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 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924016330940 
 
"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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 To fiice page ii8. 
 
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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 1^ % ' 
 
 
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 f^H ^ 
 
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 ^m 
 
 HHH £^HP 
 
 
 ^SHB\ /:^^rV.^^'^*^^^^^^H 
 
 
 
 THE 2INGARELLA. 
 
 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. 
 
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 OS 
 
 CU 
 
 Q 
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 Q 
 
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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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