portrait of a cardinal in the

a Gorsini Palace at Eome. Room 6,
No. 43 ( Albrecht of Brandenburg ?),
is an excellent work of a similar
tendency. So, also, the highly
finished Discovery of a relic, in the

6 gallery at Turin. A Netherlander
of the same time, first-rate, errone-
ously called Holbein, Fitti, No.
223, a portrait. Of the genre pic-

ctures of Quentin Metsys and his
school, which are best described as
scenes of Antwerp counting-house
humour, there are several in Italy.

(2 Among others in the F. Doria at
Eome, two Misers with two spec-
tators.

Of the contemporary Netherlaud
landscape painting some idea is
given by a beautiful picture in the

eFal. Fallamcini {Str. Carlo Felice)
at Genoa : it is a Repose during the
Plight in Egypt, in one of those re-
tired wood landscapes which set
before us one of the most beautiful
poetical sides of northern art of that
time (not by Fatenier).

By Herri de Bles there is a beau-
tiful landscape with a ruin in the
fUjfld, No. 730; his Tower of
gi Babel (Academy at Venice) was
painted for the sake of the figures ;
A in his PietS [S. Fietro at Modena,
second altar on the right) the land-
scape appears to be treated partly
in a Ferrarese manner.

[Lucas va/n Leyden, who, as
" Luca d' Olanda," has become but
too familiar to Italian custodes,*
cannot claim with certainty a single
one of the pictures ascribed to him,

• See above, note to p. 103. The most
absnrd is in the catalogue of the Turin
gallery, of 1857 : Coronation of Henry IV,
of France, by Lucas Damez of Holland,
born 1494, died 1533 1— Mr.

and we must give np the naming
them as beyond the limits of this
book. Among the best is the Ecce
Homo, in the Tribune of the Uffizii
at Florence, which shows the hard
hand of H. Hemessen. — Mr.]

By the elder Breughel there are
in the Mvseum of Naples, amongy
others two tempera pictures on
linen ; one, with the allegory of
the Penitent deceivedby the World,
is signed and dated 1565 ; the
other represents the parable of the
Blind. [By Sieronymus Bosch is a
Temptation of S. Anthony (under
the name Cranach, in the Palanzo k
Oolonna at Eome. — Mr.] By the
Plemishcontemporaries of Breughel,
who had passed over to the Italian
manner, there are in Italy few
things worth mentioning, or else
they bear the Italian names of the
originals who prompted them.
Several of these Netherlanders pro-
duced copies, and pasticcios after
Lionardo and Raphael, which then
and later misled people.

There is a tolerably large cate-
gory of pictures which, iu the
absence of more special knowledge,
I must describe as Flemish — Lower
Rhenish. This style, recalling
most the treatment of Qu. Metsys,
in the years between 1510 — 1530,
prevailed variously from Flanders
to Westphalia. To this group
belong the masters Jan Mabuse
(Maliodius), Bemhard von, Orley,
Joachim Fatenier, Herri met de Bles
(Oivetta), Jan Mostaert, H. Hemes-
sen, Jan Schoreel, Michel Ooxcie,
Lambert Lombard, Victor and
Heimrich JMnwege, from Dortmund,
and, above all, the anonymous
Master of the Death of the Virgin,
whose chief picture, the Adoration
of the Kings, in the Dresden Gal-
lery, comes from the neighbourhood
of Genoa, where many pictures of
this school are found. The most
beautiful and richest of these pic-
tures, in the Museum of Naples,
Sala di Raffaelle, No. 28, is a great

Albert JDilrer.

107

Adoration of the Kings with Donors,
Saints, Monks, Nuns, and a num-
ber of angels, among splendid re-
naissance-ruins, with a rich view
seen through, signed 1512. The
pretended monogram A. D. is not
to be found. Diirer is not to be
thought of ; the treatment of the
black outlined heads is quite pe-
culiar, and not corresponding to
that of any known master. * The

a same musewn contains, in the same
hall, Nos. 25 and 26, two altar-
pieces and several other smaller
pictures likewise valuable of this

h kind. In the Srera at Milan, No.
432, a picture divided into three
parts (Birth, Adoration of the
Kings, and Repose during the
Flight).

Lastly come the German painters
of the best time. They, too, must
be mentioned here, because in their
development they were parallel
only with the great Italians of the
fifteenth century.

By Albert Bij/rer, even after ab-
stracting all pictures falsely as-
cribed to "Alberto Duro," there
are stiU a whole series of genuine
pictures left. They begin with the
wonderful portrait of his father in

cthe Uffizi, of 1490, No. 766 [wbUe
his own fancifully costumed por-
trait. No. 498, is only a copy of the
excellent original in Madrid. — Mr.]
Then follows a masterpiece of his
middle time, the Adoration of the
Kings, Tribune of Uffizi, 1504, and
an excellent drawing of the Cru-
cifixion done in green, heightened
with white, 1505, in the fourth
room on the right from the tribune
inclosed in a cover painted by

d BrewgTiel. In the Borghese Gallery,
Koom 12, Ho. 37, a beautiful male
portrait of 1505, according to
Waagen's conjecture the likeness of

* According to Waagen, by a Westpha-
lian, resembling Victor and Heinrich Diin-

Pirkheimer. A reminiscence of his
stay in Venice, 1506, is the Christ
among the Doctors, a half-length
figure picture, in part truly Vene-
tian, but in part somewhat gro-
tesque, in the P. Barherini at Borne. '
[Also a portrait in the Palazzo Brig-
nole at Genoa.] By the way, look
among the paintings executed by
Odrpaccio, 1502 — 1511, in the Scuola
di S. Giorgio degli Schiavoni at/
Venice, for the picture of S. Jerome
in his Study, and compare it with
Durer's famous engraving of 1514,
in order to see how, perhaps, the
first timid attempt of the former
gave the impulse to produce this
imperishable work. [Cavaliere S. 9
Angela at Naples, possessed in 1861
quite a small picture of 1508 ; a
weaver of garlands at the window.
An excellent little Ecce Homo,
halt-length picture of 1514, in Casa ^
Triimlzi at Milan. — Mr.]

Of the later time are the two ,
Heads of Apostles in the Uffizi i
(1516 in tempera), which do indeed
display Durer's whole energy, but
not the high inspiration which was
reserved for his last work, the
picture of the Four Apostles in
Munich. [And a Madonna of 1518
in the gallery of Marquess Gino
Capponi at Florence.]

The life-size pictures of Adam _
and Eve, P. Fitti, which may havei
been painted about this time, if
they really are by DUrer, at least
show not unbeautiful form in
movement. [These are certainly
the originals from which the pic-
tures in Madrid and Mayence are
copied. — Mr.] His latest work
existing in Italy, the Madonna of
the year 1526, in the Vffizi, No. ^
851, is already impressed by the
spirit of the approaching reforma-
tion, without glory and adornment,
harsh and domestic.

These works hang partly in the
same rooms which contain Eaphael,
Titian, and Correggio. Can we
only be just to them in a historical

108 " The Renaissance." Old German and Flemish Masters.

spirit, as it were, only "excuse"
them? In any case DUrer, from
the point of view of mere work,
would hardly lose near Eaphael :
the life and freedom, though but
comparative, which German art,
certainly too late, owed him, was
something immeasurable, which,
without the lifelong effort of a great
mind, could never have been
mastered. But, also, measured
according to an absolute standard,
these pictures have a high value.
The forms, without any ideality,
but also without vagae abstraction,
correspond, that is in the pictures
where the f ancifulness of youth has
been overcome, in the highest de-
gree, to what he wished to express
by them ; they are the fittest robe
for his kind of ideality. AU gained
by his very own work, the man
and the style always identical.
How many in the sixteenth century
can boast of this ? How have they
all through whole schools been
merely echoes in feeling and in
expression ?
Of Diirer'spupilsflas9tSiSc^aM^«Kra

a is represented in the TJffizi by eight
pictures, with the legend of Peter
and Paul, which belong to his best
works. The pupils again fell into
the fantastic manner from which
Diirer had gradually freed himself
by great effort. In Albrecht Alt-
dorfer, to whom belong two pretty

6 pictures of the Academy of Siena,
signed, this manner takes quite a
pleasant Romantic form, especially
in the landscape.

By George Pencz there is, in the
c Collection of Painters in the Uffizi,
No. 436, an excellent youthful
portrait. [Genuine and signed,
painted in 1544, therefore not his
own portrait. — W.]

By Jmcos Kranach there is an

early and, one might say, quite

surprisingly good small picture

d (1504) in the P. Seiarra at Borne ;

the Holy Family with many sing-
ing and dancing Child-angels in
a fanciful landscape, after the
manner of the Francouian school
[now in a private collection atBerUn.
— Ed.] Also good, one of the so-
called Veauses (in a red cap with
a gold chain and a transparent veil)
with a Cupid Stung by Bees, of
1531, in the Borghese Gallery ate
Borne. For the rest there exist no
works of first-rate merit by him in
Italy. Adam and Eve in the Tri-
bune of the Vfitd, Saxon Dukes, and/
so forth, in another room. A little
St. George in a bright landscape.
No. 751, is worth all of this. One
of the best examples of the Adul-
teress before Christ in the Museum g
at Xaples.

By anonymous South German
artists : an excellent, unfortunately
much washed-out portrait of a Car-
dinal, in the Museum of Naples, as h
delicately and intellectually con-
ceived as any German porta-ait of
the time ; several portraits of the
house of Hapsburg (Archduke
PhOip, Charles v., Ferdinand L),
partly South German, partly Fle-
mish, in the same room of the Mu-
seum of Naples, in the P. Borghese, i
at Rome, and in other places. [By
Chrislcpher Amherger : the portrait
of Charles V. , in the Academy atj
Siena, Quadri diversi, No. 54 — a
masterpiece. — W. ]

By Nicolas Mamiel, Martin
Schaffner, and Ha/m Baldung, I
know of no picture. On the other
hand, the great H. Holbein the
younger had, like DUrer and Lucas
van Leyden, the fate to become a
general name.

In the Vffizi : (1) The genuine, k
excellent finished portrait of
Richard Southwell, aged 33, of
1537 ; * the portrait of Holbein
himself, in the Collection of
Painters (that is a head drawn

* The inscription bears the 28th year of
Henry VIIl. 's reign.

Holbein. — Janet.

109

with chalk and pencil, tinted with
little colour on a sheet of paper,
which, later enclosed in a larger
sheet, was provided with a gold
ground, and completed by the ad-
ditions of a coarse, clear blue-
grey smock-frock). Originally, very
ukely by Holbein, in the style of
many of the portrait-heads found
at Windsor ; in spite of all iU-
treatment and varnishing, the parts,
for instance, round the left eye and
the mouth, are stUl excellent. But
the individual represented with the
light grey eyes, the square-shaped
face, and the coarse upper-lip, is
not Holbein, and the iascription
not original. [But it is a true copy
of a genuine one existing there,
and the portrait must be a likeness
of himself. — Mr.]

Of all the other portraits called
Holbein only two likenesses of
Erasmus can be accounted genuine ;

a that in the gallery at Farma, 1530,

b [and one in the gallery at Turin,
soft as velvet, and firm also, un-
fortunately somewhat washed out.

c — Mr.] The one in the Musev/m
of Naples is placed in too imperfect
a light for close examination. [That
of Parma so repainted as to pre-
clude quite a safe opinion. —Ed.]

d \hithe Mamfrimi Palace is agenuine,
though not interesting, youthful
picture of the master, of the year
1513, a young man, with a sUver
cup rimmed with gold in his right
hand, the left leaning on a balus-
trade ; the hands painted over.
The well-known background, with
renaissance architecture and orna-
ments. — In the pubUe gallery of

e Eovigo, also, a portrait of King
Ferdinand, which appears quite
genuine. — Mr.]

Under the name of Holbein are
found some of the miniature paint-
ings of the early French school, in
the manner of Glouet, named Ja/net.
The equestrian portrait of Francis
/I., in the UJfisi, is one of the best;

others in P. Pitti; also at Genoa,
in the P. Adorno, etc.

GLASS PAINTINGS.

For my own part, I should
gladly dissuade persons from the
study of Italian painting on glass,
so injurious to the eyes, in order
that the sight may be reserved for
the examination of frescos. But
since there exists a very consider-
able number of remarkable works
of this kind, I must not altogether
pass them over. Especial study of
the subject is not here to be
expected.

Glass-painting may have been
practised here and there during
the whole of the later Middle
Ages, but on a large scale it only
came in with the Gothic architec-
ture of the North. I can recall no
painted glass of the Komanesque
style. Even in quite late times
many of the most important works
are executed by transalpine artists,
or, at least, by those who had been
educated in the North.

How much of the painted glass
of Milan Cathedral still belongs to g
the time of its building I cannot
state; that of the great windows
of the choir is modern ; that of the
south side, which again suffered
injury in 1848, will have to
undergo restoration. — The great
window in the choir in S. Do- h
menico at Perugia (1441), is attri-
buted to a certain Fra Bartolom-
■meo : a series of histories, and four
rows of saints, somewhat common-
place in style. A great part of
the pictures in glass in the Oathe- i
dral of Florence (since 1436) were
by a Tuscan educated at Lubeck,
Francesco di lAm, from Oambassij
near Volterra; but the greater
number are ascribed to the famous
bronze-worker, Lorenzo OMberti,
especially the three front circular
windows. Neither one nor the

no

" The Renaissance." Painting on Glass.

other make a striking, overpower-
ing expression. Far more charac-
teristic is the Descent from the
Cross in the front central window

. of S. Oroce, which is said to be an
authentic design of Oroagna. Paint-
ings on glass begin to be more inte-
resting only after this time, because
the powerful Italian reaHsm of the
fifteenth century also interpene-
trates them; henceforth they are
distinguished from the contempo-
rary northern pictures not only by
the style of drawing and concep-
tion, but also they serve decorative
purposes more freely, and at the
same time attempt much more to
be real pictures with separate
meaning than in the North.

Out of Grerman and Italian real-
ism was combined the style of the
preacher and lay-brother, Jacob
von Ulm (1407-1491), who pro-
duced the splendid picture in S.

J Peironio, at Bologna, of the fourth
chapel on the right, and perhaps
also that of the fourth on the left
was constructed under his direc-
tion. Of the remaining windows
of this church, the one in the
seventh chapel on the left (C. Bac-
ciocchi) is remarkably beautifully
executed, after the vigorous design
of Lorenzo Costa; of similar style,
is that of the fifth chapel to the left.
That of the ninth chapel on the right
is supposed to be after a sketch of
Michelangelo^ s ; but the motives
of the single saints distinctly re-
mind us of BandinelWs figures in
relief in the Florentine shrines in
the choir; the execution is very
rich in colour for this later period.
— Costa, too, is doubtless the author
of the circular window of S. Gio-

c vanni in Monte in Bologna. (John
on Patmos ; the windows next to
it inferior. ) In S. Giovanni e Paolo,

d at Venice, the great window of the
right transept is considered to be
the composition of B. Vivarini;
the upper series of figures are more
in Vivarini's style than the lower.

[The last are by Qi/rolamo Mbcetto.
— Fr.]

The great window of the choir in
S. M. Novella, in Florence, by
AlessaTuiro Fiorentimo (?) (perhaps
Samdro Botticelli 1), of the year
1491,* is only of moderate excel-
lence; on the other hand, the
painted glass of the adjacent 0.
Strozzi may be called the best in
Florence ; it seems composed in
harmony with the frescos of Filip-
pino lAppi. There are some good
smaller pieces of work also in & e
Bpi/riio, in the G. dei Pazzi, in S.f
Croce, in S. Francesco al Monte, ing
S. Lorenzo, of a recognisable general
type which seems to indicate the
composition of a Florentine, and
the execution of a Northerner.

Lucca possesses, perhaps, the
best thing of this whole style in
the beautiful windows of the choir
of the Cathedral; they remind us A
most of the windows of the C.
Strozzi. The other painted glass,
also of this Cathedral, is of the
best. In S. Paolino, there is some i
glass in the same style, somewhere
about the year 1530. — In the Bap-j
tistery of S. Giova/nni the circular
window with the figure of the
Baptist, of the year 1572.

In Arezzo, the beautiful painted A
glass of the Annunziata is still of
the fifteenth century ; but in the
Cathedral we meet the most famous
painter of Raphael's time, GuglieVmo
da Marcilla. He it is who adorned
both the side windows of the choir
of S. M. del Popolo at Rome with I
stories of Christ and Mary — ^in the
time of Julias II. , apparently after
compositions of an excellent Um-
brian master. [The colouring, un-
like the early French and German
painting on glass, appears dull, cold,
and watery. — Mr.] Later, in the

* [The window was painted from Ghir-
landaio's designs, during the tenure of
office of the preetor Alexandrini, whose
office, indicated by "•ptoris," was inter-
preted to be that of a painter. — £d.]

G. da Marcilla. — P. Miccheli.

Ill

a Cailiedral of Arezzo, he may have
followed other models or ms own
invention ; at any rate, his style is
here, on the whole, the same which
characterises the UTetherlanders
then working in Italy. The limi-
tations of this art, which has to be
subordinate to architectonic sym-
metry and absence of action, not
only because it must avoid dis-
agreement with the vertical de-
signs of the Gothic windows, but
more in order to refrain from com-
plicating its immense resources of
colouring with other distracting
elements, of effect ; — these limits
are here entirely forgotten, as so
often in the glass painting of the

sixteenth century ; they are pic-
tures transferred to glass. *

In the Gafhed/ral of Siena, the 6
glass painting of the large front
circular window — a Last Supper —
was executed by Pastorino Mic-
cheli, 1549, after a somewhat
mannered composition not very
sidtable for the style by Perim, del
Vaga.

In reaJity, the whole art found
little sympathy that could be
spared from the engrossing interest
given in Italy to ecclesiastical
fresco and oil painting ; it has,
as a rule, the character of an ac-
cessory of luxury.

CHAPTER VI.— PAINTING OF THE SIXTEENTH CENTURY.

With a conscious knowlege of
its own strength, and free from
dependence on any existing types,
— without even a tendency to imi-
tate exactly any of the models of '
antiquity, art, at the close of the
fifteenth century attained the
highest level to which it was pre-
destined to ascend, and rose new
born out of the study of life and
character which had been the
special aim and purpose of the new
age. It rose not as a mere indica-
tion or purpose, but as an accom-
plished fact ; and not until art in
the fifteenth century had mastered
the expression of every kind of life
did she, simplified and at the same
time infinitely enriched by her
achievement, create at last the
highest form of life.

Then and there it springs forth,
suddenly, like a flash of lightning,
not simply the fruit of persevering
endeavour, but like the gift of
heaven, The time had come. Out
of the thousand elements proved

to be capable of delineation, out of
the wide extent of life which had
formed the domain of art from
Masaocio to SiguoreUi, out of time
and nature, the great masters now
gather eternal truths for imperish-
able works of art. Each has his
way, so that one beauty does not
exclude another, but aU together
form a multiform revelation of the
highest. The time of full bloom
is indeed but short, and even then
those who failed to reach the goal
stUl continued to work in their old
way ; among them some exoeUeut
and even great painters. We may
say that the short hfetime of Ra-
phael (1483-1520) witnessed the
rise of all that was most perfect,
and that immediately after him,
even with the greatest who out-
lived him, the decline began. But
this perfect ideal was created, once
for all, for the solace and admira-

* In the central window of the fagade
of the Anima at Rome there is said to be
still a Madonna of Guglielmo.

112

Painting of the Sixteenth Century.

tion of all time, will Uve for ever,
and bear the stamp of immortality.

LIONARDO DA VINCI.

lAonardo da YvruA (1452-1519),
the pupil of Verrooohio, ensures to
the Florentine school the well-
deserved glory of having given
birth to its liberating genius. A
wonderfully gifted nature, whether
we take him as architect, sculptor,
engineer, physiologist, or anato-
mist, always an originator and
discoverer, and withal in every
other relation the perfect man,
strong as a giant, beautiful even
in old age, and famous as a mu-
sician and an improvisatore. We
cannot say that his powers were
diverted into too many channels,
for a many-sided activity was in
his nature ; but we may lament
that so few of his designs in aU
branches of art were carried out,
and that of those few the best part
has been destroyed or only exists
in fragments.

As a painter, again, he combines
the most opposite gifts. Perpetu-
ally endeavouring to make clear to
himself the anatomical causes of all
physical appearances and move-
ments, he then turns with admi-
rably quick and sure rendering to
the intellectual expression, and
gives the whole scale from hea-
venly purity to the depths of ab-
surdity and corruption. His pen
sketches, of which many are exhi-
a bited in the Ambrosiana at Milan,
give the richest proofs of this. In
him are united the beautiful soul
of the enthusiast with the strongest
power of thought and the highest
understanding of the conditions of
ideal composition. He is more real
than all earlier artists where the
point is reality, and then again
sublime and free as few have been
in any century.

His earliest preserved works*

* The head of Medusa in the TJffizi is,
aa I believe, not only not the youthful

are portraits, and in those his
peculiar manner of painting can
best be traced. A few words con-
cerning the general style of por-
trait painting at that time may be
allowed us here.

We constantly observe that
during the fifteenth century and
through the whole lifetime of
lionardo and Raphael hardly any
but very distinguished characters
were painted separately, at any
rate, except at Venice, where in
Giorgioue's time portrait painting
began to be a luxury considered
suitable to the rank of aristocratic
personages.

In the rest of Italy the separate
pictures (not those merely intro-
duced into wall paintings and
church pictures) even of princes
are rare. Pie.ro della Fraricesca's])
double portrait, with the especially
characteristic and graceful allego-
rical pictures at the back, in the
Ujflzi, No. 1300, might represent
a contemporary tyrant and his
wife [without doubt Federigo di
Montefeltro, Duke of XJrbino, and
his wife Batista Sforza], the por-
traits of the Milanese Bernardino
de' Oonti in the Gallery of thee
Capitol, * and in one of the Papal
dwelling rooms of the Vatican, ^
perhaps represent princely chil-
dren ; so, too, the girl's head called
P. della JFrancesca in P. Pitti, No. g
371 [more probably by Bonsiguori
— Ed.] ; the female head arbitrarily
named Mantegna [but also by Bon-
signori — Ed.], in the Uffizi, No.y
1121, certainly represents a lady of

work of Lionardo, described by Vasari,
but not even a copy from it, lather an
attempt made only after Vasari's descrip-
tion to produce something of the kind,
perhaps by one of the Cartaooi. [Clearly
no tyro, but a ready and determined
hand, yet less suggesting to my mind
the Carracci than the Milanese Lomazzo.
—Mr.]

* [There are now no portraits by Ber-
nardino de' Conti in the Capitol Gallery, —
Bd.l

Lionardo da Vinci. — Portrait Painting.

113

high rank, according to the cata-
logue, Elizabeth, wife of Guido
Gonzaga, Duke of Mantua. We
find more often self-painted por-
traits of artists, as, for instance, in
the collection of painters in the

a Uffiei, those of MHppiTW lAppi
(still erroneously called Masaccio)
of PerugiTU), of Qiov. BMmi (ano-

ither in the Capitolme Gallery),*
and in the same place in the rooms
of the Tuscan school, that of a
Medallist and of [Verrocchio by]
Lorenzo d/i Oredi (to whom besides
is ascribed the portrait of a youth,
almost Peruginesque in expression),
for the likenesses of prelates of
rank, even the Popes, we are
limited up to Raphael's time almost
entirely to monumental sculpture.
The remaining portraits are almost
only memorials, which were exe-
cuted in honour of literary fame, of
love, of near and close friendship,
also of great beauty, and were often
produced by the artist for the sake
of preserving the memory of those
qualities. For the sake of her
beauty Samd/ro painted La Simo-

Cnetta, PUti, Ifo. 353 ;t as an old
friend, Framda, appears to have
painted the fine portrait of the

<^Vangelista Scappi in the Uffizi,
No. 1124.t

* [The portrait No. 287, called Perugino,
is now ascertained to l^e the likeness of
another person. The portrait called Giov.
Bellini, No. 354, is (luite unlike that of the
Capitoline Collection. — Ed.]

t [The portrait of the Pitti is not the
likeness of La Bimonetta, — Ed.]

t In this connection we may mention
the woodcuts. To Distinguished Men, hy
Paolo Giovio, as the first great collection
of portraits. The originals of these, col-
lected from aU quarters, those of the
fourteenth and fifteenth centuries, cer-
tainly very much from frescos, were in the
Palazzo Giovio at Como. There were
among them (according to Vasari, Life of
Piero della Francesca), for instance, a large
number of heads which Raphael had
copied from the frescoes of Bratnantmo, so
rich in portraits, in the Vatican chambers,
before he took them down to make room
for Heliodorus and the Miracle of Bolsena ;
by Raphael's beciuest they came through

In manner of representation these
works diifer greatly. Massacio, in
the Brancacd Chapel, already gives e
a clever three-quarter view. Andrea
del Gastagno (youthful portrait in
the P. Pitti) follows him to the best/
of his power ; Sandro, on the other
hand, only gives a profile; excellent
portraits by him, Palazzo Strozzi,
Florence. The North Italians also g
are divided: P. della Francesca
gives heads in profile, with the
sharpest and most exact modelling,
which omits no warts or other de-
tail, on a pretty landscape back-
ground ; OoTiii also does profiles ;
Mantegna and Frcmda (also Peru-
gino) give the heads quite in a front
view, and endeavour by beautiful
landscapes to give them a really
ideal background. In the so-called
Mantegna there is a mountain in A
the last glow of Evening. The pic-
ture of the Medallist is almost a
three-quarter view (with a land-
scape in the manner of Francesca) ;

Giulio Bomana to Paolo Giovio. In the
sixteenth century the Medici had the
whole collection copied by painters sent on
purpose, and these copies, which still
possess a higher authority than the wood-
cuts, now form a part of the great collec-
tion of portraits in the Ufiizi, ia the pas-
sage between the two galleries. [Unfor-
tunately, executed by hasty workera of a
poor kind, chiefly ClmstofaTW dell' AUis-
Hmo. — Mr.]

Another fine old collection, the Man-
tuan, with works of the excellent Veronese
painter, Francesco Bonsignori (born 1455),
seems to have been dispersed after the
catastrophe of Mantua, 1630. (Comp.
Vasari, in the Life of il Giocoudo.) [It was
sold in 1629 to Daniel Nys, who parted
with it to Charles I. of England — Ed]

[A sort of ideal collection of painters is
formed by the twenty-eight half-lengths
of wise men, poets, learned men, etc., of
ancient and modem times, which, having
apparently issued out of the atelier of
Justus van Gent, who was employed in
Urbino in 1474, adorned the palace of
Urbino, where the young Raphael copied
a number of them (in his Venetian sketch-
book). Half of these pictures are in the
P. Barberini at Rome, in rooms very
difficult of access ; the other half has
come into the Louvre with the Campana
collection. — Mr.]

I

114

Painting of the Sixteenth Century.

"' so also Lorenzo Costa (P. Pitti) and
Gfiovamni Bellini. Lorenzi di Oredi
follows Lionardo (a fine portrait of
a man by liiTn in Palazzo Torrigicmi,

i Florence.

In conception some of these por-
traits are noble masterpieces. But
Lionardo surpasses them all in
what is peculiar to himself, in the
modelling, and gives to what be
represents a breadth of higher life
which is peculiarly his own and
goes with his ideal. He too wil-
lingly uses the help of landscape,
and thus gives the last touch in the
portrait of the Gioconda (Louvre)
to the thoroughly dreamy effect
produced by this portrait of all
portraits.

As he never could satisfy himself
in his striving towards finished
modelling, he sometimes employed
colours which later on brought
greenish tones into the shadows.
But the lofty, intellectual grace in
the head and attitude ; the beauty
of the hands in the genuine pic-
tures designate clearly the time
which uses the gift of character in
the noblest manner.

In my opinion Italy possesses
(not counting the coloured draw-
ings) but a single genuine finished
picture by Lionardo — that of Isa-
bella of Aragon, wife of Giov.

* Oaleazzo Sforza, near her husband,
in the Ambrosiana at Milan, Nos.
152 and 153, formerly called Lu-
dovioo Moro and his wife. This
profile picture is beyond all de-
scription beautiful and charming,
and of a perfection in the execution
which excludes the possibility of
any author but Lionardo. The
picture of the Duke is unfinished
and washed out. Among the draw-
ings is one of a lady with eyes cast
down, in black and red chalk, es-
pecially charming. [Italy also pos-
sesses a picture in which Lionardo
had a share, the Baptism of Christ
byVerrocchio, ^oAZin^e Academy

dsA Florence.— Ed.]

[The Goldsmith in the P. Pitti'
(No. 207) appears to me an excellent
picture from the hand of Lorenm
di Oredi. The so-called Monaca of
Lionardo, also there, No. 140, a
lady draped in black gazing at a
convent building, is decidedly too
weak for Lionardo. The head of a
young man looking straight for-
ward, with hair brushed back, in
the Uffizi, No. 1157, is clearly late/
(about 1540). Lastly, as to Lion-
ardo's portrait of himself in the
collection of portraits of painters,
we must say boldly that, in spite
of its great fame, this picture can-
not now nor ever stand for an
original work of the great Floren-
tine. A man like Schidone, like
Sisto Badalocchio, or a somewhat
earlier imitator of Correggio,
might easily have produced such a
picture.— Mr.]

His remaining portraits are in
foreign countries.

After these works, in which
there is but the faint aroma of his
ideal, those smaller works may
follow in which it reveals itself
without reserve. It was antici-
pated in the youthful heads of
Verrocchio ; but it reaches its full
charm in Lionardo ; the smiling
mouth, the small chin, the large
eyes, sometimes shining with a
joyousness, sometimes slightly
veiled by a gentle sorrow. Con-
ventional expressions appear in all
the fifteenth century ; but here
first we have an expression which
a great master gives as his highest
effort. It is undeniably one-sided,
and easily falls into mechanical
repetition, but thoroughly fasci-
nating.

The Madonnas, Holy Families,
and other compositions of which we
are speaking are sometimes naive
even to a genre character. But in
them begins that higher feehng for
lines, that simplicity which reaches
perfection in Raphael. There is in
him but an echo of the Florentine

Luini. — Andrea Salaino.

115

domestic character of earlier Ma-
donnas. Here, again, the most
remarkahle works are in foreign
countries ; and of those in Italy
what are in the private galleries of
Milan are unknown to me. [There
are no more genuine paintings by
Lionardo in private collections at
Milan. StiU, any one who has lei-
sure wUl do well to visit the house
of Duca Scotti, Duca Melzi, Don
Giacomo Poldi-Pezzoli, etc. By
Lionardo little will be found, or
nothing certain, of his school that
is good and pleasing. — Mr.] Of the
works now in Italy very few are re-
cognised as originals : far the greater
number pass either for works of his
pupils after sketches and ideas of
Lionardo, or as direct copies from
finished works of his hand.

These pupils, whose own works
are still interpenetrated with the
forms and motives of Lionardo,
had attached themselves to him
in Milan ; amongst them we must
first consider Bernardino Lwini and
Andirm, Salai/iu).

a First of all, the beautiful fresco
of the Madonna with a Donor on a
gold ground is an original work, in
an upper gallery of the Convent
of S. Onofrio in Rome (1482);
chiefly Florentine in character, so
that the fellow-pupil of L. di Credi
is felt. The somewhat strange
bowed-down attitude of the child
blessing is explained by the fact
that originally it was held up by
Mary in a waistband, of which the
tempera colour has entirely disap-
peared.*

J [A Madonna called Scuola di Lio-
nardo, in the Borghese Gallery,
first room, No. 65, is, in my opinion,
by Oiov. Pedrini. — Fr.]

" Modestia e Vanity," in the Pal.
Soiarra at Kome betrays, in the

• [This fresco cannot be accepted with-
out some further evidence as certainly a
work of Lionardo's. It reminds us
strongly for example of Cesare da Sesto.—
Ed.]

blended character of the modelling
the hand of Lwi/ni ; to judge from
the not very beautiful hands ar-
ranged in parallels and right angles,
the arrangement of these parts can
hardly have been given by Lionar-
do. The characters are infinitely
beautiful.

Of the half-length of John the
Baptist {Lwime), with the highly c
enthusiastic look, none of the
copies existing in Italy give a sa-
tisfaotofy idea, not even that in
Milan. '

"Christ among the Doctors,"
a half-length picture ; the original
in England executed only ^yLwlni ;
a good copy in the Pal. Spada at
Rome. Incapable of representing
the conquest of argument over
argument. Painting here gave the
victory to heavenly purity and
beauty over stiffViess and vulgarity.
The conquered party are merely re-
presented by half-length pictures,
with whom the tellingly prominent
chief figure hardly occupies itself.
Too often, in the pictures of this
subject, we have only a child in
a large temple hall, lost among a.
crowd of men who seem as if they
might show their full age in some
rough way.

A Little Christ giving the Bene-
diction, most probably executed by
Salaino, in the Borghese OalUry, d
first room, No. 33, appears to be
a direct inspiration of the master.
[Most likely by M. (P Ogionno. —
Fr.]

There is a small repetition by
Salaino, in the Ufizi, of the famous e
picture of S. Anna, on whose knees
sits Mary, beading backwards to
the children. In expression as
sweet as any picture of the master,
and executed also with great ten-
derness, it yet shows how much the
scholars were inferior to their ori-
ginal in drawing and modelling.

An original work of Lionardo[??],
is the sketch-painting in a brown
tint of an Adoration of the Kings,
I 2

116

Pakiting of the Sixteenth Centwty.

oin the TJffizi; somewhat crowded,
part of it only the first sketch, but
most significant by the contrasts of
the solemn devotion of these kneel-
ing in front and the passionate
longing in those pressing forward.
It gives great fulness of life with
a severe and grand foundation.

Genuine [??] and quite corre-
sponding in character to this picture
is the S. Jerome, likewise painted in
brown in the gallery of the Vati-
can, second room, No. 1, formerly
in the Fesch Gallery. The strong
markings of the limbs in the fore-
shortened position were clearly the
problem which interested the master
in this case.

[An Annunciation, lately re-
moved from the Ghv/rch of Monte

b OUveto, in Florence, to the TJiBzi
(No. 1288), is described as a youth-
ful work of Lionardo ; given by
Crowe and Cav, to Bid. GMrlan-
dajo, by Miindler decidedly to Z.
di Credi.]

Of the work, by which Lionardo
most strongly impressed his con-
temporaries, the battle at Anghiari,
drawn in 1504 and 1505 (for the
great hall in the Pal. Vecchio, at
Morenos), nothing survives but a
single group in an engraving.

Lastly, before 1499, he had al-
ready completed the world-famous
Last Supper, in the Sefectory of the

c Convent of S. M. delle Grazie. (Best
light about noon. ) Its ruinous con-
dition, which was apparent early
in the sixteenth century, is almost
entirely caused by Lionardo's hav-
ing painted the work in oU on the
walls. (The fresco opposite, by a

d mediocre old Milanese, Montorfano,
is well preserved. ) Bad repainting,
principally of the last century, did
the rest. Under such circumstances,
old copies possess a special value.
They are, especially in the neigh-
bourhood of Milan, very numerous ;
one, for instance, io the Ambro-

esiana, a return to the elder Lom-
bard style, by Araldi (p. 82 e), in

the Gallery at Parma. Of the on-/
ginal sketches by Lionardo pre-
served in various places (especially
at Weimar*), the head of Christ, in
the Brera, is regarded as undoubted, g
The picture itself, even as a ruin,
teaches us what cannot be learnt
either from Morghen's engraving or
from Bossi's copy ; apart from the
general tone of light and colour,
which is by no means lost, one can
understand nowhere but here the
true proportions in which these
figures were conceived, the locality
and the light, perhaps also the
splendour of originality, which
nothing can replace, pervading the
whole.

The scene which is known in
Christian art as the Last Supper,
given usually as a wall picture in
Eefectories, contains two quite
difierent actions, both repeatedly
treated from the earliest times,
and by great artists. The one is
the institution of the Sacrament,
very characteristically treated by
Signorelli (p. 70 i). The other ac-
tion is the "Unus Vestrum" —
Christ expresses his knowledge of
the betrayal. Here, again, either,
according to the words of Scrip-
ture, the pointing out of the traitor
by taking the sop to be dipped at
the same time (as in Andrea del
Sarto, see below. Convent S. Salvi),
or simply the grieving word of
Christ may be the distinctive action.
"With Lionardo it is the last. Art
can hardly undertake a more diffi-
cult subject than this, the effect of
a word on a seated assembly. Only
one Ught reflected twelvefold. But
would the spiritual result gain by
it if the twelve, passionately moved,
left their places to form richer
groups, greater dramatic contrasts ?
The chief purpose, the domination
of the principal figure which could
only sit and speak, would, in the
action of the others, be unavoid-

* [The heads atWeimar are not yetproved
to be originals.— Ed.]

Luini.

117

ably lost. Even the table spread
for the meal, which runs across
the figures like a light parapet,
was of the greatest advantage ;
the essential part of the emotions
that moved the Twelve could be
represented in the upper part of
the body. In the whole arrange-
ment of the lines of the table and of
the room, Lionardo is purposely as
symmetrical as his predecessors ;
he surpasses them by the higher
architectonic effect of the whole
divided into two groups of three,
on both sides of the isolated prin-
cipal figure.

But the divine element in this
work is that we attain a result in
which the accidental and limited
in art is lost in the highest expres-
sion of eternal and self-developed
beauty.

A most powerful mind has here
opened all his treasures before us,
and united in one harmony all
degrees of expression of physical
form in wonderfully balanced con-
trasts. The spiritual result has
been finally summed up by Goethe.
What a race of men is this, passing
from the most sublime to the most
limited, types of all mankind, first-
born sons of perfect art. And,
again, from the simply picturesque
side, all is new and powerful, dra-
pery, foreshortenings, contrasts.
If one looks at the hands alone, we
feel as though painting had but just
awakened to bfe.

BERNARDINO LUINI.

Of the MUauese pupils, Bernar-
dino iMini (died after 1530) did
not know Lionardo at the time of
his earliest works ; in those of his
middle time he most faithfully
reproduced him ; in the later
ones he produced independently on
the foundation thus gained, so
that it is evident that with perfect
na'iveU he had only taken from the
master what was natural to him.

His taste for beautiful, expressive
heads, for the joyousness of youth,
found full satisfaction in his mas-
ter, and was most nobly developed
by him ; and even his fittest works
give the finest proofs of this. On
the other hand, nothing of the
grand severe composition of the
master has come down to him ; one
might believe he had never seen
the Last Supper (though he once
imitated it), so faulty in lines and
ill-arranged are most of his drama-
tic compositions. His drapery,
also, is often slight and careless.
On the other hand, he shows occa-
sionally what no teacher and no
school can give — grandly felt inci-
dent resulting from a most profound
conception of subject.

Beyond the neighbourhood of
Milan, only small single pictures
by him are to be found. Besides
those named (p. 115 i), the most
important is the Beheading of John, a
in the Tribune of the Uffizi, long
attributed to Lionardo, although
the form of the hands, the some-
what commonplace beauty of the
king's daughter and her maid, the
glassy, vaporous surface of the nude,
clearly indicate the pupil. The
executioner grinning, and yet not
caricatured ; the head of the Bap-
tist very noble. Thus does the
golden period mark its character.
In the P. Oapponi, at Florence ; 6
Madonna kissing the ChUd. In
the P. Spinola (Strada Nuova), at
Genoa : an excellent Madmna c
with the Child giving the Benedic-
tion along with S. Stephen and
S. James the Elder, by Luini, or a
fellow-pupil [most probably by
Andrea Salaino. — Mr.], employing
the Eaphaelesque motives of the
" Eevea de I'Enfant " (Bridgewater
Gallery.) Other Madonnas in
various places.

In Milan, the Amhrosiama, the d
Brera, and private collection con-
tain a number of easel pictures by
him. Thus the Brera has a specially

118 The Sixteenth Century — Milanese School.

finished Madonna with the Child
sitting in front of a bower of roses.

a In the Cathedral of Coma, two
great tempera pictures (altars right
and left), the Adoration of the
Shepherds and that of the Kings,
with wondronsly beautiful details ;
in the right side aisle, another great
altar-piece, which, unfortunately,
has suffered very much, and was
restored in 1857. Here also are
several others by him.

6 Frescos: — Before aU others, the
Church S. Maurizio (the so-called
Mouastero Maggiore), at Milan,
divided by a wall into a front and
a back church, which were both
entirely decorated by Luini and
his contemporaries, partly with
decorative paintings, partly with
figures and histories of saints ; the
great part of Luini's own work
seems to be collected on the two
sides of the wall and the adjoining
part. Also a whole collection of
frescos, by Luini, removed into the

c Brera : the chief work is a Ma-
donna enthroned, with S. Antony
and S. Barbara (1521) ; in quiet
devotional pictures of this kind,
where the subjects protected him
from unsymmetrical arrangement,
his loveUness is enchanting. The
remaining frescos here appear to
be pretty early ; for instance, in
the somewhat timid mythological
and genre subjects, the nalveti of
which quite indicates the coming
glow of the golden time, and also
the pictures from the life of the
Virgin and the well-known simple
and beautiful composition of the
Angels carrying the body of S.

d Catherine. *

e In the Anibrosiana (side room on
the ground floor to the right), a
great and important fresco of the
Mocking of Christ in presence of
an adoring religious fraternity is,

* Av/rdio iMmi, son of Bemardino,
shows himself here in a great fresco of
the martyrdom of S. Vicenzino, a man-
nerist of the style of the Roman school.

on account of its powerful colour
and its portraits, of especial value.
The frescos from the P. Litta are
in Paris. Finally, the two later
great works, in the PilgrimageJ
Chwrch at Saronno (between Va-
rese and Milan). The nave in the
pompous early baroque style ; the
Cupola decorated with a choir
of angels, by Gaudenzio Ferrari,
the short drum with statues of
Andrea Mila/nese, the walls below
painted with frescos of Lan/i/ni in
the upper part, and below with
frescos of Cesa/re da Sesto and
Luini (SS. Roch and Sebastian) ;
then, in the passage to the choir,
the Marriage of the Virgin, and
Christ among the Doctors, both by
Luini, although in a different
colouring and character from the
rest ; then, in the choir itself, the
two great frescos, the Adoration
of the Kings and the Presentation
in the Temple ; above in the panels
and the upper part of the walls,
Sibyls, Evangelists, and Fathers
of the Church ; lastly, in the little
offset of the choir, on the right,
S. Appollonia ; on the left S. Ca-
therine, each with an angel : these
last-named paintings belong to the
most perfect of Luini's creations.*
Lastly, in S. Maria degli Angeli, g
at Lugano, on the principal wall
above the entrance to the choir,
is the colossal fresco picture of the
Passion (1529), of which the fore-
ground includes the Crucifixion,
with the followers of Christ, the
thieves, the captains, soldiers, &c.
Though marked by all the defi-
ciencies of Luini, this picture is

* Luini's paintings in Saronno are as-
cribed generally to the year 1530, but
they ' might easily belong to different
periods of the master's life. Tradition said
that he had taken refuge in the sanctuary
of Saronno on account of a homicide com-
mitted in self-defence, and was obliged to
work under conditions prescribed to him
by the monks. Saronno and Luganno show
what a master, full of life and power, could
do, even in the terrible time after the
battle of Pavia.

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Marco d'Ogionno — Salaino — Cesare da Sesto. 119

nevertheless one of the greatest of
North Italy, and worthy of a visit,
for the sake only of a single figure —
that of John, who is giving his
promise to the dying Christ. On
several piers of the church are
beautiful paintings by Luini ; in a,
chapel to the right, the fresco
lunette brought out of the Convent
(which has been altered), of the
Madonna with the two children,
the last of perfect lionardesque
beauty. The Last Supper, for-
merly in the Refectory of the
Convent, in three divisions, quite
independent of Lionardo's compo-
sition, although showing a distant
likeness to it, is on the church
waU to the left. Any one whom
these treasures have once kept for
whole days in the beautiful Lugano,
will perhaps also on this occasion
become acquainted with the charm-
ingly idyllic landscape, and wil-
lingly abandon the brilliant Lake
Como for it.

[Another masterpiece of Luini
is the splendid large altar-piece in

a the principal church at Leguano
(Railway Station after Sesto Ca-
lende), with rich floral decoration
in the setting. Milan itself pos-
sesses a picture of his youth which
reminds us of Cwenhio, Mourning
over the body of Christ, in the

i Sacristy of the Church of the
Passion.— Mr.] [A beautiful Ecce

cHomo in S. Giorgio in Palazzo. —
Ft.]—

Ma/rco (POgionno (Uggione) is at
Ms best when he follows Lionardo
closely, and reproduces his type
with a pecuhar harsh beauty — the

d Pall of Lucifer, in the Brera ; the
frescos there mostly very wild.

c Altar-piece in fi. Eufcmia [altar-
piece in six parts. Virgin and Child
and Saints, in the Casa RoveUi, at
MHan.— Ed.]

Andrea Salaino (p. 115 d, e) ex-
clusively devoted himself to repro-

ducing Lionardo. A lovely Ma-
donna in the Villa Albani, at/
Borne. Pictures in the Brera and
Ambrosiana. Not to be confounded g
with A. Solaria (p. 122).

Francesco Melzi, an aristocratic
dilettante, to all appearance chiefly
a miniaturist. His pictures are
very rare [The grand fragment of
a Madonna in the Villa Melzi, at A
Vaprio, belongs, in my opinion, to
Lionardo himself. — Mr.]; so like-
wise are those of Qiov. Ant. Bel-
traffio. Gallery on, Isola Bella, two i
portraits. Gallery at Bergamo,
Madonna,

Cesare da Sesto, who later passed
into the school of Raphael. His
best early pictures are in private
collections in Milan ; a beautiful
youthful head of Christ in the Am-k
brosiana. A Madonna in the Turin I
Gallery (No. 71). In the Brera
only one indubitably genuine pic-
ture, the graceful Madonna (No. m
303) under the shade of a laurel-
tree. His famous youthful work,
the Baptism of Christ in the Casa
Scotti, at Milan, completely exem-
plifies his characteristic almost
over-sweet softness. In his later
great picture, Adoration of the
Kings, in the Musewn of Naples, n
there is much useless and oppres-
sive richness in the accessories,
also many beautiful incidents quite
out of place, but therewith an
absence of reality and of feeling
tor space. [Of the same class : '
Christ between two Saints, in S.
Prassede at Rome. Better, though
displaying at once imitation of
Lionardo, Raphael and Michael-
angelo, is the Virgin and Child
with S. Roch and other Saints, a
triptych in the Melzi Collection at
Milan. — Ed.] Cesare appears too
have become later the friend and
assistant of Raphael at Rome ; a
large circular picture in the Vati-p
can, of 1521, shows the melancholy

120 The Sixteenth Centmy — Milanese School

decadence into vrMch he fell after
the death of the master.

[Girolamo Alibrcmdi, once a com-
rade of Cesare, is known by pictures
in which the style of Lionardo is
mixed with something of the Ferra-
rese style. Presentation in the
Temple of 1519, in S. Nicoolo ; same
a subject in the CatheAral of Mes-
sina.— Ed.]

Ga/udensio Vinci. Principal work
J in the upper church at Arena, the
altar on right of choir, Madonna
adoring the Child, after a composi-
tion of Perugiuo, containing saints
and legends, besides side and upper
pictures of 1511. [I look on this
as the work of Gaudenzio Ferrari,
with whose youthful painting it
harmonises, and think it possible
the two names, on the whole,
belong to but one and the same
master. — Mr.]

Giov. Ant. de Lagaia. Principal
altar of the church of the Seminwrio
e at Ascona (Tessin), the centre pic-
ture. Madonna with Saints and
well-executed Donors (1519). The
last especially betray a close con-
nection with Luini.

Qavdenzio Ferrari (1484 — 1549),
one of the most powerful masters
of the golden time, but widely dis-
tracted by the opposite teachings
of the old Lombard and the Pied-
montese schools, of Lionardo, Pe-
rugino, and Raphael, all of whose
studios he must have attended at
various periods of his Hie. With
great power and freedom he worked
up their ideas afresh, while be-
tween times breaks out his own
original naturaKsm. The life-like
movement and intense expression of
feeling at times is of the highest
order ; the colouring often some-
what motley, and only in the later
frescos now and then harmonious ;
the composition often overcrowded

and not beautiful ; the mechanical
execution seldom thoroughly mas-
tered. The most beautiful easel
picture of a Bearing of the Cross,
with marvellous heads, although
much overcrowded, on the high
altar of the church at GcmobHo, d
on thelago Maggiore (immediately
under the small cupola ascribed to
Bramante) ; the great Martjrrdom
of St. Catherine, in the Brera, ise
pompous, and not pleasing, except
in the principal figure ; an ex-
cellent, very detailed altar-piece,
from Ferrari's Peruginesque time,
1514^15, in six panels, in S. Gem- f
denzio, at Novara, second altar on
the left ; a very beautiful Baptism
of Christ, in the right side aisle of
S. Maria presso S. Gelso, at Milan ; g
the Marriage of S. Catherine on
the high altar of the OolUgiata at
Tarallo ; * two late tempera pic- h
tures in the Cathedral of Como, i
improvisations of considerable
power. [A splendid altar-piece,
in six divisions. Assumption of the
Virgin, in the principal church of
Busto Arsizio, near Milan. — Mr.].y
The works of Gaudenzio to be seen
in galleries seldom give the highest
idea of his talent ; the following
are the best in the gallery at Turin, ^
which is rich in his works : St.
Peter with Donor, and a Deposi-
tion, which reminds us of Garofalo,
who stood to the great masters in
a similar relation with Ferrari.
[The allegorical picture in the
Sciarra Gallery at Rome, interest- ^
ing by its unskilful fanciful land-
scape, does not belong to the
master.— Mr.] [Cartoons in Acca-

demia Albertina, Turin Fr.] ™

Frescos : Those existing in a rich
series at Varallo show best his''

* He came from a neighbouring village,
and always called himself, with pride, a
Valsesian, and between his sojourns in
Milan and Rome always returned to Va-
rallo. The place is not difficult to reach,
either from the Lake of Orta or from
Novara.

Gaudenzio Ferrari. — Lanini.

121

whole course of development. The
earliest, some still Lombard ia
character in two churches outside

a the town, S. M. di Loreto and S.

i Marco : also in the IVanoiscan

c church, S. Maria delle Oratde (at
the foot of the Sacro Monte), first
the whole wall ahove the choir is
filled with a Passion in a centre
picture, and many single panels,
essentially a very free and power-
ful reproduction of a Peruginesque
inspiration, in which also there is
a reminiscence of Signorelli ; in the
chapel, to the left, under this wall
of the choir, the Presentation in
the Temple and Christ among the
Doctors, almost Eaphaelesque in
its mode of narration, perhaps the
purest thing produced by him. In
the forty chapels of the Sacro Monte
also, much is assigned to Ferrari ;
with certainty are ascribed to him
the Procession of the Three Kings,
painted round the walls, much in-
jured, in the chapel of that name ;
also in the chapel of the Cru-
cifixion, the Procession, painted
round the wall, of soldiers,
knights, and ladies of Jerusalem,
along with about twelve blond
weeping angels on the dome, a
late masterpiece of very great ful-
ness of expression, and most en-
ergetic breadth of representation.
On the other hand, the groups in
terra cotta which occupy the centre
of the chapel cannot possibly be
Ferrari's own work, even if he
undertook them in partnership
with some one else.

d In the Pilgrimage Church at
Saronno ; the Concert of Angels
filling the Cupola, coarsely power-
ful, in remarkable contrast with
the softness of the masterpiece also

e there by Luini ; in the Brera,
frescos with the Life of the Virgin,
in part containing very noble and
simple- speaking motives ; a really
grand " Flagellation," imposing
even in its arrangement, in S.

f Maria delle Qrazie, at Milan, in a

chapel of the right aisle, Ferrari's
last fresco, dated 1542; some ex-
cellent figures of saints in the
church of the Islamd of S. Giuliano, g
in the Lago d'Orta; other things
inS. Oristqforo, S. Paolo, at Veroelli h
[Madonna with female founders, in
a thickly overgrown fruit-garden,
perhaps the most beautiful picture
ever painted by Ferrari. There,
also, colossal frescos, 1532 and
1534. — Mr.], and elsewhere.

Of Gaudenzio's followers, Ber-
nardiTio Lamni, during his good
time, displayed real energy in
forms and colours. His later work
is more mannered. {Brera andi
various churches in Milan.) [The
best are the youthful wall-paint- j
ings of a chapel in the right aisle
of S. Ambrogio. A late painting,
the great fresco in S. OateHna. — k
Mr.] Turin, Gallery; Church oil
Saronno : [Church of S. Pietro- m
Paolo at Borgo Sesia: a Madonna ra
enthroned between Saints, of 1539.
In Novara and Tercelli, Laninio
appears in all churches, with Uau-
denzio and alone. — Mr.]. Chief
work, a chapel in the left aisle of
the Cathedral of Novara, with
scenes out of the Lite of the Virgin,
from the Annunciation to the
FUght into Egypt, with angels on
the ceiUng. Zomazzo and Pigino
belong to the mannerists proper ;
the first is valuable as a writer on art,
less for his views than for import-
ant facts. [As artists, both are only
pleasing in their portraits. — Mr.]

A number of half-length figures,
with a passive expression (Eoce
Homo, Mater Dolorosa, Magdalen,
S. Catherina, &c.), belong partly
to Aurelio Luini, partly to a cer-
tain Qian Pedrini, pupil of Lio-
nardo [Best picture in the sacristy
of S. Sepolcro, at Milan. Another, p
of 1521, in the choir of S. Marino, g
at Pavia. — Fr.], partly to Andrea
Solaria. Their treatment varies
greatly in merit ; in parts they are
excellent (Pedjrini's Magdalen, r

122

Painting of the Sixteenth Centwy.

These

moved by supernatural aspiration
or by holy sorrow, begin with
Peruginoand the Milanese we have
named, and from time to time be-
come very common in art. We
must compare them with those of
Carlo Dolci, in order to recognise
their true merit.

[Andrea Sola/rio (painted 1495
to 1515) deserves especial attention.
Of his youthful period, when he
enjoyed the teaching of Gr. BeULni,

a the signed picture in the Brera;
No. 358, of 1495, the clear-coloured,
very careful half-length figure of a
Madonna, with S. Joseph and
another old man in the landscape ;
there, too, is the very beautiful
male portrait, No. 300, formerly
called C. da Sesto. [Also the St.
Catherine and John Baptist, of
1499, in the Poldi-Pezzoli Collection
at Milan.— Ed.] His works of the
beginning of the sixteenth century
show the influence of Mantegna,
as the picture of the Crucifixion
(1503); less so that of the "Ma-
donna with the green cushion,"
both in the Louvre. Afterwards
he appears closely related to Luini
(an excellent signed picture of this
kind, of the year 1515, in the pos-

S session of Don Giacomo Poldi-
Pezzoli, at Milan). Unsigned pic-
tures are often not recognised :
thus, in the Town Gallery, at

c Brescia, there is a little jewel— a
monk in adoration before the Christ
bearing the Cross. Less pleasing
are the half-length figures of the
suffering Saviour surrounded by
coarse executioners, like that of
the Borghese Gallery at Rome, third

d room, No. 1. [As a portrait painter
Solario was very distinguished ; but
the only accessible work of this
kind in Italy is the MaximiUan
Sforza, of the Perego Collection, at
Milan. — Ed.] An altar-piece at

e the Certosa of Pavia, is considered
his last work, said to be completed

by Giulio Campi. One feels the
approach of a new jperiod, of which
the broad and sketchy treatment,
occasioned by the large size of the
painting, is opposed to Solario'g
severity and conscientiousness.—
Mr.]

MICHELANGELO.

Michelangelo Buonarroti (1475 —
1564). The appearance of Michel-
angelo, a fateful event for architec-
ture and sculpture, was not less so
for painting. He looked on himself
especially as a, sculptor ; in one of
his sonnets he says, on occasion of
the painting of the roof of the

Sistine, " essendo io non

pittore." But for the expression of
that ideal world which he carried
within himself, painting afforded
materials so far more various than
sculpture, that he could not do
without it. At present the general
experience is, that he who cannot
enjoy him in sculpture, seeks him
again, and finds the way to him on
the side of painting.

How he constructed his forms,
and what he meant by them in
general, has already been suggested
in treating of his sculpture. Look-
ing at his painting, especial points
of view have to be considered.
Michelangelo did, indeed, learn his
manipulation in the school of Ghir-
laudajo, but in his manner of con-
ception he is entirely without prece-
dents. It was against his nature
to enter into any traditional feeling
of devotion, any received ecclesias-
tical type, the tone of feeling of
any other man, or to consider him-
self as bound thereby. The accu-
mulated fund of ecclesiastical art-
usages of the Middle Ages does not
exist for him. He creates man
anew with grand physical power,
which in itself appears Titanic,
and produces out of these forms
a fresh earthly and Olympian
world. They move and have

Michelangelo — The Sixtine Chapel.

123

their being like a race apart from
all earlier generations. What in
painters of the fifteenth century is
called characteristic, finds no place
here, because they come forth as a
complete race — a people ; but where
personality is required, it is one
ideaUyformed, asuperhumanpower.
The beauty of the human body and
face only comes out clothed, as it
were, in this expression of force ;
the master wishes rather that his
forms should give the highest ex-
pression of life than that they
should be charming.

When we are no longer in pre-
sence of these works, and have
taken breath again, we may reoog.
uise what is wanting in them, and
why one could not live with and
under them. Whole vast spheres
of existence which are capable of
the highest artistic illustration re-
mained closed to Michelangelo.
He has left out all the most beau-
tiful emotions of the soul (instead
of enumerating them, we have but
to suggest Raphael) ; of all that
makes life dear to us, there comes
out little in his works. Also the
style of form which is his ideal,
less expresses the simply sublime
and beautiful in nature than the
exaggeration of certain forms of it.
No drawing, however grand, no
expression of power, can make us
forget that certain extremes of
breadth of shoulder, long necks,
and other such forms are arbitrary
and sometimes monstrous. Cer-
tainly, when in presence of his
works we are always disposed to
allow Michelangelo a right and
law peculiar to himself, inde-
pendent of the rules that govern
all other art. The grandeur of his
thoughts and cycles of ideas, the
free creative power with which
he calls into existence all conceiv-
able motives of external hfe, make
the phrase in Ariosto intelligible,
"Michel piu che mortale angel
divino."

Of his first great work, the car-
toon produced in competition with
Lionardo for the Palazzo Vecchio,
also an episode out of the war with
Pisa, only faint reminiscences have
descended to our times. Baccio Ban-
dinelli cut it in pieces out of envy.

In the flower of his age Michel-
angelo imdertook the painting of
the roof of the Siatiiie Ohapel in a
the Vatican (1508-1512) [the whole
of which time was occupied with al-
ternate periods of rest in executing
it with help from assistants. — Ed.].
(Best light, 10-12. ) The work con-
sisted altogether in scenes and figures
from the Old Testament, with
especial reference to its promises.
He divided this subject into four
parts— histories, single historical
figures, groups reposing, and figures
giving life to the architecture.
The histories which require to be
represented in a space given in
perspective, not merely ideal, he
arranged in the centre surface of
the roof. We must except the four
corner pictures of the chapel,
painted on spherical three-sided
surfaces, which represent the won-
derful deliverances of the people of
Israel, the history of the brazen
serpent, of Goliath, of Judith, and
of Esther. But wonderfully as
special parts are conceived and
painted, especially in the scene of
Judith, still the eye has difiiculty
in these places in accommodating
itself to such a situation for the
representation of historical events.
The prophets and sibyls, with the
genii accompanying them, were
placed in the curved pendentives;
the groups of the ancestors of Christ
partly in the vaulted parts over the
window, partly in the lunettes which
surround the windows. These
parts are all composed according
to an ideal feeling of space. Lastly,
those figures which have been
already weU named " the forces of
architecture made living and per-
sonal," he allowed to appear here

124

Painting of the Sixteenth Century.

and there at intervals in the gene-
ral plan as and when they were
needed. Under the prophets and
sibyls there are sturdy figures of
children in natural colour, who
lift the tables with inscriptions high
in their hands, or bear them on
their heads. On each of the side
pillars of the thrones of the pro-
phets and sibyls there are two
naked children, always a boy and
girl, in stone colour, imitating
sculpture. Over the domed cavi-
ties above the windows, the arch
is occupied with recumbent or
leaning athletic figures, in bronze-
colour. The last arearrangedabnost
symmetrically two and two, and,
above all, are conceived with strict
regard to architectonic efifect. At
the last, where on both sides the
colossal entablatures come near
and leave space for the series of
central pictures, there comes a series
of nude male figures in natural
colours, seated on pedestals, hold-
ing, two by two, the ribbons at-
tached to the medallion in bronze-
colour with reliefs between them ;
some also carry rich garlands of
leaves and fruit. Their attitudes
are most easy and natural; they
support nothing, because, accord-
ing to the ideal conception, there is
nothing more to support, because,
as a general principle, architectonic
forces are not to be simply made
visible, but poetically symbolised.
(Caryatides or Atlantes, one head
leaning against another head, would
have been, for instance, a sensu-
ous representation. ) These sitting
figures, considered singly, are of
such beauty, that one is tempted
to regard them as the favourite
work of the master in this place.
But a glance at the rest shows that
they only belong to the architec-
tural framework.

In four larger and five smaller
four-cornered spaces, along the cen-
tre of the roof, scenes from Genesis
are depicted.

Michelangelo, first of all artists,
conceived the creation not as a
mere word, with the gesture of
blessing, but as an action. So
alone were obtained purely new
motives for the special acts of crea-
tion. The majestic form soars
onwards in a sublime flight, at-
tended by genii, who are enveloped
in the same mantle ; so rapidly is
the creation conceived that one
and the same picture unites two
acts of creation (the sun and moon
and the plants). But the highest
moment of creation, and the high-
est efibrt of Michelangelo, is the
giving life to Adam. Supporting
and supported by a crowd of those
divine powers, the Almighty ap-
proaches the earth, and through
His own stretched-out forefinger
sends into the extended forefinger
of the already half -living first man
the spark of His own l2e. In the
whole domain of art there is no
other example of such an intellec-
tual living expression of the super-
sensual by a perfectly clear and
speaking sensuous act. The form
of Adam, too, is the noblest type
of humanity.

All later art has felt itself
swayed by this conception of God
the Father, yet without being able
to attain to it. Raphael (in the
first picture of the Loggie) entered
the most deeply into it.

The scenes following, out of the
life of the first man, appear the
more powerful for the simplicity
with which they represent the
original state of existence. Sin
and Punishment are with startling
unity combined in one picture. Eve,
in the PaU, shows what an eye to
beauty lay at the command of the
master. As a composition with a
small number of figures, the In-
ebriation of Noah is the very acme
of what can be accomplished. The
Flood (the painting with which the
work apparently began) contrasts
certainly not very happily with

Michelangelo — The Last Judgment.

125

the proportion of theotherpictures,
but is rich in the most marvellous
single incidents.

The Prophets and Sibyls, the
greatest figures of this place, de-
mand a longer study. They are
by no means all conceived with the
lofty simplicity which comes out
so overpoweringly in some of them.
The object was to elevate twelve
living forms by the expression of
a higher inspiration, above time
and the world into something su-
perhuman. The power expressed
in their figures alone did not
suffice ; different expressions of
ideas in action of the highest
spiritual import, yet at the same
time externally appreciable, were
needed. Perhaps this surpassed
the powers of art. The genii which,
two and two, accompany each
figure, do not represent the source
and spring of Inspiration, but
servants and attendants ; their part
is to exalt the figure by their
presence, to mark it as super-
human ; they are invariably repre-
sented as subordinate to it. Jere-
miah consumed with grief is an in-
comparable excellence ; or Joel,
moved while reading with the
strongest inner feeling; Isaiah
awaking as from a dream ; Jonah
with the expression of a powerful
new-found life ; the Sibylla Del-
phica, who already seems to see
before her the fulfilment of her
prophecy, of all the master's crea-
tions the one which expresses
power and beauty in their highest
union. Apart from the inner mean-
ing, the drapery is always to be
carefuUy considered : it differs from
the ideal drapery of the Apostles
by an intentional (Oriental) nuance.
It is exceedingly beautifully hung
and placed, in the most complete
harmony with the position and
movement, so that every fold has
its reason (perhaps here and
there too consciously considered).
(Certain dull flesh tones were pecu-

liar to Michelangelo, and are
found again in his only easel pic-
ture, of which further. )

of the ancestors of Christ, those
in the lunettes show the most
masterly ease in monumental treat-
ment of the most disadvantageous
situation. Without any history,
as most of them are, they exist
only in reference to their divine
descendant, and wear, therefore,
the expression of calm, collected
expectation. Here, too, there are
some wonderfully beautiful simple
family scenes. But in this respect
single groups in the three triangular
curved spaces are stiU more remark-
able; among those of the parents
sitting on the ground there is more
than one motive of the highest
order, though the expression never
comes up to deep feeling or any
active emotion.

This work was due to Pope
Julius III. By alternate pressure
and concession, by contest and by
kindness, he obtained what per-
haps no one else could have done
from Michelangelo. TTi'h memory
deserved to be blessed by art.

Many years later — (1534 — 1541),
under Pope Paul III., Michela/n- a
gelo painted on the end waU of the
chapel the Last Judgment.

The first question must be,
whether we can in any way con-
sider this a subject possible and
desirable to represent. Next,
whether one can accept any repre-
sentation which does not captivate
the imagination by a strong imme-
diate impression, as, for instance,
a subtle effect of light (in John
Martin's manner) : this was here
impossible, from the work being
executed in fresco. Lastly, whether
one possesses the physical strength
to examine conscientiously all this
immense picture (in parts greatly
injured) according to its grouping
and single motives. It must not
be judged by the first, but by the
last impression.

126

Painting of the Sixteenth Century.

The chief defect lay deep in the
very nature of Michelangelo.
As he had long severed him-
self from aU that may be called
eoolesiaBtical types and religious
tone of feeling, — as he always
made a man, whoever it was, in-
variably with exaggerated physical
strength, to the expression of
which the nude essentially belongs,
there consequently exists for him
no recognisable difference between
the saints, the happy, and the
damned. The forms of the upper
groups are not more ideal, their
motions not more noble, than those
of the lower. In vain the eye
looks for the calm Glory of angels,
apostles, and saints, which in other
pictures of this subject so much
exalt the Judge, the principal figure,
even by their mere symmetry,
and in Oroagna and Fiesole create
a spiritual nimbus round him by
their marvellous depth of expres-
sion. Nude forms, such as Michel-
angelo chose them, cannot serve as
exponents of such feelings. They
require gesture, movement, and
quite another gradation of motives.
It was the last at which the master
aimed. There are, indeed, in the
work many and very grand poetical
thoughts : of the upper groups of
angels with the instruments of mar-
tyrdom, the one on the left is
splendid in its rush of movement ;
in the saved, who are iiying up-
wards, the struggle of life wrestling
itself free out of death is marvel-
lous ; the condemned are repre-
sented hovering in two groups, of
which the one, driven back forcibly
by fighting angels, and dragged
downwards by devils, forms a grand
Titanic scene, while the other con-
tains that figure, the very image of
utter misery, which is being dragged
down as by a weight by two evil
spirits clinging to it. The lowest
scene on the right, where a demon
with a lifted oar chases the un-
happy souls out of the bark, and

they are received by the servants
of hell, is, by a magnificent auda-
city, translated out of the indeter-
minate into a distinct sensuous
event. But clearly as this poetical
intention comes out on nearer con-
sideration, yet the predominant
idea was to produce a picture.
Michelangelo revels in the Pro-
methean pleasure of calling into
existence aU the capabilities of
movement, position, foreshorten-
ing, grouping of the pure human
form. The Last Judgment was the
only scene which gave complete
freedom for this, on account of the
floating of the figures. From a
picturesque point of view also his
work is sure of undying admiration.
It were needless to enumerate the
incidents singly: no part of the
whole great composition is ne-
glected in this respect ; every-
where one may ask for the where
and how of the position and move-
ment, and an answer will be ready.
Although the group surrounding
the Judge may excite some feeling
of repulsion by the exhibition of
the instruments of their martyrdom
and their brutal cry for revenge ;
though the Judge of the world is
only a figure like any other, and in
truth one of the most constrained ;
yet the whole work remains alone
of its kind upon earth. *

The two ]a,rge waU pictures in
the neighbouring Cappella PaoUna, a
the Conversion of Paul and the
Crucifixion of Peter, of the latest
time of Michelangelo, have been
disfigured by a fire, and so 01-
lighted (perhaps the best in the
afternoon), that one understands
them better from engravings. In

* Of the conditioa of the work before
it was painted over, which was done hy
Daniele da Vol terra, hythe order of Pain
IV., a copy hy Marcello Ven-usti (or Sebas-
tian del Piomio) in the Museum of Na-
ples, gives the best description, in spite
of obvious liberties that have been taken
with it

127

the firs the gesture of Christ ap-
pearing above is overpowering in
its force. Paul oast to the earth
is one of the most excellent motives
of the master. *

It is weU known that no easel
pictures exist by him, with the
single exception of an early circular
picture in the Tribune of the
a Uffizi.-^ The intentional difficulty
(the kneeling Mary Ufts the child
from the lap of Joseph, sitting be-
hind him) is not quite overcome :
no one ought to paint Holy Fami-
lies with a feeling of this kind. The
background is, as in Luca Signo-
relli, peopled with figures in action
without any clear connection. The
little John runs by the stone para-
pet with a mischievous look.
b In the Biuyrmrroti Palace at Flo-
rence there are exhibited a number
of drawings, among which one of a
Madonna nursing the Child is espe-
cially beautiful : an earlier sketch
of the Judgment ; a large picture
of the Holy Family, perhaps begun
by Michelangelo, but which from
the coarseness and incorrectness of
the drawing can hardly have been
c painted by himself. In the Brera
is the picture found in Biaphael's
possession (and ascribed to him in
spite of the inscription in his own
hand, "Michelle angelobonarota"),
the pen and ink drawing of the so-
called Beraaglio de' Dei : here nude
figures, plunging down from the
air, drawing their bows aim with
the greatest passion at a terminus,

* Between the Michelangelo of the Six-
tine Chapel (1609) and that of the C. Pao-
lina (1542), there is so immense a deca-
dence, that it is no sin against the genius
of the great master, to feel the last wall-
paintings unpleasant, even altogether xm-
enjoyahle. — Mr.

t In England there are two genuine
easel pictures, in the National Gallery,
the (unfinished) Madonna with the Child,
and four angels, known through the Man-
chester Exhibition, formerly in the pos-
session of Lord Taunton, in London ; and
a lately acquired deposition, also un-
finished.— Mr.

protected against their arrows by a
shield, while Cupid slumbers on
one side; a splendid group of
kneeling, running, and flying
figures, all combined into a won-
derful picture. Raphael may have
found it an interesting task to
have this execnted in fresco by one
of his pupils (reversed, apparently
from an engraving ) ; at least, this
is the subject of one of the three
frescos which have been trans-
ported from the so-called Villa of
Raphael to the Palazzo Borghese at d
Rome (9th room).

Other compositions of his only
exist as executed by pupils. I do
not know whether the picture of
the Three Fates in the Palazzo PUti «
(executed by Rosso Fioremtmo) be-
longs strictly to this category ;
Michelangelo would probably have
conceived such a subject more
energetically. Several examples
(e.g., Palazzo Sciarra and Palazzo/
Oorsini at Borne) are preserved of a
Holy Family of peculiarly solemn
intention ; Mary, sitting on a kind
of throne, lays aside her book and
gazes at the child fast asleep lying
grandly upon her knee; from behind
look on, listening, Joseph and the
little John. In the sacristy of the
Vaticwn, an Annunciation, executed g
by Manello Venusli ; Christ on
the Mount of Olives, divided, not
very happQy, into two incidents
among others in the Palazzo Doria h
at Home. Of the Pieta and the
Crucifixion I can mention no ex-
ample in Italian collections, nor of
any of the mythological composi-
tions, Ganymede, Leda, Venus
kissed by Love, — of the latter a
repetition in the Naples Miiseumi
by Angela Bronzino ;* there also
is the very beautiful original car-

* Of the painted portraits of M. An-
gelo, the one in the Capitoline Gallery
(according to Platner by Marcello Venmti)
is certainly the best. That in the Uffizi
seems to be certainly a work of the 17th
century.

128

Painting of the Sixteenth Century.

toon. A higher value naturally
attaches to such pictures as Mi-
chelangelo had executed under
his own supervision, principally by
8. del Piomho. The most important
of these, the raising of Laaarus, is
a in Loudon ; next comes the Scourg-
ing of Christ, in S. Pietro m Mon-
itorio, at Eome (left chapel to the
right, painted in oUs on the wall) :
here the painful subject is grandly
given : the moving executioners
bring out the suffering principal
figure into wonderful relief. The
surrounding paintings are said to
have been also executed from
Michelangelo's sketches. (A good
small repetition in the Palazzo Bor-
cghese, 3rd room. No. 48.) Lastly,
is the Descent from the Cross, by
Damiele da VoUerra in the TrinitA
d «fe' Monti (1st chapel on the left).
It is impossible not to suppose that
Michelangelo designed the best
things in it, since all the remaining
works of Daniele (with the single
exception of the Massacre of the
e Innocents in the Tribime of the
Uffizi) are immensely inferior to
this. The sinking down of the body,
round which the people standing
on ladders form as it were an
aureole, is too wonderfully beauti-
ful, and their movements are too
excellently thought out and ar-
ranged, for us not to believe this is
Michelangelo's own. The lower
group also round the fainting
Madonna is excellent, but already
sets the pathological interest in the
place of the purely tragic. The
whole picture much injured and
restored.

Michelangelo had, properly
speaking, no school; he executed
his frescos without assistance.*
Those who (chiefly in his latest
time) in some degree attached
themselves to him we shall meet
again among the mannerists. His

* [*' Without assistfvnce." This is one of
the marvellous statements which modern
research has proved to he false.— Ed.]

example was in painting also most
dangerous. No one would have
dared to resolve what he did and
carried through with his gigantic
power, but every one wished to
produce such effects as his. After
his death, aU principle in all the
different arts was overthrown ;
everyone strove to reach the abso-
lute, because they did not under-
that what in him appeared uncon-
trolled, in fact, took shape from his
inmost personality.

FRA BARTOLOMMEO.

Florentine painting has not yet
reached its highest bloom in Lio-
nardo and Michelangelo. The
manifold impulses of life which
the fifteenth century awakened
and formed in these sacred homes
of art attain a perfection in two
other great masters, which is spe-
cial in its kind, and is quite inde-
pendent of the two first.

The one is Pra Partolommeo
(properly JBaceio della Porta, 1475-
1517), originally a pupil of Cosimo
Kosselli ; he owed to Lionardo his
deliverance from the chains of the
fifteenth century; his positive*
qualities are his own. He was the
first painter capable of fuUy con-
ceiving, and again arousing the
lofty feeling which springs out of
the harmonious union of grand
characters, pure, imposing (h-ape-
ries, and grouping, not simply sym-
metrical, but arranged in architec-

• The two wonderfully beautiful little
easel pictures in the Ufflzi (Adoration of
the Child and Presentation in the Temple)
are regarded as early works, of the time
hefore the master had entered the convent
of S. Marco (therefore before 1600). Re-
peated study of the pictures makes one
less and less able to agree with this assumed
date. [Yet these little pictures are alto-
gether in the style of Pra Bartolommeo.—
Ed.) The certain series of the works of the
Frate then begins (exclusive of the Last
Judgment in S. M. Nuova of 14SS— 99) with
the Madonna di S. Bernardo, of 1506—7, in
the Academy.

o
a
S
S

o
o

<

OS

o
o

w

H

S
o

04

Fra Bartohmmeo.

129

tonically built-up compositions.
His personal feeling has not always
been strong enough fuUy to give
life to this great framework ; and
in this he is inferior to Lionardo,
who always gives beauty, life, and
character combined. Also he
would not have been equal to
dramatic compositions. Bat what
is wanted, in the stricter sense,
for an altar-piece has been repre-
sented by no one with more perfect
BTiyimity.

The freedom and grandeur of his
conception of character can be best
studied in detail in a number of
heads of Saints in fresco in the

a Academy at Florence ; in addition
to which is a splendid Ecce Homo

Sin the P. Pitti. Though not pos-
sessing Lionardo's endless energy,
they are yet pictures of human
beings grandly conceived, some-
times with a truly heavenly ex-
pression. Two circular fresco pic-

c tures, also in the FlorcTux Academy,
Madonnas, are remarkable as pro-
blems in lines ; obviously his chief
study was how to arrange the four
hands and the two feet beautifully.
For the expression of individual
faces, his Descent from the Cross,

dPal. Pitti, is his masterpiece.
What effect there is in tbe two
profiles of the nobly formed Christ
and the all-forgetting Mother, who
impresses the last kiss on his brow !
With what unerring dramatic cer-
tainty is the grief of John marked
by the additional element of physi-
cal straining ! No lamenting out
of the picture, as in Van Dyck, no
intentional heaping up of the im-
pression by crow(Ung the figures,
as in Perugino.

His remaining pictures are al-
most entirely grand constructions,
severely symmetrical on the whole,
yet very beautiful and graceful in
detail. When the characters are
produced from his own inner feel-

. ing, they are all works of the first
rank.

Unhappily, the only large scene
of this kind, the fresco of a Last
Judgment, in S. M. Nuova, in a e
partition of the court left of the
church, is nearly effaced, piaised
from the wall and removed to a
safe place inside the convent in
1871.] Yet one can recognise in
the beautiful upper half-circle of
Saints, with a slight perspective
direction towards the back, the
same inspiration by which Raphael
produced tbe fresco of S. Severe, in
Perugia, and the upper group of
the Disputa (1508). Originally
finished in the year 1499, this most
interesting piece is valuable, as
being the first work of Italian
painting in which the Glory unites
aU the solemn dignity of the most
earnest creations of the Gothic style
at its highest and subHmest point
with the feeling for perspective
belonging to the fifteenth century.

Of his altar pictures, the one in
the Gathed/ral of Lucca (furthest/
chapel to the left), a Madonna with
two Saints, of the year 1609, is
especially beautiful, and full of
feeling. On the other hand, there
is the grand late Madonna deUag'
Misericordia, in S. Romano, at
Lucca, of 1 515, on the left, excellent
in special parts, but as a whole less
simple. Also, on the first altar to
the left, the grand figure of God the h
Father, solemnly floating, adored by
S. M. Magdalen and Catherine of
Siena (1509), figures of the highest
female beauty, standing out most
effectively against the low horizon
of the landscape in the clear tone of
the air. A fine Madonna in fresco,
framed as an altar-piece, in S. i
Domenico, at Fistoia. In S. Marco,
at Florence (second altar on the/
right), also an early, very large
picture, which shows Fra Barto-
lommeo's style of composition al-
most in perfection ; the Madonna,
noble and easy in position ; the
two kneeling women in profile,
are types of symmetrical figures,
K

130

Painting of the Sixteenth Century.

never to be surpassed ; the angels
still in tlie style of tlie fifteenth
century, employed in holding up
the curtain, but showing already
the higher style of the sixteenth
century; the colour, when it re-
mains, is of a deep gold tone. In

a the convent adjoining is the simple
beautiful lunette, above the back
entrance to the Refectory, Christ
with the two travellers to Emmaus,
in whom he made portraits of two
members of the Order. [Now in
the convent, having been sawn from
the wall. — ^Ed.] In the chapel of

b the Oiovcmato there, a, half-length
of the Virgin ; in the dormitory,

cfive busts. In the Academy, the
Madonna appearing to S. Bernard
(of 1506-7), has something hard in
the heads ; here the group of angels
round the Madonna is composed
with the usual severe symmetry,
but very beautifully placed in pro-
file or three- quarter view, while at
the same time their floating is ex-
pressed with as much lightness as
dignity : to be convinced of this
one has but to compare this with
the painters of angels immediately
succeeding in the fifteenth century.
The most perfect thing which Barto-
lorameo ever produced is, perhaps,
the Risen Christ with four Saints

d (P. Pitti) ; the gesture of benedic-
tion could hardly be more grandly
or solemnly represented ; the Saints
are sublime figures ; the two chil-
dren, supporting a round mirror,
with the picture of the world (as a
landscape), complete in the loveliest
way this simple and severe com-
position. There also is a large
rich altar-piece out of S. Marco
(where is now a copy), of 1512,
somewhat commonplace in the
character, and much darkened by
the brown painting over in the
shadows, but a marvel of composi-
tion ; the angels supporting the
canopy correspond very exactly to
the semicircular group below (com-
pare Raphael's Disputa). In the

Ufflzi there is a very small, circular e
picture, No. 1152, the Saviour sup-
ported in the air, floating upon
two angels and a cherub, very re-
markable as construction ; but still
more so is the large brown under-
painting of the picture of St. Anna,
the Virgin and many Saints, hap-
pily quite finished in the under-
painting, and also in the thoroughly
beautiful and striking characters,
so that the perfect architectonic
idea is not only everywhere clearly
set forth in a lively manner, hut
also filled with the noblest indivi-
dual life.

Of single figures, the colossal
St. Mark (P. Pitti) is the most im-/
portant. But here the Frate falls
into the same perversion which we
find in Michelangelo ; he creates an
immense subject for merely artistic
reasons ; in the head, also, there
is something falsely superhuman;
but the drapery, which was really
the principal object, is a marvel-
lous work. The two Prophets in
the Tribime of the Uffizi have alaog
something not quite simple ; the
two standing Apostles, in the
QwiHnal at Borne, which Raphael * h
finished, I have not seen since the
preparations for the last conclave,
in 1846, and then only hastily.
The figure of S. Vincenzo Ferre-
rius, in the Academy, Qaadri Grandi, i
No. 69, is a most splendid picture,
which combines character, expres-
sion of the moment, and Titian-
esque power of colour ; the room of
sketches likewise contains excellent
single figures by the Frate. .

In the Musevm, of Naples is the^
great Assumption of the Virgin,
painted from his sketches, and
partly executed by himseU ; the
great Madonna enthroned with
seven Saints in the Academy at
Florence, Quadri Grandi, No. 65,
is only the work of. pupils. So the i
Pietd,, Qu. Gr. No. 74, by the feeble I

" This is doubted by Crowe and Cav.

Andrea del Sarto.

131

PlavMlla Nelli, after Pra Bartolom-
meo'a composition.

Of his pupils, only Mcmotto Al-
hertineUi, liT'^lSlS, is important.
Perhaps before he knew the Frate,
he painted the beautiful circular

a picture in the Pal. Pilti, the Ma-
donna adoring the Child, while an
angel holds out a cross to it. Then
follows under the early influence of
the Frate the altar fresco of Christ

5 crucified in the chapter-house of the
Certosa ; lastly, the Visitation in

cthe Uffizi, with only two figures,
composed with real feeling for har-
mony, of his best time, and the
Madonna enthroned with two kneel-
ing and two standing Saints in the

d Academy — works of which only the
greatest master could be capable.
In the remaining pictures of the
same collection he enters with com-
plete earnestness into the manner
of construction of Ms master ; with
the greatest success in the "Tri-
nity ; " more stifly, but in part with
the most beautiful and noble ex-
pression, in the large Annunciation

«(1510). In the Turin GaJ,lery, No.
584, the circular picture of a Holy
Family [according to Cr. and 0. by
Bugiardmi under the influence of
Mariotto.] A number of pictures
of 1510-1512 are the joint work
of Fra Bartolommeo, Mariotto [and
others], which generally, besides the
date, bear the sign of two rings
joined with a little cross ; in the

/Siena Academy, Quad. Diversi, No.

9 91, Sciwrra Qallery, r. 4, No. 1 ;

"•Borghese Gallery, 2, No. 31; Pal.

* Cordni ; Madonna with two Saints

1 of 1512, in S. Caterma at Pisa; others
also at Florence and elsewhere. —
Mr.]

The nun Plautilla Nelli is only
interesting when the forms of the
Frate (whose drawings she in-
herited) are clearly visible in her
pictures. The good Fra Paolino
da Pistoja usually falls into the
weak Peruginesque style (Madonna

ftdeHa Cintola in the Florentine

Christ Crucified, with
Saints, in the cloister of S. Spvrito I
at Siena). [This last is after a draw-
ing of the master, but weakly ex-
ecuted, conventional, and without
feeling ; only endurable for its
pleasant colouring. — Mr.]

ANDREA DEL SARTO AND HIS
CONTEMPORARIES IN FLORENCE.

Along with Fra Bartolommeo, An-
drea del Sarto (1487-1531) asserts a
greatness of his own. A wonderful
mind, though partial in its gifts,
and one of the greatest discoverers
in the domain of technical art.

He is on the whole deficient in
what we may call souL His im-
pulses are essentially artistic in
their nature; he works out pro-
blems ; hence his indifference to
the higher beauty of expression,
the constant adoption of a particu-
lar type, which makes his Madon-
nas and his angels so recognizable,
and is even felt in the character of
his heads, in the special form of
the skull, of the eyes, of the chin.
Where this suits the subject, its
efieot is sublime ; for instance, he
gives to the young John the Baptist m
(Pitti, No. 265) the severe pas-
sionate beauty which is essential
to this figure ; sometimes he adopts
a high sensuous loveliness, as for
instance is exemplified in the angel
accompanying Gabriel in one of the n
three Annunciations in P. Pitti, No.
97 (unhappily much painted over) ;
also there are some Putti by him
which are inferior to none of Cor-
reggio's in beauty and naiveti, as
e. g. in the splendid Madonna with
S. Francis and S. John the Evange-
list, of 1517, in the Tribune of the o
TJffizi; they cHng to the feet of the
Madonna while the merry Christ-
child climbs up to her neck.

Andrea is certainly also the

greatest colourist produced by the

country south of the Apennines in

the sixteenth century. As he did

k2

132

Painting of the Simteenth Century.

not work on a method already
formed in a school, but had each
time to make out his principles
afresh by his own effort, and his
conscientioxisness not seldom failed,
his works areveryunequal in colour-
ing ; thus, along with the wonderful
picture in the Tribune mentioned
above, with the gold tone of colour,

a the large Holy Family in the Fa-
lazzo Pitti, No. 81, the two simple
and beautiful portraits in which
light and colour and character are

5 so fuUy harmonised ; * (P. Pitti,
Uffizi). [The most beautiful cer-
tainly is his own portrait, No. 1147,
in the Uffizi, painted in a masterly
manner, with liquid medium as in
distemper on fine canvas ; No. 66,
in the Pitti, is a repetition not quite
equal to this, heavy in tone and
somewhat mistreated, but still
charming. — Mr.] ; we find, besides
these, some paintings very motley
in colour, and yet dull. Never-
theless Andrea, first of all the
Florentines, has attained a certain
harmonious scale, a deep, often lu-
minous transparency of colours ;
he also first allowed to colour a co-
determining influence in the com-
position of the picture. Not for
nothing do his draperies fall in
folds so effective in their breadth.
One must confess that they are
enohantingly beautiful in cast and
contour, and seem unconsciously to
give us the complete impression
of the living figures.

But in the essential points his
composition is as severely architec-
tonic as that of Fra Bartolonameo,
to whom he clearly owed his best
qualities. Here too there is real
symmetry concealed under con-
trasts. But, as he had not the
feeling of the Frate, the framework

* Whicli of them represents himself,
we leave undecided. Tliat with the lady
(P. Pitti, No. lis) is very stiff for the com-
paratively late period. The bad drawing
in the hand, and the llfelessness of the
head of the lady, make one doubt.

sometimes remains unfilled. How
far inferior to that of Fra Barto-
lommeo is his beautifully paioted
Descent from the Cross, P. Pitti, a
No. 58, 1524. The motives, classi-
cal in lines and colours, are al-
most nothing as to expression of
mind — wealth without purpose.
Also in the beautiful Madonna
with the four Saints, 307, of the
same year ; the unsatisfying cha-
racters contrast with the solemnity
of the whole. Of the pictures in
the P. Pitti the Disputa deUa Tri-if
nitk. No. 172, shows the most
intellectual life ; it is a Santa Con-
versazione, more serious and con-
nected than most of the Venetians,
and is likewise a grand picture of
the first rank. The two large As-
sumptions are both late, resemble
each other greatly, and have much
that is conventional, but also great
beauties (No. 191, left unfinished,
and No. 225). This want of feeling
often strikes us, especially in the
Holy Families, along with the great
artistic merits j sometimes it seems
as though the two mothers and the
two children had no near relation
to each other. Of these, besides
the Florentine collections, the P. e
Borghese at Rome possesses several ;
also a beautiful and genuine pic-
ture in S. Giacomo degli Spagnuolif
at Naples, right of the chief door ;
one in Turin. [Of the pictures in g
the Palazzo Borghese I consider only
one, third room, No. 28, as genuine, h
Among the Holy Families, No. 81,
in the P. Pitti, is refined and power- i
fnl. A genuine replica of it in P.
Brignole Sale in Genoa.— Mr.] j

As a historical narrator Andrea
has produced immortal works. The
frescos in the entrance-court of the
Annunziala exhibit indeed partly*
the same, almost too severely archi-
tectonic symmetry; in the three
first pictures to the left, subjects
from the legend of S. Filippo
Beuizzi, finished before 1510, the
group is formed in rows, mounting

Andrea del Sarto.

133

to a pyramid ; there is never any
sufficient expression of a truly dra-
matic grand action ; in tlie Ado-
ration of the Kings (last picture
on the right), the chief group will
be found stiff. Nevertheless these
paintings exhibit the most charm-
ing variety of new motives of life ;
the painter gives us the true en-
joyment of seeing simple expres-
sions of life very pure and perfect
in form, noble in proportions, and
beautifully arranged without any
feeling of crowding. In consider-
ing details a number of the figures
of the first, second, and fifth picture
impress themselves indelibly; in
spite of all injury, we recognise in
the last named (Clothing of the
Leper), in the form of S. FiHppo,
one of the highest creations of the
golden time. The Birth of the
Virgin (last picture but one on the
right) is the latest conception of
this subject in which it seems to
bloom out into pure beauty ; even
Domenico Ghirlandajo seems nar-
row and harsh by the side of this
wonderful richness. Except the
pictures of the elder masters {Ales-
sio Baldovinetti^s Birth of Christ,
last picture on the left, and Cosimo
Bossdli's Investiture of S. Filippo,
the last but one on the left), the
pupils of Andrea Lionardo have here
given us the very best. Next
to him is Francidbigio in the Mar-
riage of the Virgin (injured by the
well-known blow with a hammer) —
a work inspired by careful and in-
dustrious study of good models.
In the Visitation by Pontormo,
which is by far his greatest work,
the ideal of Andrea and Bartolom-
meo is elevated by the highest ex-
penditure of power into a new
whole. Only the Assumption of
the Virgin by Rosso certainly shows
the style of Andrea run wild.

Besides this, in his later time
(1516-27), Andrea produced the
only Last Supper which can be even
distantly compared with Lionardo

— the large, in part beautifully pre-
served, in part much-defaced fresco
in the Refectory of the former Oon- a
vent of S. Salvi, at Florence. (Ten
minutes from the Porta della Croce,
on the left from the road.) The
moment chosen is when Christ
takes the piece of bread to dip it
into the dish, while Judas, alone
of them all, has already a piece of
bread in his hand. The characters
are noble, and strongly marked
with life, but far removed from
the sublimity of those of Lionardo,
which, each in its kind, represent
a complete range of expression car-
ried to the highest conceivable
point. Andrea also, for the sake
of the certainly extraordinarily
powerful picturesque effect, gives
his personages very various, some-
times far from ideal, draperies ; a
variety of which the eye can feel
the beautiful result long before it is
aware of the cause of it. Here, as
with Lionardo, the play of the han ds,
which alone express the various
feelings, is indescribably living,
how Christ soothes the questioning
John, how Peter laments, how
Judas is closely pressed. (Best
light, afternoon.) Francidbigio in
this subject (Last Supper), in the
Refectory of <S. Giovanni della b
Calsa, in Florence, has not nearly
equalled del Sarto.

The Madonna del Sacco also, in
a lunette of the cloister of the c
Annunziata, 1525, gives the highest
point of Andrea's colouring and
rendering in Fresco, except his Last
Supper.

Lastly, there is a series of
monochrome frescos in brown, by
his hand, in the little court of
the fraternity dello Scaizo (nearrf
S. Marco : it is only shown by one
of the Custodi of the Academy,
who .must accompany the visitor
thither). The subject is the life
of the Baptist. With the excep-
tion of two early ones, and two
executed by FroMdabigio, the

134

Painting of the Sixteenth Centv/ry.

whole of these compositions are,
in spite of their plainness, among
the most powerful and freest crea-
tions of the mature time of Andrea.
The stiffly architectonic character
of the earlier frescos in the An-
nunziata is here lost sight of in
pure spirit and life. The condi-
tions of monochrome, which ex-
cluded all more delicate working
of his faces, all charm of colour,
appear to have stirred up the
master to do his very best. Among
the early ones, the Baptism of the
People by John is a higher (indeed
the highest) conceivable grade of
the well-known fresco of Masaccio ;
among the later ones, the Visita-
tion, the Beheading, and the Bring-
ing in the Head are the best;
among the allegorical figures, the
Caritas, which far surpasses the
picture in the Louvre. [It is re-
markable that Andrea here adopted
several figures from A. Durer's
engravings in his compositions, as
the Pharisee listening to the Preach-
ing of John, a woman seated in
the Baptizing of the People, and
others.] On this inspiration is
also painted the spirited little
PredeUa, with the histories of four

"Saints, in the Academy (where
there is nothing else remarkable
by Andrea except the picture of
the four Saints). The two Stories

" of Joseph (P. PiM) give no idea of
his capacity.

Beyond the limits of Florence,
the Cafhed/ral of Fisa, in the choir,

"contains a number of splendidly
painted single figures of Saints of
1524.

Of his pupils and followers, the
best have already been named.
By Franciahigio (1482 — 1525) there
are some pieces (long narrow
pictures), with little figures, in

dthe UJjfizi and the Pitti ; a good
portrait of a man in a hat (1517)

ein the Pal. Oapponi.* Pontormo

* Apparently a portrait of himself ; also a
very beautiful portrait of 1614, in P. Pitti,

{Pwntormo, 1494 — 1557) is only
prized for his likenesses (P. PitHtf
Ippolito Medici ; Uffizi, the elder „
Cosimo, in profile, admirably recon-
structed upon a fifteenth century
portrait). Of his other works the
earliest are the best, at least in the
colouring (Uffizi: Leda with the J
four Children in a landscape ; Cap- {
pella de' Pittori at the Annunziata;
fresco of a Madonna with Saints,
still quite in the manner of the
master; Pimacoteca at Bologna:,'
Madonna with the Child, standing
behind a bench). * The later works
appear mannered, through the in-
troduction of forma only for the sake
of their real or supposed beauty.
S. Felicitd,, in Florence (first A
chapel on the right) : Descent
from the Cross ; P. Pitti, the I
Forty Martyrs, with histories
(Uffizi), (very scattered). Domenicom
Puligo was misled by the effects
of colour and light of Andrea ; his
forms became, on this account, >m-
decided, his drawing faint. Pal.
Pitti: a holy family j a Madonna ra
nursing. Pal. Corsini, mYioTence: o
several paintings. As one of the
earliest portrait-painters by pro-
fession, he might, perhaps, lay
claim to more than one likeness
which now passes as the work of
his master. Angela Bronxmo, 1502 —
1572, pupil of Pontormo, must, as
an historical painter, be placed
among the mannerists. But, as a
portrait painter, he is inferior to
none of his contemporaries, not
even the Venetians, far as they
surpass him in colouring, which in
him is always somewhat chalky.
In his manner. Pal. Doria, atp
Borne : excellent portrait of Gia-
nettino Doria ; Naples Museum : q
the two Geometricians ; also, cer-
tainly by him, P. Pitti, No. 434, r
the Engineer, grand, after the

No. 43, with a pleasing calmness of expres-
sion, and a look full of feeling.— Mr.

* The latter must belong to Gmliano
Bugiardvni. — Mr.

Rossi — Ohirlandajo — Bidolfo — Garho — Sogliani. 135

majiner of a Sebastian del PiomlDO ;
a Uffiai ; the young Sculptor ; a
Lady in a red dress ; a Youth with
a letter ; a red-bearded Man in a
porch ; all painted as if for the sake
of giving their special character-
istic: the Lady with a Child, on
6 the other hand, a mere portrait,
perhaps of a Medici.* Pal. Cor-
smi : several portraits. Pal. del
c Commune, at Prato : Medici por-
traits, of the school of Bronzino.
Similar inferior ones, with later
ones, in the passage which leads from
d the UiEzi to the Ponte Vecchio.
Bosso de' Bossi (Rosso Fioren-
timo, died 1.541, in France) ; also a
follower of Andrea. He very early
shows the way which the deca-
dence would take. The forms of
Andrea are made by him alluring,
even to sensuality, in order to give
overpowering effect to the compo-
sition only by great masses of
e light and colour. Pal. Pitti : large
Madonna with Saints. S. Lorenzo,
f second altar on the right : Mar-
s' riage of Virgin. ;S. Spirito, on an
altar, left : Madonna enthroned
with Saints (copy).

Some other masters of the earlier
Florentine schools still continue to
paint at this time. Bidolfo Qhir-
la/ndajo, the son of Domenico, and
later pupil of the Frate, has, in two
h pictures in the Uffizi (S. Zenobius,
resuscitating a dead boy, and the
Burial of S. Zenobius), either given
proof of a great talent, or made a
very lucky hit. Movement, group-
ing, heads, and colour are quite
equal to the golden time ; never-
theless some negligences iu the
drapery betray, by the want of
seriousness, the future manner-
ist : an excellent, true, though harsh
i female portrait, in the Pal. Pitti
(1509), shows what he could do
in execution if he chose. + The

• Probably by his nephew, AUssandro
A.UoH.—'HiT.

t In this and the following year the
example of Baphael, with whom he was

frescos in the Sala de Qigli of they
Palazzo Vecchio (Patron Saints and
Heroes) already appear to be the
production of an exhausted fancy,
which throws itself back on the
fifteenth century. Other things
are pure mannerism. Thus, a
Madonna del Popolo, painted by
Eidolfo and his uncle Damde, ini
S. Felice. [His most beautiful
work known to me in Italy, over
the entrance of the Cathedral at I
Frato : the Madonna floating above
her grave, filled with roses, reaches
her girdle to S. Thomas ; at the
side are Angels and Saints. — Mr.]

By Michele di Bidolfo, among
others, is the picture of the Thou-
sand Martyrs, in the Academy; m
simply a careful study of the nude.

By Baffaelino del Garho, a
scholar of Filippino somewhat be-
hind the time, who later strove
in vain to acquire the great
style, there is a Eesurrection
(Academy), his only early picture?}
of importance ; in the Sacristy of
S. Lorenzo, a Birth of Christ. Ino
the Cappella Caxrafa, in the Minerva, p
at Home, begun by his master, he
painted the roof, now much in-
jured. [We refer the reader to
C. and C.'s critical investigation of
the relation of the various Baphaxls
of Florence. To Baffaelino del
Garho certainly belongs the Ma-
donna between Saints, of 1505, on
the second altar on the left, in the
left transept of S. Spirito, at Flo- j
lence. — Mr.]

Giovanni Antonio Sogliani, a
pupil of Gredi, has, in hia most
beautiful picture, on an altar on
the left in iS*. Lorenzo, representing r
the Apostles awaiting martyrdom,
nearly equalled his master and
almost even Andrea del Sarto. The
PredeUa also, by thevery rarely seen
painter Bacchiacca,. is a thought-
ful work. In the Academy, be-s

in friendly relations at Florence, exercised
the most beneHcial inflnence on Bidolfo. —
Mr.

136

Painting of the Sixteenth Century.

sides inferior pictures, there is a
Madonna enthroned, with Tobias,
his Angel, and S. Augustine, also

a much like Credi ; in the Uffim, a
Madonna in a landscape, merely
well painted ; in the sacristy of

bS. Jacopo, a Trinity with Saints,
which are good, and in part quite
noble. [A beautiful picture of

cS. Catherine in the Torrigicmi

Gallery, at Florence ^Mr.]

Cfiuliano Bugiwrdmi, an artist
who succumbed to very various in-
fluences, follows D. Ghirlandajo in

dthe Birth of Christ (Sacristy of S.
Oroce), and afterwards approaches
Lionardo in his treatment ; a Ma-

e donna nursing, in the Uffizi, No.
213 ; one of his best pictures ; a
large Madonna enthroned, with S.
Catherine and S. Antony of Padua,

/in the Fmacoteca at Bologna.
At last Michelangelo overset his
imagination. The well-known

gr Martyrdom of S. Catherine, in S.
M. Novella (Cap. RuoceUai, near
the Cimabue), is really the martyr-
dom of the conscientious artist him-
self, and an instructive memorial of
the fermentation into which certain
minds were thrown by the master
of the Last Judgment. We may
conceive the whole misery of hunt-
ing for motives. [Still Fra Bartol-
lommeo is to be mentioned as his
principal model, for whom, accord-
ing to Vasari, he used to complete
pictures begun by himself ; among

h others, the PietS., in the Pitti, No.
64. His unsigned pictures often
bear finer-sounding names ; as the
Madonna del Pozzo, ascribed to Ra-

i phael, in the Tribune of the Vffizi,
undoubtedly his work* ; so, also, the
circular picture of the Holy Family
with the Baptist, No. 1224, called
KidoKo Ghirlandajo. Further :
John the Baptist, in the right side

y aisle of S. M. delle Grazie, at
Milan ; two pictures in the Sor-

* [The Madonna del Pozzo is clearly by
Francia Bigio, to whom Vasari assigns it.
—Ed.]

gtiese Gallery, at Some, second i
room, Nos. 40 and 43 ; in Turin, the I
great Annunciation, No. 588, and
a Holy Family, No. 584.— Mr.]

RAPHAEL.

It might seem almost superfluous
to speak here of KaphaeL He
always gives so much that is ever-
lasting ; unasked, he spreads his
beauties before us with such direct-
ness that every one who sees his
pictures can find his way without
a guide, and can carry away a
lasting impression. The following
suggestions are but intended to
clear up the sometimes hidden
reasons of this impression.

What is usually called fortunate
in Raphael's life (1483-1520) was so
only on account of his special cha-
racter, and because his nature was
so thoroughly strong and healthy.
Others might have been wrecked
in like circumstances. Soon after
his father's death (Giovanni Santi,
died 1494), he entered the school of
Perugino, and worked under him
till 1504. Thus his youth was sur-
rounded only by pictures of exag-
gerated expression of feeling, and
of almost mathematical symmetry.
The school might be considered as
behindhand, and very undeveloped,
as to any questions of variety of
drawing and composition, of the
study of the whole human form;
and even the expression was then
passing in the Maestro Perugino
into a mechanical repetition of what
was considered as tender and beau-
tiful. It seems as if Raphael had
not noticed it. With the most
wonderfully childlike faith he
enters into Perugino's (then only
fictitious) mode of feeling, and en-
livens and varies the decaying Hfe.
When he paints as assistant in the
pictures of the master, one seems
to recognise the characteristics of

Raphael — Florentine Period.

137

Perugino's own best youthful time,*
as he ought always to have painted ;
80, also, is it with Raphael's own
earlier works. In the Coronation

a of the Virgin ( Vatican Gallery) we
see, for the first time, what Peru-

• gino's style could reach ; how dif-
ferent, how far superior to his
master is Raphael in the whole
result, in the divine purity with
which he expresses tender devo-

«»tion, beautiful youth, and inspired
old age, besides that he is al-
ready far more refined in drawing
and drapery. The little PredeUa

6 pictures of this altar-piece in another
haU of the same gaUery already
show a freedom in forms and man-
ner of narration almost Florentine.
Also, in the Sposalizio (Milan,

cSrera), with the date 1504, Raphael
goes far beyond the composition of
his school : the most perfect sym-
metry is picturesquely relieved by
the most beautiful contrasts ; the
incidents of the Ceremony and
those of the action (in the suitors
breaking their rods), the lively
group, and the serious lofty archi-
tectural background, with which
other Pernginesques, as, for in-
stance, Pinturiocmo, play so child-
ishly, produce together an almost
purely harmonious whole. The
expression of the heads will, per-
haps, be found less sweet than in
many of the engravings. The
little Madonna Connestabile, now

din possession of the Emperor of

* TMs is seen especially in Eaphael's
shaie in the Adoration of the New-bom
ChUd, in the Vatican Gallery (4th room
No. 26, II Presepe delle Spinetta). For
the head of Joseph is altogether regarded
as his work , the heads of the angels and
of the Madonna are certainly either by
him or by Lo Spagna. [The whole work is
by Spagna,— Ed.] In the Eesurreotion,
also to be found there (IV. 24), the sleep-
ing youth on the right must at least be
ascribed to him. [In the Sacristy of 8.
Pietro at Perugia, the John kissing the
Child Christ is a copy after Perugino's
large altar-piece in Marseilles, of 1512—
17, therefore not by Raphael.— Crowe and
Gayalcaselle.]

Russia, one of the greatest jewels
of painting of miniature size, is
better conceived, in a circular
shape, and more beautiful and easy
in attitude than any similar picture
of the school ; in the perfect charm
of the two figures, and the en-
chanting spring landscape with the
snowy hills, one forgets to com-
pare. * One may say th at Raph ael,
when towards the end of 1504 he
abandoned this school, had not
only entirely adopted all the good
sides of it, but in general expressed
its especial character far more
purely and loftily in his works
than any of his contemporaries in
the school.

FLORENTINE PERIOD.

He betook himself to Florence,
which just then was the gathering-
place for the greatest artists of
Italy. Michelangelo and Lionardo,
for instance, were there, producing
in their (lost) cartoons the greatest
wonders of historical composition :
it was a great moment of fermenta-
tion in art. Any one wishing to
understand it should look into the
left transept of S. Spirito in Flo- e
renee, on the second altar to the
left, for the picture with the date
1505, which is now commonly as-
cribed to Ingegrw [EafaelUno del
Garbo, see p. 135 q\; in the Ma-
donna with Saints our eyes are
mocked by four or five painters of
different schools.

Raphael did not allow himself
to be distracted. He soon found
among the Florentine painters, as
it seems, the one who could most

• The pictures from S. Trinita at Citta
di CasteUo (Trinity and Creation of Eve),
now in a private house, Casa Berioli deUa
Porta, are much tojured. The Madonna
in the Casa Alfani at Perugia is a very
early Peruginesque.— Mr. [It passed from
the Casa Alfani to the Casa Patrizi at
Terni, but is only a reduced copy of Peru-
gino's Madonna at the Vatican, and cer-
tainly not by Raphael. — Ed.J

138

Fainting of the Sixteenth Century.

help Lim on his way, the great Pra
Bartolommeo, who not long before,
after an interval of several years,
had again returned to painting.
He was mostly employed on the
same subjects as the Perugian
school, namely, votive pictures ;
only he accomplished pictoriaUy
what they had left undone ; he not
only arranged his saints and angels
symmetrically near and among
each other, but he constructed real
groups with them, and enlivened
them by contrasts and by fine de-
velopment of physical forms. His
influence on Baphael was decisive ;
if we calculated it, the result might
be that Raphael owed to him his
strongest impulse towards aseverely
architectonic and yet quite living
manner of composition.

The earliest sign of this influ-
ence (see p. 123 e, the remarks on
the Last Judgment in S. M. Nuova)
is seen in the fresco picture with
which Raphael adorned a chapel of

a the cloister of S. Severe in Perugia.
The perspective foreshortening of
the half- circle of saints, who are
enthroned on clouds, goes far be-
yond the Peruginesque horizon ;
here we have not only variety of
character and position, but a
higher harmony and a grand free-
dom. ThecontrastoftheupperPeru-
ginesque and the lower Morentine
angels clearly express the division
in the artist's mind at the time.

In his easel pictures (presumably)
of the years 1504^1506 he preserves
more of the old manner ; so in the

° Madonna del Gran Duca, Pitti Gal-
lery. This has quite the clumsy,
stiff drapery of Perugino ; but in
the noble expression of the head,
and in the beautiful arrangement
of the child, is one of the greatest
expressions of Raphael's power of
feeling, so that we incline to prefer
it to many later and more perfect
Madonnas.

Raphael lived from 1506-8 in
riorence for the second time, and

this period already was very rich
in important pictures, of which
the greater number have gone into
foreign countries. Yet those re-
maining in Italy afford at least a
sufficient clue to his inner develop-
ment.

Now we see him make a choice :
starting from the firm ground to
which the Prate had helped him,*
he attempts with the surest tact
only what he feels internally suited
to him. The fulness of life, which
is the theme of most of the Flo-
rentines of that time, touches him
too, but only as far as it does not
trench upon the highest things—
the expression of the soul and the
fundamental principles of pictu-
resque composition which gradu-
ally grew in him to a sure form.

Compare only his Madonna of
that time with those of the Floren-
tines ; even those of Liouardo
{Vierge aux Bookers, Vierge awn
Balances, in the Louvre) will give
the feeling that they are less
loftily conceived, and are busied
vrith some mundane occupation, to
say nothing of the rest. Raphael
has an advantage, to begin with,
in the careful construction of his
groups, and stiU more in the lofty
gravity of his form, which keeps
him from all mere accidental traitsi
of life. In intention his Madonna
is nothing more than a beautiful

* Tlie just measure between the two
artists is especially difficult to reach,
when, on one hand, we consider Ra-
phael's Holy Family of this period, in the
Finakothek at Munich, and on the other,
the two Holy Families of Fra Bartolom-
meo, in the P. Corsini at Rome, No. 26,
in the 3rd room, and in the P. Pitti, No.
266, first of the hack rooms. Did Raphael
first create the perfectly pyramidal group
of the Virgin, the two Children, Elizaheth
and Joseph standing above to complete
it ; and did the Frate copy it incom-
pletely, leaving out one figure? Or did
Raphael complete the incomplete idea of
the Frate by his addition? The decision
is doubtful, but the connection of the
two pictures obvious. I am inclined to
adopt the first hypothesis.

Raphael — Florentine Portraits.

139

woman and a mother, as also with
the Florentines : his purpose (except-
ing in the votive pictures in espe-
cial) is not more for edification than
theirs ; if, therefore, one finds the
highest therein, there must be other
reasons for it.

The answer may be found in the

aMadorma del Cwrdellmo (in the
Tribune of the Uffizi) ; the simplest
conceivable pyramidal group, just
enlivened by the action with the
goldfinch : perhaps the full value
of the picture wiU be sought in the
charming form, the pure expres-
sion; but these would have less
effect, they would perhaps be en-
tirely lost, but for the finely calcu-
lated harmony of the details in
form and colour. In Raphael the
detail strikes so powerfully that
one thinks it the essential part ;
yet the charm of the whole is
infinitely the most distinctive
point.

The well-known Belle Jardinifere,
in the Louvre, is a higher step in
the same line, with the Madonna
del CardeUino.

h _ The Madonna del Baldacehmo,
in the Palazzo Pitti, remains a
puzzle. Raphael left it unfinished
on his journey to Rome ; later,
when his growing fame called fresh
attention to the picture, the paint-
ing was continued we know not by
whom. At last Ferdinand, son of
Cosmo III., had it touched by a
certain CassaTia with an appearance
of finishing chiefly by means of
brown glazings. The remarkably
beautiful attitude of the child with
the Madonna (for instance, that of
the hands), the figures on the left
arranged in the grand style of the
Frate (S. Peter and S. Bernard)
belong surely to Raphael ; perhaps
also the upper part of the body of
the saint on the right, with the
pilgrim's staff; on the other hand,
the bishop on the right might be
composed by quite another hand.
The two beautifully improvised

children on the steps of the throne
belong as much to the style of the
Frate as of Raphael ; of the two
Angels above, the more beautiful
one is obviously borrowed from the
fresco of S. Maria deUe Pace, in
Rome, from which it appears that
the first finisher did not touch the
picture till after 1514.

FLORENTINE PORTRAITS.

In bis Florentine portraits, Ra-
phael already stands forth as the
great historical painter, who can
distinguish the characteristic from
the accidental, the permanent from
the transitory. Here, perhaps,
alone, we can trace the influence of
Lionardo on Raphael in the concep-
tion as well as in the careful
modelling which regards no detail
of form as too trifling when it con-
cerns the general and full charac-
ter. If we pass over two very beau-
tiful heads of monks at their devo-
tions in the Florentine Academy c
(Sala de' piocoli Quadri), which
might be of the first Florentine
period [certainly by Perugino,
Ed.] the portraits of Angelo and
Maddalena Doni (in the Pal. Pitti) d
would be his earliest known works
of this kind (1505). The one of
the wife shows an unmistakable
similarity with the Gioconda of
Lionardo (in the Louvre) not only
in outward things, but in its inner
character. Much is formal ; for in-
stance, the position of the hands,
also the colour ; only the concep-
tion of the character and the posi-
tion is quite natural. Of all his
contemporaries, only Lionardo and,
perhaps, Giorgione could have pro-
duced anything so good.

The portrait in the Tribune ofe
the Uffizi, also called Maddalena
Doni, resembles the other picture
like an elder, somewhat invalid
sister, and might have been painted
earlier, — perhaps, soon after his
arrival in Florence, when Raphael
was stm Peruginesque in his ideas,

140

Painting of the Sixteenth Century.

and had not yet seen the Grioconda.
It is so beautiful a picture, and
so characteristic (for instance, in
the arrangement of the hands),
that the doubts of its genuineness

as hardly seem justified. RapliaeVs
own portrait, in the coUeetion of
portraits of painters there, is any-
how undoubtedly genuine (of the
year 1506 ?), easy and graceful in
position, and masterly in painting.
[This picture, which has suffered
greatly, stUl appears somewhat
timid in the execution ; also the
young man looks hardly more than
twenty-one, and accordingly it
would be from 1504 or 1505. — Mr.]

i Lastly, the Pitti (No. 229, Hall
of the niad) contains the portrait
of a, lady of about thirty-five, in
Florentine costume, which is as-
cribed to Kaphael, and in any case
is of first rank. It appears to be
painted by a future master of
chiaroscuro, which Raphael never
was ; also the surfaces of the linen,
and the damask sleeves, show
rather the manner of Andrea del
Sarto. The modelling is wonder-
fully beautiful and careful, such as
is not seen in Andrea's later works.
The foreshortening of one hand
would certainly have been far
better given by Raphael, who was
in this respect so advanced. The
character of the head gives a whole
story of early life, full of love and
goodness. [Comparing it with the
portrait of Maddalena Doni, we
still can but ascribe the portrait
just spoken of to Raphael. The
Ukeness in the hands and the head
is striking. — Mr.]

In the year 1507, Raphael also
painted his first large historical
picture of action ; it is the Entomb-
cment, in the Borghese Qallery, at
Eome — a work of the highest ten-
sion of all his powers, not yet free
from certain awkwardnesses (for
instance, in the arrangement of the
feet), with special forms of face,

which point to a fixed ideal, and
therefore one approaching to a
mannerism, from which Raphael
was again to work himself free.
But it is a never-ending marvel for
arrangement of lines, for dramatic
and picturesque contrasts, and for
expression. It is enough to trace
the distinctions of physical efibrt
and intellectual sympathy, to place
Raphael above all his contempo-
raries. The body of Christ is, in
form and foreshortening, entirely
noble. The Predella belonging toj?
it, representing in grey colour the
figures of Faith, Love, and Hope,
in circular pictures on a greenish
ground, each with two boy-angels
at the sides, is in the Vaiican Gal-
lery. They are apparently mere
sketches, but in the composition
and the demeanour there lies an
expression as telling as could be
desired. With the least possible
means, the greatest effect is here
produced. (The tipper lunette, God e
the Father with Angels, is stUl
to be found in S. Francesco de'
GonvenMuili, at Perugia, where
once stood the whole work ; but
not over the copy of it by Arpvno,
but over an altar-piece on the right-
hand side, the Birth of Christ, by
Orazio Alfami. The genuineness of
this is doubted. In the Pinacotecaf
there. No. 42, a copy by Amedei.
Another copy by PraTieesco Penrd, g
in the Gallery at Turin. )

By this distinguishing work Ra-
phael proved himself the one who
alone, besides Michelangelo, could
worthily carry out the ideas of
Pope Julius II. In 1508, the Pope
called him to Rome, where, for the
twelve remaining years of his short
life, he displayed the inconceivably
rich productiveness which stands
alone as a moral marvel. It is not
the height of genius, but the power
of will, which is the grandest : the
first would not have kept him from
mannerism ; it is the last which
never suffered him to rest on his

Raphael — Madonnas,

141

laurels, but always urged liiiii to
higher modes of expression. The
great number of commissions, the
fame and the exceeding beauty of
his works, soon gathered a school
round Raphael; to this he was
obliged, in later times, to confide
the execution even of really great
undertakings ; they were men of
most various gifts, sometimes of in-
ferior character ; but as long as the
powerful reflection of the character
of the master rested on them, they
created in his spirit. Their rapid
decline, after his death, shows
again, in a reversed sense, what he
must have been.

RAPHAEL'S MADONNAS.

We begin with the easel pictures
still existing in Italy, which, in
spite of the master's becoming gra-
dually accustomed to fresco during
this time, fully preserve their spe-
cial character, so that in them are
worked out the highest problems
of oil painting which lay in Ra-
phael's line. The most conscien-
tious of artists, he was never satis-
fied with the technical results of
what he had done. But if one re-
quires of him the glowing colour
of Titian and the chiaroscuro of
Correggio, this shows an entire
misunderstanding of his true value.
None of his pictures would gain
essentially by the addition of these
qualities, because none depended
on them for their success. What
one must regret is the later dark-
ening of his shadows, which cer-
tainly must have beeo much lighter
at the time when they were com-
pleted. The proof of this is in
Andrea del Sarto's copy from the
a portrait of Leo X in the Naples
Museum ; executed with colours
chemically better in the shadows,
it shows how the original, in the P.
Pitti, must have been harmonized.

The Madonnas of this Roman
time are mostly in foreign parts.

Of the Madorma di Gasa, cHA Iba, a /
circular picture, with whole figures
in a landscape, the Borghese Gal-
lery, for instance (No. 38), contains
an old copy, — a charming reminis-
cence of the Florentine Madonnas,
only with more action. The Ma-
donna deUa Tenda, in the Twrme
Gallery, is a replica, not by him-
self, of the picture in Munich ; as
the so-called R^veil de I'Enfant,*
in the Naples Museum, like that in d
the Torrigiani Gallery, is only a
copy of the famous specimen in
England in the Bridgewater Gal-
lery. The infinite grace of this
picture, by which it takes a dreamy
hold of the imagination of the spec-
tator, is owing less to the very
beautiful forms and features than
to the exceedingly perfect lines, to
the sweep of the movement of the
mother and, child, to the disposi-
tion of the light.

No single one of these pictures
directly indicates that the Mother
of God is intended. It is only the
pure beauty of the woman and
child which awakens the thought
of the supernatural. After 1500
years, art has again reached a
height at which its forms of them-
selves, and without any additions,
appear something eternal and
divine.

And now Raphael descends and
paints perhaps merely the most
beautiful Italian woman in the
form of the Madonna della Sediae
(Pal. Pitti). Apart from the charm
of form, and for composition never
equalled in the world, the expres-
sion of maternity here is peculiarly
striking in connection with the
beautiful peasant costume. It is
the favourite picture of women.

Of the Holy Families, one of the
best, as it seems, has vanished with-
out a trace, —the Madonna from
the shrine of S. Maria del Popolof

* The name is not suitable ; the child
is already quite awake, and pulls playfully
j at the mother's veiL

142

Painting of the Sixteenth Century.

(usually called of Loreto). The one
in the Louvre is not better than
some other good school copies, of

tt which, for instance, the Naples
Mnsev/m contains one. The best (?)
is in the possession of the Lawrie

6 family, in the Palaazo FanciaticM,
at Florence. The motive is well
known ; Mary lifts the linen cover-
ing from the child that Uea on a
bench and smiles at her, while
Joseph looks on ; in the background
a green curtain ; the two principal
figures hardly less than life-size.
It is a domestic scene, but free
from the prosaic detail of the
northerners, and the showy Re-
naissance ornament of the Floren-
tines, expressed in the noblest
forms and lines.

g The Madonna deW Imparmata
(the cloth virindow), in the P.
Pitti, is also partly composed and
executed by Raphael. Mary, Eliza-
beth, the young woman on the left,
and the child, have been originally
sketched for a circular picture,
which would have reached down-
wards as far as the knee of Eliza-
beth (in which case, Mary's stand-
ing on another level from the others
would not have been so striking),
or what secret of the studio is here
hidden ? The whole figure of John
sitting outside the group is in any
case a later idea, even if Raphael
himself preferred it so. There is a
discussion as to the parts painted
by him, which I leave to be de-
cided by others. The incident is
most charming ; the two women
have brought the child, and hand
it to the mother ; and while the
boy turns, still laughing, after
them, he takes fast hold of the
mother's dress, who seems to say,
"Look, he likes best to come to
me."
d The scene in the Madonna del
Divmo Amore (Naples Museum) is
more solemn. Elizabeth wants the
child Christ to bless the little John
kneeling on the left, and leads him

gently by the hand. Mary prays
as if confirming it ; she has let go
her hold of the child on her knee,
rightly, for, if he is capable of
blessing, he must also be able to
sit firm. It is just in traits of this
kind that later art is so poor. The
execution must be the work of
pupils. *

Close by, hangs Giulio Bmrumo's
Madonna della Qaita, a repetition, e
given in his style, of the ' ' Perla "
of Raphael, which is gone to Ma-
drid. The additions made by the
pupil are mere desecrations, such as
the cat, the transformation of Eliza-
beth into a gipsy, and various
other changes. It is the same with
the Madomna della I/ueertola (P.f
Pitti) [No. 57, called <?. Ronumo,
but by the hand of a Fleming. —
Mr.], only that apparently even the
original, reputed to be a Raphael,
also in Ma<frid, was not altogether
invented by the master. More
beautifully and carefully painted
than the Madonna della Gatta,
still the Florentine picture strikes
us as a collection of motives (a so-
caReA. pasticcio) after Raphael.

But few votive pictures, in
which the Virgin appears enthroned
or in glory, exist by Raphael The
earliest of them, stiU with a recog-
nizable Florentine tone, is the Ma-
donna di Foligno, in the Vatican g
Qallery, of the year 1512. As the
Mother of God, with Saints, this
picture accomplishes exactly all
that the Florentines would will-
ingly have achieved : a highly
elevated spiritual life in the saints ;
the most inward relation to the
beKeving beholder, as well as to the
Virgin ; the last, for the rest, only
as ideal mother, not as the queen

* The sculptor AUssandro Leopardo has
also shown correct feeling on this point, if
the Madonna deUa Scarpa in 8. Marco at
Venice is by him. The child, sitting on
her right knee, is just preparing to give
the Messing, and she lets go her hold of
Mm.

Raphael — Madonnas.

143

of heaven ; the child with atouch of
restlessness ; and yet both as much
above theMadonna delBaldaoohino,
as the accompanying Saints of the
picture are above those of the last
n amed. And what Florentine chQd-
angel, what earlier child's figure,
even of Raphael's own, could come
up to the divinely sweet angel-boy
who stands with the inscription ta-
blet infrontbetweenthesaints? The
kneeling donator, Sismondo Conti,
is quite worthy of the contempo-
rary portraits of Kaphael, and also
touched with a cheerful, solemn
devotion, which is wonderfully dis-
tinguished from the ecstacy of S.
Francis, the excitement of John
and Jerome.

Later, in the Sixtine Madonna
(at Dresden),* Kaphael attained
and certainly aimed at something
higher ; the expression of the su-
pernatural is produced not merely
by the idealized form, but by the
visionary treatment of space, the
advancing forward upon the clouds,
and the grand, solemn flow of the
drapery. In the Madonna di Fo-
ligno even, the principal figure,
seated, floating, is treated as
though in a defined space, and aU
the rest is altogether earthly and
real. A picture which, from its
character as a banner for a proces-
sion, ought to form an exception
(as is supposed, with some ap-
parent reason, of the Sixtine Ma-
donna), cannot, however, be a rule
for altar-pictures.

Of the Madomna del Pesce,
"' which came to Spain from Naples
with so many masterpieces under
the Spanish viceroys, there is stiU
an old copy in S. Paolo at Naples,
in the passage from the church to
the sacristy. In this most charm-

* The copy in S. Sisto at Fiacenza,
which Is said to occupy the frame of the
original, but appears incomprehensibly
small, is by PieranUmio Avanziniy be-
ginning of 18th century. A very remark-
able development of the compositions in
S. Severe at Naples, 7th chapel on left.

ing composition Mary is again
thrown back in the midst of the
saints, as in the Madonna del Bal-
dacohino ; but the lofty conception
of form, the pure flow of the com-
position, show the later, completer
time of the master.

Thus Raphael, with the single
exception of the Sixtine Madonna,
has in his Virgins always glorified
the female character with all his
power, and taken the chance
whether or not in her should be re-
cognised the Mother of God, the
Queen of the Angels, the Mistress
of Heaven, surrounded with all
the glow of mysticism. He always
uses as little symbolism as pos
sible ; his art does not depend on
associations which are beyond the
sphere of form, thoroughly as he
had mastered the expression of the
symbolical in its proper place, as is
shown by the frescos in the Vati-
can. His child Christ, also, with
the single exception of the grand
mysterious boy on the arm of the
Sixtine Madonna, is animated by
the purest spirit of infantine
beauty. Italy is richly gifted in
this respect, so that the painter
often finds the choice hard, and,
since Lippo Lippi and Luca della
Robbia, art had striven un
weariedly to give the highest in-
spiration of the childish form ;
Raphael came and drew the con-
clusion. His child Christ and his
child St. John show, with the ex-
ception of his earliest Peruginesque
sentimental pictures, nothing but
the most beautiful youthful Hfe,
the healthy expression of which is
only carried to the border of play-
fulness, and does not, till Giulio
Romano (and elsewhere in A. del
Sarto), pass into the fanciful, fall-
ing lastly in later generations into
the sentimental.

The simple beauty of existence,
which is the essence of the child,
ceases with the first exhibition of
activity. Raphael has no repre-

144

Painting of the Sixteenth Century.

sentation of the twelve-year old
teacher in the Temple,* but there
is one of the inspired boy John ;
among many copies, one at least

a old, in the TriMme of the Uffizi
at Florence; one fFlemish) copy

Jin the Finacoteca at Eologna,
An original picture of the inspired
boy John, different in the composi-
tion from the above, has lately been
exhibited in the Louvre (No. 368
bis). The powerful, severe expres-
sion of the beautiful head, and the
extremely effective contrast be-
tween the erect sitting posture and
the diagonal movement, lead us to
overlook the mixture of youthful
with adult forms here apparent.
On the whole, we shall agree with
Raphael (even against Titian) in re-
presenting the Baptist, as a single
figure, as quite young ; this beauty
is the only right equivalent for the
scene of the Preaching of Repent-
ance, except when by the adcUtion
of other figures quite a new con-
sideration is brought in. The
curved line of the reed cross, to
which John points, harmonizes the
whole composition.

PICTURES OF THE ROMAN TIME.

Lastly, there are three works of
the Roman time which, each in
their way, are incomparably grand
in their representation of the su-
pernaturaL

The one is symbolical — ^the vi-

* Aji unlucky subject, since the pur-
pose can never come out clearly in tlie
representation : we learn indeed from the
Gospel, but never from the picture, why
the scribes are so disturbed; the argu-
ments which produced this effect cannot
be painted. (How Lionardo managed it,
see antea). We should learn much if
we could discover what subjects Raphael
would not paint, in spite of the wish of
others, and for what reasons he rejected
them. There are no pictures of martyr-
doms by him ; the nearest approach to
this is the Bearing of the Cross (the Spasimo
di Sicilia), besides the early Crucifixion,
from the Fesch Galleiy, belonging to Lord
Dudley (Ward).

sion of Ezekiel, in the Palazzo e
Pitti, small, most carefully exe-
cuted, though not lilte a miniature.*
The Middle Ages had given a
symmetrical form to the symbols
taken out of the Old Testament
and the Apocalypse, according to
the words, imposing from the
reality of the belief, and to our
feeling overpowering by the asso-
ciation of ideas, which are com-
bined with such utterances of the
ancient church. Raphael under-
took the subject, and transformed
it in the spirit of the grandest
beauty as far as it was possible
with the coarse symbol. By the
shifting backwards of the form of
God the Father he first produces
distinctly the expression of float-
ing ; the lifted arms, supported by
two child-angels, give the feeling
of an all-powerful blessing: God
the Father sits enthroned on the
eagle above, and the lion and bull
on which His feet rest are only
subordinately introduced : they
look up next to the adoring angel
of Matthew; God the Father only
looks at the last. We may call
this different treatment of the four
sensuous images arbitrary ; would
that there were more of such arbi-
trariness ! The picture would be of
about the time of the first part of
the Loggie.

The second work gives the su-
pernatural by its reflection ia a
company of saints ; the famous S.
Cecilia (in the Pinacoteca of Bo- (J
logna, painted about 1S15). On
the earth lie the worldly musical in-
struments, half broken, unstriuged ;
even the pious organ falls out of
the hands of the saints ; all are
listening to the choir of angels
only indicated in the air above.
Raphael gave song to this wonder-
fully improvised upper group,
whose victory over instruments is

* Its genuineness has been doubted of
late.

"THE VISION OF EZEKIEL."
7o face page 144.

Raphael — The Transfiguration.

145

here substituted for tie conquest,
itseK impossible to represent, of
heavenly tones oyer the earthly,
■with a symbolism worthy of all
admiration. Cecilia is wisely repre-
sented as a rich, physically power-
ful being ; only thus (not, e.g., as a
nervous, interesting being) could she
give the impression of full happi-
ness without excitement. Her
regal dress also is essential for the
desired object, and increases the
impression of complete absorption
in cahn delight. Paul, inwardly
moved, leans on his sword ; the
folded paper in his hand indicates
that in presence of the heavenly
harmonies the written revelation
also must be silent, as something
that has been fulfilled. John, in
whispered conversation with S.
Augustine, both listening, variously
moved. The Magdalen is, to speak
openly, made unsympathetic, in
order to make the beholder rightly
conscious of the delicate scale of
expression in the four others, — for
the rest, one of the grandest, most
beautiful figures of Raphael. The
true limits within which the inspi-
ration of several different person-
ages has to be represented, are in
this picture preserved with a tact
which is entirely foreign to the
latest painters of the Feast of Pen-
tecost. (Tolerably preserved and
restored, with the exception of the
coarsely over-painted sky. )

The third picttire, the last of
Eaphael which he left unfinished
(1520), is the Transfiguration, in
(ithe Vatican Oallery. Here, by a
dramatic contrast which one may
call monstrous, the supernatural
is far more forcibly put before us
than by all the glories and visions
of other painters. Two entirely
diflferent scenes are combined in
the picture — a piece of audacity not
to be recommended to every one ;
it only occurred here, and for this
end. Below, on the mountain, are
the people who have brought the

possessed boy, and the disciples,
puzzled, compassionate, excited,
even looking for help in the book,
and earnestly pointing up to the
mountain, whither their master had
gone ; the possessed one himself
especially remarkable as one of the-
few forms from the realms of dark-
ness produced by Raphael, and
which with the most horrible ex-
pression, yet showed so strikingly
his lofty moderation ; the woman
lamenting on her knees in front is
as it were a refiection of the whole
incident.

Not one of them sees what hap-
pens on the mountain, and the
Bible text did not allow it ; the
connection of the two scenes exists
only in the mind of the spectator.
And yet one would be incomplete
without the other ; one has to only
cover the upper or under part with
the hand to see how much the pic-
ture forms a whole. Above fioats
the Christ, and, as if drawn to him
by a magnetic power, Moses and
EUas float likewise ; their motion
is not independent. Below lie the
dazzled disciples, and on the left
one sees S. Stephen and S. Law-
rence, apparently only as patrons
of the church for which the picture
was originally intended. The form
and expression of Christ reveal one
of the great secrets of art, which
sometimes elude the endeavours of
centuries. The conception of the
Transfiguration on Mount Tabor,
formed by the imagination of the
believer, is absolutely incapable of
representation, for it pre-supposes
a briUiant self-contained illumina-
tion of the form, and therefore the
absence of all shadow, as well as of
all modelling ; Raphael substituted
the floating. * Also the Transfigura-
tion is conceived entirely as an ex-
pression of power in relation to the

* Even in Giovanni Bellini, in the re-
markal>le picture (p. 88 a) of the Naples
Museum, Christ, Moses, and Elias are still
represented standing on the mountain.

146

Painting of the Sixteenth Century.

spectators. Raphael, on the con-
trary, did not aim at expressing the
greatest possible grandeur, which
could not but produce a hard effect
through its cold symmetry, but
the highest happiness. His Christ is
all joy, and thereby also in himself
nobler than he could have been
made by any expression of power :
he is so quite independently of
the colossal' contrasts with the
frightened disciples and with the
scene of woe below. An immense
force is given to his gaze lifted up-
wards by the enlargement and the
great distance between the eyes ; *
Raphael in this went no further
than the Greeks, with whom the
normal form was often more or less
altered to give effect to some charac-
teristic feature. Let any one who
is dissatisfied with this figure of
Christ try to conceive clearly in
what it faUs, and what it is we
may require of art. It is possible
that many minds may feel that the
Judge of the World in the Campo
Santo, the Christo deUa Moneta
of Titian, the Christ in Raphael's
Dispute, move other and stronger
feelings, deeper lines of thought ;
but for this subject, the Trans-
figuration on Tabor, the master
has here given it so noble a form
that we must rejoice to be able to
follow him in any way. The lower
half was nearly all executed by
pupils, but certainly on the whole
corresponds with Raphael's inten-
tion, excepting of course the
blackened shadows. The unusual
form of colouring combined, at least
in the upper group, with the
almost Venetian harmony, shows
that to the last moment of his life
Raphael was constantly endeavour-
ing to master new methods of re-

* A similar treatment of the eyes ap-
pears in the Sixtine Madonna, hut per-
haps nowhere else in Raphael ; he reserved
such means for extreme cases. In one of
the Saints in the Transfiguration this form
iB certainly given by the band of a pupiL

presentation. As a, conscientious
artist he could do no less. Those
who reproach him for it, and
speak of degeneracy, do not un-
derstand his inward nature. The
ever-noble spectacle of Raphael's
self-development as an artist is
in itself worth more than any
adherence to a particular stage
of the ideal, e. g., such as the
point of view of the Disputk, could
be. And, further, in art no one
can linger behind with impunity ;
mannerism lies in wait to take
possession of the inactive artist.

Of the commission for the picture
we know nothing special It is
possible that Cardinal Giulio de'
Medici required nothing but a
Saviour with S. Stephen and S.
Lawrence, and that Raphael added
the rest. Already Fra Bartolom-
meo had in his most beautiful
picture (p. 130 d) represented the
Saviour with four Saints, as the
risen Lord ; Raphael went a step
higher, and represented him glori-
fied. On the very next page in the
Gospel stands the story of the
possessed boy : what a moment
it was when the artist received
the thought of combining the two
scenes !

PORTRAITS OF THE ROMAN TIME.

The Portraits of the Roman time
of Raphael form a series of quite a
different kind from those of Titian,
of Van Dyck, and others, who were
especially famous as portrait-
painters. Painted in the intervals < <
while he was producing the greatest
historical pictures and frescos,
they are most various in their con-
ception ; each bears the reflection
of the tone of feeling which ani-
mated the historical painter at the
special moment. It is well known
that in his frescos also he was
liberal of portraits.

Of the portraits existing in Italy
we must first name Pope Julius it

Roman Portraits.

147

a (in the Pal. Pitti; that in the Tri-

bhwiie of the Uffizi is considered aa
an old copy, and is so excepting
the head, the great excellence of
which can only be explained by its
being Raphael's own work). The
treatment is wonderfully beautiful,
and rich, in spite of its simplicity ;
the character so given that this
picture is the best key to the right
understanding of the history of the
powerful old man.

c Leo X. with the Cardinals de'
Rossi and Giulio de Medici, in the
P. Pitti. The copy by Andrea del
Sarto in the Naples Museum (p.
141 a) is there always treated as the
original, while beyond Naples there
has long been no doubt on this
question. Somewhat above natural
size, so that, e. g. , the noble hands
of the Pope do not appear as small
aa in proportion they are meant to
do. The two attendant Cardinals
can be seen in other early portraits
of Popes. The character of Leo X.,
here and in the frescos, showa a re-
markable harmony, which is true
also of Julias IL By the changes
of light, and treatment of the ma-
terials, the four different reds form
a harmonious scale. There is a
solemn architectural background.
The accessories (bell, book, mag-
nifying-glaas) are slight but essen-
tial indications of character.

d Cardinal Bibbiena (in the Palazzo
Pitti) : the worn and sickly charac-
ter is grandly and intellectually
given ; in his aristocratic kindliness
there ia a parallel to Van Dyck's
Cardinal Bentivoglio (also there),
which appears far less simple.
Fedra Inghirami, a Roman pre-

e late and antiquarian [Palazzo Pitti).
The Thersites of Raphael : in this
case he, Hke all aquinters, wished
to be painted either in profile or
with tbe omission of the squint ; *
but Raphael did not avoid the

♦ Guercino painted, in his own portrait
in the UfRzi, one eye in the deepest
shadow.

characteristic point, but gave the
stiff eye a direction and form which
should expresa intellectual investi-
gation. The corpulence is given as
nobly aa may be; the handa are
only those of an aristocratic priest.
Probably a memorial of the respect
of his colleagues, of the time when
Raphael was studying Roman
antiquities. *

"Bartolus and Baldus," more/
properly Navagero and Eeazzano
[Palazzo Doria at Borne). Two
half-length figures in black dress
in one picture ; in spite of modern
doubts, certainly genuine. (? ?)
Who could induce two remarkable
men to allow themselves to be
painted together, unless the artist
desired to preserve the Hkeness for
himself or for a greater man, per-
haps the Pope ? The style of a
historical memorial is more visible
here than in other portraits — a free
grandeur, which seems ready for
any deed, and would be in its place
in any historical picture. The exe-
cution, as far as it is untouched, is
extremely good.

The Violin Player [Palazzo g
SHarra at Eome [now in England] ).
Raphael certainly painted no Vir-
tuoso in 1518 as a private com-
mission. Probably a favourite of
the music-loving Leo X. Extremely
interesting, so that the fancy of
itself imagiuea the life-romance of
thia unknown peraon. The fur
worn by the youth is treated with
delicacy.

Of the portrait of Joanna of
Aragon all the best examples are
in the north. [The only original
is in the Louvre. In the Palazzo
Doria there is a clearly Flemish A
copy. — Mr.]

The improvisatrice Beatrice

* There is much doubt ahout these two
paintings. MUndler traces a weaker hand
also in the head of the Uffizi portraits;
others believe the Pitti picture to be ijie
work of a Venetian artist. Tliere is a
double of it in the collection of the family
at Volterra.

L 2

148

Painting of the Sixteenth Century.

(called the Fomarina, in the
d Tribwie of the UJizi, dated 1512).
A marvel of finish and colouring,
of the time, of the Madonna di
Foligno. Apparently an ideal
head, till one observes that a not
quite beautiful relation of the
mouth and chin is concealed by a
fortunate adjustment.

Long ascribed to Sehasticm del
Piombo [as whose work I still re-
gard this wonderful production.
Compare the altar-piece in S. Grio-
vanni Crisostomo in Venice, and
especially the Magdalen in it. —
Mr.] Excellently preserved.*

The true Fomarina, Raphael's
beloved. The duplicate recognised
as original, with much restoration,
J in the Palazzo Barberim at Eome ;
elate repetitions in Palazzo-Sciarra
^ and in the Palazzo Borgliese.
[Second room, No. 64, the last
obviously by Sassoferrato. — Mr.]
In composition obviously a very
beautiful nude academy picture ;
the position of the arms and the
head-dress are arranged by the
painter, and do not attempt to
characterise the individual. The
type, of the long-preserved Roman
style of beauty is freely employed
in several historical compositions
of Raphael, without actually sup-
posing any special model, f

• The same woman is clearly represented
in a beautiful picture which in the Gallery
of Modena is attributed to Giorgione ; only
here the hair is golden, with a flower in
it. To me the picture appeared like a
Falma Vecchio. On the parapet is the
initial V. [Whether the picture represents
the same woman appears to me difficult to
decide ; it is, for the rest, decidedly Fer-
rarese, and I consider it a work of B. Garo-
falo. — Mr.]

t The very beautiful portrails of the
Cavaliere Tibaldeo and the Cardinal Pas-
serini, in the Naples Museum, are now not
given to Raphael. The Cesaije Borgia,
wrongly attributed to Raphael, in the P.
Borghese at Rome, may be a very good
German picture, [I think it is by Par-
megianinc— Mr.] [The female portrait in
the Stanza dell' Educazione di Giove of
the P. Pitti, No. 2^!'?, is in my opinion an
undoubted and well-preserved original of

FRESCOS OF THE STANZE.

Among the historical monuments
which Raphael executed for Julius*
II. and Leo. X., the paintings in
the chambers of the Vatican (le
Stanze) take the first place. The
inexhaustible richness of these
works, and the impossibility of ex-
plaining their subject or their
value shortly in words, must limit
us to a series of single remarks, and
cause us to omit in general what
is found in all the guide-books and
what the eye takes in of itself.

The rooms already existed, and
were already partially decorated
(by Perugino, Sodoma, and others)
when Raphael was summoned for
the pxirpose. They are far from

unsurpassable nobleness in the features;
clearly the model of the Magdalen in the
S. Cecilia, of the Sixtine Madonna, and, as
we may well surmise, rendering in a nobler
form the real features of the Fomarina.
The drawing of the right hand agrees with
that of Joanna of Aragon ; the colouring
shows the warm, local, true, light yellow
peculiar to Raphael, with shadows of the
most delicate pearl grey. — Mr.] Of course
many pictures in the Italian galleries still
erroneously bear the great name. The
picture in the P. Pallavicini, at Genoa, is
an originally good school copy, enlaiged
with new accessories, of the Madonna of
the Naples Museum (RSveU. de I'Enfant),

In the Madonna cLL 3. Luca (collection
of the academy of that name at Rome),
only a part of the Luke is regarded as
Raphael's own, work ; the rest hardly even
as his own design. Crowe and Cav. say
Timoteo deUa Vite, The Coronation of
the Virgin ^ the Vatican Gallery, the
later picture) is notoriously executed by
Giulio Bomano and Francesco Penni. The
first has clearly in the upper part fol-
lowed, at least in some degree, a sketch of
Raphael; one recognises touches which
reveal the Vierge de Francois I. The
latter, on the other hand, himself de-
signed the lower group of the Apostle
[The catalogue wrongly reverses the re-
lation.] Comparing it with the lower
group of the Transfiguration, it shows
most clearly the difference between the
master and the pupil. [The Raphael in
Parma is a work of Giulio RomaTio, the
drawing for which by Raphael is in the
Louvre.— Mr.] The Raphael in the Gal--
lery at Modena is an inferior picture by a
pupil of Perugino.

Camera della Segnatura.

149

being models as to arrangement,
irregular (look, for instance, at the
roof of the Camera deUa Segna-
tura), and not favourable in point
of light. They are generally visited
in the afternoon ; yet the forenoon
has certain advantages ; and the
opening of the back window-shutters
makes an essential difference.

The technical execution is extra-
ordinarily various. According to a
good authority, the Dispute and the
School of Athens in particular have
been gone over al secco in very
many parts, yet they are mainly
all frescos ; the only two figures
painted in oil on the walls, of
Justitia and Gomitas, in the Hall
of Constantino, were not, as they
say, by Raphael's own hand, but
executed after his death. But in
the frescos, the work of the master
and the pupil, show the greatest
difiference of treatment, often in
the same picture. Raphael was
never satisfied, and continually
sought to find some new mode of
working in the diflScult art of
painting. Of the four great frescos
of the Stanza d'Eliodoro, each is
executed in a dififerent colouring :
the highest possible point seems to
be reached in the uninjnred parts
of the Miracle of Bolsena ; and yet
no one will say the Heliodorus and
the Liberation of Peter are in their
way less perfectly painted.

The preservation is, considering
the time, fairly good, except the
pictures in the basement or skirt-
ings, which Carlo Maratta had
really to paint afresh, and some
ceiling pictures, seriously endan-
gered by cracks. The greatest
damage has occurred in the princi-
pal pictures through partial clean-
ing, and especially by reckless tra-
cing over. This has happily been
latterly forbidden. How far the
most beautiful modem engravings
are inferior in impression to the
original pictures is seen by the first
glance at the originals. The admira-

ble photographs from the originals,
by Braun, at Dornach, give to those
who have had the good fortune to
see the originals the most beautiful
remembrance of them.

.CAMERA DELLA SEGNATURA.

The lofty poetical ideas which
are the groundwork of the frescos
of the Camera della Segnatura a
(finished 1511) were indeed given
from without to the artist. Apart
from the fact that Eaphael hardly
possessed enough learning to place
and to give the right character-
istics of the personages of the
Dispute or of the School of Athens,
and that here the assistance of
some important person of the court
of Julius II. * is clearly felt ; apart
from this, art had long before lent
itself to such attempts. The
master of the Cappella degB Spag-
nuoli in S. M. Novella at Florence,
had represented in an architectonic
setting the allegorical figures of the
arts and sciences and their re-
presentatives in strict parallelism.
Six generations later, hardly fif-
teen years before Raphael, Fin-
turicchio, also an Umbrian, had in
one of the rooms, of which he de-
corated the roof for Alexander VL
[Apartamento Borgio, in the Fa- 6
tican, third room), represented
allegorical forms enthroned in
the midst of their disciples, on
a landscape background, without
speaking of other attempts. But
Raphael first had the intelligence
to transfer the allegorical females
from the wall pictures to the roof
in a golden mosaic sky. Here he
could characterise them in a quite
peculiar, ideal manner. It is well
known how a later degenerate style
of art put its pride in mixing alle-
gorical and historical personages as

* Bibljiena, Bembo, Castiglione, Inghi-
rami are suggested. Also the wbole of
allegorical art and poetry, from the Trionfi
of Petmrcli do-wnwards, comes in.

150

Painting of the Sixteenth Century.

variously as possible with each
other, and how it required the
whole greatness of a Rubens to
render such works agreeable to us,
as, e.g., his life of Marie de Medi-
cia in the Louvre.

The remaining figures in the pic-
tures maybe called historical figures,
for Godthe Father, the Angels in the
Dispute., the Muses on Parnassus,
and similar representations, may be
counted as such. The upper part
of the wall, which is devoted to
Jurisprudence, does indeed contain
another allegory, but divided off in
a separate place. All the figures
could now be treated alike, in
much the same style.

Why did not Eaphael in his pic-
ture of Justice represent an intel-
lectually Tioved company of fa-
mous jurists, as he has done in the
three other pictures with the theo-
logians, poets, and wise men?
Why, instead of this, two single
historical acts of law-giving?
Because the only subject possible
for a "Disput3,"of jurists would
either have been external to the
picture, that is, unrepresentable,
or, if made clear by practical con-
ditions, would have fallen below
the lofty ideal style.

After dividing off the allegorical
part, the historically symbolical
element remained the principal sub-
ject of the four large pictures.

Herein Eaphael has set before us
a dangerously attractive model.
A great number of pictures of
analogous subjects have been pro-
duced since then, partly by ^eat
artists ; they all appear derived
from Raphael, or far inferior to
him. Why is this? Surely not
simply because there has been but
one Raphael.

He had, to begin with, an advan-
tage by his freedom in antiquarian
considerations. Bound to very few
traditional portraits, he had only
to produce characteristic figures ;

in the Disputi, for instance, the
costume was the only distinguish-
ing attribute, which indeed was
quite sufficient. He was not obliged
to place the heads so and so, that
they might be identified by learned
allusions. This freedom was an
immense advantage in allowing
the composition to be treated ac-
cording to purely pictorial mo-
tives. They are almost entirely
figures belonging to a past, more
or less removed, which already had
ceased to live except in idealizing
remembrance. *

The action which gives life to
these pictures could indeed only be
represented by the greatest artist.
But within his subject impossible
things were not suggested to him,
as, for instance, the spiritual com-
munion of a learned congress, an
academy of painting, or of any
such persons whose characteristic
employment never is seen in
common, and who, if they are
painted together, always look as if
waiting for dinner. In the Dispute
Raphael gave us not a Council,
but a spiritual impulse which has
brought suddenly together the
greatest teachers of divine things,
so that they have only just taken
their place round the altar ; and
with them, some unnamed laymen
whom the Spirit seized on the way
and drew hither with them. These
form the necessary passive portion,
in whom the mystery realised by
the teachers of the Church is re-
flected in their excitement when
the idea dawns on them. That the
upper semicircle of the blessed (a
glorified repetition of that of S.
Severo) corresponds so entirely in

* Goncemiog the meaning of the indi-
vidual passages in all the frescos, Platner,
in his " Beschreitiung Eoms," p. 113 ff,
gives an accurate acount. For the in-
teresting views as to the subject, and
the date of the execution of these works,
lately put forward Ijy Dr. Herman Grimm,
we must refer to his work, " The Life of
Raphael."

Raphael — Parnassus.

151

its contrast to the lower, is the
simple, sublime expreasiou of the
relation by which the heavenly
world overshadows the lower.
Lastly, the idea of the Church im-
presses itself here in the grandest
way ; it is not a picture of neutral
beauty, but a powerful conception
of the faith of the Middle Ages.

The School of Athens is the
direct contrast to this, without
celestial groups, without mystery.
Or is the wonderfully beautiful
hall, which forms the background,
not merely a picturesque idea, but
a consciously intended symbol of
the healthy harmony between the
powers of the soul and the mind ?
In such a building one could not but
feel happy. However that be, Ra-
phael has translated the whole
thought and learning of antiquity
entirely into lively demonstration
and earnest listening ; the few iso-
lated figures, like the Sceptic and
Diogenes the Cynic, make a con-
trast as exceptions. That the
sciences of calculation occupy the
foreground below the steps is a
simple idea, full of genius, which
seems to be understood of itself.
We find in the picture a most ex-
cellent arrangement of the teachers,
listeners, and spectators, easy move-
ment in the space, richness without
crowding, complete harmony of the
picturesque and dramatic motives,
as (Valuable cartoon in the Ambro-
siana at Milan. )

The Parnassus is the picture of
existence and enjoyment. Homer
has the prerogative of loud,
inspired speech ; Apollo, of sound ;
all the rest only whisper. (Any
one who objects to the violin
must call none but Raphael to
account ; for this anachronism is
certainly not a forced homage to
the fame of a contemporary violin-
ist, whom some even make into
the Pope's body-servant.) Pro-
bably the painter considered the
instrument a more living, speaking

motive for his figure than an
antique lyre would have been.
The ideal costume is here extended
with great reason to the modern
poets, of whom Dante alone wears
the inevitable hood. The mantle
and the laurel, common to all,
elevate the poets above the real-
istic and historical. The muses
are not divided among the poets
for the sake of variety, but col-
lected, as being their common foun-
tain of bfe, on the top of the moun-
tain. Nor are they accurately
characterised in an antiquarian
fashion : Raphael painted his own
muses.

Of the two ceremonial pictures
opposite, the Spiritual Law, that
is, the Giving out the Decretals, is
a model of composition and execu-
tion in this difficult style. The
number of figures is moderate ;
the expression of authority does
not lie in the completeness of the
following, — above all, not in the
mass of people. The heads are al-
most all portraits of contemporary
personages. It is to be supposed
that Raphael introduced them vo-
luntarily, and with an artistic pur-
pose. The allegory of Prudentia,
Temperantia, and Fortitude, in the
lunette (see Platuer's analysis of it),
is one of the best conceived ; in the
details, it is not aU very life-like.

Of the allegorical female figures
on the ceiling, the Poetry is one of
Raphael's purest and most charac-
teristic conceptions. In the others,
he has, by choice or necessity, very
distinctly followed the suggestions
of the aUegorizer who assisted him ;
thence, perhaps, comes the absence
of cheerful naiveU. The corner
pictures of the ceiling, historical
incidents in a severer style, each
relate to the subjects on the two
walls next to them : thus, the
splendid Judgment of Solomon
belongs at the same time to Jus-
tice and Wisdom at once ; the Fall,
both to Justice, and the relation to

152

Painting of the Sixteenth Century,

God. One is somewhat puzzled by
Marsyas, and we have to seek a
distant allusion from Dante to bring
him into connection with Theology
as well as Poetry. The Eve in the
Fall, is an excellent example of the
form of the nude in Kaphael's mid-
dle period ; so, also, the executioner
in the Judgment of Solomon.

The pictures on the skirting for
the most part composed and exe-
cuted by Perino dd Vaga, in the
place of some intarsiatura that has
been destroyed, and later quite
painted over, still show in a general
way how Kaphael conceived the
decorative eflFect of the whole hall.
The composition is, in parts, ex-
tremely beautiful, but in small en-
gravings just as enjoyable as in the
place itself. (Only those under the
Parnassus are by Kaphael. )

Would that we were not so utter-
ly ignorant of the circumstances
under which these frescos were pro-
duced. The great questions, how
much was prescribed to the painter 1
what did he add himself ? for what
parts did he with difficulty gain
permission? what suggestions did
he reject ? can never be answered.
We do not know with whom he
had to deal personally. But this
much appears from the works
themselves, that the purely ar-
tistic motives in detail usually had
the upper hand. When one sees
in othe^ pictures of that time,
in Mantegno, Pinturichio, Sandro,
&c., the insatiable taste of his con-
temporaries for allegories and sjrm-
bols of all kinds, we feel convinced
that Kaphael kept his modera-
tion through his own force, and
that he selected, arranged, and
subordinated as he would. What
struggles the lower half of the
Dispute may have cost it, for in-
stance, any theologian desired a
complete representation of all the
great teachers of the Church and

founders of orders ; or if anyone's
favourite philosopher or favourite
poet was to be introduced into
the School of Athens or the Par-
nassus !

Perhaps the only figure that ap-
pears quite inactive in this haU is
the young Duke of TJrbino, who
stands in the middle of the left
half of the School of Athens. On
closer inspection, we find that he
is not only pictorially required with
his white dress, but is also indis-
pensable as a neutral figure be-
tween the upper and lower group.
And what does the quiet smile on
this wonderful countenance say?
It is the victorious consciousness of
beauty that, along with aU recogni-
tion of other things, it will maintain
its place in this motley world. '

TSext to the ceiling of the Sixtine
Chapel, the Camera deUa Segna-
tura, which was painted almost
exactly at the same time, is the
first extensive work of art entirely
harmonious in form and idea. The
best Florentines of the fifteenth
century {with the exception of Lio-
nardo) had allowed themselves to
be carried away by the richness of
accessories (subordinate personages,
superfluous motives of drapery,
splendid backgrounds, &c.); their
figures neutralise each other by
their niimber ; their marked cha-
racteristics divide the accents too
■evenly over the whole. Fra Bar-
tolommeo, the first great composer
after Lionardo, moved in a narrow,
limited circle, and his feeling for
life was not quite equal to his con-
ception of form. Baphael is the>
first in jvhom the form is entirely '^
beautiful, noble, and at the same ^
time intellectually alive, without
injury to the whole effect. No
detail comes forward, is too pro-
minent ; the artist understands ex-
actly the delicate life of his great
symbolical subjects, and knows
how easily the special interest

Stanza d'Eliodoro.

153

/overweights the whole. And
1 1 1 1 j nevertheless, his single figures
have become the most valuable
study of all after-painting. No
better advice can be given than
(when necessary, with the aid of a
glass) to contemplate them as often
and as fully as possible, and to
learn them by heart according to
one's capacity. The treatment of
the draperies, the expression of
movement in them, the gradation
' of colours and lights, offer an in-
exhaustible source of pleasure.

STANZA D'ELIODORO.

The Stanza SEliodoro, probably
altogether or almost entirely
painted by Eaphael himself in the
years 1511-1514, shows a great
progress in the historical style. It
is venturesome, but permissible to
surmise that he longed for subjects
fullof dramatic movement. Perhaps
more allegories would have been
preferred ; perhaps, on the contrary,
JuUua II. wished to see his own
actions represented in full external
reality, scenes out of the war of the
Holy League, the entry through
the breach of Mirandola, and so
forth. Both would have been out
of his line, at least for Baphael.
He now gave contemporary history
and aUegory together, the first in
the dress of the last. The Chas-
tisement of Hehodorus is a symbol
of the expulsion of the French
from the States of the Church ;
the Miracle of Bolsena (the facts of
which fall in the year 1263) be-
tokens the victory over heretical
doctrine at the beginning of the
sixteenth century. After the death
of Julius II. (1513) Leo X. at once
accepted this kind of glorified re-
presentation of his own history ;
perhaps Eaphael had aheady made
sketches for the two other walls
which were then replaced by the
Attila (Symbol of driving the
French out of Italy) and by the

liberation of Peter (Leo X.'s de-
liverance out of the hands of the
French in MOan, when he was stUl
cardinal). It was highly fortunate
that the jesthetics of that day
regarded allegory and allusion as
the same thing, while the latter
ought probably only to deal with
historically conceived, individually
life-like figures.

However one regards the ques-
tion, concessions have been made
here by one side or the other. The
four actions lie historically too far
apart, and are too unconnected with
each other, not to suggest that
Haphael painted something different
from what was originally desired.
Also the complete want of internal
connection with the four Old Testa-
ment pictures on the ceiling in-
dicates a change of intention, that
must have come in with the new
pontificate.

On the whole, the subject is one
that progresses in a uniform style,
and continues also in the remain-
ing rooms, though certainly in an
interrupted manner — the victories
of the Church under divine protec-
tion. Lastly, the treatment raises
aU these subjects, so that we only
seek the highest in them, and at-
tribute the highest meaning to
them.

Raphael makes his entrance into
the domain of dramatic painting
with indescribable power and splen-
dour : his first picture was the Heli-
odorus. What a fresh impulse after
the narrower symbolism of the Ca-
mera della Segnatura ! He never
produced a group with grander
action than that of the celestial
horseman, with the youths (ioating
at his side like a storm, and the
overthrown transgressor with his
followers. Whence the apparition
came, whither it rushed past, is
shown by the empty space in the
midst of the foreground which leaves
the eye free for the group round
the altar of the temple. People

154

Painting of the Sixteenth Century.

rightly admire the foreshortening
in the rider and in Heliodorus ;
but this is only the masterly ex-
pression for the essential thing,
namely, the happy position of the
figures themselves. The group of
women and children, which are
found repeated a hundred-fold in all
later art, deserves also in this its
original type to be accurately im-
pressed on the mind. Lastly, the
Pope must have his due : enthroned
on his sedan chair, entirely real
and actual, he calmly contemplates
the miracle, as though it was by
no means unexpected by him. In
the portrait of Marc Antonio, who
accompanies as carrier of the sedan
chair, we have the same proof that
Baphael introduced his portraits
sometimes at least according to
choice.

The Miracle of Bolsena was a
much more limited subject than
the Heliodorus. The action of the
miracle is confined to a small spot ;
it is rather as if a dramatist were
to make the turning point of his
piece merely the exchange of a
ring or some such hardly visible
incident. But within this limit the
greatest things have been accom-
plished. The perception and the
forefeeling of the miracle goes like
a spiritual current through the de-
vout crowd on the left, and the
reflection of it lights up the women
and children sitting on the steps
below ; in the group of the Pope
and his attendants there is calm
certainty, as becomes the Prince of
the Church familiar with thousands
of miracles, and even the officers
of the Swiss guard kneeling below
must not vary too greatly from this
expression. In themselves they are
a model of monumental treatment
of costume. The arrangement near
and above the window, which is not
even in the middle, seems to have
been a real amusement to Raphael ;
from the irregularity itself the
most beautiful motives come out

as of themselves. But closer oh-
servation will change this view, and
make us think that there was a
great deal of trouble and thought
given to it. The double flight of
steps, the semicircular shrines,
the vestibule of the church, form
in themselves an architectonically
beautiful picture.

AttUa and Leo the Great— a
vigorous scene full almost entirely
of horsemen —must it not be nearly
impossible with so much animjil
life, so much expression of physical
strength, to give sufiicient promi-
nence to thehigherspiritual purpose!
Certainly there was not much space
left for the celestial apparition, but
it was made the most of. Instead of
Apostles enthroned on clouds, they
are sweeping forward in a threaten-
ing manner, as it were a superna-
tural attendance on the Pope calmly
retiring with his people. Attila,
alone among the Huns, sees what
is happening, and shows the most
lively expression of terror ; among
his followers the horses have more
presentiment than the men ; they
become wild and shy, which gives
splendid action to the group ; above
them the sky grows dark, and a
stormy wind waves the banners.
In the form of the horses, the
ideal of our present connois-
seurs is certainly not attempted.
Think of the horses of Horace
Vernet in their steeid ; here they
would be unendurable, while in
the Smala, &c., we rightly admire
them. Attna's black steed is still
quiet : the terrified gesture of the
king must not seem to be in any
way caused by the rearing of his
horse.

The Deliverance of Peter, deve-
loped in three acts in a highly ori-
ginal manner. The keepers too are
not undignified ; confused, indeed,
but not clownish. In the scene on
the right Peter is led as in a dream
by the wonderfully beautiful angel
The effect of light is treated with

stanza delV Incendio.

155

a grand moderation ; nothing essen-
tial is sacrificed to it.

The allegorical pictures on the
skirting contain, even in their pre-
sent state, motives from Raphael
■which cannot be altogether spoiled.
In the four roof pictures one re-
cognises a similar, only freer and
more simple treatment of the same
style, as that of the corner pictures
on the ceiling of the former room :
while these are conceived as mo-
saics, that is, in architectural
frames and with imitated mosaic
gold ground, the former are ar-
ranged as stretched out tapestries.

STANZA DELL' INCENDIO.

I In the Stanza delV Incendio there
is perhaps nothing by Raphael'sown
hand ; on the ceiling he allowed
the paintings of Perugino to re-
main, in order not to give pain to
his master. Besides this, the time
of severe symbolical large composi-
tions was past, as the subject of
the ceiling pictures of the Stanza
d'Eliodoro proves.

The connection here is slighter
than in the pictures of the former
room. They are the deeds of Leo
III. and Leo IV. (scenes, there-
fore, from the eighth and ninth
century), who are chosen out of all
church history only on account of
the similarity of their names to Leo
X., and represented with his
features. The Purification Oath
of Leo VI. is unintelligible ; neither
Raphael nor the Pope could, one
would think, have any speoialliking
for the subject ; and & they wanted
to symbolise the infallible truthful-
ness of the Papal word, many other
incidents would do this better, and
would be at least as good pictorially.
Anyhow a splendid ceremonial pic-
ture arose out of it, which shows at
least what great power of lifelike
historical representation of special
things the scholars who executed

it then possessed (1517). Here
Perino del Vaga learned his cha-
racter-painting, which reappears
in his Heroes of the House oft
Doria (in the palace of that name
at Genoa).

The Coronation of Charles the
Great, on the other hand, is clearly
a picture with a political tendency
— a pious wish of Leo X., who
wished to make Francis I. em-
peror, whose features appear in
Charlemagne. Here it is really
painful to see Raphael forcibly oo-
ciipied with making a ceremony
interesting : half - naked men
carry in splendid furniture ; the
heads of the prelates, seated in a
row, have to be turned partly
round in spite of the solemn
moment, so that the spectator may
not see nothing but mitres. And
yet the scene is made what only
Raphael could make it, and the
details are often so beautiful, that
one would willingly attribute it to
his OWQ hand.

All his greatness as a historical
composer comes out again in the
Siege of Ostia. The fight, the
conquest, and the taking of pri-
soners are here in a masterly
manner united in a most energetic,
simple, and beautiful picture,
which strikes us less only because
of the excellent execution and of
the defacement it has undergone
later. Whether the Conquest of
the Saracens refers generally to
the invincibleuess of the church,
or is an allusion to the corsairs of
Tunis and elsewhere at that time,
cannot be made out.

Lastly, the famous picture, I'ln-
cendio del Borgo, is in its subject
the most unfortunate of any. Leo
IV., by the sign of the cross, ex-
tinguishes a fire near St. Peter's.
This was to symbolise the supreme
power of the papal blessing.
There was nothing to be done with
the incident itself, because the
casual connection of the gesture

156

Painting of the Sixteenth Century.

of the Pope with the cessation of
the fire could not be outwardly
represented. Baphael, therefore,
in place of it, created the most
powerful genre picture that ever
existed, — the representation of
various figures flying, escaping,
and helplessly lamenting. Here
we have purely artistic ideas
carried into reality, free from his-
torical or symbolical considera-
tions, in the dress of a heroic
world. The artist must have been
inspired by the purest enjojonent
of lively invention ; the single
motives are one more marvellous
than another, and their combina-
tion again incomparable. It is
certainly true that, as a rule, this
is not how things appear in a
conflagration ; but for this heroic
race of men, the painting of effects
of light in the style of Van der
Neer, for instance, would not have
been the right thing. Properly it
is not the Borgo that is in flames,
but Troy ; in place of the legend,
the second book of the Mneii. is
the original. Yet the beautiful
distant group round the Pope must
not be overlooked.

The figures on the skirting,
Princes, who performed various
services for the Papacy, are very
happily conceived in their posi-
tion, and rightly given ; not as
slavish Caryatides, but as inde-
pendent princes on thrones. Giulio
executed them according to Ra-
phael's designs ; Jforoito later had
to paint them over afresh.

SALA Dl COSTANTINO.

In deciding on the Sola di
a Costantino, Leo X. seems to have
perceived that it would not do to
continue to paint in the traditional
manner. By the allusions to the
person of the Pope a constraint
was laid on the artist, which with
all his greatness he cannot make
us forget. The subjects ought to

be conceived from a, higher point
of view, to give a picture taken
simply from the history of the
world. Thus did the first of aU
historical painters towards the
end of his life arrive at subjects
distinctly historical, yet idealized
by distance of time. Perhaps for
this he needed the Incendio, in
which he had relegated the Pope
to the background.

Raphael furnished, as it seems,
besides a sketch not entirely
finished for the whole of the hall
— the Cartoons for the Battle, the
Baptism and the Gift of Constan-
tine ; also, perhaps, for all the
Virtues, and for some of the Popes,
if not for all. lione of the roof is
his, and only a part of the wall
by the windows. The pictures on
the skirting, often very beauti-
fully conceived, are now princi-
pally the work of Maratta ; their
design was 200 years ago ascribed
to Giulio. Raphael intended to
paint all in oil, not al fresco.
This would have been a splendid
sight at the moment of completion,
had it been carried out by his own
hand ; assTiredly he would have
divided the various kinds of pic-
tures most markedly in their tone.
But with time much would have
grown darker, as the two allegories
already mentioned {antea) show
which were executed soon after his
death, and certainly according to
his intention.

What is now existing was prin-
cipally executed by Giulio Bomano;
the Baptism was done by Frwncesm
Penni ; the Gift of Constantino,
by RaffaelU daV Golle. The ceil-
ing is a late work of Tommaso
Laureti.

The Vision of the Cross, with
which we begin, was not designed
by Raphael. The group of sol-
diers has been injudiciously taken
from the Storming of Jericho in the
tenth arcade in the Loggie; and
the rest, in parts rather frivolous,

Raphael — Sala di Costantino.

157

oompoaed to suit it (for instance,
the dwarf). Examination will
convince one of this.

The Battle of Constantino, on
the other hand, executed by Giulio
in his best manner, is one of the
greatest productions of Kaphael's
life. Let us try to realise to
ourselves the significance of this
battle picture. The imagination
is doubtless more quickly excited
by a crowd of horsemen with con-
trasts of colour, and clouds of
smoke, which gives only life and
desperate movement, as in Salva-
tor Eosa and Borgognone ; and we
are more immediately interested by
the modern battle-piece, the life of
which usually consists in a prin-
cipal episode made as eflFective as
possible. But Raphael had to re-
present a turning-point in the his-
tory of the world and the church.
It was above all to be the decisive
moment of victory. Here the most
brilliant episode is not enough ; the
whole army must conquer together.
This is brought out by the even
and powerful advance of the Chris-
tian cavalry, and the position of
Constantine in the very centre of
the picture, which, in springing
forward, he is about to overpass.
On this background the splendid
episodes of single combat find their
true significance without falling out
of their place as parts of the pic-
ture. Calm, like an irresistible
principle, the leader of the army is
enthroned in the midst of his host ;
the relations of single warriors to
him, the group of angels above him,
give meaning to his central posi-
tion ; a warrior points out to him
Maxentiussinkinginthewater. The
succession and choice of the single
incidents of the fight is of such a
kind that none destroys the other ;
they are not only natural in their
place, but along wdth the greatest
richness they are dramatically dis-
tinct.

The Baptism of Constantine is

far more than a mere ceremonial
picture, and stands as to the com-
position considerably above the
Oath of Leo VL and the Corona-
tion of Charlemagne. It is not
given as a function which depends
on a ceremonial and on special cos-
tiuues, but as an ideal historical
moment. The whole group is in
movement which is excellently
modified by the gradation of the
space in steps. But indeed the two
figures, additions by Penni, have
much the effect of side scenes.

The Gift of Constantine, which
would have become a ceremonial
picture in any other hands, is here
also an ideal historical moment. The
emperor hands to the Pope S.
Silvester not a document, in which
one might suppose the gift of the
city of Rome to be writen, nor a
model of the town, with which later
artists have helped themselves in
s imil ar cases, but a golden statuette
of Rome. His kneeling followers,
who show by their position the
direction in which they have come,
consist only of four persons : those
pressing after are kept back by
guards. The groups in front, which
in later artists are often at the best
only beautiful fillings up, are here
the essential parts of the picture,
and give the bfehke expression of
the joy of the simple Roman
people. AH the expression of de-
votion of the o£Scials ranged in a
row could not replace this expres-
sion ; the Roman individual feeling
ought to speak out its own per-
sonal rejoicing. The architecture
of the ancient church of St. Peter's
is free and very well made use of.

The figures of the Popes and of
the Virtues are many of them in
the careless, conventional style of
the Roman school, and show there-
fore to a disadvantage, for instance,
compared with the accessory figures
on the ceiling of the Sistine, which
bear on them so markedly the
stamp of the master's power. Had

158

Painting of the Sixteenth Century.

they been done by Raphael him-
self, and executed in oils, they
■would assuredly have had a pecu-
liarly grand effect. (The head of S.
Urban reputed to be by Raphael).

The above remarks, far from
giving a full account of the con-
tents of these infinitely rich frescos,
are only intended to fix in the mind
some essential points. It must be
observed then that Raphael was
only partially free to foUow his
own plan. All that we can say is,
in any case, mere guess, but the
thing itself forces us to it. This
moral side of the origin of the
frescos is too often overlooked in
their excellence.

LOGGIE OF THE VATICAN.

In the volume on "Architec-
a ture " the Vatican Loggie, that is,
the first row of arcades of the
second story iu the front great
court of the Vatican is mentioned
as the greatest masterpiece of mo-
dern decoration. We come now
to the Biblical subjects, which are
arranged in divisions of four in the
interior of the cupolas of the first
thirteen arcades. They were exe-
cuted after Raphael's drawings by
Oiulio Bomano, Frcmcesco Penni,
Pellegrino da Modena, Ferino del
Vaga, and EaffaelU dal Colle. The
figure of Eve in the Fall, as is well
known, is considered as Raphael's
own work. The size and amount
of finish of the designs from which
the pupils worked are not known ;
probably they varied according to
circumstances.

The place and the technical ne-
cessities prescribed the greatest
simplicity. Effects of light, the
expression of special heads, refined
detail of any kind, were never to
be the foundation and soul of the
picture. What could not be done

by distinct references and gestures,
must be left out. The centre point
of the scenes, which was to be
humanly interesting, without any
distinct oriental character, must be
wrought into an ideal work of art
suitable and intelligible to all times
and lands. Of the Venetian man-
ner of translating the incident into
sixteenth century romance there
could have been no question. Com-
pare the pictures of the Loggie with
the sketches of a Giorgione, Raima,
or Bonifazio, of this kind, and we
shall feel the difference in idea.
Eor the rest, in many of the Loggie
pictures the landscape is as beau-
ful and important as among the
Venetians, which here mtist be
expressly mentioned. (Creation of
Eve, Adam digging iu the field,
Jacob with Rachel at the well,
Jacob struggling with Laban,
Joseph explaining the Dream to
his Brethren, the Finding of Moses,
&c.)

The excellence of the single mo-
tives is beyond description : all
seems to be understood of itself.
To see the value of each single pic-
ture, one ought to point out how
other artists, mostly with greater
means, have only produced a
smaller, less intellectual result, or
else have shot quite beside the
mark. Only the first pictures,
those of the Creation of the World,
are questionable to our feeling.
Raphael here made use of the same
type to express the Creator, which
Michelangelo had called into life
iu the Sistine : art had now almost
assumed the right to represent the
Creation divided into several acts
as pure motion. Immediately after
begins the history of the first
human pair, which here, owing to
the definiteness of the landscape,
has an essentially different tone
from the pictures of a similar sub-
ject in the Sistine. These four
pictures alone reveal the greatest
historical composer, as we must

Raphael — Loggie and Tapestries.

159

concede on thinking over their
motives. With the four pictures
of Noah begins a new patriarchal
heroic life, which is completely
displayed in the four of the his-
tory of Abraham, and the four fol-
lowing with the history of Isaac.
Abraham with the three angels,
Lot flying with his daughters, the
kneeling Isaac, the scene with
King Abimeleoh, are among Ea-
phael's most beautiful subjects.
And yet in the pictures of the his-
tory of Jacob and those of Joseph
we feel aa if we had for the first
time before us the highest in this
kind,— especially in the scene of
Joseph before his Brethren inter-
preting their dreams. Of the eight
pictures containing the history of
Moaes, the first are still very beau-
tiful, and among the later ones,
the Worshipping of the Golden
Calf is especially so ; but, between
these, in Moses on Sinai, and. Moses
before the pillar of cloud, there is
a great falling oflf. Apparently the
subject prescribed was not agree-
able to the artist ; the last picture
can hardly have been his own com-
position. Of the four pictures of
the conquest of Palestine the
storming of Jericho is peculiarly
distinguished ; of the four of the
history of David, the Anointing ;
of that of Solomon, the Judgment.
In the last arcade Raphael began
the histories of the New Testa-
ment ; the commencement, especi-
ally the Baptism of Christ, shows
what we have lost in the continua-
tion. (The Last Supper can hardly
be by Raphael.)

His treatment of the super-
natural deserves especial attention.
The smallness of the scale obliged
him to seek to give the effect merely
by gesture and movement. The
Dividing of Light from Darkness
(first arc, first picture) is in this
respect conceived with peouhar
grandeur ; the movement of the
tour extremities expresses both the

driving apart and also the greatest
power. With the first human
being God appears as a wise father ;
the angel who drives them out of
Paradise shows in his gesture a
soothing compassion. In a strong
soaring motion God appears to
Abraham and Isaac (with a gesture
of prohibition), and to Moses in
the burning bush ; with Jacob's
ladder even Raphael had to do the
best he could. In the Giving the
Law on Sinai, where God is repre-
sented in profile, enthroned, the
movement is carried on to the
angels rushing on with their
trumpets.

These BibUoal pictures have not
the slightest internal connection
with the decorations. But this
system of ornamentation had but a
neutral meaning, and could have
afforded no place for religious sym-
bols and allusions.

RAPHAEL'S TAPESTRrES.

RaphaeVs tapestries * consist of «
two series, of which in any case
only the first, with the ten inci-
dents out of the history of the
Apostles, strictly belong to him.
He produced, in the years 1515
and 1516 (thus at the same time
with the designs for the Stanza
dell' Inoendio), the famous car-
toons, of which seven were formerly
at Hampton Court, and are now in
the Kensington Museum in Lon-
don. They were worked in Flan-
ders, and a part of them at least
came to Rome during Raphael's
lifetime. The workers followed his
drawing as accurately as people at
that time usually followed designs
for works of art ; they take liber-
ties, for instance, in the treatment
of single heads and of the landscape
background which a modem artist

* At present hung in two places of the
long gallery of communication between
the upper Gallery of Antiques and the
Stanze of the Vatican.

160

Painting of the Sixteenth Century.

would not permit in his assistants.
The preservation of what remains
is, considering the various adven-
tures it has passed through, very
fair ; still, the colours have faded
unequally, and the nude has taken
a cold, dirty tone. The contours
of the tapestries also can never
equal the original flow and touch
of the hand of KaphaeL

We have already spoken of the
Arabesque borders to the pictures,
which have only in a few instances
been preserved. Besides this there
are pictures in the skirtings in a,
low gold colour. Here it is seen
how Leo X. esteemed his own
history. Without any connection
with the Acts of the Apostles
above, it runs parallel below, and
including even such incidents as
were anything but admirable, such
as his flight in disguise from Flo-
rence, his capture in the battle of
Eavenna, &c. The child of for-
tune thinks all that happened to
him not only remarkable, but
worthy to be represented in a his-
torical picture, and this feature of
the Medicean mind was made use
of one hundred years later by
Rubens and all his school for the
glorification of the most doubtful
subjects. (Gallery of Marie de
Medicis.) These pictures on the
skirting, depicted in beautiful and
low relief, required, by-the-bye, to
make them distinct, the same ex-
pedient as the relief of the an-
cients ; namely, the personification
of rivers, mountains, towns, etc.,
to mark out the localities. Also
the general ideal costume was quite
necessary here, where no detaU was
to be sharply characterised.

In the principal pictures Raphael
was free, and could foUow his
highest inspirations. It is to be
supposed that he could here choose
the incidents himself ; at least, they
are all so well selected that none
better and more beautifully varied
can be taken from the Apostolic

history. The technical method
according to which he had to cal-
culate his work allowed him nearly
as much freedom as fresco. He
seems to have worked with a calm,
even delight. The purest feeling for
lines is combined with the deepest
intellectual conception of the action.
How gently and impressively in
the picture, "Feed my sheep," is
the power of the glorified Christ
expressed without any Glories, in
that the nearer the group of the
Apostles comes, the more are they
drawn towards him ; the farthest
remain calm, while Peter is already
kneeling. The Healing of the
Cripple in the Temple, one of those
subjects which in later pictures is
usually oppressed by the crowding
of heads, is here brought out in
the most beautiful repose by the
architectonic arrangement and by
the nobleness of style. The Con-
version of Paul is here (without
any effects of Ught) represented in
the only really noble way, while
most other painters try to show
their skill by representing a mere
tumult. The counterpart to this
is the Stoning of Stephen. The
Striking the Sorcerer Flymas with
Blindness (unfortunately half gone)
and the Punishment of Ananias are
the noblest types of the representa-
tion of solemn and fearful miracles.
The terrible and mysterious ele-
ment in the foreground is softened
by the quiet groups behind. Next,
there belong together Paul Preach-
ing at Athens and the Scene at
Lystra, both of immense influence
on later art ; thus, for instance, the
whole style of Poussin would not
have come into existence but for
them. One is a picture most rich
in expression, yet quite subordi-
nated to the powerful figure of the
Apostle seen in profile ; the other,
one of the most beautiful groups of
a popular crowd in motion, so ar-
ranged around the ox, which is the
victim, as to be interrupted by

Raphael — Cappella Chigi — Farnesina.

161

its poBition, which yet conceals
nothing : we feel how the Apostle
must be distracted with grief at
such conduct in the people. Lastly,
the Draught of Fishes, a picture
possessing most mysterious charm ;
the effect of physical straining (in
two such figures !) is shown in the
second barque; in the foremost
Peter kneels before Christ, who is
seated, and the spectator is not
distracted by the sight of the
fishes, which in other pictures
causes people to forget the princi-
pal point, the esrpression of entire
devotion and conviction of the
Apostle.
a The second series of tapestries,
already inferior in its execution, was
worked in Flanders, as a present
from Francis I. to the Papal court.
It appears that Flemish artists
made large cartoons out of small
designs by Kaphael, which were
used for these tapestries. Some
of the compositions, especially
the grand Adoration of the Shep-
herds, also that of the Kings,
the Murder of the Innocents, the
Eesurrection, show, in spite of
numerous Flemish additions, the
inexhaustible invention of the
master, his strikingly telling mode
of developing the incident ; in
others, on the other hand, there
can be nothing of his own ; it was
a speculation which took hold of
the then world-famous name, be-
fore the fame of Michelangelo had
overshadowed all else.

Besides these great Papal com-
missions, Raphael also undertook
a number of frescos for churches
and private persons.
i The earliest (1512) is the Isaiah
on a pier of the nave of St. Agos-
tino, in Rome. (Since an unfortu-
nate restoration, Raphael is only
responsible for the outlines. ) The
impression made by the Sistine
Chapel, which was completed

shortly before, must be preserved ;
but the influence of Fra Bartolom-
meo is more seen in the picture
than that of Michelangelo. In the
beautiful way in which he has
given the Putti with the Prophet,
Raphael may be considered supe-
rior to both.

Quite a different sort of compe-
tition with Michelangelo comes
out in the famous fresco of S. Maria e
della Pace' (1514). The repre-
sentation of heavenly inspired fe-
male forms, which antiquity had
given quite differently in its
muses, here belong to the symbol-
ism of the Middle Ages, as well as
the effect produced by the intro-
duction of the Angels, Michel-
angelo had abandoned this point,
and had sought to concentrate the
supernatural altogether in the
figures of the Sibyls themselves,
so that the Putti only serve them
as attendants, and followers ; later
on, Gueroino and Domenichino
left out the Angels altogether,
and their Sibyl looks longingly
alone out of the picture. Ra-
phael, on the contrary, ex-
pressed, by the very combination
of the Sibyls and Angels, the most
beautiful enthusiasm both in the
announcement and the realization.
It is a long while before one remarks
that the angels are formed on a
smaller scale ; just as the Greeks
made the herald smaller than the
hero. The disposition of the space,
the dominant though varied sym-
metry, the forms of the figures
and characters, give this work a
place among the highest creations
of Raphael, and perhaps of all his
frescos it wiU soonest gain the
liking of the beholder.

CAPPELLA CHIGI AND FARNESINA.

In the year 1516 Raphael buUt
and decorated the Cappella Chigi,

• Best light abont 10.

162

Painting of the Sixteenth Century.

a in the left aisle of S. Mwria del
Popolo; from his cartoons, a Ve-
netian maestro, I/uisaccio, com-
pleted at the same time the mosaics
of the cupola. (As Venetian mosaics,
they are not among the best exe-
cuted of this time.) The Almighty,
giving the benediction, surrounded
by Angels (iutheLantema), exhibits
in its noblest form the hazardous
system of foreshortening, di sotto in
sii, which chiefly through Correg-
gio's example, had then grown pre-
valent. Kound about are the seven
planets, and, as an eighth sphere,
the heaven of fixed stars, under the
protection and guidance of divine
messengers. Here mythology and
Christian symbolism meet; most ad-
mirably has Kaphael distinguished
the figures in character, and united
them in action. The planet deities,
powerful, absorbed, impassioned ;
the Angels protecting and calmly
controlling. The arrangement of
the space where, for instance, the
planet gods only show the upper
part of their bodies, strikes us as
so suited to the subject that no
other could be possible.

At the same time, the same
Agostino Chigi (a rich Sienese
banker), who built this chapel, had
built for himself the most beautiful
summer palace in the world, the
tFarnesina, on the Longara, at
Home. Baldassare Peruzzi built
it, and also painted a portion at
least of several rooms in it. In
the intervals between the labours
of the Stanza d'Eliodoro, Raphael
was persuaded to produce a fresco
picture for his patron, Agostino,
and painted, in the anteroom on
the left, the Galatea, the most beau-
tiful of all modern mythological
pictures. Here the allegorically
employed myth is no mere con-
ventional opportunity for the pro-
duction of beautiful forms, but

Raphael's idea could be rendered
purely and beautifully only in this
form. What simply human story
would have sufficed to represent
distinctly the awakening of Love in
his full majesty? The Queen of
the Sea is pure blissful longing;
shot at by Amorini, surrounded by
Nymphs and Tritons, whom Love
has already joined, she floats on
her shell upon the tranquil waves ;
even on the reins of her dolphins a
wonderful Amorino has suspended
himself, and lets himself be mer-
rily drawn along over the waters.
Here, by the way, we can best con-
vince ourselves how little Raphael
was dependent on the antique in
his feeling for form ; not only the
conception, but every contour is
his own. And, in truth, his draw-
ing is less ideal, more naturalistic,
than that of the Greeks ; he is the
child of the fifteenth century.
There are more " correct " figures
in the school of David, but who
would exchange these for them?

In the two last years of his lifec
(1518-1520) Raphael made the
designs for the famous story of
Psyche, in the lower great hall of
the Farnesina ; they were executed
by Giulio Jtomano, Francesco Fermi,
and (the decorations and the ani-
mals) by Giovanni da Udine. The
pupils have rendered the ideas of
the master in a conventional and
even coarse style ; to understand
Raphael's conception, one must try
to transport one's mind into the
style of the Galatea. Raphael
received for the place of his com-
position a flat ceiling connected
with pendentives forming arches,
and showing triangular curved
faces. On the last he repre-
sented ten scenes from the story of
Psyche ; on the vaultings, floating
genii with the attributes of the
Gods ; on the central surface, in two
great pictures, the Judgment of the
Gods and the feast of the Gods
at Psyche's marriage. The place of

Rwphael.

163

delineation is altogether ideal, and
represented by a olue ground ; its
divisions not sharply marked ar-
chiteoturally, but by garlands of
fruit, in which Giov. da Udine
showed the mastery he had already
exhibited in the windows of the
Loggie.

The space and form of the pen-
dentives were apparently as Hi-
adapted as possible for histories
containing several figures ; but Ra-
phael only brought forth therefrom
(as out of the form of the waU in
the Miracle of Bolsena, the Deli-
verance of Peter, the Sibyls) op-
portunities for special beauty. No
particular definition of the local-
ity, no distinct costume, could
appear therein ; that was his ad-
vantage, as against the immense
constraint imposed on him by the
framework. Nothing but nude or
ideally shaped forms, most beauti-
ful and distinct in their markings,
and the happiest selection of the
most telling moments, could pro-
duce this wonderful effect. The
later ones are, indeed, not all alike
happy, and all assume the know-
ledge of the myth related by Apu-
leius* (which at that time every-
one had by heart). But, taken as
a whole, they are the highest
possible achievement in this style,
especially Cupid showing Psyche
to the Three Groddesses, the Ee-
tum of Psyche from the Lower
Regions, Jupiter kissing Cupid,
Mercury carrying Psyche. In the'
two large pictures on the ceiling,
'onceived as strained tapestries,
with the Olympian scenes, Raphael
gave not that kind of Ulusiou which
seeks to represent heaven by crowds
of figures on layers of clouds, and
seen as from below, foreshortened,
but a conception of space which sa-
tisfies the eye, and gives a stronger
impression of the supernatural to

* Platuer, " Besehreibung Roms," p.
685, &c., gives an account of the subject. '

the inner sense than heavenly scenes
in perspective. Some of the single
incidents are among his most mature
productions (the Jupiter in Con-
templation and Cupid Pleading,
Mercury and Psyche ; in the Marri-
age Feast, especially the bridal pair,
Ganymede attending, and many
others), and yet no single detail
loses its place in the wonderfully
combined whole. The hovering
Cupids, with the signs and the
favourite creatures of the gods,
are indeed intended as an allegory
on the omnipotence of Love ; but
in detail they are figures of children
of the most lively, human, and the
most harmonious hovering move-
ment in a given space.

Perhaps Raphael regretted in
this work the many other incidents
that might have been represented
in the history of Psyche, which
could find no place here, because
they required a distinct locality and
a larger number of figures. How-
ever that be, he designed a larger
series of scenes, which survive,
unfortunately, only in a later ar-
rangement by Michel Coxcie, in en-
gravings and modern copies of en-
gravings (among others in the col-
lection of fieveil *). The story is

* Among other frescos by pupils of
Baphael (or distant imitators) from his
designs, there exist in Borne wall deco-
rations with allegorical representations
referring to the omnipotence of love, in a
charmiitgly decorated room of the Vatican
(the so-called bath-room of Cardinal Bibbi-
ena), next the third iloor of the Loggie, in
1868 belonging to an official residence :
the remains from the so-called Villa di Raf-
faelle, now in the Borghese Gallery (Alex-
ander with Koxana, and a marriage scene) ;
the so-caUed Bersaglio de" Dei is executed
after a composition of Michelangelo
(amtea) ; the Planet deities drawn on ears
by their special sacred animals in the
ovals of the roof of the great hall of the
Appartamento Borgia. The twelve Apos-
tles, which one now sees painted on the
piers in S. Vincenzo ed Anastasio alle tit
M 2

164

Painting of the Sixteenth Century.

given as eimply and innocently as
possible; tlie eye accepts the di-
vine beauty of most of these com-
positions and is satisiied by it.

It is just this that brings Ra-
phael so much nearer to us than all
other painters. There is no longer
any division between him and the
desire of all past and future cen-
turies. To him, of all men, is there
least occasion to forgive anything,
or to help him out by assuming
something. He accomplishes tasks
of 'which the intellectual premises,
not by his fault, lie far removed
from us, in a way which seems quite
natural to us. The soul of the
modern man has, in the region of
the beautiful in form no higher
master and guardian than he is.
For the antique has only come down
to us as a ruin, and its spirit is
never our spirit.

The highest personal quality of
Raphael was, as we must repeat in
conclusion, not aesthetic but moral
in its nature, namely, the great
honesty and the strong will with
which he at aU times strove after
the beauty which at the time he
recognised as the highest. He
never rested on what he had once
gained, and made use of it as a
convenient possession. This moral
quality would have remained with
him even to his old age, had he
lived longer. K we think over
the colossal power of creation of
his very last years, we shall feel
what has been lost for ever by his
early death.

THE PUPILS OF RAPHAEL.

The pupils of Raphael formed
themselves in executing the great
works of his last years. Was it

Fontane, are only done after engravings by
Mara Antonio ; the original pictures in the
now-altered Sala vecchia de' Palaft-enieri
have disappeared under repaintings by the
ZuccTiatL Much of the invention already
belongs to pupils.

an advantage for their own work
that they should be from the be-
ginning under the impression of his
grand manner of conception ? Could
they ever look at objects again in
the same naive manner? And what
effect could it have on them when
they gathered from the talk of the
world wha,t things their master was
especially admired for? In the
last resort, it depended very much
on their character.

The most important of them
is Qiulio Somano (died 1546) ; a
facUe inexhaustible fancy which
does not despise excursions into
the region of naturalism, and es-
pecially loves to take up neutral
subjects, the myths of antiquity,
but no longer has any internal con-
nection with ecclesiastical painting,
and could not but fall into an endless
bewilderment and a barren facility
of production.

Early decorative paintings : in
the P. Borghese (three fragments, »
sawn off, out of the ViUa Lante,
with ancient Roman histories
connected with the Janiculum) ;
in the Villa Madamia (frieze of*
Futti, candelabra and garlands of
fruit, in -a, room to the left;
the volume on architecture) ; in
the Pamesma (frieze of an upper c
room). Early Madonnas in P. Bor- d
gJiese, room 2, No. 7 ; in the P. Co- «
Im/na, room on the right ; in the f
Sacristy of S. Peter, in the TnbwMlj
of the JJffixi; the mother more
resolute, the children more wUful,
than in Raphael ; the harmony of
the lines nearly lost. Perhaps the
earliest large altar-piece, on the
high altar of S. M. dell' Anima, in ft
single details Raphaelesque in beau-
ty. In the Sacristy of S. Prassede ; i
the Scourging, merely a study of
the nude in brick-red flesh tones,
stm careful in its bravura. [For the
piotm'es in Turin : see below under
£. Mantovano.'] Lastly, the prin-^'
cipal work among the earlier ones,
the Stoning of Stephen, on the

2 iso

Ra/phaeVs Ptipik.

165

ohigh altar of S. Stefcmo at Genoa,
very careful, beautifully modelled,
in colouring stiU resembling tbe
lower balf of tbe Transfiguration.
Tbe lower, eartbly group, composed
like a balf-circle in sbadow round
tbe slender principal figure, beau-
tifully true and youtbf uDy naive, is
still one of the finest productions
of Italian art. All bave just
lifted up tbeir stones, and are ready
to throw them, one hastily, another
more deliberately ; buttbespectator
is spared tbe actual sight of tbe
horror. In tbe heavenly group
all Giulio's inferiority appears ;
tbe architectonic sense is wanting ;
Christ and the Almighty are half
covered ; tbe angels, among whom
is one very beautiful, are occupied
in drawing aside the clouds. Tbe
conception of tbe supernatural is
intentionally trivial.

Giulio bmlt and painted all tbe
rest of his life at Mantua, in tbe
service of tbe Duke. [In tbe ducal
palace in tbe town : Sala del

h Zodiaeo, allegorical mythological
representations of tbe series of
pictures of animals ; Appartamento
and Sala di Troja, very unequal
scenes of tbe Trojan war ; in tbe
Scalcberia, lunettes with bunting
scenes representing Diana ; also
tbe whole pictorial decoration of
c the Palazzo del Ti, buUt by Giulio
himself, with purely mythological
and allegorical subjects. Eemark
especially the Camera di Psiche,
with tbe richest and gayest compo-
sitions in fresco covering the whole
walls, with distant landscape back-
grounds, and above them lunettes
in oil ; tbe ceiling pictures by tbe
same, by pupils, quite blackened ;
in the Camera de' Cesari two
lunette-frescos, a good deal else in
the smaller rooms ; then tbe noto-
rious Sala de' Giganti, for tbe most
part executed by Einaldo Manto-
vano, with tbe gigantic forms,
12-14 feet high, in all possible
attitudes, between enormous masses

of rock, which, painted over tbe
wall and ceiling of tbe domed
ball, without setting, skirting, or
framing, oppress the beholder
with tbeir overpowering colossal
size. Here and there be has
conceived tbe incidents really
grandly, but on tbe whole he was
very careless, and, for instance,
represented the Fall of tbe Giants,
against his better knowledge, as
we see it here. Two elegantly
executed drawings in colour for
the history of Psyche, painted in
the Palazzo del T^, in the picture <i
gallery at the Villa Albani at
Rome [in any case, the most re-
markable work of Giulio, still
quite penetrated with the spirit of
Raphael. — Mr.]

Of the pupils who formed them-
selves with him at Mantua, Giulio e
Olovio is famous as a miniature
painter ; — Binaldo Mantovano is the
painter of a very unregulated pic-
ture, a large Madonna with Saints,
in tbe Brera at Milan (B,eminiscenoe/
of tbe Madonna di Foligno) ; [better,
it really by bim, are the two pic-
tures 56 and 101 in tbe Turin Oal- g
lery, the Assumption of the Virgin,
floating upwards, and a lunette
with God the Father, both pictures
containing single angels, quite noble
and Rapbaelesque in conception. —
'Hir.l—Primaiicaio. Francis tbe
First's favourite painter at Fon-
tainebleau, has almost nothing in h
Italy; — by bis assistant, Niccolb
dell' Ablate, there are frescos in the
Palazzo del Commune (1546), at Mo- i
dena; others formerly also in the
Castle of Scandiano. These are
now in tbe Modena gallery — nine
ruined wall /rescos with scenes from/
tbe jEueid ; better, and once in tbe
Poggi palace, an octagon with
figures playing and singing, almost
like a useful Dosso Dossi. — Mr.]
Tbe three mythological pictures of
the Manfrini Gallery in Venice are h
more probably tbe work of a Ve-
netian, who was also acquainted

166

Painting of the Sixteenth Century.

with the Koman school — perhaps
Satista Franco [or Giuseppe Porta
SaUiati. — Mr.].

On the whole Giulio's influence
on art was very injurious. The
entire indifference with which he
(chiefly in various frescos) turned
bo account the style of form learnt
fiom Baphael, and yet more from
Michelangelo for superficial effects,
gave the first great example of
eoulless decorative painting.

Perin del Yoga (1499—1547),
though less richly gifted, and, in
his few easel pictures strikingly
mannered (some in the Palazzo

a Adorno at Genoa ; the Madonna
with riaints in the right transept of

6 the Cathedral of Pisa, more the
work of Sogliani than Perino), yet
is closer to Raphael whenever
decorative limitation and division
protect his figures and scenes from
want of form. We see in the
cathedral of Pisa, in several places
in the right transept, very beauti-
ful Putti, painted by experiments
in fresco. In Genoa all the de-

c coration of the Palazzo Doria be-
longs to Perin. Much here re-
minds us of the Parnesina : in the
lower hall some of the corner
figures are unusually beautiful ; the
small lunette pictures (from Roman
history), interesting in parts on oc-
count of their landscapes ; the four
ceiling pictures (Scipio's Triumph)
are indeed oppressive through over-
crowding and realism ; in the
Galeria again are Putti, lively and
in good action, but not simple in
their forms ; splendid decorations
in the vaulting ; and on the one
wall the heroes of the house of
Doria, represented in more than life-
size ; their sitting position, while yet
they are in somewhat forced drama-
tic relations with each other, is not
happy, but still they are in charac-
ter almost Raphaelesquely grand ; *

* I must take this occasion to mention
a splendid poi-trait in the Uffizl (Sala del

in the hall on the right, the Contest
of the Giants, fuU of an unpleasant
swagger, like most pictures of
this kind ; of the other rooms,
the one vnth. the Loves of Jupiter
and the figures of the Sciences, as
also that with the histories of
Psyche, contain the best motives.
The Genose pupils of Perin belong
altogether to the mannerists.
(Later frescos of Perin in Rome:
S. Marcello, sixth chapel on the(?
right.)

Francesco Penni, called II Fat-
tore, has left little of note in Eome.
[In the Turin Gallery an exellent e
copy of Raphael's Deposition, in the
Borghese Palace, of the year 1518.
—Mr.]

An unknown painter, of the
school of Raphael, painted the fifth
chapel on the right in the TrimUd,
de' Monte at Eome (Adoration of the/
Shepherds, of the Kings, and the
Circumcision, besides lunette pic-
tures). Along with Raphaelesque
touches one observes here the
degeneracy of the school, very
clearly in its beginnings ; long-
extended figures, contorted arms,
&c. Several other chapels show
the degeneracy of the imitators of
Michelangelo. (The third chapel
on the right, with histories of the
Virgin, is, for instance, painted by
Dan. di VoUerra.)

Of all his pupils, Andrea Sai-
batini, or Andrea da Salerno, has the
most of Raphael's spirit. Besides
the pictures in the Naples Museum g
(Descent from the Cross, Adoration
of the Kings, with the Allegory of
Religion in the upper semicircle of
seven teachers of the Church, S.
Nicolas enthroned between those
saved by him), and some scattered
about in various churches (Sta.

Baroccio), which is clearly ty a pupil of
Raphael; a man of good-humonred yet
dissipated expression, with a cap, grey
djimask dress, and tai.

Contemporaries of Raphael.

167

Maria delle Grazie, Lower Church
oof S. Severino) there are the fres-
cos in the vestibule of the inner
i court of 5. Gennaro dei Poveri,
■which may be unhesitatingly as-
cribed to him — ^perhaps the most
intellectual production that Naples
possesses by her own countrymen
of the golden period. (History of
S. Januarius, unfortunately, much
defaced.) [Virgin and Child with
Saints in S. Giorgio, PietS, in the
Duomo, Madonna in S. Agostino,
of Salerno, Virgin and Child in
Glory in S. Francesco of Eboli, and
several canvases in the Monastery
of Montecassino. — Ed.] Andrea
conceives beautifully and simply,
and paints only to express what
he conceives, not to produce mere
pictorial effects. One of his suc-
cessors, Gian Bernardo Lama is
in successful instances also naive
and simple, but sometimes also
very weak and fade. (S. 6ia-
oeomo degli Spagnuoli, third chapel
on the left, large Descent from
the Cross, like a Fleming who had
studied in Italy ; other things
din the Museum.) [A delicate,
studiedly elegant Adoration of the
Shepherds, with a Glory of Angels,
signed, 1861 belonged to Mar-
echese Oagliardi. — Mr.] Antonio
Amato later adopted the same
style. Madonna with Angels in
i the Museum.

Polidoro da Ca/ramaggio brought
quite another tendency to Naples
and Sicily. He is still a follower
of Raphael in the fajade paintings
mentioned in the volume on Sculp-
ture ; perhaps also in those un-
known to me in the summer-house

g of the Palazzo del Bufalo. Of the
Niobe frieze there is a sketch in

h the P. Oorsini : three pictures,
grey on grey, are said to be still

i in the P. Barberini. Later he falls
into the harshest naturalism, of
which the great Descent from the

j Cross [1534] in the Naples Museum

is a remarkable instance. Here for
the first time vulgarity is regarded
as an essential condition of energy.
His smaller pictures in the same
collection are partly composed
in the same style and partly ac-
cording to a second-hand classicism.
A pupU of Polidoro, Mareo Oardisco k
(in the Mziseum, the Contest of St.
Augustine with the Heretics), has
rather the appearance of a degener-
ate scholar of Raphael himself. A
pupU of this Cardisco, namely
PietroNegroni (1560 — 156D*), shows
in the only picture known to me, a
large Madonna floating on clouds
with Angels (Museum), a really I
astonishing beauty and grandeur ;
one thinks one sees the highest
conceivable inspiration of Giulio
Romano before one. Other masters,
like Oriscuolo, Roderigo Siciliano,
Oaria, &c., are for the most part
very little enjoyable {Museum), m
[A famous picture of Ippolito
Borghese, the Assumption of the
Virgin, in the Ohapel of the Monte n
di PieUt, hardly to be dated before
1550, is completely smooth in
execution and unattractive in
colour, though with points recall-
ing Raphael and A. del Sarto. —Mr.]

CONTEMPORARIES IN BOLOGNA
AND FERRARA.

Several pupils of F. Francia in
Bologna passed on eventually into
the school of Raphael, or at any
rate fell under the determining in-
fluence of his works.

The earlier paintings of Timoteo
della Vite from Urbino (1467—

* I saw in 1861 at the house of Cardinal
Santangelo an excellent picture with the
signature Pietro Negroni, 1594 ; and I do
not know how the usual statement about
the date of his life, which would not agree
with this, is authenticated, — Mr. There is
another interesting work by P. Negroni
iu S. Anifllln at Naples, chapel of the
De Grazia family, a Madonna with Saints,
signed Pietro de Negroni, p. 1646.— Fr.

168

Painting of the Sixteenth Century.

1523)* are found for the most part

a in his paternal city of TIrbino and
the neighbourhood ; [in the Sa-

bcristy of the Cathedral there are
SS. Martin and Thomas, sitting

c figures ; in the town collection the
half-length figures of S. Sebastian
and S. Agatha ; these three, as well
as the picture of an angel in the

dpublie gallery at Brescia, quite in
the style of Francia and Perugino.
— Mr. and Fr.] some later ones in

e the Brera, No. 191 (Mary between
two Saints, with a lovely Putto
flying downwards), and in the Pi/na-

fcoteca at Bologna (S. Magdalen in
prayer, standing before her cave,
a mysteriously attractive figure,
about 1508). As Raphael's pupil
he painted the Prophets above the
Sibyls in the Pace ; but how much
was prescribed to him is not known,
and in reality these figures are
essentially his own, and, but for the
proximity of the Sibyls, would ap-
pear a work of first rank. [Of his
latter years (1521) there is a beau-
tiful altar-piece in the Cathedral

gat Gnbbio— St. Mary Magdalen
surrounded by Angels. Scenes of
the Legend in a sunny landscape. —
Mr.] [Noli me tangere in Sant'
Angelo of Cagli.]

Another pupil of Francia and
Kaphael. Sartolommeo jRamenghi
(Bagnaeavallo), is sometimes grand
in his delineations of these ideal
figures (Sacristy of S. Michele in

hbosco at Bologna; the figures in
niches ; compare the famous pic-
ture of the four Saints in Dresden).
Sometimes too he is somewhat ex-
aggerated {S. M. delta Face at

i Borne; two Saints opposite the
Prophets of Timoteo. His best

* He was, perhaps after his rettim to
Urbino in 1495, from the school of Francia,
Raphael's first teacher, and painted him as
a hoy of twelve in the little picture of the
Borghese Gallery, 1st room, No. 35 (Pas-
savant). Crowe and Cavalcaselle trace in
this most attractive portrait the manner
of Ridol/o Ghvrlanda^o.

composition we have mentioned
already {awtea) ; but the Madonna
with Saints in the Pinacoteca atj
Bologna is only moderately good,
and the way in which he alters
Raphael's Transfiguration (in the
Sacristy above mentioned) is alto-&
gether bad. (There is a beautiful
early picture, the Christ Crucified,
with three Saints, in the Scristy of
S. Pietro at Bologna.) /

Innocemo da Imola, on the other
hand, did not caricature Raphael's
compositions, but simply worked
in Raphael's manner. Of his
numerous works, almost all in
Bologna, a few are early and naive
{Pinacoteca, Madoima of the Faith- m
ful) or freely executed in the
Raphaelesque spirit {Pinamteca, »
Madonna with both Children, S.
Francis and S. Clara) ; most, on the
other hand, are mere selections from
Raphael, careful, neat, and as skil-
ful in the arrangement as one
can reasonably expect from their
unconnected character. (Pina- o
coteca : Holy Family, with Donor
and Wife ; S. Michael, with other
Saints. In S. Salvatore, third chapel^
on the left ; the Christ Crucified,
with four Saints, constructed on
earlier works of Raphael, &c.) Some-
what freer : S. GHaamw Maggiore, i
seventh altar on the right ; Mar-
riage of S. Catherine [one of the
greatest and most characteristic,
perhaps the most beautiful picture
of the master, of most praise-
worthy solidity of execution for
the year of its production, 1536. —
Mr.] — Servi, seventh altar ou the J"
left, large Annunciation ; lastly,
the frescos, by no means con-
temptible, in S. Michele in bosco, »
Chapel del Coro Notturno, which
shows how gladly Innocenzo would
have produced something simple
and characteristic*

■* A similar appropriation of motives from
Raphael, only more from his earlier time,
is found in a Lucchese, Zacclim it vecclm.

Tremo. — Cotignok.—MazzoUno. — Qarofalo. 169

Qirolamo (terrewso [1497— 1544],
who studied in Venice, and then

(t worked in Bologna, shows in his
monochrome scenes of Legends of
the ninth chapel on the right in S.
Petronio, studies after Kaphael [and
several other masters. As mentioned
before (p. 90), he was the son of
Pier Maria Pennaochi. A beautiful
S. Jerome with SS. Rooh and Se-
bastian, in iixe Sacristy of the Salute

b at Venice, is probably by him.
[At Faenza a Virgin and Child
with Saints in the church of the
Commeoda ; and a Madonna iu
S. Maglorio under the name of Gior-
gione.] His masterpiece is in the
National Gallery in Loudon. — Mr.]

By Girolamo Marched da Ootig-
nola, once pupil of Francia, one
finds in this district only later pic-
tures of the freer, already some-
what mannered style. (A large
overcrowded Marriage of the Virgin

c in the Pinacoteca at Bologna ; Justi-
tia and Fortitude, in S. M. in Vado

d at Ferrara, furthest chapel in the
right transept ; this is naturalistic
in a beautiful Venetian manner.)
This master is not to be con-
founded with his two elder bro-
thers (?), Francesco and Bernardo
Marchesi called also Zaganelli, from
Cotignola, who worked under the
influence of Francia, Bellini, and

ethe elder Ferrarese in Kavenna.
There are pictures in S. Niccolb at

/•Cotignola [the Brera of Milan, the
gallery of Forlt, and the church of
the Nunziata at Parma. — Ed.] and
elsewhere.

The Ferrarese painters also fell
under the influence of Raphael, but
the speciality of their school was

In his pictures (Ascension, in S. Salvatore,
at Lucca; Assumption, in 8. Agostino,
162V I an Assumption, in S. Pietro So-
maldi, 1523, &c.) tliere is a feeling of tlie
Sistine and of Fra Bartolommeo, tut espe-
cially of Raphael's first Coronation of tlie
Virgin in the Vatican.

strong enough to make a counter-
poise in the scale.

One of them, Lodmico Masao-
lino (1478 — 1528), entirely re-
sisted this influence. He retained
his old North Italian realism
along with and in connection
with glowing Venetian colouring.
His works mostly small cabinet
pictures (the smaller the more valu-
able) are rarely found in Ferrara, but
here and there in Italy {P. Borghese, g
2nd room, 58, and P. Doria, 7th A
room, 9, Capitolime Gallery, No. i
23 and No. 104, at Eome; V-gizi, j
1030, 32, 34), Pi«i, No. 129, and A
more frequently in foreign coun-
tries. Overladen and deficient in
ideas without right principles in
drawing, most extravagant in his
use of gold relief in ornamenting
halls, Mazzolino yet impresses us
by the depth and juicy freshness of
his colours, which, with all their
variety, form a sort of harmony.
They shine out from afar in the
galleries. In the Ateneo at Ferrara I
is a somewhat larger picture. Ado-
ration of the Child, with saints.

Benvenuto Tisio, called Garofalo
(1481 — 1559), began under the same
influences as Mazzolino (small pic-
tures in Pal. Borghese, 2nd room, m
1, 2). Later on, having often re-
sided iu Bome and been in Raphael's
school, he endeavoured to adopt the
Roman style as far as he was able.
He possessed from the first the gift
needed to make a Venetian painter
of life in the manner of a Pordenone
or Palraa ; now he produced eJtar-
pieces in a more ideal style than he
ought to have attempted. It is
hard to judge severely works which
aim so earnestly at the highest
things, especially when occasionally
combined with truly Venetian
splendour, harmony, and clearness
of colouring. And yet it is a fact
that the inner sense is often repelled
by him, while the eye is delighted.
He is not a mannerist : even the

170

Prdnting of the Sixteenth Century.

innumerable little pictures particu-

a larly of the Doria Gallery and the

i OapitoUne (not less than fourteen)
are composed and painted with en-
tire conscientiousness as to the exe-
cution. But his feeling is not suffi-
cient to give life to the forms which
he creates : his pathos is uncertain ;
Ilia ideal heads, especially the large
ones, betray an intellectual empti-
ness. (Thus the beautiful head of an
Apostle in the P. Pitti, No. 5. ) In
his few genre pictures (Boar-hunt in

'" F. Sciarra ; Troop of Horsemen in

"^the P. Colorma, ascribed to Bag-
nacavaUo) he is altogether Eerra-
rese in his naivete and richness of
colour. In his later works his re-
lation to Raphael's pupils was the
same as it had been to Eaphael
himself, and also his colouring is
weaker. His principal church pic-
tures are as follows : —

« In Home : —Pal. Doria : Visita-
tion and Adoration of the ChUd,
early and beautiful (first gallery,
No. 26; second gallery, No. 69).

fP. Chigi: Ascension, and a pic-
ture with Three Saints, also good ;

g P. Borghese (VI. 8), Descent from
the Cross, a masterpiece. In the

h Naples Museum : Descent from
the Cross, deeper and quieter in
expression. [Both pictures, which
stand out most advantageously
among Garofalo's works, as also an
Adoration of the Shepherds in the

iP. Borghese, first room, 67, show
marks of being the work of Ortolano.
— Mr.] In the Brera at Milan : a

j PietS, with several figures, and a Cru-

k cifix ; early. In the Academy at Ve-
nice: Madonna in the Clouds, with
four Saints dated 1518 ; excellent.

I In the Modena Gallery : two Ma-
donnas enthroned with Saints, one
beautiful, of the middle time, and
one late one. In S. Salvatore at

m Bologna, first chapel on the left :
domestic scene with Zacharias.

n In Ferrara : — In the Ateneo: large
allegorical fresco picture, the Tri-
umph of Eeligion, out of the former

Kef ectory of S. Andrea ; as a whole
insignificant and unpleasing, pure
bookish fancy, but with beautiful
episodes of his middle period
[Massacre of the Innocents, 1519, a
very fine example of the Baphael-
esque ; Eesurrection of Lazarus
(1532), and Discovery of the Cross
(1536), both grey and stony. — Ed.];
large Adoration of the Kings, of
1537, and still very brilliant ; Geth-
semane ; the Death of S. Pietro
Martire, and several others. In
the Cathedral: on both sides ofo
the Portal, good and noble fresco
figures of Paul and Peter ; third
altar on the left, Madonna en-p
throned with six Saints, of the
year 1524 ; right transept, Peter
and Paul ; left, Annunciation, late.
In S. Francesco, frescos of first?
chapel on left ; the two Donators
on the sides of the altar, beau-
tiful early Perrarese ; the Kiss of
Judas, as well as monochrome
figures at the side, late. In S. r
Maria in Vado, fifth altar on the
left : Ascension, copy by Carlo
Bonone. In the two exterior
chapels of the west transept, what
were formerly the two large doors
of the organ, containing together
an Annunciation by a good con-
temporary or pupU. In S. Spiriio, j
a large Last Supper.

Dosso Dossi (1474^1542) was less
carried away by Raphael, whose
personal influence he no longer ex-
perienced [?]. He remained a
Romanticist on his own respon-
sibility, and retained (except at the
latest period) his glowing colouring
and his own sometimes awkward
and bizarre but often most charac-
teristic ideas ; in his characters he
not seldom equals the greatest
Venetians, above all, Giorgione.

The earlier small pictures are
quite Ferrarese [which is natural
since he was assistant to Costa in
1512.— Ed.] Uffizi, Murder of the*
Innocents; P. Pitti, Repose inu

Bosso Dossi. — Ortolano.

171

Egypt, with a charming landscape.
Of the altar-pieces, the large one in

a the Ateneo at Ferrara, consisting of
a Madonna with Saints, and five
partitions besides (from S. Andrea,
where nowisacopyby Aless. Candi),
is one of the greatest treasures
of art of North Italy ; severely ar-
chitectonic in arrangement, strong
power of colour [reminiscent of
Moretto Komanino and Garofalo,
with whom Dosso was once in part-
nership. — Ed.] There also: a large
Annunciation and a John in
Patmos, with a pathetic expression
not quite successfully given. In

i the Brera at Milan a Sainted Bishop
with two Angels (1536). In the

c Cathedral of Modena, fourth altar
on the left. Madonna in the Clouds
with S. Sebastian, S. Jerome, and
John the Baptist below ; [fine,

<^1522.] In the gallery at Modena,
large Adoration of the Shepherds,
with a landscape, with a fanciful
arrangement of light ; a large votive
picture for the Carthusians, with
the Virgin floating on clouds. [In
the same gallery, No. 366, the
Madonna hovering between the
splendid St. Michael and the equally
iU-managed St. George. — Mr.] In

«the Oarmine in the same city,
third altar on th e right, a Dominican
Saint treading under foot a beauti-
ful devilish -lookiog woman. In

fSan Pietro, third altar on the right,
Assumption of the Virgin, the
Apostles (three on the right, three
on the left, and six behind), ad-
vance solemnly with their attri-
butes ; other pictures of this church
are ascribed partly to his school,
partly to his brother Battista [(d.
1548), who was certainly assistant
to Raphael in 1520.— Ed.] as the
sweet Predella of the fifth altar on
the right ; the naively beautiful
Madonna floating on clouds, with
two bishops on the seventh altar,
left ; the Madonna on clouds, with
S. Gregory and S. George, to which
belongs a beautiful Predella with a

landscape, certainly by Battista,
second altar on the left.

Dosso Dossi is well represented
as a genre painter in the Gallery of
Modena, principally by the ovalg^
picture painted half for decorative
purposes, with people eating, drink-
ing, and making music, in which
one may feel the influence of Gior-
gione ; also a collection of portraits,
with which fancy can people the
Court of Ferrara as it was in later
times. In the Castle of Ferrara, h
Dosso, with the help of his school,
decorated several rooms ; they are
chiefly works of his late already
mannered time ; even the famous
Aurora in the Hall of the Four
Divisions of the Day, morning,
noon, evening, night ; eJso the three
Bacchanals, in a small corridor, no
longer possess the freshness and
beauty which such subjects require.
Not mythology, but pure fable,
would have suited Dosso. We
see [in the Doria Palace at Rome, a
Vanossa crying at a window, and]
in the Borghese Palace (III. 11) i
Circe in the Wood, using magic
arts. Here the necromantic novel
is conjured into life ; it was thus
Ariosto conceived his personages.
[This fruitful artist is often repre-
sented, though unknown, in other
places. One of his most valuable
works, much neglected, in the Town
Gallery at Bovigo (called there^
Garofalo) ; in the Brera at Milan, k
No. 330, as Giorgione, a S. Sebas-
tian ; in the Ambrosiofiw, there a I
very careful and elegant Washing
the Feet, of his Roman time— Mr.]

A contemporary of Garofalo and
Dosso, Benvenuto OrfolaTW [in prac-
tice at Ferrara, 1512-24] has deco-
rated the organ panels (left tran-
sept,) in S. Francesco at Ferrara ?n,
quite excellently in the manner of
the first, with large figures of
Saints. (The half-length figures
on the parapet are partly by Garo-
falo himself, partly by Bonone).
[See above, in Garofalo, how much

172

The Unibrian 8chool.

of his works are ascribed to Orto-
lano— Mr.]

[Ovrolamo di Tommaso Sellari da
Carpi, of Perrara [b. about 1501, d.
before 1561,] is sometimes Ferrarese
in character, sometimes shows the
influence of the later Florentines
after Michelangelo. A Pieta in

a P. Pitti (No. 115;, very mannered ;
Christ between Maiy and Martha,

h Xlfflzi (No. 994) ; small figures in
the style of Mazzolino. A Vene-
tian Ferrarese Holy Family in the

c CapUoline Gallery &t Borne is better ;
his best work is the portrait of the
prelate Bartolino Sallmbeni, in the

dP. Pitti (No. 36) [not to be forgot-
ten the miracle of S. Anthony in
the Gallery of Ferrara]. — ffosparo
Pagano, of Modena, born in 1513,
left a Marriage of S. Catherine in

cthe Modena Gallery distinctly af-
fected by Correggio, yet quite
original. — Mr.]

SODOMA AND THE SIENESE.

The incapacity and lifelessness
of the old Sienese school towards
the end of the fifteenth century,
must have been very openly ac-
knowledged as a fact, otherwise Pin-
turiochio would not have been sum-
moned from Perugia to paint the
Libreria and the Chapel of S. Gio-
vanni in the Cathedral. It seems,
indeed, that certain Sienese went
to study at Perugia, as the early
pictures of Domenico Beooafumi
prove. This Perugian influence
shows itself very remarkably in the
noble, manly Bernardino Fungai,
who adopted thence their beautiful
inspiration without their external
mannerism : his pictures in the

f Academy (third room and great
Hall) still have the Sienese con-
straint ; the Coronation of the
Virgin, with four Saints, in the

g Church of FontegivMa (on the
right), resembles more the Um-
brians and Florentines ; the Lunette

there, above the high altar, the
Assumption of the Virgin, already
has something of lofty beauty in
the angels playing on mixsioal in-
struments ; lastly, the master con-
tinues to live in a picture of his
pupU, Girolamo del Pacehia {S. k
Spirito, third chapel left) ; again, a
Coronation of the Virgin, with
three Saints below, kneeling, beau-
tiful and devotional, serious and
calm like the Saints of Spagna.
[The large picture of Fungai, once
in the Carmine [now in the Aoa-i
demy]. Madonna with Saints, of
the year 1512 ; none of his works
bear a more pleasing stamp of cheer-
ful piety and internal conviction.
A beautiful Coronation of the Vir-
gin, of 1500, in the Conception
(Servi), in the Choir on the right ;i
a rich composition of unusually
clear colouring. — Mr. ]

But any lasting gain must come
to theschoolnot from masters of pas-
sive expression, as were most of the
Peruginesques, but only through its
taking part in the great historical
painting which then reigned tri-
umphant throughout Italy. And
indeed it was to be a Lombard,
Giovanni Antonio Bazzi, of Ver-
celli, caUed II Sodoma (1477-1549),
who gave a new, fruitful direction
to the spirit of the Sienese school
for more than a century.

Sodoma had formed himself
among the Milanese pupils of Lion-
ardo. Of his youthful period are
the twenty-foiir frescos, executed
after 1505, of the legend of St.
Benedict, in the convent of Monte
Oliveto, near Buonconvento, where i
SignoreUi, p. 70/, had begun the
series. Four of these pictures, the
first of the east wall near the en-
trance to the church, S. Benedict's
departure from Norcia ; the first of
the south wall, the Presentation to
S. Benedict of the young Maurus
and Placidus ; and the last of the
same wall, the Temptation of the
Monks by dancing girls ; as well

Sodoma.

173

as the last picture of the west wall
(near the entraooe of the Convent
Court), the attack of the Goths on
Monte Cassino, — are exceedingly
well executed representations, full
of life and beauty : in the last are
the clearest remimacenoes of lio-
nardo's Battle of the Standard ; the
others are more sketchy than they
ought to be, with special beautiful
features, mostly on a wide land-
scape background. Likewise, under
the full influence of the school of
IJonardo is the imposing Descent
from the Cross, from S. Francesco,
a now in the Academy at Siena (No.
336). [The youthful Magdalen,
who supports thefain ting Madonna,
is a completely Lionardesque head
of the tinest type ; the old heads,
the flyingdrapery, and the colouring
recall Gaudenzio ; the standing
soldier, seen from behind, looks as
if borrowed from one of Signorelli's
compositions in Monte Oliveto ;
wherefore we should fix the origin
of this picture in the neighbourhood
of Signorelli's works there. — Mr.]
[We may also suppose that Sodoma
finished before 1505 the Miracle of
the Loaves and Fishes in the refec-
tory of S. Anna in Creta near
Pienza.— Ed.]

Later on, after many residences
in Rome, he received, as it appears,
the impression of Baphael more
endnriogly than most of his pupils,
and preserved them when the
others had long forgotten them.*

His genius had certainly dis-
tinct limits, beyond which he never
reached. Thoroughly penetrated
with the beauty of the human form,
which he could represent in the best
way in graceful figures of the Ea-
phaelesque type of children (Putti),
as in persons of every age, both
nude and draped, he yet had no
eye for harmony of historical com-
position. He filled his space to
such a degree with incident of every
• [Sodoma may well have made Raphael's
acf^uaintance at Siena. — Ed.]

kind, that one always drives out
another or destroys its effect. Thus
of the two great frescos in the
second upper hall of the Farnedna
(1513-15) at Eome, Alexander, with 6
Iloxana and the family of Darius,
the first owing to over richness in
beauties, the last, also, on account
of the confused arrangement, are
not as enjoyable as they deserve to
be. In iS. Domenico at Siena, c
Sodoma painted (1526) the Chapel
of S. Catherine (right), with scenes
from her life, of which, at least, the
one most full of figures becomes in-
distinct in character and movement
from mere fulness, while so many
single traits are incomparable for
character and movement ; the orna-
mentation of the pilasters and the
Putti over them belong quite to the
golden time. * From this it natu-
rally follows that Sodoma succeeds
best in his single figures, of which,
indeed, some will bear comparison
with the best in the world. One
feels this most in the Cmifraternita d
of S. Bernardino (upper oratory),
where the four single Saints, S.
Louis of Toulouse, S. Bernardino,
S. Antony of Padua, and S. Francis,
are perfect ; while the historical
compositions, the Presentation of
the Virgin, the Visitation, Ascen-
sion, and Coronation (1518), are
only partially successful, t [Observe
the beautiful female form on the
left in the foreground of the "Pre-
sentation, " incomparable for perfec-
tion of form and charm of female
character. — Mr. ] In the PaZ. Pub- e
hlico the three saints, S. Ansano
(1534), S. Vittorio (1529), and S.
Bernardo Tolomei, accompanied
almost entirely by Putti (in the
Sala del Consiglio), are as pure and
grand as anything similar of the
time, while the Resurrection (Stan- J
za del Gonfalionere) is only excellent
in detail. [There also is a beau-
tiful altar-piece, a Madonna reach-

* Best light, towards noon,
t Best light, in the afteraoon.

174

Painting of the Sixteenth Centwry.

ing the Child to S. Lionardo, which
in its satisfactory effect of colour
and attractive chiaroscuro shows
the master at its height. — Mr.] In

a S. Spirito (first chapel, right) So-
doma painted round an altar-niche
S. James on horseback above as
the conqueror of the Saracens, be-
low on the right and ou the left
S. Anthony the Abbot and S.
Sebastian, another of his finest
works. [Above this, a semi-round
with the Virgin, who is investing
a bishop, and S. BosaUe and 8.
Lucia ; the latter wonderfully beau-
tiful. — Mr. ] Of the church frescos

6 brought to the Acadmiy (fourth
room), the grand Ecce Homo, the
typical man of sorrows in a moment
of rest, will always be preferred to
the Christ on the Mount of OHves

c and in Limbo (large room), al-
though the latter especially pos-
sesses great special beauties. The
Birth of Christ, at the Porta

d Pispini, is very well worth seeing,
and even iu its ruinous condition
one of the most important works of
the master on account of the lovely
group of floating angels. Other

c paintings of his in S. Domenico, Pal.

fPubhlico, Opera del Buomo, the
tabernacle of a Mater Dolorosa, &c.
[A beautiful altar-piece in the prin-

g cipal church of Asinalunga, in Val
di Chiana (station on the Siena-
Orvieto line). Madonna with Saints,
beautiful in colouring. — Mr.]

Like the greatest artists of his
time it was only in fresco that
Sodoma worked with real satisfac-
tion. Then his hand took the
freest and surest flight ; one fol-
lows with high enjoyment the har-
monious easy lines of the brush
with which he kept captive the
forms of beauty. In easel pictures
he is usually constrained, and em-
ployed colours which darkened
unevenly, so that, for instance,
a picture in any case overcrowded,
like his Adoration of the Kings in

liS. Agostino at Siena (side chapel

on the right), has an uufavourable
eflfect. Yet in other cases where,
for instance, the principal figures
are more isolated, he conquers by
the very conscientious execution of
beautiful forms. The Kesurrectioo
of Christ, in the Musewm at Naples i
(principal room) ; the Sacrifice of
Abraham in the Cathedral of Pisa;
(choir) ; a Madonna enthroned,
vrith Saints, Academy of Pisa; thei
S. Sebastian in the Vffzi (Tuscan I
school), perhaps the most beautiful
there is, especially when compared
with the studied representations of
later schools ; here we have true,
noble su£E'ering expressed in the
most wonderful form. [Painted for
a church standard ; on the back a
Madonna floating, several saints
and three Flagellants appearing,
rich landscape in the background.
—Mr.]

His Madonna is usually serious,
and no longer quite youthful ; his
Child Christ seldom equal to the
free gambolling Putti of his frescos
in simplicity and excellence. (Pal. ™
Borghese and elsewhere). Also his
Ecce homo (P. Pitti and Uffizi) is n
not equal to that in fresco. His
own excellent portrait is in theo
Uffizi.

I must confess to never having
closely examined the ornameuts and
small intermediate pictures on the
roof of the Camera delta Segnaiwra
in the Vatican, which represent^
lively mythological scenes of nude
flgures, satyrs, horses, painted in
chiaroscuro imitation of antique
bas-reliefs. Of the frescos of the P.
dei Conservatori on the Capitol, the S
very childish scenes from the Punic
war in theseveuthroomareascribed
to Sodoma ; in my opinion some
figures in the fourth room, that of
the Fasti more probably belong to r
him.

[Besides this there is a Holy
Family by Sodoma at Borne in the
P. Borghese, under the name of
Cesare da Sesto; of four genuine (

Bresdanino. — Faechia. — Facchiarotto. — Beccafumi. 175

a pictures of the Twrm Gallery, one
is called Oian Pedrmo, another
Oesare da Sesto. — Mr.]

Afterthis some painters, followers
of the earlier Sieneae School took

6 up his style, as Aiidrea del Bresaia-
nino (baptism of Christ on the Altar

cof S. Giovanni (1524), the Lower

d Church of the Cathedral of Siena ;
Madonna with Saints, Academy,
great room) [Holy Family with
St. Dominick, No. 1205, at the

e Uffizi] ; also very markedly, Giro-
lamo del Pacchia.* The earlier
pictures of this latter artist {antea)
combine, like the best by Fungai,
the Peruginesque expression with
a seriously conceived deep feeling
for character ; of this kind also is,

/besides the one named in S. Spirito,
a Madonna with Saints in S. Cris-
toforo. Later, under the obvious
influence of Sodoma (also, probably,
of Fra Bartolommeo and Andrea
del Sarto), he became one of the
four historical painters who, during
the ten years succeeding Raphael's
death, maintained in a higher
sense the dignity of historical art.
Without equalling Sodoma in the
inspired beauty of individual
forms, he was considerably superior

g to him as a composer ; in S. Bernar-
dino (upper Oratory), the Birth of
the Virgin and the Salutation of
the Angel, but especially in S.
Caterina (lower Oratory) the his-
tories of the Saints (the two pic-
tures on the right and the second
on the left) are but little inferior to
Andrea del Sarto. The attack ou
the monks is as a scene excellently
developed ; the female Saint by
the body of S. Agnes, a picture
most beautiful in expression. [A

A large Salutation, with the Visita-
tion in the back ground, with boy
angels above, who draw aside the

* This master, who has been con-
founded with Facchiarotto, who in art
stands much lower, has only lately been
recognised as he deserves.

curtains (Academy, No. 308), is in
part a strict imitation of Marriotto
Albertinelli. A large Descent from i
the Cross, with lively traits of
Sodoma and Fra Bartolommeo, in
the parish church at Asinalunga,
called there Facchiarotto. — Mr.]

By Pacchiarotto, a very restless
spirit who was more occupied
with warlike adventures than with
painting, is the stiffly archaic As-
cension of Christ, in the Academy, j
No. 328; there also a Visitation,
No. 315, and the same subject in
the Academy at Florence, No. 16, k
Quadri antichi.

Doinenico Beccafumi in his long
life passed through the different
styles which prevailed in his neigh-
bourhood. His youthful pictures
sometimes resemble the Perugin-
esque school and Perugino himself
so much as to be mistaken for them.
In his second and best period he
stands hardly less well by the side
of Sodoma than Del Pacchia ; to
this time belongs the beautiful
picture in the Academy (Scuole I
diverse, No. 63), which represents
several Saints in an architectural
framing with a Vision of the Ma-
donna above; above the grand
compositions in 8. Bernardino, the m
Marriage and Death of the Virgin,
besides the altar-piece. In his
later time the degeneracy and false
virtuosity of the Roman school took
possession of him ; frescos of the
Sola del Gondstoro in the P. Pub- n
bHco, &c. [The Christ in Limbo,
Academy, great room. No. 337, o
with the undraped figures of the
Patriarchs, which are simply copied
from weU-known figures by Michel-
angelo, is an unpleasantly mannered
work, in spite of the unusually de-
licate gradation of the tones of
colour. — Mr.] His feeling was per-
haps not equal to his talent. Of
the figured marble floor of the
Cathedral, the best designs (in the p

176

Painting of the Sixteenth Century.

Choir) are attributed to him — large
compositions full of figures, already
considerably Koman in character.

a In the Uffixi the circular picture of
a Holy Family (Sala del Baroccio,
No. 189).

The ^eat architect, BaMassare
Peruzzi, is as a painter either more
especially a decorator, or mannered
in the style of the fifteenth cen-
tury (ceiling pictures of the Hall
of Galatea in the Famesina, where
indeed everything must look stiff
by the side of Raphael). Here
the interesting colossal-sized head
sketched in black ought to be given
to him, which is attributed to Mi-
chelangelo.* The little pictures in
the decoration of the roof of the

b Stanza d'EIiodoro, in the Vatican,
are certainly by him. — Or. andCav.
On the few paintings of his later
time, rests the spirit of Raphael
and of Sodoma. The fresco of the
first chapel on the left in & Maria

e delta Face in Borne, a Madonna with
Saints and a Donor, of 1516, bears
the trial of being placed opposite
to Raphael's Sibyl sufficiently for
us to recognise at the first glance
the artist of the golden time in the
beautiful and dearly given cha-
racters and in the free treatment.
The Great Presentation of the
Virgin, above, on the right of the
choir, is, on the contrary, over-
laden with useless episodes, and
has several figures borrowed from
Raphael, very much ruined by
over-painting. In the church of

dPcmtegivMa at Siena (on the left),
the simple grandiose fresco picture
of Augustus and the Tiburtine
Sibyl is, in spite of the bad condi-
tion it is in, an impressive echo
from the great period. The paint-
ings in the choir of S. Onofrio at

eBome, which are all now ascribed
to him (see above, Pinturicchio,
p. 96 e), the mosaics in the under-

/ground chapel of S. Grace in Gerusa-

* [Why not to Sebastian del Piombo?—
Ed.]

lem/me, and the few easel pictures
by Peruzzi, are especially mannered.
[His best panel picture (? genuine-
Ed. ) is the Holy Family in the P.
Pitti, No. 345, with a peculiar and g
delicate and noble Madonna ; the
colour is cool like fresco. — Mr, In
the Borghese Gallery, second room, h
No. 28, a Venus, called Giulio Ro-
mano. In the Villa Belcaro, near
Siena, a ceiling picture of thei
Judgment of Paris. — Fr.]

After the destruction of the Ee-
pubHc (1557) the artistic glory of
Siena is also dimmed, yet only for
a time. The after-bloom of Itahan
painting, which begins towards
the end of the sixteenth century,
has here some of its worthiest re-
presentatives.

In Verona two painters more
particularly represent the golden
period — Gianfrancesco Caroto, pupil
of [Liberale, and assistant to Man-
tegna,] and Paolo Morando, named
Gavazzola, pupU of Fr. Morone, to
whom we may add Giolfino.

On account of the altar-pieces
being covered over because of the
fasts, the author has been obliged
to form his judgment entirely from
the pictures by these artists in the
Pinacoteca of Verona. Caroto'sj
picture, dead coloured, in grey of
an Adoration of the Shepherds, is
an unpretending yet beautiful crea-
tion ; the spirit of Lionardo enters
into the school of Mantegoa ; there,
also, is another Adoration of the
Child, a Madonna enthroned on
Clouds with Saints. By far the
most important is in 5. Eufemia, k
Cap. Spolverini. [Caroto enjoyed
the instruction of Morone (?) before
that of Mantegna] ; the influence
of the former appears in two re-
plicas of a youthful work of 1501,
one in the Modena Gallery and
one belonging to Cownt Maldural
at Padua — a Madonna occupied m

Cavazzola. — Correggio.

ni

in sewing a little shirt. The wall

"' picture of an Annv/ruAoMon of 1508,
in the former chapel of S. Giro-
lamo, now in the possession of
Count Monga at Verona, shows
grand figures strikingly cold in
colour. One of the principal works

, is the large altar-piece in S. Fermo
Maggiore, of 1528, in spite of the
late period excellent in execution ;
the Madonna with S. Anna floats
on a cloud above four Saints in
strong action, who are rather given
like portraits than as ideal figures.
[A Holy Family (1525), formerly
belonging to Dr. Bemasconi, shows
the influence of an external classi-
cism which originated in Giulio
Romano's work in Mantua. — Mr.]
Cavazzola's large master-piece is in

"^the Pinacoteca, a Passion in five

.pictures and four half-length
figures, ^o. 101-109— a marvellous
transition from the realism of the
fifteenth century to the noble free
character of the sixteenth, not to
an empty idealism ; also small early
pictures of the Passion, grand half-
length figures of Apostles and
Saints ; lastly, a splendid large-
sized Madonna with Saints (1522),
which reminds us of the Ferrarese
painters in the whole treatment,
and also in the excellent landscape.
The small landscapes in S. M.
in Organo are also by him and
Brusasoroi, with high and beau-
tiful distances, in tone rather cold
than either Venetian or Flemish,
and garnished with Biblical scenes.
Some beautiful pictures in the Sa-

*cristy of S. Anastasia (Paul with
other saints and worshippers, the
Magdalen borne up by angels) ; and
in a side chapel on the left of SS.

f Namro e, Celso (a large Baptism of
Christ). CHolfino's paintings in the

9 Pinaooteea are less important than
the fourth altar on the left in S.

h Afiastasia, at any rate the acces-

_ sory paintings there. Frescos in S.

^M. in Organo. The fagade paint-
ings of this master, some of them

especially beautiful, are noticed in
the volume on sculpture. [The well-
known engraver, Girolamo Mocetto,
also belongs rather to this than
to the elder group of Veronese
painters ; an excellent altar-piece
in three parts in S. Nazaro e Cclso, j
Cap. S. Biagio, with portraits of
Donors ; the Madonna, signed, in
the Gallery at Vicenza is weaker, k
and not pleasing (No. 52 in the
2nd, north room. ) — Mr. ]

[We must not omit Michele da I
Verona — once a partner of Cavaz-
zola — Crucifixion of 1500, in S.
Stefano, of Milan. Same subject in
S. M. in Vanzo, at Padua (1505).
Altar-piece of 1523 at ViHa di
VOla, near Este. Fhilippo da Ve- ™
rona is more dependent on the
Venetians than Michele, Fresco, of
1509, in the Santo of Padua. Ma-
donna, of 1514, in the Pinacoteca,
of Fabriano. —Ed.]

CORREGGIO.

Amid the general extreme ex-
pansion of art arose a painter who
conceived the principles and objects
of his art quite differently from all
others, Antonio Allegri da Cor-
reggio (1494(?)— 1534), probably of
the school of Francesco Mantegna
and Bianchi Ferrari.* To some
natures he is absolutely repulsive,
and they have a right to hate him.
Nevertheless people should visit
the scene of his labours, Parma, if
possible in fine weather, if only for
the sake of the other art treasures
there.

Inwardly as little under the in-
fluence of any ecclesiastical tradi-
tions as Michelangelo, Correggio,
never sees in his art anything but
the means of making his represen-
tation of life as sensuously charm-
ing and as sensuously real as pos-
sible. His gifts in this direction

* [The probability is that Correggio was
first taught by a local craftsman, then by
Lorenzo Costa at Mantua. — Ed.]

N

178

Painting of the Sixteenth Centwry

were great ; in all that assists
realization he is an originator and
discoverer, even when compared
with Lionardo and Titian.

But in the highest painting we
do not want the real, but the true.
We come to it with open hearts,
and only wish to be reminded of
what is best in us, of which we
expect it to give us the living ex-
pression. Correggio does not give
us this ; the contemplation of his
works excites us to a constant pro-
test ; one is tempted to feel — I
myself could have conceived this
from a higher artistic point of view.
There is an entire absence of any
moral elevation : if these forms
should come to life, what good
would come out of them, what
kind of expression of life would
one expect from them ?

But the realistic has great power
in art. Even when it represents
what is trivial and accidental, even
vulgar, with all the qualities of
reality, it exercises over us an over-
whelming power, even though of a
repulsive kind. But, if the subject
is sensuously attractive, the charm
is immensely increased, and affects
us with a demoniac force. We
have already expressed a similar
feeling with regard to Michel-
angelo's creation of a newphysically
elevatedgeueration of human beings ;
with entirely different means Cor-
reggio produces an effect which we
cannot otherwise characterize. He
is the first to r^resent entirely and
completely the reality of genuine
nature. He fascinates the beholder
not by this or that beautiful and
sensual form, but by convincing
him entirely of the actual existence
of these forms by means of perfectly
realistic representations (enhanced
by concealed means of attraction)
of space and light. Among his
means of representation, his chiaro-
scuro is proverbially famous. The
fifteenth century shows innumer-
able attempts of this kind, only the

object is merely to give the model-
ling of particular figures as per-
fectly as possible. In Correggio
first chiaroscuro becomes essential"
to the general expression of a pioto-
rially combined whole : the stream
of lights and reflections gives ex-
actly the right expression to the
special moment in nature. Besides
this, Correggio was the first to re-
veal the charm of the surface of the
human body in half-light and re-
flected light.

His colour is perfect in the flesh
tints, and laid on in a way which
indicates infinite study of the ap-
pearance in air and light. In the
definition of other materials he
does not go into detail ; the har-
mony of the whole, the euphony of
the transitions, is his chief object.

But the most striking point of
his style is the complete expression
of movement in his figures, without
which he cannot conceive either
life or space, the true measure of
both in painting being the human
shape in motion, or rather the
human shape with the appearance
of motion, and if necessary vio-
lently fore-shortened.* He first
gives to the glories of the other
world a cubicaUy measurable space,
which he fiUs with powerful float-
ing forms. This motion is nothing
merely external ; it inter-penetratea
the figures from within. Correggio
divines, knows, and paints the
finest movements of nervous Ufe.

Of grandeur in lines, of severe

* It ia hardly possible that Correggio
should not have known the masterpiece of
his only predecessor in tliis line, the semi-
dome of the choir of the SS. Apostoli, at
Rome, hy Jlfetosso da ForK, and should
therefore have been acquainted with Rome
generally. He is the first to represent
entirely and completely what is the living
characteristic part of nature.

[There is no proof of this, -wliile the
paintings of Mantegna in Mantua, espe-
cially in the Camera de' Spozi and the
loggia adjoining (see aTttea) give us a sufR-
cient explanation of the origin of Cor-
reggio's mode of composition. — Z.]

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CORREGGIO.

To face page 178.

Correggio.

179

architectonic composition, there is
no question with him, nor of grand
free beaxity. What is sensuously
charming he gives in abundance.
Here and there he shows real
depth of feeling, which, beginning
with the real, reveals great spiritual
secrets : there are pictures of suffer-
ing by him, which are not indeed
grand, but perfectly noble, touch-
ing, and executed with infinite in-
telligence. (Of his Christ on the
Mount of Olives there is a good

o old copy iu the Uffizi. ) But these
are exceptions. The Vera Icon of

t> the Turin Gallery is probably by
a good pupil of Lionardo.

The Kepose in Egypt in the
c Tribvme of the VJjizi, with S.
Bernard, is an early picture, * the
first transition to the Madonna
deUa Scodella, to be mentioned
later. Here for the first time the
scene becomes a charming genre
picture, which before this time has
not been the case with the realists
of thefifteenth oenturyin spite of all
the traits taken from reality. There
is some awkwardness in the unin-
terested head of the mother, and
in the hesitation of the child to
take the dates plucked by Joseph.
The colouring is unequal, in parts
wonderfully finished.

Also there, certainly still early,
the Madonna in the open air kneel-
ing before the Child lying on hay,
no longer adoring him, but laugh-
ing, and making figures with her
hands to him ; marvellously painted,
the child foreshortened in the most
graceful way ; the mother already
of that small kind of prettiness
which is peculiar to her in Correg-
gio's pictures. +

* Italy possesses no picture of the kind
of the Madonna with S. Francis at Dres-
den (of 1514), in which Correggio in essen-
tials still follows the traditional ecclesias-
tical idea in a manner resembling Francia.
[We should rather say in a manner resem-
bling Lorenzo Costa.— Ed.]

t The head of John the Baptist on

From 1518 onwards, after which
year Correggio settled in Parma,
began that series of master-pieces
of which the best have gone to
Dresden, Paris, London, Vienna,
and Berlin. But Italy stiU pos-
sesses some of the highest value.

In the Naples Museum, the little d
picture of the Marriage of St. Ca-
therine, easily and boldly painted :
that the child should look up ques-
tioningly to the mother at the
strange ceremony is quite a feature
in the manner of Correggio, who
would never conceive children
other than naive. (The Christ on
the Rainbow, Yaiioan Gallery, can 6
however only be regarded as a pic-
ture of the school of the Caracoi. )
[Certainly ! — Mr.]

There also is the Zingarella, the
Madonna bent over the chUd seated
on the earth ; above in a cloud
of palms hover delicious angels.
Correggio here brings out the ma-
ternal element, as also not seldom
elsewhere, with a certain passion,
as though he felt that he could
give no higher meaning to his type.
The execution perhaps somewhat
earlier, otherwise of the greatest
beauty.

Also the large fresco Madonna/
in the Gallery of Parma shows
mother and child closely embrac-
ing ; one of the most beautiful of
Correggio's motives ; heads and
hands wonderfully arranged (which
is not usually his strong point) ;
chief example of his ideal female
head, with the colossal eyelids and
the little nose and mouth.

There also is the famous Madonna
delta Scodella, a scene in the iiight g
to Egypt. The dreamy lights in

plate, also there, and the youthful head
looking down the naked shoulders, of the
same collection, and an insignificant
child's head in the P. Pitti, are all spurious,
and quite unworthy of the master. Also
the large Bearing the Cross in the Parma
Gallery, a dry, hard painting, is no longer
ascribed to Correggio.— Mr.

N 2

180

Fainting of the Sixteenth Century.

the mysterious wood, the charming
heads, and the indescribable beauty
of the whole treatment cause us to
forget that the picture is essen-
tially composed for the colour, and
is exceedingly indistinct in its
motives. What is the child doing ?
— or the mother herself? What
are the angels in great excitement
doing with the cloud above ? How
must one conceive of the angel who
is fastening the beast of burden,
and the one with the vine branch,
if they were not fuUy made out? Let
us not be afraid to put questions
to Oorreggio which one would do to
all other painters. He who paints
such realism is doubly bound to
clearness.

In the Madonna di S. CHrolamo
"also surprising execution hardly
outweighs great material deficien-
cies. The attitude of Jerome is
afi^ected and insecure. Oorreggio
is never happy in grand things :
the child who beckons to the angel
turning over the book, and plays
with the hair of the Magdalen, is
inconceivably ugly, as also the
Putto who smells* at the vase of
ointment of the Magdalen. Only
this latter figure is inexpressibly
beautiful, and shows, in the way
she bends down, the highest sensi-
bility for a particular kind of female
grace.

The Descent from the Cross,
also there, is, above aU, a model
of external harmony. The head of
the Ohrist lying down, truly noble
in its expression of grief ; but the
others almost trivial, and even

* So that one can hardly avoid the idea
of some special purpose. It is our duty
to acknowledge that iu Toschi's engrav-
ings the heads are not seldom weakened,
— without detriment to my high respect
for the master, whom I had the good for-
tune to visit in his studio hut a few
months before his death. Let no one
neglect to study the water-colour copies
exhibited in the Pinacoteca at Parma, of
the frescos of Correggio, partly by Tos-
chi, partly by his pupils, as a preparation
for the study of the originals.

grimacing. The painting is very
really represented in the Mary, bo
that one feels, for instance, how
she loses control over the left arm.

The counterpart, painted, like
the last, on linen damask, the
Martyrdom of S. Placidus and S. o
Flavia, is not less distinguished in
picturesque treatment. A fatal
picture, the worst qualities of which
have found only too great response
among the painters of the seven-
teenth century. Was this scene
imposed upon Correggio, or was he
here of his own free will the iirst
painter of executioners, as else-
where he is the first quite im-
moral painter? Most calmly and
artistically the one executioner
drags down the hair of the senti-
mental Flavia and pierces her with
his sword under the breast; the
other aims at Placidus kneeling
devoutly before him : on the right
one sees two trunks of decapitated
persons, and even out of the frame
comes forth the arm of an execu-
tioner who is carrying a bloody
head. At the first glance the whole
appears astonishingly modern.

Of the frescos of Correggio in
Farma, those in a room of theiV«n- d
nery of S. Paolo, now broken up,
are the earliest. ^ Over the chim-
ney-piece is seen Diana in her car
driving upon clouds ; on the vault-
ing which rises above sixteen lu-
nettes with mythological subjects,
excellently painted in monochrome ;
there is a vine-arbour painted, and
in the circular openings from it are
the famous Putti in twos and threes
grouped in all sorts of ways. They
are not beautiful in arrangement,
nor in their lines ; the painter was,
above all, deficient in the architec-
tonic feeling which should be at
the foundation of such decorations ;
but they are pictures of the gayest
youth, improvisations fuU of hfe
and full of beauty. (Good reflected
light in sunshine, from 10 — 12.)

Soon after this, 1520-1524, Cor-

Correggio. — 8. Giovanni.

181

areggio painted in S. Giovarmi, and
probably the first thing was the
beautiful and severe form of the
inspired Evangelist in a lunette
over the door in the left transept.
Afterwards came the dome. (In Feb-
ruary the light was most tolerable
at 12 and about 4. ) It is the first
dome devoted to a great general
composition ; Christ in glory, sur-
rounded by the apostles sitting
upon clouds, all introduced as the
Vision of John, seated on the edge
below. The Apostles are genuine
Lombards of the noble type, of a
grandiose physical form ; the old
ecstatic John (purposely?), less
noble. The view from below, com-
pletely carried out, of which this
is the earliest preserved instance,
and certainly the earliest so tho-
roughly carried through (compare
p. 178, note), appeared to contempo-
raries and followers a triumph of aU
painting. They forgot what parts
of the human body were most pro-
minent in a view from below,
while the subject of this and most
later dome paintings, the glory of
heaven, would only bear what had
most spiritual life. They did not
perceive that for such a subject
the realization of the locality is un-
dignified, and that only ideal archi-
tectonic composition can awaken a
feeling at all in harmony with this.
Now here the chief figure, Christ,
is foreshortened in a truly frog-
like manner, and with some of the
Apostles the knees reach quite up
to their necks. Clouds, which
Correggio treats as solid round
bodies of definite volume, are em-
ployed to define the locality, also as
means of support and as seats, and
pictoriaUy as means of gradation an d
variety. Even on the pendentives
of the cupola are seated figures,
very beautiful in themselves, but
exaggeratedly foreshortened ; an
Evangelist and a Father of the
Church on clouds, where Michel-
angelo in a similar place would have

given his prophets and sibyls solid
thrones.

The semi-dome of the choir of 6
the same church, with the great
Coronation of the Virgin, was taken
down in 1584. But the principal
group, Christ and Mary, was saved,
and is at present placed in the
second great haU of the Library;
besides this, Anmibale Ga/raeoi and
Agostino had copied nearly the
whole in parts (six pieces in the
Gallery at Parma, several in thee
Aaples Musev/m), and Gesa/re Aretusi d
repeated afterwards, on the new
semi-dome, the whole composition
according to his capacity. A pas-
sionate rejoicing pervades the whole
heaven in the sacred moment ; the
most beautiful angels crowd to-
gether into an army. But the
Madonna herself is neither naive
nor beautiful ; Christ is a mediocre
conception. (Both are weakened in
the copies, and so, doubtless, is
John the Baptist. )

At last Correggio, in 1526—30,
painted the dome of the Cathedral, e
and therein gave himself up alto-
gether, without any limit, to his
special conception of the superna-
tural. He makes everything ex-
ternal, and desecrates it. In the
centre, now much injured, Christ
precipitates himself towards the
Virgin, who is surrounded with a
rushing crowd of angels and a mass
of clouds. The impression is cer-
tainly overpowering ; the confused
group of numberless angels, who
here, rushing towards each other
with the greatest passion, and em-
bracing, is without example in art :
whether this is the noblest conse-
cration of the events represented is
another question. If so, then,
the confusion of arms and legs,
which hasbeeu described in the well-
known witticism of " un Guazzetto
di rane" was not to be avoided ; for
if the scene were real, it must have
been something like this. Farther
below, between the windows, stand

182

Painting of the Sixteenth Century.

the Apostles gaaing after the Vir-
gin ; behind them, on a parapet,
are Genii busy with candelabra
and censers. In the Apostles, Cor-
reggio is not logical ; no one so
excited as they are could stand
still in his corner ; even their sup-
posed grandeur has something un-
real about it. But some of the
Genii are quite wonderfully beau-
tiful; also many of the angels
in the paintings of the cupola it-
self, and especially those which
hover round the four patron saints
of Parma, on the pendentives. It
is difficult to analyse exactly the
sort of intpxicatiou with which
these figures fill the senses. I
think that the divine and the very
earthly are here closely combined.
Perhaps a younger mind can con-
ceive it more simply. (Best light
for ascending the cupola, towards
noon. )

Besides these there are preserved
in the Annunziata remains of a
a fresco lunette of the Amrnnciation,
a most impressive composition.

Of monumental paintings of my-
thological subjects, I only know in
Italy, besides the frescos of S.
Paolo, the Ganymede carried up
by an Eagle, now on the ceiling of
b a hall in the Gallery at Modena.
Quite different in composition from
the picture at Vienna, most master-
ly, though with very little detail.

Among the easel pictures, the
cDanae in the P. Borghese must be
mentioned. Perhaps the most com-
monplace of Correggio's pictures of
this kind, because it is not even
straightforwardly sensual ; still it
is simply and beautifully painted,
especially the two Putti, who are
trying a golden arrow on a touch-
stone ; the eloquent Cupid is quite
worthy of the genii in the cathedral
at Parma.

The allegory of Virtue, in the P.
dDcn-ia at Borne, is considered as a
genuine sketch for one of the Tem-
pera pictures of Correggio, in the

collection of drawings in the
Louvre [and in freedom and life-
like expression of the heads is far
superior to the finished picture. —

Mr.].

If any one admires the dexterity
with which Correggio, under all
sorts of pretences, always contrived
only to give what he especially
cared for, namely, life and move-
ment in a sensuously charming
form, the answer has to be given,
that such a difference between
subject and form, if it existed in
Correggio, always and inevitably
demoralizes art. The subject ought
not to be a mere accommodating
form for purely artistic ideas.

No master did more harm to his
pupils. He deprived them of what
makes masters of the second and
third rank valuable at all times, the
serious architectonic intention of
the composition, the simplicity of
the lines, the dignity of the charac-
ters. And what was characteristic
in him was above the reach of their
talents, or the time was not yet
come for it. In fact, his univer-
sally admired style stood alone for
above half a century, wlule all his
scholars threw themselves with a
kind of despair into the arms of
the Roman school.

But meantime grew up the real
inheritors of his style, the school
of the Caracci, whose mode of
conception is essentially derived
from his. It is because the mo-
derns have entirely adopted him
into themselves, that his own
works so often appear to us mo-
dern. Even what seems specifically
characteristic of the eighteenth
century, is partly foreshadowed in
him.

The whole school is fuUy repre-
sented in the Gallery and the
Charches of Parma. Pomponio Al-e
legri (son of Correggio), Lelio OrH,
Bernardino Gaiti [whose princi-

Mazzola. — Titian's Contemporaries.

183

pal work is the altar-piece of the
a Oathedral at Pavia, Madonna with
J Founders; others in Cremona. —
Mr.], have left few things worthy
of praise. There are good and
very careful things by Francesco
cRondami (frescos in the cathedral
in the fifth chapel on the right),
and several pleasing works by Mi-
chelcmgelo Anselmi, and also by
Giorgio Qandini ; the greatest num-
ber are by various painters of the
family of Mazzola, or Mazztwli,
which in this century quite adopted
Correggio's style. Girolamo Maz-
zola sometimes combines a touch
of antique nalvcti with Correggio's
manner and that of the Koman
school, and produces a wonderful
rococo. On the whole, he is less
repugnant to one's feelings than
his more famous cousin ;

Francesco Mazzola, called Par-
TnegianiTW (1504 — 1540). His long-
ed necked Madonna, in the P. Pitti,
shows, with its intolerable affec-
tation, how ill the pupils under-
stood the master in thinking that
his charm lay in a certain special
elegance and mode of presenting
the forms, while really the mo-
mentary life of the charming form
is the chief thing. Elsewhere,
Parmegianino is amusing by the
air of the great world which he
introduces into religious scenes.
His S. Catherine (P. Borghese at
e Borne) receives the compliments of
the angels with a deprecating air
of indescribable ion genre; in the
pompous court of saints in the
/wood (Pinacoieca of Bologna), the
Madonna gives the Child to S. Ca-
therine, to be caressed only with
the most aristocratic reserve.

But in portraits, where the sup-
posed ideal disappeared, Parmegia-
nino was one of the best of his
S'time. In the Museimi at Naples
his portraits of Columbus and Ves-
pucci (both arbitrarily so named),
that of De Vinceutiis, and of the
master's own daughter, are among

the pearls of the gallery, while the
colossal figures of Pythagoras and
Archimedes are hideous, and the
Lucretia and the Madonna at least
unpleasing. So, too, his own por-
trait in the Uffizi, the real Bell' h
Uomo of rank, is one of the best
in the coUeotion of painters, while
the Holy Family (Tribune) is only
endurable because of its fancifully
lighted landscape. In another room
is a quite small Madonna by him,
one of the best arrangements, aa to
Hues, of the school. [As a fresco
painter, Parmegianino should not
be forgotten. His two figures of
St. Lucy and Apollonia in S. Gio.
Evangeliata of Parma are stiH fairly
preserved, and well worthy of at-
tention. — Ed.]

[An important contemporary of
Correggio's was Lorenzo Ldon-Brwno
[born at Mantua, in 1489 ; journey-
man to Perugino in 1504 ; 1511
warder of Mantua. Still living in
1531. — Ed.], who appears partly as
his follower. The only pictures by
him are in the possession of Count j
Rizzini at Turin : a S. Jerome, a De-
scent from the Cross, and the Con-
test between Apollo and Marsyas.
The last [now in the Museum at
BerUn. — Ed.] the most pleasing. —
Mr.]

TITIAN AND HIS CONTEMPO-
RARIES.

Next we come to the painting
which gives the greatest pleasure
to the eye — the Venetian. It is a
remarkable phenomenon, that it
does not and cares not to attain
the higher ideal of human form,
because this ideal aims at some-
thing beyond a simply delicious
existence of enjoyment. But it
is still more remarkable that this
school, with its comparatively small
supply of so-called poetical ideas,
should from sheer abundance of

184

Painting of the Sixteenth Centwy.

picturesque ideas attain the same
position in general esteem as all
other schools, and far surpass the
greater number. Is this simply
the consequence of the pleasure of
the eyes ? or does the empire of
poetry extend far down into those
regions which we laymen allow to
picturesque execution alone? Is
there not something of the same
mystic effect which Correggio pro-
duces by the charm of sensuous
costume made real by space and
light ? With the Venetians, who
were not exempt from his influ-
ence (even Titian), this is certainly
the chief object, only without the
mobility essential to Correggio;
their types are less capable of sen-
timent, but in the highest degree
capable of enjoyment. The sur-
passing excellence of their colouring
is proverbial ; even in the painters
of the preceding generation it had
attained very high excellence, but
now it shone forth in perfection.
The chief study in this department
was clearly twofold : on one side
realistic, in as far as aU play of
light, colour, and surface was
studied and represented anew from
nature, so that, for instance, the
imitation of the materials of the
drapery is complete ; on the other
hand, the human eye is accurately
tested as to its power of charming
and being charmed. What the
mere spectator is unconscious of
is here better known to the painter
than in other schools.

Accordingly, it is easy to divine
what subjects are most success-
fully treated by these masters.
The closer they keep to these lines
the greater they are, the more
forcible the impressions which they
produce.

Among the pupils of Giovanni
Bellini, who are the chief ex-
ponents of the new development,
Giorgione (properly Barbarelli)
(1477 (?)— 1511) does this in a pe-

culiarly impressive though one-
sided manner.

The vivifying of single charac-
ters by a lofty, distinctive concep-
tion, by the charm of the most
perfect pictorial execution, had ad-
vanced so far in the former period
that a special treatment of such
characters could no longer be dis-
pensed with. Just as the preceding
period was already able to give its
best in the half-length portraits of
the Madonna with Saints, so now
Giorgione gives us pictures of the
same kind of a profane or poetic
character, and also single half-
lengths, which are hardly to be dis-
tinguished from actual portraits.
He is the patriarch of this style,
which, at a later time, played so
great a part in all modem painting.
However, he paints costumed half-
length figures, not because whole
figures would have been too diffi-
cult for him, but because in them
he was able to give a permanent
life — a complete poetical subject.
Venice at this time gave little em-
ployment for narrative and dra-
matic painting ; we miss the great
fresco works of Rome and Florence ;
but the result of superabundance
in a particular form of art, was to
produce single figures such as no
other school produces. Shall we call
them historical or novelistio cha-
racters ? (The subjects of Venetian
pictures are often taken from
novels. ) Sometimes the free action
is most prominent, sometimes
rather beauty of existence. Com-
binations like the " Concert " lead
us especially to questions, concern-
ing the intellectual origin of such
pictures, in which with very little
an unfathomable depth is given. In
certain defiant individual charac-
ters Giorgione is the true precursor
of Kembrandt.

Among the portraits proper we
meet sometimes with those ex-
tremely noble Venetian heads,
which externally, by the long

w
o
3

O

Giorgione.

185

parted hair, the bare neck, etc.,
resemble the head of Christ in Bel-
lini, and also in Titian.

But further, we divine in Gior-
gione the master to whom the Vene-
tian " novel picture " owes its most
beautiful form. We extend this
name also to the biblical scenes,
since these were not painted for
church or private devotion, but
only sprung from the impulse to
represent a rich and beautifully
coloured existence. They show, in
a remarkable way, how with the
Venetian the incident is but the
pretext for the representation of
pure existence, on a harmonious
landscape background. In this
spirit was painted the Finding of

a Moses {Brera, at Milan) [by Boni-
fazio]. Compared with Raphael's

i picture (Zoggie) the incident, as
such, will be found represented far
less clearly and strikingly. But
what envy possesses the modem
soul to think that the painter
could combine such a charming
evening scene out of the daily life
that surrounded him, out of the
enjoying people in their rich
dresses ! The strongest impression,
as also with the characters of Bel-
lini, comes from our regarding
what is painted as possible and
still existing. Sometimes these
pictures are slight improvisations,
with many inaccuracies (the As-

ctrologer, in the P. Manfrin) [now
in the Dresden Museum, and cer-
tainly not by Gior^one.— Ed.];
their charm lies chiefly in the
great simplicity with which the
imaginary subject is represented in
an (to us) ideal costume, and in that
ideal locale (an open landscape)
which belongs to the true Italian
novel.

[Of the pictures ascribed to Gi-
orgione in Italy, very few have in-
deed any claim to genuineness, and
one must remember his master-
pieces in foreign countries to ap-
preciate the extent of his artistic

gifts. Only one plotvire is quite
certain and authenticated by docu-
ments, the altar-piece of the prin-
cipal church at Castel Franco d
(westward of Treviso) very impres-
sive in spite of all injurious treat-
ment : the Madonna enthroned be-
tween S. Francis and S. Liberale,
a youth of twenty in armour, re-
puted to be the portrait of the
master. Regarded by some as
doubtful, yet worthy of the master
[probably by Pordenone. — Ed.],
another altar-piece is now in the
Monte di PieUi, at Treviso: thee
body of Christ on the edge of the
grave borne up by angels, in its
deeply impressive arrangement, of
the first rank. The S. Sebastian
in the Brera, with his arms bound/
over his head (No. 330), has before
been given back to its author,
Dosso Dossi.

Among the half-length pictures
I can only accept as genuine the
"Concert," in P. Pitti (No. 185), gr
and perhaps the famUy of Gior-
gione, in the P. Manfrin [now in h
the G-iovanelli Collection at Venice. — i
Ed.], and the Astrologer, also there
[now at Dresden ; see antea]. The
Luteplayer, and a Lady in a light
dress and toque, once in the P.j
Manfrin, are insignificant and un-
authentic ; the Saul with Goliath's
head, in the P. Borghese, room 5, k
No. 13, is, when rightly examined,
a Pietro della Vecchia. The Elnight
in armour, with his squire, in the
Uffizi (No. 571, said to be the 2
General Gattamelata), is North
Italian, by a pupil or follower of
Mantegna, perhaps Fr. Garoto [or
yorti^o.— Ed.]

Of the portraits, the Knight of
Malta, in the Uffizi, (No. 622), ism
also a P. della Vecchia, certainly
better than his usual works. The
Franciscus Philetus (P. Brignole, n
in Genoa), a capital picture of a
student, is most probably by Ber-
nardino Liainio.

The three small pictures with

186

Fainting of the Sixteenth Century.

a quite little figures, in the Vffiei, the
Judgment of Solomon, a story from
the childhood of Moses, and a
number of saints above an altar by
a lake, all painted with Paduan
hardness and brUliancy (No. 630,
621, 631), remind us somewhat of
Basaiti* The Finding of Moses,
in the Brera, at Milan (No. 257), is

h distinctly a Bonifazio.

As to the famous Storm at Sea,

cin the Academy at Venice, this
fanciful work,, certainly grand in
its first sketch, has long been in a
condition which hardly allows us
to distinguish anything beyond the
outlines. Besides this, the name
in the catalogue (Giorgione) has no
authority, as it rests on a suppo-
sition of Zannetti, whUe Vasari and
other contemporaries and writers
of the seventeenth century ascribe
the picture to Palma Vecchio, but
Sansovino hesitates between Palma
and Paris Bordone.—'Mi.]

Among the pupils of Giorgione,
Sehastiano del Piombo (1485 — 1547)
is the most important ; we have al-
ready mentioned him as executing
Michelangelo's designs (antea). Of
bis earlier time is the splendid
picture above the high altar in S.

d GwvariMi Grisostom,o, at Venice ; the
Saint of the Church is writing at a
desk, surrounded by other Saints,
among whom the females especially
are to be remarked as most beauti-
ful types of the school (grand, and
yet not heavy and fat). [This fine
altar-piece is considered in Venice
as a work begun by Giorgione, con-
sequently conceived and designed
by him, to which Sebastiano only
added the last touches. Comp.
the mention {antea) of the picture
on occasion of the female portrait

ein the Tribune ot the l/ffl«i. — Mr.]
Whether the Presentation in the

/Temple {Pal. Manfrin) is by him,
and of the Venetian time, I cannot

* [Yet the two first are as cleai-ly
Giorgione's as the last is Bellini's.— -Ed.]

decide ; but in any case a wonder-
ful portrait in the Uffizi is of thisy
time, No. 627 : a man wearing a
breastplate, cap, and red sleeves ;
behind him stems of laurel trees
and a landscape. [I attribute the
first to Lorenzo Lotto, the last to
B. Schidone ; the singularly cellar-
like light, while the surroundings
indicate the open air, is remark-
able. — ^Mr.] In S. Niccolb, at A
Treviso, in the chapel on the right
of the choir, an altar-piece, the
Incredulity of St. Thomas, ascribed
to Giovanni Bellini, is attributed to
Sebastiano, by Crowe and Cavaloa-
selle, who believe the altar-piece of
the choir in the same church, called
Sebastiano, to be a Girolamo So-
voldo. Perhaps of the beginning of
his Eoman time : the Marfyrdom of
S. Apollonia {P. Pitti); some re- i
mains of tender Venetian feeling
inspired him with the thought ot
not allowing the pincers of the
executioner to plunge immediately
into the beautifully modelled body.
Of the later time : Madonna cover-
ing up the sleeping Child (Naples]
Miiseum), grand in the manner of
the Eoman school, but uninterest-
ing compared with Raphael's Ma-
donna di Loreto : the altar-piece
in the CapeUa Chigi at S. M. del
Popolo at Eome ; lastly, several
portraits, all more than life-size,
which teach us how M. Angelo
liked to have portraits conceived.
The most important : Andrea Doria
{P. Doria at Eome), with a certain k
intentional simplicity, elderly fea-
tures beautiful, cold, and false : a
Cardinal {Maples Mitseimi) : a, man I
in a fur mantle (P. PiUi, No. 409), m
with grand features ; this splendid
picture has unfortunately grown
dark in consequence of the unfa-
vourable material of the slate panel ;
the fur agrees quite with that of
the Fomarina in the Tribune.

A grand altar-piece of Sebas-
tiano's is found in S. Prancesco at»
Viterbo, left transept, the Body of

S. del Piomho. — G. da Udine. — Torbido. — Talma. 187

Ohrist lying on the lap of his
mother, who, muscular in form, is
seated in the centre of the picture,
with tightly-shut mouth, looking
to the front, a picture of strangely
powerful effect and most solemn
tone, of which the composition
may well have originated with M.
Angela, as Vasari declares. (Com-
pare the oriental type of the Virgin
Mary with the youthful Cleopatra
among the Michelangelo drawings

a in the Uffizi.)

[The visitor to the Farnesina wiU
have lively pleasure in seeing the

J lunettes in the Hall of Galatea
painted with allegorical groups by
the hand of Sebastiano ; female
heads of that noble, so to say,
glorified sensuousness, for which
Giorgione found in Venice, the
most beautiful expressions — heads
of pure Giorgionesque drawing and
splendour of colouring, clearly the
first that he painted in Eome, be-
fore the influence of Michelangelo
had yet told on the Venetian. In

cthe Q,mrinal, lastly, there hangs
an old St. Bernard of Clairvaux,
the Tempter under his feet, a noble
head, full of character, with an ex-
pression of solemn calm, and very
marked features. — Mr.]

Sebastiano's only scholar Tirni-
maso Laureti, in his frescos in the
second haU in the P. dei Conser-

d vatori in the Capitol — (scenes from
Roman history, M. Scsevola, Brutus
and his Sons, &c.), — shows more
the type of Giulio and Sodoma ;
in his later time at Bologna, he
appears rather as a naturalist in
the manner of Tintoret ; High

6 Altar of S. Giacomo Maggiore, &c.
Oiovanni da Udine is, in the only
considerable picture of his earlier
time, a representation of Christ
among the Doctors along with the
four teachers of the church {Aca-

fdemy at Venice), an independent
Venetian master without obvious
likeness to his teacher, Giorgione ;
rather motley in colour, but with

grand features. A half-length pic-
ture in the Galleria Mwnfr'vti, Ma- g
donna with two Saints appears in
its easy beautiful treatment of the
heads rather like a glorification of
Cima than like a picture of Gior-
gione's school. (Is it rightly named?)
Neither of the pictures have any
documentary proof of authenticity.
Only one single precious little pic-
ture bears his name, a Madonna
with Angels and Founders, in the
collection of Signer F. Frizzoni at A
Bergamo, of the year 1517. The
juicy and glowing colour betrays
the scholar of Giorgione. [In the
P. Grimani at Venice, there is ai
ceiling painted by Giovanni da
Udine on the first story, an arbour
thick with all possible natural
growths of the South, richly en-
livened with birds, most masterly
in execution. — Mr.] Francesco Tor-
bido, surnamed il Mora, first car-
ried the distinct Venetian style
from this school to Verona. His
only principal work there, the pic-
tures from the Life of the Virgin
in the semi-dome and the upper
walls of the Choir of the Cathedral, j
does not belong entirely to himself,
but was executed after designs by
Giulio Romano, who was then
under Correggio's influence, and
was striving to bring the realiza-
tion of space of the latter into
harmony with his own style in a
manner worthy to be observed.
[Beautiful altar-pieces of his are
found in S. Eufemia and S. Fermo k
there. An excellent portrait, with
the name of the master, in the
Naples Museum.* — Mr.] I

Jacopo Palma YeccJiio (1480 —
1528) was not a scholar of Gior-
gione, but he developed and car-
ried OQ what he had striven after ;
in him the painting of life seems to
have attained its highest comple-
tion. He is essentially the creator

* [See the Gattamelataat the UfBzi, No.
571, antea, ascribed to Giorgione, but also
by Torbido.— Ed.]

188

Painting of the Sixteenth Century.

of those female characters, some-
what over rich, perhaps, but in his
pictiires still very nobly formed,
and awakening feelings of confi-
dence, which the later Venetian
school especially affects. He pro-
duced with effort, and his colouring
has not the complete freedom of
several others of his school, but
the fullest glow and beauty. Where
he attempts to give a dramatic

a effect ( Venice Academy : the over-
crowded half-length picture of the
Healing of the Possessed Girl;
there, also, the Assumption of the
Virgin), one must only look for
execution and special parts ; he
succeeded best in the quiet scene

J of Emmaus (P. Pitti), where cer-
tainly the Christ has come out
weak, but the truthfulness and
beautiful stiU life of all the rest is
astonishing ; one can see nothing
more truly naive than the sailor-
boy waiting on them who looks in
the face at one astonished apostle.
[I consider this picture as not
genuine, as well as the two so-
called Palmas, Nos. 254 and 414 ;
but the No. 84 in the same gallery.
Madonna with Saints and founders
in the landscape, I think genuine.
The Resurrection in 8. M-ancesco

c della Vigna at Venice, second chapel
left, is by a nameless pupil of Gior-
gione. — Mr.]

His principal work is the figure
of S. Barbara (with less important
side pictures) iu S. Maria Formosa

d at Venice, first altar on the right,
the head of a truly typical Venetian
beauty, the whole finished with
the greatest power and knowledge
of colour and modelling. Only the
undecided step, the unplastic flow
of the drapery, the over-delicate
smallness of the hand which holds
the palm — all this prevents the
beholder from being impressed, as
one is, e, g., by a work of Raphael.
Of larger altar pictures 1 am only
acquainted with the ruined one in

6 S. Zcuxaria (on the wall of the C.

deU' Addolorata, first side chapel
on the right), a Madonna enthroned
with Saints, recognizable by the
angel with a violin seen in profile,
formerly very beautiful. [It ap-
pears to me to have been a Lo-
renzo Lotto. — Mr.] The remaining
Sante Conversazioni are partly half-
length figure pictures, partly long
narrow pictures, with kneeling and
sitting figures, for private devotion.
The tone is always the same, some-
times simple, at others richer ; here
on a higher, there on a lower scale
of colour ; sometimes with a simple
background, sometimes with a splen-
did landscape ; the Madonna iu the
midst, frequently under the sha-
dow of a tree — Museum of Naples;^
others still very beautiful in thej
P. Adomo at Genoa ; Pal. Oolonna
at Borne [a Madonna with S. Peter, h
who receives the kneeling founder.
In the latter, a young beardless
man, there is inimitable truth of
expression, intimate devotion, and
also a power of tone and a strong
solid treatment, in which Falma is
surpassed by no Venetian. — Mr.].
A beautifiil altar-piece of five large
figures (in the centre John the
Baptist) on the first altar on the
right, in S. Oassiano at Venice [a t
genuine Falma. — Mr.]. The por-
trait of a richly dressed mathema-
tician (in the Vffizi, No. 650), aj
head of the grand quality of the
Knight of St. John.*

[A village church at Zermaa, k
near Venice, possesses a large and
excellent altar-piece by this rare
master. Perhaps the most im-
portant piece which Italy possesses
stOl, besides S. Barbara, is the
splendid ten-foot high altar-piece
of the church of S. StefaTU) at
Vioenza, left transept. The Vir-
gin seated with the Child, with a
landscape, S. Lucia and S. George.
I hardly know a church out of

» [This portrait is dated 1556 1 1 That is
twenty-sevea years after Falma's deatli—
Ed.]

Rocco Marconi. — Lorenzo Lotto.

189

Venice which can show so splendid
a work.— Mr.]

Bocco Marconi took his ideas
altogether from the last-named
painter, but few have equalled his
colouring in glow and transparency.
He was very unequal in his cha-
racters, but once put forth his
whole strength in a great effort ;
the Descent from the Cross ( Venice

a Academy). His half-length figure
pictures, with the favourite Ve-
netian subject of Christ with the
Woman taken in Adultery : S.

i Pantaleone, chapel to left of
choir and elsewhere, are buUt up
in a soulless fashion ; his Christ
between two Apostles is, in one

c (Academy, Venice), stiff in arrange-
ment and characters in another

d (SS. Giovanni e Paolo, right tran-
sept), one of the best pictures of
the school, with the most beautiful
nuld heads, especially that of
Christ, which resembles the Christ
of Bellini. St. Peter's attitude
expresses the deepest devotion.
Above him, a choir of angels
making music. A single half-

e length figure (in the Academy) is
weaker.

Lorenzo Lotto, half Lombard and
half Venetian, is an excellent mas-
ter in his pictures of the latter
style, especially where he resembles
Giorgioue ; as in the picture at the

f Carmine, second altar on the left,
where S. Nicolas, with three Angels
and two Saints on clouds, floats
above an ocean bay with the break-
ing light ; even in its ruined con-
dition, a noble and poetical work.
In the right transept of SS. Gio-

gvanni e Paolo, the S. Antoninus
surrounded by Angels, while his
chaplains receive petitions and
distribute ahns. Madonnas with
Saints, more in Palma's manner ;

hPal Manfrin, Uffizi, he. The
half-length figure picture of the

i Three Ages, in the Pitti Palace,
very atttactive, in Giorgione's

j manner. In S. Qiacomo deW Orio,

an altar-piece in the left transept,
a Madonna enthroned with four
Saints, a work of his old age
(1546).

[We owe the highest considera-
tion to this master, so incredibly
fertile, and endowed with inex-
haustible richness of invention, as
well as with the liveliest power of
fancy. There are important works
by his hand at Bergamo, three
colossal altar pictures of great
richness in composition and splen-
did colouring, in S. Spirito, S. ]i
Bernardino, and S. Bartolommeo,
the last especially grand in con-
struction, and all possessing a grace
of form and charm of colouring ap-
proaching Correggio. A beautiful
youthful picture at Becanati (March '
of Ancona) of 1509, of the most
intense expression of feeling and
wonderful finish. At Castelnuovo, m,
sacristy of the principal church, a
Transfiguration. At Loreto, where jj
the master lived for years, and
where he died, there are several
things in the Episcopal palace. A
gigantic Ascension of the Virgin
(1550) in S. Domenico at Ancona, o
altar on the right, near the en-
trance. A masterpiece of 1531 in
the little place Monte S. Gfiusto, near^
Fermo, a Crucifixion of sixteen feet
high ; especially in its pictorial
conception. His unsigned pictures
are almost always wrongly named.
The Palazzo Borgliese at Eomej
contains, along with the excellent
(signed) half-length figure picture
of the Madonna between S. Ono-
frius and a bishop, room 11, No. 1,
of 1508, in the same room, the pre-
cious portrait of a young man,
under the name of Pordenone,
dressed in black with charming
chiaroscuro effect. In the Doria^
Gallery, second gallery. No. 34,
apparently the portrait of the
master painted by himself ; near
to it, a small S. Jerome, in a laud-
scape (under the name of Caracci),
In the Eospigliosi Gallery, ascribed <

190

Painting of the Sixteenth Century.

to Luoa Cambiasi (?), an Allegory,
the Victory of Chastity, of which
the charming arrangement of the
Ught, and the incomparably deK-
cate execution, betray the hand of
L. Lotto. A Madonna, signed,
with Saints, of 1524, in the first

aToova of pictures at the Qwirmal,
over the door, and others. In the

l)Brera at UUan, there have been
for some years past three excellent
portraits. — Mr.]

In the centre of the school stands
the gigantic figure of Titian Vecelli
(1477—1576), who in his life of
nearly a century, either adopted,
or himself created or gave the ori-
ginal idea to the younger genera-
tion of all that Venice was capable
of in painting. There ia no intel-
lectual element in the school which
he does not somewhere exemplify
in perfection ; he certainly also
represents its limitations.

The divine quality in Titian lies
in his power of feeling in things
and men that harmony of exist-
ence which should be in them ac-
cording to their natural gifts, or
still Hves in them, though troubled
and unrecognized ; what in real life
is broken, scattered, limited, he
represents as complete, happy, and
free. This is the universal pro-
blem of art ; but no one answers it
so calmly, so simply, with such an
experience of absolute conviction.
In him this harmony was pre-
established ; to use a philosophical
term, in a special sense he pos-
sessed a special mastery of aU the
mechanicid artistic methods of the
school ; but several painters equal
him in special instances. His grand
power of conception, as we have just
described it, ia more essentially
characteristic of him.

It is most easily seen in his por-
traits, in presence of which people
certainly forget the question, how
the master can, out of the scat-
tered and hidden traits, have called

into life such grand beings. But
any one who wishes to pursue this
subject requires no further expla-
natory word. Out of the immense
number of portraits which bears the
name of Titian in the Italian galle-
ries, we shall mention only the most
excellent and certainly genuine;
any j udgment con cemiug the others
may be left undecided.

There are in the P. Pitti, of the c
first rank and altogether worthy of
the master, the three-quarter length
of Ippolito Medici, in Hungarian
costume. No. 201 (1533), and Philip
II., a whole length, No. 200 (1553) ;
in the Uffizi, the Archbishop oii
Kagusa, of 1552 (Tribune) ; the
Duke of Urbino, in armour, stand-
ing before some red plush drapery,
and the formerly beautiful elderly
Duchess in the arm-chair, No. 605
and 597 (1537). [In the NapUse
Musewm, the weU-knownhalf-length
figure of Paul III. (1543) sitting in
an arm-chair ; the same Pope with
two attendants (1545), a large un-
finished picture of the master,
excellent ; farther, the most beauti-
ful of all, the whole-length stand-
ing figure of Philip II., which may
rival the master-piece in Madrid.
— Mr.] [In the Palazzo Keale at
Naples the portrait (1543) of Pier
Luigi Parnese. — Ed.] One may
again and again educate one's eye
iu these pictures, and try to enter
into the infinite mastery of Titian,
which cannot be described satisfac-
torily in any words. Further, let
us not allow criticism to deprive us
of the enjoyment of the less excel-
lent and doubtful, or certainly un-
genuine portraits of the master;
there is a great deal to admire also
in these, especially compared with
modem painting, iu the conception
of the characters, the simple ar-
rangement, the fundamental tone
of the colour.

Now follow some pictures about
which we shall always doubt how
far they were painted as portraits.

Titian.

191

how far out of pure artistic im-
pulse, and whether we are looking
at some particular beauty, or a
problem of beauty grown into a
picture. First of all, La Bella, in
a the Pitti : the dress (blue, violet,
gold, white), apparently chosen by
the painter, mysteriously harmo-
nizing with the charming luxuriant
character of the head ; it is the
same person as the famous Venus
of the Uffizi, and also the Duchess
there. Then the most noble female
type which Titian has produced.
La Bella, in the P. Sciarra at Rome
J (the dress white, blue and red, un-
doubtedly by Titian, in spite of
the blacker shadows in the flesh ; *
below, on the left, the cypher
[TAMBEND]) ; and the Flora in
cthe Uffizi with her left hand lift-
ing up a damask drapery, with her
right offering roses. HoweTer great
may have been the beauty of the
woman who gave the impulse to
these two pictures, in any case
Titian first placed her on the height
which makes this head appear in
a sense as the counterpart of the
Venetian typeof the Head of Christ.
(The so-called Schiava in the P.
d Barierini at Rome is only the work
of an imitator [uo less than Palma
Vecchio. — Ed.].) Perhaps, also,
the beautiful picture of three half-
e length figures, in the P. Manfrin,
which was formerly called Gior-
gione, is rather by Titian ; a young
noble, who is turning round to a
lady, whose features recall the
Flora, on the other side a boy with
a feather in his cap. The costumes
are those of about 1520. [I agree
with this view.f In the Palazzo
fStrozzi at Florence is found the
figure of a fair-haired girl, still a
child, with pearls round her neck,
a heavy gold chain round her body,

* [Thia is certainly by Palma Vecchio.—
Ed.]

t [Thia picture, now at Alnwick Castle,
is not worthy of Titian, but might be by
Rosco Marcone.— Ed.]

and a lap-dog, with the name of
the master, of his middle period
(1543). Beautiful in execution, well
preserved, and authenticated by
the receipt of the payment. —
Mr.]»

Titian has also in some of his
nude figures solved other problems
of a lofty existence, and at the
same time achieved a triumph in
the pictorial representation seldom
again attained. In the Tribune of
the Uffl,zi the two famous pictures, g
the one marked as Venus by the
presence of Cupid, the other with-
out any mythological indication,
yet also Venus. The latter is cer-
tainly the earliest ; the head has
the features of the Bella in the P.
Pitti. t Figures of this kind so
often mislead modern, especially
French painters. Why are these
forms eternal, while the moderns
so rarely produce anything more
than beautiful nude studies ? Be-
cause the motive and the import,
and the light and colours, and form
arose and grew together in the
mind of Titian. What is created in
this manner is eternal. The deli-
cious cast of the figures, the har-
mony of the flesh tints, with the
golden hair and the white linen,
and many other special beauties,
here pass altogether into the har-
mony of the whole, nothing ob-
trudes itself separately. The other
picture, similar in the lines of the
principal figure, yet represents an-
other type, and gives a different
feeling, because of the red velvet
drapery in place of the linen, as
well as by its landscape back-
ground. A third recumbent figure,
on a couch with a red canopy, in
the Academy of S. lAica at Rome, ^
is described by an inscription as
Vanitas ; a very beautiful work,
but one which the author has not
thoroughly examined. [Too feeble

* [Now in the Museum of Berlin.— Ed.]
t The Duchess of Urbino is of the same
type.

192

Painting of the Sixteenth Century.

for Titian. — ^Mr.] In the Naples
a Miisewm a beautiful Dans (1545).
In single figures of religious sub-
jects we hardly can expect in Titian
the most dignified and suitable
representation of the objects of
which they bear the name. In
general, Titian's characters, how-
ever grand and, in a certain sense,
historical, they are in themselves,
do not easily attain any historical
significance ; their individual life
predominates.

In the well-known Magdalen, for
instance, the repentant sinner is
meant to be represented, but in
the wonderful woman, whose hair
streams like golden waves around
her beautiful form, this is clearly
only accessory. Principal example,
6 Pal. Fitti, another draped in a
striped loose garment, also by Ti-
c tian himself in the Naples Mtisewm
[which I prefer even to that of the
P. Pitti.— Mr.]. Inferior examples
d and copies : Pal. Doria at Borne,
« Turin Gallery, and in other places.
In the John Baptist the lonely
preacher of repentance (Academy,
/Venice), the severe character of the
subject is adhered to. A noble
head, perhaps somewhat nervously
suffering, with the expression of
sorrow ; with his right hand he
beckons to the people (see the John
of Kaphael, antea). The St. Je-
rome, of which Italy possesses at
least one good example (Brera at
g Milan) is, pictoriaUy, a lofty poeti-
cal work, energetic in form, beauti-
ful in lines, a pleasant ensemble of
the nude, the red drapery, the linen,
with the steep hollow way as back-
ground, only the expression of
the inspired ascetic is not suffi-
ciently spiritual. In single heads
of Christ, on the other hand, Titian
has new-cast Bellini's ideal in a
thoughtful, altogether intellectual,
manner. The most beautiful is in
h Dresden {Cristo della Mbneta) : that
i in the Pal. Pitti, No. 228, is also a
noble specimen. The large fresco

figure of S. Christopher in the
Doge's Palace (below, on the stepai
near the chapel) is one of those
works of Titian's in which there
seems to shine out a fresh impres-
sion received from Correggio.

After what has been said, it can
no longer be doubted which among
the large church pictures will
produce the purest and most com-
plete impression ; they are the
calm existence pictures : chiefly
Madonnas, with Saints and Donors.
Thus where one tone, one feeling,
must fill the whole, where the
special historical intention is in the
background, Titian is incomparably
grand. The earliest of these pic-
tures, St. Mark enthroned between
four Saints (drca, 1512) in the
ante-chamber of the Sacristy of the S
Salute, is a marvel of fulness and
nobleness in the characters, in tone
golden and full of light. One
special Santa conversazione also is
the grand late picture of the
Vatican Qallery (1523) : six saints, I
some of them wearing a moderated
ecstatic expression, move freely be-
fore a niche in ruins, above which
the Madonna appears in the clouds ;
two angels hasten to bring crowns
to the cMld, which it throws down
in a happy playfulness ; farther
above one sees the beginning of a
glory of rays (of which the semi-
circular termination with the dove
of the Holy Ghost is still visible,
but must be bent round to the
back). Lastly, the most important
and most beautiful of all presenta-
tion pictures, by means of which
Titian fixed a true conception of
subjects of this kind for all future
time, according to pictorial laws of
harmony in grouping and colour,
and free aerial perspective. This
is the picture in the Frari on one to
of the first altars to the left
(1526) ; several saints introduce
the members of the Pesaro family
kneeling below, to the Madonna
enthroned on an altar. A work of

Titian.

193

quite unfathomable beauty, which
the beholder will perhaps agree with
me in feeling more personally fond
of than any of Titian's pictures.

Of nearly the same importance,
the Presentation of the donor Aloy-
sius Gotins to the Madonna, of 1520,

a signed, in S. Domenico at Ancona. *
Single Madonnas with the ChOd,
in the open air or before a green
curtain, and so forth, are found
here and there. There is a small
early and very beautiful one in the
Pal. Sciarra at Kome. The ex-
pression does not go beyond a
mature motherliness, truly of the
sweetest kind.

His Biblical and other religious
scenes are harmonious in proportion
as the relations represented are

J simple. In the Academy: — the
Visitation, the earliest known pic-
ture of the master. [This picture
can no longer be assigned to Titian,
for whom it is too feeble. — Ed.]
[Of his middle period : an Annun-

coiation, in the Cathedral {S. Pietro)
at Treviso (1519) ; the Virgin kneel-
ing, the angel comes with a stormy
movement as if flying towards her :
below, quite small, kneels the
founder of the family Malchiostri.

d — ^Mr.] In S. Marcilian at Venice,
first altar on the left the young
Tobias with the Angel, a naive
picture of childlike innocence under
heavenly protection. (Of the pic-

e ture of Emmaus of Titian, the Oal-
lery at Turin possesses at least a
copy). In S. Salvatore : last altar

/of the right transept, a late Annun-
ciation. [We must not pass over
the large and remarkable altar-
piece, "La Carit9> di S. Giovanni
Elemosinario," in the church of
this saint. Also the church of S.

g Mo rejoices in the possession of an
excellent, though unhappily ill-
preserved, altar-piece, S. James as
a pilgrim. Among the many
Titianesque pictures in Venice, we

* In the same ehurcli a large crucified
Saviour, high altar ; of T.'s latest time.

must mention the little St. Jerome
in the collection of the Prince h
QiovamelU [by Basaiti. — Ed.] ; a
youthful work, with a graceful
landscape, still reminding us of
Giovanni Bellini. Brescia also pos-
sesses an important work of the
master in the church of 8. S. i
Naza/ro e Celso. It is a large altar-
piece in five divisions : in the centre
the Kesurrection of the Saviour
with two watchers rousing them-
selves in terror. The side pictures
contain single saints ; signed, with
the name and 1522 [and the travel-
ler in Lombardy wUl find some
pleasure in looking at the great
Christ with the Virgin in Clouds
(of 1554) in the Church of Medole.y
— Ed. ] A large altar-piece of the
master is to be seen in the principal
Church at Serravalle. The namefc
TITIAN is on it, or else doubts
might easily arise as to the genuine-
ness of the picture, in which, be-
sides the Titianesque element, there
is almost as much that suggests
Lanfranco.t Somewhat less step-
fatherly was the master's treatment
of his native place, Pieve di Cadore,
where, in the church of 8. Maria, I
is an altar-piece by his hand ; the
Holy Virgin gives the breast to the
Child, while S. Andrew looks on in
admiration. On the other side
kneels St. Titian, to whom the
painter himself, at least eighty
years old, all dressed in black,
holds out a bishop's staff, f In the
Amirosiana a beautiful Adoration of rn
the Shepherds and a Deposition.§
— Mr.] Of the richer compositions
the famous Deposition (the one in
the Pal. Manfrin [sold a few
years ago. — Ed.] is a copy of the
extremely splendid original in the
Louvre) holds the first place. It is n

t [Who would expect this criticism of a
picture of admirable execution, finished
in Titian's grandest style in 1547 ? — Ed.]

J [Here on the contrary the picture is
helow the usual level of Titian. — Ed]

§ [Both these pictures are copies.— Ei *
o

194

Painting of the Sixteenth Century.

dangerous to make comparisons ;
but here the Borghese Deposition
by Raphael is almost unavoidably
brought to our mind. In dramatic
richness, in majesty of lines, the
work of Titian cannot compare
with the other ; the attitudes also
of very few of the figures are suffi-
ciently explained. But the group
is not only infinitely beautiful in
arrangement of colours, but also, in
its expression of mental sorrow,
equal to the very best. No trait of
pathos is unconnected with the
action, none oversteps the limits of
the noblest expression, as, for in-
stance, in Correggio, whose Depo-
sition has one superiority in the
expression he gives of light and
space ; but in essentials is far
below Titian. The large Descent

a from the Cross in the Academy, the
last picture by him (1675-6) shows
in its indistinct forms and some-
what careless lines, still a tone and
grand feeling. In the Transfigura-
tion, likewise, very late {high altar

J of S. Salvatore), his power was
equal no longer to it {circa, 1565).
But in the middle [the picture was
exhibited in 1518.— Ed.] of his
career Titian made an effort and
produced an altar-piece without
compare : the Assumption of the

c Virgin {Academy), formerly over
the high altar of the Frari ; on
account of the place being so high
up the Apostles are represented
somewhat from below.

The lower group is the truest
burst of glowing inspiration ; how
greatly the Apostles long to float
up to the Virgin ! in some heads
the Titianesque character is exalted
to celestial beauty. Above, among
the joyous bands, the one of the
full-grown angels, who brings the
crown, is drawn as a whole splendid
figure ; of the rest one sees only
the supematuraUy-beautif ul heads,
while the Putti, also sublime in
their manner, are represented as
whole figures. Though Correggio's

influence may have assisted to pro-
duce this, the Celestial nature of
these figures is far beyond him.
The Father is of a less ideal type
than the heads of Christ by Titian ;
from the girdle down he is lost in
the glory which radiates from the
Virgin. She stands light and firm
on the clouds, which yet are ideally
conceived, not mathematically real;
her feet are quite visible ; her red
robe contrasts with the strongly
waving dark blue mantle fastened
in front ; her head is surrounded
with rich hair. But the expression
is one of the highest inspirations
which art can boast; the last
earthly bonds are burst; she
breathes celestial happiness.

Another Assumption, in the Ca- i
thedral at Verona (1543), first altar
on the left, is more quietly con-
ceived ; the Apostles at the empty
grave gaze full of emotion and
adoration, look upwards to her
who is soaring aloft alone. The
execution also is of high excellence.

For historical painting proper
there are frescos of Titian of his
quite early time (1511), in two
Scuole (buildings belonging to re-
ligious fraternities) in Fadua. In
the Scuola del Santo, the first, «
eleventh, and twelfth pictures are
by him. S. Antony makes a little
child speak as a witness to the
innocence of its mother ; a jealous
husband kills his wife ; S. Antony
restores the broken leg of a youth.
(His coadjutors were for the fourth,
eighth, and tenth, Paduans of the
early school ; for the second, third,
ninth, and seventeenth, the Paduan
Dovienico Oampagnola, who displays
here a remarkable talent, in these
works rivalling Titian ; for the
fifth, seventh, thirteenth, four-
teenth, various scholars of Titian ;
by Giov. Contarini, the sixth ; by
later artists, the fifteenth and six-
teenth. In the Scuola del Carmine,/
there is by Titian only the beauti-

Titian.

195

fill picture, Joachim and Anna.
The first, second, third, fourth, are
by inferior Paduans of the old
school ; the seventh, Joachim's ex-
pulsion from the Temple, by a much
better hand ; the twelfth, thir-
teenth, fourteenth (also sixth) by
Campaqnola ; the ninth is quite
insignificant, the tenth and eleventh
by filter painters. ) As special weU-
known examples in fresco by the
Venetians of the beginning of the
sixteenth century, these paintings
are not to be compared with the
great contemporary Florentines in
all that belongs to composition.
In the Scnola del Santo the subjects
also have a great internal defect.
But as lifelike pictures of existence,
with grand, free characters, with
picturesque costumes treated with
perfect beauty, with excellent land-
scape backgrounds, with colouring
which in fresco is only equalled
now and then by Raphael and A.
del Sarto, the works of Titian are
of the highest value. His chiaros-
curo in flesh tints is truly delightful.
The picture of Joachim and Anna,
in the beautiful wide landscape,
belongs without exception to his
greatest simple masterpieces. * We
cannot say that in subjects of this
kind he improved at a later period.
In his great Presentation of the
Virgin in the Temple (1539- ?)
a (Academy of Venice) the real subject
is nearly overlaid by the crowd of
accessory motives, which are indeed
represented with astonishing fresh-
ness and beauty.

Two famous altar-pieces of Ti-
tian are in the highest degree dra-
matic. It was a necessary though
dangerous transition in this period
of art equal to executing anything,
that they began to give in the altar-
picture the legend instead of the
Saint, the martyrdom instead of the
Martyr. The celebrated S. Pietro

* [This is a most exaggerated estimate
of a fresco, wliich if it be by Titian at all is
one of the poorest of his creations. — Ed.]

Martire, in SS. Qiovawii e Paolo i
[finished 1530, destroyed in the fire
of 1867 ; the following remarks may
perhaps recall to those who have
seen the picture the recollection
of its wonderful impression]. The
event is here truly overpowering,
and yet not horrible ; the last cry
of the Martyr, the lament of his
terrified attendant, have space to
rise among the lofty tree stems,
which one has to cover with one's
hand in order to see how important
such a free space is for dramatic
scenes conceived in a real man-
ner. The landscape, above all, is
here first treated with complete
artistic mastery, the distance in
an angry Hght, which helps essen-
tially to characterize the terrible
moment. The Martyrdom of S. c
Lawrence (1558) on one of the first
altars on the left in the church of
the Jesuits, an unendurable subject,
but quite grandly treated ; the head
of the sufferer one of Titian's most
remarkable characters. The com-
bination of the various lights on the
group taken in the fullest move-
ment is unequal in effect. (Much
restored.)

Once Titian seems to have fol-
lowed Correggio very closely. The
three pictures on the ceiling in the
Sacristy of the Salute (1543), thed
Death of Abel, the Sacrifice of
Abraham, and the Dead Goliath,
are, as I believe, the earliest Vene-
tian pictures taken to give a view
from below, "di sotto in siL" In
reality, this mode of representation
was not according to the nature of
the Venetian painters, who wished
to represent real existence, and not
to astonish by an illusive appear-
ance of imaginary localities. Be-
sides this, they are earthly not
heavenly events, and hence the
view from below is only of that
half kind which henceforward pre-
vails in hundreds of Venetian ceil-
ing pictures. The forms are con-
tracted by it in an unbeautiful
o 2

196

Painting of the Sixteenth Century.

manner (the Kneeling Isaac!), but
the painting is still excellent. [Later
still Titian painted in the same
form (1559) the "Wisdom" in the
ceiling of the library at Venice. —
Ed.]

Of profane historical pictures,
except a large ceremonial picture in

a the Pi/nacoUax, at Verona (Homage
of the Veronese to Venice, with a
number of fine heads ; most of it
probably by Bonifazio), there exists
nothing remarkable except the ex-
cellent little picture of the Battle of

i Cadore, in the Uffizi [a copy — Ed.] ;
the hand-to-hand conflict is thickest
on and near ahigh bridge, from which
the front scenes stand out happily,
• — an episode which perhaps gave
Kubens the impulse to his Battle of
the Amazons. One must not here
expect a dramatic central idea, any
more than complete historical accu-
racy in the costume, partly antique,
partly that of the lanzkneohts ; but
the whole, as well as its details, is
masterly in its spirit.

Mjrthological works must, in any
style that is realistic rather than
ideal, be more inharmonious in pro-
portion as their subject is heroic,
and more harmonious, according as
they approach the Idyllic and Pas-
toral. Titian seems to have felt
this more clearly than most of his
contemporaries. His chief subjects
are Bacchanalia, in which beautiful
and even luxurious existence comes
to its highest point. The originals
are in London and Madrid. There
is an episode from "Bacchus and
Ariadne" (reputed to be by Titian
himself, but more probably by a
non- Venetian of the seventeenth

c century), in the Pal. Pitti. Of a
famous picture in the spirit of Cor-
reggio's Leda, namely, the repre-

c^sentation of the Guilt of Calisto,
there are several copies by his own
hand scattered through Europe.

e The one in the Academy of S. iJuea
at Some, of which about a third is

wanting, appeared to me (on cur-
sory examination) to be a beautiful
original work. [It is much spoiled
and smeared, yet one can stUl clear-
ly feel the hand of the master in
it (??). — Mr.] Another well-known
composition is now only represented
in Italy, by copies, since the sale
of the Cwmuccwd Gallery, which/
possessed a beautiful original
sketch [now at Alnwick Castle.—
Ed. ] ; Venus tries to detain Ado-
nis, who is rushing to the chase ;
a beautiful conception as to Knes,
form, and colour, and also a proper
episode of xdyDio sylvan life. Also
in the Pal. Borghese : the late half- g
length figure picture of the Arming
of Cupid; wonderfulhr naive and
beautrful in colour. It is not my-
thological, but quite poetical, that
an amorino tries by fair words to
gain permission to fly away, while
the eyes of the other are bound.

Lastly, Titian has painted two
pictures without any mythological
conception, simple allegories, it you
will, but of that rare kind in which
the allegorical sense which can be
expressed is quite lost in comparison
with an inexpressible poetiy. Of
one, the Three Ages of Man [the on- h
ginal is in the Bridgewater Gallery
in London], Sassqf err aid's beautiful
but less powerful copy is found in
the Pal. Borghese at Borne. (Aj
shepherd and shepherdess on a
sylvan meadow, on one side chil-
dren, in the distance an old man.)
The other, in the Borghese Palace j
at Borne: "Amor sacro ed Amor
profano," that is, Love and Pru-
dery [the old Italian title, pro-
bably a wrong one. Eidolfi (1646)
calls it, "Due donne vicino ad un
fonte, entro a cui si specchia un
fanciullo"], a subject which had
been already treated by Perugino.
The meaniog is exemplified in all
possible ways : the complete cover-
ing of the one figure,* even with

* She reminds us of the Flora and the
Bella in the FaL Sciarra.

>

o

w
z

<:
u,
o

OS

CU

Q
Z

<:

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a
u

Yecellio, Schiavone, Bonifazio,

197

glovea ; the plucked rose ; on the
sarcophagus of the stream, the bas-
relief of a Cupid wakened out of
sleep by Genii with blows from
their whips ; the rabbits ; the pair
of lovers in the distance. Both
pictures, especially the former, ex-
ercise the dreamy charm over one,
which one can only describe by
comparison, and which perhaps is
only desecrated by words.

Among the pupils and assistants
of Titian, we meet first some of his
relations. His brother Francesco Ve-
cellio painted, the organ panels in
aS. Salvatore; inside, the Transfigu-
ration and Eesurrectiou ; without,
S. Augustine, who is ordaining some
kneeling monks, and S. Theodorus
in a landscape, in the grand, free
style of drawing, which is seen in
the frescos at Padua. [At Cadore,
in the Duomo, a Virgin and Child
with Saints ; a Madonna at Sedico ;
Nativity at Fonzaso, near BeUuno ;
Annunciation and Eepose in Egypt,
i in the Venice AeadeTny.'] [In S. Yito
c (Friuli), a large altar-piece of 1524,
Madonna with Saints, beautiful and
dignified. — Mr.] By his nephew,
Marco VecelUo (1545-1611 [?] ), a Ma-
<2 donna della Miaericordia, glowing
with colour, in the Pal. Pitti (No.
484) [strong, full of transparent co-
louring, along with feeble execution.
« — Mr. ], and in S. Giovanni Memo-
fsinario at Venice (on the left), the
picture of this Saint with S. Mark
and a Founder. By his son, Orazio
Yecellio, there exists little of any
note ; chiefiy portraits. [The bold-
est and most successful of Titian's
pupils was Andrea Meldolla, or
Schiavone (born at the opening of
the sixteenth century; died, circa,
1582), an artist of considerable skill,
assistant to Titian for several years,
then master of Tintoretto. Schia-
vone vulgarized Venetian art, but
his vulgarity was not without
power. He was one of the first
independent landscape painters of

North Italy. A Portrait of 1537
at the Pitti shows how early he
had mastered the Titianesque style.
His numerous canvases at Venice
would alone suffice to give us a
perfect knowledge of his manner.
—Ed.]

[The name of Bonifazio was borne
by at least three painters, all from
Verona, of whom the eldest and
most remarkable, a contemporary
of Titian and Palma, apparently
came out of the school of Domenico
Morone. He died in 1540. A se-
cond died in 1553 (according to re-
cords). A third was still painting
in 1579. AU the works of these
painters resemble each other, like
those of the Bassani, and their
number, with the addition of the
many pictures misnamed and given
to higher sounding names, is end-
less. — Mr.]

If we consider their pictures as
a whole, we see what in Venice was
the substitute for frescos, namely,
the large histories painted on can-
vas, wmch were hung up in sacred
and other public buildings at a con-
siderable height, somewhat above
the wainscot. It is important f orthe
whole style of the school that the
long narrow picture (from reasons
of space) always had the preference
over the tall picture ; even the mode
of narration of Paolo Veronese,
who was afterwards allowed every
possible freedom in place that could
be desired, was originally developed
under these conditions. Tintoretto
first broke through this prejudice
in some degree.

These masters then exemplify
brilliantly how and why the Vene-
tians of the second and third rank
are so far superior to the Florentines
and Komans of a corresponding
grade. The conception of the ac-
tion, however humbly they take it,
is at least quite naive. The enno-
bled naturalism, which is the spring
of life of the school, drives them
of itself to an ever new view of

198

Painting of the Sixteenth Century.

indiyidual objects ; but what they
owe to their masters, the amount
of charm derived from colour and
light, posterity accepts most grate-
fully also at second hand. (The
Florentines and Komans, on the
contrary, draw from their masters
siilgle elements of beauty and
energy for conventional use, and
apply themselves to the prodigious
and the pathetic.) High intellec-
tual ideas are not to be expected
from many Venetians, not even
from the Bonifazios, who some-
times paint absolutely without
ideas ; nevertheless, they do not
disturb us by downright coarseness
of conception.

a In the Academy, two splendid
glowing pictures : an Adoration of
the Kings, in a beautiful landscape,
and a Madonna, with both children
and four Saints ; also apicture, with-
out much mind, of the Adulteress ;
several single figures of Saints, who
seem to long for a niche or some
such framing ; lastly, the story of
Dives, most attractive as a romance
picture, and on the whole a most
important production. (Similarity
of the Dives to Henry VIII. ) [There
also is the Judgment of Solomon.
These pictures, which we do not
sonsider equal to the Finding of

b Moses in the Brera (antea), or the
Christ among the Disciples at Em-
maus also in the Brera (a picture,
in spite of all its faults in detail,
its incompleteness of execution, and
want of seriousness, yet standing
very high), are quite worthy of the
golden period of Venetian painting,
and apparently belong to the elder
(? the second) Bonifazio. The fol-
lowing, and many others in various
galleries in Italy, are chiefly works
of the later artists of this name. —
Mr.]

Of the two large pictures of the

cLast Supper, the one in S. Angela
Raffaelle at Venice (chapel on right
of choir) contains a number of beau-
tiful heads. The moment of the

TJnus Vestrum {antea), is clearly ex-
pressed. In the other Last Supper,
in S. M. Mater Domini (left tran- i
sept), which is still more beauti-
fully painted, and perhaps for this
reason has been ascribed to Palma
Vecchio, the painter no longer con-
cerned himself with that special
moment ; the Apostles, in indififer-
ent talk, are not attending to the
Christ. In the Pal. Manfrin (? ife
still there) : a large Madonna with
Saints ; two pictures whose sub-
ject forms the "Tabula Cebetis,"
nlvai K€/8^Toj (a description of
human life under the form of a
picture, by the Greek philosopher
Kebes, a scholar of Socrates), alle-
gories, which properly were utterly
foreign to this school and should
have remained so, as it was altoge-
ther formed to give splendour to
special things, not to realize general
ideas. In the ^ ihazia (chapel behind/
the Sacristy), two (very much in-
jured) figures of Apostles. Beyond
Venice, three pictures are worthy
of mention : in Pal. Pitti, a Christy
among the Doctors [No. 405, under
the name "Bonifazio Bembo, from
Cremona," a feeble picture by one
of this group of painters, in which
but little weight is attached to the
meaning of the subject. On the
other hand, in the same gallery are
hidden, under the name of Paris
Bordone (Ko. 89), an excellent Bo-
nifazio ; Repose during the Flight,
and (No. 257) the Sibyl with the
Emperor Augustus. In the Bor-h
gJiese PalcKe at Borne a practised
eye will recognize in the Venetian
room (eleventh), three Bonifazios
(No. 15), the sons of Zebedee, vrith
their mother, kneeUng before
Christ; No. 16, the Keturn of the
Prodigal Son, both excellent, and
an uninteresting one of the Woman
taken in Adultery. In the Oolmma i
Gallery is the beautiful half-length
picture of a Madonna with Saints,
easily distinguished by the S. Lucy
holding her two eyes upon needles,

School of Titicm.

199

certainly by him.— Mr.] In the

ffl Pal . Brignole at Genoa ; an Adora-
tion of the Kings [feeble with beau-

Jtiful details. In the Oallery at
Modena; three unimportant pic-
tures, with six allegorical figures
of the Virtues (also called Bonfiazio
Bembo) ; much better is one of the
most perfect of Bonifazio's, the
Adoration of the Kings, hanging
next to it. — Mr.]

Among the scholars of Titian the
one most comparable to Bonif azio
is the feebler Polidoro Yenezicmo,
[The best example of his per-
petually - repeated Mary adoring
the Child is attributed to an anony-

mous Flemish painter, in Pal. Pitti,
No. 483 ; a Last Supper, signed,
in the Academy at Venice. — Mr.]
By Campagnola there are some
works in Padua, besides the frescos
mentioned (p. 195). By Oiovanni
Oariani pictures are found in

dhis own home, JBergamo, and in

e the Brera at Milan (Madonna with
S. Joseph, six other Saints, and
many Angels), which, in their
noble, well-marked character, also
recall his earlier master Giorgione.
[In the Casa Baglioni at Bergamo
a Virgin with Donor of 1520, a
Madonna, and a portrait, in
the Carrara Gallery. — Ed.] [In

/the Ambrosiana at Milan a
Bearing of the Cross, called Luca

g d'OUauda ; in the P. Borghese at
Eome the Madonna with S. Peter,
eleventh room, No. 32 ; a species
of half-length picture peculiar to
himself, with male and female
figures, in the bouse of the Count
Eoncalli at Bergamo [dated 1519],
is very attractive from the charm-
ing fanciful costume of the aristo-
cratic people and certain delicately
indicated romantic traits. — Mr.]
By Galist Piazza of Lodi, a very
unoriginal artist, greatly influ-
enced by Romanino, and very flat
in his later pieces, there are four
large altar-pictures at Lodi. In-

hcoronata: first altar to the right,

the Conversion of Paul ; second
altar right, the Beheading of John
(1530) ; second altar left. Descent
from the Cross, with pictures of
the Passion (1538); in the Oathe-i
dral the Massacre of the Innocents.
Others by him in S. Gelso, Milan -.j
at Brescia, S. Maria di Galchera, a k
Temptation of 1525 ; there also,
in the town gallery, an Adoration, I
signed, of 1524 ; a large Madonna
with Saints, No. 338, in the Brera m
at Milan. Another imitator of
Titian is also worthy of considera-
tion — Natalmo da Mwra/rw ; his
Lunette in S. Salvatore, near Bel- n
lini's Emmaus, hangs in a dark
place ; but the Madonna della
Neve is a really important work,
with Saints and the Founder, in the
Cathedral at Ceneda, third altar o
right. — Mr.] By Girolamo Savoldo,
from Brescia [1508, member of the
Guild of Art at Florence ; still
living in 1548. — Ed.] There is a
large Madonna on Clouds in the
Brera at Milan; a Transfiguration^
in the Uffizi, which shows the ideas g
of Giovanni Bellini {amtea) ex-
pressed in a new style. [In S. M.
in Organo at Verona, a Virgin in
Gloiy with four Saints. — Ed.] [In
Brescia itself there is only the ex-
cellent Adoration of the Shepherds
in S. Barnabas ; a similar picture, t-
much spoiled, in the ante-room
of the Sacristy of S. CHobbe, in s
Venice. In the royal collection
at Turin a Holy Family, erroneously t
named Pordenoue, and a hard and
harsh Adoration of the Shepherds,
wrongly named Titian. [Now
catalogued under Savoldo's name.
— Ed.] A very pleasing Repose
during the Flight, with a View of
Venice, in the Pal. Albani atu
TTrbino. In the AmbrosiavM ati;
Milan, a Transfiguration called
Lomazzo (!). Jacopo Savoldo, ap-
parently a brother of the above-
named, is the painter of the Two
Hermits in the Academy at Venice, rv
No. 258, from the Pal. Manfrin, of

200

Painting of the Sixteenth Century.

1510.— Mr.]. [Paolo Pino, the
author of a dialogue on painting,
published at Venice in 1548, is a
pupil of Savoldo. We judge of his
style by a BeUinesque portrait of

a 1544, in the Uffizi, and a Virgin
and Child with four Saints (1465),

Jin the Gallery of Padua. — Ed.]
Par more important is another
Brescian follower of Titian,

Moretto (properly Alessandro
Bonvicmo) [born about 1498, died
about 1554. — Ed.] He appears
first to have been a pupil of Saochi
of Pavia [! ?], but afterwards to
have taken impressions from the
Roman school more happily than
any other North Italian painter.
In the first place, it is a general
and OTurious remark (first expressed
and justified by Waagen, and after-
wards by Schnaase) that the golden
tone of the Venetians became, in
most of the painters of the main-
land, a silver tone. As regards
Moretto especially, it cannot be
denied that in loftiness of idea in
subject and nobleness of conception
he excels all the Venetians, except
certain first-rate works of Titian.
His glories are more dignified and
majestic, his Madonnas grander in
form and attitude, his saints, too,
at times, very grand in character.
With the exception of Brescia,
Italy hardly now possesses any
pictures equal to the best pictures
in Berlin, Prankfort, and Vienna.
[Moretto's pictures in Brescia cer-
tainly are worth a whole gallery.
The churches of S. Clemente, SS.
c Nasaro e Celso, S. Eufemia, Duomo
d Vecchio, S. Faustina m Riposo, 8.
« Framoesco, S. Maria delle Grazie, S.
f Giuseppe, S. Oiovmmi Evangelista,
g S. M. GalcAera, S. M. de' Miracoli,
h S. Pietro in Oliveto, all present one or
more pictures of this incomparable
master. Among the five pictures
i in S. Olemente the precious Con-
versazione of Five Holy Virgins,
also the S. Ursula with her Train,

give evidence of the master's tender,
impressible nature, which suc-
ceeded above all in female charac-
ters. In the tender, fair figure of
S. Michael, in SS. Nazaro e Oelso,}
he accomplishes a marvel of charm.
A sweet work, S. Nicholas leading
school chUdreu before the Throne
of the Madonna, in S. M. d^h
Miracoli, first chapel right from
entrance. The S. Jerome (1530)
in S. Francesco is injured by its I
unsuitable elegance. — Mr.]

A very fine picture, a miraculous
Madonna in white appearing to a
youth, is at Paikme near Brescia [?]. m
The large Madonna in the Clouds
with three Saints in the Brera is a »
noble picture ; but the principal
figure has something gloomy about
it. (There are also several pictures
with single saints.) The most im-
portant picture in Venice is found
in S. Maria della Field, (on theo
Eiva) in a nun's gallery over the
door ; it is Christ at the Pharisee's
House, the scene arranged with
severe symmetry. In the Aca-
demy the single figures of Peter
and John, iu a landscape, early,
careful pictures, beautiful in ex-
pression (from the Pal. ManJHiCj.p
[The pictures called by his name in
the Uffizi are not his ; but works {
by him are found in S. And/rea at r
Bergamo, S. Giorgio Maggiore ats
Verona, and S. Maria Maggiore at t
Trent; lately also in the Vaticanil
collectian at Borne. — Mr.] In the
Brignole Palace at Genoa the ex-«
cellent portrait of a Botanist at a
table with a book and flowers with
walls behind, dated 1533 [and
signed. Moretto appears also in
his portraits as a superior original
of his scholar Moroni, ex. gr., in
the beautiful likenesses in the Casa w
Fenaroli and the tovm gallery sAx
Brescia. — Mr.]

The Bergamasque Gio. Battistay
Moroni [bom early in the 16th
century, died 1578. — Ed.] was
scholar of Moretto, a most charao-

Moroni, Roinanino and School.

201

teristio portrait painter. Very far
from representiBg a person in
the Venetian manner, in a festal
exalted tone, he conceives him in
the most intellectual and true
manner, but spares him none of
the wrinkles which fate has graven
on his countenance. [I should less
find fault with the timidity and
smallness of Moroni's conception of
nature than with the want of spirit in
his later pictures and their red tone.
a — Mr.] In the Uffisi a man dressed
in black, a whole length, with a
flaming cup (1S63), and the incom-
parable half-length figure of a
Student (the scholar par excellence) ;
the book lying before him is per-
haps the cause why the man of
perhaps forty-five already looks
sixty. Two other not quite equally
J excellent portraits of Scholars in the
cPal. Manfrin (?). Other pictures
dm the Academy at Veniee and
elsewhere. [An excellent male por-
trait of 1565 in the Brera, No. 137 ;
e still finer that of the Canonico Ludo-
via) M Terzi in the Fenaroli collec-
tion at Brescia [now in the National
Gallery]. Several in the public
f gallery (Gall. Tosi) there. — Mr.]
[Other pictures by this master in
the country about Bergamo, at
Albino, Bondo, Fiorano, Cenate,
Gorlago, and Pignolo, others again
in churches and Carrara Gallery at
Bergamo. — Ed.]

Girolmno Bomcmino [bom at
Kumano, near Treviglio, about
1485, died at Brescia in 1566.— Ed.]
was educated and worked chiefly

g at Brescia. With the exception of a
Deposition of the year 1510 in the
Pal. Jfa?»/ri» [now the property of Sir
Ivor Guest.— Ed.] I know but one
picture by him, which is the most
beautiful painting in aU Padua. It

A is a Madonna enthroned between
two angels and four saints, in front
an angel with a tambourine ; but
in this old-fashioned arrangement

breathes the fuU beauty of the
sixteenth eentury. Formerly in
the Chapel S. Prosdicimo or the
chapter-room at S. Giustina, now
in the town gallery there. [There
is also an altar-piece very similar
to Moretto, of 1521. Equal in
beauty to the picture from S.
Giustina is the splendid work on
the high altar of & Francesco ati
Brescia, the date 1502 on the mag-
nificent frame. Before the picture
in ;S'. Giovammi Ev. there also, they
Marriage of the Virgin, one may
compare it with the works of Mo-
retto exhibited near, and measure
the almost coarse power and glow-
ing colour of BiOmanino with the
tenderness and silver tone of his
contemporary. Wall paintings of
the master are found in the neigh-
bourhood of Brescia ; at Trent the h
wall paintings of the former episco-
pal residence are by him. Fre-
quently his pictures bear wrong
names, as the Holy Family with
the little Tobias, in the AmJyrosiana I
called Giorgione. — Mr.] [Akin to
Eomanino in style is Girolwmo del
Santo (1546), a Paduan, by whom
we have a Crucifixion in S. Gius- m
tina, and frescos in S. Francesco of
Padua. — Ed. ] Of Romanino's Bres-
cian scholars Lattanzio Garribaran
has been mentioned in the vol. on
Architecture as a decorator ; Cfiro-
lamo Muziano, later, at Pome, an
imitator of Michelangelo, retained,
even in his mannered works, a
colouring at least half Venetian,
most recognizable, perhaps, in the
" Granting the Charge of the
Keys," in S. M. degli Angeli ato
Borne (at the entrance into the
chief nave on the left).

[The painters of Cremona appear
to have received the strongest im-
pressions from .Pomanino. In the
cathedral here between 1515 andii
1520 Oian Francesco Pernio, Alto-
lello Melcme, Cristoforo Moreto,
painted with and near Romanino

202

Painting of the Sixteenth Century.

qiiite in his spirit.* His influence,
combined with that of Giulio Eo-
mano, impressed also the Campi,
the chief of whom, Oaleazzo, was
quite caught by the manner of
Boccaccmo (p. 90/). Pictures in

aS. Agata, S. Agostino, tmd S.

b Abondio. There are in Cremona
many works, mostly of no great
charm, by his sons, Giulio and An-
tonio, as well as by his cousin,
Bernardino (the teachers of So-
fonisbe Angiissola) ; of exceptional

c merit the high altar in S. Abondio
by Giulio, 1527, Madonna with the
Saintly Warriors Nazaro e Celso
— quite Venetian in beauty of
colouring. The wall paintings of

d the same artist in S. Margarita, of
1547, are cold and awkward. In-
ferior masters, Thomas de Alenis,
Bernardimo Ricca, are found in

iS. Pietro and in the cathedA-al.
The works of the six sisters
Angiissola are chiefly in foreign
countries. The portrait of herself

/by Sofonisbe in the Uffizi, No. 400 ;
by Luna there is a charming por-
trait of her sister, Europa, in the

g Tosi Gallery at Brescia. — Mr.]

Giovanni Antonio (^Licinio Be-
gillo da) Pordenone (born about 1483,
died 1539) was not a scholar, but a
rival of Titian ; for the rest quite
as Venetian in his conception as all
the others. He has been already
mentioned (in the vol. on Architec-

h tore) as a fresco painter in S. Stefano
at Venice ; his frescos in the dome

i of the Madonna di Ganvpagna at
Fiacenza I have unfortunately only
seen by twilight. They are amongst
the last works of the master (1529
-30) ; in spite of manifold exagge-
ration and want of connection still
grandly conceived and attractive in
many respects. The wall paintings

* [Cristoforo Moreto is a Cremonese pain-
ter of tlie 15th century. The frescos as-
signed to him in the Cathedral of Cremona
are properly described by Burckhardt as
being in the sftAHi of Romanino, since they
are by Eomanino himself. — Ed.]

of the Oafhed/ral of Treviso are %j
splendid work, signed (the artist
then called himself Oortiodlus), of
1520. — Mr.] [Of an earlier date,
and of the utmost importance as
explaining the master's progress in
art, are the frescos in the private le
chapel of the Castle of Colalto near
Conegliano, and the altar-piece ml
the neighbouring church of Susi-
gana. — Ed.]

To bring out the higher intel-
lectual meaning of any incident was
as little in the line of Pordenone as
of the school in general, but he is
quite peculiarly fresh and living in
his conception of external life, and
has in his flesh tints, especially in
chiaroscuro, a peculiar warmth and
tenderness (morbidezza, mellow-
ness) such as no other of the school
possesses. His principal work in
Venice (Academy), S. Lorenzo m
Giustiniani surrounded by other
Saints and Friars, produces a some-
what studied dramatic effect ; the
Santa Conversazione, in spite of all
the various looks and gestures, looks
as if they did not quite know what
to say to each other ; a Madonna
with Saints, also there. No. 486, is
far more satisfactory as a, simple
and very beautiful picture of life ;
there also five Putti floating on
clouds. [No. 110, a Madonna with
Saints, ascribed to CordeUa^hi,
appears to me to be a beautiful
youthful work of Pordenoue's. —
Mr.] A noble altar-piece, S.
Catherine, with S. Sebastian and S.
Eoch, in S. Giovomni Memosirumon
(chapel right of the choir). [Un-
fortunately much spoiled.] Several
pictures in S. Eocco. In the Angeli o
at Murano, the picture on the high J)
altar. In the Pal. Doria at J
Eome, the Daughter of Herodias
with her Maid, a fine well-pre-
served half-length picture ; she is
a lofty Venetian beauty, and withal
clever and cold ; the head of the
Baptist also of a very noble Vene-
tian type. [A repetition of this

CHov. Antonio and Bernardino de Pordenone.

203

picture by the hand of Seb. del
Piombo or Giorgione is in the
collection of Mr. Th. Baring in
London. The picture in the Pal.
Doria I should rather consider, from
the pictorial treatment, as a work
of Romamino, who in his happy
moments could produce exquisite

a things. There is also a Holy
Family with S. Catherine, called
Prima Maniera di Tiziano, which
I consider a yoxithful work of
Pordenone.— Mr.]. In the Pal.

b Pitti a Santa Conversazione with
half-length figures, most gorgeous
and harmonious in colour. [The

c pictures in the Uffizi, an excelleut
male portrait and an improvised
Conversion of Paul, somewhat
feeble in form hut glowing in colour
(long narrow picture), are doubtful.
-Mr.]

[Pordenone's most beautiful
youthful works are to be studied

d in Friuli, an excursion well worth

e making. In Conegliano, on a wall
of the ruined church of S. Antonio,
a Saint of 1514 ; the Madonna
under the vestibule of the town-hall

/at Udine is stUl of incomparable
beauty, charming in a worldly
manner, without heing exactly
sensual ; there also are two organ
panels with allegorical figures and

^angels. In Casarsa there are some
wall paintings in the choir of the
Cathedral, with the dignified,
chivalrous, aristocratic character
proper to Pordenone, and an altar-
piece painted on the wall. In

% Spilimbergo, four organ panels in
distemper with the Assumption of
the Virgin, the Apostles almost re-
sembhng Rubens and the Conver-
sion of Paul, of 1524. In his birth-

i place, Pordenone, there is a beauti-
ful severe youthful work, Madonna
with S. Christopher ; S. Joseph and
the family of the founder under
her mantle, in the Cathedral, first
chapel, and there also behind the

3 High A Itar, an immense work, but
much injured ; but the grandest

thing which Pordenone ever did, is
an altar-piece from S. Gottardo, k
now in the town-haU there, three
Saints with two Angels playing on
iausical instruments ; you see how
one gives the note to the other.
There, too, a frieze, with a dance
of peasants taken from the wall.
In the principal church at Torre, a I
sort of suburb of Pordenone, a
beautiful Madonna with Saints.

Cremona also possesses, in the
Cathedral, in the front, at the en- m
trance, a charming youthful Ma-
donna, with the founder dressed
in black, and Saints. Unfortu-
nately, a coarse and ugly Cruci-
fixion, over the entrance of the
Cathedral, is also certainly by Por-
denone. Lastly, the beautiful S.
George on horseback, in the Palace n
of the Qwirinal at Borne, must be
mentioned. — Mr. ]

Giovanni Antonio's relation, Ber-
nardino lAeinio da Pordenone, [la-
boured 1524^1541], appears to be
the author of several family pic-
tures which represent an artist
(sculptor or painter ? perhaps Gio-
vanni Antonio ?) surrounded by his
family and scholars ; one in the P. o
Borghese at Eome, another in Eng-^
land ; the first-named a remarkable
specimen of this kind in every
respect. [There, also, called Vene-
tian school, room 11, No. 42, Holyq
Family with Saints. — Mr.] His
best altar-piece, a Madonna en-
throned with Saints, mostly monks,
in the Frari, first chapel left from
the choir ; without especial noble-
ness of idea or expression, yet a
treasure from its gorgeousness of
colour and fulness of life ; also a
half-length picture of the Madonna
with three Saints, the founder, and
his wife, once in the P. Manfrinr
[now at Alnwick], is treated like
the freest and most beautiful Pahua
vecohio ; there, also, a Holy Family s
in the open air with a monk pray-
ing. [In Bome, Pal. Sdcm-a, No, t

204

Painting of the Sixteenth Centwry.

«■ 8, Salome with her mother and the
ezecutiouer in armour, holding the
head of the Baptist, called Gior-

* gione. In the Pal. Dana, room 5,
No. 22, a Holy Family, with
touches of Paris Bordone. lu the

<> Pal. JBalbi-Piovera at Genoa, a large
Holy Family with Founders, bears
the name of Titian ; though hesi-
tating between Bernardino and his
brother, I should ascribe it to the
first, whose masterpiece it would
be, next to the picture in the
Frari.]

The pupil and son-in-law of Gio-
vanni Antonio Pordenone ought to
be mentioned with him. Pomponio
AmalUo [born 1505, died after 1588.
— Ed.]. The most important of his
niunberless works is the painting

«of the C!hoir in S. Vito, of 1535,
almost like Pordenone's own work ;
stories from the childhood of Christ
and the Virgin given in a genre
manner.

[On this occasion I wiU mention
some painters in Friuli, who, in
spite of their obviously Venetian
character, nevertheless have a na-
tionality of their own. Of the
elder ones : [Simmie da Ciisighe, An^
tonio JRosso and Gio da Mel, hardly
deserve mention, though Bx>sso has
been named as the master of Titian :
Bellvmello or Andrea di Bertholotti
of Cividale, master at S. Vito (1462
-1490) is the author of a Cruci-

^ fixion at Udine and Madonnas at
San Vito and Savorgnano. — Ed.].
Domenico di Twmetio (da Tolmezzo),
a picture of 1479, in the style of
the Tivarini, in the Sacristy of the

/Cathedral of TJdine. He is followed
by Gian Francesco da Tolmezzo.
A better artist is Giovanni di Mar-
tina da Udine (1498-1535), not the
famous pupU of Raphael [Ma-

9 donna of 1498 in the Correr 1S.ua.

^•at Venice. St. Mark {1501) in the
Cathedral of Udine, Presentation

iin the Temple at SpUimberg, Glory

joi St. Ursula, 5rera (1507).— Ed.]

Pellegrino da San DamieU (properly
Martmo da Udi-ne) [bom about
1470, died 1547.— Ed.] : the Capp.
S. Antonio di Padova at S. Saniele, k
all decorated by him with histories.
In the Madonna di Strada, near S. I
Daniele, a beautiful Virgin in
fresco ; a large work in S. M. ie' m
Battuti at Cividale, Madonna with
Saints, of 1529. A youthful pic-
ture in the Cathedral at TTdine ; S. n
Joseph with the Infant Christ and
the boy John ; in the Monastero
Maggiore at Cividale, a John theo
Baptist ; these two last of 1500 and
1501. A pupU of PeUigrino was
Sebastiano Florigerio (Academy atp
Venice, No. 389). Oirolamo da
Udine appears to be a somewhat
inferior imitator of Cima ; a Coro-
nation of the Virgin, in the ante-
chamber of the tovm-hall at Udine. q
Francesco Beccaruzzi, of Conegliano,
also deserves mention ; his large
altar-piece in the Academy at Ve-r
nice, S. Francis with Sainte, recalls
Titian and Giacomo Bassano. —
Mr.]. [An imitator of Beccaruzzi
is G. M. Zaffoni, called Calderari.
TTiH frescos and panels in the cathe-
dral of Pordenone show that he
studied the works of P. Bordone
and Pordenone. Luca Mon/vert of
the same school, followed the dis-
cipline of PeUegrino. Virgins and
Saints in S. M. delU Grazie ats
Udine. G. B. GrasH (1547-1578)
is a Michelangelesque of the school
of Pordenone. Numerous works in
and about TJdine. — Ed.]

Paris Bordone (1500-1571), first
an imitator of Giorgione, and then
unreservedly of Titian, is, in his
portraits, sometimes equal to the
greatest. [His marked individu-
ality, so hard to describe, distin-
guishes him from all his prede-
cessors ; gentle, graceful, and aris-
tocratic, almost always noble, never
severe and solemn, he creates
charming goddesses, rarely saints
with earnest devotion. His strength

p. Bordone — Tintoretto.

205

does not lie in the nude ; but his
peach-blossom coloured changing
dresses combine with the rosy flesh
tint and the crisply treated land-
scape of full green to produce the
most telling general effect. [His
earliest picture in the style of

ffl Titian is the Baptism of Christ,
ascribed to VeceUi, in the gallery
of the Capitol at Rome. — Ed.] He
is most remarkable in portraits.
His most beautiful Kkeness in the

S Uffitsi is that of a young man, No.

C607. In the Pal. Pitti, the stout
"Nurse of the Medici family" is
excellent. No. 109. The picture
there ascribed to him, the Repose
duringthe Flight, No. 89,acharming
picture, is most probably by Boni-

dfazio. — Mr.] In the Brignole Pa-
lace at Cfenoa, the wonderful por-
trait of a bearded man in a black
dress with red sleeves, with a table
covered with red, a letter in his
hand, a balustrade behind ; in the
same collection, a lady in a rose-
coloured petticoat and upper dress
of gold-coloured stuff. * Large pic-
tures of religious scenes are not in
his line ; in the Last Supper, at

«S. Qiom/imi in Bragora (after the
first chapel on the right), the ges-
tures look like mere scraps of
reminiscences from the works of
better masters ; the Paradise (in

/the Academy) is quite a, feeble
work ; on the other hand, we owe
to Bordone the most beautifully
painted ceremonial picture which

n exists anywhere {Academy at Ve-
nice), the Fisherman presenting to
the Doge, in the presence o£ an
illustrious assembly, the ring which
has been given him by St. Mark.
This work is the ripest golden fruit
of the style of representation be-
ginning with Carpaccio's historical
pictures {antea), also on account of

• Several good Venetian portraits of
this golden middle period of the school,
it is to he ohserved, are in the PaL Cap-
poni at Florence.

the splendid buildings, among
which the event takes place.

[The large Holy Family, in the
P. JBrignole at Genoa, is very im- h
portaut, but grossly misused, as is
also, unfortunately, in the Tii/rini
Gallery, No. 161, a beautiful
woman with cherries in her lap,
and a sqiiirrel with a chain. Paris
Bordone's paternal city, Treviso,
possesses a masterpiece in the grand
Adoration of the Shepherds, in the
Cathedral, with the procession oij
the three kings approaching in the
distance; in the collection of the
Hospital a Holy Family, stated to ifc
be Palma Vecchio. In Venice are
excellent little Madonnas with
Saints, in the OimanelU OaUery. I
Four pictures in the Brera at Milan ; m
in S. Celso there an excellent Holy »
Family. In Eome, Pal. Oolonna, o
a Holy Family, with the splendid
figure of S. Sebastian, a small Holy
Family, called Bonifazio, with S.
Anna and S. Jerome, in his best
style. Lastly, in Pal. Doria there, p
one of his characteristic half-length
pictures, Mars with Venus and
Cupid.

By Paris Bordone's only pupil,
Francesco de Domi/mcis, a Proces-
sion, in the Sacristy of the Gathe- q
d/ral at Treviso, interesting for
picturesque costumes, and for the
view of the old Cathedral. — Mr.]

We have spoken before in the
volume on architecture, on occasion
of decorative painting, of Batiista
Franco, who had also studied in
Rome, after Michelangelo.

TINTORETTO AND HIS CONTEM-
PORARIES.

In the second half of the six-
teenth century, when all other
schools had fallen into the deepest
decay, the Venetian kept itself up
to a marked height through the
greater intelligence of the pur-
chasers, the inexhaustibleuess of
its naturalism, and the continual

206

Painting of the Sixteenth Century.

practice in the beautiful effects of
the method of colouring. Never-
theless it now produces an
essentially different effect. We
leave the work of the whole school,
the decoration of the Doge's Palace,
to the last, and here will first name
the other works of the artists con-
cerned.

The first who gave a new direc-
tion to the school was Jacopo Tin-
toretto (properly .ffiofriisii, 1518-1594).
Origin^y a pupil of Titian, and
very richly gifted by nature, he
seems to have felt quite correctly
the deficiencies of the school, and
strove to produce a dramatic
style of historical painting full
of movement. He studied Michel-
angelo, also copied by artificial
light from casts and models, not in
order to idealize his Venetian style
of form, but to render it quite free
and flexible for all purposes, and
to give it new force by the most
telling effect of light. Fortunately
he remained, with all this, essen-
tiaUya naturalist. The forced adop-
tion of the mannerisms of the
Eoman school was at least spared to
the good town of Venice. Under
these circumstances he only sacri-
ficed the Venetian colouring in
many of his works as something in
itself irreconcilable with the dark
shadows of the modelling, and
which also, perhaps, must undergo
some technical alterations in Tinto-
retto. It is, indeed, to be wondered
at that in so many cases his colouring
was saved at all, or that his shadow
bears any trace of reflex. Much of
his work certainly often seems quite
discoloured, dull, leaden. But washe
in truth a poet self -justified in his
great innovations? Along with much
that was grand, there was in him
a certain coarseness and barbarism
of feeling ; even his artistic moral-
ity often wavered, so that he was
capable of descending to the most
unconscientious daubing. He fails
in the higher sense of law, which

the artist must impose on himself,
especially in experiments and inno-
vations. In his enormous works
which in square feet of painted sur-
face amount perhaps to ten times as
much as the fruits of Titian's cen-
tury of lite, one begins to surmise
that he undertook such things like
a contractor, and executed them
very much as an impromsaiore.

There are excellent portraits by
him, which at Venice could not as
yet be painted carelessly. In the
Palazzo Pitti: the half-length of a
an old man in a fur coat, No. 65,
of dazzling beauty ; [there is also a
remarkable Crucifixion. — Mr. ] The
portrait of Jacopo Sansovino, paint-
ed con amore, and the one of a
bearded man in a red robe of state,
&c., in the Uffizi ; others in all J
sorts of places likewise very re-
markable. [Splendid Kfesize por-
trait of a young Durazzo in the
Palace of the same name at Genoa.] c
Works of his earlier time also are
in general, on account of the fuU
Titianesque golden tone, as valu-
able as those of any other follower
of the great master ; as the naive
picture, Vulcan, Venus, and Cupid,
in the P. Pitti, the like of which is d
hardly to be found in Venice.
[Equally beautiful, painted with
Titian's golden touch, a canvas
with one male and three female
half-length figures rising out of a
glory of angels, in the P. Colonna e
at Borne. There is also one of an
elderly man seated, with a view of
the Lagoons in the evening light,
and a Narcissus at the fountain,
much darkened by time. — Mr.]
The ceiling pictures also, from
Ovid's Metaniorphoses, in the Gal-f
lery at Hodena, are tolerably rich
in colour. In Venice, the Miracle g
of St. Mark, saving a tortured
slave from the hands of the
heathens (Academy) belongs to
this time. In this picture Tinto-
retto, perhaps for the first time,
goes beyond all the traditional

Tintoretto.

207

Venetian aims in paintiag ; the
scene is far more living, and rather
confused ; the artist tries for fore-
shortenings of the most difficult
kind, and betrays, for instance, in
the ugly Saint floating head down-
wards, that all higher considera-
tions are nothing to him, as long
as he has the opportunity to dis-
play his mastery of external means.
(Eubens studied much from this
picture.) Also an equally beauti-
fully painted, but frivolous repre-
sentation of the Adulteress, who
shows that she has no respect for
the commonplace Christ. Another
work, in which his palette is stUl
good, the Legends of the True
Cross, in the right transept of S.

a M. Mater Domini. Also the great

6 Marriage of Cana, in the sacristy
of the Salute (smaller copy in the

c Uffizi) ; a magnificent genre pic-
ture of 3 domestic character (not
princely, like P. Veronese), in
•which at least the miracle and its
effects are in a praiseworthy man-
ner placed in the foreground. Of
the fifty-six colossal pictures with
which Tintoretto filled the whole

dScuola di S. Socco, the great Cru-
cifixion (in the so-called-Sala dell'
Albergo), is more especially still
beautiful in painting, and partly
also valuable in ideas. Here one
first learns to understand Tinto-
retto's highly important historical
position ; he first (especially in
the large upper hall) gives form to
the sacred history from beginning
to end in the sense of absolute
naturalism, perhaps with the object
of producing immediate effect and
emotion. For this purpose he
strives to attract the eye by beauti-
ful heads ; on the other hand, he
does not feel how the misuse of
the accessory figures destroys the
true grandeur of effect ; in hia
desire for reality, he falls utterly
into commonplace ; thus, for in-
stance, the Last Supper has hardly
ever been more vulgarly conceived ;

in the Baptism in the Jordan,
John presses down the Christ by
the shoulder ; in the Raising of
Lazarus, Christ is seated quite
comfortably in the corner below.
Most of the pictures, with the
exception of the Sala dell' Albergo,
are extremely careless and hastily
painted. In those of the lower
hall the landscape must be re-
marked ; sharp fanciful lights on
the edges of the trees and hills.
An unskilful rivalry with Michel-
angelo is most observable in the large
central ceiling picture of the upper
hall, which represents the Brazen
Serpent. With the pictures of this
Scuola, Tintoretto gave the tone to
the whole monumental painting of
Venice in the following period
(from 1560 forward) ; he himself
took part even in the ornamenta-
tion of the Capella del Mosarioe
(left in S. Giovanni e Paolo), which
was erected as a memorial of the
Victory of Lepanto, but chiefly in
that of the Ducal Palace. The
decorative value of these works we
have, in the volume on Sculpture,
endeavoured to define. When once
style has abandoned the only form
that is possible in fresco, no other
path is open but this. In one
Choir of <S. M. dell' Orto, there are/
two colossal pictures — the Adora-
tion of the Golden Calf and the
Last Judgment — coarse and taste-
less. In the left transept of S.
Trovaso, a Last Supper, degraded g
to the most ordinary banquet. On
aU the altars of S. Giorgio Maggiore h
there are daubs which are an
everlasting shame to Tintoretto.
[Since this was written, the judg-
ment on Tintoretto has rather been
altered in the artistic world, the
qualities of the master being more
fully acknowledged. This very
Last Supper, in S. Trovaso, withi
the beautflul landscape seen through
the open window — ^the Temptation
of St. Anthony — in the same church,
and a Last Supper in Chiaroscuro

208

Painting of the Sixteenth Gentv/ry.

din S. Giorgio Mctggiore, have met
with warm admiration. — Norton.]

Of his pupils, his son Domenico
is usually a degree more consci-
entious in his naturalism. The
Perugian, Antonio Vassilacchi,
called I'Aliense, carried Tintoret-
to's style into his home (ten great
scenes from the Life of Christ
in the upper wall of the nave of

6 iS. Pietro de Cassinensi at Perugia. )
[Rather to be numbered among the
pupils of Paolo Veronese.— Z.]

Next to Tintoretto, the great
Paolo Veronese (properly Caliwri,
1528-1588) represents the more
beautiful side of Venetian painting.
He sprang from the school of his
paternal city which had already
been influenced by Venice, where
certain local painters, in earlier
and even later times, produced very
valuable works. In Verona one
finds a crowd of works of his
immediate predecessors and con-
temporaries. By Torbido's pupU,
Oiambattista del Moro [in practice
at Verona about 1550, still living
in 1610. — Ed. ], for instance ; in

e S. Nazaro e Gelso, the lunettes over
most of the altars ; in both the

(i aisles of S. Stefano, monochrome
frescos from the Legend of the
Saint. By Domenico Ricd, called
Brusasorei [born 1494, died 1567],

e there are also, in S. Stefano, the
feeble paintings in the cupola and
the fresco over the right side door,
of the Saint surrounded by the
Innocent children, who, like him-
self, are designated the first fruits

fof martyrdom ; in S. M. in Orgcmo,
the frescos of the chapel left of the

g choir ; in 5. Fermo, the lunette of
the first altar on the right, with
the Beheading of a Bishop. [Any
one who wishes to connect some
idea with the name of Domenico
Brusasorei, and to learn to value
him, should be careful to visit the

jiPalazso Ridolfo in Verona, where
Domenico has represented on the

walls of the principal hall the
procession, la Gran CavaJcata of
Charles V. and Clement VII. at
Bologna, of the 22nd February,
1530, and indeed in a way which
leaves nothing to be desired in in-
tellectual liveliness, of quite bright
colouring. — Mr.] By Paolo Pari-
rudo [born 1522, died 1606], all the
frescos, some of them very good,
in the choir of S. Nazaro e Gelso. i
By Paolo CaHari's immediate teach-
er Antonio Badile [born 1517, died
1560] a picture in the Pinacoteca,
two angels, laying the Dead Christj
in the tomb, signed 1556 ; [a youth-
ful work in SS. Nazaro e Oelso; ini
the Turin Gallery, No. 85 ; an J
excellent Presentation in the Tem-
ple, a very instructive picture, in
which, on one hand, one sees how
he studied Caroto, Girolamo dei
Libri, and Mocetto ; on the other
hand, one cannot mistake the fore-
runner of P. Veronese, especially
in the architecture. — Mr.]. But
Paolo owes his best essentially to
[Morando and Moretto, and then
to] Titian and Venice generally.

Paolo's greatness consists in this,
that he, recognizing the true genius
of the Venetian school, did not,
like Tintoretto, try to graft a dra-
matic historical style of painting
on another stem, but raised the
painting of tranquil existence to
the highest truly unsurpassable
point, and was also able to elevate
the colouring in harmony with his
marvellous conceptions.

His characters are not higher,
more sublime than those of his
best predecessors, but have the
advantage of a free, simple, cheer-
ful life without effort, such as
no other painter in the world
gives. * In his Sante Conversazioni,

* Wto led the Venetians after about
1540, to give tlie women that often almost
formless voluptuousness? Even Titian
in later times is not free from it ; and
Paolo has most striking forms of this
kind. Art has often abandoned itself to

p. Veronese — Banquets.

209

he follows the arrangement of the
laterworksof Titian ; the Saints are,
for instance, freely grouped round
the Pedestal on which the Madonna
a is seated. Academy of Venice ; S.
Frcmcesco della Vigna, fifth chapel
on left. The most beautiful of
these pictures, S. Cornelius, S.
Antony the Abbot, and S. Cyprian
along with a Priest and a Page, is
i found in the Brera at MUau. In
the narrator's pictures, the general
Venetian deficiency in the suffi-
cient development of the figures
amounts to unintelligibleness. In
attitude and gesture, they have
often something strangely uncer-
tain, and Paolo must have had an
especial love for certain oblique
half figures cut off by the frame or
the architecture. But Paolo has,
where he exerts himself, nobler
dramatic ideas than his other con-
temporaries of the same school, as
c one sees best of all in S. Sebastiano
at Venice, which church contains a
very large number of pictures by
him, the finest and largest of them
in the Choir. [Unhappily all of
them lately restored. The dates
of these paintings begin with 1550
[? 1555. — Ed.], whereby it might
appear that the accomplished
young master, who, at twenty-
seven years of age, was summoned
from Verona, in order to execute
them, did not owe so much to
Venice and Titian as was hitherto
assumed (p. 209 «). Bode.] More-
over, the high altar pictures of S.
dCHustina at Padua, and S. Giorgio
em Braida at Verona, with the
Martyrdoms of the Saints above-
named, are masterpieces of the
first rank ; Paolo always brings
down the event as much as pos-
sible to an " existence " picture,
moderates his pathos most care-
exciting sensuality, but it is douTDtful
whetlier with tliis type it satisfied an
average taste. Rubens, who translated it
in his own way, perhaps better suited the
feeling of his own people.

fuUy, avoids the excesses of natu-
ralism, and keeps in this way the
necessary composure to display his
colouring in triumphant splendour.
With his secular pictures, it is the
same ; the famous " Family of
Darius " (sold to the National Gal-
lery in London out of the Palazzo f
Pisano at S. Polo) is so impressive
in its effect, becaiise the pathos is
kept in as much as possible, and
the event is lowered to a simple,
modest presentation. He chooses
especially such incidents as ap-
proach ceremonial pictures, like
the Adoration of the Kings (Brera g
at milau), the Queen of Sheba
(with the features of Elizabeth of
England), Uffizi ; another of the A
same subject (in the Gallery at
Turin) ; his proper ceremonial pic- i
tures we shall become acquainted
with in the Ducal Palace. We
pass over all the weak narrative
pictures ; the colouring also is
generally inferior in them. (An
unfortunate red, for instance, has
often consumed all the glazing.)
Paolo never, indeed, becomes rude
like Tintoretto, but very careless.
The history of Judith {Pal. Bri-j
gnole at Genoa) is at least still a
splendid picture in colour.

The most famous are Paolo's
Festivals, of which he has painted
a number from the smallest size up
to quite colossal proportions. They
come out as the necessary and
highest product of painting of life,
which here shakes off the last fet-
ters of the historical picture, and
only requires the remains of a pre-
text to celebrate all the splen-
dour and glory of the earth in
unrestrained rejoicing ; above aU, a
beautiful and free human race in
full enjoyment of their existence.
If instead of princes' banqueting
halls Paolo had had to paint Bac-
chanalia, he might have showed
himself incompetent in ideal draw-
ing and composition, as well as in
feeling ; but as he painted for re-

210

Painting of the Sixteenth Century.

feotories of cloisters, a biblical
banquet offered itself as a safe
basis on which he could bring out
the subject of the ceremony by
most beautiful enlivenments in de-
tails. The most gorgeous arohitec-
turallocalities and perspective views
form the scene, in which the seated
company and the lively episodes can
extend themselves with full rich-
ness, and yet without crowding.
The best and largest of these pic-
tures (in the Louvre) are perhaps the
first paintings in the world in re-
gard of so-called pictorial keeping,
in the perfect harmony of a scale of
colours,* otherwise for the most
part unknown ; yet the scale of
marveEous types of noble person-
alities, united in one whole, is
essentially a stiU greater marvel.
The sacred personages, and the
events connected with them, re-
main, indeed, of secondary import-
ance, t

Venice possesses one other mas-
ter-piece of this kind ; the Feast of
Levi, according to St. Mark, ii. 14,

a and Luke v. 27 (Academy). A
Marriage of Cana, in the Brera at

t Milan. There also, Christ in the
House of the Pharisee ; in the last
scene, Luke vii. 31, sometimes the
feast is quite in the back ground
compared with the episode of the
sinning woman who wipes the feet
of Christ. So in the splendid pio-

c ture in the Twin Gallery. After
Paolo's death his heirs made use of
his motives for similar pictures : a
large unpleasant feast in the house

doi the Pharisee ia. iih^ Academy lA

* The very various partly oriental cos-
tumes are not introduced for the Bake
of romantic effect, but in order to have
greater freedom in working out the im-
mense problem of colour.

t How the master had to answer for
himself for his secular conception of
biblical subjects before the Tribunal of
the Holy OfUce, which took objection to
"fools, drunken Germans, dwarfs, and
other follies," and how he excused him-
self, is delightful to read. See Jahrb. der
Wisaenschaft, 1868.

Venice. Paolo himself when he
once depicted the Last Supper {S. e
GiuKa/no, chapel left of the choir),
fell almost into the same triviality
as Tintoretto.

[An excellent double portrait of
the year 1557, one of his first works
in Venice, in the Torrigiam Gallery, /
at Florence. Masterly frescos in
the Villa Maser near Treviso, the g
only ones till now preserved ; alle-
gories on the ceilings, landscapes
painted by his scholars on the walls ;
the whole very interesting. — Bode.]

[Paolo's immediate pupils and
followers do not deserve quite to
be passed over in silence. Besides,
his brother Benedetto, and his sons
Oarletto and Gabriele, there fol-
lowed in his steps Benfatto (called
dal Friso) his nephew, and his rela-
tive Mafieo Yerona, but particu-
larly the far more important Oiam-
iattista Zelotti, and the excellent
Fra/ncesco Montemezamo, both from
Verona; lastly, Antonio Vassilacchi
from Perugia (seep. 2086),andffi(»i-
antonio Fasolo from Vicenza. — ^Mr.]

While Paolo carried out the
painting of life up to its very high-
est development, the lower ones
could not remain absent. The
genre picture which had already,
since Giorgione's time, followed
the romance picture, in numerous
single cases, becomes a special line
in Jacopo Bcossano (properly da
Ponte, 1510-1592), and his sons.
In colouring, obviously formed
after the best masters [Bonifazio. —
Ed.] though very unequal (varying
from glowing to quite dull), this
famUy is always delightful through
their rustic idyls in quiet land-
scapes, in which a parable of Christ
on one of the four seasons, or a
myth, or something of the kind, are
less the subject than the pretext
for a picture. The flocks of sheep
and the implements by which the
feet of the persona working are
almost always hidden, are often

Talma Giovine.

211

painted in a masterly manner. But
a great deal is mere workmanship.

a In the Uffizi there are some better
things, such as the Family Concert.
Two of the sons, Lemid/ro and FraTi-
cesco, have also painted great pic-
tures of sacred subjects, sometimes
naive and touching in expression,
biit overcrowded, planned with
harsh effects of light, and coarsely

b drawn. (Deposition, in the Uffizi ;
!E{aising of Lazarus, in the Academy

c at Venice ; Last Supper, in S. M.

d Formosa, right transept ; Preaching
of John the Baptist in S. Giacomo

e deW Orio, right transept, and Ma-
donna with Saints, there also, near
the first altar on the left ; Martyr-

/dom of St. Catharine in P. PUti ;
Assumption on the high altar of

g S. Luigi dei Francesi at Borne,

h Lastly, in the PinaooUca of Vioen-
za, a large semicircular Presenta-
tion : S. Mark and S. Laurence
present two kneeling magistrates to
the Madonna, an excellent work,
[by Jacopo Bassauo, 1572. — Ed.])

[Any one who wishes thoroughly
to study the artist family of Da
PoTiie and follow out their develop-
ment, should visit their native
town Bassano at the foot of the

iCadore Alps. The Town OalUry
here possesses a large altar-piece of
the old Francesco da Ponte of 1509,
with a beautiful landscape ; related
to B. Montagua, to whose school he
probably belongs. Also youthful
pictures of his son Jacopo, who
brought the name of Bassano into
renown ; quite different from the
generally known works of the
master, large Biblical compositions,
solemn and dignified, most like
Bonifazio, A splendid picture of
Jacopo'smaturesttime, Rest during
the Flight, with Shepherds ador-
ning, in the Ambrosiana at Milan, — •
Mr,]

The decay of the Venetian school
is represented by Jacopo Pahna
Giovine (1544 to about 1628), an
unconscientious painter of great ta-

lent. His capability is shown by
his Raising of Lazarus in the Ab- h
bazia (Chapel behind the Sacristy).
His remaiuing works, with which
Venice swarms, are almost entirely
improvisations. Any one who exa-
mines them will find along with
the contemptible mannerisms bor-
rowed from Tintoretto here and
there a good idea, and beautiful
pieces of colour, but, as a whole,
they do not repay this study. Ales-
saridro Va/rotari, surnamed Pado-
vanino, was far more honest (1590-
1650), really striving after the
true object of art, but he did not
get beyond the imitation of Titian
and Paolo, and mixed with these
studies a somewhat lifeless idealism.
Still his Marriage of Cana (Aca- 1
demy) is a very considerable and
beautiful work.

Still later oa some individual
talents strengthened themselves by
the example of Paolo, and in happy
moments produced very pleasing
works, such are Lazzarini, Angeli,
Fumiami, also Tiepolo (died 1769),
when he does not degenerate into
daubing. Among other things by
Fumiani (died 1710) the immense
ceiling-painting in S. Pantaleone is m
remarkable, which consists no
longer in many single framed pic-
tures, but in one large composition
with a perspective arrangement in
Pozzo's manner, for the rest not
painted al fresco but on surfaces of
linen nailed up ; it contains the Acts
andtheGloryofS. Pantaloon. Pietro
Liberi is very much influenced in
his forms by Pietro da Cortona,
His pupil was Carlo Lotti (died
1698). The best of Piazzetta's genre
pictures, as also of the landscapes
by the two Canaletti, must be
sought for out of Venice and Italy.
(The large view of Turin, by Oana-
letti's nephew, Bernardo Sellotti, in n
the Gallery there, ) Of the brilliant
Orbetto (properly Alessandro Turchi
from Verona) but little is found in
I public galleries and churches.
p2

212

Painting of the Sixteenth Century.

Ab the oldest Venetian painting
has immortalized itself in the
Church of St. Mark, so the latest,
that of the followers of Titian, has
perpetuated itself in the Ducal Pa-
lace (rooms on the second story).
The decorative arrangement and
framing was described above ; here
the essential question is bow the
artists conceived the general ques-
tion, the glorification of Venice.

a Already, in the Atrio Quadrato,
Tintoretto meets us with one of
those votive pictures (on the ceil-
ing) which represent the Doges
surrounded witii saints and allego-
ries, of which below. The perspec-
tive view from below, which hence-
forth we shall find carried out in
the ceiling pictures of all the rooms,
is even in the floating figures
usually not real perspective but a
sort of oblique view. It was a
puestion whether, on ceilings espe-
cially, and in general on flat sur-
faces, figure subjects were suitable,
or if they were so, and were carried
out with great richness of compo-
sition, whether the usual simple
front view and ideal, severe com-
position did not deserve to be pre-
ferred to groups artificially set and
arranged for purposes of fllusion ;
natural incidents in any case re-
main in such ceiling pictures incre-
dible, and heavenly ones required
to be considered independently of
measured space. Apart from this
question of mistaken conception,
common to all painters, in the Ducal
Palace there are still great varieties
to be observed, and Paolo will at
times be capable of greatly pleasing,
even of persuading us.

h Sola delle Quattro Porte, Titian's
large, late, still splendidly painted
Presentation picture, a real memo-
rial of the counter reformation ; the
Doge, Antonio Grimani, kneeling
before Faith appearing in full glory.
The Battle painters of this and other
rooms, by their fanciful conception
and episodes of every kind, threw

the historical elements in their
subjects entirely into the shade.
The Ceremonial pictures, important
as may be the facts they represent,
as, for instance, the aUiance with
Persia (Eeception of the Persian
Ambassador, by Carh Caliari), are
dramatically quite empty. So also
the Reception of Henry IIL by
Andrea Viceniino. For this sort of
conception is required the cheerful
industry of a Carpaccio, in whom
one willingly forgives the absence of
the higher dramatic element for
the sake of beauty of detail. In
Tintoretto's ceiling picture we are
enchanted with the ceremonious
courtesy with which Jupiter coming
out of Oljrmpus peopled with godi
raises Venice and leads her down
to the Adriatic Sea.

Sala delV Antieollegio. The fourc
mythological waU-pictures of TMo-
retto are amongst his best, but are
cheerlessly conceived, ugly in
action ; see how Venus flies up in
the Coronation of Ariadne. Jacob's
return to Canaan is a typical pic-
ture from the same psdette with
which Jacopo Bassano and his
family painted hundreds of country
scenes. Paolo Veronese : The Eape
of Europa, a most beautiful in-
stance of a Venetian transposition
of a mythology into splendid,
gracefully sensuous realism. The
presentiment of the strange journey,
the hasty toilet for which the Putti
bring flowers and garlands, form a
splendid moment. On the ceihne
is a Venice enthroned by Paolo, ai
fresco, the only political picture in
this room, where the Venetian
State elsewhere only looks for the
greatest beauty that lies within
reach of her artists at that time.

Sala del Collegio. Tintoretto' siavxi
large votive pictures of the Doges,
who, mostly very old, kneel in their
half Byzantine robes of office before
the Madonna or Christ, and are
presented by numerous Saints.
Their severe ceremonial devotion

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Ducal Palace.

213

would suit mosaics better than the :
often very emotional and animated
Sante Conversazioni, in which,
here and elsewhere, allegorical
personages move and act. For the
rest, the long narrow shape is not
favourable to the supernatural sub-
jects ; the visions must descend to
the flat earth. PcmIo Veronese
shows much greater warmth in
more grateful subjects (back wall) :
his Conqueror of Lepanto, Sebas-
tian Veniero, approaches in lively
enthusiasm, and is presented to
Christ floating downwards by his
attendants, St. Mark, Venezia,
Faith, Sta. Justina. All the eleven
pictures, and six chiaroscuri of the
ceiling are quite among Paolo's
most beautiful and freshest paint-
ings : here, among others, is again
a Venice enthroned, with two other
goddesses, which show how well
Paolo could manage the views from
below ; he gave in a most masterly
way to his lovely little plump heads
the charms of grace and chiar-
oscuro.

a Sola del Senate, or dei Pregadi.
Here Tmtoretto and Palma Cfiovme
continue their votive pictures ;
among others, a Pietk floating down
on clouds, adored by two Doges.
Palma's Allegory of the League of
Cambray is the extreme of absur-
dity; the woman riding on the
bull represents "allied Europe."
Another specimen of orthodoxy, by
Tommaso Dolabella [pupil of
Aliense] : the Doge and Procura-
tors adore the Host, which stands
on an altar surrounded by priests
and poor people.

Tintoretto's ceiling-picture shows
how Michelangelo misled him ; in
place of Paolo's naimU and sense
of perspective, we have a wild con-
fusion of floating figures.

J Anti-chiesetta .- good pictures by
Bonifatdo and Tmtoretto; concern-
ing Titian's S. Christopher, see
p. 192/.

e Sala del Consiglio de' Died :

Large ceremonial pictures, like
friezes, by Leandro Bassano, Marco
Vecellio, and Aliense, in whose
' ' Adoration of the Kings " the
Procession, baggage and episodes
take up two-thirds of the space.
Many very beautiful details. In
the ceiling the centre picture is
wanting ; round about the beauti-
fully painted allegories which one
might ascribe altogether to Paolo,
to whom however only the old man
with the charming young woman
belongs ; the rest is by the little
known Ponchvtw, called Baxzaceo or
Bozzato. [Very little is by him ; a
good deal by Paolo himself; and
for the rest the best is by Oiambat-
tista Zelotti, frequently confounded
with P. Veronese. — Mr.]

Sala delta Bussola : The Surren- d
ders of Brescia and Bergamo, with
good episodes, by Aliense.

In the Sala de' Owpi, inferiors
allegorical paintings.

Still we find no Roman history,
which elsewhere is so unavoidable
in Italian public buildings. The
Venetians felt a just and magnifi-
cent pride, that in the Ducal Palace
of Venice it should not be needed.

Sala, del Maggior Consiglio : In T
historical waU-piotures, the subject
(almost always ceremonious and
battles) is overpowered in general
byaocessories. The throngs of people
and frays, arranged without feeling
for lines, and without true simpli-
city, soon weary the eye. The cor-
rupter of art, Federigo Zucearo, has
also introduced himself here. Tin-
toretto's colossal Paradise, doubt-
less, was then considered as more
beautiful than Michelangelo's Last
Judgment, and is certainly far bet-
ter than the painting of the Cupola
of the Cathedral at Florence. Only
the realism of these figures is quite
incompatible with their assumed
coexistence in a given space ; every-
thing is so crowded, that even the
farthest depth repeats a tolerably
near wall of faces. In order to give

214

Painting of the Sixteenth Century.

nothing but what is living, Tinto-
retto diminished his clouds to the
utmost, and made his Saints float,
hang, lean or lie on a mantle, or
on nothing at aU, in a way that
makes the beholder feel giddy ;
the flying angels give really an
agreeable impression of repose be-
side them. The composition is
scattered in mere spots of colour
and light ; only in the centre it
takes a better course. But the
great number of excellent heads
mostly seen, on the light back-
ground of their nimbus, always
give to this work a high value.
[Velasquez, when in Venice, re-
garded this work as the best paint-
ing, and purchased the sketch of
it, now in Madrid. — Norton.] Of
the three large ceiling-pictures,
those of Tintoretto and Palma
Giovane are far surpassed by that
of Paolo : Venice crowned by Fame,
^irst, the view from below, and
the architectural perspective, are
far more carefully treated; also
Paolo has confined the allegorical
and historical part to the upper
group, where his cloud-life is
brought quite harmoniously into
connection with the architecture in
lines and colour ; on the lower
balustrade one sees only beautiful
women ; farther below, riders
keeping watch, and a populace,
spectators of the heavenly cere-
mony ; most wisely, two great
pieces of sky are left free, a breath-
ing space which Tintoretto never
allows his beholder ; and in fine
Paolo has given himself up to the
full enjoyment of his own cheerful
sense of beauty, the feeling of which
inevitably affects the beholder.
a Sola dello Sarutinio : Nothing of
importance, except the Last Judg-
ment, by the younger Palma, and
this only on account of the colour.
Though obviously produced by
instalments, this decoration yet
forms an unique thing in art.
Whether the spirit which breathes

therein is altogether wholesome,
and whether the art of that period
ought not to have found another
expression in the name of the mar-
vellous island-town, is a question
for individual feeling to decide.

THE MANNERISTS.

On the whole, and taking high
ground, painting, with the excep-
tion of the Venetian school, had
clearly degenerated from about the
year 1530 ; it might even be as-
serted that after Kaphael's death
no work of art had been pro-
duced in which form and sub-
ject had quite clearly harmo-
nised ; even the later works of the
greatest masters owe their effect to
every other quality rather than
this, as has already been several
times indicated.

The scholars of the great masters
now entered on this dangerous in-
heritance. Art came to them under
perfectly fresh conditions ; all local '
and corporate relations had ceased ;
every grandee, and every church
authority, required for their build-
ings some monumental decoration
of often immense extent, and in the
grand style. Undertakings for
which Raphael and Michelangelo
would have required all their
powers, now fell into the hands of
the first comer, and were often the
objects of ambitious intrigues.

The more sagacious artistsquickly
noted the level of taste in their
patrons. They observed that the
nobles above all desired to be
served quickly and cheaply, and
aimed at rapidity and correspond-
ing price. They saw quite well
that people admired in Michel-
angelo less the grandeur than the
arbitrary fancy and quite distinct
outward qualities, and imitated
them, whether it suited the occa-

Mannerists — Vasari — Sahiati.

215

aion or not. Their painting be-
comes a representation of effects
without causes, of movements and
muscular exertion without neces-
sity. At last they turn their
minds to what most people have
always especially valued in paint-
ing, the quantity, the brilliancy,
and the naturalness of it. They
provide the quantity by stuffing
the picture fuU. of figures, even
when quite useless or distracting :
the brilliancy by a colouring which
we must not judge of by the pre-
sent condition of most of the pic-
tures in question, since formerly
one pleasing colour with clear or
changing lights was found placed
side by side with another. The
naturalness, lastly, partly attained
by an entirely prosaic conception
and realistic realisation of the inci-
dent, partly by an entirely natural-
istic treatment of single parts,
which then stand out considerably
from the bombast of the rest. The
greatest pity is that many of the
artists, as soon as they only wished
or were allowed it, possessed the
true naturalism, and even a harmo-
nious system of colouring, as their
portraits often show.

For a time fashion required only
counterparts to the Last Judgment,
and then were produced those
crowds of nude or scautUy clothed
figures, which rush in and out
among each other in all possible
and impossible positions over a
space which would not hold a third
part of them. The Murder of the
Innocents, by Oaniele da VoUerra
a{Uffizi, at Florence), is especially
to be mentioned as moderate, pos-
sible in its arrangement, and in
part noble. In Bronzino's ' ' Christ
in Limbo," one must at least regret
its lounging character and the su-
perfluity of carefully studied nude
forms ; but other specimens of the
kind are quite intolerable, especi-
ally when they introduce reminis-
cences from the Last Judgment

itself.* Of this kind are the Fall
of the Damned, the Execution of
the Forty Martyrs,t the Martyr-
dom of S. Laurence (as the large
fresco by Bronzino iu the left aisle
of S. Lozenw at Florence), the h
representation of the Brazen Ser-
pent, &c. The sculptor, Bandi-
nelli, also entered into this competi-
tion, and had pictures of Paradise
painted after his sketches (Pal. c
Pitti).

In consequence a strong impulse
was given to coarse and bold im-
provisations of historical subjects,
both sacred and profane. People
painted everything that was asked
for, and mixed up history with
allegory and mythology without
any measure. Vasari (1511-1574),
though possessed of great talent,
was always pre-oocupied with the
idea of meeting the taste of his
patrons ; iu his execution as deli-
cate and correct as anyone can be
in such hasty and unconsidered
productions, he did at least not yet
intentionally violate the simplest
laws of art (frescos in the Salad
Begia of the Vatican; Festival o£e
Ahasuerus in the Academy at
Arezzo; Last Sxipper at S. Croce,f
at Florence, Cap. del Sagramento ;
other pictures in the same church ;
several in S. Maria Novella ; num- g
berless paintings, very deficient in
ideas, in the great hall of the Pa- h
lazzo Vecchio).

His contemporary, Francesco Sal-
viati (1510-1563), has, with all his
dreary mannerism (frescos of the
Sala d' Udienza in the P. Vecchio), i

* The date, 1523, on the picture of the
same subject in the P. Colonna at Eome,
also ascribed to Bronzino, must in any
case be false, if it be there. It is founded
on the Last Judgment.— More probably by
Marco Venusti (?).

t A subject, for which that lost drawing
by Perm del Vaga must have excited an
enthusiastic competition. In the chapel
del Sagramento in S. Filippo Neri, at
Florence, is a picture of the kiad by
Strada/nus.

216

Painting of the Sixteenth Centwy.

a certain sense of beauty which
keeps him from the lowest depths.
A m ong the greatest sinners are the
brothers Zitccaro, Taddeo (1529-
1566), and Federigo (died 1609),
since they unite the greatest syste-
matic arrogance with a carelessness
of form which, with their educa-
tion, is really dishonest. In their
representations of contemporary
history they are endurable, and
sometimes surprise us by traits of
great talent (front rooms in P.
aPa/rmse at Borne; Sola Begia of
S the Vatican ; the GobsfU of Capra-
rola with the family history of the
Farnese) ; but in their allegories,
unfathomable, because worked out
on a literary plan, they become
comically pitiful. (Casa Bcurfholdy
c at Borne, and Cupola of the Cathe-
d dral at Florence. ) Another great
entrepreneur, chiefly in Rome and
Naples, in the later part of the six-
teenth century, was the Oavalicre
d' Arpino (properly Giuseppe Oesari,
bom 1560 or 1568, died 1640) ; he
is not baroque, but infected with a
soulless common-place beauty or
elegance, which but rarely gives
place to a nobler warmth, as in Ca-
epella Olgiati in S. Prassede at Borne,
and the peudentives of the Ohapel
/of Paul V. in S. Maria Maggiore.
The companions of these much-
admired masters have, especially
in Eome, left behind them an in-
credible number of frescos. The
elder painters, Tempesta, and Mon-
calli dalle Ponw/ranxe, for instance,
have left us the many horrible pic-
s' tures of martyrdoms in S. Stefano
Sotondo, remarkable as showing
what art was burdened with in the
way of tendency subjects, after she
had lowered herself. Circigncmi-
Pomarancio, Paris Nogari, Bagli-
oni, Saldassare Croce (the two large
h side pictures in S. Susanna), have
left in almost every church which
is old enough something which one
sees only to forget it again as soon
as possible. For what has not

been felt inwardly cannot produce
feeling in others, and only im-
presses the memory externally and
laboriously. Sometimes the more
decorative part, for instance, the
filling up and supporting tiguiea,
makes up in some degree for the
sense.

In Naples, Sinume Papa the
younger is one of the best man-
nerists of this time (?) (Frescos ini
the choir of S. Maria la Nuova.)
Besides these, the always vigorous,
though often dreary improvisator,
Belisario Gorenzio (everywhere), the
elder Samtafede (ceiUng-picture in
5. Maria la Nuova, other ceiling-;
pictures by him, and the whole
school especially, in the Cathedral), h
the younger Santafede (Eesurreo-
tion in the Chapel of the Monte di I
Pietdb, opposite the Assumption of
Ippolito Borghese, both important
pictures) ; Imparato (in the Cathe- m
dral and S. M. la Nuvoa) aU to-
gether give the impression of a
school certainly degenerate, but not
much infected with the imitation
of Michelangelo ; in composition
they are deficient in measure and
in a higher spirit, but also there is
no false bravura, and the exaggera-
tion is not so unworthy as in Borne
and elsewhere. Arpino, who pro-
perly belongs also to this class, fell
into it only too easily. The only
Michelangelist, Marco da Siena,
came from another schooL His
pictures in the Museum are mostly n
excessively repulsive ; he shows
his more pleasing qualities, especi-
ally a brilliant colouring, in the
' ' Unbelieving Thomas " ( GaChe- o
dral, second chapel, left) and in
the Baptism of Christ {S. Domenicop
3faggiore, fourth chapel, right).
[The Unbelieving Thomas is signed,
" Marcus de Pino Senensis faeiebat,
1573." The master seems to have
formed himself after PoUdoro, and
has also resemblances to Sicciolante
da Sermoneta, but harsher. It is a
good picture, but there is too muck

Mannerists — Florentine — tiienese.

217

brown in the colouring for it to be
called brilliant. — Mr.] [The crypt,
oh. of Montecassiuo, atiE contains
frescos executed (1557-8) by Marco
da Siena. — Ed.]

Before we cross the Apennines,
we must in justice consider the
good and even very excellent pro-
ductions of those painters who have
already been mentioned, and of
their contemporaries. These begin
where the false pompous style
ceases.

In this direction there was al-
ways a stream of light issuing from
the Florentine school, and especi-
ally from the great portrait-pain-
ters, * Bronzino and Pontormo. Some
portraits by Yasmri (his own house
(ninArezzo; in the tfffisi and Aca-
b demy at Florence) and by the two
c ZiuxciH {P. Pitti and a room in Oasa
d Ba/rtholdy t at Eome, where all the
members of the family are painted
in lunettes al fresco) are almost
whoUy naive in their conception
and true in execution. Pederigo
sometimes succeeds in ideal sub-
jects in fanciful beautiful composi-
tions (the Dead Christ, mourned
over by torch-bearing angels, in the
P. Borghese in Eome) naturally only
in a very limited degree. Sanii di
e Tito remained even as history-
painter in this time, almost wholly
without affectation, quite a simple
human being. (Some altar-pieces
^signed in S. Grace at Florence ; the
row of angels over the principal

• In connection with this we mnst men-
tion the valuable collection of miniatnre
portraits in oil, which are found in Flo-
rence, partly in the Uffizi (rooms to right
of the Tribune), partly in the Pitti (pas-
sage to the back rooms of the gallery,
always several framed together. They give
a rich survey of this whole branch of art
from 1660 to 1650. The Germans and Ve-
netians of the sbcteenth century, the
Flemings and Florentines of the seven-
teenth, are clearly to be distinguished
from the manner most represented of
Bronzino and Scipio Gaetano. A. small
collection also in the P. Guadagni.

t Now Casa Montanti.

door in the Catftedral; the first gj
altar in S. Marco on the right ; part h
of the lunettes of the large court of
the cloister at S. M. Novella). We i
shall have to revert to those names
again at the restoration of the Flo-
rentine school, which begins after
the unfortunate period 1550-1580.
Among the Romans Pasqimle Cati
of Jesi (a large fresco in S. Lorenzo j
m PanisperTia at Rome) is in some
degree a naive Michelangelist-
[This artist, whose fresco here
mentioned is laboured in drawing
and hard in colour, is not nearly
equal in merit and character to the
two following painters. — Mr.] Sic-
oiolante da Sermoneta (Birth of
Christ in S. M. della Pace at Borne ; k
Baptism of Clovis in S. lAi/igi, I
fourth chapel on the right), also
really true and moderate. Then
also Sdpione Gaetano, sprung from
theNeapolitan set mentioned above,
worked at Home ; he, in spite of
his narrowness, was so earnest that
he produced a number of excellent
naive though somewhat hard por-
traits ( Vatican Library, Pal. Co- m
lonna, &c. ) In ideal subjects (Holy
Family, Pal. Borghese, Marriage of n
S. Catherine, Pal. Doria, Assump- o
tion of the Virgin, left transept of
S. Silvestro di Monte Cwvallo) laep
shows both the merits and defici-
encies of his national school, and
pleases by his juicy colouring.

One whole school, that of Siena,
especially remained true and living;
a noble naturalism, founded on An-
drea del Sarto and Sodoma, enli-
vens the better works of Francesco
Varmi (1565-1609) (in S. Domenico
at Siena all in the S. Catherine's y
Chapel which does not belong to
Sodoma ; in. S. M. di Carignano at r
Crenoa, altar on the right, near the
choir, the last Communion of S. M.
Magdalene, &c. ), of Arcangelo and
Ventura Salimbeni (frescos in the
choir of the Cathedral of Siena s;
with the stories of St. Catherine
and a sainted bishop ; in the crjfpt.

218

Painting of the Sixteenth Century.

a of S, Catherine, the second picture
on the right), and oiMutilio Manetfi
and others.

Many of the above-named pain-
ters of various schools were more or
less influenced by a, remarkable
master, Federigo Barocoio (1528-
1612), who chiefly lived apart in
his home of Urbino. His historical
importance was, that he zealously
supported the style of conception
of Correggio almost alone, when his
owu school of Parma had given it
up, until the rise of the Bolognese ;
certainly his gifts were by no means
quite sufficient for it, and along
with real genuine naturalism and
a true enthusiasm for sensuous
beauty one must put up with many
affected expressions and gestures,
glassy colouring, and a hectic red
in the light parts of the flesh tints.
The most beautiful picture that I
know of his, is the Christ Crucified
with angels, S. Sebastian, John

6 and Mary, in the Cathedral oi Genoa
(chapel right of the choir) ; the most
careful and largest is the 'Ma-
donna as intercessor for children

;and the poor," in the Uffizi, No.
169, in parts excellent in the genre
style : the Noli me tangere in the

dCorsini Gallery at Bome, and a

e small one in the Uffizi, No. 212,
has also a true naivete; whereas

/most pictures in the Vatican Gal-

g lery and the others in the Uffisi are
among the affected ones ; in the por-
trait of the Duke Francesco Maria
II. of Urbino, Baroccio could exactly
render the small kind of prettiness

%and warMke adornment (Vffisi,
No. 1119). A Large Descent from
the Cross full of movement in

fthe Cathedral of Perugia (on the
right). The new Florentine school,
of which we shall speak later, was
essentially influenced by Baroccio.
In Genoa mannerism was in full
swing among the pupils of Perin
del Vaga. Giov. Battista Castello,
Calvi, the younger Semini, also the
somewhat better Lazzaro Tavarone

fell, through perpetual painting of
fagades, into an utter want of feel-
ing ; they form a specially unplea-
sant branch of the Roman school.
Contrasted with them was the
solitary Liica Oambiaso (1527-1585),
who by his own power, without
knowing Moretto and Paolo Vero-
nese, attained a similar result : a
cheerful noble naturalism, which
was a worthy form for the expres-
sion of the higher life of the souL
His colouring is mostly harmonious
and clear, his chiaroscuro always
telling, because light and shadow
are divided in broad masses ; only at
a later time when his ?iai«i^ failed,
it became duller. His Madonna
isagenuine amiable Genoese woman
with nothing ideal in form, the
child always naive and beautiful in
action, the saints full of devout ex-
pression : altar-pieces of this kind
are as a rule family scenes, cheer-
ful without petulance. {OatJiedral of j
Genoa, altar of the right transept :
Madonna with Saints, chapel left of
the choir, six pictures ; third altar
on the right, St. Gotbardus with
Apostles and Donors. Fai Ad-T"
orno : Madonna sitting in the open
air with two Saints. VJizi : Ma- '
donna — as a young mother bending
downoverthe Child.) ButCambiaso
put forth his whole strength in the
large Deposition. (S. M. di Cari-'"''
gnano, altar left, under the farthest
backsidecupolaontheleft.) Calmly,
and without any wild pathos, with-
out any crowding, the event is de-
veloped in noble energetic forms of
deep inward expression — a fresh
oasis in this epoch of bravura and
sentimeutalism. In scenes of action
the master fails because of his de-
ficiency in the sense of perspective ;
also these are mostly of his later
time. Three pictures in the choir
of S. Giorgio. (Transfiguration »
and Resurrection in S. Bartolom-o
meo degli Armeni.) His mytho-
logical and other decorative paint-
ings in the halls of Genoese palaces^

Mannerists — Genoese — Ferrarese — Bolognese. 219

a and in S. Matteo (the olieruba on the
ceilings) stand at least considerably
higher than the works of his con-
temporaries ; two mythological pio-

S tures in Palazzo Sorghese at Eome.
Of the beautifully formed group of
Charity (Berlin Museum), there is
a copy by the hand of Capuceino in

cthe Palazzo Brignole at Genoa.
Any one who wishes to learn the
noble character of the man, should

a seek in the Palazzo Spinola (Strada
Nuova) for the double portrait, in
which he stands before the easel
painting the portrait of his father.
Among the remaining Northern
Ttahans, we have before mentioned
(p. 202 a) those members of the

e painter family Campi of Cremona
who lived at this time, also Galisto
Piazzaoi Lodi (p. 199A). Among the
Milanese themselves, Enea Salmeg-
gia, called TalpiTio, bomin Bergamo,
and formed in Kome by the most
loving study of Eaphael, always
careful, never mannered, some-
times beautiful and tender, but
mostly timid and powerless (pio-

/tures in the Brera) ;— the three
elder Procaccini on the other hand,
JSrcole born 1520, Camillo born

J 1546 [died 1629], Giulio Cesare
born 1548 [died 1626], extremely
resolute, brilliant in detail, in the
whole much overladen ; they form
the transition to the Milanese
school of the seventeenth century,
which attains its special perfection
in Ercole Procaccini the younger,
Nuvolone, and the two Crespi.

In Ferrara the elder school
passes into mannerism with £as-
tianino (1532-1602), aweak imitator

h of Michaelangelo ; Gertosa^ transept
on the right, the Raising of the
Cross ; — Ateneo : Madonna with

i Saints, Annunciation. Of Dosso's
pupils, we must mention here Pas-
tarolo (died 1589) ; pictures in the

i Gesii, first altar on the right : An-
nunciation, first altar on the left ;
the Christ Crucified. Besides him,
the insipid Niccolo Moselli [living

1556, died 1580]; altar-pieces in
the Gertosa. Scarsellino (1551- i
1620) was the most gifted, some-
times pleasingly fanciful mannerist
of Ferrara, by whom there are a
great number of pictures in 6'. I
Benedetto, and in S. Paolo the
frescos of almost all the ceilings :
in the semi-dome of the choir a
large interesting Ascension of Elij ah
in a landscape. In the Uffizi, anwi
aristocratically treated Nativity,
probably of Elizabeth, in the man-
ner of Fr. Franck and M. de Vos.
Many things in the Gallery of Mo- «■
dena. [Others in the Gallery of"
Ferrara, reminding tis at once of
Domenichiuo and Paolo Veronese.
—Ed.]

in Bolo^a there is an impor-
tant development of the practice of
art, which in quantity is consider-
ably increased by Bagnacavallo
and Innocenzo da Imola. There is
not indeed much to be found of
this time that has real life ; still
most of these masters possess a
neat exactness, which is a valuable
inheritance for any school, because
it proves a certain respect in art
for itself. It may siifiice to name
some of the better pictures. Lo-
renzo Sabbatini (died 1577) in the
fourth church of S. Stefano (called .P
S. Pietro and Paolo), left near the
choir : a Madonna with Saints.
Bartolommeo PassaroUi (born about
1530, died 1592): in S. Giaamoi
Maggiore, fifth altar on the right,
Madonna enthroned with five
Saints and Donors. Prospero Pon-
ta'im (1512-1597) : in S. Salvatore r
the picture of the third chapel on
the right ; in the Pinacoteca a good s
Deposition ; in S. Giacomo Maggiore, t
sixth altar on the right, the Bene-
ficence of S. Alexius. His daughter
Lamnia (born 1552, died 1614), has
a picture in the Sacristy of Sta. u
Lucia. Dionigi Galvaert, from
Antwerp [apprenticed at Antwerp,
1556, to the landscape painter,
Christian van Queckboru. — Ed.]

220

Painting of the Seventeenth Century.

a (died 1619) : ai Servi, fourth altar
on the right, large picture of Para-
dise. Bartolommeo Cesi (1556-
1629) : pictures at the back of the

b choir of S. Domenico, and in S.

c Cfiacomo Maggiore, first altar on the
left in the passage round the choir.
The above-named, as well as Sam,
machini, Naldini, and others, have

<i pictures in the Pinacoteca. For
Lwwreti compare p. 187 d. — Pelle-
grino Tibaldi, mentioned before as
an architect, surpasses them aU
(1522 or 1527-1592) : he was recog-
nised by the Caracci as the true
representative of the transition
from the great masters to their own
epoch. He is one of the few who
remained faithful to the diligent
study of nature, and would not
produce his forms at second hand ;
his frescos in the lower hall of the

^ University contain among other
things those four nude assistant
figures sitting on garlanded balus-
trades, the excellence of which
stands out wonderfully in contrast
with the mjrthological principal
subjects ; but the large fresco in S.

Giacomo Maggiore (chapel on the/
right transept) is also almost grand
in its realization of an important
symboUcal idea (" Many are called,
but few are chosen ") : among the
frescos in the chapel of S. Kemigius
in S. Luigi de' Francesi at Eomegf
(fourth chapel on the right), the
large wall painting on the right
with the Baptism of Clovis (be-
sides the three smaller already man-
nered ceiling pictures), which has
an excellent effect through the good
style of the figures, the beauty of the
architecture, and the golden tone of
the colouring. The wall paintings,
with the army of Clovis on the
march and the taking the oath, are
by Sermoneta and Cfiacomo del CorUe.
For Kavenna we must mention
Liica, Longhi, who sometimes still
recalls the best period in the man-
ner of the Bologuese imitators
of Raphael, but often falls into
sentimentalism and feebleness.
{Refectory of the Camaldolen^esJi
in Bavenna : large Marriage of
Cana.)

CHAPTER VII.— THE SEVENTEENTH CENTURY.

THE MODERN SCHOOLS.

ECLECTICISM AND NATURALISM.

After the year 1580 mannerism
begins to yield to a new definite
style, which even as an historical
phenomenon isofgreatinterest. The
spirit of the counter-Reformation
which then produced the spacious,
.splendid type of church in the
"Baroque" style, required at the
same time from painting a treatment
of sacred subjects as exciting and
impressive as possible — the highest
expression of celestial glory and
pious longing after it, combined
with popular comprehensibiUty and
Attractive grace of form. In con-

sidering sculpture, which fifty years
later followed the course of paint-
ing, we called attention in
passing to the principal methods of
this modern art : the naturalism
in form as well as in the whole
conception of what had happened
(reality) and the display of emotion
at any cost. In future we shall have
to test painting from the Caracci
to Mengs and Batoni by its intel-
lectual value, and as a whole, even
though under many forms. When
art extends so greatly as here, to
give the special characteristics of
each painter would take a capacious
book ; we must content ourselves

The Caracci and their School.

221

with an introductory survey and
with naming the more important
among thousands. Our object must
he not an introduction to special
knowledge, but the statement of
Buggestive points of view applicable
to this period. In the fragmentary
remarks following on the survey, at
least every important work will be
mentioned in some connection ; cer-
tainly often in a limiting sense in a
disadvantageous comparison with
the works of the golden time.
That this is not done to awaken
contempt, or to lead people away
from considering such works, will
be perceived in reading through the
whole. Completeness, either in the
system or in the substance, cannot
here be expected.

The beginners of the new ten-
dency are partly Eclectics, partly
Naturalists in the special sense.
The abandonment of untrue forms
and conventional expressions ap-
parently required this double exer-
tion ; areturn to the principles of the
great masters of the golden time
and an entire honesty in representing
outward appearances. Eclecticism
contains a contradiction in itself,
if it is conceived as though the
special qualities of Michelangelo,
Raphael, Titian, Correggio, were to
be united in one work : even the
copying and imitating of the special
qualities of single great masters
had produced the mannerisms which
people wished to avoid. But,
conceived in the sense of an ex-
tended and various study, it was
highly necessary.

In the new school of Bologna the
adoption of the principles of their
great predecessors is almost always
harmonious and inteUigent. Some
of their pictures are painted in the
manner of Paul Veronese, some of
Titian, and it is permanently in-
fluenced by Correggio as well as
many secondary schools ; but this
relation only exceptionally becomes

complete reminiscence, and never
sinks into soulless appropriation.

The founders were Zodovico Ca-
racci (1555-1619) and his nephews,
Armibale (1560-1609) and Agostimo
(1557-1602), the last more influen-
tial by his engravings than by his
paintings. It was principally An-
nibale, through whom the new style
gained its preeminence in Italy.

The most conscientious of then-
pupils was Domenichino (properly
Domenico Zampieri, 1581-1641) ;
the most gifted was Quido Reni
(1575-1642) ; also Franoeseo Miami
(1578-1660); the audacious Gio-
varmi Lanfranco (1582-1648) ; Qia-
como Oamedone (1577-1660) ; Ales-
sandro Tiarimi (1577-1668); the
landscape painter, Giovairmi Fran-
cesco Orimaldi, and others.

Pupils of Albani : Oiovanni Bat-
tista Mola (1616-1661) ; Fier Fram-
cesco Mola (about 1612-1668) ; Carlo
Cigrumi (1628-1719) ; AridreaSacchi
(1599-1661), who after the middle
of the seventeenth century founded
the latest Roman school, and among
others had Carlo Maratta (1625-
1713) for his pupU.

Pupils of Guido Reni ; Simone
Camtarini, called Simone da Pesaro
(1612-1648) ; Cfiovanni Andrea
Sirani (1610-1690) ; and his daugh-
ter Elizabeth Sirani (1638-1665) ;
Oessi (1588-1625) ; Canuti (1620-
1684); Cagnacd (1601-1681), and
others.

Guercino {Qiovamni Francesco
BarUeri, born 1591, at Cento,
where there are still important
paintings by him, died 1666) was
only a short time in the school of '
the Caracci ; later he combined
their principles with those of the
Naturalists. Among his pupils are
several of the name of Gennari,
the most remarkable of them was
Benedetto (1633-1715), {Gallery of a
IVEodena).

In another scholar of the Caracci,
Lionello Spada (1576-1622), the
naturalistic manner in a narrower

222

Painting of the Seventeenth Century.

sense predominates (Galleries of
a Modena and Parma) ; which is
the case also with Bartolommeo
Schedone, or Schidone, of Modena
(born about 1580, died young,
1615), who had originally formed
himself especially after Correggio
(Gallery at Parma).
i Sassoferrato (properly Cfiov. Bat-
tista Salm, 1605-1685), indirectly a
scholar of the Caracci, presumably
through Domeniohino, is an Eclectic
in a different sense from all the
rest. With Oignami and Padnelli
(1629-1700) the Bolognese school
falls to the general level which the
whole of painting retains towards
1700.

No other school in Italy re-
mained quite unimpressed by the
Bolognese influence, however much,
as for instance in Florence, they
struggled against it.

Among the Eclectic schools the
Milanese must first be reckoned.
Of the family of the Procaccini we
have Brcole the younger (1596-
1676) ; Oiovanni Battista Crespi,
called Ceramo (1567-1633) ; his son,
Daniele Crespi (about 1590-1630,
important works in the Certosa at
c Pavia), Pa/mfilo Nuvolone from Cre-
mona, and others.
d Carlo Bonone painted at Ferrara
(1569-1632), entirely on the inspi-
ration of the Caracci We shall
get to know him as one of the most
refined minds of that time.

Then the Florentine school, which
had preserved a higher tone from
her own better time (Santi di Tito,
p. 217 e, 1538-1603), fell back
intentionally on to forerunners
like A. del Sarto, and afterwards
received a new impulse from Ba-
roccio. Its tendency is essentially
different from that of other con-
temporary schools : in composition
it is without principles and often
crowded, in the colours juicy and
glowing and somewhat spotty,
though the best often reach a

very remarkable harmony ; its
chief aim is often sensuous beauty;
on the other hand, there is an
almost complete absence of feeling.
As for this reason we shall only
exceptionally have occasion to
mention such pictures, we may
here quote the most important
church pictures of each painter ;
of the rest the most valuable will
be easUy found in the Florentine
Galleries.

Allessandro Allori (1535-1607),
nephew of Bronzino, still half a
mannerist. (In S. Spirito, quite «
at the back, the Adulteress ; in
the sacristy, a Saint healing the
Sick; choir of the Annunziata,/
first niche on the left. Birth of the
Virgin, 1602; S. Niccolb, [now ing
Uffizi. — Ed.], Sacrifice of Abraham.)
Also Bernardino Poccetti (1549-
1612), named in the volume on
Sculpture as a decorator. He was,
with Santi di Tito, a chief under-
taker of the lunette frescos in the
Florentine Convent Courts, mostly
of legendary subjects. (Cloister
of 8. Marco, first court to the A
right, in the Camaldolensi aglii
Angeli; first court to the left of
the Anmimziata, partly by him ; ;
Chiostro Grande, the farthest back
to the left, in S. M. Novella, ]c
partly by him ; larger wall-frescos
in the court of the Confratemitd.1
of S. Pietro Martire). In these
tasks the painters about to be
mentioned often took part, and
thereby helped to form themselves.
Compared with the paintings of the
Bolognese Chiostri (for instance, S. m
Francesco or ai Servi in Bologna),
which were so far better composed,
so much more easy and masterly
in drawing, they yet maintain a
certain advantage through the
cheerfulness and absence of emo-
tion, as well as through the greater
richness of individualisation. (The
three beautiful lunettes by Dome-
nichiuo in the outer haU of S. Oaofrio n

L. Cardi — Guercino — Carlo Bold.

223

at Borne must be excepted from this
remark as most excellent. ) Besides
this, a whole hall in the former Fa-

a lazzo Capponi, painted by Poccetti ;

iia S. FelidUt, first altar to the left,
the Assumption. Jacopo lAgozw,
(born about 1548, still living in
1632) : chief part in the lunettes

cin the Chiostro of OgnissanU. S.

dOroce, Cap. Salviati, left of the
left transept : Martyrdom of S.
Laurence. S. M. Novella, sixth
altar on the right. Resuscitation
of a Child. Jacopo Chi/nwnti da
Empoli (1554^1640), never of any
signiQcance in narrative, as the
paintings in the front hall of the

tP. Buomxrrotti prove, is in indi-
vidualising the noblest and most
worthy of this school. Large pic-
ture in the right transept of S.

fDoTmnico at Pistoja: S. Carlo
Borromeo eis a worker of miracles,
surrounded by members of the
EospigKosi family. Several things

gin the choir of the Cathedral of

AFiaa. S. Luoia de' Magnoli in

I Florence, second altar on the left.
Madonna with Saints ; Annunziata,
choir, third niche on the right.
I/udovico Gardi, called Oigoli (1559-
1613), the best oolourist and de-
signer of the school, whose works
have for the most part passed into
the Florentine galleries. In Sta.

j Croce, the sixth altar on the right
is by him, the Entry of Christ into
Jerusalem ; and the Trinity at the
entrance into the left transept.
His pupil, Antonio Biliverti (1576-
1644), among others, produced the
great Marriage of St. Catherine,
together with its side pictures in

]c the choir of the Annwnziata, second
niche on the right. Other pupils,
like Domenico Oresti, called Pas-
signano (born about 1550, died
1638), Gregorio Pagam (1550-1605),
&c., are better represented in the
galleries. Francesco Currado (1570-
1661) : his principal work in the

I choir of S. Frediano, at the back.
Madonna with many Angels and

kneeling Saints ; besides this, in
S. Giovarmino, Francis Xavier'sm
Preaching in India. Ohristofano
Allori (1577-1621) has nothing in
the churches at all equal to his
famous Judith in the Pal. Pitti. n
Matteo FosseUi (1578-1650) painted
the frescos of the first chapel on
the right in the Armv/nziaia, and a o
part of the lunettes in the Chiostro ;
in SS. Michele e. GaetaTW, third ^
chapel on the right, and the left
side picture in the second chapel
on the left ; his pleasant works in
the Pal. Pitti, &c. One of thej
pupils of Matteo, Francesco Furini
(born about 1600, died 1649), intro-
duces a new interest into the
school by his defined tender model-
ling of the nude. (Qiovanni Ma-
nozzi) da San Giovamii (1590-1636)
becomes, however, clearly under
Bolognese influence, together with
his contemporary, Ouereino, the
most determined, decided, charm-
ing improvisatore of the whole
school, who, by his rich palette
and luxuriant fancy, quite forces us
to forget the want of higher quali-
ties. We shall have to speak
again of his frescos, very striking
within these limits. (Allegories in
the large lower hall of the Pal. r
Pitti ; Temptation of Christ in the
Kefeotory of the Badia at Fiesole ; g
half-destroyed allegory on the front
of a house opposite the Porta Ro- 1
Tnana; story of S. Andrew ia. S. ti
Groce, second chapel on the right
of the choir ; in Ognissanti, the v
paintings of the cupola and part
of the lunettes of the Cloister ; in
the passage of the left court of S.
Maria Nuova, the small figure in«;
fresco of a Caritas ; at Borne, the
semidome of S. S. Quattro Ooro-x
nati.) Lastly, Carlo Dolci (1616-
1686), also of this school, who again
introduces the emotion neglected
by the others in several hundred
representations of ecstasy, of which
we shall speak further. He and
all those above-mentioned, are fully

224

Painting of the Seventeenth Century.

represented in the Corsmi Gallery
a at Florence.

The Sienese school at this time
has Bidilio Manetti (1572-1639),
whose beautiful Rest during the
Flight in Egypt, over the high
b altar of S. Pietro in Castelvecchio at
Siena, excels everything else.
Most resembling Guercino.

Pietro ( Berettini) da Cortona (1596-
1669), was an immediate pupil
of Cigoli ; he introduced a shallow
eclecticism and the general profa-
nation of painting for purposes of
hasty and pleasing decoration.

The modem naturalism, in a re-
stricted sense, begins in the harshest
way with Michelangelo Amerighi
da Cwra/vaggio (1569 (?)-1609), who
exercised a great influence on Home
and Naples. It is his delight to
prove to the spectator that all the
sacred events of old time happened
just as prosaically as in the streets
of the southern towns towards
the end of the sixteenth century ;
he cares for nothing but passion,
and has a great talent for express-
ing this in a truly volcanic manner.
And this passion expressed only in
vulgar energetic characters, some-
times most striking, forms the fun-
damental tone of his own school
(Valentin (1600-1634), Simon Vouet
(1590-1649), also their follower,
Carlo Saraceni (1585-1625), of Ve-
nice), and also of the

School of Naples. Here the Va-
lencian, Giuseppe Bihera, called la
Spcynoletto (born 1588, disappeared
1656), is the follower, intellectually,
of Caravaggio in the fullest sense
of the word, although in his colour-
ing, as is the case with his master
in a stiU higher degree, his earlier
study of Correggio and the Vene-
tians is distinctly felt. With him
worked, as well as the painter
caUed Corenzio (1558 (?)-1643), Gio-
vanni Battista Caracciolo, who
attached himself more to the style
of the Caracci; his great pupU,

Massimo Stamidoni (1585-1656), also
adopted as much from Bibera as
was consistent with his own ten-
dency. (His most remarkable
pupil : Domenico Finoglia. )

Indirectly followers of Caravag-
gio among the Neapolitans : Mattia
Preti, called il Cavalier Calabrese
(1613-1699), Andrea Vaccaro, and
others.

Pupils of Spagnoletto : the battle
painter, Aniello Falcone, and Salvo-
tore Bosa, who worked in aU styles
(1615-1673), and his pupil, the
landscape-painter, Bartolommeo
Torregiani, the historical painter,
Micco Spadaro, and others. The
distinguished Sicilian painter, Pie-
tro Novelli, called Morrealese, also
is a follower of Spagnoletto. (Lady
and Page, Palazzo Oolonna ate
Eome.) (The expeditious painter,
Luca Giordano, great in his own
way, was a pupU of Spagnoletto,
but still more of Pietro da Cortona
(1632-1705. ) With him NeapoUtan
painting fell to a common level,
which ended in simple decorative
painting with Giacomo del Po, So-
limena (1657-1747), Conea (died
1764), Framcesco di Mv/ra, Bonito,
and others.

In Eome, where all tendencies
crossed each other, certain more
special styles (1600-1650) gained
strength particularly. Besides
landscape (of which further), genre
painting and battle pieces are well
represented by a pupU of Arpino
(and later of the Netherlander
Pieter vam Laa/r, sumamed Bam-
bocdo (1603-1675), who was espe-
cially esteemed in Eome in this
line), namely, Michelamgelo Cerqiwzzi
(1602-1660), whose best works are
found in foreign countries. The
Jesuit, Jacques Oou/rtois, sumamed
Bourguignon (1621-1676), was his
pupil. Mario d£ Fiori was known
as a flower-painter (died 1673) ;
Gim. Paolo Pannini (died 1764) as
an architectural painter.
After the second half of the

The Oenoese — The Bolognese.

225

seventeenth century, Eome is the
priucipal seat of the expeditious
style of simple decorative painting
derived from Pietro da Cortona,
against whom Sacchi and Ma/ratta
(p. 222) make only a weak reaction.
Here laboured, among others, ©w«-
framc. ifowtwcZ2i (1610-1662), Oiro
Feiri (1634-1689), Filippo Lauri
(1623-1694), and the Florentine,
Benedetto ImH, also (1666-1724) the
Pater Pozso, and several others.

In Genoa the style varies with
the different influences. Oiovani
Battista Paggi (1554-1627) recalls
the contemporary Florentines {S.

a Pietro in Banchi) : first altar on
the left. Adoration of the Shep-

t herds ; Cathedral, second chapel
on the left. Annunciation. Dome-
nico Fiasella, surnamed Sarzana
(died 1669), is more like Guercino.
Berrmrdo Strozzi, surnamed il Ca-
puccmo Genovese (1581-1644) [is
among the followers of Caravaggio
one of the most remarkable, espe-
cially in portraits. — Mr.] Bene-
detto Castiglione (1616-1670), an
audacious Cortonist [who at times
tried to imitate "Van Dyck, but
was especially successful as an
animal painter. There are excel-
lent things by him in Genoa ; for
instance, in the possession of the

c Marchese Giorgio Doria is the life-
size figure of a Shepherd and Shep-
herdess ; the latter is asking, with
a mischievous expression, whether
the declaration of love is meant for
her. — Mr.] Valeria Oastello also,
but warmer in colour ; Deferrari
appears to have studied after Van
Dyok. Only Pellegro Piola, who
died young (1607-1630), has shown
a specially beautiful naturalism.

<i (Pictures in the Pal. BrignoU:

'Frieze of Angels in Pal. Adomo.)

The Netherlanders, Germans,
Spaniards, and French,* by whom

• Rubens (1677-1640) ; Van Byck (159!>-
1641); Rembrandt (1608-1669); Hontllarst
(1590-1656); Blaheimer (1578-1620); of the

Italy possesses many works, some
of them of great merit, will, in the
following pages, be mentioned with
Italians in their proper places.

DESIGN, DRAWING, AND TYPES
OF FORM.

In the school of painting during
200 years (1580 tiU about 1780)
there are naturally very great dif-
ferences of tendency, not to speak
of the immensely various gifts of
individuals. Before speaking of
the common qualities which charac-
terise the whole great period, we
must first indicate the differences
in drawing, conception of form and
colouring.

The Bolognese school began as
a reaction of thorough reality op-
posed to mannerism, as individual
acquisition opposed to exclusive
borrowing from others. Its studies
in drawing were very valuable :
in Annibale Caracci we find, besides
this, a many-sided interest for all
that is characteristic, as he there
has painted a number of genre
figures in life-size. {Pal. Colonnaf
at Bome, the Lentil-eater ; in the
Uffizi, the Man with the Monkey, g
a long series of genre figures on
copper-plates, &c. ) Nevertheless
the school is generally satisfied
with a certain general style of phy-
sical forms and draperies, and
indeed the average which is thus
attained is neither altogether one of
great beauty nor loftiness ; it is
taken from Correggio, but without
his inimitable sense of life, and also
from the heavy luxuriant Paolo
Veronese, but without his ^.11-
harmonising colour. The clearest
evidence of this lies in the frescos

BruegTiel family, especially Ja/n, the so-
caUed Sa/rmnet Brueghel (1568-1625) ; Paul
Bril (1656-1626). A great number of
Flemish genre painteis, only to he seen in
the Dfflzi :— Velasquez (1599-1660) ; Murillo
(1618-1682); Nicolas Poussin (1594-1665).
Others will he named as occasion arises.
Q

226

Painting of the 'Seventeenth Century.

a of the Grallery in the Farnese
Palace at Borne, by ATi/nibale and
his pupils. How many of these
Junos, Aphrodites, Dianas, &o.,
would one wish to see alive ? Even
the most excellent nude figures
show no higher cultivation. Eich
as is the school in fresh ideas of
movement, still in detail it fails in
giving the beauty of living form.
Aliomi's mythological frescos in a

J room of the Pal. Verospi (now
Torlonia, near the Pal. Chigi) at
Home, the most striking reminis-
cence of the Famese Gallery, have
much that is graceful in detail, but
the same feelmg of common -plane.
How various is Chiido Beni, not
only in different periods of his life,
but sometimes in one and the same
work. Of all modern painters he
sometimes the most approaches
lofty and free beauty, and his

Aurora (Casino of the Pal. Bos-
pigUosi) is certainly, taking all in
all, the most perfect painting of
the last 200 years ; only the Hours
are in their form most unequal in
merit, and, including the Apollo,
not to be compared with the mar-
vellous and unique figure of the
Goddess of Dawn. The famous S.

d Michael in the Ooncezione at Some
(first chapel on the right) is in
character and position immensely
below Kaphael's picture in the
Louvre. In female heads Guide
often formed himself on antiques,
especially the Niobidea, but in
female figures not seldom gives
way to a sensual luxuriousness.
(Look at the hands of his Cleo-

e patra, in the Pitti Palace ; on the
female characters in the picture of
EUezar, £ilso there). Domenichino
also, with his great sense of
beauty, cannot throw oflf the com-
monness of the Bolognese forms.
He is most free from it in the two
splendid waU-frescos of the C3iapel

v'of S. Cecilia (second on the right),

„ in S. Luigi de Francesi, at Rome ;
also [but here a more servile

imitator of Raphael. — Ed.] ia
several of the fresco histories at
GroUaferrata (Chapel of S. Nilus). j
In his angels he follows Correggio
very obviously, as is seen, for
instance, in the large picture in
the Brera at Silan (Madonna with;
Saints). With Guercmo we must
distinguish certain exquisite figures
of the most noble form (which was
quite at his command) from the
productions of the energetic natu-
ralist ; so the picture of Hagar
(Brera at Milan), the Marriage of;
S. Catherine {Gallery of Modena), k
also the Cleopatra (Pal. Brignole, I
at G-enoa), as also the holy nun
with the chorister boys (Gallery of m
Turin). Sassoferrato, always care-
ful, in these relations appears also
inspired by Baphael, though not
dependent on him.

With Caravaggio and the Nea-
politans drawing and modelling are
altogether considerably inferior, as
they think they may rely on quite
other means for effect. Common-
place as their forms are besides,
one cannot the more depend that
in special cases they are really
taken from life ; in their vulgarity
they are only too often vague as
well. In this school there are, on
the whole, but few conscientious
pictures. From Jmca Giordamo
downwards the drawing of the
KeapoUtan school falls into the
most careless extemporization.
Luca maintains himself by an in-
born grace at a certain height.

In Pietro da CorUma it is easy to
see a pervading indifference to the
true representation of forms ; as
also the expression of his heads is
empty to a degree. We feel at
once that the moral basis which
the Caracci (to their lasting honour)
had given back to art, was again
deeply shaken. When an artist of
such talent so openly abandoned
the best in art, nothing but a
further degeneracy was to be ex-
pected. The last great draughts-

"CLEOPATRA."
To face pct^e 226.

GUIDO RENI.

Maratta — Roman Mosaic Art.

227

man, Oarrlo Mwraita, was too con-
fined in his imitation of Guido
Keni, too powerless by his want of
individual warmth to save himself
in the long run from destruction.

a (Single figures of Apostles in the
upper rooms of the Pal. Barlerini,
at Eome ; Assumption, vpith the

4 four teachers of the Church, in S.
M. del Popolo, second chapel on the
right. ) Immediately after him fol-
low several painters, who, in the
rendering of form, were nearly as
conscientious as he ; one learns to
know them, for instance, in the

cPal. Corsini, at Rome, the Mura-
tori, GJiezzi, Zoboli, Luti ; also the
most agreeable of the Cortonists,
Donaio Greti. Whole churches,

dUke S. Oregorio, SS. ApostoU, are
again filled vsdth tolerable con-
scientious altar-pieces of Imti, Gos-
tanxi, Qauli, and others (by GauH
is the ceiling fresco in the Gesti,
that in S. Gregorio by Costanzi) ;
the highest bloom of the Roman
mosaic art — which, in a certain
way, can hardly be conceived ex-
cept by the side of good oil paint-
ing— faUs just in the first ten years
of the last century. (Altar-pieces

6 in S. PeUr, put into mosaic under
the direction of the Cristofani. ) But
this late, more local than general
improvement, is the purely ex-
ternal result of academical in-
dustry ; we no longer find in them
a fresh intellectual substance, a
deeper view of the objects to be
represented. Pompeo Batoni repre-
sents the highest point of this kind
of improvement (1708-1787 ; large
picture, Fall of Simon Magus, in

fS. M. degli Angeli, principal nave,
on the left), in whom individual
feeling also is somewhat warmer ;
but his German contemporary,
Anion Raphael Mengs (1728-1779),
is perhaps the only one in whom
the beginnings of a profounder ideal
view are to be seen, in whom
single forms gain a higher and
nobler life. TTia ceiling fresco in

S. Misebio at Home is, after so g
many ecstacies of a wild emotion,
again quite solemn and dignified :
his dome paintings in the Stanza h
de' Papin of the Vaticcm Library
give us again an anticipation of the
true monumental style ; in the Par- i
nassus on the ceiling of the prin-
cipal room of the Villa Albani he
ventured further than he ought,
and yet, here at least, one will not
question the historical fact that he
first not only replaced the natural-
istic mode of conception on the
whole, but also the conventional
form in detaU by something better
and nobler. He could, indeed,
only do this by a new eclecticism,
and one observes the effort which
he makes to unite the simplicity of
Kaphael with the sweetness of Cor-
reggio. But that he already had
firm ground under his feet is shown,
for instance, by his few portraits
( Uffisi, his own ; in the Brera, thaty
of the singer Annibali ; in the Pin- k
acoteca of Bologna that of Clement I
XIII.). They are grander, truer,
less pretentious, than any Italian
portraits of the century.

Nicolas Poussin had exercised no
visible influenceon Italian historical
painting.

THE COLOURING OF THE DIF-
FERENT STYLES.

In colouring, the Venetians and
Correggio were the types of the
whole period ; later also is felt the
influence of Rubens and Van Dyck,
the chief intellectual inheritors of
Titian and Paolo ; Salvator Rosa
was impressed by Rembrandt.

The Caracci left no picture be-
hind them which possessed the
true festive glow and the clear
depth of a good Venetian. The
shadows as a rule are dull, the flesh
tints often dirty brown. I con-
sider the frescos in the Farnesem
Palace as far the greatest produc-
<J2

228

Painting of the Seventeenth Century.

tion of Aimibale as to colour Un-
der the influence of Michelangelo's
paintings of the roof of the Sistine
(amtea), he has with a masterly
freedom succeeded in dividing his
picture into histories and decora-
tive parts, the last partly stone-
coloured Atlantes, partly excellent
sitting nude figures in attitudes,
partly children, masks, garlands of
fruit, bronze-coloured medallions,
&o. The grand harmonious effect
of colour which the whole pro-
dices, in spite of particular coarse
parts, was only to be brought about
by this gradation according to sub-
jects. All the better painters of
the seventeenth century studied
here for similar undertakings ;
the inferior ones, at any rate,
copied. In Bologna the Caracoi,
for instance, in the frescos of the

a Pal. Magnani (frieze of the large
hall), produced simpler but in their
kind not less excellent decorative
pictures (stone-coloured Atlantes,
seated, mocked at by Cupids in
natural colour, each accompanied
by two bronze-coloured accessory
figures of half size), works which
in style and colouring are far better
than the subjects to which they
serve as frames. Even their latest
followers sometimes produced ex-
cellent things of this kind, as, for
instance, Oignam/i's famous Eight
Cherubs, with a medallion to each
two, over the doors of the principal

h nave of S. Michele in Bosco. Such
models gave even to simple deoora-

ctors {Oolonna, in S. Ba/rtolommeo a
Porta Savegnana, and in S. Dome-

dnico, Capdla del Bosario, on the

«left; — Franceschmi, in Coryvs JDo-

fmini; — Oamuti, in S. Michele in
Bosco, Chamber of the Legates, &c. )
a harmony which is less charac-
teristic of other schools. Unfortu-
nately perhaps the best frescos as
to colour of Lodovko and his school,

g in the octagonal haU which incloses
a little court of this cloister, are
miserable ruined ; one cannot look

at the remains without grief. (The
compositions, some of them very
good, are known by engravings.)

Domenichvno is very unequal in
his colouring ; of his frescos those
in S. Andrea deUa Valle at Rome,
in other ways also masterpieces,
should have the preference (the
Pendentives with the Evangelists ;
the dome of the choir, with the
stories of S. Andrea and allegorical
figures ; their merit is best seen by
comparison with the lower paint-
ings of the walls of the choir, by
Oalabrese.)

The greatest colourist of the
school, when he chose, was Guido
Eeni. His single figure of S. An-
drea Corsini {Itnacoteca of Bologna) h
may be considered unsurpassed in
delicacy of tone ; perhaps a similar
perfectness is attained here and
there in pictures of his silver- toned
second manner ; for instance, one
of his nude figures of S. Sebas-
tian (of which the most beautiful
is there, others in various places) ;
his best nude figure in gold tone is
(also there) the Victorious Samson
(copy in the Turin Gallery), a pic- i
ture of Venetian joyousness. (Com-
pare with the St. Sebastian tended
by holy women, of his pupU Simonej
da Pesaro, in the Pal. Oolonna at
Bome.) Of his frescos the Aurora
is admired to the utmost on account
of its harmony of treatment ; but
the greatest effect of colour is in the
Glory of S. Dominic (in the semi-
dome of the Chapel of the Saint at
S. Dommico of Bologna). h

Gruerdno is in his colour some-
times clear like the Venetians, even
in the deepest, but he often ends
also with a dull brown. The large
picture of S. Petronilla {Gallery of I
the Capitol — see below among the
Sante Conversazioni), but espe-
cially the death of Dido {Pal.
Spada at Rome), display his palette m
on its strongest side ; the pictures
mentioned before (p. 226 i) are also

Caravaggio — Spagnoletto.

229

more dignified and moderate in
colour. Of the frescos those in the

a Casino of the Villa Zudovisi (Aurora
on the ground floor, Fame in the
upper story) are especially power-
ful in colour ; so also the Prophets
and Sibyls in the cupola of the

i Cathedral of Piacenza, including the
Allegories on the Pendentives.

Among the tTaturaUsts, the ear-
liest, Oaravaggio, from whom also
Gueroino learned indirectly, is cer-
tainly one of the best colourists.
The strong cellar light, in which he
and many of his followers love to
place their scenes, indeed excludes
the endless richness of beautiful
local tones, which can only be con-
ceived with the assistance of clear
daylight ; it is characteristic, be-
sides this, that the Naturalists, in
spite of all their preference for in-
closed light, should so little enter
into the poetry of chiaroscuro.*
Caravaggio's histories of St. Mat-
cthew in S. Luigi de' Frcmcesi at
Home (last chapel on the left) are
indeed so placed that one can hardly
judge of the effect of colour, though
this may have grown very much
darker ; but it is certain (also from
his other works) that he inten-
tionally aimed at the impression
of harshness and gloom, and that
• Still we must recall his youthful
works, which in their clear harmonious
tone, principally golden yellow, betray the
study of the Venetians (Griorgione) ; as the
famous picture, the Gamesters, in the
P. Sciarra; a Judith with the Maid, for-
merly in the Scarpa collection at La Motta
near Treviso, now in England ; also the
splendid Woman playing on the lute in
the Lichtenstein Palace in Vienna. Here
too belongs, though a little later perhaps,
the Conversion of Paul in figures of life-
size, in the PaL Balbi-Piovera at Genoa —
a remarkable instance of his careful choice
of a noble and ideal subject, which he
afterwards drags down, con arnore, into
triviality 'and common-place. But in
painting it is a master-piece. The chiar-
osffu/ro has the true artistic feeling, and is
captivating in its charm — the shadows
quite transparent, the drawing sharp, the
execution most careful and irresistibly
beautiful.— Mr.]

the absence of reflections is an
essential means for this. In Rem-
brandt, on the contrary, in spite of
all the fastastic figures and cos-
tumes, there is a cheerful, com-
fortable tone, because the sunlight
lights up and makes the whole
space inhabitable, partly directly,
partly by the golden vapour of the
reflections.

Of Caravaggio's pupUs, the two
who were not Neapolitans, Carlo
Saraceni and VaUntm,* had the
most colour, and were also toler-
ably conscientious. [By Saraceni :
Stories of S. Ben no in the Arrnnad
at Eome, first chapel on the right,
and first chapel on the left : Death
of the Virgin in S. M. della Scala e
on the left : [before his attractive
bright Eepose in Egypt, in the P.
Doria at Borne, first gallery, No. /
32,+ (see below) one is strongly re-
minded of the beginning of natur-
alism in painting in modern Ger-
man art] ; by Valentin : Joseph
Interpreting the Dreams, Pal. g
Borgkese ; Beheading of the Bap- h
tist. Pal. Sciarra ; Judith in Pal. i
Mamfrin at Venice.

Spagnoletto is often hard and
harsh in spite of his Venetian
associations. He is so already in
his horrible Bacchus ctf 1626 {Mu-j
sewm of Naples) ; his S. Sebastian
(also there) is remarkable as the
last picture of his painted with
feeling, of the year 1651. His small
figure of St. Jerome {Uffizi, Tn-k
bune) appears to me the most
Venetian. Stanzioni is much milder
and tenderer ; of the rest, Sal-
vator Rosa, when he chooses, has
the warmest light and the clearest

* [His name is not Moysi, which ap-
parently is only the Italian transforma-
tion Mosiil, from the French "Monsieur."
—Mr.]

+ [This very pictiu-e, weak, flat, and
uninteresting in its heads, is pretty cer-
tainly a copy by the hand of Nitxola Cas-
sana, from the original in Gasa Martelli at
Florence. — Mr.]

230

Painting of the Seventeenth Centwy.

chiaroscuro (Conspiracy of Cati-
a line, PaX. Pitti, but else often pale
and dull). Oalabrese and several
others have only a very external
bravura of colour.

Pietro da CorUma is as great a
colourist as any one can be without
any serious conception of the sub-
ject. His colouring is in a high
degree pleasing ; in the large ceil-
ing paintings, intended more for de-
corations than serious subjects, he
first aimed at the impression most
likely to teU upon the thoughtless
idly wandering eye. The prevail-
ing qualities are clearness of tone,
sunny air, easy movement of the
figures in illuminated space, a super-
ficial agreeable chiaroscuro especi-
ally in the flesh tints. Ceiling pic-

* tures of the Ghiesa Nuova at Borne
(in the Sacristy, the ABgels with in-
struments of martyrdom) ; dome of

cthe colossal principal hall in the

d Pal. Barherini, a hall in the Pal.

e Pamfili, in the Piazza Namona ; a
number of ceilings in the P. Pitti ;
waU frescos in one of the halls
there, in which his half-thorough-
ness is more repulsive than his
former complete sketchiness.
Among the easel pictures, perhaps

/the Birth of the Virgin (Palazzo
Gorsini) gives the most favourable
idea of his colouring.

From him and from Paul Vero-
nese proceeds the colouring of Zuoa
Cfiordano, which, because of his
indestructible cheerfulness, some-
times rises to a real joyfulness. In

gthe Tesoro at St. Martino of Na-
ples he painted the stories of Judith
and the Brazen Serpent within
forty-eight hours on the ceiling ;
his St. Francis Xavier baptizing

A the Savages {Museum) was com-
pleted in three days, — both in a
manner which makes us envy
something in his palette. His re-
maining pictures also (of which
there is a selection in the Museum),
though without any really firm out-

line, without any choice in forms or
motives, yet exercise a great charm,
chiefly through a certain careless
absence of pretension (compared
with the pretensions of Salvator
and his friends), and through the
whole pleasing appearance of hfe.
His foUowers, at the best bril-
liant decorators with glowing
colouring : — SoUmena : the frescos
of the Sacristies of S. Paolo and S. »
Domemco Maggiore, large historyy
of HeliodoruB inside above the en-
trance of the Gesii Nwyvo ; Luigi^
Oarzi: frescos on the roof and
front wall of S. Gaterima A For- '
Tnello ; Conca : large centre pic-
ture of the roof of Sta. Ghiara, '">■
David dancing before the Ark of
the Covenant ; Francesco de Mwrit :
large picture on the roof in 8. Se-
verino ; Bonito : smaller picture
on the roof in Sta. Ghiara, &c. — '"■
After the decay of the local schools
throughout Italy these Neapolitans
travelled about as virtuosi of the
expeditious style of painting, and
also penetrated into Tuscany,
after Salvator Rosa had already
passed a great part of his life there.
For instance, Conca in the Eospital *
delta Scala at Siena paiated the
niche in the choir quite grandly
with the story of the Pool of Be-
thesda ; Galabrese covered the Choir
and Cupola of the Oarmine at Mo-i'
dena with his improvisations, &c.

Among the ifomans, Sacchi is
in colouring more powerful and
more solid than Cortona (the
Mass of S. Gregory, and S. Eo-9
muald with his monks, Vaticmi
gallery ; Death of S. Anna, in S.
Garlo <t Gatinari, altar on the left) '
Maratta with all his carefulness is
here strikingly duU ; single heads,
like "la Pittura " in the Pai. Gor- «
sini succeed best, and are full of life
and beautiful ; Ids Madonna with
the Sleeping Child, in the Pa^.DoriOj t
is also in colour a reproduction of
Guide.

Of the Florentines.i'jijmi, already

z

M
M

3
Z
W

Rubens

231

mentioned (p. 218) is incessantly

striving to represent the flesh of Ms

female nude figures more and more

a mellow and tender. {Pal. Pitti, Cre-

h atiou of Eve ; Pal. Oapponi, David

c and Abigail ; Pal. Corsmi, nude

figures and mythological subjects.

The later Venetians (p. 212) at

best borrow from Paolo; Tiepolo

studies especially a silver tone.

FLEMISH AND SPANISH
COLOUR ISTS.

After long observation perhaps
our readers wiU agree with us that
the greatest master-pieces of colour-
ing which Italy possesses of this
period are a few pictures by Ku-
bens, Van Dyck, and MuriUo.
Rubens can be followed in Italy
from his earliest period, that is
from the time he settled there.
The earliest one, a Trinity in the

d library at Mantua with the ducal
family of Gonzaga as donors (un-
happily spoilt and cut into two
pieces), painted 1604-5, still shows
some remains of his Flemish ap-
prenticeship, as well as the strong
influence of Tintoretto. The three
large pictures in the choir of the

e Ghiesa Nuova at Kome (painting
of the Madonna surrounded by
Angels, and two colossal paintings
each of three saints) show how his
pecuhar characters and his colour-
ing begin to work themselves free
of the various manners by which
he was surrounded ; even in the

/Circumcision on the high altar of S.
Amhrogio at Genoa he still strug-
gles with the conception and colour
of the Caracci : — he comes out
almost q^uite himself in the S. Se-
bastian, from whose wounds angels

g are drawing forth the arrows (Pal.
Corsini at Borne), and in the idyllic
naive Finding of Romulus and Ee-

Amus (CapitoUne Qallery) ; both pic-
tures with yellowish tones in the
flesh tints. The twelve half-length

i figures of Apostles (Casino Bospi-

gHosi) I look upon as being genuine
works of his nearly perfect period.
Then the maturest and most splen-
did, the Allegory of War \Pal.j
Pitti), in which colour, form, and
incident are felt to be inseparable.
The Holy Family vrith the cradle
of basket-work there is strikingly
glassy in colour and wea;k in tone,
and pretty certainly a copy of the
remarkable original possessed by
the Marchese Giacomo Spinola atJi
Genoa. Two remarkable pictures,
on the other hand, are in the
Pal. Adorno at Genoa — Hercules I
vrith the Apples of the Hesperides,
and Dejanira with an old woman
holding the garment of Nessus.
Mars with Venus and Cupid in the
Palazzo Brigno-Sale is a fine m
picture, in spite of all that dis-
pleases na. —Mr.]. Lastly, the great
masterpiece on the high altar ton
the left in St. A mbrogio at Genoa,
S. Ignatius curing a Possessed
Person by his Intercession, is in con-
ception, form, and colour of a re-
fined noble naturalism which im-
mensely surpasses the Neapolitans :
in the Saint, for instance, the
Spanish nobleman is stiU repre-
sented ; his expression is im-
mensely brought out by the cunning
indifferent character of the priests
and chorister boys round him The
two large pictures in the Niobe
room in the Vffizi, the Battle ofo
Ivry and Henry IV. 's Entrance into
Paris, should, as quite genuine im-
personations of the best time, be
distinctly preferred to most of the
pictures of the gallery of Marie de
Medicis in the Louvre ; they show
us the Prometheus of colouring as
it were in the midst of the glow of
creation. [The gallery of Turin p
possesses among many doubtful
things (Holy Family ; copy of the
Brazen Serpent) a precious, beauti-
ful sketch for the Apotheosis of
Henry IV., somewhat smaller than
that in Munich, and apparently also
somewhat different from it. In

232

Painting of the Seventeenth Century.

a the sacristy of S. Ma/ria Zobenigo at
Venice, a Holy Family of his schooL
—Mr.]

6 Later works ; Pal. Pitti, Nymphs
in a wood, surprised by Satyrs ;
the second Holy Family, perhaps a

ccopy. JBrera at Milan, the Last
Supper [a perfectly genuine picture,
of excellent colouring, powerful,
even somewhat coarse. The sub-
ject and the effect of light at night
are not attractive. An excellent
altar-picture, certainly for the most
part by Ruben's own hand, is the
Ascension of the Virgin in the Pal.

d Oolmina at Eome. All the remain-
ing atelier-pictures, which could be
cited in dozens, are not worth men-
tioning. — Mr.]

Among the portraits, there are
jewels of the first rank : a lady of
middle age, the painter's first wife,
Elizabeth Brant, with a prayer-

ebook {(/ffizi, No. 197) ; the artist
himself, bare-headed, aristocratic-
looking, dressed in black, with
coUar and golden chain (TJfiizi);
[better than either, the portrait
of the painter by himself, in the
collection of painters there. The
picture of the so-called Four Law-

/yers. Pal. Pitti, has something
puzzling about it, since some parts
(in the accessories and in the head
of Grotius) are excellent, and
others (especially the head of
Ruben's brother) are weak, even
coarse. The master may have left
the picture unfinished. Genuine
and early in the still hard and
smooth manner of the master, but
also unusually warm in the flesh
tints, is the so-called Confessor of
Rubens, with a peculiar cross or

n disdainful expression, Pal, Doria,
at Borne, second gallery. No. 50.

ft Philip IV., in fuU length. Pal.
Durazzo at Genoa, is a distin-
guished picture of Rubens ; only
the canvas having been twice
added to, is disturbing. There
also is a beautiful half-length pic-
ture of a Knight of the Golden

Fleece (round). — Mr.] Concerning
many other portraits, I do not
venture to judge.

Tan Dyck is stiU more richly
represented in Italy than Rubens ;
the number of portraits especially,
left by him, mostly in Genoa,
borders on the incredible. Except
the genuine but early Deposition,
painted in Italy, in the PaX. Bar- i
ghese at Borne, room 15, No. 7
[with the very coquettish but
charming Magdedene and the strik-
ingly weak Madonna, distinguished
by powerful colouring and beauti-
ful light], he has left hardly any
ideal subjects in Italy besides a few
heads, — as the Madonna looking
up (in Pal. Pitti), whose unusual^'
beauty perhaps betrays the in-
fluence of Guido. [Two genuine
Holy Families, one larger and one
smaller, are possessed by the Pai.
Palbi-Piovera at Genoa. But farS
the most beautiful is the Holy
Fanuly of five half-length figures in
the Twin Gallery, No. 247, clearly 1
suggested by Titian, of glowing
colour. Lastly, Christ with the
two Pharisees {Pal. Brignole), sim- m
ply a new edition of Titian's Cristo
della Moneta ; the head of Christ
empty ; those of the old men, on
the contrary, excellent. The Brera, n
too, possesses a life-size Madonna
withS. Antony, — byno means an in-
significant picture ; and the Accade-
mia S. lAica at Rome, a Holy Family o
with two Angels playing on musical
instruments, — originally excellent,
but unfortunately much injured.

With regard to Van Dyck's por-
traits, Turin stands first. Thep
Prince Thomas of Savoy, on a
white horse, is one of the grandest
portraits ever painted ; the three
children of Charles I. are among
the best ; also a Clara Eugenia in
the dress of a nun is excellent
(No. 300). In Genoa, also, after
excluding the non-genuine and the
imitations,'*' the palaces of the old

* [The name of Van Dyck is borne by

Van Dyck's Portraits.

233

nobility of the Kepublic possess an
astonishing number of works of his
hand, unfortunately many of them
irreparably spoiled ; thus in great
part the valuable portraits of the
Pal. Briguole-Sale, of which the
best are — a young man in Spanish
costume, with a twisted column ;
Geronima Sale Brignole, with a
little daughter ; the equestrian por-
trait of Antonio Giulio Brignole,
bowing, with his hat in his right
hand, his wife with a rose in her
right hand. (The two female por-
traits very much injured. In the

a Pal. Filippo Du/razzo (Strada Balbi),
three genuine portraits ia one room ;
among them the most beautiful
which Genoa possesses, the lady
seated, in white sUk, with two
children in blue and gold ; the ex-
cellent picture of the three chil-
dren coming quickly forward with
a little dog ; last, a youth dressed
in white on a chair, with a parrot,
monkeys, and fruits (the accesso-
ries obviously by Pr. Siiyders). In

b the Pal. Balbi, observe a young lady
with a peculiarly saucy air, with
red hair, in which is placed a white
feather. The Marchese Qiorgio

cDoria has the beautiful, though
unfinished, portrait of a "Bride"
in a cherry-coloured velvet dress,
with garden background ; and the
elegant three-quarter picture of a
young lady with a fan, in black.

d The Gattaneo family possesses, in-
deed, in one of their palaces (Casa
Casaretto), not less than eight
genuine portraits by Van Dyck, only
all, for the sake of the frame, some-
what eiJarged.

« [In the Brera : three-quarter
length of a blonde young English-
woman, excellent. — Mr.]

/ In the Pitti : Cardinal Bentivo-
glio, whole-length, seated, ex-
tremely elegant and aristocratic, a

pictures of Giov. Bernardo Carhonet Betie-
detto Castiglione, Micaliele Fiammingo, Cor-
Tielis WoAl, Giov, RosUt Giov. And/rm Far-
rari, &c.— Mr.]

marvel of painting [unfortunately
the background insufficiently
worked up, and become very
brown — ] ; the half-lengths of
Charles I. and Henrietta of France
might be repetitions [hardly to be
ascribed to Janson vanKeulen. — Z.]
Uffisi: an aristocratic lady, of hisgr
later paler palette : the equestrian
portrait of Charles V., elevated by
beautiful and not obtrusive sym-
bolism to an ideal historical height.
[Yet one sees in the head that the
artist had not nature before his
eyes. There, also, the half-length
picture of John de Moutfort. Cer-
tainly genuine, but dirty and ill-
favoured.— Mr.] [His portrait, said A
to be by himself, in the gallery of
Painter^ Portraits, is not genuine.
— Z. ] In the Pal. Colonna at Rome : i
the equestrian portrait of Don Carlo
Colonna, wherein the symbolism is
too evident ; and Lucretia Tor-
naceBi-Colouna, a whole-length.
[Both insignificant. Better, though
somewhat tame, Marie de Medicis
with two roses in her hand, in the
P. Borghese ; lastly, in the Capita- ■>
line collection, the splendid double A
portrait of the poet Thomas Killi-
grew and Henry Carew (half-length
figures). — Mr.]

Numerous portraits of other ex-
cellent Netherlanders {Framz Sals 1
Mirevelt!) are divided in the gal-
leries between these two names ;
Pal. JDoria in Borne, second gallery, I
No. 37, and elsewhere [as also
these masters, Hals, Mirevelt, Pa-
vestyn Van der Selst, D. Mytens,
Orebber, Cornelis jansens van
Keulen, &o., are confounded to-
gether. — Mr.]

Single works of Snyders, Jor-
daens, and other pupils, are found
in the Uffizi and in the Turin Gal- m
lery. We wiU linger for a time
over the portraits : We shall speak
further on of genre and landscape.

Sembrandt has some genuine
portraits, worthy of admiration for
colour and light ; his own well-

234

Painting of the Seventeenth Century.

flskDown face (Pal. Pitti, between
the Doni couple, by Raphael ; also
the old Rabbi (there too), of his

i latest period : in the uJLi (Por-
traits of Painters), the portrait in a
dressing-gown is better than the
stout half-length with cap and
chain, which is a mere repetition of
one of the excellent portraits of old

cmen in the Musevmi of Kaples.
[The Brera also possesses a female
half-length portrait in the well-
known early manner of Rembrandt,
signed with his name and the year
1632. Of other subjects : a genuine

dHoly Family, in the Uffizi, No.

e 922. In Turin there is not one
genuine Rembrandt.] The Saori-

/fice of Isaac, in Pal. Soria at Borne,
second gallery, No. 26, is by one of
his followers, Gerbrand van den
Eeckhowt. [Undoubtedly by Jan
Lmena. — Mr.]

g In the Musevm, at Naples, a
three-quarter length portrait of a
young Senator, and a halt-length,
both excellent, are ascribed to Mi-

h revelt. In the Pitti, the (probably
Dutch) portrait of a young man,

land in the Uffizi the excellent
head of the sculptor Francavilla,
are ascribed to the younger Pour-

jhus. In the Pitti, by Peter Lely
{Peter van der Paei), Cromwell
conceived with great depth and
truth, on the intellectual as well
as on the coarse side, with a shade
of anxiety [but yet somewhat
feeble in drawing, wanting in
power and tone. — Mr.] ; the other
portraits by Lely, in the Niobe

h room in the Uffizi, are not equal to
this work.

A glance at the collection of
painters in the Uffijd is sufficient to
convince us of the great supe-
riority of the Netherlanders. The
Italians of the seventeenth century
endeavour in their portraits to ex-
press above all things a certain
spirit, a certain energy ; and thereby
fall into showiness or pretentious-
ness ; the Netherlanders (here in-

deed we have only inferior exam-
ples) give the complete picture of
Ufe, also the moment and its tone
of feeling ; by means of colour and
light, they also elevate the portrait
to the height of a general type.
(The jPrench portraits, from LSrrni
onwaids, in this collection are in-
teresting by their careless and yet
so good natured and refined expres-
sion of countenance. )

A Fleming, Suatemums of Ant-
werp (1597 — 1681), passed his life
at Florence, and produced here
a number of really excellent por-
traits, which often approach Van
Dyck [and stiU. more Velasquez].
Many likenesses of the reigning
family ; also one of the Grand
Duchess Victoria with the Crown
Prince, represented as the Virgin
and the Child : a Banish Prince
among others in the Pitti/— others, I
among them Galileo, in the Uffizi ; m
— also in the Pal. Gorsimi audi
OvMdagni, &o.). The portraits o
painted in Florence by Salmaior
may have been inspired by him,
or else by Rembrandt ; thus in
the Pitti his own and the three-
quarter length of a man in armour,
which could never have been pro-
duced but for Rembrandt. Other
Italians also in their portraits al-
most openly acknowledge foreign
models : Cristofano Allori (in the
portrait of a Canon, Pal. Capponi at?
Florence), adopts Velasquez ; the
Venetian Tiberio Tinelli Van Dyck
or MuriUo as a model ( Uffid ; q
portrait of an intellectual bon
vivamt with a laurel branch ; P. r
Pitti; an elderly noble [somewhat
weak and watery in the flesh tints,
but undoubtedly a genuine portrait
by F'an Dyck. — Mr.] Academy ofs
Venice : the portrait of the painter ?)
One has most chance of find-
ing an original conception among
the first Bolognese; portraits by
Domenichino {Uffizi: Pal. Spadat
at Borne) and Queremo {Gallery of »
Modena) are free yet dignified and v

w

D

a

<
J

M
>

Murilh, — Velasquez.

235

a historical. The so-called Cenci, pro-
fessedly by Ghddo, in the P. Barie-
rmi, is a pretty head, trhich charms
us by its mysteriousness. [Much
romance has been collected round
this picture. At all eTents the
head, as ii stUl hangs there,
quite exemplifies the dexterous
handling of Guido's pencil. — Mr.]
A youthful picture of Ga/rh DoUi

i(Pal. Pitti) 'is one of his best
works. [Excellent and unusually
attractive also is Dolci's own por-
trait at the age of fifty-eight in the

c collection of the Uffizi. — Mr.] ; also
the portrait of a priest in the Por-

^ghese Gallery, by Sacchi. The
noble, truly historical portrait of

ePous'sm {Cosmo Mospigliosi) is su-
perior to all those last mentioned.
[Copy from the original in the
Louvre. — Mr. ]

The great Spaniards, whose co-
louring and conception were in-
fluenced by Titian as much as
were .the Flemings (but less than
the latter by Paolo) are only
represented in Italy by single
scattered works. Murillo's Ma-

/donua in the P. Corsini at Home is
not only most simple and pleasing
in the characters of the Mother
and Child, but (though in part
very slight) a marvel of colour.

g The two Madonnas in the Pitti do
not attain this loveliness of tone ;
the one which is most studied (the
child playing with a garland of
roses) is also in the painting less
life-like. By Yelas^v,ez there are

A only portraits ; in the Uffizi his
own, almost too obviously intended
to be noble, and the powerful eques-
trian portrait of Philip IV., with
grooms and allegories in an open
landscape, painted with extraordi-
nary mastery of colour and tone [the
latter seems doubtful, and more
probably the work of some scholar

*of Rubens. — Z.] ; in the Pitti, a

fentleman with passionate features,
is long aristocratic hand on the
j hilt of his sword ; in the P. Dmia

at Borne, Innocent X. seated — per-
haps the best papal portrait of the
century. [The OapUoline collection k
possesses a real treasure, far too
little esteemed, in the half-length
portrait of a young man with whis-
kers and moustaches, serious, won-
derfully living, and modelled as if
with the breath. AU Velasquez's
greatness as a portrait-painter is
shown in this simple head, the
work of his early years. Less
striking, but, as it appears to me,
also genuine, is the female portrait
at Farma, although it has a certain I
hardness, black by the side of
bright lights. But the hand with
the three rings, which holds the
white pocket handkerchief , is un-
equalled in pictorial treatment and
the brilliant clearness of the tone
of colour. — Mr.] The MuriUos
and Velasquez in the Gallery oim
Parma are hardly to be received ;
of the two at Turin the haU-length n
of Philip IV. is most probable. —
There is a Pieta by Scmchez Ooello
in S. Giorgio at Genoa, first altar fl
on the left of the choir.

THE COMPOSITION OF THE
MODERN SCHOOL.

In all undertakings of an ideal
kind this modern painting falls in
the highest aims, because it at-
tempts too much direct representa-
tion and illusion, while yet, as the
product of a late period of culture,
it cannot be sublime by simple in-
genuousness (iiaweti). It aims at
making all that exists and occurs
real ; it regards this as the first
condition of all effect, without
counting on the inner sense of the
spectator, who is accustomed to
look for emotions of quite a different
kind.

The realization of movement in
space, as it was observed in Cor-

236

Painting of the Seventeenth Century.

reggio and copied from him, had
already made art indifferent to all
higher arrangement, to the simply
grand in construction and the con-
trast of groups and single figures.
Guido Herd, through his sense of
the beautiful, most preserved the
architectonic impression. His grand
a Madonna deUa Pieta (Pinacoteca of
Bologna) owes its strongest effect to
the symmetrical construction of the
lower as well as of the upper group ;
the same is true of the picture
of the Crucified Saviour and his
followers : the noble and grand
treatment, the beautiful expression,
alone would not suffice to assure
to those works their quite excep-
tional position. (Another Cruci-
fixion by Guido, without the per-
sons round), but also of great value
Jin the Gallery of fflodena.) The
c Assumption at Uunicli, the Trinity
d over the high altar of S. Trinitd,
e de' Pellegrini at Bome, give further
proof of this ; even the sketchy
work of the second manner, the
Caritas (Pinacoteca of Bologna).
Lodovico Carom's Transfiguration
(also there) and the Ascension of
^Christ (high altar of S. Cristina
at Bologna) are really pleasing only
on account of this architectonic
element. Annibale's Madonna in a
niche, on the pedestal of which lean
John the Baptist and Catherine,
from the same cause (as well as its
forcible painting) produces a great
effect, in spite of the common and
not very noble forms ; the same ele-
ments of hfe appear in the similar
51 large picture of Guereino in the
Pal. Brignole at Genoa. (Gruercino
in a beautifully painted picture, S.
h Vincenzo at Modena, second chapel
on the right, misses the right thing ;
his God the Father blessing, a half -
i length figure, in the Turin Gallery,
appears to be inspired by Guide's
Trinity. ) Even the symmetry set in
movement, the processional parts,
in short, all that keeps down the
pathos which in this school so often

causes confusion, is capable of
producing most excellent effect ;
of this kind are the two colossal
pictures of Lodovico Ca/racd, in
the Gallery at Parma (formerlysidey
pictures of an Assumption), espe-
cially the Burial of the Virgin,
where the ceremonial, fixing the
attention chiefly on the masterly
foreshortening of the body, entirely
puts the subjective pathos into the
background. Domenichino also,
whose composition is so extremely
unequal in his Death of S. Cecilia,
S. Luigi at Borne, second chapel on J
the right, gives a splendid example
of severe and yet beautifully de-
veloped symmetry. Of the two
pictures of the last Communion of
St. Jeiome {Agostino Caracd; Pina- 1
coteea of Bologna; — Domenichino ; m
Vatican Gallery), that of Domeni-
chino has the great merit, that
the two groups (that of the Priests
and that of the Saint), are as it
were measured trait for trait
against each other, so that move-
ment and repose, ornament and
flowing drapery, giving and taking,
&c. , mutually bring each other out ;
besides this, the figure of the Saint
is as it were imbedded in the piety
and devotion of his attendants, and
yet kept quite free before the eye.
Nicolas Poussin, the greatest admirer
of Domenichino, often goes too far,
sothathis groups appear constructed
on purpose. (Kestduringthe Flight,
Academy of Venice. ) [A copy, and n
perhaps not quite exact. — Mr.]
Sometimes the Milanese surprise
us, wild as their composition may
be, by a grandly felt symmetrical
arrangement. Observe in the
Brera the large picture of Cerano-
Orespi (Madonna del Eosario); in
the P. Brignole at Genoa, the S.p
Carlo borne to heaven by angels,
by one of the Procaccini, a striking
picture, however naturalistic may
be the struggles of the angels ;
in the Twin Gallery, the Madonna 2
adored by S. Francis and S. Carlo,

Carcmaggio, Alhani, Tiarini, Sassqferrato. 237

represented in a characteristic man-
ner as a statue, by Gfiulio Oesare
Procaccim : — Sassof errata in his
beautiful Madonna del Kosario

a (S. Saima at Eome, chapel on right
of choir) followed the old severe
arrangement, "with full intention.

Far the greater number only
acknowledge the higher laws of
composition yet in a limited
degree, and the Naturalists hardly
at all Even with the best of the
Bolognese, a fine nude figure (if
possible, artistically foreshortened
in the foreground) is sometimes
worth all the rest of the picture ;
some of them carefully seek out
such occasions (Sclddone's S. Sebas-
tian, whose wounds are gazed at by

h gypsies, in the Museum at Naples).
The Naturalists desire really no-
thing but the moment of passion.

* Cairamaggio's Deposition ( Yatiican
Gallery), always one of the most
important and solid pictures of the
whole school, is for the sake of the
unity and force of expression as a
group made quite on one side.
How coarsely Caravaggio could
compose and feel when he did not
care for expression, the Conversion
of St. Paul {S. M. del Popolo at

d Borne, first chapel on the left of the
choir) shows, where the horse nearly
fills the whole of the picture. 8pa-
gnoletto's chief picture, the Descent
from the Cross, in the Tesoro of

* S. Marti/no at Naples, is unpleasing
in its lines, which certainly one may
pass over for the sake of the colour
and the impressive, though by no
means glorified sorrow.

EXPRESSION AND ARRANGEMENT.

We must now endeavour to
examine this question of expression
and emotion, to which modern
painting sacrifices so much, accord-
ing to its subject and its limits.
We begin with the narrative pic-
tures of sacred subjects (Biblical or

legendary), without confining our-
selves strictly to any particular
arrangement. Even the altar-
pieces after Titian often have a
narrative subject ; everything is
quite welcome which is in any way
impressive.

In S. Bartolommeo ib Portaf
Savegnama at Bologna (on the
fourth altar on the right), is one of
the finest pictures of Aliani, the
Annunciation ; Gabriel, a beautiful
figure, flies eagerly towards the
Virgin. (Compare the colossal
fresco of Lodovico Garaeci over the
choir of S. Pietro at Bologna. ) The g
Birth of Christ, the Presepio,
formerly always naively repre-
sented, had, through Correggio's
"Notte" become a subject for the
highest degree of expression and
effect of light. (The last we find
reproduced, for instance, in two of
the better pictures of Honthorst in
the Uffizi, according to his capa-A
city.) How entirely Tiarini, for
instance, misunderstood the calm,
idyllic feeUng of the scene in a
picture otherwise excellent {S.
Salvatore at Bologna, left transept), i
He paints it on a colossal scale, and
makes Joseph point rhetorically to
Mary, as if to call the attention of
the spectators. The adorations of
shepherds and kings are usually
treated more indifferently ; among
others by Cavedone, who, with afl
his merits, brings the ordinary ele-
ment very much forward. {S. Paolo j
in Bologna, third chapel on the right.)

An Adoration of the Shepherds
by Sassoferrato (Naples Musenim), k
gives just the cheerful efiect, which
is especially his element, — a pecu-
liar instance in this age of senti-
ment. Of the stories of the
personages belonging to the Holy
Family the pathetic subjects, espe-
cially deathbeds, are treated in
preference ; the death of S. Anna
(by Sacchi, in S. Carlo d, Caimarri I
at Borne, altar on the left), the
Death of S. Joseph (by Lotti, in

238

Painting of the Seventeenth Century.

the Ammmziata at Florence, Cap.
Feroni, the second od the left ; by

I Frariceschim, in Corpus Domini at
Bologna, firat chapel on the left).
Cwra/vaggio, on the contrary, who
often intentionally represented
sacred subjects in an every-day
manner, paints (in a picture in the

cP. Spada at Eome) two hideous
seamstresses, which signify the
education of the Virgin by S. Anna.

rf in the P. Corsmi ; also a " Weaning
the Child " in his coarsest manner.
We feel in the various "Births"

e{Lodomco Ca/racd, Birth of John,
Pinacoteca of Bologna, a late reso-
lute, grand picture), even uncon-
sciously, the disadvantage which
they were under since the time of
Ghirlandajo ; then the principal con-
ception was ideal, the details indi-
vidual ; now the principal idea was
prosaic, the details commonplace.
(The now rather dull-looking pic-
tures of Agostmo and Lodovico, in

fS. Bartolommeo di Seno at Bologna
(first chapel on the left). Adoration
of the Shepherds, Circumcision and
Presentation, must have been pe-
culiarly impressive.) Among the
stories of the childhood of Christ,
which now are much arranged in
a sentimental point of view, the
JRest during the ITight always keeps
the first place, and in this Cor-
reggio's Madonna della ScodeUa
(antea) gives the tone. A beautiful
little sketch by AnnitaU in the

g Pitti, for example, shows this
clearly ; also the same thing in
Bonone's excellent frescos in the

h choir of S. Maria in Vado at Ferrara.
Amongst others Sa/raceni again at-
tains the true idyllic story, though
in the "baroque" manner. (Pic-

tture in Pal. Doria at Borne, first
gallery. No. 32 : the Mother and
Child are asleep, an angel plays
the violin, and Joseph holds the
notes.) With most painters the
scene becomes a great angelic court
in a wood ; so it is in the splendid
picture (mentioned amtea) by

Butilio Manetti; but it is alto-
gether amusing to see what a late
Neapolitan has made out of it.
(Picture of Giacomo del Po in the
right transept of S. Teresa at/
Naples, above the Museum.) The
scene takes place on an island in
the Nile. Joseph awakes ; there is
a heavenly court ; the Madonna
speaks to an angel, who offers a
skiff, and commits the child to the
admiration and adoration of
numerous angels of various ranks ;
the elder among them teach the
younger, &o, In other scenes of the
childhood of Christ, Sassoferrato
alone is almost always naive and
sentimental : a Holy Family in the
Pal. Doria at Bome : Joseph's car- it
pouter's work -shop, where the
child Christ sweeps the shavings,
in the Museum at DTapIes. Among I
the Bolognese sometimes the treat-
ment properly belonging to Christ
is transferred to the boy Christ in
not quite a sound manner, as, for
instance, in a picture by Oignani
{S. LuHa at Bologna, third altar m
on the left), where the Bambino,
standing at his mother's knee,
rewards S. John and S. Teresa
with garlands. In Albani{Madonna'ii
di Galliera at Bologna, second altar
on the left) the presentiment of the
Passion is expressed by the child
Christ looking up with emotion to
the cherubs floating above with the
instruments of martyrdom (like
playthings) ; at the foot of the steps
are Mary and Joseph ; above God
the Father, sad and calm. Of the
numberless pictures of Joseph one
by Quercmw is good {S. Giovanni ino
Monte at Bologna, third chapel on
the right) ; the child holds out to
his foster-father a rose to smell.

A scene such as Christ among
the Doctors {antea, note) must in the
naturalistic treatment become still
more perplexing than it already is
in itself. Salvator Rosa (Napleap
Museum) paints the most brutal
people round the helpless child.

Luca Giordano, Caravaggio, Caracd, Stanzkmi. 239

Special pictures of the Baptism and
the Temptation ■will be mentioned
later. The miracles of Christ are
almost entirely replaced by the
miracles of the Saints ; in the
Marriage at Cana the miracle is
very little brought out (a pleasing
large genre picture of this subject
by Bonrnie, Ateneo at Ferrara).
The Driving out the Buyers and
SeUera from the Temple has been
represented by Guermw in an in-
different picture (Pal. Brignole at

(I Genoa) ; it is more instructive to see,
in the great fresco representation
of this scene which liuca Giordamo
has painted at Naples over the

6 portal of S. PMUppo d, Oerolomini,
with what delight the Neapolitan
depicts such an execution. Of the
representations of the Eesurrection

cof Lazarus, that by Caravaggio
{Pal. Brignole at 6enoa) is one of
the remarkable productions of
the less refined naturalism. The
Last Supper is undignified, whether
it is treated as a genre picture
or as an emotional scene. The
large picture of Alessanch'o Allori

d, {Academy at Florence) may be
called a beautifully painted, lifelike
after-dinner scene. With Domenico

e Piola {S. Stefano at Genoa, in the
building joined on on the left) there
is no want of pathos of aU kinds ;
but the " Unus Vestrum" is lost in
a studied effect of light and in the
additions (beggars, attendants,
children, also a row of cherubs
floating down). In the choir of

/;S. Martina at Naples, besides the
large Birth of Christ by Ouido, four
colossal pictures of this species are
to be found, whose authors, though
some of them are famous, do not
here appear at their best : Bibera,

■ the Communion of the Apostles ;
Caracaiolo, the Washing of the
Feet ; Stanzioni, Last Supper with
many figures ; ffeirs of Paolo
Veronese, Institution of the Eu-
charist (so says Galanti, whom, for
want of clear recollection, I must

follow) [according to Murray, the
Eucharist by Carlo Cagliari]. Of
the scenes of the Passion (apart
from single figures, like the Ecce
Homo, the Christ Crucified), it is
chiefly the moment of emotion in
the special sense, which is repre-
presented a thousandfold ; theFietk,
the body taken down from the
cross and surrounded by Mary,
John, Mary Magdalene, and others.
The original types of Titian and
Correggio justified them, and excited
them to the highest climax of feel-
ing. As with the scene under the
cross, here also, according to the
realistic principle, the Madonna is
almost always fainting ; that is,
the moral element must be made
equal with the pathological. Where
this trait is excluded, as, for in-
stance, in the pictures which only
represent the Madonna with the
dead body on her knees (Lod.
Ca/racei, in the Pal. Corsini a,tg
Borne ; Annibale, in the Pal. Doria h
and in the Naples Musewm), the*
impression is far purer. The most
important of these more compli-
cated representations is certainly
the Madonna della Pietk of Quido
{Pinamteca of Bologna), already^
mentioned for its arrangement
(amtea) ; unfortunately, he had not
the courage to transfer this scene,
like Raphael his Transfiguration,
into a distinct upper space arranged
for a second point of view (as on a
hiU), but gives it as if painted on a
tapestry hanging above the kneel-
ing saints, — a picture within a pic-
ture, only to keep to the reality of
the space. The Pietk of Stamzioni,
over the porch of S. Ma/rtino atk
Naples, is splendid even in ruin ;
equal to the most feeling pictures
of Van Dyck, and in its noble keep-
ing and foreshortening of the dead
body excelling all Neapolitans,
including Spagnoletto (antea).
Luca GiordAMio (picture in the
Museum), who here endeavours to I
be intense, at least does not sur-

240

Painting of the Seventeenth Century.

round the body with Caravaggesque
gipsies, but with good-natured old
mariners. Among the Depositions
those of Caravaggio have abeady
been mentioned ; a picture of Awni-

a iale in the gallery at Parma is of
the time when he entirely followed
Correggio. Of the scenes after the
Resurrection GueroiTW painted the
Thomas, who not only touches the
wounds of Christ, but thrusts in

J two fingers ( Tatican Gallery). One
asks oneself who could be the spec-
tator who would find pleasure in
so coarse a realization and such
ignoble characteristics ? But it is
possible to be far more vulgar stUl.
The Oapuccimo Genovese has con-

cceived the same story (Fal. Bri-
gnole,) as if the dramatis personce
were deciding a wager. The Ascen-
sion of Christ almost always gives
way to that of Mary, of which we
shsJl speak further on.

MARTYRDOMS.

In the incidents of the lives of
the Saints the moments of emotion
and movement are made as promi-
nent as possible.* A great picture
of this kind is the Resurrection of
da. boy by S. Dominic, by Tiarmi
(chapel of the Saint, in S. Domenico
at Bologna, on the right) : this is
filled with all degrees of reverence
and adoration. Opposite, on the
left, is the masterpiece of lAonello
Spada; S. Dominic burning the
heretical books, an outwardly pas-
sionate action, the development of
which in grouping and colour is
the best that can be got out of so
decided a naturalist. But historical
scenes of this kind only take up a
small space alongside of the prin-
cipal subjects of this time ; which
often enough are united in one

* One especial source of aucli inspira-
tions was to be found in the frescos, now
destroyed, in S. Miohele in Bosco, a
Bologna.

picture, the martyrdoms and the
heavenly glories.

For the martyrdoms, which, in
the mannerist time (anted), had
decidedly taken a fresh and firm
hold in art, there existed a glaring
precedent by Correggio {antea).
All painters vie with each other in
being impressive in the horrible.
Cruido alone in his Massacre of the
Innocents {Pimacoteca of Bologna) e
retained some moderation, and did
not represent actual slaughtering.
He personified hardness in the exe-
cutioners, but not bestial ferocity ;
he softened the grimace of lamen-
tation, and even by beautiful truly
architectonic arrangement, and by
nobly-formed figures, elevated the
horrible into the tragic ; he pro-
duced this effect without the acces-
sories of a heavenly Glory, without
the doubtful contrast of ecstatic
fainting at the horrors : his work
is certainly the most perfect com-
position of the century as to pathos.
(The Crucifixion of Peter, in the
Vaticam Gallery, looks as if painted/
against the grain. ) But even Do-
menickino, usually so mild and
delicate in feeling, what a butcher
he becomes in some circumstances.
To begin with his early fresco of
the Martyrdom of S. Andrew (in
the middle one of the three chapels
near S. Gregorio, at Home), was itg
choice, or a happy chance, that
his fellow pupU, Guido (opposite),
should represent the procession to
the judgment seat and the splendid
moment when the Saint sees the
cross afar off, and kneels down in
the middle of the procession!
Domenichino, on the other hand,
paints the very rack itself, and
uses, to make this and other similar
scenes enjoyable, spectators of
them, especially women and chil-
dren, obviously taken from Ra-
phael's Heliodorus ; his Mass of
Bolsena, Gift of Rome, Death of
Ananias, Sacrifice at Lystra,
&c. (wntea) ; from Domenichino

Martyrdoms.

241

onwards these motives descend
to moat of the works of his suc-
cessors. In his Martyrdom of
S. Sebastian (choir of 8. M. degli

aAngeli at Borne, on the right) he
even makes his horsemen rush
against these spectators, and there-
by quite divides the interest. Most
repulsive, as well as unpleasantly
painted, are his Martyrdoms in the

IPmacoUca at Bologna; in the
Martyrdom of S. Agnes, the stab-
bing on the pile of wood, with its
accessories, makes the harshest
possible contrast with all the vioUn-
playing, flute-blowing, and harping
of the angelic group above ; the
Death of S. Peter Martyr is only a
new edition of that of Titian ; the
Institution of the Kosary I confess
myself to be incapable of under-
standing at all : among the female
characters and angels, the nice
soubrette-like little head with the
little red nose, special to Domeni-
chino, is especially prominent.
Such examples could not but find
followers in Bologna itself. Canuti,
an excellent scholar of Guido, has

Ca painting in S. Oristina (fourth
altar to the right) of the ill-treat-
ment of the Saint by her father,
which one must see, for it is beyond
description. Maraita also, for-
merly Guide's faithful admirer, in
such cases prefers to take his in-
spiration from Domenichino's S.
Sebastian (Martyrdom of S. Blasius,

Aia 8. M di Ga/rignano at Genoa,
first altar on the right). Gueraino
is in his martyrdoms more tolerable
than one might expect. {Gallery of

eModena: Martyrdom of S. Peter,
principal picture. Cathedral of

fJenaxa,, transept to the right :
Martyrdom of S. Lawrence, well
worthy of restoration ) By the
Florentine GigoK there is in the

S Ujfm a Martyrdom of S. Stephen,
painted with wonderful technical
excellence, where he is already
being stoned and trodden underfoot
in the presence of calm Pharisaical

spectators. CawZo Z)oZei's S. Appol-
lonia {Palamzo Gordni, at Rome) is h
satisfied with presenting to us the
pincers with one of her teeth torn
out in the most deUoate manner
possible.

The Naturalists proper are in
such cases truly horrible. Gara-
vaggia himself shows us in one
single head the whole false ten
dency of naturalism : we mean his
Medusa, in the Uffizi. Always i
desirous of a momentary expression,
and on this very account indifferent
to the deeper lasting impression
(which in his Deposition he did
succeed in attaining), he paints a
female head at the moment of
beheading ; but might not this, for
instance, look just so if a tooth
were torn out? The element of
horror, as it is conceived by this
school, necessarily rouses rather
disgust than deep emotion.

Sometimes he endeavours to ex-
cite horror by the representation,
true to nature, of spilt blood : his
Martyrdom of S. Matthew {S.
I/aigi, at Borne, last chapel on the/
left) becomes almost ridiculous
through its accessories. His pupil
VaUntin has too much cleverness
to follow him in this line : in his
Beheadingof the Baptist (P. Sciarra
at Borne), the interest of expression Te
takes the place of that of horror.
The same scene, the best picture
by Bonthorst, in S. M. delta Scala, at
Borne, on the right, leaves us almost I
unmoved. Others, on the other
hand, paint as crudely as possible.
Subjects Kke the murder of Abel
(by Spada, in the Naples Musewiri), m
by Elis. Sirani, Turin Gallery ; the n
Sacrifice of Isaac (by ffonthorst, P. o
Sciarra, at Borne), are now treated
in the true hangman style, but
especially the heroism of Judith,
for which a certain Artemisia Gen- „
tileschi* possessed a sort of mono-

* {Artemisia GentilescM, daughter of the
excellent Orazio GentilescM, with whom
she lived many years at the Court of
R

242

Painting of the Seventeenth Century.

a poly {Vffizi; Pal. FUti; Pal.

b Sdarra) ; the Cavaliere Galabrese
also did all that was possible in

csuoh subjects. {Naples Museum).
We pass over other legendary mar-
tyrdom scenes. By a singular
chance the first !Roman commis-
sion of importance which Nicolas
Poussin received was the Martyr-
dom of S. Erasmus, whose bowels
were torn out of him. (Painted
for S. Peter's, now in the Vatican

d Gallery). He produced a work
which, as regards art, is among the
best of the century. (A small ori-
ginal replica [or perhaps more pro-
bably the original sketch by the

e master. — Mr.] in the Pal. Sdarra).

CEREMONIAL TREATMENT OF
SACRED SUBJECTS.

WhUe aU limits of this kind are
broken down for the sake of giving
an impression of reality supposed
to be efifictive, the same painters
(some of them bearing the title of
Cavalieri) endeavour to introduce
into sacred subjects the good style
and the measured forms of contem-
porary society. (Comp. Parmegia-
nino, antea. ) The angels especially
are now brought up to represent an
aristocratic attendance, to form the
court of the sacred personages. In
/the Sefectoryofthe JBadia at Fiesole
we cannot see without amusement
how Christ is waited on by angels

Charles I. of England, highly honoured
and favoured especially for her portraits,
does not deserve such a slighting epithet.
The choice of the subject is, indeed, re-
markable, but it is conceiTable that the
heroism of the widow of Bethulia had
something attractive in it. We find it
three times in Florence alone, once in the
Uffizi, twice in the Pitti, where is also a
charming figure of Mary Magdalene. The
century produced little to compare in
careful and afi'ectionate execution, in clear
colour and striMng chiaroscuro, with
the works of Artemisia- The same quali-
ties distinguish the famous life-size An-
nunciation of OraeiOf in the Turin Gallery.
On the other hand, indeed, the merit of
the composition in both is small, and the
Characters are decidedly not noble.— Mr.]

after the Temptation ; but in
Oimanni da 8. Oiovamm/i, who
painted the fresco, such things
always seem naive. The angels in
the great Baptism of Christ by
Albani {Pinacoteca of Bologna) are™
already much better trained : one
remembers involuntarily, in the
midst of their service, how in me-
diaeval pictures the angels who
hold up drapery have still time and
feeling to spare for adoration. One
sees Cherubs as ]acc[ueys, waiting
outside the scene, in a "Marriage
of S. Catherine " by Tiarimi (also j
there) ; besides the saints above
named, S. Margaret and S. Barbara
also assist at the ceremony : the
good Joseph in the meantime con-
verses in the foreground with the
three little messengers who have in
charge the wheel of S. Catherine,
the dragon of S. Margaret, and the
little tower of S. Barbara. A cer-
tain ceremonial was usual in
the Venetian presentation pictures
antea). But now such things appear
in pictures as a visit of condolence
by all the Apostles to the mourn-
ing Madonna : Peter, as speaker,
kneels and wipes away his tears
with a pocket handkerchief (painted
by Zod. Oaracci, as ceiling picture
in the Sacristy of S. Pietro ati
Bologna). Or S. Dominic pre-
sents S. Francis to the Carmelite
S. Thomas, in which the polite
curiosity is quite evident which is
suitable in such circumstances.
(Lod. Oaracci, in the Pinacoteca.)]'
How quite differently does the
XVth century give such a meeting
of saints. In the Coronation of the
Virgin by Allesand/ro Allori (agli
Angeli, Oamaldolese, in Florence, k
high altar), the Virgin kisses her
son's right hand most respectfully.
Also S. Antony of Padua does not
always receive the child in his
arms, but it is merely held out to
him that he may kiss its hand
(picture by Lod. Oaracci, Pinacoteca I
of Bologna).

Single Figures. Ecee Homo, Mater Dolorosa. 243

SINGLE FIGURES.
We now turn to those pictures
in which mental expression pre-
dominates over the narrative ele-
ment, then to pass into the treat-
ment of the supersensual.

The expression of longing ardour,
ecstatic adoration, of self-forgetful-
ness in joy and devotion, was by
the great masters of the golden
time reserved for a few rare occa-
sions. Perugino indeed already
began to make capital out of it,
but Raphael only painted one
Christ like that in the Transfigura-
tion, only one S. Cecilia ; Titian
only one Assumption like that in
the Academy of Venice. Now, on
the contrary, this expression be-
comes a chief element of the emo-
tion without which painting seems
unable to exist.

Now begins an enormous increase
in the single half-length figures,
which were painted by the earlier
schools for a different purpose ; for
instance, in Venice, as beautiful Ufe
pictures. Now their chief value
lies in the opportunity of producing
an elevated impression without
further motive. The half-length
sentimental figure henceforth be-
comes a recognised style. (An
earlier single example with certain
followers of Lionardo, antea.)
Next, instead of a simple head of
Christ, we have always the head
crowned with thorns, the Ecce

a Homo. (,Pal. Corsini at Eome, by
Ghiido, ChM/ramo, and C. Bold;

J Pinacoteoa at Bologna, the excellent
chalk drawing of Guido ; Turin

c Gallery, remarkable Bcce Homo by
Ouercmo.) The motive, as it was
given, is originally derived from
Correggio ; but the reproduction
may sometimes be called free, ele-
vated, and thoughtful. Among the
Madonnas the pictures of the Mater
Dolorosa become more numerous.
The many half-length fig<ires of
Sibyls, of which the best by Guer-

cmo and Domemichino are scattered
in and out of Italy, bear mostly the
expression of heavenly longing, wn-
tea). For prophets and saints of all
kinds there were special workshops.
Spagnoletto"- and Garlo Dolci worked
at the same things in a very dif-
ferent manner, and yet very much
to the same purpose. The first
may be followed out in the Gal-
leries of Parma and Naples; thed
latter in the Pitti, in the Uffizi, and e
especially in the Pal. Corsini at
Florence, where also we become/
acquainted with his imitator, Onorio
Ma/rmari. Dolci's sentimentalism,
his conventional devotion, with
drooping heads and turned-up eyes,
his black shadows and smooth
lights, his over elegant position of
the hands, &c. , must not make us
forget a remarkable inborn sense
of beauty, nor the care and melting
tone of the execution. Of the Nea-
politans, AnArea Vaccaro {Naples g
Musev/m) has the most seriousness
and dignity in such pictures, as he
shows by keeping some measure,
even in his Murder of the Innocents
(his best picture besides the Christ
Crucified with his followers, in the
Trinita de' Pellegrmi). h

Whether the personages repre-
sented be sacred or profane, makes
little difference on the whole. Lu-
cretia, Cleopatra, also Judith,
where she looks ecstatically up-
wards {Ouercimo, in the PaZ. Spada
at Eome), the victorious David at ai
similar moment (Gemnari, Pal.j
Pitti), even Cato stabbing himself
{Quereino, Pal. Brignole at Genoa], k
and other such, only display other
instances of the same feeling.

Whole length, or nearly whole
length figures, represented singly,
become very common, for the sake
of this expression. S. Sebastian
stands at their head. I think the
best pictures have already been
named (antea), among which the
Guerdno, P. Pitti, is to be counted. I
Then come adoring saints in great
B 2

244

Painting of the Seventeenth Century.

numbers ; the repentant Peter

as (compare Ouercmo in the Naples
Musewm, here with the pocket-
handkerchief ! Gwido and C

hDold, both in the P. Pitti, Pier-
framcesco Mola in the P. Cormii at

c Bome), in all degrees of grief ; re-
pentant Magdalenes of all kmds,
from the most vehement protesta-
tion up to calm contemplation

d {firistofa/no Allori, in the Pitti;
Domenico Feti, in the Academy of

« Venice ; Chiercmo, in the Vatican

fOallery), explain the emotion of
the Magdalene by two angels show-
ing her the naOs of the cross. S.
Francis in prayer (especially low

gin character in Oigoli, Pal. Pitti
and Vffxi). In representing
monkish devotion the Carthusian
order has a remarkable superiority
in simple devotion. What is most
impressive in Le Sueur's histories
of S. Bruno (Louvre) is found again
in Italian Carthusian pictures.
The circumstances are neither more
nor less favourable for picturesque
treatment than those of other
orders ; they are the same kind of
visions, penances, actions (especi-
ally writing), praying, miracle-
workings by gestures, up to
death on the hard couch or by
the hands of murderers. But the
deep and calm devotion of the soul,
whether it turns its glaoce up-
ward or casts it down in humble
meditation, here seems to forget the
world and the spectator more than
anywhere else. In all the Certose
of Italy one has this feeling ; most
beautifully perhaps in Stanzioni (in

Jii S. Martina at Naples, chapel of S.
Brv/n/me, second on the left, with
legends and apotheosis of the
Saint, with which compare his
" Intercession of S. Emidio " in the

i Trinitd, de' Pellegrini, as also with
the picture of his pupil Finoglia in

ithe Musemn, S. Bruno receiving
the rules of the order). Chterdrw's
Madonna with the two Carthusians

Spraying (Pinacoteca of Bologna) is

one of his most attractive works.
The complete renunciation of the
world gives quite a peculiar type,
in fact, to the order. For the rest
also the white garments of the
members of the order must have
imperatively required a calm
solemn demeanour. Several to-
gether in violent movement would
no longer make a picture. * There-
fore is S. Komuald with his Camal-
dolese friars so calm in the beau-
tiful picture of Sacchi (in the Vatican '
Gallery)

ECSTASIES AND GLORIES.

Along with this beautiful and calm
devotion arises a special painting
of ecstacies ; above, a Gloria; below,
the all but swooning male or female
saint; around, the angels as at-
tendants and spectators. The
legend of S. Francis contains a
moment justified in art, therefore
also constantly represented, which
contains the highest degree of
ecstatic excitement — ^the receiving
the stigmata. To make pain and
delight and devotion thus flow into
each other was the especial gift of
the painting of the seventeenth
century (picture by Otierdno, alle
Stvmmaie at Ferrara, high altar;™
another in S. M. di Carignano, at"
Genoa, left of the entrance. But
when with other Saints also they
were no longer satisfied with good
and true devotion, and in the re-
presentation of rapture could no
longer conceive any higher point
than fainting (comp. ardea), the
result could not fail to be repulsive
unreality. One very well painted
picture of this kind may be named
in place of aJl — the Swooning of S.
Stanislas, in the Gesii at Perrara, "
second altar on the right, by the late
Bolognese, Giuseppe Maria Crespi,

* [CarpCKcio, however, represents this in
the legend of S. Jerome, before whose lion
the brothers of the order are flying in
terror (Scuola di S. Giorgio, in Venice),
which produces a really comic effect — Mr.]

Ecstasies and Glories.

245

surnamedZo Spagnuolo [an artist who
in his healthy naturalism and pure
artistic feeling shows an aifinity to
the great Spaniards. — Mr.] Only
one thing is wanted to complete
the desecration, «■ wanton look in
the angels. Lcmfranco, the Ber-
nini of painting, supplies even
this. (Eostacy of S. Margherita

a da Cortona, Pal. Piiti.) The cen-
tury was in these things quite
blind. A beautiful picture of Oave-

b done (in the Pinacoteca of Bologna),
a Madonna on clouds, showing the
child to the saints kneeling below,
contains both expressions ; in the
holy Blacksmith (S. Bligius?) the
conventional ardour, but in S.
Petronius with his three chorister
boys there is a cabn ritual devo-
tion ; did the master divine how
far more impressive is the effect of
this last ?

Now also they prefer to represent
the Madonna no longer only as an
object of adoration, but herself
feeling the supersensual longing,
the holy grief. The beautiful
head of Van Dyck (p. 233) already
shows this ; the Assunta or Mater
Dolorosa almost always represents
a higher being than the mere
mother of the Child, who stiU falls
into naturalism, without being
naive as in the beautiful pictures of
Murillo. There are good Mothers
and Holy Families by the Garacci,
especially Armiiale, in the manner
of Correggio. By Chcercmo there
are some single figures of the Ma-
donna with a noble matronly ex-
pression. Ouido is very unequal ;
an excellent Madonna with the

c Sleeping Child, in the Quirinal ; a
good early Holy Family, in the P.

d Spinola, Strada Numa, at Genoa ;
but one of his most important
Madonnas, which he has treated as

ea special picture {Turin Oallery,

/copy in the Brera at Milan, an
imitation by Elisdbetta Sirami in

g the Pal. Corsini at Borne), and also
as a part of the great picture of

the Vow taken during the Plague
[Pmacoteca at Bologna) looks into- h
lerably pretentious, as if she were
showing the child for money. In
general at this period the mother
is too often only an Ol-humoured
guardian of the child (oval picture
by Maratta in the Pal. Corsini a,ti
Eome) ; she often scolds, so that
the musical children and other at-
tendants onlyreceive her commands
quite timidly and with formal sub-
missiveness, and the little John
hardly ventures to approach. The
aristocratic repelling manner that
is here given to holy personages
(comp. p. 241) has its parallel in the
views of the time concerning the
priestly order (Kanke, Popes, III.
120). Not without reason is one
always charmed by Sassoferrato,
whose mild beautiful carefully
painted Madonnas without excep-
tion show a motherly feeling for the
sake of which one forgets the want
of grandeur and higher life. (Ex-
amples in several places, especially
Pal. Borghese at Borne, room 6,^
No. 412 ; Brera at Milan, Turin k
Gallery; in S. SaMna at Bome, 2
chapel right of the choir, the only
large altar-piece ; Madonna del
Rosario, most excellent in execu-
tion ; in the Uffizi and in the P. m
Doria at Eome, room 3, No. 9, n,
adoring Madonnas without chil-
dren, looking modestly down, with-
out the glorified expression by which
Carlo Doloi, for instance, is essen-
tially distinguished from Sassofer-
rato. ) Among the Madonnas of
the Naturalists, one of the above-
named (p. 224) pictures of Pellegro
Piola is among the best and most
charming ; Oaravaggio, on the other
hand, transfers this most simple
subject to his favourite Gipsy
world. (Large Holy Family in the
Pal. Borghese, room 5, No. 26.) o
So with ScMdoTie {Pal. Pallavicini
at Genoa). Marauds Madonnasp
again are the echo of Guido.

246

Paintmg of the Semnteenth Century.

SANTE CONVERSAZIONF.

The Santa Conversazione (Ma-
donna with Saints) has now to be
adapted, as it was by the later Ve-
netians, to some special emotion
and moment, so that the Madonna
and Child are in some special rela-
tion to one of the Saints, whilst
the others also take part in some
way. This occurred frequently,
for instance, after the example of
Correggio with the hazardous sub-
ject of the Marriage of S. Cathe-
rine. Still more frequently the
Mother and Child are transplanted
beyond any earthly locality into
the clouds and surrounded with
angels ; the period of glories and
visions begins, without which, at
last, hardly any altar-piece is now
produced. The type therein is not
a Madonna di FoUgno, but directly
or indirectly the cupola of the Ca-
thedral at Parma, with the view
from beneath, the realization of the
clouds, the troops of angels. Of this
kind are several large pictures of

as the Pmacoteca of Bologna, as for
instance Gwido's already-mentioned
picture of the Vow of the Plague,
in the lower half of which kneel
seven Saints, some of them with
the most telling expression which
he can command ; Qviercmo's In-
vestiture of S. William of Aqui-
taine shares with his Burial of S.

h Petronilla (gallery of the Capitol)
the fault, that the heavenly group
remains out of connection with the
earthly, and yet is too near to
it ; but also the broad masterly
energetic treatment is the same
in both pictures. (Another in-
stance of the substitution of the
Santa Conversazione for a momen-
tary action; properlyonly the Bishop
Felix, S. William, S. PhiUp and S.
James ought to be joined with the
Madonna in one picture). Luca
Qiordam/) was rightly guided on

such an occasion by his equable
temperament; his Madonna del
Kosario (Naples Musev/m) floats c
in on clouds under a Baldachin
borne by angels, while in front S.
Dominic, S. Clara, and others in
devotion wait reverently for her;
this development of the Glory into
a heavenly procession was quite ac-
cording to national Neapolitan feel-
ing, and the detail is of the same
kind. (Another large picture
by Luca in the Brera at Milan. )rf
Ercole Gemnari carries his double
vision to the extreme (Pimacoteca
of Bologna) : the Madonna appears e
on clouds to S. N^iccolo of Ban, who
is likewise floating upon clouds
above a stormy sea. The contrast
also of Glories with Martyrdoms
(see above), however poetically
given, has something artistically
wrong in it.

But the supernatural comes even
into the lonely cloister cell, enters
into the existence of a single holy
man. Here, in inclosed spaces, the
local realisation is as a rule very
disturbing. It would sound like
mockery if we were to test the best
pictures of their kind on this point,
and especially to describe exactly
the actions of the angels here so
altogether without g6iie. (Pmaco-
teca of Bologna, S. Antony of/
Padua, kissing the foot of the
Bambino, by Elisdbetta Sirani; S.
Qiacomo Ma^giore, at Bologna, g
fourth altar on the right. Christ
appearing to Giovanni da S. Fa-
condo, by Oavedone.) If a ruder
naturalist, as for instance Spagno-
letto, altogether leaves out the
visionary element, there comes out
at least an innocent genre picture ;
his S. Stanislas Kostka (Pal. Bor-h
ghese) is a simple young seminarist,
who has had a child laid on his
arm, and is now amiably watching
how it catches hold of his coUar.

The Madonna floating upon
clouds is at this period hardly to
be distinguished from the Assiuup-

o

a

a

o s

Cutpolas and Ceiling Pictures.

247

tion, the Virgin mounting towards
heaven. (How clearly had Titian
described the Virgin in the As-
sumption !) Now, besides, certain
pictures are expressly painted as
Ascensions into Heaven. So the
colossal picture by Chiido in S.

aAmlrogio at Genoa (high altar
on the right)— one of those mas-
terpieces which leave one cold.
Of the Assumptions of Agostmo and
Aimibale Caracci in the Pinacoteca

b at Bologna, the first and most im-
portant is an example of the reali-
zation in a local space of the super-
natural : the "upwards" is made
obvious by making the Madonna
lie in an oblique position upon a
beautiful group of angels ; happily
the head also gives the beautiful
impression of longing, losing itself
in delight. The Apostles collected
below at the tomb seldom rise to
any pure iospiration.

Single altar-pieces are also quite
filled up with the Glory. In S.

c Paolo at Bologna (second chapel on
the right) is to be seen one of the
.excellently painted pictures of Lo-
dovico Caracci, "U Paradiso"; re-
markable as a complete specimen
of those concerts of angels, by
which the school are involuntarily
distinguished from their author,
Oorreggio. His angels have rarely
time for making music. A pe-
culiar Glory picture by Bonone

(^stands in S. Benedetto at Ferrara,
on the third altar on the left ; the
Risen Christ is worshipped by nine
Benedictine Saints grouped round
him upon clouds, kissed, adored,
marvelled at ; the Santa Conver-
sazione becomes a united ecstatic
glorification. (Compare Piesole's

« fresco in S. Marco.

CUPOLAS AND DOMES.
The Glories are in especial the
chief subjects for paintings of
cupolas and domes. Correggio's

hazardous and unattainable type is
at first taken seriously. It is im-
possible not to value a work like,
for instance, the frescos of Lodo-
mco Caracci on the arch before the
niche of the choir of the Cathedral
of Fiacenza; these rejoicing angels,^
who hold books and strew flowers,
have something grand in them,
and display an almost genuine
monumental style. Do-menichimo's
four Evangelists on the penden-
tives of the cupola of S. Andrea
delta Valle at Borne are in parts »
grander than any pendentive
figure in Parma ; and if he does
leave us unmoved by his allegorical,
very beautifully drawn figures of
the pendentives of S. Carlo & Cati- %
iiari, if he mixes in an unpleasing
manner, in the strikingly inferior
pendentives of the Tesoro in the
Cathedral of Naples, aUegory, hia-i
tory, and supernatural things to-
gether, we lay the blame in one
place on the allegory as such, and
in the other on the depressed mood
of the much ill-used master. Guido,
in his (much painted over) Concerts
of Angels in ;S. Gfregorio at Eomey
(the one on the right of the three
chapels, by it) produces at least
quite a naive, cheerful impression
by the beautiful youthful forms
without any pathos. In the Glory
of S. Dominic (semi-dome of the;!;
chapel of the Saint in S. Bomenico at
Bologna), the Angels making music I
certainly turn a conventional glance
upwards. Christ and Mary are in
their expression of receiving him
quite unimpressive : but the Saint
is most grand, his black mantle
spread out by angels. To these
early Glories, painted with elevated
feeling, belongs also Bonone's beau-
tiful semi-dome in S. Maria in
Vado at Ferrara ; of adoring Patri- m
archs and Prophets. Among the
Neapohtans, Stanzioni is the most
conscientious ; in the shallow cu-
pola of the chapel of S. Bruno, in
S. Martino at Naples (second on

248

Painting of the Seventeenth Centwry.

left), in spite of the very realistically
treated view, "di sotto in sti," the
upward movement of the adoring
Saint, the cloud of cherubs, the
concert of full-grown angels is given
with unusual beauty and grace of
arrangement ; in the shallow cupola
of the second chapel on the right,
a on the other, hand, Starmoni has
paid his full tribute to the ideas of
his school in a subject which went
beyond its power of conception —
Christ in Limbo. Here, also, we
must admire an artist from whom
we are not otherwise accustomed
to seek for anything superior in
this kind — il Oaldbrese. In the
6 transept of S. Piepro d Majella, he
has painted, in flat ceiling-pictures,
the stories of Pope Celestine V.
and S. Catherine of Alexandria,
this time not only with outward
energy, but with spirit and thought ;
his naturalism becomes almost dig-
nified where the body of Catherine
is borne upon clouds to Sinai by
singing angels bearing torches and
strewing flowers.

But the painting of ceilings only
too soon becomes the scene of con-
tention for every kind of want of
principle. Under the idea that no
one often has the physical power to
examine a ceiling picture long and
carefully, and that credit is only to
be gained by the general effect,
painters fell into the style of which
we have spoken on the occasion of
Pietro da Cortona (p. 230). The
transition is made by the unprin-
cipled Lanfra/nco, first by his steal-
ing from Domenichino (pendentives
of the cupola in the Gesii, Nuovo at
c Naples, also that in the SS. Apos-
dtoli there, where likewise all the
uninteresting, untrue paintings of
the ceiling, and the somewhat su-
perior Pool of Bethesda over the
portal, are by Laufranco), then by
these more bold improvisations
(ceiling and wall lunettes in S.
eMartino; cupola in S. Andrea
f delta Valle at Kome). The way

in which he usually attempted
the supersensual is seen, for in-
stance, in his S. Jerome with tjie
angels (Naples Mwsewm). Their gi
successors had not only cupolas,
but church ceilings of all kinds to
fin with Glories, Paradises, As-
sumptions, Visions ; besides the
floating groups and figures ho-
vering in every possible plane
above the head of the spectator,
there is on the edge a whole popu-
lation in groups, standing on balus-
trades, terraces, &c. ; for these
Pozm created a new space in the
form of splendid perspective halls.
Where do we now find the truly
supernatural ? With incredible su-
perficiality painters adopted from
Correggio the most external part of
his floating life, his passion, his
ecstacies, especially his clouds and
foreshortenings, and thereby com-
bined out of it the thousands of
brilliant scenes of light and foam,
of which the illusory working is
there enhanced and confirmed by
the miserable accessories above
described. Who would wish to
dwell in this heaven ? Who believes
in this beatitude ? To whom does
it give a higher tone of feeling?
Which of these figures is even exe-
cuted so as to give us am interest
in their existence in heaven ? How
most of them idle about on their
clouds ; how lazily they lean down
from them.

Besides the works of Pozzo and
others, cited above, the following
are most worth mentioning. Gauli :
the large fresco in the nave of the
Gesii at Borne, with peculiarly^
smartly handled colours and fore-
shortenings ; the painter uses every
means to make us believe that his
troups have floated out of the
empyrean through the frame to
the high altar. (Sketch in oil in
the Pal Spada.) In Genoa, thei
most brilliant are : Qiovam/ni Bat-
tista Carlone (frescos of S. Si/ro, &o.)j
and Carlo Baratta {8. M. dellah

Biblical and Mythological Pictures.

249

Pace, transept on the right, As-
sumption of S. Anne. ) In Venice :
the bright coloured Giov. Batt. Tie-
polo, who carries his foreshortening
from below further than any, so
that the soles of the feet and nostrils
are the characteristic parts of his
figures ; [in their intellectual live-
liness, however, every pictorially
cultivated eye will find pleasure.
(Victory of Eaith, on the ceiling of

a S. M. delta Pietd, on the Biva ; Glory
of S. Dominic in SS. Giovam/rd e

t Paolo, last chapel on the right ;

cthe same on S. M. del Boswrio,
ceiling paintings of the Scuola del

d Garmine ; then, apparently the
most beautiful thing that Tiepolo
ever painted, the ceiling of the

e great haU in the Palazzo LaMAa ;
the altar pictures in the Chiesa della

fFava, in S. Alvise, in S. Paolo, and
elsewhere.) Also the sometimes
very tolerable mannerist, Giov.
Batt, Piazzetta, deserves mention
(Glory of S. Dominic in SS. Qio-

gvwrmi e Paolo, last chapel on the
right). In single heads and half-
length pictures, Piazzetta is very
attractive by his effective division
of the masses of light and shadow. —
Mr.]

How Mengs first entered his soli-
tary protest against this rank de-
generacy has been mentioned be-
fore. The complete reaction
through a new classic style, which
we no longer attempt to describe,
came in with Andrea Appiani. He
has frescos in S. Ma/ria presso S.

h Gelso, at UUan.

HISTORICAL SUBJECTS.

Profane painting in the times of
universally adopted naturalism is
hardly to be distinguished from
sacred painting. The histories of
the Old Testament, especially,
for instance, in the many pictures
of haK and whole figures which
issued from Quercimis workshop,

do not vary in style from pro-
fane histories. There are, by
Guercino, besides the uninte-
resting histories, some excellent
ones Eke those mentioned above
(p. 226), or like his "Solomon
with the Queen of Sheba." (Sta.
Croce in Fiacenza, transept on the i
right.) Histories like that of
Susanna, or Potiphar's Wife with
Joseph (large pictures by BiHverti
in the Pal. Barbermi at Bome andj
in the Uffiei), or of Lot and his Is
Daughters, situations like that of
Judith take nothing from the Bible
but their occasion. (The Susanna
of il Capuccino, in the Pal. Spinola,
Strada Nuova, at Genoa. ) The most I
beautiful Judith is undoubtedly
that of Oristofano Allori {Pal. Pitti, m
a small copy in the Pal. Gorsini at n
Florence, a much damaged copy in
the Pal. OmmesUibile at Perugia) ; o
certainly a woman of whom it is
doubtful whether she is capable of
any passion of heart, with swim-
ming eyelids, full lips, and a de-
cided corpiilence with which her
splendid attire harmonises remark-
ably well. Guide's Judith is occa-
sionally more noble (for instance,
in the Pal. Adorno at Genoa), also^
that of Guercino (p. 243 i) ; both
give here and there the expression
of longing thankfulness. Also the
Daughter of Herod, as a subject,
is best mentioned here. (Cold and
pompous, by Guido, Pal. Corsiniq
at Rome.) With Domenichino the
Old Testament histories are, on the
whole, the weakest. Four ovals in
fresco, in 5. Silvestro d, Monte Ca-
vaUo at Bome, left transept ; in the r
right transept is seen the careful
large picture of one of his few
pupils, Ant. Barbalunga, God the
Father in a glory ; below, two
Saints ; in the Gasino Bospigliosi, i
the Paradise and the Triumph of
David (?) ; Pal. Barberini, the Fall, t
consisting simply of ideas taken
from other pictures. David with
the head of Goliath, the pendant to

250

Painting of the Seventeenth Centura/.

Judith, perpetually repeated ; the
most vulgar is by Domenico Peti,
who makes liim actually sit upon
the head. {Fal. Manfrin at

(J Venice.)

The parables of the New Testa-
ment, which by a noble treatment
easily suit a BibUoal type, are at
this time entirely without this con-
secration, without making up for it
by charm of the genre kind {as for
instance in Teniers) or by minia-
ture-like beauty (as, for instance,
Mzheimer's "Prodigal son," in the

b Pal Sciarra). U Oalabrese when he
painted the Return of the Prodigal

cSon (Naples Museum), evidently
regarded the antecedents of his
principal personage as something
very pardonable. "He could not
help it." Domenico Peti (several

d small parable pictures in the PUti

«and the Uffizi) is here one of the
best. [These Parables of D. Feti
appear in various places ; similar
ones, ascribed perhaps erroneously
to B. Schidone, are in the P.

f Sciarra, Bome. — Mr.]

Strictly profane painting of a my-
thological, allegorical, and historical
kind, in which appear especially a
number of scenes from Taaso, can
only be shortly touched on here.
The Caracci gave the tone on the
whole by their great work in the

g Pal. Famese. Just as they con-
structed ideal forms here without
real greatness and without any
really inspiring life (p. 226), but
with ability and consistency, so they
also composed the Love Scenes of
the Gods. What they painted at
Bologna from Soman history, and
so forth, in the friezes of halls

Ti {Pal. Magnani, Pal. Fava) is com-
pared with these hardly worth
looking for. [The most important
things left by the very talented
AgoStino Caracei, elder brother
of Annibale, are the frescos in

ithe Pal. del Oarditu) at Parma
(not by Lodovico Caracei) — Mr.]
Of the chimney pictures of the

school the best have unhappily
been cut out, so that I have found
a beautiful improvised figure of
this kind by Guide for sale in a
shop. [In the feeling of numerous
spectators Cfuido's Aurora {aniea)j
will keep the first place among
ideal mythological representations.]
The best and most beautiful is
foimded on DomenicMno. The pic-
ture of Nymphs Bathing and Shoot-
ing (Pal. Borgliese at Eome) shows le
indeed neither quite pure forms nor
Venetian fulness of life, but splen-
did motives, and that truly idyllic
character which, here as with the
Venetians (aTiMa), is the happiest
quality of mythological pictures.
The frescos removed from the Villa
Alddbrandini at Frascati (now I
there) preserve this same character
by their arrangement in a grand
landscape. The ceiling frescos in
the principal room of the Pal. Gos-
taguti at Bome contain indeed an m
unfortunate allegory (the God of
Time helps Truth to raise himself
to the Sun God), but the forms are
more beautiful and conscientious
than with other painters who have
painted in this palace (Guercino,
Albani, Lanfranco, &c.) Two small
very pretty little mythological pic-
tures in the PUti. The nearest to n
Domeuichino in his treatment of
the mythological was Albani,
whose frescos in the Pal. Verospi at
Eome (p. 226) have been already o
mentioned. Of his circular pic-
tures of the four elements, the one
larger specimen (Turin Gallery, p
among others) is one of the very
best productions of modern mytho-
logical painting, while the smaller
(Pal. Borghese, fifth room, No. 11- j
14) attains at least the greater
amount of coquettish charm of
which a Bolognese is capable ; two
pretty little pictures in the ITffsii ; t
pretty children on the vault of the
choir niche in S. M. della Pace at
Rome. Here too Domenichino must s
have made the deepest impression

CeiUng Pictures.

251

on Nicholas Foussin. His pictures
with the faint colours and some-
what vulgar forms do not charm
the eye ; but any one who looks at
art historically, will follow this
endeavour to remain pure and true
in a time of false pretensions with
real interest. And once he is quite
na'ive and beautiful in the Shep-
herd's scene or romance scene of the

a Pal. CoZowwaXcertainly a genuine but
very early picture of wie master,
in some parts indeed without style
and very dark in colour, not to be
compared with his splendid Bac-
chanalia in Paris and in London.
Of aU his mythological pictures in
Italy, the only one that is genuine

I is the Theseus at Troezene, Uffizi,
not remarkable and very dark ; of

c copies, the Gallery of the Capitol
possesses the Procession of Mora
(after the beautiful early picture in
the Louvre) ; in the P. Manfrim, at

d Venice the Dance of the Hours,
whose incomparably beautiful ori-
ginal has passed from the Pesch
Gallery into that of Sir. E. Wallace.
— Mr.] Guercdiw has, besides the

e frescos of the Yilla Imdovisi
aiiiea), painted a number of mostly
uninteresting historical pictures
(Mucins Scsevola in the Pal. Pallavi-

fcini at Genoa), among which only
that called Dido on the Funeral

g Pile (in the Pal. Spada at Eome) is
distinguished for beauty of expres-
sion and unusual power of colour-

Aing. There is in the Uffizi, left
gallery, by a little known painter,
Giacmto Gemmiani, a " Finding of
the body of Leander," which ap-
pears to combine in a high degree
the best inspirations of Gueroino
and Poussin. Gruido, as a rule,
leaves us cold in such scenes. His

ij^ausicaa {Naples Museum) with
great calm is holding a court of
her maidens. His Rape of Helen

j {P. Spada) takes place like any
other departure in broad day. The
excellent picture of a Nymph and a

k Hero in the Dffizi. The fighting

Genii {Twrm Gallery), a beautiful I
and happy motive. The Aurora,
see p. 226. There is by Elisabetta
Sirani, who is never weary of re-
producing Guide's second manner,
a Caritas with three children in
the P. Sciarra. m

The Naturalists prefer painting
sacred subjects in a profane man-
ner to making the profane ideal ;
they make up for it by genre
pictures. SaVoator, who forsook
the naturalists, and attempted all
sorts of different manners, repre-
sented, in his Catiline, a choice
company (Pal. Ma/rtelli) of evil-m
natured, vulgar, aristocratically
attired vagabonds. Carlo Saraceni
paints Juno, for instance {P. Doria o
at Rome), tearing oat the eyes of
the beheaded Argus with her own
hands to give them to her peacock ;
the character of the goddess is
suited to this action.

With Pietro da Cortona, and with
Zuca Gfiordano, amongst the Nea-
politans there begins a period of
pure decoration for mythological
and allegorical fresco painting.
Pietro's immense ceiling fresco,
which glorifies the fame of the
Barlerini family and his ceilings
paintings in the P. Pitti have been q
already cited ; to guess what he
exactly means we require a con-
siderable acquaintance with the
family history of the Barberini and
the Medici. The ceiling by Libca in
the Gallery of the P. Biccardi atr
Florence, shows how Cardinal Leo-
pold, Prince Cosimo IIL, and others
come riding on the clouds as gods
of light ; round about them is ar-
ranged the whole of Olympus.
How gladly one passes from these
to Qiov. da S. Giovanni, whose
allegories (in the large lower hall
of the P. Pitti) are stiU more ab- s
surdly conceived, but yet are exe-
cuted with care, feeling for beauty,
and glow of colouring. Space for-
bids us from naming again the

252

Painting of the Seventeenth Century.

Cortonists and followers of Luoa,
scattered as they are through the
palaces of all Italy. To form an
idea of the complications of their
style, one need only, for instance,
foUow the favourite theme of the
Eape of the Sabines, and remark
what are the points always and
exclusively brought forward in this
scene. Luca himself is sometimes
naive in Kubens' style, in smaller
pictures, as for instance the Galatea

ffiin the Uffizi. In the seventeenth
century the above-named Roman
painters strove also in the pro-
fane style to produce careful and
correct pictures without any special
occasion : in the ceilings of princely
halls they rather descend to Cor-
tona's manner both in allegorical
subjects and in style of painting.

h (P. Oolonna : in the gallery, the
Battle of Lepanto allegoricaUy glo-
rified in honour of Marcantonio
Colonna ; another ceiling, by lAiti,
in honour of Pope Martm V.)

GENRE PAINTING.

We must not dwell either on the
genre painting, which especially
prospered among the naturalists
proper. Garavaggio, the creator of
the new style, selects to express it
in the life-size Venetian half-length
figure, giving it on a plain dark
ground a repulsively humorous or
horribly dramatic purport. His
c Card Players (P. Seiarra at Borne),
f^his Fortune Teller (Gapitolme Gal-
e lery), his Two Drinkers {Gallery of
Uodena), have a world-wide fame ;
and his ' ' Tribute Money " and
" Christ Among the Doctors " pro-
perly belong to this set. This style,
sometimes tending more to history,
sometimes more to family portraits,
soon met with approval throughout
all Italy, in spite of its poverty and
one-sidedness. The pupils of Guer-
cino painted many things of this
kind. Sonthorst goes especially

into this line, only more in bur-
lesque. (P. JDoria at Eome ; Uffidf
at Florence, where, among other gr
things, is his best work, a supper-
party of doubtful characters : other
things in all great collections.)
Other Copyists : Manfredi, Manetti,
Giov. da S. Giovanni (all in the P. h
Pitti), Lionello Spada (large gipsy
scene in the Gallery of Modena) ; i
some really good things in the
Academy of Venice — a Lute-player, y
with wife and bry, a group of three
Gamblers (perhaps by Ca/rlo Sara-
ceni, to whom belongs the excellent
figure of a Lute-player in the P.
Spimola at Genoa). A picture oik
Spagnolelto {Turin Gallery) is quite I
original ; Homer, as a blind im-
provisatore with a fiddle, along-
side of him his amanuensis, painted
with feeling. Others go back into
innocent existence pictures : il Ga-
puccino and Liica Giordano paint
cooks with poultry (P. Brignole at m
Genoa, P. Doria at Home) ; but n
U Oalabrese, perhaps, like the last
named, under Flemish influence,
made a large grand concert in
whole-length figures (P. Doria. o
There is a really good Flemish
"Music at Table "in the P. Bor-p
gTtese, room 11, No. 4.) Salva-
tor's half and whole figures are in
general only swaggering upholstery
pictures. (P. Pitti : un Poeta ; S
un Guerriero). In the Tiurin Gal- f
lery an excellent genre picture of
the Bolognese school by Giuseppe
Maria Grespi, surnamed lo §pa-
gnuolo (see p. 244 o), not Daniele
Crespi, as pointed out there : S. John
Nepomuk, hearing the Queen's Con-
fession, while a poor man stands
by waiting. (Whole figures under
life-size.)

Alongside of this Caravaggio
genre there existed from the be-
ginning of the XVIIth century,
at Eome, another in the proper
Netherlandish manner. The Dutch
Peter van Laar, surnamed Bain-
bocdo, Michelangelo Gerquoszi,

Animal Painters. — Batik Pieces.

253

Jan Miel, and many other northern
and Italian painters recognized the
true laws and conditions proper to
this style, and thereby produced
much that is excellent. (The
author has but a fragmentary
knowledge of these painters. The
chief collection is P. Gorsmi at
a Florence ; the best by Cerq[uozzi
are perhaps in foreign countries ; a
good small picture of Jan Miel,
6 the Thorn-Extractor, in the Ufflai).
Jacques Gallofs paintings have not
nearly the charm of his etchings :
many things also are not accurately
named. [Hardly any artist's name
is so misused as that of Callot.
Paintings by his hand are difficult
to authenticate, and in Italy, for
instance, certainly are not to be
found. What is ascribed to him
(les Malheurs de la Guerre, series
of pictures in the P. Gordni at
cEome, views of towns rich in
iigures and another series of smaller
d pictures in the Academy of Venice)
is mostly repulsive unpleasant rub-
bish, at the best, by the Pisan
Pietro Ciafferi, surnamed lo Smwr-
giasso. — Mr.] All this is far sur-
passed by the number of treasures
of the proper Dutch and Antwerp
e schools at Turin and in the Uffizi, of
which we cannot attempt to speak.
[The combination of the most re-
markable paintings of this kind,
which both the above-named gal-
leries possess, would alone form a
collection which would not be far
behind many larger collections of
the North. Of first-rate pictures :
Jan Steen, No. 977, the Painter
with his family ; G. Metsu, 972 and
918, the Hunter, the Lute-player ;
G. Dow, No. 926, Going to School ;
F. Mieris, No. 834, the Charlatan.
A fine collection of Dutch paintings
once belonging to the Grand-
. Duchess Mary of Kussia, in the
f Villa Quarto near Florence. Also the
Brera, P. Borghese, and the A cademy
h at Venice possess some good things.
But in the collection of the last the

catalogue shows the greatest pos-
sible ignorance and confusion of
ideas. — Mr.]

The recognized aesthetical view
of that time of the Italians alto-
gether eschewed genre, in so far as
it did not turn to emotion, like the
rest of their painting. Hence their
preference for half-length figure
pictures without local surroundings
and without accessories.

In the smaller divisions OasU-
glioTie represents animal painting,
without any very distinct feeling for
it : he worked in partly Hfe-size
decorative pictures (P. Golonna at^
Borne ; Uffizi) ; while Mario de' j
Fiori represents flower-painting,
meant only as decoration (glass
cabinets in the P. Borghese). Com-
pare with it the infinite love of
nature of JRdhel JRuyseh, and the
certainly more conventional but
still most elegant palette of Ifuy-
sum (P. Pitt^. The greatest col- J
lection of flower pieces among
which are excellent ones by Be
Heeim, is m.^&Twn%Qallery. There I
also is a genuine Potter (four cows) ;
[perhaps the most valuable Dutch
picture which Italy possesses any-
where ; by Snyders and J. Fyt, ex-
cellent still-life pictures. — Mr.]

Their battle pictures formed a
special branch of Italian art of that
time. Their chief idea was the
representation of the tumult as
such, arranged according to colour
and masses of light. Salvator Rosa
as well as Cerquozzi gave the tone
in this, in wMch still there is a
distinct reminiscence of the Battle
of the Amazons by Reubens. In
the Naples Musev/m there are battle ^j
pieces and popular tumults by him
and his Neapolitan imitators, Ani-
ello Falcone and Mieco Spadaro ;
also there is by him a large and a
small battle piece in the F. Pitti, ^
also some things in the P. Corsini g
at Florence. By Bourguignon, more
rich in colour, who combines Cer-
quozzi and Kosa, the so-called

254

Painting of the Seventeenth Century.

Battle of St. Quentin, in the TvHm
a Gallery, is considered as genuine ;
among others, [No. 420, good and
genuine. — Mr.] two battle pieces
5 in P. Borghese, a large one in P.
cPitti, two large ones (apparently
descriptions of particular events)
d and two smaller ones in the Ujfflzi,
«two in the P. Gapponi at Florence,
/and several in the P. Oordni, where
also one becomes acquainted with
the whole school which belonged
to these artists. Compared with
the battle pieces of the Mannerists
(e. g. of Tempesta), once copied
from the battle of Constantine, and
now become quite meaningless,
this new mode of treatment must
be called a great advance. Still,
along with excellent episodes which
are prominent (which are there
constantly repeated), there is also
the most empty-minded patchwork.
In the course of a short period
people had, as it appears, so com-
pletely seen and exhausted this
style, that it died out ; or else the
unwarlike Italy left it to the Flem-
ings (Woimermans), the French
(Van der Meulen), and the Ger-
mans, among whom Rugendas gave
them a new and original life.
(Large series of battle pictures in
?the Turin Gallery, by Van der
Meulen and EugTiienbwg, as well
as excellent things by Philip Wou-

LANDSCAPE.

One of the most beautiful forms
taken by the European spirit of
art of this period is landscape
painting. The most important works
of this kind are found on Italian
ground, in Home, mostly by per-
sons who were not Italians.

Inspired by the Flemish pictures,
they had produced the first back-
grounds according to nature, not
for their own sakes, but to elevate

the feeling of the beholder, as far
as possible, by the view of holy
scenes {amtea) and faces painted
with tenderness. Then Haphael
had employed them for a higher,
more systematic combination, when
he had to depict the life of the
Patriarchs with as few details as
possible (antea). By Polidoro and
Matwino there are two fresco land-
scapes in S. Silvestro a Mordecamallo
at Borne (in a chapel on the left). %
At the same time Titian perceived
the great necessity for them in
existence painting, and when
prompted by some decisive mo-
ment in the story, filled up the
poetical impression by the character
of the landscape surroundings. He
first fully discovered this part of
the world in its pictorial connec-
tion, and artistically employed the
close union of landscape effects
and tones of feeling [Sohiavone].
Tintoretto and the two Bassani
followed him as far as they could
(oreiea). Dosso Dossi, perhaps in-
dependently, came nearly as far as
Titian.

From the end of the sixteenth
century there exists in Italy a
general desire for landscape, which
the Mannerists who were stiU in
power disdained to satisfy. Then
whole shiploads of pictures were
ordered from the great Antwerp
manufactory of Brueghel. Every
Italian gallery contains more than
one, often many, of these green,
bright, overladen, miniature-Kke
pictures, which are garnished with
all possible sacred and profane his-
tories. Many of the most carefully
painted, and also many by Jan, so
caHedSammet Brueghel (1568-1625),
painted for his patron the Cardinal
Federigo Borromeo, are in the Am-
brosiama at Milan. [One excellent i
one in the Brera, ; one very good in^
the Gallery at Turin.] One quite ft
small one in Bome, at the P. Doria, I
combines, for instance, the follow-
ing : — Whale-fishing, Oyster-catch-

Landscape Painting.

255

ing, Boar-liunting, and one of the
Visions of John upon Patmos. The
same gallery, one of the most valu-
able for all landscape painting,
contains also landscapes by the Bas-
scmi, among others by a not other-
wise known Appollonio da Bassano,
a large one by Giovamni Battista
Dossi, furnished with the scene of a
princely reception ; and, also, by the
way, an Orpheus in the Lower World
and a Temptation of S. Antony,
by the more rare Peter, the ffdllen-
Irughel, the brother of Jan. [Pic-
tures also exist in various collec-
tions by Jam, the younger son of
the Sammet BruegheL — Mr.] The
Antwerp pictures are indeed most-
ly, on account of their variety of
colour and the microscopic style of
their execution, less sympathetic
than those of the Bassani, who
make sharp lights and hazy sha-
dows float over their mountains
and hUl cities.

Besides their pictures there came
also painters from the Netherlands,
as Matthdus BrU, who painted
al fresco, e. g. in the Vatican {Sala

a Sucale and Biblioteca), views and
imaginary compositions, both equal-
ly wanting in feeling. (A picture

J in P. Golonna.) Also his younger
brother, Paul Bril (1556-1626), the
important mediator for the combi-
nation of Flemish and Italian land-
scape. His early pictures are still

cover bright (P. Scmrra), and the
poet only gradually becomes an
artist and learns how to express
his feeling for nature grandly.
Whether he owes more to Aunibale
Caracci, or the converse, may be a
question ; in any case he is the first
Netherlander in whom there ap-
pears a higher feeling for lines.
There are pictures of aU his periods

(^in the Uffizi ; two of the middle

g period in the P. Pitti. Fresco
landscapes in the building added on

^to the right of S. Oecilia at Borne.
Parallel with him Adam Elsheimer,
of Frankfort (1574-1620), shows

real artistic power in his exquisite
miniatures. Uffizi: Hagar in thegr
Wood, a scene from the story of
Psyche, Shepherds with Syrinx.
His oaks, his beautiful distances,
his cliffs of rock, give the poetry of
nature in reaUy beautiful lines.
What exists in Italy by Vinckebooms,
by Jodocus Mom/per, and other
painters of this generation in Italy,
might, if it were worth the trouble,
easily be distinguished ; but, when-
ever the author has the happiness to
go to Florence, the two landscapes
of Riibens (P. Pitti) are among his h
greatest delights. The "Hay Har-
vest at Mechlin," in the quietest
landscape lines, gives quite a de-
lightful sense of air and Ught : while
the " Nausicaa," with its rich
landscape of rocks and sea and its
fanciful effects of light, elevates us
into the enjoyment of a fabulous
state of existence. (Not painted as
pendants to each other, as the un-
equal size shows clearly.) What
there is in Italy by Ruysdael (Twrin i
Gallery, P. Pitti), Backhuyzen, scadj
other Dutch painters in Italy,
hardly deserves consideration in
comparison with the treasures of
northern collections — the "Little
Castle in the Moat," by Andr.
Stalbent (Uffizi) and the gloomy ii;
landscape of Rembrandt (also there)
might almost counterbalance it.
[The last-named picture may be
ascribed with tolerable certainty to
Philip KonvncTc. — Mr.] [More pro-
bably by Hercules Seghers. — Bode.]
The impulse comes apparently
from Titian, which had in the
meantime inspired the Bolognese
vrith their conception of landscape.
In opposition to the absence of
system of the Flemings, they set up
the laws of composition, the arrange-
ment and noble form of the objects,
the sequence of colour. They mean-
time but rarely give the principal
place to landscape ; Annibale clearly
aimed at a, mixed style, in which
landscape and history should pro-

256

Painting of the Seventeenth Century.

duce a harmonious expression.
(Several semioiroular pictures with

a histories of the Virgin, P. Doria,
third gallery, Nos. 1, 16, 18, 24 ; a
small Magdalene, there also, first
gallery, No. 3 ; another in P. Pal-

i lavidni at Genoa ; a very excellent
rocky landscape with bathers in
body colours, by Agostmo, exe-
cuted with wonderful mastery in

cP. Pitti.) By Grimaldi, the prin-
cipal landscape artist of the school,
one can see but little in Italy ; un-
fortunately also by Domenichino.
(A beautiful landscape with bathers

d in the P. Torrigiani at Florence ;
two others, much darkened, in the

« Uffizi ; frescos in the Casino of

/the Villa Ludovisi.) Francesco Mola
often has a S. Bruno in a beautiful
mountain landscape (among others

g P. Doria). [A great picture in the

h Louvre. — Mr. ]

Salvaior Sosa, half self-taught
in landscape, is more truly and
powerfully inspired in this style than
in any other ; he only owes his
higher cultivation to the works of
the Bolognese and to the French
about to be mentioned. Rocky land-
scapes with evening lights, often
stormy and precipitous ocean bays

i{P. Oolonna at Eome), garnished
with mysterious effects, are, to
begin with, his chief subjects ;
There he rises to a calmly grand
manner, overpowering by remark-
able forms and streams of light.
(La Selva de' FUosofi, that is the

;' Story of Diogenes, in the P. Pitti ;
the Preaching of John and the Bap-
tism of Christ in the P. Guadagni

A; at Florence, principal pictures ;
others in the P. Oorsini and Gap-

Iponi, as also in the Uffizi.) In the
interval, or later, he also painted
more audacious bravura pictures
m,(la Pace in P. Pitti), and cold,
careful, large, crowded sea-pictures
(also there). Of what date is the
fanciful landscape with the ghostly
corpse of Saint Paul the Hermit, I

n do not venture to decide {Brera at

Milan). [Others in the P. Maffei
at Volterra, where there is a large
collection of letters by Salvator. —
J.] There are pictures by his pupil
Bartolommeo Torregiani in the P.
Doria at Borne, first gallery, So. g
743.

Of them all the master most con-
scious of his purpose, the definite
creator of the laws of landscape, is
N. Poussin. His more important
landscapes are nearly aE in St.
Petersburg or in Paris ; still, one
finds in the P. Sciarra that beauti-^
ful simple water landscape, in
which St. Matthew with the angel
sits among ruins [now in the
Berlin Museum. — Ed.] Gaspard
Dughet, surnamed Poussin (1613-
1675), was his pupil and relation.
With him nature speaks the power-
ful language which still is heard
from out the mountains, oak forests,
and ruins of the neighbourhood of
Rome; this tone is often heightened
by stormy wind and tempest, which
shudder through the whole picture ;
in the forms the sublime predomi-
nates ; especially the middle dis-
tances are treated with a serious-
ness found in no other artist. In
both the aisles of S. Ila/rtino a'
Monti at Borne there are a number q
of mostly much disfigured land-
scapes in fresco, with the stories of
Elijah ; in the P. Oolonna therfe are r
thirteen landscapes in water-colour,
and as many in the P. Doria : these s
series stand the great test whether
a landscape can be made effective
only by lines and principal forms,
vrithout the charm of brilliant
colour and detail. In the P. Oorsini t
at Borne, among several hardly less
good, the Storm and the Waterfall,
the latter much injured by unfor-
tunate blackening, especially of the
green, like many other pictures by
Gaspard. In the Academia di S.u
Luca several good pictures. In the
P. Pitti, four excellent little pic-v
tures, which have remained un-
usually clear ; in the Uffizi a small w

Landscape Painting.

257

forest landscape. In the Oallery of
a Turin two oblong pictures.

The type of which Annibale had
given the first idea, the same which
the two Poussins had carried out,
remained for a long time the ruling
type ; so that the Dutch, with their
more realistic landscape, formed, on
the whole, a (certainly glorious)
minority. It represents a virgin
nature, in which the traces of
human work only appear as archi-
tecture, chiefly as ruins of old
times, also as simple huts. The
human race which we imagine or
find represented there belongs
either to the old fabulous world, or
to sacred history, or to pastoral
lite ; so that the whole impression
is heroic pastoral.

This type reached its highest
point in the contemporary of the
Poussins, Clavde Gelie, snrnamed
iorrara«, (1600— 1682). He was for
a long time the assistant of Agostino
Tassi, a feUow- worker of Paul Bril
(works of Tassi are found in the F.
J Corsini at Eome, in the Uffizi, and
J in the P. Pitti ) ; he reached his
greatest height after a youth at
Borne very fuU of trials. His
landscapes are less powerful in
their composition than those of
Poussin, but there is in them an
inexpressible charm. Claude, as a
finely attuned sold, hears in Nature
the voice which is especially quali-
fied to console the human race, and
repeats her speech. For him who
buries himself in his works — their
smooth, beautiful perfectuess alone
makes this a gi'ateful work — no
further words are necessary. In
(^the P. Doria at Eome, third gal-
lery, No. 12, il Molino (early pic-
ture), No. 23, the Temple of ApoUo
(principal work) ; first gallery, No.
25, Eepose in Egypt. (In the P.

Sospigliosi, impossible to see = e
among others the Temple of Venus. )
In the P. Sdarra, Eiders near a/
Harbour ; the Flight into Egypt, g
both little jewels. In the P. liar-
berini, an excellent small landscape.
In the Naples Museum, a Sunset A
on the Sea; the Grotto of Egeria
(almost too cool for Claude). In
the Uffizi, evening landscape with^
bridges, stream, and mountain;
evening sea-piece landscape with
palaces. In the Turin Gallery,.-
two beautiful pictures forming a
pair (genuine).

There is nothing in Italy by his
foUowere which at all approaches
him. The pictures of Swanevelt (in
the P. Doria at Eome and in the P. ^
Pitti), hy Johannes Both (also there), ^
by Tempesta Molyn (pictures of all
sorts of places), up to the improvi-
sations of Orizzonte (with which an
upper room in the Villa Borghese^
is quite filled), and the often very
careful architectural pictures of
ParmiMi (P. Corsini at Eome, Turin ^
Oallery), only give forth single rays
of the light which shines out f uU in
Poussin and Claude.

Any one who comes across these
two masters out of Italy will feel
them awake in him, much more
strongly even than the most bril-
liant modern views, the longing
for Eome, once seen, never to be
forgotten, which can only slumber,
and never dies out. The writer has
had his own experience of this. He
wishes to those who may read and
approve him, and take him as their
companion across the Alps, the calm
joy of soul which he tasted in Eome,
the remembrance of which comes
back to him so powerfully even
when looking at the feeble copies of
the grand masterpieces of art.

INDEX OF PLACES.

Alba
S. 6io. Battista

Bamaba, 49 a

Macrino, 82 a
Albino

Moroni, 201/
Anoona
8. Somenieo

L. Lotto, 189

Titian, 193 a
S. Francesco

Crivem, 84
Ab,oetia
S. Meiiardo

Signorelli, 71 d
Aaszzo

Cathedral

Spinello, 29 k

P. deUa Francesca, 69 a

Painted Glass, 110 /c, 111 a
S. Agostino

Spinello, 29 I
S. Annwiziata

Painted GlaBS, 110 k
8. Bernardo

School of Giotto, 29 «
8. Domenico

Parri Spinelli, 29 m
8. Francesco

P. della Francesca, 68 t

Spinello, Bicci di Lorenzo,
S. Margarita

Signorelli, 71 I
La Fieve

Lorenzetti, 46 h
8, Spirito

Signorelli, 71 I

Vasari, 215 e
Ftiblie Gallery

Lorenzetti, 46 h

Signorelli,. Ill
Casa Montauti

Vasari, 217, note

(Uppe
Giu

AnoNA

(Upper Cliurcli)
Gaudenzio Ferrari, 120 b

ASCOLI

Cola, 102/

ASOONA

8eminario

Lagaia, 120 c

ASINALDNGA

Frincipal Church
Sodoma, 174 g
Pacohia, 175 i
Assisi
8. Francesco

jper Churoli)
'riunta Pisano, 20 d, 22
Cimabue, 21, 22 b, d
Painters of thirteenth century,

21 e, 22 c, d
Giotto, 22 e
(Lower Church)
Cimabue, 22 e
Giotto and his school, 30 e-l,

38 c, d, 42 *
Cavallini (P.), 30/
Puccio Capanna, 30 g, h
Gio. da Melano, 30 i
Giottino, 30/, I
Buffalmaoeo, 30 k
Simoni Martini, 30 I
Spagna, 97 i
Adone Doni, 98 n, o
The Lorenzetti, 30 /, h, j,
46 <?
8. Antonio

Ancient Umbrian School, 92
8. Chiara

Giottino, 31 «
8. Damiano

Eusebio di S. Giorgio, 98 d
Cathedral
Alunno, 92/
Madonna degli Angeli
Tiberio d' Assisi, 98/

s 2

260

Index of Places.

Abti

Macrino, 82 a

AVIONON

Pa^al Palace
Simone, 45

Bassano
Fublie Gfallerv

Daiio daTreviso, 73 e

Franc. Bassano, 211 i
Bastia (La)

Alimno, 92 g
Belluno

Speranza, 79 d

J. da Talentia, 83 m
Bergamo

Gariani, 199
S. Andrea

Moretto, 200 r
S. Bartohmmeo

lotto, 189 *
8. Sernardino

Lotto, 189 A
8. Spirito

Borgognone, 81/

Lotto, 189 k
Various Chiirches

Lor. Lotto, 189 k
fuilic Gallery

Mantegna, 77 g

Genga, 78 h

Euonconsiglio, 79 c

Foppa, 80 a

Conti, 80 d

Glovenone, 82 c

P. Santa Crooe, 84, note

Previtali, 89 g

V. Belli, 89 m

Bartolommeo da Venezia, 90

Moroni, 201/

Cariani, 199 e

Antonello da Messina, 83 e

Beltraffio or Lionardo, 119/
Mo. of Signor Frizzoni

GioT. da Udine, 187 A
Cou/nt EonoalU

Cariani, 199 g
Casa Baglione

Cariani, 199 e
Bologna
8. Fetronio

Wall Frescos (about 1400), 48/

Antonio Alberti, 48/

Fr. Cossa, 75 a

Lor. Costa, 75 a, b

Painted Glass, 110 b

Girol. da Treviso, 169 a

Bologna — continued
8. Fietro {Cathedra^

BagnacaTallo, 168 I

Lod. Caracci, 237?, 242 «
8. Bartolommeo a Forta Savegnana

Colonna, 228 c

Albani, 237/
8. Bartolommeo di Eeno

Caracci, 238/
Oapuccmi

Zoppo, 73 d
8. Cecilia

Lor. Costa, 75 e

Fr. Francia and pupils, 100
Corpus Domini

Franceschini, 228 e, 238 *
8. Oriatina

Giacomo Francia, 100 m

Lod. Caracci, 236/

Canuti, 241 e
8. Domenico

Filippino, 64 h

Cesi, 220 b

Colonna, 228 d

Guido Eeni, 247 I

Tiarini, 240 d

Spada, 240 d
8. Francesco

Frescos in the Court, 222 m
8. Giacomo Maggiore

Simone de' Crocefissi, 48 e

Jac. Pauli, 48 h

Lorenzo Costa, 75/

P. Francia, 99/

Innocenzo da Imola, 168 q

Laureti, 187 e

Passerotti, 219 q

Pr. Foutana, 219 t

Cesi, 220 e

Pell. Tibaldi, 220/

Cavedone, 246 g
8, Giovanni in Monte

Lor. Costa, 76 d

Paintings on Glass, 110 c

Guercino, 238 o
8. Zucia

Lavinia Fontana, 219 «

Cignani, 238 m
Madonna di Galliera

Albani, 238 «
8. Martino

Lor. Costa, 75 g

Fr. Francia, 100 a

Aspertini, 101 e
Mezzaratta

Old Bolognese Paintings, 48 e
8. Michele in bosco

BagnacavaUo, 168 h, k

Index of Places.

261

BoiiOWSlL— continued
8. Michele in ioseo

I. da Imola, 168 s

Cignani, 228 i

Canuti, 228/

Caracci, 228 ^
S. Faolo

Cavedone, 237/

Lod. Caracci, 247 c
S. Frocolo

Qiottesques, 48 a

Lippo Dalmasi, 48 a
S. Salvatore

I. da Imola, 168 ^

Garofalo, 170 m

Pr. Fontana, 219 r

Tiarini, 237 i
Ai Servi

Lippo Dalmasi, 48 a

I. da Imola, 168 r

CalTaert, 220 a

Frescos, 222 m
iS. Stefam

Simone de' Crocefissi, 48 4

L. Sabbatlni, 219^
S. Vitale ed Agrieola

Fr. Francia and pupils, 100 i

Bagnaoavallo, 100 S
CoUegio di Spagna

Zoppo, 73 e

Pell. Tibaldi, 220 e
tal. Fma

Caracci, 250 h
Pal. Magnani

Caracci, 228 a, 250 h

Vitale, 47 h

Simone de' Crocefissi, 48 d

Jac. Pauli 48 g

Avanzi, 48/

Bolognese of fifteenth century,

48?, OT
A. and B. da Murano, 52/
Fr. Cosaa, 75 a
Alunno, 92 i
Perugino, 95 k

F. Francia, 99 d, e
Copy, 100 h

Giac. Franciaj 100 I
Am. Aspertini, 101 a

G. Aspertini, 101 d
Chiodarolo, 101 c
Pontormo, 134/
Bugiardini, 134/, 136/
After Raphael, 144 b
Eaphael, 144 d

Tim. d. Vite, 168/

BoLo ON A — continued
FiMocoteea

Bagnacavallo, 168/
I. da Imola, 168 m-o
Girol. Marcheai, 169 c
Farmegianino, 183/
Pr. Fontana, 219 *
Contemporaries, 220 d

E. Mengs, 227 I

Guide fieni, 228 A, k, 236 a, e,
239 /, 240 e, 243 *, 245 A,
246 a

Lod. Caracci, 236 e, 238 e, 242/, I

Ann. Caracci, 247 i

Ag. Caracci, 236 I, 247 *

Domenichino, 241 d

Albani, 242 g

Tiarini, 242 h

Gueroino, 244 k

Cavedone, 245 i

Gennari, 246 c

Elis. Sirani, 246 g

BOKDO

Moroni, 201/
BoKQo San Sepoloko
S. Agostino

Gerino da Pistoja, 98 o
8. Antonio Abiate

SignorelU, 71 m.

F. della Francesca, 69 «, -.
BoBQO S:e:sia

8. Fietro Paolo

Lanini, 121 n
Bbescia
A.ncient Cathedral

Moretto, 200 d
8. Barnaba

Foppa, 80 a

Civerchio, 80 d

Savoldo, 199 r
8. Clemente

Moretto, 2C0 c, i
8. Eiifemia

Moretto, 200 e
8. Faustina

Moretto, 200 d
8. Francesco

Moretto, 200 e, I

Eomanino, 201 i
8. Giovanni Evangelista

Francia, 100^

Ferramola, 100/

Moretto, 200/

Eomanino, 201/

Moretto, 200/
8. Maria di Calchera
Cal. Piazza, 199 k

262

Index of Places.

Beesoia — contimied
S. Maria di Galehera

Moretto, 200 ^
8. M. delle Grazie

Moretto, 200 e
S, M. dei MiraeoU

Maretto, 200 g, h
S, Nazaro e Celso

Titian, 193 i

Moretto, 200 c,j
S. Fietro

Moretto, 200 h

The remaining ohurcliea al-
most all conf^ia pictures by

Moretto
Tosi Gallery

Solario, 122 c

Timoteo della Vite, 168 d

Cal. Piazza, 199 I

Moretto, 200 x

Moroni, 201/

Angussola, 202/
Fetmroli Gallery

Moretto, 200 w

Moroni, '201 e
BuSTO Arsizio
Church

Gaudenzio Ferrari, 120/

Cadobe
Fieve

Titian, 193 I
F. Yecellio, 197 a
Gaoli
8. Angela

Yite, 168 g
Chwrch of the Dominicans
GrioTanni Santi, 78 e
Canobbio, on the Lago Maggiore
Chiireh

Gaud. Ferrari, 120 d
Capkarola
Castle

Zuccaro, 216 b
Capua
Cathedral

Madonna deUa Bosa, 53 d
Manner of Buoni, 102/

Fiorenzo, 93
8. Angela informis

MedisBval paintings, 16 h
Gasarsa
Cathedral

G. A. Pordenone, 203 g
Castelfranco
Principal Church
Giorgione, 186 d

Castelnuovo
Principal Church

Lor. Lotto, 189 m
OaSTIOLIONE BEL Lago

Oaporali, 98 r
Castiglione Fiorentino

Segna, 23 c

B. Gozzoli, 66 i
Castiglionb d'Olona (near Va.
rese)
Collegiata and Baptistery

Masolino, 60 a
Catania

Saliba, 85 I
Cefalu

Mosaics, 16 b
Genate

Moroni, 201/
Ceneda
Cathedral

Jaoobello, 52 d

J. da Valentia, 83 m

PrevitaU, 89 g

NataUno, 199 s

Previtali, 89 g
Ceretto

Don Lorenzo, 56/
Gertaldo

D. Lorenzo, 57 e
Cestello

J. del Sellaio, 63 «
Ghiavari

FasoU, 81 1
Chikignago

F. Santa Croce, 84 note
Chivasso

D. Ferrari, 82 b
Citita Castellana

Gosmati, 23/

CiTTA DELLA PlEVE

8. Maria de' Bianchi

Perugino, 95/
Other Churches

Perugino, 95 g

CiTTA DI CaSTBLLO

8anta Cecilia

SignorelU, "lip
8. Domenico

Signorelli, 71 n
8. Gio. Decollato

Signorelli, 71^
8. Pietro

Geriuo, 98 o
Town Gallery

Signorelli, 71 jO
Pal. Manevni

Signorelli, 71 q

Index of Places.

263

CiTTA Di Castello — Continued
S. Tnnitd

Eaphael, 137 note

CiVIDALB

8. Maria de' Battuti
M. da TJdine, 204 m

Monastero Maggiore

Mart, da tfaine, 204 o

COLALTO

S. Sahadore

G. da Trevifio, 74 a
Pordenone, 202 I

COMO

Cathedral

Gaudenzio Ferrari, 120 t
Luini, 118 a

CONBGLIANO

S. Antonio

G. A. Pordenone, 203 e
Cathedral

Cima, 88 »•

CORTONA

Cathedral

Lorenzettl, 46 i

SignoreUi, 70 i
S. J)omenico

Lor. di Nicoolo, 43 b

FieBole, 54/, k

SignoreUi, 70 e
Gesu

Fiesole, 54 «, m

SignoreUi, 71 a
Gompagnia di S. Nicoolo

SignorelU, 71 b
Villa Passerini

Caporali, 99 a

Antique painting, 4 g

COTIGNOLA

G. Marchesi, 169/
Cbea

Macrino, 82 a
Gkema

Diana, 89 m
Ckemona
Cathedral

Eoccacino, 90 h

Romanino, Bembo, and contem-
poraries, 201 jo
G. A. Pordenone. 203 m
8. jigata and other Churches

Campi, and other Cremonese,
202 a, e
S. Agostino

Perugino, 96 I

DlKDTA

Alunno, 92/

Eboli

E. de Oderisio, 31 g

Sabattuii, 167 b
Eqqi

Spagna, 97^
Emfoli

Gollegiata

Don Lorenzo, 57 e

Fabbiano
Gallery

A. Nuzl, 47 g

P. da Verona, 177 m
Faenza

Bertucci, 98 p

Girol. da Treviso, 169 h

Giorgione, 169 b
Fano
S. Oroce

Giovanni Santi, 78 «
S. Maria Jfuova

Perugino, 95 m

Gio. Santi, 78 «
Fermo

A. da Bologna, 48
Monte S. Giusto

L. Lotto, 189 i>
Ferbara
Cathedral

Cosimo Tura, 74 «

Garofalo, 170 o,p

Guercino, 241/
8. Andrea

Panetti, 76 c

Cortellini, 76 c
8. Benedetto

ScarselUno, 219 I

Bonone, 247 d
Certosa

Bastianino, 219 h

Eoselli, 219 A
8. Domenico

Fourteenth century, 49 d
8. Francesco

Garofalo, 170 q, 171 m

Ortolano, 171 m

Bonone, 171 m
GesH

Bastarolo, 219/

Giu8. Crespi, 244 o
8. Maria in Vado

Grandi, 75 i

Panetti, 76 b

Girnl. Marchesi, 169 d

Garofalo, 170 r

Bonone, 170 r, 238 g, 247 m

264

Index of Places.

Fbbeaea — continued
S. Paolo

Grrandi, 76/

Soarsellino, 219 I
S. Spirito

Garofalo, 170 »
AlU Stimnmte

Gueroiuo, 244 m
Castle

Dosao and his School, 171 h
Pal, Schifanoia

Tura and Costa, 74 b

Eroole da Ferrara, 74 h
Ateneo Pictv/re Gallery

Tura, 74 a, d

Stefano da Ferrara, 74 e, f

L. Costa, 75 h

Panetti, 76 b

Cortellini, 76 d

Carpaccio, 89 d

Mazzolino, 169 I

Garofalo, 74 e, 170 «

DoBso, 171 a

Carpi, 172 d

Bastianino, 219 i

Bonone, 239
Marchese Strozzi

L. Costa, 75 A
Gostabili

Tura, 74 a

FlESOLE

S. Domenico

Fiesole, 54 A, p

L. di Credi, 64 I, 70 d

Giov. da S. Giovanni, 223 *,
242/

PlOBANO

Moroni, 201/
Florence

(Gates and "Walls)

Frescos by D. Ghirlandajo, 66,
note 2
Sadia

DonzeUi, 102 note
Cathedral

Glass windows, 109 i

GaddoGaddi, 22^

Lor. Bicci, 27 t

Orcagna, 27 i

Giotto, 39 a

Fra Benedetto, 56 c

Uoeello, 66/

Castagno, 65/, 68 k

Zucearo, 216 d

Santi di Tito, 217 g
(Opera del Duomo)

Mosaics in Wax, 17/

FtORENOE — cmtmued
iS. Ambrogio

School of Giotto, 27 g

Gaddi, 27 g

Giottino, 27 ff

C. EosseUi, 65 e
S. Anmmziata
(Entrance Court)

A del Sarto and pupils, 132 k
133

Franciabigio, 133

Pontormo, 133, 134 i

Bosso, 133

Eosselli, 65 e, 133

BaldoTinetti, 67 c, 133
(Church)

PoDajuolo, 68

Lotti, 238 a

Mess. Allori, 222/

Empoli, 223 i

BiliTerti, 223 k

Mat. EosseUi, 223
(CappeUa de' Pittori and Cloister)

Pontormo, 134 i

Poccetti, 222/
S. Apollonia

Paolo di Stefano, 60 note

Castagno, 68 m
Padia

Filippino, 64 e
(Cloister)
Baptistery (5. Qiovamni)

Mosaics, Jacobus and Tafi, 20 d,
21 a

Apollonius, 21 a

Pollajuolo, 68 r
alio

Giottino, 27 A

T. Gaddi, 27 h

y. di Moro, 27 h

P. CheHni, 27 note
Camaldoli (figli AngeK)

Poccetti, 221 1

Al. AUori, 242 k
Carmine

Masaccio and Masolino, 60 b,
61 b, 113 e

Filippino Lippi, 61 b, 64^

G. da Melano, 27 c
(Sacristy)

Frescos, style of the Bicci, 27 c
Gertosa {near Porta Pomona)

Giottesques, 28 d

Mariotto, 131 b
iS. Croce

Cimabue 25 e

Margheritone, 25 e

Index of Places.

265

Floeenob — continued
S. Grace

Daddi, B., 25 e

Giottino, 25 e

Maso di Bianco, 26

Giotto and his School, 25 e,
26, 33 a, b, 34 e, 35 b, e

Mainardi, 26

Gaddi, 25 e, 25, 33 b, 34 c

Stamina, 26

Gioranni da Melano, 26

Castagno, 68 k

Paintings on Glass, 110, a, g

Bugiardini, 136 d

Vasari, 216/

Santidi Tito, 217/

Ligozzi, 223 d

Cigoli, 223^

Gioyanni da S. Giovanni, 223
u
(Passage and Sacristy)

School of Giotto, 26, 44 a
(Sacristy)

School of Giotto, 26, 28/, 35/,

Niccoia di P. GeriDi, 26
(Cap. Medici)

School of Giotto, 26, 42 note

Oicagna, 26

Niccola Tommasi, 26

Lorenzo di NiocolS, 26
(Former Eefectory)

Giotto, 26, 33 A

Niccola di P. Gerini, 26
(C. Pazzi)

Windows, 110/

Giotto 27 d

FiUppino, 64 I

E. Ghirlandajo, 135 A
S. Felicitd

School of Giotto, 27 e

T. Gaddi, 27 e

Pontormo, 134 k, I

Poccetti, 223 *
(Sacristy)

Giotto ? 27 e
S. Filippo Neri

Stradanns, 215 note
8. Francesco at Monte

Paintings on Glass, 110 g
S. Frediano

Currado, 223 I
S. Giovanni della Calza

Perugino, 93 e

Pranciabigio, 133 b
S. Qiovannino

Currado, 223 m

Florence — eontimied
Innocenti

P. di Cosimo, 65 A

D. Ghirlandajo, 67 »»
S. Jacopo

SogUani, 136 b
8. I/uoa

Don Lorenzo, 37 a
8. Lorenzo

F. Lippi, 63 d

Painted Glass, 110 g

£osso Florentine, 135/

E. del Garbo, 135 o
Sogliani, 135 r
Bacchiacca, 135 «
Bronzino, 215 b

Sagrestia Vecchia

E. del Garbo, 135 o
8, Lucia d^ Bardi

D. Teneziano, 68 s
8. Lucia de* Magnoli

EmpoU, 223 i
8. Marco

Fra Benedetto, 66 c

Fra Bartolommeo, 129 J, 130

a, b
Santi di Tito, 217 A
(First Cloister)
Fiesole, 64 g, 247
Poccetti, 222 A
(Chapter-house)

Fiesole, 65 b, 247 c
(Eefectory)
D. Ghirlandajo, 67 i
Fra Bartolommeo, 130 a
(Cells and Passages)
Fiesole, 85 a
8, M. Maddalena de' Pazzi

C. Eosselli, 65 g
Perugino, 93 d
Painted Glass, 110/

8. Maria Novella
Cimabue, 21 d
Orcagua, 26 a, 40 b, 41 b
Masaccio, 62 a
Filippino,66 b

D. Ghirlandajo, 67 I
Painted Glass, 110 d
Bugiardini, 136 g
Tasari, 215 g
Ligozzi, 223 d

Fiesole, 64 d
(Chiostro Terde)

TJccello, 26 b, 66 »

Dello, 26 *
(Cap. degK SpagnuoU)

School of Giotto, 26 a, 33 c, e,

266

Index of Places.

Floeencb — continued
8. Maria Novella

f, a, 36 a, 38 c, 39 e, 40 e,
41 0, c, and <i, f

T. Gaddi, 26 c, 27, 39 «

Simone Martini, 26 c, 27

Antonio Teneziano, 27

Andrea da Firenze, 27, 39 e
(Cloisters)

SpineEo, 27

Giottino, 27 a

Santidi Tito, 217 y

Poocetti, 222A
S. Maria Niiova

Biooi di Lorenzo, 28 a

Hugo T. d. Goes, 104 a

Fra Barlolommeo, 128 note,
129 «, 138

Giov. da S. GioTanni, 223 w
8. Martino

School of Masaccio, 62 b
SS. Micliele e Gaetano

Mat. Eosselli, 223^
8. Miniato al Monte

Mosaic, 22/

Spinello, 27 *

Masolino, 60 note

Paolo di Stefano, 60 note

Baldovinetti, 67/
Monte Olweto

Don Lorenzo, 57 a

Lionardo da Vinci, 116/

E. Ghirlandajo, 116 b
8. Niceolo

Gentile da Fatriano, 51/

Baldovinetti, 67 d

Al. AUori, 222 g

Giottesque, 27/

Niocolo di P. Geiini, 27/

Daddi, B. 27/

S. Botticelli, 64 h

D. Ghirlandajo, 67 h
(Courts)

Ligozzi, 223 e

GioTanni da S. Giovanni, 223 v
8. Onofrio (Museo Egiziaco)

Etruscan Tases, 1 c

Fresco of Last Supper (Peru-
ginesque), 97 note
Orsammiohele

Lorenzo Monaco, 28 b

B. Daddi, 28 b

TJgoUno da Siena, 28 b
8. Sahi

A. del Sarto, 116 jr, 133 a
8. Spirito

Filippino, 64/

^jjOR^TfOE— continued
8. Spirito

fiafaellino, 64 k, 137 «

D. Ghirlandajo, 68 g

L. diCredi, 70S

Painted Glass, 110 e

Bosso Fiorentino, 135 g

R. del Garhn, 135 q

Ingegno, 137 e

Al. Allori, 222 e
8pirito Santo

PeseUino, 66 m,
8. Trinitd

Don Lorenzo, 56 d

D. Ghirlandajo, 67 k
Lo Sealio

A. del Sarto and Franciabigio,
133 a
S. Fietro Martire

Pocoetti, 222 1
Palazzo Piiti

(Lower rooms, left)

GioT. da S. Giov., 223 r, 251 »
Picture Gallery

Lippo Lippi, 63 e

Botticelli, 63 e, 64 a, 113 c

Fn. Lippi, 64 i

Pollajuolo, 68

Perugino, 95 h

Spagna, 98 c

G. Fraucia, 100 o

Bonsignori, 100 o, 112e

Giul. Francia, 101 e

Holbein.' 106 J

A. Durer, 107^

Clouet (School of), 109/

P. d. Francesca, 112 e

Castagno, 113 e

Costa, 114 a

L. di Credi, 114 e

Lionardo da Vinci, 114 c

After M.Angelo, m d

Kosso, 127 d

Fra Bartolommeo, 129 b, d,
130 a,f, 136 h

Mariotto, 131 a

A. del Sarto, 131 m, «, 132,
a, b, c, d, i, 134 b

Franciabigio, 134 c

Pontormo, 134,/, I

PuUgo, 134 «

Bronzino, 134 r

Bosso Fiorentino, 135 e

R. Ghirlandajo, 135 h

Bugiardini, 136 h

Raphael, 138 b, and note, 139 b,
d, 140 b, 141 c, 142 b, 144 c,
147 a, c, d, e, 148 note

Index of Places,

267

Flokenoh — continued
Ficture Gallery

After Eaphael, 142 *,/

G. Komano, 142/

Mazzoliao, 169 k

Garofalo, 170 *

DOSBO, 170 M

Carpi, 172, a, d

Sodoma, 174, n

Peruzzl, 176 g

Parmegianino, 183 d

Griorgione, 185 g

S. del Piombo, 186 i, m

Pahna Vecohio, 188, a

L. Lotto, 189 i

Titian, 190 e, 191 a, 192 b, i,

196 c
Marco VeceUio, 197 d
A. Schiavone, 197/
Bonifazio, 198 g, 205 c
Polidoro Yen., 199 i
G. A. Pordenone, 203
Bordone, 205 c
Tintoretto, 206 a, d
Bassani, 211 e
BandinelU, 216 e
Zucoaro, 217 e
C. AUori, 223 n
Mat. EosseUi 223 g
Guido Reni, 226 e, 244 i
Salv. Eosa, 230 a, 234 o, 252 q,

253 M, 256 J, k
P. da Cortona, 230 e, 257?
Fnrini, 231 a

Rubens, 231 y, 232 b,f, 255 A
Y. Dyck, 232y, 233/234 r
Rembrandt, 234 a
Pourbus, 234 y
Lely, 234y
Suatermans, 234 I
TineUi, 234 r

C. Dolci, 235 b, 243 «, 244 4
MuriUo, 235^
Yelasquez, 235 i
A. Caracoi, 238 g
Artemisia GentUescbi, 242 a,

and note
Gennari, 243/
Gueroino, 243 I
Crist. Allori, 244 <?, 249 m
Cigoli, 244^
Lanfranco, 245 a
Feti, 250 d
Manfredi, 252 h
Manetti, 252 h
Gio. da S. Giovanni, h
Flower Painters, 253 k
Bourguignon, 254 c

Florence — continued
JPicture Gallery

Paul Bril, 255 c

Euysdael,255y

Ag. Caracci, 256 b

G. Poussin, 256 »

Tassi, 257 b

Swanevelt, 257 A

Job. Both, 257 ?
Aeeademia

Cimabue, 21 c

Giotto Scbool, 28 / 32 / 33
h

Giotto, 32/ 33 a

TaddeoGaddi, 28/

Niocolo di P. Gerini, 28/

Agnolo Gaddi, 28/

Altar-pieces, 42 b, 43 a

Lorenzetti (A.), 46 a

Gentile da Fabriano, 51 d

Fiesole, 54 a, b, c, i, n

Don Lorenzo Monaco, 28 /
67*

Masaccio, 61 e

Lippo Lippi, 63 a

Botticem, 63/

Filippino Lippi, 64 g

Pesellini, 67

D. Gbixlandajo, 68 a

Granacci, 68 i

Yerrocchio, 69 h, 114 c

L. diCredi, 69/, k

SignorelU, 71 ^

Perugino, 95^, 139 c

Fra Bartolommeo, 128 note,
129 a, c, 130 a, i, i, I

P. NelU, 130;

Mariotto, 131 d

Fra Paolino, 131 k

A. delSarto, 134 a

Mich, di Eidolfo, 135 m

E. del Garbo, 135 »

SogKani, 135-6

Eapbael, 139 c

Pacchiarotto, 176 k

Yasari, 217 a

Al. Allori, 239 d
Palazzo Vecchio
Sala de' Gigli

E. Ghirlaudajo, 135/
Sala dell' Udienza

SaMati, 216 i
(Large Hall)

Yasari, 215 A
Fal. del Podestd or Bargello

Giotto, 28 e

Gastagno, 63 I

268

Index of Places.

P1.0BENCE — eontkmed
Uffizi
(Passage towards Ponte Vecohio)

School of Bronziuo, 135 d
(Picture Gallery)

Clmabue, 21 note

Giottesque, 28 e

Lorenzo Konaco, 28 «

GioTanni da Melano, 28 e

Giotto, 32 a

Lippo Memmi, 45 a

Lorenzetti, 46 i

Sim. di Martino, 45 a

Piesole, 53 e,5ie,h

Don Lorenzo, 66 e,f

Masaccio, 62 a, 65 a, 113 a

Lippo Lippi, 63 b

Botticelli, 63 e, 64

FUippino Lippi, 64 d, 65 u,
113 a

P. di Cosimo, 66 h

TJccello, 66 a

Baldovinetti, 67 «

D. GMrlandajo, 67 m, 68 b

Granacoi, 68 i

PoUajuolo, 68 n

D. Yeneziano, 68 s

P. della Franoesoa, 69 b

L. di Credi, 69 j, 70 «, 113 *

Signorelli, 71 i

Mantegna, 77 b, 113 h

Marc. Palmezzano, 78 g

Mansueti, 86 b

AntoneUo, 85 e

Giov. Bellini, 86 note, 113 *,

186 note
Perugino, 94 note, 95 i, 113 b
CristuB, 103 a
Hugo V. d. Goes, 104 b

E. T. d. Weyden, 104/
Memlingj 104 b

f rumenti, 105 e
ftn. Metsys, 106
Master of Death of the Virgin,

106
Bles (H. de), 106/
L. V. Leyden, 106 i, and note
A. Durer, 107 e, i, k
SchaiiffeUn, 108 a
Georg Pencz, 108 c
L. Kranach, 108/
Holbein, 108 Tc
Style of Clouet, 109/
Lionardo, 112 note, 116 o, d,

117 a
After Lionardo, 112 note
P. d. JFrauoesca, 112 b
Fr. Franoia, 113 c

Florence — continued
Uffizi

Lionardo, or L. di Credi, 114/.

116 d
CoUectiou of Portraits, 113

note
FiUppino, 64 d, 113 a
Holbein, 108 *, 109
Luini, 115 e, 117 a
Michelangelo, 127 a, note
DauieledaVolterra, 128 e, 216 a
Fra Bartolommeo, 128 note, 130

«)?
Manotto, 131 c

A. del Sarto, 131 0, 132 b
Franciabigio, 134 c, 136 note
Pontormo, 134 g, h, I
Bronzino, 135 a, d

B. Gbirkndajo, 116 b, 136 h,
136 »■

A. Allori, 135 note
SogUani, 136 a
Bugiardini, 136 e, i
Eaphael, 97 a, 136 i, 139 a, e,

140 a, 144 a, 147 b, and note,

148 a, 186 d
After Eaphael, 144 a
Guercino, 147 note
Giulio Romano, 164 g
MazzoUno, 169 k
DoBso, 170 t
Carpi (G. da), 172 *
Sodoma, 174 I, n,
Brescianino, 176 e
Beccafumi, 176 a
Correggio, 179 a, e, and note
Parmegianino, 183 h
Giorgione, 185 I, m, 186 a
Torbido, 185 I
Cajoto, 185 I
P. della Vecchia, 185 m
Basaiti, 186 a, and note
Schidone, 186 g
Falma Tecchio, 188/
S. del Piombo, 148 a, g
L. Lotto, 186 g, 189 h
Titian, 190 d, 191 a, b, g,

196 S ' *

Savoldo, 199 q
P. Pino, 200 a
Moretto, 200 j
Moroni, 201 a
S. Angussola, 202/
G. A. Pordenoue, 203 c
Bordone, 205 b
Tintoretto, 206 b, 207 c
Paolo Veronese, 209 h
Bassani, 211 a, b

Index of Places.

269

Flobbnob — contmued
UJizi

Bionzino, 216 a

Vasari, 217 *

Miniature Portraita, 217 note

Baroccio, 218 c, e, h

Cambiaso, 218 I

Scarsellino, 219 m

Ann. Caracoi, 226 gi

Mengs, 227y

Spagnoletto, 229 ft

Eubens, 231 o, 232 «

Yam Dyck, 233, g, h

Eembrandt, 234 b, d, 265 k

Poiirbus, 234 i

Lely, 234 k

FlemiBh Painters, 233 m, 234
k

Sustenuans, 234 m

Tinelli, 234 q

Domenicblno, 234 1

Dolci, 236

Telasquez, 236 h

Honthorat, 237 h, 262 g

CigoU, 241^, 244^

CaraTaggio, 241 i

Artemisia Qentileschi, 242 a

Carlo Dolci, 243 «

Sassoferrato, 246 m

Biliverti, 249 k

Feti, 250 e

Albani, 250 r

Pousein, 261 b

Geminiani, 251 h

Guide ileni, 251 k

Giordano, 252 a

Jan Miel, 253 b

Dutch Genre Painters, 263 e

CastigUone, 253 i

Bourguignon, 254 d

Paul Bril, 255 c

Elzheimer, 255/, g

Stalbent, 266 k

Ph. Kouinck, 255 k

Seghers (H.), 256 k

Salrator Hoaa, 256 k

G. Poussin, 256 w

Tassi, 257 b

Claude Lorraine, 267 i
Collection of Drawings :

Eapbael ? or Pinturicchio,
97 »
Pal. Alessandri

Botticelli, 63 note

Pesellino, 66 m
Pal. Buonarroti

Pesellino, 66 m

Flohenoe — continued
Pal. Buonarroti

Michelangelo Drawings, 127 i

EmpoU, 223 e
Pal, Capponi ("Fia de' BardiJ

FiLippino, 64 «

Diirer, 107 i

Luini, 117 b

Franciabigio, 134 e and note

Poccetti, 223 a

Furini, 231 b

Crist. AUori, 234 i>

Bourguignon, 254

Salv. Eosa, 256 ft
Pal, Corsini

Lippo Lippi, 63 e

Sandro Botticelli, 64 a

Ghirlandajo, 68 e

SignoreUi, 71 h

Puligo, 134

Bronzino, 135 b

Florentines of the seventeenth
century, 224 a

Furini, 231 e

Sustermans, 234 n

Carlo Dolci, 224 a, 2iSf

Marinari, 243/

Crist. Allori, 249 «

Genre Painters, 253 a

Salv. Eosa, 263 o, 256 k

Bourguignon, 264/
Pal. Guadagni

Miniature Portraits, 217 note

Sustermana, 234 o

Salv. Eosa, 266 ft
Casa Martelli

SalT. Eosa, 229 note, 251 m
Pal. Paneiatiohi

After Eaphael, 142 *
Pal. Siccardi
(Upper rooms)

Giordano, 261 r
(Chapel)

Senozzo, 66 e
Pal. Strozzi

Botticelli, 113/

Titian, 191/
Pal. Torrigiani

FiLippino, 64 1

Pesellino, 67

Signorelli, 71/

Credi, 114 a

Sogliani, 136 e

Paolo Veronese, 210/

Domenichino, 256 d
Lawrie coll.

Raphael (?) 142 a

270

Index of Places.

FOIIGNO

Talazzo

Frescos of the fifteenth century,
61 e
S. Caterima

Barto di Foligno, 91 h
8. M. in Campis

P. Ant. da Foligno, 92
Commxme

Barto. da FoKgno, 91 h
S. M. infra Portas

Alunno, 92 d
S. Niccolo

Almmo' 92 «

FONDI

Cathedral

Manner of Buoni, 102 g
FONZASO

F. VecelU, 197 a

FORLI

S. Biagio e Girolameo
Fahnezzano, 78/
Frascati

Villa Aldobrandini
Domenichino, 250 I

Gavelli

Spagna, 97/
Genoa

Cathedral (8. Lorenzo)

Baroocio, 218 a

Cambiaso, 218/

Paggi, 225 b
8. Ambrogio

£ubene, 231,/, «

Guide Eeni 247 a
8. Bartolommeo degli Armeni

Cambiaso, 218 o
8. Donato

B. V. OrleyC?) 106/
8. Giorgio

Cambiaso, 218 «

Coello, 235 o
8. Maria di Carignano

Franc. Tanni, 217 r

Cambiaso, 218 m

Maratta, 241 d

Guercino, 244 n
8. Maria di Castello

Fifteenth century, 61 c

P. F. Sacchi, 81 1

Brea, 81 i

Justus de AUemagna, 51 c, 103 c
8. Maria della Face

Baratta, 248 h, 'iAIi
8. Matteo

Cambiaso, 219 a

Genoa — continued
8. Panerazio

Piaggia, 81 k
8. Pietro in Banchi

Paggi, 225 a
8. 8iro

Giov. B. Carlone, 248/
8. 8tefano

Giulio Eomano, 165 a

Dom. Piola, 239 «
8. Teodoro

FUippino, 64 I
Palazzo Giorgio Doria

Castiglione, 225 e

Van Dyck; 232 c
Pal. Adorno

Mantegna, 77 i

Clouet, 109/

Perin del Taga, 166 a

Palma Teoohio, 188 g

Cambiaso, 218 k

Eubens, 231 I

Guido Eeni, 249 h
Pal. Brignole Sale

A. del Sarto, 132/

B. Pordenone, 186 «
Bonifazio, 199 a
Moretta, 200 v
Bordone, 203 d, h
P. Veronese, 209/
Capuccino, 219 b, 240 c, 249 I
Pell. Piola, 225 d, e, 245 n
Guercino, 226 I, 236 g, 239 a,

243 Ji:

Eubens, 231 m

Van Dyck, 232 m, 233

Procaccini, 236 p

Carayaggio, 239 c
Pal. Spinola

School of Luini, 117 c

Cambiaso, 219 d

Eubens 231 k

G. Eeni, 245 d

Capuccino, 249 I

Saraceni, 262 k
Pal. Doria Tursi

Ger. David, etc., 106 a
Pal.-Balbi Piovera

Filippino, 64 «

B. Pordenone, 204 c

Titian, 204 c

Caravaggio, 229 note

Van Dyck, 232 k, 233 *
P. Marcello Dura:zo

Tintoretto, 206 c
Pal. Filippo Durazzo

Eubens, 232 h

Van Dyck, 233 a

Index of Places.

271

Genoa— <!0«<j««erf
Pal. Pallcmieini

Old Flemish, 106 e

After Eaphael, 148 note

SoMdone, 245 p

Guercino, 251/

Ann. Caracoi, 266 b
Pal. JDoria

Perm del Taga, 166 e
Caaa Casaretto (Cattamo)

Tan Dyok, 233 d

GOBLAGO

Moroni, 201/
Gbabara

G. Santi, 78 e
Gbottapekeata
Abbey Church

Domenichino, 226 h,
Gtibbio
S. M. Nuova

NelU, 51 o
Cathedral
Ibi, 98/
Ad. Doni, 98 o
Tim. della Tite, 168 g

GtTALDO

M. da Gualdo, 92
Alunno, 92/

IlIiASI

Stefano da Zevio, 60 d
IsoLA Bella

Buttinone, 80 b

lionardo or Melzi, 119 i
Iteea

D. Ferrari, 82 b

Legnano
Principal Church
Lviini, 119 a
Legkaia

Casa Pandolfini Ca^tagno, 68 I
LooAENO (Teasin)
Madonna delle Grazie
Bramanttno, 80 c
Fifteenth century, 81/
LoDi
Cathedral

Cal. Piazza, 199 i
Incoronata

Borgo^none, 81/
Cal. Piazza, 199 h
Various Churches

Piazza, Albertino and Martino,
78 J

LOEETO

Church

SignoreUi, 71

LoBETO — continued
Church

Palmezzano, 78/
Bishop's Palace
L. Lotto, 189 n

LOTEEE

Tadini Gallery

Jaoopo Bellini, 73 o
T. Civerohio, 80 d

IiUCCA

Cathedral (S. Martino)

D. Ghirlandajo, 68 d

Paintings on Glass, 110 h

Fra Bartolommeo, 129/
8. Agostino

Zacchia, 169 note
S. Frediano

Francia, 100 k

Frescos by Aspertini, 101 b
S. Giovanni

Painted 'Windows, lioy
S. Paolino

Painted 'Windows, 110 i
S. Pietro Somaldi

Zacchia, 169 note
S. Romano

Fra Bartolommeo, 129 g, h
S. Michele

Filippino, 64/
S. Salvatore

Zacchia, 169 note
Ltjgano
8. Maria degli Angeli

Lnini, 118 g, 119

Macbbata
Church

Alegretto di Nuzio, 47 g
Matelioa

8. Severini, 91 g
Meuole
Church

Titian, 193^
Messina

Mosaic, 16/
Salvo d' Antonio, 867
Alibrandi, 120 a
Milan
Cathedral

Paintings on Glass, 109 g
8. Ambrogio

Mosaics, 13 g^ 14 e and note
Antique Painting, 19 g
Zenate, 80 b
Borgognone, 81 a
Lanini, 121/
8. Caterina

Lanini, 121 k

272

Index of Places.

MrtAN — continued
S. Mtfemia

Oggionno, 119 e
8. Giorgio in Palazzo

Luini, 119 c
S, Lorenzo

Mosaics, 13/
S. Maria presso S. Celso

Gaud. Ferrari, 120 g

Cal. Piazza, 199 g

Bordone, 205 n

Appiani, 249 h
S. Maria delta Grazie

Buttinone and Zenale, 80 h

Lionardo^ 116 c

Bramantmo, 80 c

Montorfano, 80 d, 116 e

&. Ferrari^ 121/

Bugiardini, 136^
S. M. della Passione

Borgognone, 81 b

Luini, 119 b
S. Maurizio fMonastero MaggioreJ

Luini, 118 b
S. Pietro in Gesaate

Cirerchio, Buttinone, and
Zenale, 80 b, d
S. Satiro

Borgognone, 81 /
S. Sebastiano

Bramantino, 80 o
S. Sepolero

Bramantino, 80 e

Luini and Fedrini, 121
8. 8impliciano

Borgognone, 81 b
8. Stefano

M. da Verona, 177 I
Pal. Trivulzi

Mantegna, 77/

Antonello, 85/

Durer, 107 h
Casa Borromeo

Michelino, 51 b

Zenale, 80 b
Duea Scotti

Borgognone, 81 d

Cesare da Sesto, 119 m
Casa Perego

B. da Tenezia, 90

Solario, 122 d
Don Giacomo Poldi

Solario, 122 a, b
Pal. Litta

Luini, 118 e
Caea Sovelli

Marco d'Oggione, 119 «

iiiLAN— continued
Caaa Melzi

C. da Sesto, 119 o

Bramantino, 80 e
Ambrosiana

Zenale, 80 b

Bramantino, 80 c

Borgognone, 81 e

Cima, 88 o

Lionardo, 112 a, 114 c

After Lionardo, 116 e

Luini, 117 d, 118, 118 e

Salaino, 119^

C. da Sesto, 119 k

Baphael, 151 a

Titian, 193 m

Dossi, 171 1

Cariani, 199/

SaToldo, 199 v

GKorgione, 201 1

Eomanino, 201 1

Jac. Bassano, 211 j

Breughel, 254 i
Brera Picture Gallery

Stefano da Zevio, 60 d

G. da Fabriano, 51 e

SignoreUi, 71 k

Stefano da Ferrara, 74 g

EondineUo, 74 g, 82 note

Dom. Morone, 77 «

Mantegna, 77 c, e

G. da Fabriano, 51 e, 52 note

Fra Camevale, 78 b

Santi, 78 e

Marc. PaJmezzano, 78 g

Girol. Genga, 78 h

Montagna, 78 7

Terlas, 79 d

Zenale, 80 b, 82 note

Liberale, 79 g

Foppa, 80 a

Bramantino, 80 c

Borgognone, 81 e

TempereUo, 82 note

Mazzola, 82 m

Crivelli, 83 », 84 *

Gent. Bellini, 84 d

Gio. Bellini, 87 *, e

Cima, 88

Previtali, 89 g

Boecacino the Younger, 90 s

Alunno, 92 b

Fr. Francia, 100 i

Giao. Francia, 100 jO

Lower Ehenish, 107 b

Lionardo, 116 g

Luini, 118, c, d, and note

Index of Places.

273

MiLAK — continued
Brera Picture Gallery.

Ogionno, 119 d

Salaino, 119 g

Oesare da Sesto, 119 m, 122
a

Gaud. Ferrari, 120 e, 121 c

Lamiii, 121 i

Pedrini, 122

Solario, 122 a

Michelangelo, 127 e

Raphael, 137 c

Einaldo Mantovano, 165/

Tim. della Vite, 168 e

Girol. Marcliesi, 169/

Garofalo, 170/

Doaso, 171 *, I, 185/

Bonifazio, 185 a, 186 i, 198
b

Giorgione, 171 I, 185 a, 185 /,
186 J

Lor. Lotto, 190 b

Titian, 192 g

Cariam, 199 e

Cal. Piazza, 199 m

Savoldo, 199 i?

Moretto, 200 «

Moroni, 201 d

Gio. Martini, 204/

Bordone, 205 m

P. Veronese, 209 b, g, 210 *

Salmeggiaj 219/

Bomeniohmo, 226 i

Gueroino, 226/

Mengs, 227/

Eubens, 232<!

Van Dyok, 232 «, 233 e

Eembrandt, 234 e

Cerano, 236

Guido Eeni, 245/

SasBoferrato, 245^

Giordano, 246 d

J. Breughel, 254/

S. Rosa, 256 n
JSusto Arsizio (near Milan)

G. Ferrari, 120/
Mantua
Pal. Bmale

Giulio Eomano, 165 b

Rubens, 231 d
Pal. del Te

Giul. Romano, 164 e

Einaldo, 165 c
Casiello di Corte

Mantegna, 76/, 178 note
S. Andrea

Costa, 75 A

Mantegna, 77 d

Matelioa (near Fabriano)
8. PVanceaco di Zoccol<mti
Palmezzano, 78^
Eusebio di S. Giorgio, 98/
Messina

SaUba, 85 I
Cathedral

Mosaic, 16 g
8. Ghregorio

Antouello da Messina, 85 b

MiLAZZO

Saliba, 86 I

MODENA

Cathedral

Dosso, 171 c
Al Carmine

Dosso, 171 e

Calabrese, 230 i»
8. Pietro

Herri de Bles, 106 h

Dosso and School, 171/
8. Vineenzo

Gueroino, 236 A
Gallerg

Th. of Modena, 48 n

Parentino, 74 a

Bianohi-Kerrari, 82 d, 100 y

Bonasia, 82 e

Meloni, 82 e

B. Losco, 82 e

Gerard of Harlem, 82 e

Stefano da Ferrara, 82 e

Costa, 82 e

Fr. Fraucifl, 100 g

Memling, 104 »

Giorgione, 148 note

Baphael, 148 note

Palma Vecohio, 148 note

Niccolo dell' Abbate, 165/

Garofalo, 148 note, 170 I

Dosso, 165/, 171 d, g

Pagano, 172 e

Caroto, 176 A

Correggio, 182 I

Bonifazio, 199 h

Tintoretto, 206/

Soarsellino, 219 o

Gennari, 221 a

Spada, 222 a, 252 i

Gueroino, 226 A, 234 a, 241
e

Guido Eeni, 236 b

Caravaggio, 252 e
Pal. Communale

N. deU' Abbate, 165 «

MONEEALE

Gafhedral

Mosaics, 16 e, j

274

Index of Places.

MONTECASSINO

Sabattini, 167 h
Marco da Siena, 217

MONTEPALCO.

B, Gozzoli, 66 b-d
Lorenzo da Yiterbo, 66 note
Melanzlo, 99 b

MONTEPIORE

Santi, 78 «

MONTEPIORENTINO

Luigi Yivarini, 83 m

Santi, 78 e
Monte Oliveto (South of Siena)

B. Gozzoli, 66 h

Signorelli, 70/

Sodoma, 172 k
Monte Oetone
S. Maria

Montagnana, 74 a

MONTEPITLCIANO

Misericordia

Lorenzetti, 46/
Monte S. Mab.tino

Girolamo di Gio., 91 g
Multedo

Saochi, 81 b
MuBANO (near Venice)
Cathedral

Mosaics, 16 note
Angeli

Pennacohi, 90 a
G. A. Pordenone, 202 i)
S. Donate

Mosaic, 16 note
Sebastiani, 89/
SS. JPielro e Paolo
Giov. Bellini, 87 d
Basaiti, 89 A, I

MUBS0I,0NE

A. da Mnrano, 83 m

Naples

Cathedral {S. Gennaro)

T. degU Stefani, 24 g

Santafede, 216 k

Imparato, 216 m

Marco da Siena, 216 o

Bomenichino, 247 i
S. Eestituta (adjoining building)

Mosaics, 24/

Sil. de' Buoni, 102 d
8. Angela a Nilo

Colantonio del Fiore, 53 e
S. Aniello

P. Negroni, 167 note
8. Antonio Abbate

Niccola Tommasi, 31 h, 63 b

Colantonio del Fiore, 53 b

Naples — continued
88. Apostoli

Lanfranco, 248 d
8. Caierina a Formello

Garzi, 230 I
8. Chiara

Giotto, 31 h

Giottesque, 31 «

CaTaUini, 31/

Conca, 230 m

Bonito, 230 «
8. Domenieo Maggiore

Fourteenth Century, 53

Stefanone, 53 a

Flemish eWe, 101 ^

Marco da Siena, 216 j)

SoUmena, 230/
8. Filippo (Gerolomini)

Giordano, 239 b
8. Gennaro dei Foveri

Catacombs, 8 g

Sabbatini (?), 167 *
Geaii Nuovo

SoUmena, 230 k

Lan&anco, 248 c
8. Giacomo degli Spagnuoh

A. del Sarto, 132/

G. B. lama, 167 c
8. Giovanni a Carbonara

Bisuccio, 51 a
8. Giovanni Maggiore

School of Lionardo, 102 note
Ineoronata

Giotto and Glottesques, 31 /,
34 a, 37 d

Eoberto de Oderisio, 31 g
8. Lorenzo

Simone di Martino, 45 d, 52 i

Simone Napoletano, 62 i
8, Maria delle Grazie

Sabbatini, 167 a
8. Maria la Nuova

The DonzelK, 102 c

F. da Tolentino, 102 c

Ainemolo, 102 e

Papa the lounger, 216 »'

Santafede, 216/

Imparato, 216 m
8. Martino

Giordano, 230 g

Spagnoletto, 237 e, 239 /
(Pictures in the Choir), 239/

Stanzioni, 239/, 239 k, 244 A,
247 m

Carracciolo, 239/

C. Caliari, 239/

Lanfranco, 248 e

Guide, 239/

Index of Places.

275

Naples — continued

Monte Olweto

SUt. de' Buoni, 102 J

Zingaro, 102 b
Monte di Pietd

Ippolito Borghese, 167 n

Santafede, 216 I
S. Paolo

Raphael Copies, 143

Soumena, 230 i
S. Fietro d Majella

Calabrese, 248 h
S. Fietro Martire

Flemish style, 101 i
S. Sevenno

Flemish style, 101 i

Zingaro, 101 7

Amato, 102 h

De Mura, 230 m
S. Teresa

Giao. delPo, 238 y
Trinita de' Felkgrini

Vacoaro, 243 h

Stanzioni, 244 i
Castel Nuovo
(Chapel)

John Van Eyok, 103 note

Niccola Tommasi, 31 h
Falazzo Seale

Titian, 190 e
Museo Naziondle

Etruscan Vases, 1 a, 3 «
(Ground Floor)

Old Italian Paintings, 3 a, 4 A,
i,j, k,l,5a, b, c, 6, 7

Mosaics, Off, 6 a
(Picture Gallery)

Byzantine Pictures, 17 d

Ma«aocio, 61 a

Gentile da Fabriano, 61 a

Mantegna, 77 a

FU. Mazzola, S2J

Bart. Tivajrini, 83 b

L. Vivarini, 83 I

Gir. da S. Croce, 84 note

GioT. Beffini, 88 a

Matteo da Siena, 91 c

Pinturicchio, 97 b

Simone Papa the Elder, 101/

Zingaro, 102 a

Donzelli, 102 b

S. de' Buoni, 102 c

Hubert T. Eyck, 203 note

E. V. d. Weyden, 104 ff

■Wohlgemuth, 105 d

P. Breughel, 106i

Lower Rhenish, 106 A, 107

Naples — contvmted
Museo Nazionale
(Piot<ire Gallery)

Lucas Eranach, 108 a

South German, 108 h

Holbeia, 109 c

C. da Sesto, 119 n

After Michelangelo, 127 «'

Agnolo Bronzino, 127 i, 134 q

Fra Bartolommeo, 130}'

A. del Sarto, 141 a, 142 d, 147 c

Raphael, 141 a, 147 e, 148 note

After Raphael, 141 a, d, 142 a

G. Romano, 142 c

Sabbatini, 166 g

Lama, 167 e

Amato, 167/

Cardlsoo, Negroni, etc., 167 A,
I, n

Polidoro, 167y

Garofalo, 170 A

Sodoma, 174 i

Correggio, 179, d, e

Aretusi, 181 d

Parmegianino, 183 g

Seb. del Piombo, 186/, I

Fr. Torbido, 187 I

Palma Vecohio, 188/

Titian, 190 e, 192 a,

Marco da Siena, 216 «

Spagnoletto, 229/, 243 d

Giordano, 230 h, 239 k, 246 e

Rembrandt, 234 c

Mirevelt, 234 g

Schidone, 237 b

Sassoferrato, 237 fc, 238 I

Salv. Rosa, 238 p

Ann. Caracci, 239 i

Spada, 241 m

Calabrese, 242 c, 250

Vaccaro, 243 g

Gnercino, 244 a

Fiuoglia, 244/

Lanfranco, 248 g

Guide Reni, 251 i

Battle Painters, 253 m

Claude Lon-aine, 257 A
Casa Borromeo

Michelino, 51 b
Cmaliere Santangelo

Diirer, 107 g

Negroni, 167 note
Naeni

Spagna, 97 Je

Ghirlandaio, 97 k, 98

R. del Garbo, 98
Nasciano

M, da Gualdo, 91 h

T 2

276

Index of Places.

Nepi
S. Mia

Medissval Painting, 16 i

NOCBBA

Alunno, 92/

NOECIA

Siculo, 98 r

NOVABA

Cathedral

Gaud. Ferrari, 120/
Lanrni, 121 o

Orvieto

Cathedral

Simone Martim, 45 c
Lippo Memml, Id g
Ugolino di Prete Ilario, 47 e
Gent, da Fabriano, 61 h
Fiesole, 56 a
Benozzo GozzoU, 66 b
Signorelli, 56 note, 70 g

Pal. Oualterio

Signorelli, 95 e
Eusebio, 96 note

Padua

Campagnola, 199
San Antonio (H Santo)

Giotto and Giottesques, 25 6, e

Aranzo and Altichieri, 49 e, 50

GioT. and Ant. Padovauo, 50 a

Giusto, 50 6

Semitecolo, 62 d

Canozzi, 74 a

P. da Yerona, 177 m
Seuola del Santo

Titian, 194, 195

Campagnola, 194 e
Cappella di S. Qiorgio

Aranzo and Altichieri, 49 e
Baptistery

Padovano (Giusto f), 50 o
Eremitani

Giottesque, 25 e

Mantegna, 76 e

Guariento, 50 d

Ansuino, 76 e

Bono, 76 e

Pizzolo, 76 e
S. Francesco

Fr. da S. Croce, 84, note 2

Girol. da S. Croce, 84, note 2

Gir. del Santo, 201 m
S. CHustina

Parentino, 74 a

Padua — continued
S. CHustina

Frescos of sixteenth century,
195 note

Glrolamo del Santo, 201 m

P. Veronese, 209 d
l^iscopal Falace

Jacopo Montagnana, 74 a
Santa M. in Fanzo

Montagna, 79 i

M. da Verona, 177 I
Madonna deW Arena

Giotto, 25 o, 33 a, 34 e, 35 c,
38 d, 40 a, and note
Seuola del Carmine

Titian, etc., 194/
Town Gallery

A. and B. Vivarini, 52 g

Sqnarcione, 73 a

Pietro da Messina, 85 *

P. Pino, 200 *

Bomanino, 201 h
Fal. della Bagione

Miretto, 50 o
Fal. Maldwa

Caroto, 176 I
Oasa Zazzara

Squarcione, 73 a, b
Casa Catialli

PreTitali,89^
Paitone

Moretto, 200 m
Palermo
S. Maria delV Ammiraglio

Mosaics, 16 d
Cappella Falatina

Mosaics, 16 c
Gallery

Camulio, 51 b

Saliba, 85 I

Memling, 104 A
Corment of Virgini

VigiBa, 85 Ic
Sospital

Grescenzio, 85 k
Parma

Fourteenth and fifteenth oon-

turies, 49 c
Correggio, 181 e
Eondani, 183 c
Anselmi, 183 c
Gandini, 183 c

Thirteenth century, 19 d
Filippo Mazzola, 82 k
. Annumiata
Marches!, 169/

Index of Places.

277

Pabua. — lontinued
8. Anmmziata

Correggio, 182 a
Sola del Consorzio

CaseUi, 82 note
S. Giovanni Snangeliata
Araldi, 82 h
G. Franoia, 100 «
Correggio, 181 a, b
Caraooi, 181 c
Parmegianino, 183 h
La Steccata

School of Mazzola, 83 a
Camera di 8. Faolo
(Formerly a convent, front room)

Correggio, 180 d
(Second room)
Araldi, 82 g
Pal. del Giardino

AgoBt. Caracci, 2S0 i
Farnese Palace
(Gallery)
Masters of the fifteenth century,

Wie-h
Pierilario Mazzola, 82 h
FQippo Mazzola, 82 I
GioT. Beffini, 87 h
Cima, 88 p
F. Francia, 100/
Holbein, 109 a
After Lionardo, 116 e
Araldi, 116 e
After Baphael, 148 note
Correggio, 179 /, g, and note,

180, 180 a, b, c
Pupils of Correggio, 182 c
Spada, 222 a
Schidone, 222 a
Velasquez, 235 I, m
Lod. Caracci^ 236 j
Ann. Caracci, 240 a
Spagnoletto, 243 d
(library)
Correggio, 181 b
Sala del Consorzio
Temperello, 82 note
Paxtsola

A. da Bologna, 48
8. Severini, 91 g
Patia
Cathedral

Gatti, 183 a

Montagna, 79 S
Borgognone, 81 d
Macrino d'Alba, 82 a
Solario, 122 e
Crespi, 222 e

Pabma — continued
8. Marino

School of Lionardo, 121 ;
Stabilmento Malaspina

Antonello, 85 fi
Pekuoia
Cathedral

Signorelli, 70 h

Perugino, 95 g

Manni, 98 i

Earoccio, 218 i
S. Agoatino

Perugino, 95 c, g
8. Caterina

Bernardino da Perugia, 99 d
8. Domenico

Fiesole, 54 g

"Windows, 109 h
8. Francesco de' Conventuali

Fiorenzo, 92 I

Baphael, 140 e
8, Girolamo d^ Minori

Pinturicchio, 97 o
8. Pietro de' Cassirtensi

Perugino, 96 d

Sassoferrato, 95 e

Ad. Doni, 98 m

Copy after Perugino, 137 note

Aliense, 208 b
8. 8evero

Perugino, 95 e

Eaphael, 129 e, 138 a
8. Tommaso

Manni, 98 h
Pinacoteca

Fiesole, 64 g

Fra Camerale, 78 c

Francesca (P. della), 78 e

Boccatl, 91 g

Alunno, 92 b

Buonfigli, 92/

Fiorenzo, 92 %, I, 93

Perugino, 93 b, 95 a

Pinturicchio, 97 i

Spagna, 98 d

Eusebio di S. Giorgio, 98 d

Domen. di Paris AKani, 9i

Bern, da Perugia, 9!

Amedei, 140/
11 Cambio

Perugino, 95 a

Manni, 98 h
Pal. del Commime

BuonfigU, 92/
Pal. Connestabile

Eaphael, 137 d

Crist. Allori, 249 o

\d

278

Index of Places.

Pebugia — continued
Caaa Alfani

Peruginesjuea, 137 note
Casa Baldeschi

Drawings of PinturiccMo, 97
Servi di Maria

Perugino, 95 g
Pbsaro
8. Francesco

Giov. BeUini, 88 g
8. Giovanni

Zoppo, 73 «

PlACENZA

Cathedral

Guercino, 229 b

Lod. Caracci, 247/
8. Oroce

Guercino, 249 i
Mad. delta Oampagna

Pordenone, 202 i
8. 8isto

After Baphael, 143 note

PlENZA

8. Anna in Creta
Sodoma, 173 a

PiGNOLO

Moroni, 201/
Pisa

Cathedral

Mosaics, 23 a

Cimabue, 21 i, 23 a

A. del Sarto, 134 c

Perm del Vaga, 166 i

SogUani, 166 d

Sodoma, 174 »'

Empoli, 223 A
Campo Santo

Buffalmacco? 28 /, g, 29 a,
36 d, 37 «, c

Triumph of Death, Last Judg-
ment, and Hell, Orcagna,
Lorenzetfi ? 28 h, 32 d, 33 f,
36 c, 37 e, 38 a, i, c, 40 c, d,
41 a, d, 44 b

Lorenzetti, 28 h, 36 c, 41 e, 46 b

Simone Martini, 28 A, 45

Andrea da Firenze, 28 h, 32 d

Ant. Teneziano, 29, 32 c

SpineUo, 29, 32 *

Franc, da Volterra, 29

Pietro di Puecio, 28 g, 29 a, 32
e,i\g

Eenozzo Gozzoli, 29 a, 66 j

Eoudiuozzi, 66^
8. Caterina

Traioi, 29 d, 42 a

Mariotto and Fra Bartolommeo,
131/

Pisa — continued
8. Francesco

Tadd. Gaddi, 29 b

Nie. di Pietro Gerini, 29 e

Tadd. di Bartolo, 47 d
8. Martino

Giottesques, 29 e
8. Banieri

Giunta Fisano, 20 e

Giottesques, 29/
Accademia

Traini, 29/

Sim. di Martino, 45 b

Barnabas, 49 a

Gentile da Fabriano, 51 g

Benozzo Gozzoli, 66 k

MaochiaTelli, 66 I

Old Flemish, 105 c

Sodoma, 174 k
8eminario Fescovile

S. di Martino, 45 b
8. Fiero in Grado (fiear Fisa)

Thirteenth century, 20 i^, 21 e

PiSTOJA

Cathedral

Lor. diCredi, 69«,70(i
8. Somenico

Fra Barto, 129 i

EmpoK, 223/
8. Francesco al Prato

School of Giotto, 29 g

Niccolo di P. Gerini, 29 g

, Puecio Capanna, 29 h

POSGIBONZI

8. Lucchese

PinturiccMo, 97 e

Gerino, 98 p
8. Fiero a Megognano

Tad. Gaddi, 30 d

POLIZZI

Hugo V. d. Goes, 104 a
Pompeii

Old Paintings, 5 d,e,f

Antique Landscapes, 7
Pordenone

Cathedral, Town Hail, and Church
at Torre

G. A. Pordenone, 203 f, I

Calderari, 204 r
Prague

T. da Modena, 48 n
Prato
Cathedral

Angelo Gaddi, 29 i,3ib,d

Stamina, 29 i

Tite (A.), 29 i

F. Lippi, 62 c, 67 g

E. & D. Ghirlandajo, 135 I

Index of Places.

279

Prato — continued
8. Ilomemco

F. Lippi, 62 e
S. Francesco

Lor. di Niceolo, 29 J

Nic. di Pietro, 29 J
Pal. del Commune

F. Lippi, 62/

School of Bronzino, 136 c
Strada di S. Mar^herita

Filippiao Lippi, Tabernacle,
65 d

Eanverso

Macrino, 81 m
Ferrari, 82 e
Eavenna
S. ApolUnare in Glasse

Mosaics, 13 I

8. ApoUinare Nuovo

Mosaics, 13 d

Longhi, 220 h
8. Oiov. Eoangelista

Giotto, 25 d
8. Maria m Gosmedin

Mosaics, 13 b, 25 d
88. Nazaro e Gelso

Mosaics, 12 d
8. Titale

Mosaics, 13 e
Orthodox Baptistery, 8. Giovanni
in Fonte

Mosaics, 12 b
Archbishop's Falaoe

Mosaics, 14 e
Fublic Gallery

E. E. Grandi, 74r/
Eeoanati, near Ancona

L. Lotto, 189 I
Eeqqio
Cathedral

Tliirteenth century, 19 e

EtETI

Antoniasso, 93

ElMINI

8. Francesco

Piero della Francesca, 69 d
Town Hall

D. GMrlandajo, 68/

Giov. Bellini, 88/

EOME

Baths of Caracalla

Antique paintings, 4 e

Baths of Titus and Trajan
Antique paintings, 4 a

Colum,baria^ Via Latina
Antique paintings, 4 b, c

EoME — continued
Falaces on the Palatine

Antique paintings, 4 e, 7 a
Catacombs

Antique paintings, %bet seq.
8. Agnese Fuori

Catacombs, 8 e

Mosaics, 14 a

Antique paintings, Wb
8. Agostino

Raphael, 161 b
Alle Tre Fonfane, see 8. Vincenzo
8. Andrea della Valle

Domeuichino, 228 g, 247 g

Calabrese, 228 g

Lanfranco, 248/
88. Apostoli

Melozzo, 77 I

Eighteenth century Painters,
227 d
8. Calisto

Catacombs, S dj9 a,b
8. Carlo d Catinari

Sacohi, 230 r, 237 I

Domenichino, 247 h
8. Cecilia

Mosaics, 15 h

Pinturicchio, 96/

Paul Bril, 255/
Chiesa Nuova

Cortona, 230 b

Eubens, 231 e
8. Clemente

Antique Painting, 18 e

Mosaics, 18 h

Masaccio, 61

Masolino, 61 note
8. Cosvmato

TJmbrian school, 96 a
8. Gosma e Damiano

Mosaics, 13 a,j
8. Costanza

Mosaics, 12 a
8. Grisogono

Mosaics, 24 d
8. Groce in Gerusalemme

Fiorenzo, 93

Penizzi, 176/
8, Fusebio

Mengs, 227^
jS^. Francesca Momana

Mosaics, IS i

Ibi, 98 k
n Gesu

GauU, 248 h
8. Giov, in Laterano

Jac. Torriti, 23 d

Giotto, 31 e

280

Index of Places.

EoMB — continued
S. CHov in Zaterano

Baraa da Siena, 46 j

Benozzo, 66, 1

Gio Santi, 78 e

Palmezzano, 78 g
(Sacristy)
(Baptistery and adjoining Chapels)

Mosaics. 12 e, 14 d
(Cap. Sancta Sanctorum)

Mosaics, 14/
S. Gregorio

Eighteenth century Painters,
227 d
Three Chapels left of Church

Domenicnino, 240 g

Guido Eeni, 240 g, 2A1j
S. Lorenzo Fuori
(Inner Church)

MosaicSj 13 k
(Entrance)

Thirteenth century frescos, 18 *
S. Lorenzo in Fanisperna

Pasq. Cati, 217/
^ccademia di 8. Jjuca

Baphael, 148 note 3

Titian, 191 h, 196 e

Vandyck, 232 o

Gr. Poussin, 256 «
8. Luigi rfe' Francesi

The Bassani, 211 g

Sermoneta, 217 1

Pell. Tibaldi, 220^

G. del Conte, 220 g

Domenichino, 22^f,g, 236 k

Caravaggio, 229 c, 2ilj
88. Marcellino e Fietro

Catacombs, 9 a
S. Marcello

Perin del Vaga, 166 d
8. Marco

Mosaics, 10 a, 15 a

CriTelli.»83o
S. Maria degli An^eli
(Baths of Diocletian)

Muziano, 201 o

Batoni, 227/

Domenichino, 241 a
S. Maria delV A.mma

Paiatings on glass, 111 note

Giulio Eomano, 164 h

Saraceni, 229 d
8. Maria in Ara Celi

Piuturicchi^ 96 g
8. Maria delta Concezione

Guido Eeni, 226 d
8. Maria Maggiore

Mosaics, 12 c, 23 d, 24 c, e

EoME — continued
8. Maria Maggiore

Madonna of ninth century,
17 a

Jae. Torriti, 23 d

Johannes Torriti, 23 d

Eusutti, 24 e

Graddo Gaddi, 24 e

Arpino, 216/
8. Maria sopra Minerva

Mosaics of the Co!<mati, 24 c

FiHppino Lippi, 65 b

E. delGarbo, 135 jj
8. Maria delta Navvoella

Mosaics, 16 o, i
S. Maria della Pace

Eaphael, 161 c

Timoteo della Yite, 168/

BagnacavaUo, 168 i

Peruzzi, 176 c

Sermoneta, 217 k

Albani, 250 a
8. Maria del Fopolo

Pinturicchio, 96 c

Painting on glass by Wilhehn
of Marseilles, 110 I

Maratta, 227 *

Caravaggio, 237 d
(Oapp. Chigi)

Eaphael, 162 a

Seb. del Piombo, 186 )'
(Choir)

Pinturicchio, 96 e
8. Maria della Seala

Saraceni, 229 e

Honthorst, 241 I
8. Maria in Traetevere

CaTaUini, 24 e

Mosaics, 18/, g
8. Martino a Monti

G. Poussin, 256 g
88. Nereo ed Achilleo

Catacombs, 8c,9 a,c

Mosaics, 14 g
8. Onofrio

Piuturicchio, 96 e

liionardo, 115 »

Cesare da Sesto, 115 note

Peruzzi, 96 e, 176 e

Domenichino, 222 n
8. Faolo Fuori

Mosaics, 12 g, 14 note, 19 a
8. Fietro in Montorio

Pinturicchio.' 96 d

Seb. del Piombo, 128 b
8. Fietro in Vaticano
(Colonnades)

Giotto, 31 b, 36 a

Index of Places.

281

EoMB — eontmrnd
S. Pietro in Yaticano

Interior altar-pieces, Seren-
teenth century, 227 e
(Chapel of choir)

Giotto, 31 £, 36 a

Melozzo, lit

Giulio Eomano, 164 g
S. Pietro in Vincoli

Mosaics, 14 d
S. Ponziano

Catacomhs, 8 e
S. Prcetextatus

Catacombs, 8 e
S. Prassede

Mosaics, 14 i

Da Sesto, 119 »

Arpiao, 216 e

Giulio Romano, 164 i
8. Priscilla

Catacombs, 8e,9i

Mosaic, 13 ^
SS. Quattro Coronati

Thirteenth century, 18 d
Giovanni da S. GioTanni,
223 a;

Mosaics, 12/

Sassoferrato, 237 a, 245 I
8. 8ilvestro d Monte Cavallo

Scip. Gaetano, 217 p

Domenichino, 249 r

Barbalunga, 249 s

Polidoro, 254 A
8. Stephano Potondo

Mosaics, 14 c

Pictures of martyrs, 216 g
8. 8uifxnna

Bald. Croce, 216 *
8. Teodoro

Mosaics, 13 i
SS. Trinitd d^ Monti

D. daVolterra, 128 c, 166/

School of Baphael, 166/
88. Trinitd de Pellegrini

Guido Eeni, 236 d
8. Vriano

Eleventh century, 18 a
SS. Vincenzo ed Anastasio, near
Pontana Trevi

After Raphael, 163 note
S8. Vito e Modesto

Umbrian school, 96 a
GapitoUno

Tase with Mosaic paintings,
8/

GioT. BeUini, 113 i

Rome — continued
Pal. d^ Oonservatori
(Upper rooms)

Sodoma? 174 o

Laureti, 187 a
(Chapel)

Ingegno ? 96 »
(Picture gallery)

Cola dell' Amatrice, 102 i

Conti, 112 c

Gio Bellini, 113 b

Venusti, 127 note

Mazzolino, 169 i

Garofalo, 170 6

Carpi, 172 e

Titiaa, 205 a

Bordone, 205 a

Guercino, 228 J, 246 *

Rubens, 231 h

Van Dyck, 233 A

Velasquez, 235 !c

Mc. Poussin, 251 c

Caravaggio, 252 d
Pal. Parberini
(Picture Gallery)

Alb. Durer, 107 a

Justus V. Gent, 113 note

Raphael, 148 b

Polidoro, 167 i

Titian, 191 d

Palma Veochio, 191 d

Guido Reni, 235 a

Biliverti, 249/

DomenichinOj 249 t

Claude Lorraine, 257 g
(Upper rooms)

Maratta, 227 a

Cortona, 230 d, 251 p
Oasa Bartholdy

Zuccaro, 216 c, 217 d
Pal. Borgheae

Lor. di Credi, 69 k

Antonello da Messina, 85 e

Giov. BelUni, 88/

Perugino, 94 a

Pinturicchio, 97

F. Prancia, 100 e

A. Durer, 107 d

South German or Flemish, 108 i

Lucas Kjanach, 108 e

Lionardo, or Giov. Pedrini,
115*

After Lionardo, 115 rf

Salaino, 115 d

Ogioue, 115 rf

Solario, 122 e

After M. Angelo, 127 d

S. del Piombo, 128 b

282

Index of Places.

Some — eontimied
Pal. Borghese

Fra. Bartolommeo and Maiiotto,
131?

A. del Sarto, 132 e, h
Giul. Bugiardini, 136 A
Raphael, 140 e

After Eaphael, 141 b, 148 d and

note, 163 note
Giiilio Romano, 164 a, d
Tim. della Vita, 168 note
MazzoHno, 169 g
Garofalo, 169 m, g
Ortolano, 170 i
Dosso, 171 i
Sodoma, 174 m, s
Da Sesto, 174 «
Penizzi, 176 h
Coireggio, 182 e
Parmegianino, 148 note, 183 e
Giorgione, 185 k
P. della Vecohia, 185 k
Lotto, 189 q
Pordenone, 189 r
Caracci, 189 r
Titian, 196y
After Titian, 196 g, i
Bonifazio, 198 h
Cariani, 199 g

B. Pordenone, 203 p, q
Zuocaro, 217 d

Scip. Gaetano, 217 »

Cambia«o, 219 b

Yalentin, 229 g

Yan Dyok, 232 i, 233y

SaccM, 235 d

Sassoferrato, 148 d, 2iSj

Caravaggio, 245 o

Spagnoletto, 246 h

Domenichino, 250 A, I

Albani, 250 q

Flemish, 25.1 g

Hario de' Fiorl, 253 y

Bourguignon, 254 b
Pal. del Bufalo

Polidoro, 167 g
Pal. Chigi

Garofalo, 170/
Pal. Colonna

Avanzi, 48 e

Stefano da Zevio, 50 d

Lor. di Credi, 70 e

Alunno, 92 a

Spagna, 98 b

Bosch & Cranach, 106 k

Giulio Somano, 164/

Garofalo, 170 d

Palma Teochlo, 188 h

Rome — continued
P. Colonna

Bonifazio, 198 •

Bordone, 205 o

Tintoretto, 206 e

Bronzino ? 215 note

M. Tenusti, 216 note

Scip. Gaetano, 217 m

Morrealese, 224

Ann. Caracci, 225 f

Sim. da Pesaro, 228/

Rubens, 232 d

Yan Dyck, 233 i

N. Poussin, 251 a

Castiglione, 253 i

M. Bril, 255 a

Salv. Rosa, 256 i

G. Poussin, 256 r

Painted Ceilings, 252 b
P. Corsi/ni

Fiesole, 53/

Ercole Grrandi, 76 a

Qu. Metsys ? 106 a

After M. Angelo, 127/

Mariotto & Fra Barto, 131 i

Fra Bartolommeo, 138 note

Polidoro, 167 g

Baroocio, 218 d

Later Roman Painters, 227 o

Cortona, 230/

Maratta, 230 s, 245 i

Rubens, 231 g

MuriUo, 235/

CaraTaggio, 238 d

Lod. Caracci, 239 g

Carlo Doloi, 241 h, 243 a

Guercino, 2143 a

P. F, Mola, 244 c

Elis. Sirani, 245 g

Guide Reni, 243 a, 249 q

CaUot, 253 e

G. Poussin, 256 t

Tassi, 257 *

Pannini, 257 n
Pal. Costaguti

Domeniohino, 250 m

Guercino, 250 m

Albani, 260 m

Lanfranco, 250 m
Pal. Doria

PeseUino, 67

Mantegna ^ 'JT h

Parentino, 77 h

Mazzola, 82 n

GioT. Bellini, 88/

RondineUi, 90 k

MemUng, 104 d, e

Qu. Metsys and School, 106 d

Index of Places.

283

Boms — eontintted
Fal, Doria

After M. Angelo, 127 h

Bronzino, ISiji

Eaphael, 147 i

After Raphael, 147 h

MazzoUno, 169 h

Grarofalo, 170 a, e

Dosso, 171 i

Correggio, 182 d

S. del Piombo, 186 k

Lor. Lotto, 189 r

Titian, 192 d

G. A. Pordenone, 202 q, 203 a

Komanino, 203

B. Pordenone, 204 b

P. Bordone, 205 p

Scip. Gaetano, 217 o

Saraceni, 229/, 238 i, 251 o

Maratta, 230 *

Eubens, 232 gi

Flemisn portraits, 233 I

lAyens, 234/

Velasquez, 235 i

SasBoferrato, 238 k, 245 n

Ann. Caracci, 239 A, 255, 256 a

Honthorst, 252/

Giordano, 252 n

Calabreee, 252 o

Breughel, 254 h

The BasBani, 255

AppoUonio da Bassano, 255

G. B. Dossi, 255

Torregiani, 256 o

G. Poussin, 256 s

Claude Lorraine, 257 d

Swanevelt, 267 k
Pal. Farnese
(Gallery)

Caracci, 226 a, 227 m, 250 g
(Other rooiiis)

Zuccaro, 216 a
Falace of the Lateram
(Upper rooms)

A. da Murano, 52 h

B. GozzoU, 66 I

Old Christian paintings, 18 b

M. PahnezzanOj 78 g
Fal. Pamfili

Cortona, 230 &
Pal. Eoapigliosi
(Casino)

Pietro da Messina, 85 i

L. Lotto, 189 «

Cambiaso, 190

Guido Eeni, 226 e, 228 J, 250 J

Kubens, 231 i

KoME — continued
Pal. Pospigliosi
(Casino)

N. Poussin, 236 «

Domenichino, 249 5

Claude Lorraone, 257 e
Pal. Sciarra

Perugino, 94 a

Hugo T. d. Goes, 104 a

L. Kranach, 108 d

Lionardo, 116 b

Gaud. Ferrari, 120 I

After M. Angelo, 127/

Fra. Bartolommeo and Mariotto,
131 i?

Eaphael, IVJ g

After Eaphael, 148 e

Garofalo, 170;;

Titian, 191 S, 193 a

Pahna Vecchio, 191 note

B. Pordenone, 203 s

Giorgione, 204 a

Valentin, 229 i, 241 k

Honthorst, 241 k

Artemisia GentUeschi, 242 b

N. Poussin, 242 e, 256 j;

Elzheimer, 250 b

Feti, 250/

EHs. Sirani, 251 m

Caravaggio, 252 c

Paul Bril, 255 c

Claude Lorraine, 257/
Pai. Spada

(Picture gallery)

Lionardo (copy), 115 c

Luini, 115 c

Guercino, 228 m, 243 i, 251 g

Domenichino, 234 t

Caravaggio, 238 c

GauU, 248 i

Guido Eeni, 251j|'
Pal. Verospi (Torlonia)

Albani, 226 b, 260 o
Quirinal

Melozzo, 77 A, 178 note

Fiorenzo, 93

Fra. Bartolommeo, 130 h

Seb. del Piombo, 187 o

L. Lotto, 190 a

G. A. Pordenone, 203 »

Guido Eeni, 245 o
Palazzo Vaticano

Cortile di S. Damaso (Loggie),
158

Eaphael, 158

Vasari, 215 d
Zuccaro, 216, b

284

Index of Places.

EoME — continued
Falazzo Vaticcmo
(Sala Ducale)

Matt. Bril, 255 a
(Capella Faoliaa)

Michelangelo, 126 a
(Capella Sistina)

Botticelli, 72 a

Grhirlandajo, 72 a

Ferugino, 72 a, 93 a

£os8elli, 72 a

SigaoreUi, 72 a

Sella Gatta, 72 note

Michelangelo, 123 a, 126

D. da Volterra, 126 note

M. Venusti, 126 note
(Apartamento Borgia)

Pinturiochio, 96 b, 149 b

Baphael, 163 note
(Biblioteca Vaticana)

Soip. Gaetano, 217 m

Mengs, 227 i
Sacristy

Michelangelo, 127 g

Venusti, 127 g

M. Bril, 255 a
(Koom built out towards the Gar-
den)

Ancient paratings, 4 a
(Museo Cnstiano)

Glass, 9 d

Byzantiae pictures, IT h, n

School of Giotto, 31 (i

AUegretto, 47 g, 50 i

CrivelU, 84 *
(Museo Etrusco)

Collection of vases, 1 b

Etruscan paintings, 4 i
(Tapestry room)

Raphael, 159 a, 161 a
(Vatican picture gallery)

Fiesole, 64/

Mantegna ? 77 h

Gio. Bellini, 77 h

Melozzo, 77 m

Perugino, 94 a, 95 d

Spagna, 98 a

Lionardo, 116 a

Ces. da Sesto, 119 j)

Baphael, 98 b, 137 a, b, note,
140 d, 142 g, 145 a, 148 note

Spagna, 137 note

G. Komano, 148 note

Penni, 148 note

Correggio ? 179 e

Titian, 192 I

Moretto, 200 u

Baroccio, 218 f

EoME — continued

SaccM, 230 q, 344 I
Bomenichino, 236 m
CaraTagglo, 237 c
Gueroino, 36 b, 240 b, 244/
Guido Keni, 240/
N. PoussiDj 242 d
Stanza deU' Incendio

Eaphael, 155 a

Camera della Segnatura

Eaphael, 38 b, 149 a, 152

Sodoma, 174 p

Stanza d' Eliodoro

Raphael, 153-5

Peruzzi, 176 b

Sala di Costantino

Raphael, 38 i, 156 a
Chapel of Nicolas V.
Frescos of Fiesole, 56 b
Zoggie

Raphael, 158
Bath-room of Bibbiena
Raphael, 163 note
Villa Albami

CeiUng by Mengs, 227 t
(Last room)
Perugino, 93 e
Salaino, 119/
Giul. Bimano, 165 d
Villa Borghese
(Upper rooms)
Orizzonte, 257 m
Villa Farnesina
(Lower great hall)

Raphael, 162 e
(Hall of Galatea)
Raphael, 162 b
S. del Piombo, 176 a, 187 *
Peruzzi, 176 a
(Upper rooms)
Giulio Romano, 164 c
Sodoma, 173 b
Villa Ludovisi
(Casino)
Gueroino, 229 a, 251 e
Villa Madama

Giulio Romano, 164 b
Villa Mattel

Mosaics, Cosmati, 24 a
Villa Pamflli

Old paintings, 4 d

ROTIQO

Palazzo Silvestri

Quiricio, 52 h
Toum Gallerff

Marco Belli, 90 »

Holbein, 109 e

Index of Places.

285

Bomb — continued
Town OalUry
Dosso, 171/
Garofalo, 171 7

Salebno

Mosaics, 16 g

Sabbatini, 167 *
B. Giorgio

Sabbatini, 167 h
S. Agostvm

Sabbatini, 167 i
S. Daniei^
S. Antonio di Fadova

Mart, da Udine, 204 k
Madonna di Strada

Mart, da Udine, 204 I
San Mor.

Cima, 88 a

S. GmiGNANO

S. Agostino

Bama da Siena, 46 I

Taddeo BartoK, 47 *

Benozzo GozzoU, 66/

Mainardi, 68 h
Fal. J^bblico

Lippo Memmi, 45/

Benozzo Gozzoli, 45 g
Collegiata

B. Gozzoli^ 66 g

Ghirlandajo, 67 y

PoUajuolo, 68 J)
S. GiULiANO (Laqo d' Obta)

Gaudenzio Ferrari, 121 c,
S. PiBTRO

M. da Gualdo, 91 h
S. Mamioliako

Sioulo, 98 q
S. Tito (Fkiuli)

Amalteo, 204 d

Bellunello, 204 e

Fr. Teoellio, 197 e
Saboedo

Verlas, 78 d
Sabnano

S. Severini, 91 g
Sabonno
(Jliweh

Luini, 118 e

Ferrari, 118 e, 121 d

Lanini, 118 e

Da Sesto, 118 «
Satona

Foppa, 80 a

Mazone, 81 h

Brea, 81 i

Satona — continued

Semino, 81/

Fiaggia, 81 k
Satobgnano

Bellunello, 204 e

SCHIO

Terlas, 78 d
Sedico

F. TeceUi, 197
Sebiate

Church

G. da Treviao, 73 e
Seebavaxle

Frincipal church

Titian, 193 k
S. Sevebino

S. Severino, 91 g
Alunno, 92/
Siena
Cathedral

Ducoio, 23 b

" Sgraffiti " on marble pave-
ment, 91 e
Do. by Beooafami,
175^

Fainting on glass, 111 b

Sodoma, 174/

Salimbeni, 217 a
(LibreriaJ

Pintunochio, 96 ^

Raphael, 96/
(Sacristy)

Duccio, 23 note

P. Lorenzetti, 46 g
8. Giovanni
(Baptistery)

Bresciamno, 176 c
8. Agostino

Sim. di Martino, 45 b

Lippo Memmi, 45 b

Matteo di Giovanni, 91 a

Sodoma, 174 h
S. Ansano (outside the town)

Lorenzetti, 46/
8. Bernardino

Sodoma, 172 d

Paccbia, 175 g

Beccafumi, 175 in
8. Caterina

Salimbeni, 218 a
Concezione, or 8ervi

Lippo Memmi, 45 h

Matteo di Giovanni, 91 b

Fungai, 172y
8. Gristoforo

Pacchia, 175/
S. Bomenico

Guide da Siena, 20 a

286

Index of Places.

Siena — continued
S. Domenico

Signorelli, 71 e

Matt, di GioTanni, 71 «, 91 e

Sodoma, 172 e,f

Fr. Tanni, 217 q
JFonte Giusta

Fungai, 172 g

Peruzzi, 176 d
S. Francesco

Lorenzetti, 46 e
Madonna delta Neve

M. di Griovaniii, 91 d
8. Fietro in Castel Vecchio

Eat. Manetti, 224 b, 238 i
Servif see Concezione
S. Spirito

Fra Paolino, 131 I

Pacchia, 172 h, 175 f

Sodoma, 174 a
Fal. Fuiblico

(Stanza del Gonfaloniere)

Sodoma, 172 e,f
(Sala di Balia)

Spinello, 30 i
(Sala del Concistoro)

Seccafiuni, 175 n
(Sala della Pace)

A. Lorenzetti, 41 e, 46
(Sala del Gran ConeigKo)

S. di Martino, 45 e

A. Lorenzetti, 46, 46 a, e

Sodoma, 173 e
(Upper chapel)

T. diBartolo, 39/, 47 a
Academy

Spinello, 30 c

Bartolo da Siena, 42 note, 47 a

Tad. and Dom. di Bartolo, 47 a

Crucifixes, 43 a

Lippo Memmi, 45 i

A. Lorenzetti, 46 a

P. Lorenzetti, 46 m

School of Bartolo, 47 e

Signorelli, 71/

Franc, di Giorgio, 90 m

Contemporary Painters, 46 m

Matt, di Giovanni, 47 «, 91 e

Benyenuto, 91/

Alb. Altdorfer, 108 h

Amberger, 108/

Fra Bartolommeo and Mariotto,
131/

Fungai, 172/ i

Sodoma, 173 a, 174 b

Brescianino, 175 d

Pacohia, 175 h

Pacchiarotto, 176/

Siena — contimted
Academy

Beccafumi, 175 l^ o
Ospedale della Scala

Dom. di Bartolo, 90 /
Conca, 230 o
Forta Fispini

Sodoma, 174 d
Villa Belcaro
Peruzzi, 176 i

SiGILLO

M. da Gualdo, 92

SiNAGAGLIA

8. Maria delle Grazie
Fra Camevale, 78 d
Spello
Cathedral

Perugino, 94 b
Pinturioohio, 96 A
8. Andrea

Pinturicchio, 96 i
Spiliubebgo

G. A. Pordenone, 203 h
Gio. Martini, 204 i
Spinea

T. Belli, 89 m
Spino

F. Santa Croce, 84 note
Spoleto
Cathedral

Solsemus, 19 b
FiHppo Lippi, 62 d
Town Mall

Spagna 97/
8. Jaeopo (near Spoleto)
Spagna, 97/

SUBIAOO

Sacro Speco

Twelfth or thirteenth century,
19 A

SUSIGANA

Pordenone, 202 I

Tebmini

Ruzulone, 85 A
Teeni

Eapbael, 137 note

TOROELLO

Mosaics, 16 note
Tbebaseleghe

A. da Murano, 83 m
Theyi

Spagna, 97 g, h
Treviglio
8. Martina

Buttrnone & Zenale, 80 h

Index of Places.

287

Tbeviso
CatJiedral

PennaooM, 90 e

Girolamo da Treviso, the elder,
74 a

Titian, 193 e

Pordenone, 202/

Bordone, 206 i,j

Dominicis, 205 q
Sospital

Bordone, 205 ft

Palma Vecohio, 205 i
Monte di Fietd

Giorgioue, 185 d

Pordenone, 185 d
8. NicooU

Thomas of Modena, 48 o

Pensaben, 88 note

Bellini (Gio.) 88 e, 186 h

S. del Piombo, 88 note, 186 h

Savoldo, 186 h
8. Caterina

Bissolo, 90
Tebtiso (near) Villa

Maser. p. Veronese, 210 ^
Tbbnt

Fogolino, 79 d
8. Maria Maggiore

Moretto, 200 t
Arehiepiscopal Falaee

Bomamino, 201 k
Teiestb
Cathedral

Mosaics, 13 e

TUKIN

Picture Gallery
Fiesole, 54 o
Botticelli, 64 e
Uccello, 64
Mantegna, 77 e,j
Canavesi, 81 m
Gandolfini, 81 m
Macrino, 82 a
Girol. Giovenone, 82 c, d
Fr. Francia, 100
Cristus, 103 a
Memling, 104 i
Manner of Hier. Bosch, 105 b
Flemish sixteenth century,

106 i
Holbein, 109 b
Da Sesto, 119 1, 175
Gaud. Ferrari, 120 Je, m
Lanini, 121 1
Mariotto, 131 e
Sarto, 132 g

Bugiardini, 131 e, 136 k
After Eaphael, 140 g, 141 c

TuEiN — amtinued
Picture Gallery

Mantovano, 164/, 165^
Penni, 166 e
Sodoma, 175 a
Pedrini, 175 a
Correggio, 179 b
Titian, 192 e, 193 d
Saroldo, 199 t
Pordenone, 199 t
Bordone, 205 i
Badile, 208 I
P. Veronese, 209 i, 210 c
Bellotti, 211 »
Eubens, 231 p
VanDyck, 232?,^
Flemings, 233 m,
Spanish Painters, 235 n
Procaccini, 236 q
Sirani, 241 n

Gentileschi, 241 note, 242 note
Guercino, 226 m, 236 i, 243 o
Guide Eeni, 228 i, 245 e, 251 k
Calabrese, 242 c
Sassoferrato, 245 I
Lo Spagnuolo, 252 q
Albani, 250 ^J
Spagnoletto, 252 I
Flower Painters, 253
Potter, 253 I
Snyders & Fyt, 253 I
Bom'guignon, 254 a
Van der Meulen, 254 g
Hughtenburg, 254 g
P. WouTermans, 254 g
Buysdael, 255 i
Jan Breughel, 254 k
Claude Lorraine, 267/
Poussin, 257 a
Pannini, 257 n
Count Hizzini

Lion-Bruno, 183 »

Udinb

Grassi, 204 s
Cathedral

Bellunello, 204 «

Tumetio, 204/

Gio. Martini, 204 h

Mart, da TJdine, 204 n
8. M. delle Grazie

Monvert, 204 s
Pal. Puiblico

Gir. da XJdine, 204 q

G. A. Pordenone, 203/
Ukbino

Spirito Santo

SignorelU, 71 »

288

Index of Places.

TJbbino — continued
Cathedral

P. della Francesca, 69 d

Tim. della Vite, 168 4
Pal. Aliani

Savoldo, 199 a
Town Gallery

P. della Prancesoa, 69 g

GioT. Santi, 78 e

JuBtus V. Gent, 70 note, 103 h

Tim. della ¥ite, 168 o

Vapeio
Villa Melzi

Lionardo, 119 A
Melzi, 119 h
Vaballo

Sacro Monte and Churches outside
the Town
Gaud. Ferrari, 120, ri, 121 oj-c
Collegiata

Gaud. Ferrari, 126 h
Velletri
Cathedral

Antoniasso, 93
Vblo

VerlaB, 78 d
Speranza, 78 d
Venice

Sohiavone, 197
S. Marco

Palad'Oro, 17/
Paolo of Venice, 17/, note, 52
Luca & Lorenzo, 17/, note
MosaioB, 15 b, e, f, g, h, note,
16 a, 51 h
(Cap. Zeno)
Lombard! & Leopardo, 142,
note
(Entrance Court)
Mosaics, 15 Cf d^ 19 c
Ducal Palace
Catena^ 89 h
(Anti-Chiesetta)

Tintoretto and Bonifazio, 213 b
(Steps near the Chapel)

Titian, 192/
(Atrio ftuadrato)

Tintoretto, 212 a
(Sala delle Quattro Porte)
Titian and others, 212 o
(Anti Collegio)

Tintoretto and others, 212 e
(Collegio)

P. Veronese and others, 212 d
(Sala del Senato)
Palma Gioyine and others, 213 a

Venice- continued
Ducal Palace
(Sala de' Dieoi)

Bassano and others, 213 «
(Sala della Bussola)

AJiense, 213 d
(Sala del Maggior Consiglio)

G. Da Fabriano, 52 e

V. Pisano, 62 e

Zuccaro, etc., 213/
(Sala dello Sorutinio)

Pahna Giovine, 214 a
Abbazia,

Cima, 88 I

Bonifazio, 198/

Palma Giovine, 211 A
S. Alvise

Tiepolo, 249/
S. Antonino

Sebastiani, 89 g
8. Cassiano

Pahna VeccMo, 188 i
Carmine, see S. M. del Carmine
Chiesa della Fava

Tiepolo, 249/
8a/n Francesco della Vigna

Negroponte, 52 e

Franc. S. Crooe, 84 note

Pahna Vecchio, 188 c

P. Veronese, 209 a
Frari, see 8. M. 6loriosa
AV Oesuiti

Titian, 195 c
8. Giaoomo daW Orio

Lor. Lotto, 189/

Bassani, 211 ^
8. Giobbe

Savoldo, 199 s
8. Giorgio Maggiore

Tintoretto 207 h, 208 a
8. Giovanni in Bragora

Bart. Viyarini, 83 e

L. Vivarini, 83 i

G. Santa Crooe, 83 i

Cima, 88 h, I

Bordone, 205 e
8. Giov. Orisostomo

L. Vivarini, 83 i

GioT. Bellini, 87 b

Seb. del Piombo, 186 d

Giorgione, 186 d
S. Giov. Flemosinario

Titian, 193/

Marco Vecellio, 197/

G. A. Pordenone, 202 «
88. Giovanni e Paolo

Bart. Vivarinij 83 d

Luigi Vivarini, 83 d

Index of Places.

Veniob — continued
SS. Giovanni e Paolo
GioT. Beffini, 87 a,f
Caipaccio, 83 d and note, 89 c
Painting on Glass, 110 d
B. Marconi, 189 d
L. Lotto, 189 g
Titism, 196 b
Tintoretto, 207 e
Tiepolo, 249 h
Kazzetta, 249 g
S. CHuUano

Uoocaooino, 90/
P. Teronese, 210 e
S.Lio

Titian, 193 g
S. Mareiliano

Titian, 193 d
S. Maria del Carmine
Cima, 88 m
L. Lotto, 189/
8. Maria Formosa

Bart. Tivarini, 83 g
Fietro da Messina, 85 h
Palma Vecchio, 188 d
Bassani, 211 d
8. Maria Gloriosa <fe' Frari
Bart. Tivarini, 83/
L. Tivarini and Basaiti, 83 ft, 89 ?
Giov. Bellini, 87 c
Titian, 192 m, 194 e
B. Pordenone, 203^
S. Maria Mater Momim
Giov. Bellini, 88 6
Catena, 89 h
Bonifazio, 198 d
Tintoretto, 207 a
S. Maria de' Miracoli

Pennacohi, 90 a
8. Maria deW Orto

Tintoretto, 207/

8. Maria delta Fietd

Moretto, 200 o

Tiepolo, 249 a

8. Maria del Jioaario

Tiepolo, 249 e
8. Maria delta Salute
Temperello, 82 note
Basaiti, 89 I

Gir. da Treviso, 90 d, 169 I
Titian, 192 ft, 195 d
Tintoretto, 207 J
(Seminario, Pinaooteca Manfre-
dini)
Filippino, 64 o
Crespi, 64 o
8. Maria Zohenigo
Rubens, 232 a

Tbnioe — eontmued
S. Martina

Gir. S. Croce, 84 note

289

Gio. and Ant. da Murano, 62 e

E. Marconi, 189 4

Fnmiani, 211 »j
8. Fietro di CasteUo

Basaiti, 89 y
8. Angelo Maffaelle

Bonifazio, 198 e
Jl Bedentore

Giov. Bellini, 87 e
8. Moeeo

G. A. Pordenone, 202 o
8alute, see 8. M. d. Sal.
8. Salvatore

Giov. Bellini, 87 A

Carpaccio, 87 h

Titian, 193/ 194 *

Franc. TeceUio, 197 a

Natalino, 199 n
8. Sebastiano

P. Teronese, 209 c
8. 8ih>estro

Gir. S. Croce, 84 note
8. 8pirito

BnonconsigUo, 79 c
8. Stefano

Gio. and Antonio daMnrano, 62 e

(Court) G. A. Pordenone, 202 h
8. Irovaso

Tintoretto, 207 g
8. Vitale

Carpaccio, 89 a
8. Zaccaria

Gio. and Ant. da Murano, 62 e

Jacopo Bellini, 73 c

Bissolo, 90

Giov. Bellini, 86 a, 87 note

Pahna Tecchio, 188 d

Lotto, 188 d
Semla di 8. Rocco

Tintoretto, 207 d
8cuola di 8. Giorgio degli Sehiavoni

Carpaccio, 84/ 88 s, 107/
Other 8cuole

Tiepolo, 249 d
Pal. Oorrer

Lorenzo, 52 b

Stefano, 62 *

Giov. Bellini, 88 i

Fra. da S. Croce, 84 note

Gio. Martini, 204 g
Fal. Giovanelli

AntoneUo da Messina, 85 e

Giov. Bellini, 88 h

Giorgione, 185 i

V

290

Index of Places.

Venice — eonfmmd
JPal. Oibvanelh

Titian, 193 h

fiasaiti, 193 h

Bordone, 205 I
Pal. Gfrimani near S, M. Formosa

Qdov. da Udine, 187 «'
Fal. Labbia

Tiepolo, 249 e
P. Manfrmi

Squaroione, 73 note

Antonello da Messina, 85 d

Honthorst, 87 note

Holbein, 109 d

School of Giulio Eomano, 166 h

Giorgione, 185 e, h,J, 191 e

Seb. del Piombo, 186/

GioT. da Udine, 187 g

L. Lotto, 189 h

S. Marconi, 191 note

Titian, 191 e, 193 m

Bonifazio, 198 e

Moretto, 200^

Moroni, 201 c

Somanino, 201 g

B, Pordenone, 203 r, a

Valentin, 229 i

Feti, 250 a

Poossin, 251 d

y

Mionele di Matteo, 48 I, m

Semitecolo, 52 e

Lorenzo Veneziano, 52 a

Stefano, 52 b

Bonato, 52 e

Muranese Painters, 52 e

Gio. and Antonio da Murano,

62 ej
Quiricio, 52 %
P. da Francesca, 69 a
Eroole B. Grandi, 74 g
Montagna, 78/
Buonconsiglio, 79
Bart. Vivarini, 83 e
L. Vivarini, 83 A
Jacopo da Valentia, 83 m
F. Santa Croce, 84 note
Gent. BelKni, 84 c
AntoneUo da Messina, 85 d
Fr. da S. Croce, 84 note
Giov. Bellini, 86 4, 87 a, b,g, 88 b
Cima, 88 q
Basaiti, 89 i
Carpaccio, 89 e
Mansueti, 48/
Sebastiani, 84/
Catena, 89 h
Diana, 89 m

Venice — continued

Bissolo, 90

Boccaccino, 90/

Marziale, 90 e

H. de Bles, 106 g

Garofalo, 170 k

Giorgione, 186 c

Giov. da Udine, 187/

Palma Veochio, 186 c, 188 a

B. Marconi, 189 a, c, e

Titian, 192 /, 183 *, 194 a, o,
195 a

TecelU JF), 197 *

Bonifazio, 198 a

PoUdoro Ten. 199 e

Savoldo, 199 w

Moretto, 200 i>

Moroni, 201 d

G. A. Pordenone, 202 m

Florigerio, 204 jO

Bordone, 186 c, 205 f,g

Becoaruzzi, 204 r

Tintoretto, 206^

P. Veronese, 209 a, 210 a

P. Veronese's heirs, 210 d

Bassani, 211 c

Padovanino, 211 I

Tinelli, 234«

N. Poussin, 236 n

Feti, 244 e

Saraceni, 252/

CaUot, 253 e

Flemish, 253 A
Vercblli
Churches

Giovenone, 82 e, d

Gaud. Ferrari, 121 h

Lanini, 121 o
Verona
Cathedral

Liberale, 79 g

Falconetto, 79 A

Torbido, 187/

Titian, 194 d
S. Anastasia

Pisanello, 79 e

Fourteenth century, 50 A

Fifteenth century, 79 «

Liberale, 79 g

Cavazzola, 177 c, e

Giolflno, 177 A
S. Bernardino

(Refectory) D. Morone, 79/
S. Eufemia

Zievio, 60 e

Caroto, 176 A

Torbido, 187 k

Index of Places.

291

Vbrona — continued
S. Fermo

Turone, 50 d

Fra Martino, 60 «

Ze-rio, 50 e,f

Pisanello, 79

BuonBignori, 79/

Faloonetto, 79 h

Caroto, 177 b

Torbido, 187 Je

BniaaBoroi, 208 g
S. Giorgio in Braida

G. dai Libri, 79 i

P. Veronese, 209 «
8. Giorgio Maggiore

Moretto, 200 t
8. Mwia in Organo

Gir. dai libri, 79 i

Mocetto, 79 i

Fr. Morone, 80

Cavazzola and Brusasoroi, 177 d

Giolfino, 177 i

Savoldo, 199^

Brusaaorci, 208/
88. Nazaro e Ceho

Faloonetto andMontagua, 79 a, A

CaTazzola, 177/

Mocetto, 177/

G. del Move, 208 c

Farinato, 208 i

BadUe, 208 I
8. Stefano

G. del More, 208 rf

Brusaaorci, 208 e
8. 8iro

Turone, 50 d
8. Zeno

Twelfth and fourteenth cen-
turies, 19/, 50^

Mantegna, 77 e
Pal. del Oonsiglio

Turone, 60 d
J. Bellmi, 73 c '
Squarcione, 73 note
PmneUo, 79 e
Gir. Benaglio, 79/
Buonsignori, 79/
Gir. dai Libri, 79 i
F. Morone, 80
Caroto, 176 i
Cavazzola, 80, 177 c
Giolfino, 177 g
Titian, 196 a
Bonifazio, 196 a
BadUe, 208 y
Arcivescovodo

J. Bellini, 73 c

Verona — continued
Arcvvescovado

Liberale, 79 g
Fal. Bidolfo

Brusasorci, 208 h
Count Monga

Caroto, 177 a
Dr. Bernasconi

Caroto, 177 b

ViCENZA

Cathedral

Montagna, 78 /
8. Corona

Montagna, 78/

GioT. Bellini, 88 d
8. Lorenzo

Fogolino, 79 d
8. 8tefano

Palma Vecchio, 188 A
8. Eocco

BuonconsigKo, 79 c
S. Giov. Ilarione {between Ferona
and Vieenza)

Montagna, 79 b
Church of Monte Berico

Montagna, 79 b
Pinacoteca

Paolo of Venice, 62

Lorenzo, 52 a

Montagna, 78/

Cima, 88 m

Buonconsiglio, 79 e

Speranza, 78 a

Fogolino, 79 d

Mocetto, 177 4

Bassani, 211 A

VlTBRBO

Cathedral

Lor. da Viterbo, 66 note
8. Francesco

Seb. del Piombo, 186 «
8, Maria della Veritd

Lor. da Viterbo, 66 note

VOLTERBA

Cathedral

Signorelli, 71 r
8. Francesco

Signorelli, 71 r

D. Ghirlandajo, 68 e
Town Gallery

Signorelli, 71 r
Fal. Maffei-Guarnacci

SalT. Bx)Ba, 256 n
Inghirami family

Raphael, 147 note

Zerman ^near Venice)

Palma Vecchio, 188 le

INDEX OF PAINTERS.

Abbate, Niooolo delV, b. 1512? d.

1571? 165 i,y
Amemolo Vincenzo, painted 1533 to

about 1552, 102 c,d
Alamannus, Johannes {Giovanni da

Murano), painted 1440-1447, 52 e
Alba, Macrino d', existing pictures

1496-1508, 81 m, n, 82 a
Albani, Francesco, b. 1578, d. 1660,

221, 226 b, 237 /, 238 n, 242 g, 252

m, n, r
Alberti, Antonio, painted 1439-1465,

48*
Albertinelli, Mariotto, 1474-1516,

131 Or-j

Albertino,Bee Fiazia

Alenis, 3»(H«as<fo, painted 1500-1516,

202 rf
Alfani, Domenico di Taria, painted

1510-1553, 98 d, I
Alfmi, Orazio, 1610?— 1683, 98 d, m
Alibrmdi, (?., opening of sixteenth

century, 120 a
Aliense, Z., see Vassilaechi
Allegretto Nuzi, 1346-1385, 47/, g
Allegri, Ant., see Correggio

„ Pomponio, b. 1521, living

1593, 182 e
Allamagna, Justus de, painted 1451,

61 c, 103 e
Alton, Ahssandro, b. 1536, d, 1607,
135 note, 222 c, 239 d, 242 fc

„ Oristoforo, b. 1577, d. 1621,
223 m, 2Sip, 244 d, 249 m
Altdorfer, Albrecht, b. about 1480,

d. 1538, 108 b
Aliichiero da Zmio, painted 1376-

1382, 49 e
Altissimo, Oristofano dell' ,ahoutl552-

1568, 113 note
Alunno, Niccolo, of Foligno, b. about

1430, d. 1602, 92, 92 «-8
Amadei, b. 1589, d. 1644, 140/
Amalteo, Fomp., b. 1606, d. 1584, 204 e

Amato, Antonio d', b, about 1475,

d. about 1556, 102 h, 167/
Amatrice, Cola delV , painted 1513-

1543, 102/
Amberger, Christopher, painted 1630-

1560, 108/
Andrea da Bologna, living 1372, 48
Angcli, Gius., b. 1709, d. 1798, 211 I
Angussola, Sofonisbe, b. about 1535,
d. after 1624, 202 c, e
,, Lucia, d. 1665, 202/
Anselmi, Michelangelo, b. 1491, a. 1554,

183 c
Ansuino, painted about 1443-1460, 76e,

77 i
Antoniasso, 1460-1617, 93
Antonio Fmovano, painted about 1380?

60 a
ApoUonius, 21 a

Appiani, Andir., b. 1764, d. 1817, 249 h
Araldi, Alessandro, d. before 1530,

82 e, 116 e
Aretino, see Spinello
Aretusi, Cesare, in practice 1576, d,
about 1612, 181 d
,, Fellegrino, see Modena
Arpino, Cavaliere d' (fiius. Cesari), b.

1560 or 1568, d. 1640, 216 e, m
Aspertini, Amico, b. about 1474, d.
1552, 100 note, 101 Or-c
,, Guido, b. about 1460, 101 d

Assisi, Tiberio ff, paintings of, 1510-

1624, 98 d,j
Avanzi, Jacobo degli, Bolognese, paint-
ed about 1376, 48 «, /
Avanzo, Jacopo d', Giottesque, end of

fourteentb century, 49 e

Bacchiacea {Fr. Ubertini), b. between

1490 and 1500, d. 1567, 136 r, s
Backhuysen, L., h. 1631, d. 1708, 255/
Badalocchio, Sisto, b. about 1581 or
1686, d. 1647, 114/

Indeas of Painters.

293

Bttdile, Antonio, b. 1517, d. 1660, 208

t-A
Baglioni, Giov., b. 1571, d. 1644, 216 a
Bagnacavallo (^Ramenghi), b. 1484, a.

1542, 100 b, 168 A, 170 d
Saldovinetti, Alessio, b, 1427, d. 1499,

67 a-/, 133
Baidung {JEC.), see (?n«»
Baratta, Carlo, seventeenth century,
248* ^

Barbalunga, Ant., b. 1600, <i. 1649,

249 «
Barbarelli, (?., see Giorgione
Barbieri, see Guercino
Barna, see iSima
Barnaba da Modena, painted 1367-

1380, 49 a
Baroccio, Federigo, b. 1528, d. 1612,

218 Or-i
Bartolo, Domenico di, painted 1428-
1444, 42note, 46 m, 90i
„ Taddeo di, b. 1362, d. 1422,
39/, 46 m, 47a-<«
Bartohmmeo, Mra, b. 1475, d. 1517,
128-131, 128 note
„ „ painter on glass,

1441, 109 h
Barto. delta Gatta, 72 note
Basaiti, Marco, fl. 1503-1520, 83 k,

84 c, 89 h-l, 186 «, 193 h
Bassano, ApoUonio da, b. about 1684,
d. 1654, 265
„ Da Ponte (^Frcmc. the elder),
pamted 1509-1623, 211 i,
264-265
„ Jae. da, b. 1610, d. 1692,

210, 211 a, h, ij
„ Zeandro, b. 1568, d. 1623,

211 a-A, 213 c
„ Franc., son of Jae. da Ponte,
A. 1549, <«. 1692, 211 « A
Bastarolo (Giuseppe Mazzmli), b,

about 1536, d. 1689, 219/
Bastianino, Seb. Filippi, b. 1632 or

1640, d. 1602, 219 A
Batoni, Pompeo, 1708-1787, 227 e
Bazzi, Giov. Ant., see Sodoma
Beceajwmi, Domenico, b, 1486, d. 1551,

nsi

Beocaruzzi, Franc., fl. 1527-1544,

204 ff
Bellimi, Giae., painted 1423-1460, 73 c,
113 «, 114 «
„ Gentile, b. 1426?, d. 1507,

84 c,d
„ - Giovarmi, b. 1427 ? d. 1516, 77,
84 c, 86-87, 88 o^', 186 note
Belli, Marco, 89 m, 90

5«Z?j, r««or (School of Bellini),

89 m
Bellotti, Bern. (Ganaleito), b. about

1720, d. 1780, 211 «
Bellunello, 1462-1490, 204 d
Beltraffio, Giov. Ant., b. 1467, d.

1516, 119 i
Bembo, Giov. Franc., painted 1616-

1625,201^
Benaglio, fficoZ., practised 1460-1487,

79/
Benedetto, Fra., fifteenth century,

56 «
Bmifatto, L. (dal Friso), b. 1651, d.

1611, 210 g
Bernardino da Perugia, see Perugia
Bertucci, see Faenza
Bianc/ii-Ferrari, Francesco, i. 1448,

<;. 1510, 82 d, 100 or, 177 m
Bicd di Lorenzo, b. 1373, d. 1462,
27e, A, 28 a, 30 a

„ Lorenzo di (late Giottesque), b.
about 1350, d. 1427, 27, 28
Biliverti, Ant., b. 1676, d. 1644,223/,

249/
Bissolo, Fierfrancesco, painted 1492-

1630, 84 0, 90
Bisuccio, Lionardo de, 1433, 51 a
Bles, Merri de, painted about 1636-

1560, 106/, h
Boateriis, Jacob de, 101 e
Boccaecino da Cremona, b. about 1467,
d. 1526, 84 e, 90/
,, Camilla di, painted 1532-
1637, 90 h, i
Boccati, Gio., 1445-1473 ?,9lg
Bologna, Simone da, see Orocejissi
Bonasia, Bartol., of Modena, painted

1486, 82 d
Bonjigli, Benedetto, in practice, 1453-

1496, 92 M
Bonifazio, Veneziano, d. 1540, 186 a,
186 a, 196 a, 197, 198,
206 d, 0, 213 b
„ (another), d. 1553
„ (another), painted 1579,
197, 198
Bonifazio, Bembo, 198 g, 199 b
Bomto, Gius., first half of eighteenth

centurjr, 224, 230 n
Bono, assistant of Mantegna, painted

1442-1461, 76 e
Bonone, Carlo, b. 1569, d. 1632, 170 r,

171, m, 222 d, 238 h, 239, 247 d, m
Bonsignori, Franc, b. 1455, d. 1619,

79/, 100 0, 112 e, 113 note
Borwicino, Aless., see Moretto, 1498-

1554

294

Index of Painters.

Bordone, Paris, h. 1500 or 1501, d.

1571, 186 e, 204
Sorgheae, IppoUto, paiated 1650,

167 m, 216 I
Borgognone, Atnirogio (Fossano),

painting 1485, d. after 1624, 81

a-f
Bosch Sier., b. between 1460-1464, d.

1516. 105 b, lOOy
Both, Joh., b. 1610, d. 1660, 257 I
Botticelli, Scmdro, 1447-1510, 62 b,

63 e,f, 64 c, 72 a, 110 d, 113 c
Bourguignon, see Courtois
Bramantino (B. Suardi), painted

1491-1629,80*, 113 note
Brea, Zudovico, painted 1490-1513,

81 h, i
Brescianino, Andr. del., about 1507-

1526, 175 b
Brmghel, family of, 225 note

,, Peter the elder, b, about
1630, d. 1669, 106 y, 107 d,
264 h-l, 265
„ John the elder, 1568-1625,
225 note, 254 hr-l
Bril, Mat., b. 1656, d. 1587, 266 a

„ Paul, b. 1556, d. 1626, 225 note,
255 b-f
Brommo, Angelo, b. 1502, d. 1672,

127 i, 134 0, 136 Or-d, 215 a, and

note, 217, and note
Brusasorci, Bom., b. 1494, d. 1567,

177 d, 208 e, h
Buffalmacco, 1351 and later (Giot-

tesque), 28 g, f, 29 a, 30 k, 36 d,

37 a, 42 note^ 48 y
Bugiardini, Chtiliano, b. 1476, d. 1664,

131 «, 134 note 136 c-l
Btumarroii, see Michelangelo
Btio»consiglio,Giov., caileiMarescalco,

painted 1497-1630, 79 e
Buoni, Silveatro de', d. about 1480?,

102 b, dr-g
Buttinone, Bern., painted 1454-1507,

80*

Cagnacd, b. 1601, d. 1681, 221
Calabreae, H Gamaliere {M. Preti), b.
1613, d. 1699, 224, 228 g, 230 a, p,
242 b, 248 b, 250 «, 252 «
Calderari, G. M. (Zaffoni) practised

1634-1570, 204 r
Caliari, Paolo, see Veronese

„ Benedetto, b. 1638, d. 1598,

210^
„ Gahriele, b. 1568, d 1631,
2Wg

Caliari Oarletto, b. 1572, d. 1596, 210

^,212«, 239/
Callot, Jacques, 263 d
Galvaert, Oion., apprentice 1656, d.

1619, 219 u
Calvi, Laa., b. 1502, d. 1687?, 218 A
Cambiaao, lAica, b. 1527, d. 1685, 190,

218 A, 219
Oampagnola, Bom., painted 1511-

1564?, 194 e, 195, 199 e
Campi, bfaleazzo, b. about 1476, d.
1636, 202
„ Anton., painted 1554-1586,

2024
„ Bern., b. 1522, d. about 1590,

202*
„ Giulio, b. about 1600, d. 1572,
122, 202 b
Camulio, Bartol. de, living 1346, 51 *
Canaletto, Antonio, b. 1697, d. 1768,
211m
„ Bernardo, see Bellotti
Canavesi, 81 m
Candi, Aless., 1669, 166 g
Canozzi, The, fifteenth century, 74 a
Canuti, Bomen. Maria, b. 1620, d.

1684, 221, 228/, 241 c
Capanna, Pucdo, Giottesque of the

fourteenth century, 29 h, 30 g
Caporali, B., painted 1472-92, 9Bd, r
„ G. B., b. about 1476, d.
1560, 98 d, 99 a
Capuccino (B. Strozzi), b. 1681, d.
1644, 219 c, 225 b, 240 c, 249 1, 252m
Caraeci (Fanuly of the), 189 r, 227 m
„ Zodovico, 1665-1619, 221,
228 a, g, 236/,/, 237^, 238
e,f, 239 g, 242 i, I, 247 c,f,
250 g,i
„ Agoatino, 1567-1602, 181 c,
221, 236 m, 238/ 250 A,
256*
„ Annibale, 1560-1609, 181 c,
221, 225 /, 226 a, 227 m,
228 a, 236/ 238 g, 239 h,
240 a, 246 *, 247 *, 250 g,
266 A, 256
Caracciolo, Giov. Batt, b. 1680, d.

1641, 224, 239/
CaroDoggio, Mwlielangelo Amerighi
da, b. 1569 f, d. 1609,
224, 226 m, 229 *,<!, and
note, 237 c, 238 4,239 c
240,241 t,y, 245 «, 252
e-e, 264 h
„ Polidoro da (Scholar of

Raphael), *. 1492?, <f.
1643?, 167 ^-y

Index of Painters.

S9§

Oarbone, G. £., 233 note .

Carili, see Giaoli

Cardisco, Marco, painted 1508-1642,

167 A
Oaria, 167 m
Cariani, Giov. Bust, painting in 1508,

Uving 1620, 199 d
Carlone, Giov. £att., b. 1594, d. 1680,

•mj

Cwrmvale, Fra, see Corradini
Canto, Gianframc, b. 1470, d. 1546,

176/, A, 177,185 2
Carpaooio, Vittore, painted from 1470

to 1619, 84 c,/, 86 a, 87 A, 88 A, 89,

244 note
Carpi, Girol. da, b. about 1501, d.

before 1561, 172 a
Casein, Cristoforo, painted 1489-1507,

82 e, and note
Casentino, Jacopo da, 25
Casaam, Nieeolo b. 1659, d. 1714, 229

note
Castagno, Andrea del, b. about 1390,

d. 1457, 66i-OT, 113/
Castello, Giov. Batt., b. 1609?, d.
1679 (Soprani) 218 h
„ Vahrio, b. 1626, d. 1669,
226 c
CastigKone, Bened., 1616-1670, 225 *,

233 note, 263 i
Catena, Vincenzo, painting 1496, d.

aboutl531, 84<!, 8tfy,A
Cati, Pasquale, 217 J
Cavallini, Pietro, painted 1295-1308,

d. about 1344 f, 24 e, d, 30/ 31 i
Cavazzola (P. Morandi), b. 1486, d,

1522, 176 i,J, 177 c-f
Cavedone, Giov., b. 1577, d. 1660, 221,

237 h, 246 b, UQg
Cerquozzi, Michelangelo, b. 1602, d.

1660, 224, 252 r
Cesi, Bart., 1666-1629, 220 a
Chelimi, Piero, flourished 1444, 27 note
Chiodarolo, Giov. Maria, imitator of

Francia, 100 note, 101 e
Ciafferi, Pietro {Smargiasso), seven-
teenth century, 253 d
Cignani, Carlo, b. 1628, d. 1719, 221,

222 b, 228 J, 238 m
Oigoli (Lodovico Cardi), b. 1669, d.

1613, 223 j, 241^, 244^
Cimada Conegliano, G^2ffmja^i., painted

1489-1508, 84 c, 86 k-s
Gimnbue, 1 240 P till after 1302, 21 b,

22 *, q, 23, 26 e
done, Andrea di, see Orcagna
Circignani-Pomarancio, b. 1516, or

1519, d. about 1588 -1691, 216 g

doerchio, Vincenzo, painted 1496-

1539, 80<?, 119 a
Claude (Lorraine), b. 1600, d. 1682,

257 o^
Glouet (/a«c<), fifteenth century, 109/
Olovio, Giulio, b. 1498, d. 1578, 165 e
Coello, Sanchez, b. beginning of

sixteenth century, d. 1590, 236 o
Colle, Raffaello del, painted 1616-

1646, 156, 168
Colonna, Michelangelo, b. 1600, d.

1687, 228 e
Conca, Seb., b. 1676, d. 1764, 224,

230 m,
Conegliano, Cima da, see Cima
Contarini, Giov., b. 1549, d. 1605,

189 J
Gonte, Giae. del, b. 1510, d. 1698, 220 g
Gonti, Bernardino de', painted 1496,

112 e, 113 g
Cordeliaghi, 202 m

Corenzio, Belis, lived 1558 p-1643, 216/
Corradini, Bartolommeo {Fra Car-

nevale), d. 1484, Ibj-l, 78 a
Correggio (Ant. Allegri), b. 1494 ?, d.

1634, 37 d, 76, 177 and after
CorteUini^ Miehele, painted 1502-

1542, 76 e
Corticellus, see Pordenone
Cortona, Zttea da, see Signorelli
„ Pietro da (Berettint), 1596-
W99, 224, 226 m, 230 b-f,
251 p
Gosimo, Piero di, b. 1462, lived till
' 1521, 65 h

Cosmati (Fanuly of), 1227-1304, 23 e
„ Jacobus, 23 d, e
,, Johannes, 2i a,b, c
Cossa, Francesco, about 1456-1474, 75 a
Costa, Lorenzo, b. 1461, d. 1535, 75 a,

100 note, 110 b, e, 114 a, 177 note,

179 note
Costanzi, Pladdo, beginning of eigh-
teenth century, 227 d
Cotignola, Girol. Marchesi da, painted
1512-1531, 169 c
„ (F. and B. da), 169 e,f
Gourtois, Jacques (Bourguignon) or

Borgognone, 1621-1676, 224, 263 o
Coxcie, Michel, b. 1499, d. 1692, 163
CroMach, Lucas, b. 1472, d. 1553, 108

d-g
Gredi, Lorenzo di, b. 1459, d. 1537, 54

l,m h, 70, 113 4, 114 a, e
Cremona da, see Boccacino
Crescenzio, A., 1417-1440, 85 k
Crespi, Daniele, about 1590-1630, 64 o,

222 d

296

Index of Painters.

Crespi, Giov. Batt. {Cerano), 1657-

1633, 219 ff, 222 d, 236 o

„ Gius. Maria (lo Spagnuolo), b.

1665, d. 1747, 219 a, 244 o,

262 r

Oresh, Dom. (^da Fassignano), b. about

1650, (?. 1638, 223 k
Oeti, mmtoj b. 1671, 227 c, d
Criscuolo, Ghov. Aug., beginning of

Bixteenth century, 167 I
Ch'istqfani, the, moBaiciste, beginning

of eighteentb. century, 227 e
Oristoforo (of Bologna), lived about

1380, 48
Cristus Fetrus, lived 1444-1472, 103 a
OrmelU, Cmrlo, painted 1468-1493, 83

«, 0, 84 a-c
Grace, Baldassare, b. 1563, d. 1638,

216^
Crocefissi, Simone de' (da Bologna),

painted 1370-1377, 48 b, c, d,j
Omrado, Franc., b. 1670, d. 1661,

223 A
Cmighe, Simone da, painted 1397, d.

before 1416, 204 d

Daddi, Bernardo, b. about 1300, d.

about 1360, 25 e, 27 f, 28 b
Dalmasio, Lippo di, 1400-1410, 48 a
David, Gerard, 1483-1523, 105 a
Defendente Ferrari, see Ferrari
Deferrari, Giov. Andrea, seventeentb

century, 225 c
Dello Belli, 1404, stiU living 1466,

26*
Diamante, Fra, b. 1430, d. after 1492,

63 £
Diana, Benedetto, close of fifteenth

century, 89 m
Dioscorides, 4, 6 a
Dolabella, Tomm., pupU of Aliense,

213 a
Dolci, Carlo, 1616-1686, 223 x, 236 b,

241 h, 242 a, 243 c, 244 b
Domenichino (D. Zampieri), 1581-

1641, 221, 226 e-h, 228 g, 234 t,

236 /, m, 240 /, ?, 241 a, 243 c,

247 g:^, 249 ?, 266
Domenicis, Franc, de, pupil of P. Bor-

done, 206 ff
Domenico, Pietro di, Sienese, four-
teenth century, 47 e
,, Veneziano, living 1438, d.

1461, 68 r,s
Donate, of Venice, fifteenth century,

52 e
Doni, Adone, 1632, d. 1575, 98 d,

m-o

Donzelli, P., b. 1451, d. 1609, 102 *, e
„ Ippol., b. 1455, living 1480,
102 b, c
Dossi, Dosso, 1474-1542, 166/, 170 a,
171, 186/, 254 A
„ Batt., brother of D. Doaai,
d. 1648, 171/, 265
Dow, Gerha/rd, b. 1613, d. 1674, 253 «
Duecio, of Sienna, painted 1282-1339,

23 i
Dughet, Caspar (Poussiti), b. 1613,

d. 1675, 250 dr-k, 256 pw
Diinwege, Victor ami Seinrieh, first
half of sixteenth century, 106 k,
107 note
Diirer, AlbrecM, b. 1471, d. 1628,

107 b, and fol.
Dyck, Ant. van, b. 1699, d. 1641,
226 note, 232 i, 233 k, 234 «, 245 i

Eeckhout, Gerbrand,van den, b, 1621,

d. 1674, 234/
Ehheimer, A., b. 1678, rf. 1620, 225

note, 250 b, 255 f
Mnpoli, Jac. {Chimenti), 1554-1640,

22Z d-i
Fusebio di S. Giorgio, 96 note, 98 d,

Fy'ck, Subert v., b. 1366?, d. 1426,
68, 103
„ Jan. v., b. 1370 ? d. 1440 ?, 103,
104 A

Fabriano, Gentile da, living 1370, d.

1460, 61 c, d, e-g, 62 e, 61 a
Faenza, Bertueci da, 1502-1616, 98

d,p
Falcone, Aniello, pupil of Spagnoletto,

224,253 m
Falconetto, G. F., b. 1458, d. 1634,

79A
Falzagalloni, Stefano (da Perrara) , 74 <?
Farinato, Paolo, b. 1522, d. 1606, 208 »
/^«so?», e«(m. ^»<., i. 1530, d. 1574,

210<7
JaioH {Zor. de'), 81 ?
Ferramola, lOOj
Ferrara, Mrcole da, see Grandi

„ Stefcmo da, end of fifteenth
century, 74 e, 82 e
Ferrari, ^.,233 note

„ {Difendente), fl. 1519-1531,

82 i
„ Gttudenzio, 1484-1549, 118 e,

120 *, e, 121
J?«m", Giro, 1634-1689, 225
Feti, Domen., b. 1689, d. 1624, 244 d,

250 «, c

Index of Painters.

297

Fiammingo, M., 233 note

Maaella, Dom. (Sarzana), b. 1589, d.

J669, 225 4
liesole, JPra Oiovcmni Angelica da,

1387-1466, 53-66
Mpmo, Amir., d. 1690, 121 o
Fmoglia, Domen., pupil of Eibera, 224,

244/
Fiore, Coltmtonio del, see Tomaai, Nie.
Morentino, Aless., 110 d.
Fiori, Mario de/, d. 1673, 224, 263/
Firenze, Andrea da, \ZT1, 27, 29
Florigerio, Seb., apprenticed 1525,

liTing 1643, 204 j)
Fogolino, Mareello, living 1523-1636,

79 d
Foligno, Fierantonio da, lived 1452-

1506, 92
Fontana, Prospero, 1512-1597, 219 r
. „ Zavinia, b. 1552, d. 1614,
219 <
Foppa, Vincemo, painted 1466-1492,
80 a
„ the younger, about 1500, 78
Prameesea, Piero della, b. 1415, d. Oct.

1492, 68 1, 70 e, 71 j, 78 c, 112 4, 113 a
Francesehini, Marc. Ant., seventeentia

century, 228 e, 238 a
Framcia, M'ancesco {Raibolini), b. about
1460, <«. 1518, 99 <?,/
„ „ 100 b-k, 113 c, g

„ Giacomo, b. before 1486, d.

1567, 100 b, l-p
„ Giulio. b. 1486, 101 d
Francidbigio (Fr. di Cristofamo),

1482-1625, 133 b, d, 134 c, 136 note
Frtmeo, Batt., b. 1498?, d. 1661, 166,

205
Fredi da Siena, Bartolo di, b. 1330,

d. 1410, 46 m
Friimenti, NiccoU, 1461, 105 e
Fumiani, Ant., d. 1710, 211 1
Fungai, Bernardino, painted about

1500, rf. 1516, 172/,/
Pwrini, Franc., b. about 1600, d. 1649,

223 g, 230 t
Fyt (J.), 263 I

Gaddi, Agnoh, b. 1333, d. 1396, 26
e, 26, 27^,28/, 29 i
„ Gaddo, b. 1269, d. after 1333,

22 d, g, 24 e
„ Taddeo, b. 1300, d. 1366, 24,
26 e, 26 c, 27 e, 28/, g, 29 b,
30 d, 33 b
Gaetano, Seipio, b. 1650?, d. 1588?,

217 note
Galasai, Galasso, 73, 74 a, 145 o

Oambara, Xattanzio, b. 1541, rf. 1674,

201 »
Gamiassi, see iiiii
Gandini, Giorgio, d. 1538, 183 c
Gandolfini, 81 »»
Garbo,Eaffaelinodel, b. 1466 P, <?. 1524,

64 ft, 98, 135 m, 137 «
Garofalo (JB. Tisio), b. about 1481 ?,

<«. 1659, 148 note, 169 m, 170 OrS,

171 ft
ffam", i«^8, b. 1638, rf. 1721, 230 ft
ffaife', Bernardino, b. about 1495, <?.

1576, 182 e, 183 a, b
GauU, Giov. Bait., b. 1639, d. 1709,

227 d, 248 A
Qeminiani, Giacinto, b. 1611, <?. 1681,

251 A

Genga, Girol., b. 1476, d. 1551, 78 A
Gennari, Bened., b. 1633, <?. 1715, 220,
243/
,, Frcole, 246 d
Gentileschi, Artemisia, b. 1597, d.

1642, 241 and note
Gerard of Harlem, 82 «
Gerini, Niccold di Pietro, painted
1392-1401, 25, 26, 27 /, 28
f,h,29c,g,J
„ lorennodi JYK.,aoiiot'Siccol&,
practising 1401-1404, 29/,
43 4
Gesai, Franc, 4. 1588, d. 1625, 221
Gltezzi, 227 e
Ghiberti, Xorenzo, 4. 1378, d. 1466,

109/
Ghirlandajo, Dom., 4. 1449, (?. 1494,

67, 68 g, 72 a

„ Benedetto, b. 1468, d.

1497, 68
„ J3<M>i<fe, 4. 1452, rf. 1525,

68, 135 ft

„ Pidolfo, 4. 1483, <?. about

1561, 98, 116 4, 135 A-^,

136 i, 168 note

Giambono, Michiel, painted 1430, 15/

Giolfino, Nic., painted 1486-1518, 176

hj- Wg,i
Giordano, Luea, b. 1632, d. 1705, 224,
226 m, 2Z0g, 239 a, I, 246 4-<?, 251 r,

252 a

Giorgio, Francesco di, Sienese, 90 m

Giorgione (Barbarellt), 4. before 1477,

d. 1611, 148 note, 171 ft, 184 et seq.,

186 d, 187 note, 191 e, 203, 204 4

Giottino, 4. 1324?, till after 1395?,

24, 26, 27 a, g, 30/, ft, I. 31 a
eio«o, 4. 1266, d. 1337, 21, 22 e, h,
24, 25 a, 4, <i, e, 26, 27 d,
f,m, 28 c,f, 30 e, «, 314, c,

298

Index of Painters.

Giotto e,f, h, 32 e,f,

d, e, 35 a-c, 36 a, 38'fl!, 39 a.

g, 34 c,

b, 40 a, 44 a
„ di Ste/ano, fl. 1369, 24 note
Giovanni, Berto di, 1497-1520, 98 d
„ Bewvenuto di, painted 1456-

1517,91/
„ Girolamo di, painted 1460-

1473, 91 ff
„ Matteo di (da Siena), i.
1436, d. 1495, 47 e, 71 e,
91 a^c
„ Pietro di, Sienese, four-
teenth century, 47 e
„ di JPadova, painting 1380,
50 a
Giovenone, Girolamo, lifing 1613-

1527, 82
Goes, Bugo v. d., b. about 1445, d.

1482, 104 a^d
Gossaert, see Mabuse
Gozzoli, Benozzo, b. 1424, d. 1498, 29 a,

45 g, 66 b-h, 76
Grcmacci, Francesco, b. 1469, d. 1543,

66 h, i
Grandi, JBrcole di Giulio, liring 1492-
1631, 73 i
„ ,, Boberti, in practice

1480-1513, 74 g
Grassi, G. B.. 1S47-1578, 204 s
Grebber, P., i. 1600, d. 1655, 233 I
Grien, Sans Balditng, b. ab. 1470, d.

1645, 108
Grimaldi, Giov. Franc., b. 1606, d.

1680, 221, 266 c
Gualdo, Matteo da, practised 1460-

1503, 91 h
Guariento, of Padua, painted 1338-

1364, 60 d
Guercino (Giov. Franc. Barbieri), b.
1591, d. 1666, 221, 223 g, 226 i, 228
I, m, 229 a, b, 234 «, 236 g, 238 o,
239, 240 a, 241 d, 243 a, c, i, k,
244 a-e, y, m, 246 a, 249 i^,
250 m, 261 e-h
Guido, see /Stena
„ See Fahnerucei

Sals, From, h. 1584 ?, <«. 1666, 233 k
Seem, Jan J)avid de, b. 1603, d. 1674,

253 i
B«i«<, «. <fo»\ 233 ?
Semessm, S., painted 1535-1666,

106 i
Holbein, S., h. 1497, d. 1543, 94 a,

106 A, 108 k, 109
Sonthorst, Ger., b. 1690, (?. 1666, 225

note, 237 h, 241 /, n, 252 e, ^

Sughtenburg, John van, b. 1646, rf.

1733, 254 g
Suysum, J. van, 1682-1749, 253 k
Ibi, Sinibaldo, painted 1507-1527,

%%d,k

Imola, Innocenzo da, b. about 1494,

d. about 1560, 168 m-s
Imparato, Franc., b. 1520, d. about

1570, 216 m
Ingegno, Andr., Luigi, 95 m, 137 e

Jacob von UUn, 1407-1491, 110 a
Jacobello delFiore, b. 1374, stiUliring,

1439, 52 d
Jacobm, Frater, mosaicist, 1225, 20

,, see Faoio
Jacopo da Casentino, fl. middle of

fourteenth century, 25
Johannes, see Alama/nnus

„ of Eome, 16 i
Jordaens, J., b. 1593, d. 1678, 233 m
Justus of Ghent, painted 1468-1475,

70 note, 103 b, 113 note

Keulen, J. van. d, 1665, 233 g, h
Koninck, Fhil, b. 1619, d. 1689,

266 A
Korn, see Fritmenti

Laa/r, Fieter van, b. 1613, d. \&lbi

224, 262 r ^

Lagaia, Giov. Ant. de, painted 1519,

120 c
Lama, Gian. Bern., b. about 1608, d.

1679, 167 b
Lambertini, Michele di Matteo,

painted 1440-1469, 48 I, m
Lanfranco, Giov., b. 1682, d. 1648,

221, 245 a, 248 c-g, 260 m
Lanini, Bern., painted 1689, d. about

1578-1580, 118 e, 121 h
Lawreti, Tomm., b. about 1520, d,

about 1600, 156, 187 e, 220 d
Lauri, Fil., b. 1623, d. 1694, 225
Lazzarini, Greg., b. 1666, d. 1730,

211 ?
Lebrun, Charles, 1619-1690, 234
Lely, Peter (Van der Foes), b. 1618,

d. 1680, 234y
Leopardo, Aless., 138 note
Leyden, Lucas van, b. 1494, d. 1533,

106 A
Lianori, Pietro, first half of fifteenth

century, 48 I
Liberale da Verona, b. about 1451,

still living 1516, 79 g
Liberatore, see Alunno

Index of Painters.

299

Libm,JPietro, b. 1605, d. 1687, 211 m
Libri, Girol. dai, b. 1474, d. 1556,

79 »■
Zicinio, Bern., see Fordenone
Liaozzi, Jae., b. about 1648, still

IiTing 1632, 223 *
Lion-Bnmo, Lor., b.- 1489, living

1531, 183 i
Lippi, Ira Fil., b. 1406, d. 1469, 60,
61,67ir
„ Filippino, b. 1461, d. 1604,
61 b, 64, HO e, 113 a
Livms, Jan, b. 1607, still liying 1672,

234/
Iwi, Franc, di, painter on glass, about

1436, 109y
Lomazzo, Giov. Faolo, b. 1638, <?. 1600,

108 note, 121 o
Lombard, Lamb., b. 1506, d. 1666,

102
Longhi, Luca, b. 1507, d. 1580, 220 h
. Lormzetti, Amtrogio {di Lorenzo),
painted 1324-1345, 25,
28 le, 41 e, 46 a-j
„ Fietro, painted 1305, d.

about 1348, 25, 28 h, 30 h, k, 36 c,
37 e, 46 «, V, »i
Jo»-e«20 da Yiterbo, 66 note
Lorenzo of Bologna, lived about 1360,

48 i
Lorenzo, Bon (Monaco), painted 1390-
J413, 28 J, «,/, 66<?, 67(!
,, dCNiccolo, see Germi
„ see £t(;a
„ Fiorenzo di, painted 1472-90,

92 A, ?
„ see Lorenzetti
Losco, Bernardino, b. 1489, d. 1640,

82 c
2o«i, Carlo, b. 1632, <?. 1698, 211 m,

237 ?
-totto, l^renzo, b. about 1480, <?. after

1564, 186 g, 188 e, 189 «
iwca 0/ Venice, 17 note
Luini, Bernardino, birth unknown,
living 1530, 116 a, b, e,
117-119
Aurelio, still living 1684, 118
note, 121
Luisaceio, mosaicist, painted 1616,

162(5
Lusehis, Jacobo de {J. de Lusciniis),

paiated 1469-1604, 82 e
Luti, Bened., b. 1666, d. ITU, 225,
227 c, 262 b

Mabuse {Jan Gossaert),'^ainieA 1503-
1632, 106/

Macehiavelli, Zenobio, HIS, 66 I
Mamardi, BastianOj painted about

1470-1615, 26, 66 A
Manetti, JRutilio, b. 1572, d. 1639,

218 a, 224, 238 i, 262 A
Manfredi, Bart., b. about 1680, d.

1617, 252 h
Manni, Oiamnieola, painted 1493 to

1544, 98 d, g, i
Mansueti, GHovanni, painted 1494 and

later, 84 c,f, 85 b
Mantegna, Andrea, b. 1431, d. 1506,

69, 76, 113 g, h, 166 e, e, 177 m
Mantegna {F.) 77
Mantovano, Sinaldo, painted 1532-43,

164/
Manuel, If., b. 1484, d. 1631, 108/
Maratta, Carlo, b. 1625, d. 1713, 149,
186, 221, 227, 230 », 241 d, 245 i, p
Marc-Antonio {Raimondi), engraver,

164 note
Marohesi, Franc. (1606-1518) and
Bernardino { Zaganelli,
living 1518), 164 o,^
,. Gir., see Cotignola

Marcilla, G. da, b. 1475, d. 1529,

110 A
Marconi, Rocco, painted 1505 and

later, 189, 191 note
Marescalco, see Buonconsiglio
Margheritone of Arezzo, b. 1216 ?

d. 1293 ? 20, 25 (S
Marinari, Onorio, b. 1625-1627, d.

1716,243/
Marti/no, Fra, at Verona, 60 e

„ Sim^nedi{daSiena),b.XW&,

d. 1344, 26 «, 27,28 A, 30 2,

45, 45 e, 51 1

„ da Udvne, Giov. di, painting

1497, d. 1635, 204 g

Marziale, Marco, painted 1492-1507,

84 c 90 c
Masaceio, 1401-1428, 60 a, 62 u,

113 a, e
Maso di Banco, 1343-1350, 26
Masolmo {da Panicale), b. about 1403,
d. about 1447, 60 a, b, and note, 61
note
Master of the Death of the Virgin,

106, 106 ]e, 107
Maturino, seventeenth century, 264 h
Mazone, Giovanni, end of iifteenth

century, 81 g
Mazzola {Mazzuolt)

„ Filippo, painted 1491-1504,

82 A
„ PieriYam, brother of Filippo,
82 A

300

Index of Painters.

Maznola Franc, see Parmegianino
„ GiroL, cousin of Parmegi-
anino, laboured 1622-1566,
183 c
Mazsolmo, Zodov., 1478-1528, 76 d,

169 ff-l
Mel, Gio. da, painted 1521-1548, 204 d
Melano, Giovanni da, painted 1365, 24,

26, 27 c, 28 e, 30 i
Melanzio, 1488-1515, 98 d, 99 b
Melone, Altobelh, painted about 1515-

1520, 201 i)
Meloni, Marco, painted 1604, 82 e
Melozzo da Forli, painted 1460, d.

1494, 76, 77 y, 178 note
Mehi, Franc., living 1567, 119
Memling, Sams, b. 1430 ? d. 1496, 104

b, d, h, i
Memmi, Zippo, painted 1317-1333, d.

1356 ? 45 a-g
Mengs, Anton Baphael, 1728-1779,

227/
Messima, Ant. da, painted 1465-1493,
85 J-A
„ Pietro da, end of fifteenth
century, 86 i
Metsu (S.), 253 e
Metsys, Qidntin, b. 1466, d. 1530,

106
Meulen, A. F., v. d., b. 1634, d. 1690,

254/^
Michelangelo Puonarroti, 1475-1564,

110 b, 122 e-128, 163 note
Miehele di Matteo, see Zambertmi .
Miccheli, Pastorimo, painter on glass,

1549, 111 *
Michelino, Giottesque, first half of

fifteenth century, 51 d
Miel, Jam., b. 1699, d. 1664, 253
Mieris, {F.), 263 e
Miretto, Giov., painted about 1420,

50 c, 74 c
Mirevelt, J., b. 1567, d. 1641, 233 k,

234 A
Mooetto, Girol., beginning of sixteenth

century, 110 d, 177 i, k
Modanino, see Mazzoni, Guido
Modena, Giov. da, about 1400, 48j
„ PelUgrino da, painted 1483,
d. 1523, 158
Tommaso da, painted 1352-
1385, 48 «,
Mola, Giov. Bait., pupil of Albani,
1616-1661, 221
„ Pwr/roMi;,*. about 1612, rf.l668,
221, 244 b, 26% f
Momper, Jodocus, painting in 1681, d.
1622, 266

Monaco, see Zorenzo

Montagna, Sartolommeo, painted in

1480, d. 1523, 78/
Montagnama, Jacopo, b. before 1450,

d. about 1499, 74 a
Montemezzano, Frcme., d. about 1600,

210^
Montorfano, Giov. Donate, painted

1495, 80 d, 116 d
Monvert (i.), 204 r
Morandi, Paolo, see Caoazzola
Moreto, Cristoforo, painted at Milan

1467-1476, 201^, 202 note
Moretto {Aless. Borwioim), b. 1498,

living 1554, 200
Moro (Fr. Torbido, U), b. about 1490 ?,
still Uving 1546, 185 1, 187 »
,, Batt. (CHambait.), living 1550-

1610, 201 h, i
„ Ventura di, late Giotteaque, fif-
teenth century, 27 i
Morone, Domenico, b. 1442, painted
1508, 77 e, 19 j
„ Franc., b. 1473, d. 1529,
79/, 80
Moroni, Giov. Batt., b. 1510 f, d.

1678, 200 y, 201
Morreaieae,see Novelli
Mostaert, Jan., painted 1500, d. 1555,

102
Mura, Franc, di, seventeenth century,

224, 230 m
Mv/roMO, Andrea da, opening of six-
teenth century, 33 m
„ Antonio, Bartotommeo da,

see Vivarini
„ Giovanni, see Alamannm

„ Natalino da, imitator of
Titian, sixteenth century,
199 «
„ Quiricio da, 1462, 62 i

Muratori, 111 e
Murillo, Bart. Est., 1618-1682, 225

note, 236/
Muziano, Girol., b. 1530, <?. 1592, 201 o
My tens, D., 233 I

Naldini, Batt., b. 1536, d. 1600, 220 c
Napoletano, Simone, 52 k
Nardo, Orcagna, 25, 26 a, 28 A
Negroni, Pietro, 1506-1569, 167 k aud

note
Negroponte, Fra Antonio da, painted

about 1440, 62 e
Nelli, Ottaviano, 1403-1444, 61 e

,, Plautilla, d. 1687, 131/
Niccolo, see Gerini
Nicholas of Eome, 16 i

Index of Painters.

301

Nogan, Paris, i. 1648, d. 1613,

216 s'
Navelli, Fietro (Morrealese), h. about

1603, Hving 1660, 224
Nmolone, FamJUo, h. 1608, d. 1651,

219 g, 222 e
Nuzio, see Allegretto

Oierisio da Gubhio, 1268-1271, 47
„ Sobertus de, Giottesque,

foirrteenth century, 31 g
Ogionno, Marco d', o. about 1470, d.

1530 ?, 119 e-e
Orietto, see Turehi
Oroagna (^Orgagnd), Andrea, i. about

1308, d. about 1368, 25, 26 a, 28 h,

33 c, 37 e, 40 S,<!, 44 J, 110 a
Orioli, 1449-1461, 79 e
Orizzonte ((?. F. v. JBloemen), b. 1662,

d. 1748, 257 m
Orley, Bern, van, b. 1490, d. 1541,

105/
Orsi, Lelio, b. 1611 ?, d. 1587, 182 e
Ortoltmo, Bern)., living 1512 to 1524,

170 i, m.

Pacchia, Girol. del, b. 1477, still alive

1535, 172 h, 175 e
Pacehiarotto, b. 1474, d. 1540, 175 k,

and note
Padovano, Cfiusto, painted 1367-1400,

50 a, b
Pagani, Gfregorio, b. 1550, d. 1605,

216 »
Paqamo, Qamwro, b. 1513, rf. 1540, 172

d 223 >&
Pa^^t, ftw. Batt., b. 1554, <f. 1627,

225 a
Pahna U Vecchio, Jacopo, b. 1480-

1528, 148 note, 186 note, 187 1, 188,

191 d, 205 h
Palma il Gimme, Jacopo, b. 1544, d.

1628, 21iy, 213 a, 214, 214 a
Fahnerucci, 6., 1280-1352, 47/
Palmezzano, Marco, b. about 1456,

painted 1486 ?, living 1537, 78/, g
Panetti, Domenieo, b. 1460, d. about

1511-1512, 76 b
Fannini, Giov. Paolo, d. 1764, 224,

257 m
Paolo da Venezia, 1323-1358, 17 note
„ di Stefano, 1426-1440, 60 note
„ Giovanni di (Siena), four-
teenth century, 47 e
„ Jacopo di (Bologna), about
1400, 48 g, h, i

Papa, Simone, b. about 1430 f, d. about
1488?, 101/

„ Simone the younger, about
1506-1667, 216 i
Parentino, 74 a, 77 i
Farma, Lodovico da, last half of

fifteenth centmr, 82 e
Parmegianino {Fr. Mazzola), b. 1504,

d. 1540, 148 note, 183 dr-h
Pasinelli, lor., b. 1629, d. 1700, 222 h
Fasserotfi, Bart,, b. about 1530, d.

1592, 219 i
Passignano, see Cresti
Patenter, J. M., b. 1487 f, d. 1524,

106 e
Pedrini, Giov., scholar of Lionardo,

painted 1521, 115 *, 121 p, r, 176
Pellegrini, see Tibaldi
Fencz, Georg., b. about 1500, d. 1550?,

108 c
Pennacehi, Fiermaria, b. 1464, d.

1628 ?, 84 c, 90 a, b
Fenni, Franc, scholar of Raphael, b.

about 1488 ?, d. 1528, 140^, 148 note,

156, 158, 162 c, 166 e
Fensaben, 88 note

Perugia {B. da), 1502-1519, 98 d, 99 «
Perugino, Fietro (Vannuccf), b. about

1446, d. 1524, 72 a, 93, 93 a-e, 94,

95 o-m, 113 a, 137 note

Feruzzi, Baldassare, b. 1481, d. 1537,

96 e, 162 b, 176

Pesaro, Simoneda (Cantarino), b. 1612,

d. 1648, 221, 228/
Fesellino, b. 1428, d. 1457, 66 m
Piaggia, Teramo {de Zoagli), painted

1532, 81 /, I
Piazza, Albertino and Martino, prac-
tised 1500-1526, 78 I
„ Galisto, school of Titian,
paiatedl514-1556, 199ff, 219 e
Fiazzetta, Giov. Batt., b. 1682, d. 1754,

211 m, 249/
Fietro, Niceolo di, see Gerini

,, Sana di (Sienese), fifteenth
century, 47 e
Pino, Paolo, living 1548-1665, 200 a, b
Pinturicehio, Bern., b. 1464P, d. 1513,

96 »-:/. 97 a-e, 149 S
Piola, I)onwn., seventeenth century,
239 e, 246 n
„ Pellegro, 1607-1630, 225 c
Piombo, Seb. del, b. 1486, d. 1547, 88
note, 128, 148 a, 176 note, 186,
203
Pippi, see Romano

Pisa, Giwnta da, thirteenth century,
20 b, c, d, 22

302

Index of Painters,

Tisano, Vittore {Fisanelh), b. 1404, d.

about 1455, 52 e, 79 e

Pistoja, JFra Paolmo da, b. about

1490, d. 1547, 131 A, I

„ Gerino da, imitator of Peru-

gino, sixteenth century, 97 note, 98

Pizzolo, Nie., assistant oi Mantegna,

76 «
Po, Giae. del, 224, 238 y
Poeeetti, Bern., b. 1549, d. 1612, 222 o,

223
Polidoro, see Caramaggio
Pollajmlo, Ant., h. 1429, d. 1498, 68 n
„ Pietro, b. 1441, d. 1496,
68 «
Pomaremce, Sonealli dalle, b. 1552, d.

1626, 216 ff
Ponchino, G. F. (Bozzato), school of

Veronese, 213 c
Ponte, da, see Baasano
Pontormo, Jac. da, b. 1494, d. 1657,

133, 134 e, 217
Pordenone, Giov. Anton, da, b. 1483,
1^.1539, 185 1^, 189 ff, 202
A, 203
„ Bernardino Zicmio, painted
1624-1541, d. 1670, 185
n, 203
Porta, Baceio delta, see Bartolommeo,
Fra
„ Giua., see Salviati
Potter, P., b. 1626, d. 1664, 263 I,
Pourbua, the younger, *. 1670, d. 1622,

234y
Pouaam, Gaap., see Bughet
Pouaain, Me., b. 1594, d. 1665, 226
note, 227 i, 236 e, 236 m, 242 e-#,
251 (H?, 256
Pozzo, Andr., seyenteenth century,

225
Prete Ilario, Ugolino di, fourteenth

century, iSp
Preti, Mattia, see Oalabreae
Premtali, Andrea, painted 1602-1628,

84 c, 89 p
Primaticcw, Franc, b. 1504, d. 1670,

165 A
Procaccini, Frcole, b. 1520, Hving
1691, 219 /, g, 222 d,
236
„ Camillo, b. 1646, d. 1629,

iWg
„ Giul. Ceaare, b. 1548, d.

1626, 219 #■, 237
„ Frcole, the younger, b.

1696, (?. 1676, 222
Puccio, Pietro di, painted 1370-1390,
"8^, 29», 32e, 41y

Puligo, Bomen., b. 1475, d. 1527,
134 m

Rafaello di Firenze, 135 p
Raibolini, see FroMcia
Samenghi, Bartol., see Bagnaeavallo
Raphael, b. 1483, d. 1520, 94 «, 136 i,

136 et seq.
Saveatyn, J. v., b. 1580, 225 note,

233 2
Begillo, Zieinio da, see Por(fe«o«e
Rembrandt, 1608-1669, 233 m, 234,

255 A
5««i, Guido, b. 1576, rf. 1642, 221,

226 b-d, 228 A, 235 a, 236 a, 239^
j, 240 e, /, ^, 243 a, 244 o, 246 e,

246 a, 247 a, i, 249 ft y, 260 j-m,

251 h
Ribera, Giua. (Spagnoletto) , 1588-1666,

224, 229i, k, 237 e, 239/, 243 c-e,/

246 g, 252 2
Ricea, Bernard., first half of sixteenth

century, 202 d
Rioci, Bom., see Bruaaaord
Ridolfo, Miehele di, still living in

1568, 136 m
Robuati, Jac., see Tintoretto

„ Bom., b. 1562, d. 1637, 208 a
RomanelK, Gianfranc, b. 1610, d.

1662, 226
Romanino, {Rumanino), Girol., h.

about 1486, d. in 1666, 201 g-l, 202

note, 203
Romano, Giulio i^Pippi), b. 1492 or

1499, d. 1546, 142 e, /, 148 note,

156, 162 c, 164-165, 187/
Rondani, School of Correggio, 183 e
Rondinelli, Niccolo, opening of six-
teenth century, 74 g, 90 k
Roaa, G., 233 note

„ Salvator, b. 1616, d. 1673, 224,

229 k, 234 o, 238 i>, 251 m-o, 262 p,

253 m, 256 h-n

Roaaelli, Coaimo, b. 1439, d. 1507, 65

d-g, 72 o, 133

„ Nice, scholar of Dosso Dossi,

Hving 1656, d. 1680, 219/

„ Matteo, b. 1678, d. 1650, 223»

Roaai, Roaao de (Fiorentino) , b. about

1496, d. 1541, 127 e, 133, 135 d-g
Roaao, Antonio, painted 1472-1507,

204 d
Rubens, b. 1677, d. 1640, 225 note,

231 d-232 h, 265 A
Ruautti, Filippo, painted 1300, 22 d,

24 e
Ruysoh, Rahel, b. 1664, d. 1750, 253/

Index of Painters.

303

Suysdael, Jac, b. about 1625, d. 1682,

265 »
Sumlone, Fietro, 1484-1517, 85 h

SaiiattmijAndr. (daSalerno), b. about
1480, d. at Gaeta in 1530,
166 g, 167
„ Lorenzo, b. 1530, d. 1677,
219 »
SaccM, Andr., b. 1699, d. 1661, 221,
230 q, 235 b, 237 ;, 244 I
,, JPierfrancesco, painted about
1612-1527, 81 1
Salaimo, Andrea, liTmg 1497-1618,

115 a, d, I, 117 c, 119/
Salerno, Andrea da, see Sabbattini
Saliba, Antonello da, 1497-1631, 86 I
Salimbeni, Ventura, b. 1567, d. 1613,

and Archangelo, his father, 217 r
Salmeggia, Enea (Talpmo), b. about

1550, d. 1626, 219 e
Salvi, see Sassoferrato
SaMati, Franc, b. 1610, d. 1663, 216 i
„ (?i«s. Porte, b .about 1520,
living 1567, 166
Saho, d' Antonio, end of fifteenth

century, 85/
Sammachini, b. 1532, d. 1577, 220 e
San I)aniele,Fellegr. da, painted 1491,

d. 1647, 198 d-h
Sandro, see Botticelli
San Giorgio, JEusebio di, see Eusebio
San Giovanni, Giov. (Manozzi) da, b.
1690, d. 1636, 223 g, 242 /, 251 s,
262 A
San Severini, the fifteenth century,

91ff
S. Oroee, Erancesoo Eizzo da, 1604-

1541, 84 note
Santa Croee, Girol. da, painted about

1520-1649, 83 i, 84 « and note
Santafede, the elder, sixteenth cen-
tury, 216y
216 I „ the younger, 1660-1634,

Santi, Giovanni, living 1446, d. 1494,
78d,e
„ E^aelle, see Maphael

Santo, Girola/mo del, first half of six-
teenth century, 84 note, 201 m

Saraceni, Carlo, b. 1685, d. about
1625, 224, 229 d, 238 h, 252 j

Sarto, Andrea del, b. 1487-1631, 116^,
131-134, 140 b, 147 «

Sarzana, see Fiasella

Sassoferrato (Gio. Batt. Salvi),b. 1605,
d. 1686, 95 d, 148 d, 196 h, 222 b,
226 m, 237 a, k, 238/, 246 i

Savoldo, Gwol., living 1608-1548,
186A, 199i)-»
„ Jacopo, painted 1510, 199 w
Searsellino, Ipp., b. 1551, d. 1620,

219 /c
Schaffner, Mart., laboured 1499-1635,

losy

Schduffelin, Hans, b. about 1476, d.

1549, 108 a
Sehia/vone, Gregorio, painted 1441 and
later, 73 e
„ Andrea, b. opening of six-
teenth century, d. about 1682,

197/
Schidone, Bart., b. about 1583, d. 1615

or 1616, 114/, 186 g, 222, 237 *
Schiin, M., 104 d

Schoreel, Jan, b. 1495, d. 1662, 102
Sebastiani, Lazzaro, laboured 1470 to

about 1500, 84 c,/ 89/
Segna (Sienese, begumiug fourteenth

century), 23 c
Sellaio, Jacopo del, b. 1442, d. 1493,

63 «
Semini, Andr., b. 1626, d. 1594, 218 h

„ Antonio, b. 1485, 81/
Semitecolo, Nic., painted 1351-1400,

62*
Sermoneta, Sicciolante da, living 1572,

216i), 217 A, 220ff
Sesto, Cesare da, still painting in 1521,

116 note, 118 e, 119/, 174 s, 175
Siciliano, Boderigo, first half of six-
teenth century, 163 c
Sieulo, Jacopo, 1638-1541, 98 q
Siena, Barna da, painted 1340 ?, 1381 ?,
46/-;

„ Guido da, painted 1221 or 1271,
20 a, 21 c

„ Marco da, painted 1657-1673,
216 m-p, 217

„ Simone da, see Martino

„ Vgolino da, 1291, 23 b, 28 b,
47 e,/
Signorelli, Luca, 1441P-1623, 70,71,

72 a, 95 0, 116 g
Simone da Bologna, see Croeefissi
Sirani, Giov. Andr., b. 1610, d. 1690,
221, 241 n, 245 g, h, 246/
251 I
„ Elis, b. 1638, d. 1665, 221
Smargiasso, see Giafferi
Snyders, Franc., i.l679, d. 1657, 233 *,

I, 253 I
Sodoma, 11, (Giov. Ant. Bazzi),b. about

1477, d. 1549, 172, 174
Sogliani, Giov. Ant., b. 1492, d. 1544,

136 r, 136, 166 *

304

Index of Painters.

Solaria, Andr., painted 1496 to 1515,
121 q, 122 ffl-e
„ Ant., 101 M, 102
Solvmena, Franc., 6. 1657, d. 1747,

224, 230 i
Sohernm, 19 b
Spada, Zionello, b. 1676, d. 1622, 221,

240 d, 241 m, 262 h
Bpadaro, Micco, pupil of Salvator

Bosa, 224, 253 m
Spagna, Giov. Lo, paiated 1507-1530,

97/, A, 98 a^d, 137 note
Spagnoletto, Lo, see JRibera
Spagnuolo, see Oreapi
Speranza, Giov., second half of fif-
teenth century, 79 d
Spinelli, (P.) b. ab.l387,<?. after 1444,

29 m
Spinello Aretino, b. about 1333, d.
1410, 26, 27 b, 29, 29 k, 30
a, d, e, f, 32 b, 33 c, 36 i,
42
Sqttarcione, Franc., living 1423, d.

1474, 72, 73, 77, 77/
Stalbent, Andr., b. 1580, d. 1660,

256 A
Stanzioni, Massimo, b. 1585, (?. 1656,

224, 229 k, 239/, k, 244 A, 247 m,

248 a
Stamina, GMr., 1354, living 1406,

26, 29 »
;S'i«m, Jan., b. 1626, <?. 1679, 253 «
Stefani, Tommaso degli, 24/
Stefano, Francesco di, see Fesellino
„ PooZo <?», see Paofo
„ of Some, 16 t
,, Tommaso di, see Giottino
Stefanone (of Naples), 50 a
Stradanus, Joh., b. 1536, <?. 1618,

215 note
Strozzi, Bern., see Capuccino
Suardi, see 5nw»a«<j«o
Sustermans, Just., b. 1597, <?. 1681,

234 ^«
Swanevelt, Serm. v., b. 1620, rf. 1680,

257*

To;!, Andrea, b. about 1250, <?. after

1320, 21 a
Talpino, see Salmeggia
Tassi,Agostino, b. 1566, d. 1644, 257 a
ToAiarone, Lazz., b. 1556, <?. 1641,

218 A
Temperello, see Caselli
Tempesta, Ant., the elder, d. 1555, d.
1630, 216/
„ J. Moh/n, b. 1637, <?. 1701,
257?

Thomas, see Modena

Tiarini, Aless., b. 1577, <?. 1668, 231

237 h, 240d,2i2h
Tibaldi, Pellegr., 1622 or 1627-1692,

220 (i
Tiepoh, Giov. Batt., b. 1693, d. 1769,

211 Z, 231 c, 249 «,/
TmcZii, TiS b. 1586, <?. 1638, 234 q
Tkitoretto, l>om., see Bobitsti

„ (Joe. Bobusti), b. 1518, d.

1694, 206-208, 212 a, c,
d,213a, J,/, 214, 254 A
JVsto, Benv., see Garofalo
Titian, b. 1477, A 1676, 190-197, 21

a, 254 h
Tito, Santi di, b. 1638, d. 1603, 217 e,

222 (f, y
Tolentino, Francesco da, 102 c
Jb^mszzo, see Tum£tio, painted 1482-

1491
Tommasi, Nicholaus (Colantonio del
Fiore), painted 1360-1371, 26, 31 h,
5Sa,b
Tommaso, Bartolommeo di, pract.

1430-1462, 91 h
Torbido, Franc, see Moro
Torregiani, Bartol., pupil of Salvator

Eosa, 224, 256 o
Torriti, Jacobus, painted 1287-1295,

iid
Traini, Francesco, painted 1322-1346,

29 d, e, 42 a
Treviso, Dario da, painted 1446 and
later, 73 e
„ Girolamj} da, the elder (Avi-
ano), painted 1470-1494,
73 e, 74 a
„ CHrolama da, the younger,
*. 1497, d. 1544, 90 d, 169
a, b
Tumetio, Dom. di, painted 1479-1507,
204 e
„ G. F., 1481-1499, 204/
Tura, Cosimo, painted 1451-94, 74 a,

ho, 9
Turchi, Aless. (Orbefto), b. 1580, d.

1651, 211 n
Turone of Verona, laboured in 1360,

50 d
Tzanfurnari, JEmanuel, eleventh cen-
tury, 17 c

Vbertini, see Bacchiacca

Uccello, Paolo, 1397-1475, 26 *, 30, 65

i, j, 66 a
Udine, Giov. da, b. 1487, d. 1664, 162
c, 187/, h

Index of Painters.

305

Udine, Girolamo di Bernardino da,

1506-1518, 204 «
Martina da, b. about 1487, d.

1647, 84 0, 204 k
Uggione, Bee Ogionno
jfgolmo, see Siena

Vaecaro, Andr., b. 1598, d. 1670, 224,

243 y.
Fai7«, Pen» (fei, 1499-1547, 111 b,

152, 166 i, 158, 166 a-d, 216 note
Valentia, Jaeopo da, 1486-1609, 83 m
Valentin, 1600-1634, 224, 229 e, g,

241 y

Vanni, Francesco, 1665-1609, 217 q

Vannucci, see Perugino

Varotari, Aleas., b. 1590, d. 1650, 211

k, I
Vaswri, Giorgio, b. 1611, d. 1574, 216

c, 217 a
Vassilacchi, Ant., b. 1556, d. 1629,

208 a, 210 ^, 213 d
Vecchia, Pietro delta, b. 1605, d. 1678,

185 k,m
Vecchiefta {Lorenzo di Pietro), Sien-

ese, fifteenth century, 90 I
YeeeUio, see Titian

„ J^fwc, exhibited picture,
1524 and after, d. 1659,
197 a, b
„ Jfa«o, 6. 1545?, <?. 1611?, 197

<«, 213 c
„ Orazio, b. about 1526, d.
1676, 19"/
Velasquez, 1699-1660, 226 note, 235

h, m
Veneziano, Ant., ]iYing 1370-1388, 25,
27, 29, 32 c, 33 c, 36 b
„ Bartolommeo, 1506-1630, 90
,> Lorenzo, painted 1357-

1371, 17 note, 62 a
„ Paolo, fourteenth century,
17 note, 51 i, 52 a
Polidoro, pupil of Titian,
sixteenth century, 199 b
„ Stefano, painted 1379-
1381, 62 b
Venusti, Mareello, d. about 1675, 126,

127^
Verlas, Francesco, 1511-1617, 79 d
Verona da, see Liberate

„ Maffeo, b. 1676, d. 1618,

210 o
,, Michele da, laboured 1600-

1623, 177/
„ Philippo da, 1509-1614,

177 m

P. Caliari, b. 1528, d.
1688, 208-210, 212 c, 213 c, 214
Verrocehio, Andrea del, b. 1435, d.

1488, 69 h, 114 d
Vicentino, Andr., b. 1539, d. 1614,

212*
Vigilia, Tommaso de, 1480-1497, 85 k
Vigri, Oaterina, about 1460, 48 c
Vinci, Gaudenzio, painted 1611, 120 b
„ Lionardo da, 1462-1619, 112-
114, 116, 116, 117, 138
Vinckboons, D., b. 1578, d. 1629, 255
VitaU (of Bologna), painted 1320-

1345,47^, «,i
Vite, Antonio, Giottesque, fifteenth
century, 29 i
„ Timoteo della, 1467-1523, 78 i,
148 note, 167 n, 168
Vivarini, The, 16 a, 51 j

„ Antonio, painted 1440-

1470, 62 e-h
„ Bartolommeo, painted 1450
-1499, 52/,^, 83ffi, b, e,
d, e-g, 110 d
„ Luigi, painted 1464-1603,
83 d, Vot, 89 1
Volterra, Daniele da, b. about 1609,
d. 1666, 126 note, 128,
166/, 216 a
„ Francesco da, painted 1371,
25, 29, 36 g
Vouet, Simon, b. 1690, d. 1649, 217

Wael, C, 233 note

Weyaen, Sogier van der, b. about

1400, d. 1464, 104 d^g
Wohlgemuth, Michael, b. 1434, d.

1519, 106 d
Womermans, Ph., b. 1619, d. 1668,

254/

Zacchia il Vecchio, painted about

1527, 168 note
Zagamelli, see Marchesi
Zampieri, see Domenichino
Zelotti, Giambattista, b. about 1632, d.

about 1592, 210 g, 213 c
Zenale, Bernardino, b. 1435, d. 1626,

80*
Zevio, Stefano da, b. 1393, still living

1435, 50 <?
Zingaro, see Solaria
Zoboli, 227 c

Zoppo, Marco, painted 1468-98, 73 d, e
Zucchero, Taddeo, b. 1529, d. 1666
„ Fedengo, b. 1643, d. 1609,
164 note, 213/ 216, 217 e

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