Yale University Library 39002030235031 YALE UNIVERSITY ART AND ARCHITECTURE LIBRARY MANUAL JAMES COLLECTION EARLY ITALIAN PICTURES, DEPOSITED IX THE GALLEItT OF THE TALE SCHOOL OF THE FINE ARTS. catalogue, wrrn descriptions of tite pictures contained IN THAT COLLECTION, WITH rilOGRAPTIICAL NOTICES OF AJtTISTS AND AN INTRODUCTORY ESSAY, THE WHOLE FORMING A BRIEF GUIDE TO THE STUDY OF EAELY CIIEISTIAN ART. BY RUSSELL STURGIS, Jr. NEW-HAVEN : PUBLISHED BY YALE COLLEGE. 1S68. JOHN A. GR*T I CHECH, FRINTEM, It AND l> ;*C0B ITftCfT, NEW-TORK. NOTE. The Tale School of the Fine Arts is a department of Tale Col lege, which was instituted by the munificence of the late Augus tus Russell Street of New-Haven, who erected upon the College Bquare a large and costly building containing galleries adapted to the exhibition of paintings, sculpture, and other works of art, and rooms designed for the studios of artists, and for the instruc tion of classes. He also made some provision, not yet available, for the endowment of the school. The building was opened in 18CG, and in the following sum mer a collection of modern pictures, by European and American artists, was exhibited in the galleries. The pictures constituting the " Jarves Collection " were de posited in the gallery at the close of the year 1867, with an agreement that they should remain for a period of three years. It is hoped that, before this time shall expire, the collection may be permanently secured. The council who are in charge of the school are the Presi dent of the College, Rev. Dr. Woolsey, ex officio, Professor S. F. B. Morse, perpetual member, and Messrs. Daniel Huntington, Donald G. Mitchell, Edward E. Salisbury, and Noah Porter. INTRODUCTORY ESSAY. COLLECTIONS OF EAELT ITALIAN PICTTTBES. The Jarves Collection, as it now appears in one of the galleries of the Yale School of the Fine Arts, is the partial result of an undertaking which was begun twelve years ago, and which is not yet abandoned. The complete success of this undertaking would be to secure for permanent free exhibition in America a gallery of pictures which should sufficiently represent Italian painting, from the eleventh to the beginning of the seventeenth century. The work was begun at a fortunate time. It would be very difficult now, and it will not be less difficult at any future time, to form another collection of an hundred and twenty pictures which should at all approach this one in value. It will not be easy, under the most favorable conditions, and with the present collection secured already, to complete the chronological sequence of pictures, nor to, get together in the Jarves gallery pictures representa tive of all the Italian schools of painting. But impor tant additions are possible; and every, such addition will greatly increase the historical and educational 8 INTRODUCTORY ESSAY. value of the collection, because of the light which each work of art casts upon all other works of art with which it is iu relation. The study of early Italian painting can be pursued in galleries of pictui-es only under certain limitations. The principal work d* the greatest painters was done altogether upon walls, either directly upon the plaster in fresco or distemper, or upon panels or stretched canvas, not meant for removal, and as yet uriremoved. The Jarves gallery shares with all other picture-gal leries the disadvantage that it has only small pictures to represent painters whose full strength was called forth only for large and immovable ones, — for the painting of the vaulted roofs of churches, the vast inte rior wall-spaces of civic and religious buildings, and' the stuccoed exterior walls of later times. The work of Giotto cannot be critically studied in any gallery of Europe ; but only in such buildings as the Arena Chapel at Padua, the Incoronata at Naples, the con ventual church at Assisi, and the Campo Santo at Pisa. Tintoretto cannot be judged in the picture- galleries, even in those of Venice, where are so many large pictures by him ; but only in the Scuola di San Rocco and in the Ducal Palace. The gallery-pictures ascribed to these great men, even when authentic and in good condition, are their slighter works; .often de- . lightful and full of character, and then partially repre sentative of the artist, as a sonnet is of Dante or a song of Shakespeare ; often comparatively mannered and feeble, and then either by pupils wholly or in part, or else job-work, done in the way of business, in a INTRODUCTORY ESSAY. 9 wearied and half-hearted manner. This is true espe cially of the painters before the time of Fra Angelico ; Ciniabue, Duccio, Simone Martini, Orcagna, and their contemporaries, are, in general, as inadequately repre sented by gallery-pictures as Giotto himself. Even those artists who are the most favorably known by small and transportable pictures, as, notably, Fra An gelico, must be studied in fresco as well. And in the case of one great artist, at least, no easel-pictures whatever are known to exist ; of the three which are ascribed to Michelangelo, two in Florence and one in England, two are given up by all the critics, and the authenticity of the third is very doubtful If it is to be conceded, then, that galleries of Italian pictures are, relatively to the whole mass of Italian painting, of inferior importance, it is to be remem bered that they are of enormous importance as com pared with the paintings of other times and other schools. The very fact that the painters worked gene rally at large paintings of permanent and monumental character, has given to these smaller works a value which the works of other and differently trained artists have never equalled. The elevation of soul and the religious and j)oetic fervor of a great artist at work upon church walls, producing paintings of generally understood subjects, to remain permanently for all the world to see, will probably exceed the possible in spiration and enthusiasm of an equal man painting small pictures, to be sold to he knows not whom, and to be locked ivp he knows not where. Art could hardly have progressed, in a century, from Giotto to 10 INTRODUCTORY ESSAY. Masaccio, if the Italians had asked for cabinet pic tures, or for transportable paintings of even large size, instead of mosaics, frescoes, and huge altar-pieces. But there was nothing then of the too common modern feeling toward a picture, as toward an ex pensive piece of furniture or wall-hanging. Even the minor works of the time partook of the general cha racter of the larger, and had something of their im- movableness. Thus an aliar-piece, like No. 16 of this catalogue, or even a smaller one, like .No. 37, was as permanently fixed above its altar as Duccio's great work at Siena; a tabernacle-picture, of which class of works our collection has many specimens, though more apt to be moved, had its definitely fixed place in the private oratory, or where, in a retired place, a room- corner was reserved for the reading-desk and for prayer. Art could not become nor continue trivial when, in addition to the solemnity of its usual sub jects, and to the character of the people strongly dis posed toward it, the works to which the artists gave tlieir best strength were of general, almost national concern. And not only this, design also was neces sarily more free and color composition more noble and solemn, where men worked on a large scale, than could be the case, even if other things were equal, where minute work is the universal rule. The question of authenticity is one that is often of importance in the study of early pictures. There are very few works of art, especially among those which can be gathered into galleries, of which* a complete INTRODUCTORY ESSAY. 11 documentary history exists ; and wherever it is want ing, some uncertainty in regard to the picture may be allowed to exist. Tradition, signature, and internal evidence are the three means which are usually at our disposal ; and of these the last is the most generally applicable, and is capable of being the most accurate. The agreement, in the case of one picture, of any two of these three kinds of evidence may be considered final ; but in many cases internal evidence is all there is upon which. to found a judgment The criticism of pictures has been greatly developed within the last fifteen years ; its rules are more de finite, and are known to a larger number of persons; moreover, the number of facts serving as material for judgment has been greatly increased, and it is possible to ascertain, by internal evidence alone, the author ship of a great number of works of art which has re mained unknown, or has been falsely stated. The catalogues of some great public collections in Europe are still disfigured by mistaken assertions as to the authorship- of pictures — assertions which all compe tent critics pronounce erroneous, but which the guar dians of the collections, interested in maintaining a rirestige even though founded upon error, have not yet been induced to remove. Such mistakes ought to be of very rare occurrence now, for the means exist of cor rect decision in the majority of cases ; and it is easy and not unusual to indicate the existence and the de gree of uncertainty in all cases where the evidence is insufficient. It is to be observed that many painters, and ainono- 12 INTRODUCTORY ESSAY. them some of the best, are known to us principally through their pictures. The artists of quiet life and constaut and peaceful labor, about whom few anec dotes are told, who excited little attention during their lives by ecceutricity and personal display, were those who, of the painters before Raphael at least, have left us the greatest number of the most valua ble pictures. The few excenfions are the men of pre eminent genius and unquestioned leadership, — -"notably, Giotto. Of men somewhat less prominent, of whom we know little except through their remaining works, some are known by wall-pictures in all parts of Italy, and easel-pictures all over Europe ; some, like Masac- cio, are known by a few important wall-pictures only, the easel-pictures ascribed to them being of doubtful authenticity and inferior in power ; some, like Gentile da Fabriano, are represented by easel-pictures only, and by but few of these, all else having perished. It is plain that internal evidence is very differently offered in these different cases. And there are names Avhich are little more than names ; an extreme instance of this is Giottino. It cannot be shown that all the works generally classed under his name are by the same man. It is probable that several Giotteschi, of similar manner, and nearly equal strength, are confused with one another. So of earlier painters, the name Guido da Siena seems to be merely a tradition of a much esteem ed workman, whose exact date is variously given, and whose works cannot now be positively identified. It follows that the ascription to a given painter of any picture, by internal evidence alone, is not an ab solute assurance that it is entirely the work of his INTRODUCTORY ESSAY. 13 hand. Pupils may have worked upon it; and in many instances the most famous works of a master are those of which his pupils have painted the greater parts. This is wholly apart from true authenticity ; just as, in a case where all the facts are known, Raphael was employing scores of assistants upon the Vatican fres coes, while Michelangelo, almost unaided, was j>ainting the roof of the Sistine Chapel. Internal evidence can establish beyond reasonable doubt the relation of even a newly discovered picture to the early art of Italy ; it can fix the school to which it belongs, its date, its resemblance to and divergence from well-known stand ards of art of that school and date ; then its author, then the period of his life to which it belongs, and all this with a directness and a certainty of reasoning in credible to those who are not accustomed to the proces ses of technical and philosophic criticism. There are limits to this means of authentication ; but it is the most judicious, unprejudiced, and satisfactory of all means. Even documentary evidence fails to tell whether the picture you see is as its painter left it ; even signatures may be forged or altered; while skilled critical judg ment fixes upon every brush-stroke that is not of the original work, directs its careful removal, rediscovers the picture of five centuries before, and judges it with a perfect willingness to disregard common tradition, and,- if necessary, to go behind appended initials or dates.* * Sec Vitct, "Etudes Eur l'Mstolrc de l'Art," 3.1 series, (Paris, 1SGJ,) for a il.ilnilcd account of the evidence, and of the arguments pro and con., In tlie case of a fresco discovered at Florence in 1S13, and now generally ascribed to Raphael, NOTE. Ix the following catalogue the naos£s_pf the Italian painters have been arranged in chronological order, according to their times of greatest activity ; except that some attempt has been made to group painters according to schools, whenever it could be done without contradicting too violently the sequence of time. Thus the first name is Giunta, the second Margaritone, the third Cimabue, and the fourth Duccio, and chronological order would require Giotto to come next ; but Simone, though he both was born and died a few years later than Giotto, is put next to Duccio, because his immediate follower, and because representing a more archaic and less progressive school than that which Giotto was engaged in building up. The unknown painter of the Sienese altar-piece, No. 16, follows Simone ; and thus, while the earlier Sienese form a group, Giotto and his followers are left in un broken sequence, ten painters represented by sixteen pictures. The table on a folding leaf at the front of the volume will be found useful, as by means of it the different schools can be readily compared. • The width and height of each picture are given in inches. These dimensions are of the painting itself, unless it is expressly stated that the frame is included. Most of the pictures in tbe Jarves Collection are painted in tempera. This word denotes a glutinous medium — color mixed with glue, size, white of egg, or gum of some kind. The most usual Italian tempera was made with white of egg. A few of the Byzantine pictures in this collection are painted in encaustic. This process, common among the ancients, con sisted in painting with the colors mixed with Wax, which pre viously had been dissolved in some way now not known, and in partly fusing the surface of the picture by heat, after the brush- work was finished. Oil painting was not commonly practised in Italy before the middle of the fifteenth century. Seo the notice of Andrea del Castagno, page 53. The four pictures, by artists not of Italian schools, are put to gether after the Italian pictures. THE JARVES COLLECTION. UNKNOWN PAINTERS. (Pictures of the early revival of art in Italy — eleventh, twelfth, and thirteenth centuries.) The pictures numbered from 1 to 10, inclusive, be long to the dawn of modern civilization in Italy. This may be considered to begin with the eleventh century. From the fifth to the tenth century had been a time of tumult and insecurity throughout "Western Europe ; and the tenth century was especially a period of in tellectual decrepitude. Church-building, which in a barbarous fashion had been energetically pursued be fore, was then almost abandoned, and the fine and in dustrial arts were neglected. In Italy, the traditions of Roman and of early Christian art had been nearly lost. During all this period, Constantinople, under the Eastern emperors, was the centre of civilization. The tenth century seems to have brought with it, in the East, little of that dread which agitated Western Europe, of the approaching end of the world. In dustry was better organized and more highly trained ill the East than in the West. At this time " the sub- 1(J THE JARVES COL1ECTI0X. jects of the Byzantine empire were the most dexte rous and diligent of nations ; . . . and in the sup port and restoration of tilth-arts their patient and peaceful temper was more useful than the warlike spirit and feudal anarchy of Europe.'"* In Constanti nople were preserved some of the traditions of noble design and perfect execution of the Gra?co-Roman art under the earlier empire ; and Christian symbolism,. both before and after the short rule of the Iconoclasts, in the eighth century, was a favorite subjpct of study. Christian pictorial art gradually became, in Constan tinople, formal, unvarying, and, to a great extent, a thing of rule and prescription ; but its rules of design and technical execution, though limited, were sound ; and it prescribed decorous, intelligible, and time-hon ored forms for representing the characters and events of Biblical and legendary religious history.f The influence of the Byzantine example over the nas cent art of the West is easy to trace. In Italy, the style of building and of architectural sculpture was and remained almost wholly European, taking but lit tle inspiration from Byzantine practice, except in and near Venice. The energy of the Gothic and Lombar- dic races was more nearly one with the spirit of the * Gibbon, chap. lib". t A manuscript, probably of the tenth century, exists, in which are given exact rules for depicting not only each saint and sacred personage, but also many famous men of classical antiquity, and sc.-nes and incidents, sacred and profane; also the best ways of preparing and utinfr colors and other materials, and rules for painting every part of a church are exactly laid down. This manuscript has been translated into French by M. Didron, and published under the title " Manuel d'Iconographie Chrfitienne," Paris, 184J5. Tint inu^t not be confounded with the same author's original work: "IconojrnipJiie Chretienne, Histoire de Dieu,'* which has been translated into English, and published in London. THE JARVES COLLECTION. 17 Franks than with that of the Byzantines ; and the great and varied architecture of the North of Europe, even in the eleventh century, pressed upon the fron tiers of Italy. But in pictorial art the Italians were more ready to learn of the Greeks ; first, because the broad and unbroken interior wall-surfaces of the Ita lian churches required mosaic as their natural deco ration, while the workers in mosaic all came from Con stantinople; and, second, because there were many Greek pictures and miniatures in Greek manuscripts brought to Europe, which exceeded in technical merit and in grace of design any thing which the painters of Italy could find elsewhere.* In short, though the Italian builders knew nothing of Byzantine building, they could build well them selves, in their own round-arched, Romanesque, or modified Roman way ; though the Italian carvers oc casionally saw Byzantine sculpture, and learned some thing from it, they found it too languid, and, more over, had skill enough to carve and inlay for them selves their -own restless and vivacious fancies ; the Italian painters, however, were entirely mastered by the skill of Byzantine design, and the richness of Byzantine color.f In different parts of Italy different influences were at work. In Rome, for instance, throughout the early Middle Ages, painters and priests (then often the same) seem to have striven to preserve or revive the * Consult: Labarte, "Nlstoirc des Arts Tndustriels," vol. iil. ; Crowe and Cavalcuselle, " History of Painting in Italy," vol. i., passim. t See below, in the notices of the early painters, and especially in the notice of p Giot'n, p. 30, further remarks upon Byzantine painting. IS THE JARVES COLLECTION. Roman traditions in their purity. But the Byzantine' influence was generally triumphant. The great early painters of Italy — Ciinabue, Giotto, Duccio, and their fellows — began as followers of the Byzantine laws, from the absolute authority of which they only little by little freed themselves. At Venice, archaic Byzan tine pictures were still produced at least down to the time of the fall of the Eastern empire, (1453,) and, according to some authorities, until a later period ; and in other parts of Italy.* -<^^ 1. Tempera, gold background, wood ; 14" mi. 47" A. Three compositions : The Crucifixion, The Deposition from the Cross, The Entombment. The architecture and costumes afford a means of deciding approximately upon the date of the picture, which, from this and other internal evidence, may be fixed as the eleventh century. It appears to be of pure Italian work, nearly free from foreign influ ence, and resulting from Eoman traditions, held by monks in convents of Central Italy. The T-shaped crosses are very remarkable ; this form of the cross is almost unknown, and is certainly the rarest form known in Christian art. This picture, without value as a work of artris of great his torical interest ; the more so because works of this class are exceedingly rare. 2. Encaustic, gold bac/y round, wood ; S"w. T'h. The Nativity. A purely conventional rendering of the subject, nearly of the character of miniatures in MSS. of an earlier time. As often in early works, the stable is repre sented by a cave, which in this case, has a shed built over it. * "The schools of painting founded by the Greeks in Italy lingered on, long after Giotto, strong in the affection of the populace." " A Greek succession flourished until compurativelyrecent times in Otranto." — Lord Lindsay, " Sketches of the History of Christian Art," vol. L THE JARVES COLLECTION. 19 . The boy in the lower left-hand corner symbolizes the adora tion of the shepherds ; and the angel above, the announce ment of the Xativity to the shepherds. Inscriptions, as of ten in Greek pictures, are put over the heads of the person ages; over the Virgin, MHTHP GEOY, "Mother of God;" over S. Joseph an abbreviation of his name and title in Greek, '0 'AriOS 'IQ2H4>02; over the angel r, forTABPlHA, " Gabriel ;'' over the shepherd II, for IIOIMHN, " shepherd," the horizontal line over the II denoting abbreviation. , An unimportant picture, except for the rarity of such works in Europe ; one of thousands executed by Grecian painters, or their Italian pupils, about the twelfth century. 3. Tempera, gold background. A^ triptych, the centre 6" w. 9" h. ; each wing 8" w. 9" h. In the centre, The Madonna and Child, attended by two Saints ; on the spandrils above, two Angels. On the left wing, The Crucifixion ; the Sun and Moon, in pic tures of the Crucifixion, are generally supposed to represent an eclipse, as if to symbolize the darkness which covered the land, (Matt, xxvii. 45 ; Mark xv. 33 ; Luke xxiii. 44 ; Amos viii. 9 ;) they may also be taken to indicate the whole universe, watching the Crucifixion.* On the right wing, S. Michael trampling on the Dragon ; below, two Saints, S. Dominic and probably S. Augustine. This triptych seems to be Italian work, in bad imitation of the Byzantine manner. 4. Tempera, gold background, wood. A triptych, the centre 15" w. 18" h. ; each wing 1" w. 18" h. Nineteen compositions, forming a history of the Saviour and of S. John the Baptist. The key diagram will ex plain it : (1) The An nunciation, (Luke i. 20 ;) (2) The Brimi of Ciimst ; (3) The Ado- *See Itusldu's "Stones of Venice," ii. 139, (London, 1853.) l\ i J 18 2 ¦6 £ 'J 3 "J 14 '3 n 10 12 4 5 7 8 9 20 TUB JARVES COLLECTION. ration of the Magi, (see under No. 15 for the legend^rf the Three Holy Kings ;) (4) The Presentation of Christ in the Temtle ; (5) TnE Baptism of Christ ; (6) Christ adored by angels; (7) tlie last supper ; (8) tlie Agony in the Garden; (9) The Betrayal by Judas ; (10) The Thlvl before Pilate; (11) The Ecce Homo, (John xix. 6 ;) (12) The Scourging of Christ ; (13) The Crucifixion ; (14) The Deposition from the Cross ; (15) The Entombment ; (16) The Resurrection ; (17) S. JonN Baptist rs the "Wilderness ; (IS) Martyrdom of S. John Baptist; (19) Herodias .with the Head of S. John Baptist. — Pictures of this kind were a convenient means of teaching to a people without books the events of the sacred history. They were meant to do for humble churches in poor com munities what the great mosaics, like those of S. Mark's in Venice, did on a grander scale. This triptych is of the twelfth century ; it shows conside rable originality in the conception and treatment of the sub jects, but is very unskilful and barbarous in execution. 5. Tempera, gold background, wood. An Altar-Piece, 31" w. 72" h., includ ing narrow frame. The larger picture represents Christ and the Madonna enthroned, attended by angels. The Saviour holds a book, inscribed A. £2., and, in the right hand, a sceptre. Above is a glory of cherubim (blue) and seraphim (red) ; this glory is continued below the feet of the principal fig ures, as if surrounding them. Below are also other angels, with musical instruments. In the gable above the arch is a small picture, representing Tin; Old and Xew Dispen sations. On the right is the synagogue, or Judaism, re presented as a blindfolded woman, holding a child in her arms ; behind her an altar with H;ir:rificc. The cliild may be meant to denote the partial, as if immature, truth held by the Jews. The personified Church stands erect and tri- the jarves collection. 21 umphant* crowned, holding the sacramental cup, sur mounted by the host or sacred wafer ; behind her a baptis mal font. An angel floats overhead bearing two scrolls, upon which are inscriptions. That over the head of the Church is, ECCE NOVA FACIO— " Behold, I make all things new," (Rev. xxi. 5.) This is a most admirable specimen of the better Graco- Italian work. Its painter must have been a man of great ability, and highly trained in the Byzantine science and legendary learning. The picture is in fine condition ; and it is especially interesting for having much of the grandeur and grace of a fresco, and a breadth of treatment rare in easel-pictures of so early a time. It is of the beginning of the thirteenth century. This picture is described and engraved in Fumigalli'B " Museo di Pittura de Scultura delle Gallerie d'Europa," vol. xiii. G. Encaustic, gold background, wood; V w. 10" h. S. George killing the Dragon. According to the legend, accepted during the middle ages, S. George was a Tribune in the army of tlie Emperor Diocletian ; his well-known achieve ment took place in Phrygia ; he afterward suffered martyr dom as a Christian. His death is said to have been in A.D. 320, and the peculiar reverence paid to him in the East dates back almost to that time. But in Europe he was little honored before the time of the Crusades. The inscription over the head of the saint in this picture is his name and title— 'O 'Anos rEnpnos. 1. Encaustic gold background, wood. A triptych ; each part 6' w. 8J* A. [Nos. 7, 8, and 9 are parts of the same triptych, which has been taken apart for better exhibition. Five pictures, all of the same size.] In the centre, Descent of Christ into Hades. Tlie * For the common mciliaiv.'il contrasted representations of church and syna gogue, consult Yin]let-le-Duc, " Dictionn.iire Raisonnu de l'Architecture Fran- ciii^e,'1 article EglUc. See ali-o Guenebault, "Dictionnaire Iconographique des Monuments," article Synagogue. 22 the jarves collection. Church, in the Middle Ages, taught, as the Roman Catho lic Church still teaches, concerning the good who died before the crucifixion of Christ, that they could not be admitted into Paradise, but inhabited a place called Lim- bus or Limbo, which was generally represented to bo a part of or in the neighborhood of Hell, and from which Christ, at his resurrection, and before he appeared to his disciples, delivered them. An apocryphal gospel relates, amplifying the words of Matthew xxvii. 52-, that some who had lately died were restored to life on earth, 'and that these related the scene,*! the coming of Christ, the defeat of Satan and [personified] Hades, and the release of those who were to be saved. In most instances the holy men and women of the Old Testament were held to be the only ones delivered, as in Dante's Inferno, Canto iv., where the just persons of pagan antiquity are left to a painless but hope less eternity. In the picture under consideration Satan is represented as subdued and bound, with keys and broken chains scattered around hhn, while Christ raises and res cues those chosen to be saved. The Saviour's whole body is surrounded by an aureole, and his head by a cruciform nimbus, such as is worn only by the three persons of the Trinity. Upon the arms of the cross are the words, 'O "QN, " He who is." Over the head of Christ are the usual abbreviations of his name in Greek, IC XC, and above this, again, the words, •H 'ANAZTA2IS TOT XPI2TOT, "The Resurrection of Christ." The Descent into Hades is the second instant of the resurrection, of wliich the first is that usually reprer sented — the coming forth from the sepulchre — and the third is the appearance upon earth to the disciples. On the left wing, TnE TrankI'Iguhation. Around the form of Christ is a very curious double aureole — an oval intersected by an arrow-head, a very rare form. Above the head are the words, 'II METAMOP-MiSIZ. On the right wing, Wanderings of the Israelites in the Desert. On the right hand, Muses and the Burning THE JARVES COLLECTION. 23 Bush ; below, the Camp of the Israelites, and in the left- hand lower corner, the Tabernacle. In the centre, Moses smiting the rock. Below, in front, the golden calf. In the right-hand lower corner, the passage of the Red Sea. In the centre, above, the giving of the law on Mount Sinai. On the right, above, the burial of Moses. 8. \.SeeNo. 7.] Vw.8i'h. The Annunciation, (St. Luke i. 26,) in a purely emblema tic form. The Virgin is enthroned under an architectural canopy, but seems to have risen at the greeting of the angel. The angel bears a, stem of three white flowers, with red centres, (lilies ?) and over his head is the in scription, PABPIHA, "Gabriel." At the top of the pic ture are the words, '0 'ETArrEAIZMOZ, " The Good Mes sage." 9. Wee JVo. 7.] 6* w. 8f h. Miraculous Apparition of SS. Mercuries and Cath erine. It is related that Mercurius was an officer in the service of the Emperor Julian, called the Apostate, and was put to death for adherence to the Christian faith ; that he appeared to Julian during the tumult of his last battle, and threw the javelin which killed the emperor. In this picture he is represented as spearing the Emperor Julian, while S. Catherine is killing the Emperor Maxentius. The fallen emperors arc represented as breathing fire, in sign of eternal punishment. See the figure of Satan In the centre of No. 7. Above is Christ, in the attitude of bless ing. Tlie names of the saints and of the emperors, in Greek characters, are put over their heads: '0 'APIOS MEPIC0YPI02 ; 'H 'APIA 'AIKATEPIXA ; 'IOYAIANOS 'O riAPABATHS, and MAHENTHOZ. In the nimbus around the head of the Saviour are the words, '0 "HN, and above is the abbreviated name of Christ, as in No. 7. On both 24 THE JARVES COLLECTION. sides of the head of Christ are the words, AIKAIOZ KPITHS, " The Just Judge." s*s This small triptych of five pictures is an excellent and well-preserved specimen of the later Byzantine work, probably of the thirteenth century. Such pictures are rare in Europe, and are seldom met with in the picture-galleries. 10. Tempera, gold background, wood; 18' w. IV h. Madonna and Child. On both sides of the head of the Madonna are the abbreviations of MIITHP 6E0T, " The Mother of God." Late work, in the pseudo-Byzantine style followed by the feebhr*thirteenth-eentury painters, whose abler contemporaries had created a new style for Italy. GIUNTA DA PISA. (Flourished about 1200-1205.) Family name unknown. He signed his pictures Giunta Pisanus, or Junctus Pisanus. Said to have been born at Colle, near Siena ; said by others to have been born at Pistoia, and to be of the noble family dall' Colle. Dates of birth and death not known. There is A'ery little remaining of his authentic work ; that little is mostly at Assisi and Pisa. His -work shows some originality of -conception, but is mainly Byzantine in character. If, however, recent criticism is right in dating the important pictures of Guido of Siena as late as 1270, Giunta is almost the first painter who appears as an independent and individual master. 11. Tempera, oncantat oxer wood ; 88' w. 23* h. The Crucifixion. Upon the uppermost arm of the cross is a label bearing the abbreviated Greek name of Christ, 1C XC ; marking the Byzantine influence visible in every THE JARVES COLLECTION. 25 part of the picture. This inscription was replaced, in late Italian pictures of the Crucifixion, by the letters I. N. R. I., for Jesus Nazarcnus Rex Juda?orum ; the inscription set up by Pilate, as given in John xix. 19. The head of Christ has a cruciform aureole ; in the arms of this cross have been jewels, or enamels. The design is wholly conventional, the execu tion archaic and barbarous, and the surface has cracked in a way ruinous to whatever beauty the picture may once have had. This picture formerly filled the head of a doorway in a church near Siena, for which place it was painted. MARGARITONE DA AREZZO. (Circa 1226— circa 1818.) Family name not known. Pictures are signed Mar- garit de Aritio, or de Aretio. He was eminent as a sculptor and architect. His paintings have an archaic character, and many of the peculiarities of Greek de sign. As he lived at the time of the great advance in art under Giotto, (see page 30,) without sharing in it, he has been considered as the type of the earlier conventional school, and it has been generally believed that he angrily opposed' all departure from the old forms. 12. Tempera, gold background, canvas over wood. An Altar-Piece, 64" w. 43" h. Seven compositions. The subjects of them show the picture to have been painted for a chapel dedicated to S. Peter. In the centre The Madonna and CniLD, with SS. Leonard and Peter, attended hy Angels ; there are Latin in scriptions in Gothic letters, giving the names of the person ages. On the left, above, Christ calling Peter. Second on the left, The Destruction of Si.mon Magus bt SS. 26 THE JARVES COLLECTION. Peter and Paul; the magician is the same spoken of in Acts viii. 9, IS, from whose name we get the word Simony. The legend is, that he appeared before Nero at Rome, apparently flying in the air, where ho was supported by his subject demons, but that at S. Peter's command they let him fall. Below, on the left, S. Peter released from Prison by the Angel. On the right, above, Christ's Charge to Peter, (Matt. xvi. 19.) Second on the right, The Healing of the Cripple, (Acts ill. 2.) Below, The Martyrdoms of SS. Peter and Paul, which, according to the legend, were, S. Paul's by beheading ; and S. Peter's by crucifixion — at his own rgSjrlest, and, because he felt himself un worthy to die as his Master had died, with his head downwards. Above each of the smaller compositions is a descriptive title in Latin, in Gothic letters. GIOVANNI CIMABUE. (1240— after 1302.) His family name seems to have been Cimabue, but his family, which was noble, or at least of high rank, was called indifferently the Cimabui or the Gualtieri. He is said to have been led to study art by seeing Greek artists at work in Florence. His style, during the earlier years of his life, is Byzantine in character, but he introduced into his later works very important modifications in handling, and he deserves the reputa tion of having founded the truly native school of Flo rence. His greatest fame, however, is as the master of Giotto, (see that name, page 30.) His real strength is shown in fresco and in mosaic, as at Assisi and Pisa ; small pictures like this, partly by his own hand and partly by his pupils under his direction, exhibit much. of the old formalism of style. THE JARVES COLLECTION. 27 1 3. Tempera, gold background, wood; 64" w. 22" h. Madonna and CniLD ; SS. JonN Baptist, James, Peter, and Francis of Assisi. DUCCIO DA SIENA. (Flourished 1280—1320.) Duccio di Buoninsegna was of Sienese family, the 3ate of his birth is not known. Said to have signed pictures as early as 1278; earliest certain date, 1285, ivhen he was employed upon important work Latest 3ate known, 1320. The Sienese painters, more than iny others, preserved the Byzantine traditions, and, while using a skill and power of their own in the exe cution of their pictures, ker)t to the ornamental treat- nent and minuteness of parts which they inherited ?rom the Grreco-Italian painting. Duccio's work dis- slays a power of drawing which was unrivalled at :he time in Italy; and he may be looked iipon as the irst artist of modern times who could draw the hu- nan figure with approximate truth. But it is chiefly ts a draughtsman that he excels his contemporaries, md his conception and treatment of subjects are not emarkably original. His labors were mainly con- ined to Siena. 4. Tempera, gold background, wood; 22" w. IS li., including frame. Two compositions : on the left The Crucifixion, on the right the Madonna and Child, attended by Angels. These pictures are very remarkable to the student, because presenting an extraordinary truth and vigor of drawing, united with a touch and a manner of laying color not far removed from the later Byzantine work. This picture is in 28 the jarves collection. technical qualities not very unlike Nos. 7, 8, and 9, except in the skill, unequalled up to the time of Duccio, with which the gestures and drapery are arranged and the wholo ac-_ tion expressed. SIMONE MARTINL (12SS— 1344.) Simone Martini, or di Martino, of Siena, known also as Simone Meinmj. 42' h. overall. The Trinity, with Satnts en Adoration. A mystical subject, often represented in pictures for private oratories. This picture, though archaic in style, is the work of an able painter, and shows firm and skilful handling. It has been much injured. AGNOLO GADDL (1324—1398.) Son of Taddeo Gaddi ; lived in Florence, where he was much esteemed, but seems to have given himself to painting in the spirit of an amateur, and such work of his as remains is not of the highest degree of merit. Famous as teacher of Antonio Veneziano, (sec that name, page 41.) 3S THE JARVES COLLECTION. 2S. T< mpcra, tiwkf; IS' w. 11" h. S. Francis Receiving the Stigmata. S. Francis of Assisi. founder of the great mendicant order of monks called Franciscans, Minorites, Begging Friars, Capuchins, etc., is one of the most interesting figures in Mediaeval history. The legend of him seems to assimilate his life as nearly as possible to the life of the Saviour, and one of the incidents is the infliction upon his hands, feet, and side of the wounds upon the body of Christ. It is related that shortly before his death, while praying, he saw in a vision the image of the Saviour on the cross, borne aloft by angels, and that he received the five wounds, those of the hands and feet be ing like nails beneath the skin, easily to be seen and felt, and that upon the side a cicatrice as from a lance-thrust. UNKNOT*^ PAINTER. (A picture of the school of Taddeo Gaddi.) 29. Tempera, wood; 15" w. 12- h. The Agony in the Garden. JACOPO DA CASENTINO. (Was of middle age in 1S50.) Generally called Giacomo di Casentino. Dates of birth and death not known. One of the inferior Giot- teschi. Vasari calls him a pupil of Taddeo Gaddi. 30. Tempera, gold background, wood ; 20" w. 11" h. Legend of S. Giovanni Gualberto, founder of the Monastery of Vallombrosa. The story will be found at length in Mrs. Jameson's " Legends of the Monastic Orders ;" — the scene represented in this picture is that of Gualberto and the enemy he had forgiven going together into the church of THE JAEVES COLLECTION. 39 San Miniato on the lull above Florence, and the crucifix bowing its head in token of approval, a miracle which caused the repentance of Gualberto and his entrance into the re ligious life. GIOTTINO. > An imitator of Giotto, and author of meritorious wall-paintings in Santa Croce at Florence. His real name is not known. Ghiberti, the earliest writer who notices him, calls him Tomaso, Vasari calls him Tomaso di Stefano. Recent research has gone far to identify Giottino with Giotto di Maestro Stefano, who was painting in 1308. It is probable that works by more painters than one are given to " Giottino." 3 1 . Tempera, gold background, wood ; 18#" w. 8S" h. A tabernacle-picture. The Madonna and Child attended by S. JonN the Baptist, S. Nicholas da Bari, S. Doro thea, and S. Separata. S. Beparata rarely appears in art, except in early Florentine pictures. She was made patron saint of Florence in 680, and the former cathedral was dedicated to her ; but the present cathedral and the city were put under the special patronage of the Virgin, about 1298. For the legend of S. Nicholas, see No. 62. In the arch above, The Crucifixion. 32. Tempera, gold background, wood; a panel, apparently intended to fill apediment above a larger picture, 2S" w. S%" h. In one composition : The Shepherds adoring the In fant Saviour and TnE Resurrection. A curious and characteristic specimen of the landscape of the Giotteschi. #*# This picture is from the Rinucini Gallery. • 40 TnE JARVES COLLECTION. SPINELLO ARETLNO. (Circa 1 320— circa 1410.) This painter, whose usual name as given above means Spinello of Arezzo, was a pupil of Jacopo da Casentino, but was an artist of greater power than his master. The smaller pictures generally ascribed to him are notably inferior to his larger works, and it may well be that the former were generally executed by his pupils under his direction, as was probably the case with the two pictures, Nos. 33 and 34. In the manner of Spinello. 33. Tempera, gold background, wood; 17" w. 24" ft. The Crucifixion. Saints of later times are mingled with the holy women, and with Roman soldiers, who are the usual attendants upon this scene. Above is the Pelican, emblem of redemption by the blood of Christ. In tlie manner of Spinello. 34. Tempera, wood ; 27" w. 12" ft. Two compositions : on the left, The Vision of Constan- tine ; on the right, Fall of Satan and his Hosts. UNKNOWN PAINTER. (A picture of the Sienese School, about 1350.) 33. Tempera, gold background, wood. An AUar-Piece, 21%" w. 53" ft. over all. The Assumption of the Virgin. She is surrounded by an aureole in the shape of the Vesica Piscis, and upborne by adoring and singing angels. Above are cherubim and se raphim. The Virgin is clothed in white, to signify victory THE JARVES COLLECTION. 41 over death and sorrow. This mystic subject symbolizes the final resurrection and the union of the soul with the body. Pictures of similar technical character in the Sienese Academy are attributed to Ambrogio Lorcnzettl, the author of the noble fresco in the Town Hall of Siena. LORENZO DI BICCL ' (Circa 1350—1427.) There were three Bicci, father, son and grandson, all painters of Florence. The works of the two elder Bicci are difficult to distinguish, and all are of sec ondary importance. (See Neri di Bicci, page 60.) 36. Tempera, wood; 28" w. 8]t" ft. A votive picture in honor of SS. Cosmo and Damian, -who were regarded as the helpers of the sick and the rescuers from danger, the patrons of physicians, and who were espe cially the patrons of tho Medici family of Florence. The subject on the right is a common legend, which relates that they healed a man who had an incurable leg, by replacing it with the leg of a Moor who had j ust died. In the middle and on the left are incidents where their intervention saves from injury ; probably these are the escapes in gratitude for which this picture was vowed and was ordered from the painter. ANTONIO VENEZIANO. (Circa 1320— circa 1SS8.) Antonio Longhi, a Venetian by birth, thence called Veneziano, seems to have left Venice young ; was a pupil of Agnolo Gaddi, and became wholly Tuscan, and a Giottesco in manner. After the death of Or cagna, Antonio is the painter who best carried on tho 42 THE JARVES COLLECTION. movement begun by Giotto. Of much less inten sity, earnestness, and force than Orcagna, he was master of the graceful design and pure and pale color of the school. His works are not common, and are of great interest. 37. Tempera, gold background, wood. A small Altar-piece, 301* w. 48" ft. The Deposition from the Cross. t*t Instanced by Crowe and Cavalcaselle, i. 491. GENTILE DA FABRIANO. (Circa 1370— 1450.) Gentile di Xiccolo di Giovanni Massi, of Fabriano, a town in the mountain region of Umbria. A pupil of the Umbrian school, which was at that time under the influence of Sienese traditions, he developed his art in a direction different from that taken by his fel lows. He resided for a time in Venice, but his later life was passed in Florence and Rome, in which cities are his most important remaining works. One of his pupils was Jacopo Bellini, who was the father of Gio vanni Bellini (see page 69) and of Gentile Bellini, who was named from his father's master. He was, there fore, one of the founders of the great Venetian school of painting, and his works in many respects resemble the later triumphs of that school. 38. Tempera, wood; 67" w. 15" ft. A painting on a chest, or cassono. There are five of these in the collection, all of great interest. These cassoni were chests which were made to receive the wardrobes of rich and noblo THE JARVES COLLECTION. 43 brides ; they were usually made with ridged tops, like gabled house-roofs ; the tops gilded or covered with rich patterns, tho front and two ends covered with pictures, the backs only plain. In one respect these pictures are of especial interest ; they are generally of secular subjects, although of a time when art was almost entirely devoted to the service of the Church. They often contain, therefore, curious and instruct ive representations of the costume, architecture, and wea pons, and of the manners and customs of their times. The modern interest in and study of the decorative arts of the past has brought these cassoni into great demand, and enormous prices are paid for fine specimens. The Triumph op Love. The following is from a minute description, in Italian, of this interesting picture. " It appears certain that this lovely picture should be at tributed to Gentile. It cannot better be described than by calling it the Triumph of Love. It is divided into two parts, with -o. doorway leading from one into the other. In the left portion, facing the spectator, is seen a pavilion, under which three graceful figures arc seated, and, on the steps of the pedestal, another equally graceful figure is kneeling, in the act of supplication. This one, and the middle one of the other three, have arrows in their breasts, which havo been shot by a little Cupid hovering in the air. The supplicant is u. youth in love with the damsel, equally enamored with. him, whom ho demands from her parents. The satisfied ex pression and raised hand of one of them, as if to bless tho union, testify that tho demand of the lovers has been ac corded. At the foot of the pavilion is a wood, and there, in an open space before the trees, is a dance of the guests as sembled at the marriage-feast. Seated on the branches of a tree are two musicians, playing on tho clarionet. All these figures are clad in tunics, over which arc the long robes worn in the fourteenth century, which give majesty and decorum to the figures aud to the entire scene. " By this wood, through the aforesaid doorway, tho King- 44 the jarves collection. dom of Love is entered. ' The spouses are introduced into it by two priests of the Deity, one of whom is surrounded by rays. In the air, between tho summit of two moun tains — the dark representing sensuality, and the lighter color chastity — on a throne formed by two lions, on which he places his feet, seated on two black doves, is seen Love, with golden wings, a sceptre in his right hand, and a bow in his left. At the foot of the first mountain is Apollo chasing Daphne, who is being changed into a laurel ; and on one side of the declivity of the same mountain are Venus and Mars, caught in Vulcan's net. Where the two mountains are united in the plain by their respective bases, rises in the foreground a beautiful fountain, throwing up its limpid waters to the throne of Love, and again falling in minute rain into an elegant basin, toward which Dante, Petrarch, and Boccaccio — who have sung so much and so well, in various ways, of this most captivating of human passions — are hastening on the left to quench their thirst. Dipping his right hand in the basin, and with the other shading himself from the rays of light, stands another figure, probably a painter, who, through the prism of the playful rain, is observing the marvellous effects of the same light divided into its seven colors. " On the further side, other personages of great distinction are seen approaching the fountain, two of whom are crowned as sovereigns; and one, who is armed from head to foot, may possibly be Charlemagne, who, it is well known, often yielded to the shaft of Love ; the other, a queen — probably Semiramis, ' who legalized impurity in her kingdom ' — as though ashamed, turns her back on the spectators. These are followed by a warrior, also clad in iron, and crowned with laurel, leaning both his liands on the pommel of his sword, the point of which rests' on the ground. Behind them are crowded together other figures. "Lastly, in the background of the right-hand scene, appear the two spouses, escorted by the priests, pierced both of them by the same arrow, to demonstrate that they THE JARVES COLLECTION. 45 obey one soul-affection of mutual fidelity. The bride is then snatched over the mountain reserved for the chaste, as has been already stated, and conducted toward Love, in a chariot drawn by two stags with branching antlers, the symbol of eternity ; and guided by the priest, in whom is observable the beauty of the soul, or of virtue, manifested by golden rays of light, and who is appointed to conduct true lovers to the happy kingdom of eternal Love. The forsaken husband, with uplifted arms, in vain attempts to follow her over tho rugged pathway ; and is therefore fain to turn his looks toward the chariot which bears away with it all hia happi ness, as though waiting for the moment to be reunited to her in a better world." This picture is from the gallery of the Prince Conti 39. OU, wood; 25" w. 37" ft. Madonna and Child. The Madonna stands in a curious late Gothic niche or window, and supports the infant Christ, whose feet rest upon a cushion upon the parapet of a bal cony. The building is slight and ornamental, and must be considered as a shrine, or as a painted frame to sur round the figures. Roses and pomegranates twine around it. The picture is signed " Gent . . Fabriano." #*# Crowe and Cavalcaselle (iii. 103) speak of this picture as " injured by restoring." When Mr. Cavalcaselle saw it in Florence, it was indeed entirely disfigured by repainting; since that time the new paint has been entirely removed ; by great care and unusual good fortune this was done without appreciable injury to tho picture, wliich is 'thus left in ex cellent preservation. The recovery of so admirable and characteristic a picture as this from the bad state it was in, is one of the triumphs of picture-collecting. Gentile's pictures aro excessively rare. 40 THE JARVES COLLECTION. FRA ANGELICO. (1SS7-1455.) Born in Tuscany, died at Rome, nis real name seems to have been Guido; but in 1407, upon entering the convcut at Fiesole, he took for his monastic name Giovanni, (John.) He won the appellation of "Angelic" from the character of his life and works, and after his death was called " Beato," or the blessed. His full title then is, (as Lord Lindsay has said, iiL 154,) "Be ato Giovanni, detto Angelico, da Fiesole." His family name not known, his teachers not identified, nor is it clear whether he studied art before or after entering upon the monastic life. His chief works are in fresco, at Florence, Orvieto, and Rome ; they possess an alto gether excejiticnal purity and sweetness. 40. Bight WlngofanAltar-Piece; 18" w. 80" ft. Three saints ; S. Zenobio, Bishop of Florence in the fifth century, in pontificals; S. "Francis of Assisi, founder of the Franciscan order of monks, (see under No. 28 ;) S. An thony of Padua, holding a flaming heart. MASOLLNO DA PANICALE. (1403— circa 1440.) Tomaso di Cristoforo Fini, said to have been born at Panicale, but now thought to have been a Floren tine. The diminutive form of Tomaso is Tomasolino, and Masolino is an abbreviation of it. Pupil of Star- nina, and probably of Ghiberti as well, he was a determined student of nature, and especially of the human figure, in the representation of which he gained THE JARVES COLLECTION. 47 a power of correctness far surpassing that of most of his contemporaries, and never equalled before his time. He would have been the leading painter of the first part of the fifteenth century, but for the altogether ex ceptional artistic power of his associate Masaccio. The two friends and fellow-workmen, both born within the space of one year, and both named Thomas, represent the nobler naturalism of the fifteenth century ; as Paolo Uccelli and Fra Filippo represent, one the less dignified, abstract, and severe, the other the less thoughtful and more technical naturalism of the same era. Masolino and Masaccio are earlier, however, by twenty years than the others above named. Landscape painting takes a high rank in art, for the first time, in the works of the two reformers. Their work may be con sidered as the close of the era begun by Giotto, and as the beginning of a new time which ends in Raphael. 41. Tempera, wood. A tabernacle-picture, with the arms of the noble family for whom it was painted. 20" w. 35" ft. ,- and 39" w. 62" ft. over all. The Madonna adoring the Infant Saviour, attended by Saints. The background is a. sweet and varied land scape, and in the middle distance are S. Jerome adoring tho crucifix, S. John the Baptist, S. Francis of Assisi receiving tlie stigmata, and S. Raphael the archangel accompanied by Tobit. Above in tho clouds, the Almighty in tho atti tude of blessing. MASACCIO. (1402— circa 1428.) Tomaso di Giovanni di Simone Guidi, born at Castel San Giovanni, on the Arno, above Florence. He is 4S THE JARVES COLLECTION. often called from his birth-place, Tomaso da San Giovanni. The nickname by which he is more usually known is abbreviated from Tomasaccio,. which is an augmentative, and of uncomplimentary force. Thus Maso being the Tom of the Italian Thomas, Masaccio may be translated, as Browning translates it, "Hulk ing Tom." * Masaccio is the most remarkable figure in the history of his time, a genius in art as original and as profound as any of which we have any knowledge. In technical skill, as draughtsman and as designer in color on a large scale, he anticipated the artistic tri- unlphs of the sixteenth century. In reality of concep tion and in dramatic force, he was supreme over all the painters of his time. Masolino (sec above) and he were the first painters who observed and portrayed men, animals, and landscape as they are in nature, and without the stiffness and unreality resulting from imperfect knowledge and skill. His work was as purely his own and underived as Giotto's, the fitting crown of a later time; and the greatness of Giotto's influence may be partly seen in the fact that, with only six score years between tlieir times of greatest power, Masaccio's work was possible. The greatness of Masaccio, again, is seen in the fact that, with the crowd of artists succeeding him in Central Italy, of * In " Fra Lippo Lippi." It is strange that so close an observer as Robert Browning, familiar, moreover, with early Italian painting In its highest signifi cance, Ehould have cared to take Masaccio out of his place in chronology and art, and put him thirty years later, among the followers or Fra Fiiippo. This note affords an opportunity to call attention to the just and subtile com ments upon Italian art which are frequent In Jlrowning's poems, as notably in Pictor Ignotus, The Bishop orders hi3 tomb In St. 1'raxed's Church, Old Pictures in Florence, Andrea del Sarlo, and Fra Lippo LIpnI. THE JARVES COLLECTION. 49 tvliom were the Lippi, the brothers Pollajuolo, Ghir- landajo, Perugino, and Verocchio, it is not until seventy-five years after his death— that is to say, until Signorelli and Michelangelo had reached middle life, and Andrea, Raphael, and Giorgione their full artistic development — that a power so well-balanced and harmonious is shown in the works of any painter, with the single possible exception of Leonardo, Avhose Cena is about ten years earlier. The solitary greatness in landscape which Mr. Ruskin has claimed for Masaccio — solitary until Titian and Tintoretto a hundred years later surpassed him— seems to be truly his. He died at twenty-six, with his power hardly developed and manifested in only a few works ; but the art of Florence might well have been more truth- ful and sincere, and of wider reach and higher aims, in Andrea's and Michelangelo's time, if Masaccio had lived to middle life. There are very few pictures existing which are to be attributed to Masaccio. That described below is of his early time. 42. Tempera, wood; 13" w. IV h. Infancy of S. JonN Baptist. The incidents at the time of the circumcision are meant to bo represented — Zacharias and a woman conversing in dumb show ; Elizabeth talking to another woman, and pointing to the child, as if discussing the question of his name, etc. (See S. Luke i.) In tho background is a cistern of water, and the child, S. John, standing in it, supported by women— an incident, perhaps, symbolic of the life of the man who was sent to baptize with water. Tho picture has been very much injured, and has lost much of whatever beauty of tone it may have pos. 50 THE JARVES COLLECTION. sessed. Freedom of action and gesture, unhindered realism of conception, and skill in drawing superior to its time, are still visible in it. It is one of the earlier works of Maso, who was a recognized painter at nineteen. *** Supposed to have formed a part of the prcdtlla of the picture described by Vasari, in a chapel of tho Carmine at Pisa. PAOLO UCCELLI. (1396— circa 14T0.) Paolo Doni, of Florence, pupil of the sculptor Ghi- berti, and a leader in the school of natural incident, simple and cheerful subject, and brilliant design, which he did much to establish. He excelled in painting land scapes, buildings, and animals, and, from his supposed peculiar fondness for birds, took the name of Uccelli, or di Uccello. His most important remaining works are of secular subjects. For remarks upon chest paintings, see above, No. 38. 43. Tempera, wood. A chest painting ; 68" w. 15" h. Incidents from the JEneid of Virgil. This picture rep resents the adventures of iEneas, as related in the First Book of the JEneid. On the right, Juno descends to iEolus, and or ders him to release the winds. In the centre, the vessels of JEneas are tossed in the storm, masts and rigging are car ried away, and sailors washed overboard. The vessels have armorial bearings painted on their sides, as customary in Paolo's time. Around them are figures of the winds rush ing out of the cave of iEolus; they are personifications of the winds known to the Italians by the proper names painted over their heads : Ponente, Levante, Greco, Mezzodi, Tramontana, etc. Farther to the right, Nep tune appears, upon a lofty cliariot drawn by sea-horses. the jarves collection. 51 Two of the winds, Zrfitio and EcrtO, (see the iEneid, i. 135,) are before him, as if rebuked. On the right, the ships have reached a harbor, and1 the crews are landing. iEneas and Achates meet Venus, dressed as a huntress, (verse 318.) Above, she appears again, as a goddess, (verse 405.) The names of Juno, iEolus, Venus, iEneas, and Achates are painted over their heads. 44. Tempera, wood. A chest painting, and companion to No. 43; 5S'w.l5"ft. Incidents from the iENEiD of Virgil. This picture represents the further adventures of jEneas. On the left, he kills deer for his followers. (iEneid, i. 187, et seq.) In the centre is Carthage. Building is going on, with curious building-machines. The Temple of Juno (verse 446) is the most prominent building. Above are represented, as if on a high stage, tlie pictures from the war of Troy, which iEneas sees and remarks upon : , " Qux regio terns nostrl non plena laboris?" Beneath, the meeting of Dido and iEneas is represented. On the right is Rome, as the result of the wanderings of iEneas, with a tolerably faithful representation of the Pan theon and less accurate ones of Trajan's column, the castle S. Angelo, and other buildings, some of which are marked with their names. DELLO DELLL (1404— circa 1465.) Dello di Niccolo Delli, of Florence. A less known painter of the same school as Uccelli, with whom he was probably associated. Applied himself especially to decoration and the production of chest paintings, of which No. 45 is a good specimen. For an account 52 THE jarves collection. of these, sec above, No. 38. He is last heard of in Spain, in 1464. 45. Tempera, wood. A chest painting, 69" w. 16" A. Tournament in the Piazza Santa Croce, at Florence. On the left is the front of the Church of Sta. Croce. Along the whole side of the square opposite to the spectator the windows are open, and are hung with rich stuffs and car pets. Ladies fill the windows, aud look out upon the square. In the centre is the stand put up for the judges. In the foreground a board fence is put up, on the hither side of which are boys and men, some standing on benches to look over, some looking through chinks and knot-holes. On the other side of the fence the tournament is going on ; two couples of knights are jousting ; one knight, falling back, is caught by his squire. Other knights and squires fill the scene. Many of these personages are to be easily distinguished, not only by their armorial bearings, but by their names also, which are painted upon their dress or horse furniture. At each end of the lists are great banners. The details of armor, dress, and armorial devices are very curious. There are one hundred and forty -six figures in the composition. 46. Tempera, wood; 8" w. 11" h. S. Martin dividing nis Cloak with the Beggar. Martin was an officer in the imperial army, and serving in Gaul. Having given all ho had in charity, and a beg gar asking aid on a cold day, he drew his sword, cut his cloak in halves, and gave half to the beggar. The whole legend is well told in Lord Lindsay's Christian Art, and less fully in Mrs. Jameson's Sacred and Legendary Art. THE JARVES COLLECTION. 53 ANDREA DEL CASTAGNO. (1890— 145T.) Andrea di Bartolomco di Simone, of a peasant fami ly of Castagno, but resident afterward in Florence. An inferior artist of the Tuscan school, and an imita tor of its greater masters. It is claimed for him that he was the first Florentine who practised oil-painting ; and charged upon him that he murdered Domenico Veneziano, from Avhom he learned the secret, that he might enjoy it alone. There seems only questionable authority for either statement. 47. Oil, wood; 22" w. 83" h. S. Jerome doing Penance. See remarks upon this com mon subject under No. 60, below. SASSETTA. (Died in 1450.) Real name seems to have been Stefano di Giovanni ; also given as Christofano di Francesco. A painter who preserved in his work the manner of a much ear lier period. Master of Sano di Pietro, and perhaps of Giovanni di Paolo as well. 48. Tempera, wood; 15" w. 14" h. S. Anthony tempted by the Devtl in the Shape of a Woman. SANO DI PIETRO. (U06— 1-181.) Sano di Pietro di Mcncio, of Siena. Pupil of Sas- setta. The Sienese school at this time was far less 54 THE JARVES COLLECTION. advanced than the Tuscan. Sano di Pietro was one of the leading men of his time in Sieua ; his work preserved much of the character of the work of Duc cio a century before. In Florence, at the same time, the improvement in technical as well as spiritual quali ties begun by Giotto had been carried on steadily ; and Masaccio, (see that name,) dying young in 1429, in Florence, had reached a technical skill nearly equal to that of Raphael. The work of Sano di Pietro may be compared with that of Simone Memmi, (see that name,) and resembles it much in purity and charm of color, in general gracefulness of design, and in almost total absence of shadows or shade, having all the character istics of illumination in manuscripts. Sauo is well represented by the two pictures in this collection ; Xo. 50, in particular, is in his best style. 49. Tempera, wood. Gradinoof an AUar-Piece, 12" w. 16" h. overall. The Adoration of the Three Kings. (See the account of their legend, No. 15.) The paintings upon the pilasters of the frame seem to indicate that thifl picture belonged to tbe chapel of some charitable fraternity. 50. Tempera, wood. AUar-Piece, 20" w. 20" k. and 2S" w. 55" h. over all. Coronation of the Virgin. This is a favorite subject for altar-pieces in chapels especially dedicated to the Virgin, who is thus distinguished as Queen of Heaven. Christ and the Virgin are enthroned ; above is the Holy Spirit ; a choir of angels attend, and around are many Saints, among whom may be distinguished S. Peter, S. Francis, S. Augustine, and S. Margaret. the jarves collection. 5i GIOVANNI DI PAOLO. (Died after 14S1.) A Sienese. Was painting as early as 1423, and out lived Sano di Pietro, (see above,) under whose direc tion he seems to have worked. 51. Tempera, wood ; 11" w. 8" h. S. Catherine of Siena pleading before Pope Gkb gory VII. the Cause of the Florentines. Attributed to Giovanni di Paolo. 52. Tempera, wood; 15" w. 8" h. Martyrdom of a Bishop before a Roman Emperor. UNKNOWN PAINTERS. (Sienese pictures of the fifteenth century. They may be ascribed to the tim from 1425-1450.) 53. Tempera, wood; 13" w. 18" A. S. Anthony tormented by Demons. 54. Tempera, wood; IV w. 12" h. Evil Spirits exorcised by Hermits. The demons aj pear in bodily form, as they are driven out, and the demc niacs clothe themselves in garments which are brought b; angels. SQUARCIONE. (1304—1474.) Francesco Squaroione, of Padua. The name of hi master is not known ; but he studied with great devc 50 TlIE JARVES COLLECTION. tion the remains of classical art, which at that time were attracting the attention of all Italy. The great est men of his time — Masaccio, Ghiberti, Verocchio — were diligent students of the technical excellence ex isting in those remains which surpassed tlieir owu at tainments ; but Squarcione devoted himself to the study of pagan antiquity as well as classical antiquity, as M. Rio has well said in another case, and became in after-life rather an antiquary than an artist. As a teacher he enjoyed a widespread and lucrative popu larity. His pupils were numerous, and among them was the more powerful and artistic Mantegna. The valuable picture, Xo. 55, has been ascribed generally to Squarcione, but it has also been supposed to be by Mantegna ; and it is not impossible that a further critical examination of the question may give the picture finally to the latter. 55. Oil, transferred from wood to canvas ; 16'w.25'h. The NATrvrry. Above the head of the Virgin is seen the vision of the shepherds. The Father appears above. This picture was successfully transferred from panel to canvas, by Mr. John Howorth, of Boston, In 1867. (See also Nos. 64 and 75.) MANTEGNA. (1430—1506.) Andrea Mantegna, pupil of Squarcione, (see above.) Squarcione was a successful teacher ; his ultra-classi cism itself was the means of benefiting his more ju dicious pupils, by surrounding them with the best models of antiquity. Mantegna, although the ablest THE JARVES COLLECTION. 57 painter of North Italy of his time, except the Vene tian, Giovanni Bellini, was not the equal of the greater Florentines, his contemporaries. But as a painter of a northern Italian city, allied by his work with the rising art of trans- Alpine countries, and influencing at once Milan, where Leonardo was growing up, and, Venice with her mighty school in its youth, he de serves especial study. 50. Tempera, wood ; 15" w. 21' h. The Crucifixion. The Virgin and S. John stand beside the cross. In the distance is a landscape and city. MATTEO DA SIENA. (1485—1495.) Matteo di Giovanni di Bartolo, of Siena, succeeded Sano di Pietro as the leader of Sienese painting ; but what has been said of the defects in the works of that school at the time, (see above, Sano di Pietro, and elsewhere,) is true of the painting of Matteo as welL 57. OU, wood; 18" w. 80" h. Madonna and Child, attended by Angels. The picture is noticeable on account of the rich details of costume and flower decoration. UNKNOWN PAINTERS. (Pictures oftheTJmbrlan School, fifteenth century, and probably before 1450.) The Umbrian School drew its inspiration from Siena as long as it remained isolated and independent ; but it had no geo graphical centre, and the Umbrian painters who attained cele- 5S THE JARVES COLLECTION. brity adopted tho styles of more powerful schools. It is prin cipally as au early influence upon such men as Gentile da Fa- briano, Piero della Francesca, Giovanni Santi, and Perugino, that the Umbrian School is of importance. 5 S . Tempera, wood ; 26" w. 10" ft. The Death of the Virgin. Christ and the disciples sur round the death-bed. Some are reading from the Scriptures, while he has j ust received into liis arms, unseen by them, the soul of his mother, in the form of a new-born babe. This very archaic picture has been ascribed to Buffalmacco, but it is thoroughly Umbrian in character. 59. Tempera, wood; 9' w. 13" A. Two subjects in one composition — S. Jerome in the Wil derness, and S. Francis receiving the Stigmata. For an account of S. Jerome, see under, No. 60. For an account of S. Francis of Assisi, see No. 28. His companion in this picture is his friend, the friar Leo, who is said to have wit nessed the vision of the crucified Saviour from which pro ceeded the rays of light which produced the miraculous ' wounds. Above in the clouds is The Annunciation, and below, a tablet with the dead Christ. »** On the back of this picture are the arms of the Me dici family. FRA FILIPPO LIPPL (1412—1469.) A monk of the Carmine at Florence. Entered the convent when a child, and seems to have been self- educated in art, studying the great works going on about him. He was a daring and powerful naturalist, and of the greatest energy and industry, second only to Masaccio in technical skill, and his worthiest iinme- THE JARVES COLLECTION. 59 diate successor in Florentine painting. The stories about his profligacy and irregularities of life are as doubtful as are most of Vasari's anecdotes about the men who were not of his own time. What appears certain is, that he was a poor man, with poor relations dependent upon him for support or assistance, and that he was annoyed by debt, and poorly paid for his numerous works. See, also, the notice of Filippino Lippi, below, p. 71. 60. Tempera, wood ; 11" w. 18' h. Penitence of S. Jerome. Although this saint is often re presented at study, and often as Patron in cardinal's robes, he is oftenest painted as the model of Christian penitence and victory over the flesh. He is then generally kneeling before a crucifix and holding a rough stone, with which he beats his breast. The lion is his constant attribute, and denotes partly the character of the saint and partly his soli tary life in the desert. The subject is a favorite one with Fra Filippo. This picture, which is in fine condi tion, is more than usually, for a small work, characteristic of the master. It is a curious specimen of the landscape of tli£ time. It has been said, in the notice of Masaccio, that he was the first painter who painted landscape from obser vation and with knowledge. The greatness of the innova tion can be partly judged by observing the rock drawing in this picture, nearly contemporaneous with Masaccio's three frescoes in Florence, and by observing that the landscape even of Leonardo, fifty years later, is scarcely more real istic than this. *# This picture formerly belonged to the Duke Cosimo do' Medici, and was hung in his guardaroba, (see Vasari's Life of Fra Filippo, and a note by tho Florentine editors, who say that its fate is unknown.) Its companion picture, a S. Augustine, is now in the Uffizi gallery at Florence. CO THE JARVES COLLECTION. FRA DIAMANTE. A Florentine, a Carmelite monk and companion of Fra Filippo, and his assistant in art. Very little is known of him. See notice of Fra Filippo, above, and of Filippino Lippi, below, p. 71. Attributed to him, and, if by him, in his early manner 61. Tempera, wood. A tabernacle-picture, 21" to. 86" ft. Madonna and Child, attended by Saints and An gels. NERI DI BICCI. (1418—1486.) Grandson of Lorenzo di Bicci, (see above, page 41,) a third-rate painter. 62. Tempera, wood; 9" «?. 9" A. Legend of S. Nicholas, who is represented throwing gold through the window to save from infamy the daugh ters of a poor nobleman. S. Nicholas is an Eastern saint, but Bari, in South Italy, claims to possess his body, and he is gen erally called in Italy S. Nicholas da Bari. BENOZZO GOZZOLI. (1424— circa 1500.) Benozzo di Lese di Sandro, called from personal characteristics Gozzoli, studied painting under Fra Angelico, and in youth preserved much of that master's THE JARVES COLLECTION. 61 peculiarly feeble and gentle style. In later life and with maturer power, he developed a wonderfully sweet, forcible, and natural art, but not of great dra matic power or religious intensity. His landscape backgrounds are among the loveliest of early art, his treatment of the human body and face natural and sincere; although his drawing is often feeble, his tone of color is bright and pure, and his pictures are full of light. His chief remaining works are a series of ad mirable frescoes on the walls of the Campo Santo at Pisa. " 63. Tempera, wood; 31" w. 81" ft. The Annunciation. Interesting as a perfectly represen tative instance of the treatment of this favorite theme by the better Italian painters. ANTONIO POLLAJUOLO. (1433—1498.) A Florentine goldsmith. The two brothers Polla- juolo (see the next notice) belonged to the same trade, in which they excelled as designers, and their paint ings show the same characteristics of sculpturesque design. They worked much together, and their works cannot always be distinguished. Antonio is the more powerful of the two, a vigorous anatomical draughts man of the human body. 64. Tempera, tran-f erred from wood to canvas; 81" w. 21" ft. Hercules killing Nessus; ;i well-known story of the Greek mythology. The background is an extensive land- 0.' THE JARVES COLLECTION. scape, the Val d'Arno, with Florence and Prato in the dis tance; the important buildings in Florenco can bo easily recognized, and it is evidently a view of the city painted from a distant point, a curious instance of early landscape-paint ing from nature. The recent history of this picture is singular : when pur chased for the collection, the figure of DeTanira was entirely painted out, tho landscape and the body of the centaur being continued by later work, skilfully done. This was probably done during the time of Savonarola, the Florentine reformer, who, a few years before Pollaj uolo's death, excited a religious and political agitation in Florence, attacked with especial earnestness art of mythological subjects and all representa tions of the nude form, and persuaded many painters to sacrifice their objectionable pictures and tlieir studies of the naked model. The alteration in this picture may have been made by the hand of the artist himself. This addition was carefully removed, and the picture recovered in an almost uninjured condition. It was transferred from panel to can vas in 1867, by J. Howorth of Boston, very skilfully and with complete success. PIETRO POLLAJUOLO. (1143— .) Brother of Antonio, (see above,) and outlived him. It is to be noticed of the work of both the brothers that it approximates to pure light and shade, with but little regard for color. Attributed to Pietro. 65. Tempera, wood. A Lunette, 50" w. 11" h. The Annunciation. Almost wholly a study in chiaroscuro. A great display of the author's knowledge of perspective, in his time a newly invented art, and exciting great interest THE JARVES COLLECTION. G3 VEROCCHIO. (1432— 14S8.) Andrea Cione di Michele, school of Donatello. An artist of wonderful versatility, but of such unrivalled power as a sculptor that he gave most of his attention to that art. As a painter, his work is more archaic than it should be for his time. His complimentary nickname (Verocchio, true-eyed) seems to have been inherited from his teacher, Giuliano Verocchio, but no sculptor before Michelangelo deserved it so well or reached so great general perfection. Attributed to Verocchio. 66. Tempera, wood ; 80" w. 45" ft. TnE Baptism of Christ. This picture is of the manner of Verocchio, but may be by one of his pupils. LUC A SIGNORELLT. (1441— after 1524.) Son of Egidio di Ventura Signorelli, and born at Cortona. His master was Piero della Francesca, (see p. 65,) to whom he owed his style, which is never very strongly marked by the peculiarities of the Umbrian school, and which became in his maturity unique in vigor, dexterous rapidity, and free drawing of tho human body. His faults are an excess of draughtsmanship, a certain lack of spiritual power as compared with his great technical skill, and too great harshness of contrasting light and shade. -lie is to be considered the forerunner of Michelangelo; in his Gl THE JARVES COLLECTION. age he gained some of that wonderful power of grand design of which Michelangelo is the great master. 6 7 . Tempera, wood ; IV w. 14" A. The Adoration of the Magi. For the legend concern ing them, see above, under No. 15. *** This admirable little picture, one of the gems of the collection, is in perfect condition, and has never been cleaned, restored, or repaired in any way. It will need tp bo trans ferred to canvas at some future time, but will not be marred by that process, if it is rightly done. ' When purchased it had remained for many years, and probably ever since it was painted, in the Archbishop's palace of Cortona. FRANCIA. (1450— 151T.) Francesco, son of Marco di Jacopo Raibolini, and born at Bologna. Francia was the name of a gold smith with whom Francesco was an apprentice ; hence he was called Francesco di Francia, and often signed pictures merely " Francia Aurifex." He studied paint ing with Squarcione, but kept up his connection with his early trade, was particularly successful as a die- cutter for medals, and is known to have signed .his work of those kinds as " Pictor." He was one of the most important painters of the later fifteenth century. His work and that of Perugino may be well com pared,., as the latest specimens of the religious ideal painting, with the greater energy and range of Luca Signorelli, the most powerful of the naturalists of the century.68. Oil, wood; 18" w. 23' ft. Portrait of the Princess Vitelli. The Vitelli family THE jarves collection. C5 were the lords of Citta di Castello, in Umbria. They were destroyed by Cesar Borgia, in 1502, and their possessions added to the pontifical territory. The lady holds a rabbit, and wears a rich costume. The background is a'beautiful landscape, evidently a study of the scenery in tho neighbor hood of Citta di Castello. This exceedingly valuable picture was obtained from the Giovagnoli family, who inherited it from the Vitelli, now extinct. It is in excellent condition. PIERO DELLA FRANCESCA. (Circa 1415—1500.) Piero di Benedetto dei Franceschi, born at Borgo San Sepolchro, and often called, from the name of his birthplace, Pietro Borghese. A painter of the Um brian school, (see pp. 57 and 63,) and pupil of Domenico Veneziano, but studied the more advanced art of Flo rence, made improvements in technical processes in painting, was employed in many cities of Italy, and, in connection with Perugino, (see next notice,) raised the Umbrian school to an important position. He seems to have taught or influenced Giovanni Santi, the father of Raphael. In tlie manner of Piero. 69. Tempera, wood. A chest painting. 59" w. 11' A. Visit of the Queen of SnEBA to Solomon. A work of the highest rank of its class ; one of the most rich and delicate ornamental paintings left us from tho time of the Renaissance. ¦ 66 THE JARVES COLLECTION. PERUGINO. (1440-1524.) Pietro Vanucci, called Perugino from the city of Perugia. Born at Citta della Pieve, in Umbria, and studied at Perugia. He came to Florence at the age of thirty. He formed an independent style early in life, more matured and complete in design and techni cal qualities than that of any of the purely religious painters of the time, or any artists except three or four great Florentine naturalists. He brings the enthusi astic and single-minded devotion of the Giottesque school into the midst of the Cinquecento schools of more matured science, secular thought, and classical, often pagan, inspiration. 70. Oil, wood ; 16" w. 21" A. The Baptism of Christ. Above is the Father, surround ed by a glory of angels. PINTURICCHIO. (1454—1513.) Bernardino di Benedetto; family name said to have been Biagi. His name, Pinturicchio, is a diminutive of pintore, "a painter." Worked as Perugino's assist ant and under his influence, but clung more closely than his more versatile and popular, and more travelled associate to the traditions and practice of the Umbrian school. 7 1 . Tempera, wood. A painted waiter, twelve-sided, 20" x 26". Love' bound by Maidens. An allegorical subject, from Petrarch's Triumph of Chastity. These decorated salvers, THE JARVES COLLECTION. 67 f.n- the picscntation of bridal or birthday gifts, were painted by the first artists, as, at u, later time, the painted plates known as Majolica. This one bears the arms of the Pic- colomini family, both on the front and on tho back.' COSIMO ROSSELLI. (1439—1506.) Cosimo di Lorenzo Filippi Rosselli, pupil of Neri di Bicci, (see above,) unfortunate in his teacher, and contemporary with the far more powerful painters, Filippino Lippi and Domenico Ghirlandajo, so that he falls into a secondary position. An esteemed painter in his time, as appears from the large number of his pupils, among whom were Piero di Cosimo, Fra Bar- tolomeo, and Albertinelli, (see below.) His large wall- paintings in the Sixtine Chapel, at Rome, and in San Anibrogio, at Florence, are important and valuable works. 72. Tempera, wood ; 26' w. 42' ft. Madonna and CnrLD, supported and attended by Angels. A mystic picture in his early manner. DOMENICO GHIRLANDAJO. (1449—1494.) Domenico di Tomaso Curradi di Boftb Bigordi, son of a goldsmith who was nicknamed " del Ghirlanda jo," because of the garlands or wreaths (perhaps of silver filagree) which he made for the Florentine girls. The name descended to the son, Domenico, and to the grandson, R'ulolfo, both able and famous paint- 08 TOE JARVES COLLECTION. ers. Domenico is "the great Bigordi" of Robert Browning's poem ; he is a painter of great individu ality, whose works show singular truth and simplicity of conception, a strong feeling for beauty of color aud line, which preserves him from the affectation of archa ism which ruined some of his contemporaries, sincere' love of beautiful accessories and quaint landscape, and a power of drawing only surpassed at that time by the unrivalled Masaccio. Sandro Botticelli (see below) was Doinenico's friendly rival ; but from the works remaiuing of both painters, Ghirlandajo must be con sidered the superior, and, therefore, the first painter in Florence of his time. 73. Fresco on tile; 13" w. 18" A. Portrait of a lady of the Tornaboni family. A head often introduced into his large frescoes, and supposed to have been his mistress. SANDRO BOTTICELLL (1447—1515.) Alessandro di Mariano Filippi, apprenticed in his youth to a goldsmith called Botticello, whence his usual name. Vasari seems to consider him the best painter of his time in Florence, but this could only have been in his youth ; as he and Domenico Ghirlan dajo grew up fo their full strength, the superiority of the latter must have been recognizable. A not unwor thy member of the extraordinary group of painters who worked side by side in Central Italy, from 1475 to 1525 — an army of disciplined strength, the likeness of THE JARVES COLLECTION. 69 which in power, Tightness and directness of aim, and purity of taste, all shared by so many men acting toge ther, has never been seen since that era closed with the deaths, nearly simultaneous, of Signorelli and Perugino. 74. Tempera, wood; 21" w. S3" ft. Madonna and Child. The Infant Christ holds a pome granate, emblem of hope in immortality. Landscape back ground, with buildings. GIOVANNI BELLLNL (1426—1516.) Born at Venice, son and pupil of Jacopo Bellini, who had studied with Gentile da Fabriano, (see above.) With this painter begins the record of the great Vene tian school, which, adding Lombard and northern power to the Umbrian traditions, made neither expression of face, nor religious fervor, nor vigor of gesture, nor any one merit its especial aim ; but sought to paint the visible world with perfect form, light, and color. Giovanni Bellini, however, had a religious solemnity of mind which influences all his work, and gives to his pictures a gravity of purpose which later work often misses. Throughout his long life he went on improv ing his style, and from his pupil, Giorgione, (see be low,) learned much of the glory of color which is the especial charm of the Venetian works. The undoubt ed father of the most individual and unmatched school of painting of which Ave have any record — that which culminated in the work of Titian — his name is one of the most truly venerable in the history of art. 70 THE JARVES COLLECTION. 75. Oil, transferred from wood to canvas; 20" to. 53" ft. S. Peter. Landscape background. t*t This picture was transferred in 1S67, by J. Iloworth, of Boston. UNKNOWN PAINTER. (Picture of the Venetian school, circa 1430.) 76. Oil, canvas; 19" w. 25" ft. Portrait of Pope Clement VHL GIORGIONE. (147T— 1511.) Giorgio Barbarelli, a Venetian, and a pupil of Gio vanni Bellini. His nickname, " Giorgione," is an aug mentative, denoting his high stature and beauty of person. During his short life he exercised a great in fluence over Venetian painting. He is remarkable among painters for his peculiarly artistic rather than philosophical nature, and executive rather than emo tional greatness. His observation of nature and his conceptions of human character and of incident were wholly a painter's ; his attention was given to the visible beauty of objects, in form, light and shade, and color ; and, in men and women, rather to ideal beauty of aspect than to expression or action. He was one of the simplest and most unaffected of men and of paint ers, and his work is absolutely free from affectation and from morbid or excessive sentiment. As has been well said, the ascetic ideal had no charms for him ; the ideal that he worshipped was the heroic ideal, the image of a glorified world, and of perfected men and women in the flesh. THE JARVES COLLECTION. - 71 77. Oil, wood; 31' w. 14" ft. The Circumcision of Christ. 78. Oil, wood; 2B' w. 20" A. ^- Portraits of Andhea Giutti and nis Sisters. This picture was painted about 1500, when Gritti was an admiral of Venice. He was afterward Doge, from 1523 to 1538. BASAITL (Was painting 1470—1520.) Marco Basaiti, or Baxaiti, born at Venice of a Greek family. Dates of birth and death not known. A painter of the school of Giovanni BellinL His works are delicate in finish and exquisite in color. 79. OU, wood; 8S" w. 24' A. Madonna and CnrLD, with S. Mart Magdalen and S. John. Beneath are the portraits of those for whom the picture was painted, kneeling in prayer. Background a mountain landscape, with buildings. FILIPPINO LIPPI. (1460—1505.) Pictures are sometimes signed Filippo di Filippo Lippi. He is said to have been the son of Fra Filip po, and pupil of Sandro Botticelli, (see those names above ;) but his style is certainly formed upon that of Fra Filippo, and he may have been his pupil rather than his son. His works are those of a. true artist, his heads are fine, portraiture is constantly and beau tifully used in his compositions, his color is richer and more developed than is usual in the Florentine school 72 THE JARVES COLLECTION. of his time, his love of delicate decoration and rich- dress is very marked. He has not the highest dramatic power or religious intensity. SO. Tempera, wood ; 24" w. 50" A. S. Sebastian. The arrows are treated merely as attributes ; this picture, like most of those representing the saint, mere ly symbolizes the martyrdom. Above, an angel offers the martyr's palm and crown. In the background is a part of Florence; the tower of La Badia on the right. Dated 1479, and inscribed with the names of "those who ordered the pic ture. 81. Tempera, wood ; 10" w. 18' A. The Dead Christ. A devotional picture, perhaps used for an altar-piece to a private altar, and has suffered from the smoke of candles. The face is sweet and refined PIERO DI COSIMO. (1462—1521.) Pietro, " the son of a certain Lorenzo, a goldsmith," godson and pupil of Cosimo Rosselli, and always called by bis name. A more able painter than his master, but injured by personal eccentricities, and by a striv ing to imitate the peculiarities of too many different masters. His later manner is partly founded upon that of Leonardo. 82. Tempera, wood; 45" w. 21" ft. The Story of Act/eon, who was changed into a stag by Diaua, and devoured by his own dogs. In the picture his head only is changed. Throe incidents of the story are re presented in one composition : first, he discovers, by his re- THE JARVES COLLECTION. 73 flection in a pool of water, the change that has taken place, and tries with his hand if the change is real ; second, he seems to lament his fate ; third, he is pursued and torn by tho dogs. Very interesting landscape and animals. 83. Tempera, wood; 14" w. 10" A._-- The Three Archangels, SS. Michael, Gabriel, and Ra phael. Raphael is accompanied by Tobit. Tho donor is re presented kneeling in the corner. Probably a votive picture. LORENZO DI CREDL (1459—1537.) Son of Andrea di Credi, and pupil of Verocchio. He was a fellow-student of Leonardo da Vinci, whose manner he closely studied and followed. He excelled as a painter in oil-colors, and his precise and careful handling, founded on Leonardo's surpassingly skilful workmanship, made him remarkable in Florence, where the broader style, caused by common use of fresco^ more prevailed. Later in life his style was modified by the Florentine influence. His work is interesting, as being nearly always devotional in the spirit of ear lier art. 84. Tempera, wood; 9" w. 12' A. TnE Crucifixion. The background is a quiet landscape, with a town on the left, and on tho right tho sepulchre, with Mary approaching its door. .jf*.x. From a chapel in the Borghese Palace, at Florence. In the manner of Lorenzo, perhaps by one of his scliolars. 85. Tempera, canvas; CO" w. 30" A. Two subjects in one composition — TnE Creation of Adam; 74 TUB JARVES COLLECTION. The Creation of Eve. A repetition of tho latter subject exists, in chiaroscuro, at the bottom of the Annunciation of this painter, in the Uffizi Gallery at Florence. FRA BARTOLOMEO. (14C9— 1517.) Bartolomeo di Pagholo di Fatorino, a Florentine, pupil of Rosselli and fellow-pupil of Piero di Cosimo and Albertinelli ; became a monk. For a time, and after the death of Domenico Ghirlandajo, Baccio della Porta, as he was called, was the only painter of exceptional power in Florence ; and he remained unri valled by any Florentine, except by Andrea del Sarto, until his death. But the chief centres of painting had then been formed at Milan, where Leonardo lived and. worked till 1519; at Rome, where Raphael painted from 1508 till 1520 ; and at Venice, where the best work was just beginning. Fra Bartolomeo succeeded in gaining something of Angelo's grandeur of design, and of Leonardo's surpassing dexterity, but his concep tions are not sublime, and his highest mental condition is a serene religious- calm. 86. Oil, wood. An AUar-Piece, 65" w. 76" ft. A pieta : The Dead Christ tn the Lap of TnE Virgin, at the Foot of the Cross. The feet supported by Mary Magdalen, the head by S. Dominic, whose features seem to be a portrait of Fra Angelico. The background is a broad and varied landscape ; and there are represented two scenes in the history of the resurrection : Mary going to the sepul chre and finding it empty, the angel addressing her ; and Mary meeting Christ, whom she mistakes for tho gardener. THE JARVES COLLECTION. 75 ALBERTINELLI. (1475—1520.) Mariotto Albertinelli, a Florentine and pupil of Co simo Rosselli. A friend of Fra Bartolomeo, (see that name above,) and Avorked much in company with him. He had many of his friend's merits as a painter, but was irregular in his life and work, and a less able and exalted artist. 87. Oil, wood. LTalf a door of a cabinet, 22" w. 47" A. The Archangel Gabriel. The whole composition was an Annunciation, but the door has been split in two, and the other half, with the Virgin painted upon it, lost or destroyed. 88. Oil, wood; 20" w. 25" A. The Virgin in the Egg. A symbol of the predestination of Mary to be tho mother of the Redeemer and the salva tion of the world. This dogma became popular in the six teenth century. RAPHAEL. (1383—1520.) Raffaello Santi da Urbino, son and pupil of Gio vanni Santi, who Avas a painter of merit. After his father's death he studied Avith Perugino, (see p. 66.) His early manner is founded upon that of Perugino, and is marked by the same religious abstraction, pure and someAvhat feeble design, and pale and tender color. A certain originality appears, however, CA'cn in his early Avorks, in Avhioh the someAvhat conventional types of the Umbrian school are freely handled. In 1505 he visited Florence, and until 1508 Avas much in that city, 76 TILE JARVES COLLECTION. studying the great paintings there, Avorks of Masac cio, Ghirlandajo, Michelangelo, and Leonardo ; associ ated in Avork with the purist and religious enthusiast, Fra Bartolomeo, and rapidly improving in technical skill. A sort of war Avas raging in Florence at this time, betAveen the students of the classic art and fol lowers of Michelangelo and the religious painters of the Umbrian school, led by Perugino, and numbering among them the few remaining folloAvers of Savona rola. Raphael was recognized as belonging to the lat ter party, and became widely known as one who added to the simplicity and religious purity' of the Umbrian school the vigor and directness of the great natural- ists. His skill in representing nature Avas second only to that of Andrea del Sarto, (see p. 79 ;) the dignity and grandeur of his design were only surpassed by the finest work of Leonardo and Michelangelo ; and these great qualities he brought to aid a religious enthusi asm almost equal to that of Fra Bartolomeo. At this point of his progress he Avas summoned to Rome, Avhither he went in 1508, and his earlier work there displays a better harmony between technical and ex- pressional qualities than any before or after. If he had died at twenty-five he would have left the name of the most powerful and versatile of the earlier religious painters, and the greatest master of human expression in face and gesture, except Tintoretto, long afterward. His work, after that time all executed in Rome, however remarkable and in some respects unrivalled, is Aveak in the central and most important quality, truth TUB JARVES COLLECTION. 77 of conception. He was by nature rather a student of the science of design than an imaginative designer, but his early work is full of the simple impulse and energy of the early religious schools, and his true greatness is seen in its individual character and fulness of meaning. His later Avork, done to please a Avorldly priesthood and a thoroughly pagan court, is neither so simple nor so sincere. The influence upon him of the time and place Avas almost Avholly evil, and he could hardly have remained the favorite painter of the Vatican, and yet have persevered in the Avay in Avhich he had begun. His unsurpassed skill as a draughtsman, his unequalled poAver of representing human expression, and the pe culiar grace and harmony of his lines, continue to be evidences of the singular art-power wliich was so often misapplied. The numerous pupils and followers, not having the strength nor the " transcendental" qualities of mind of the master, copied the Aveaknesses and the errors; so that his first picture painted in Rome — the Disputd del Sacramento — may be regarded as the turning-point, not of Raphael's life only, but of the great stream of central Italian art. 89. Oil, wood; 22" w. 28" A. The Madonna, with S. John and JosEra of Ari- mathea, surroRTiNG the Dead CnRisT, in a solemn and simple landscape, with a distant A-iew of the Hill of Calvary. The original design is by Perugino, and exists, in a fresco transferred to canvas, in the Albizzi Palace, Florence. This picture is attributed to Raphael, as being one of those Avliich he copied or imitated from Perugino ; and it is thought to bo his earliest known work. It bears tlie marks of immatu rity, Avith tho pure ideality and religious sentiment Avhich 78 THE JARVES COLLECTION. characterize tho earliest efforts of Raphael, while under the influence of tho Umbrian school alone, that is, before 1505. In seA-eral details of color and drawing, it is varied from Pe- rugino's fresco ; thus, in the fresco, the Virgin and S. John wear shoes, and the draper)- nearly co\-crs the feet ; the Vir gin's eyes are closed, and she docs not hold her girdle in her hand as in this picture ; the waist-cloth is differently treated. The figures in this picture of S. John and the Virgin cor respond perfectly Avith the same in tho Crucifixion of Cardinal Fesch's gallery, now belonging to Lord Dudley, and painted by Raphael at the age of sixteen. The close tunic of S. John is alike in the two pictures, and has in both similar patterns of gold embroidery on the breast. The figure of Christ in the Crucifixion shows a great adA-ance in power of drawing over the Perugino fresco and tliis picture on panel ; and this latter must have been painted Avhen he was not more than fifteen years old. *** The picture is in excellent preservation. It was taken from a villa of the Cliigi family, the head of wliich, in the time of Raphael, Avas the great banker of that name, his friend and patron. LO SPAGNA. (Circa 1485— circa 1530.) Giovanni di Pietro. His surname signifies " the Spaniard," but it is not knoAvn whether he was born in Spain or not ; as a painter he is Avholly Italian. He first appears as a painter in 1503, and probably died about 1530. He is the most interesting and poAverful, except Raphael, of the folloAvers of Perugino. His early style is founded upon that of Perugino, very much as the early style of Raphael is ; his later style is very like Raphael's, and pictures by him have often THE JARVES COLLECTION. 79 been ascribed to that more celebrated artist. Pictures from his hand or in his manner are rare. 00. OU, wood; 18" w. 20* ft. Madonna and Child, attended bv S. John and other Saints. FRANCIABIGIO. (14S3— 1525.) Francesco di Cristofano Bigio was his real name. The more usual abbreviation of Francesco is Cecco; the appellation of Francia in this case may have an other derivation. He Avas a Florentine, a pupil of Albertinelli, and early formed a friendship Avith An drea del Sarto, (see below,) in partnership Avith whom he spent most of the active part of his life. 91. Oil, wood; 32' w. 87" ft. The Adoration of the Magl ANDREA DEL SARTO. (14S7— 1531.) Andrea Vanucchi, of Florence, son of a tailor, as in dicated by his surname, pupil of Piero di Cosimo. He joined Avith his fellow-pupil, Franciabigio, in opening a shop or atelier in Florence. His extraordinary techni cal skill, more especially as a draughtsman, avou for him the title of " the faultless," " Andrea senza errore." He avoh the deserved reputation of being the best " frcscante" or painter in real fresco, in Italy ; and this because of the rare union of qualities he possessed, en abling him to paint at once upon the damp plaster, 80 THE JARVES COLLECTION. and Avitliout after-retouching, pictures which were su perior to the labored work of most other men. The circumstances of his life Avere unfortunate, and his own acts often foolish and even criminal. The con ditions under which his work ivas done were heavily against him; and Vasari questions, as others have done, Avhether, in view of his actual achievements, it may not be supposed that he would have gained or deserved as great a fame as .his contemporary, Raphael, if he' had enjoyed the exceptional good fortune of that universal favorite. He had a power of drawing as great as, and probably more natural and facile than Raphael's. He kept more of the reli gious spirit of the early work; his coloring never became chilled, and was never slighted, as in Ra phael's later works. On the other hand, he nowhere shoAvs those rare qualities of mind to Avhich Ruskin, rightly calling them "transcendental," ascribes the great power of Raphael. It is probable that Andrea Avould never have reached the highest excellence. As a painter of the visible and actual, he Avould have been, under favorable conditions, unsurpassed in poiver, ver satility, and truth-; but he Avas Avitliout the mental and moral grandeur that would haA'e made him a great imaginative painter, and his work shows nothing which can be considered equivalent to the solemn earnestness of Leonardo, the fervid, religious intensity of Perugino, or of Raphael, in his youth, or the bal anced harmony of all pictorial qualities in the Avork of the great Venetians. See, also, articles on Raphael (above, p. 75) and Paul Veronese, (beloAV, p. 87.) THE JARVES COLLECTION. 81 02. Fresco; 20" w. 27" ft. Madonna and Child. The picture was almost destroyed when transferred from the wall to canvas, and nothing is left but faint indications of its former grace of design and sweetness of color. ' UNKNOWN PAINTER. (Probably a pupil of Andrea del Sarto, perhaps Puligo.) 03. Oil, wood; 22" w. 28" A. The dead Christ, supported bv Joseph of Arimathea. The design is by Andrea del Sarto, and the work has many characteristics of that master's least admirable pictures. SODOMA. (1477—1549.) Giovanni Antonio Razzi, or BazzL Tlie name So- dona, also spelled Sogdona, seems to have been a family name, and Sodoma a corruption of it. He was born at Vercelli, in Piedmont. Early in life he settled in Siena, and became the undisputed leader of the Sienese painters of the time. The indigenous Sienese art, peculiar to the school, and independent of sur rounding schools, Avas then in decay. Razzi took thither the art of Florence, as developed in Milan un der Leonardo da Vinci, and himself became another Leonardo to Siena. As the chief of a long-famous and preeminent school of painting, he gained a reputation almost as general and as brilliant as Raphael's. 01. Oil, wood; 18" w. 25" A. Christ bearing the Cross. The man who is taunting" him may be supposed the legendary Wandering Jew. Tho 82 THE JARVES COLLECTION. face of this personage has been injured by tho religious en thusiasts of the time, in their rago against tho offender. 95. OU, wood; 27" v>. 39" A. Madonna and Child, accompanied by S. John the Baptist, S. Bernardino op Siena, and S. Catherine. S. Bernardino carries a tablet bearing the letters I. H. S., his usual attribute. The correct derivation of this inscription is from the Greek word 'IH20TS, "Jesus." S. Bernardino is said to have carried -with him and given away cards and tablets bearing the sacred letters. DOMENICO BECCAFTJML (1479—1519.) Son of a laborer in Siena, and takes his usual name from his master, Lorenzo Beccafumi. He is called, also, Mecherino. He studied in Rome, aud then re turned to Siena, Avhere he Avas the principal rival of Sodoma, (see above.) He studied aud followed the style of Michelangelo. 96. Oil, wood; 16" w. 22" A. S. Catherine op Siena swooning, supported by angels. She is dressed as a Dominican nun, and her hands and feet are marked Avith the stigmata. RIDOLFO GHIRLANDAJO. (14S3-1560.) Son of Domenico, (see p. G7,) and brought up and taught by David Ghirlandajo. Studied the manner of Michelangelo and of Leonardo da Vinci. Was dis posed to imitate the latter. In the controversy that THE JARVES COLLECTION. 83 sprang up in Florence he took the side of Perugino, together Avith Raphael, Fra Bartolomeo, and Lorenzo da Credi, (see notices of those painters, above.) Ra phael and he Avorked much together. When the for mer Avent to live at Rome, he left his Avork in Flo rence to Ridolfo, and afterward tried in vain to per suade him to follow to Rome. Ridolfo remained continually in Florence, Avhere his beautiful and se rene pictures were better appreciated than, they would have been in the capital of the popes. 97. Oil,wood. Lower part of an AUar-Piece ; SI' w. 88" A. The Madonna and Child, with S. Jerome and S. Dominic. Landscape background, in which are different scenes and incidents, among them S. Jerome doing penance. GIROLAMO COTIGNOLA. (1475—1550.) A native of Bologna, and pupil of Francia. 98. Tempera, wood; 20" w. 20" A. S. Sebastian. Two angels offer, one the crown, tho other the palm of martyrdom. JACOPO DA PONTORMO. (1493—1558.) Jacopo Carncci, born at Pontormo, in Tuscany, pu pil of Ridolfo Ghirlandajo and of Andrea del Sarto. Ilis youth gave promise of excellence, but he became one of the mannered imitators of Michelangelo. His A\rorks Avhich remain are very unequal in power and merit. The picture No. 99 is of small value. 84 THE JARVES COLLECTION. 99. OU, wood; 2S" v>. 28" A. The Martyrdom op the Theiian Legion, under the Em peror Maximian. Tho story is apocryphal. (See Gibbon, chap, xvi.) 1 00. OU, wood ; 19' w. 24" A. Portrait op Cosmo dei Medici, Duke op Florence; died 1464. CRISTOFANO DEL ALTISSIMO. A pupil of Pontormo. Best known as a portrait- painter, in Avhich capacity he Avas employed, says Vasari, by Cosmo dei Medici, first Duke of Florence. 101 . OU, transferred from wood to canvas; 17" w. 23" A. Portrait op Amerigo Vespucci, in the costume of a ma gistrate of Florence, inscribed Avith his name. UNKNOWN PAINTER, 102. Oil, wood; 22" w. 27' ft. Portrait op Dante — the commonly accepted likeness, which is taken from tho cast made at Ravenna after his death. UNKNOWN PAINTER. 103. OU, wood; 18" w. 25" ft. Portrait op Fern a ndo CoRTEZ,with the inscription, " Ferd. Cortez Indor. Domitor." SEBASTIANO DEL PIOMBO. (1185—1547.) Sebastiano Luciani, a Venetian and a scholar of Giorgione. He removed to Rome, Avhere his Avorks THE JARVES COLLECTION. 85 Avere much admired, and he became an assistant in some of the immense undertakings of Michelangelo. He seems to have understood the Venetian methods of painting, and to haA'e folloAved them to his death. His religious pictures sIioav little original power, and display the direct influence of Michelangelo. He ex celled as a portrait-painter. He received great honor in Rome, and, after Raphael's death, Avas looked upon as the first painter there, as Michelangelo's attention Avas mainly given to sculpture. He received the office of Frate del JPiombo, " Monk of the Signet," an honor ary and almost sinecure office, the duty of Avhich Avas to affix the leaden seals to papal goArernmcntal docu ments, and was called for the rest of his life Fra Se- bastiano del Piombo. 104. OU, wood; 19" w. 25' ft. Portrait op Vittoria Colonna. MARCELLO VENUSTL (1515— 15S0.) A native of Mantua. Resided in Rome, and was of importance only as a copyist of Michelangelo. His own Avorks, not Avithout evidence of natural gifts, are mannered and imitative; but in his time tho art had become a minister to A'anity, and a thing of great names rather than true things; so that copies after Michelangelo Avere preferred to the original Avork of less celebrated men, and Venusti, Avith others, copied him. One of his copies is of the iinmcnso " Last 80 THE JARVES COLLECTION. Judgment" of the Sistine Chapel, and is now in the Museo Borbonico at Naples. 105. OU, wood ; 16" w. 19" A. The Holt Family, probably after Michelangelo's design. GIORGIO VASARL (1512—1574.) Born at Arezzo. A painter of inferior power, and a close imitator of the style of Michelangelo. He, painted large pictures both in Florence and Rome. But his fame is not a painter's, but that of the his torian of Italian art. He is the author of the delight ful series of lives of the artists — " of the most eminent painters, sculptors, and architects" — Avhich has been for so many years the principal source of all our knoAvledge of this most interesting and important subject. Recent research has shoAvn many inaccura cies in his work, but its value as a living history, personal, anecdotical, objective, of the great revival of art in Italy, must ahvays be very great. 106. OU, wood; 20" w. 82' A. The Death of Lucretta. PARIS BORDONE. (1501—1571.) Of a noble family of Treviso. A student of both Giorgione and Titian. A painter of secondary power, Avhose Avork has much of the beauty of color, but lit tle of the directness and force of design of the greater Venetians. THE JARVES COLLECTION. 87 107. Oil, wood ; IV w. 2i' h. Portrait op Bianca Capello. JACOPO DEL PONTE. (1510—1592.) Called II Bassano, from his birth-place. An infe rior painter of the Venetian school. 108. OU, wood; 16" w. 22" A. Portrait op Piero Strozzi, Marshal of Fiance, and son of Filippo Strozzi, Avho opposed the Medici, and Avas called the Tuscan Cato, for his patriotism and voluntary death. PAOLO VERONESE. (1528— 15S8.) Paolo Caliari or Cagliari ; born and died at Verona, and generally knoAvn by the patronymic " Veronese," but spent most of his life at Venice. He visited Mantua in his youth and painted there; aftenvard made a short stay at Rome ; but most of his Avork, after the age of tAventy-five, Avas done in or near Venice. He Avas one of the most poAverful and accomplished of painters. It is fortunate that much of his Avork re mains ; his immense pictures painted upon canvas haA'e retained their freshness, and some of the most impor tant have been removed to Paris, London, Turin, and Dresden ; others remain in their original places ; and al though many have suffered from dampness and injury, and many haA'e been entirely ruined by so-called resto ration, there is much of his finest work in the perfect 88 THE JARVES COLLECTION. condition of painting which, having been rightly exe cuted iu the first place, need not fear natural decay. The five great masters of the Venetian school are Giorgione and Giovanni Bellini, (see above,) of the fifteenth century; and, of the sixteenth century, Tiziano Vecellio di Cadore, known as Titian, Jacopo Robusti, , called Tintoretto, and Paolo Veronese. Of this later triad Titian is the painter of the most equal and har monious strength, both in conception and execution, in draAving as well as in color. Tintoretto's pictures dis play a wonderful originality of conception, and a depth and force of imaginative insight perhaps unsurpassed in the history of art; but as a painter he Avas unequal, and his pictures are sometimes disfigured by harsh color and exaggerated draAving ; he is a man of won derful genius, but a less accomplished artist than the unrivalled Titian. Veronese lacks something of Titian's senatorial grandeur of design, and something of his never-failing skill in draAving the human form, for there are pictures by Veronese in Avhich the nude form has been imperfectly rendered ; his color is less 6olemn and deep than Titian's, his composition less dashing and broad than Tintoret's. He is simple and unaffected in his style, a Giorgione of a later time and of greater accomplishments. His coloring is bright and pure, and so harmoniously united Avith an elabor ate system of light and shade, that it may be doubted if anyAvhere in art this union of truth of color, truth of chiaroscuro, and truth of form has been so perfect as in the Avorks of Paolo. He is a decorative painter in all his tastes, loves, as do all the Venetians, splendor THE JARVES COLLECTION. 89 of dress and of architecture, fills the backgrounds of his pictures Avith stately piles of pure Renaissance buildings of noble design, and delights in tracing the patterns of rich silk in and out of the folds of drapery. Not irreligious, for his is a grave and sincere nature, and no great Venetian Avas irreligious, he has yet none of the Florentine loAre of asceticism and of retirement from the Avorld. On the contrary, there is in all his works a frank and confessed love of the beauty, power, and grandeur of the Avorld, as he saw it in the lovely cities of Italy at a time Avhen every building was a work of art, Avhen dress was a means of adornment, and Avhen for three hundred years a splendid system of decoration had been steadily developed to the cul minating grandeur of his OAvn designs. He stands upon the brink of the precipice toAvard Avhich art in the sixteenth century is hastening ; his Avorks show tho tendency of the age toward allegorical conceits and paganism — away from facts and from Christianity; but his life and his Avorks have virtue to save art from tlie fall which soon follows his death.- Personified virtues and qualities, Faith, Charity, the Genius of Venice and the rest, have a living interest in his pictures, and a value Avhich we are sIoav to be lieve possible. The pagan revival is to hiin, and in his pictures, a revival of the grace and of the poetic charm of Grecian fable, Avithout the coarseness given it by its Avorshippers Avho surrounded him, 109. Oil, canvas; 34" w. 41" ft. The Crtjcipixion. Tho darkness that overspread tho land " from tho sixth to the ninth hour," has been one object of 90 THE JARVES COLLECTION. the painter, and has given to the picturo an unusual charac ter of gloom. The figures are remarkably expressive of Veronese's treatment, and show on a small scale many cha racteristics of his Hfe-size work. Attributed to Veronese. 110. Oil, canvas; 24" w. 52" A. Christ in Glory, with SS. Peter and Paul. A mystic picture of inferior value. . AGOSTLNO CARACCL (1558— 160L) The three Caracci — Ludovico and his two cousins, Annibale and Agostino — are considered the three founders of the Bolognese, or eclectic school. Agos tino, hoAvever, Avas rather an engraver than a painter. The eclectics adopted theories of art before unknoAvn, professing to take from each school and from each painter Avhat was best in their work ; they founded an academy, and first put practice of the fine arts upon its modern footing, as a sort of learned profession rather than a higher handicraft. Their influence upon painting AAras, in the main, evil ; and especially so in respect to color. In Agostino's work, however, nei ther the strength nor the faults of the school are very forcibly shoAvn. As an engraver, he stands well. 111. 0U,canvas; 60' w. 40" ft. Venal Love. Cupid is breaking his bow in indignation. Tliis picture is from the gallery of the Baron Aron Boden- feld, where it was called u. Titian — an instance of the reck less cataloguing of pictures, until lately so common, of THE JARVES COLLECTION. 91 which mention has been made before. It was engraved by Agostino, and published by Adam Bartsch in " Le Peintre Graveur," vol. xviii., under the title, " Le Vieillard et la Courtisane." The engraving differs from the painting in a few unimportant details. GUIDO RENL (1575— 1G42.) Born at Calvenzano, near Bologna. A pupil of the Caracci, and the ablest painter avIio ever followed the teachings of their school. He soon abandoned the mannered execution and gloomy color of the Bo- lognese, to search for a new style of his OAvn, inAvhich attempt he so far succeeded that he regained a fresh ness and purity of color unequalled by any of his con temporaries. He devoted himself to the pursuit of an ideal grace and sweetness, wliich he succeeded in re presenting in some single figures, and partly in a few of his large pictures. It is, however, only as an exe cutant that he has attained any peculiar success ; as an imaginative designer, he stands Ioav ; and Avhatever ideal of physical beauty he may have sought, his Avorks show little care for any sacred ideal, and little cana- city for religious enthusiasm. 112. OU, wood; 6" w. 10" A. ' Joseph holding the Infant Jesus. This sketch is from tho Qerini gallery of Florence. 113. Oil, canvas; 05" w. 50" A. Three Goddesses disarming Cupid. Venus holds him, and the goddess on tho right is Minerva ; the one on the 92 the jarves collection. left, who has taken the bow, may bo supposed to be Juno. A slightly painted picture, almost shadowless, and fresh and pleasant in color. DOMENICHTNO. (15S1— 1641.) Domenico Zampieri. Born at Bologna; died at Naples. A pupil of the Caracci, he became their most worthy successor, and carried their chosen style of painting farther than they had had poAver to carry it. He is the best draughtsman of the Bolognese school, and his design, though not to be compared with that of the greatest masters, has a certain air of physical gran deur, which has caused some of his more elaborate pictures to stand very high in popular esteem. His Avorks have little eleA'ation of sentiment, aud are often disfigured by grossness and extravagance of concep tion. 114. OU, canvas; 85" w. 44" ft. Artemisia, widow of Mausolus, king of Caria, who min gled the ashes of her husband with wine and swallowed them. UNKNOWN PAINTER. - (A Picture of tbe Bolognese schooL) 115." OU, canvas ; 27" w. 34" A. The Madonna holding the Cp.own op Thorns. SPANISH SCHOOL— DIEGO VELASQUEZ. 116. OU, canvas; 49" w. 75" A. Full-length Portrait of a Spanish Grandee. THE JARVES COLLECTION. 93 GERMAN SCHOOL— ALBERT DURER. 117. Oil, wood; ll'xll"; circular. Head op the Dead Christ. GERMAN SCHOOL— HANS HOLBEIN. 118. OU, wood ; 12" w. 17" A. Portrait op Charles V., Ejiperor op Germany. DUTCH SCHOOL— PIETER BREUGHEL. 119. Oil, wood; IV w. 12" A. The Procession to Calvary. APPENDIX. CONDENSED EXTRACTS FROM PREFACE AND DOCUMENTS PREFIXED TO MR. JARVES'S CATALOGUE OF I860. PREFATORY REMARKS TO THE CATALOGUE OF 1860. During a long residence in Europe, chiefly in Italy, the writer was led to the study of art at large, the results of which, in the shape of abstract suggestions, Avere given to the public in " Art- Hints" in 1855. The historical and critical researches required for the preparation of " Art- Studies," led to the conception of a gallery or museum of olden art for America, based upon a chro nological and historical sequence of paintings, arranged accord ing to their-motives and technical progress. Without such a museum of reference, it was evident that a work on Italian art would possess but slight interest for our public ; Avhile, if formed, each would illustrate and add to the value of the other. Accord ingly, he determined to attempt it. Familiar witli Italian life ; living in tho midst of the art that Avas his daily study ; in con stant intercourse Avith many of tho best European connoisseurs; assisted by sympathizing artistic friends, and particularly by a Greek artist, Sig. G. Mignaty, whose knowledge of the history and technical processes, combined with a keen perception and deep feeling in art, is very remarkable ; after several years of search in the highways and byways of Europe — the Avriter succeeded in getting together the pictures described in this Catalogue, ' believing that ultimately they will be found Avorthy of forming the nucleus of a Free Gallery in one of our largo cities, and thus be made to promote his aim — the diffusion of artistic knowledge and aesthetic taste in America. In view of the A-ery natural doubts and questionings Avhich must arise in this country, Avhere there exists no standard of 98 TREFATORY REMARKS. comparison and but little critical knowledge of " old masters," there has been added to this Catalogue a scries of documents showing the estimation in which the collection is held by English, French, Italian, and American authorities. Tho weight of their joint opinions, to which others might bo added, is, ho trusts, sufficient to induce the public to give it their candid at tention, without fear of being called upon to examine or enjoy works that are not genuine, and of the epoch and schools they profess to be. It should be kept in mind that, for several years, they have stood the severest test possible ; to Avit, the brunt of European connoisseurship in Florence, alongside of the most famous galleries known, where it has been a step from a "masterpiece" to some characteristic specimen of the same master in this collection. At the same time, the public must not expect to find in it those masterpieces wliich give reputation to the great painters ; they are either fixtures in the edifices for which they were painted, or have been long since absorbed into the chief public galleries, and can never be seen in America. All that he proposed to get together, was characteristic speci mens of the schools and artists that illustrate Italian painting, in a series which should, at a glance, give a correct view of its pro gress from a.d. 1000 to 1600 — six centuries, embracing its rise, climax, and decadence. In no collection are all pictures of the same standard of excellence. So in this there will be found some that illustrate rather particular motitesin art, Avith especial reference to itsChristian inspiration, than any special technical ex cellence ; it being part of his aim to hIioav the topics most in vogue during past centuries. Further, the nomenclature is based upon the same system as tliat of tho public galleries of Europe in general. But comparatively few pictures haA'e undoubted his torical pedigrees. For the rest, catalogues are the result of the bc-st available criticism, based chiefly upon internal proof, sus tained, where it exists, by collateral documentary evidence or trustworthy tradition. The author has conscientiously and stu diously followed this system, aided by European criticism ; and the Catalogue, as it now appears, is the result of several years' patient and close inquiry. Wherever he has felt there might be PREFATORY REMARKS. 99 a diversity of opinion among critics, or he had any cause to dis trust the evidence, it has been so indicated in the Catalogue ; which, as a Avhole, will be found to be as correct as those of the fralleries in Europe which are relied upon as authoritative.* Several of the letters given among the " Documents" are ad dressed to Charles Eliot Norton, Esq. This gentleman no sooner heard of the Avritcr's collection, than he Avrote to him for infor mation as to its destination and to others conversant AA'ith it to ascertain its character ; wishing to interest the friends of art in Boston in securing its permanent location there, with means to increase and perfect it. The replies are here appended, that they may have a wider circulation. Since Mr. Norton first brought the subject, in a private way, to the notice of his friends in Bos ton, the collection has been largely increased in number, besides receiving some of its most precious pictures. JAMES JACKSON JARVES. September, 1860. * The Catalogue referred to is that of 1800; lt contained tbe names of 143 pic tures, some of which never belonged to Mr. Jarves, and were added to the collec tion for purposes of exhibition only. The first exhibition, for which that Cata logue of I860 was prepared, was held in the Derby Gallery, No. 025 Broadway, N'ew-ATork. The Catalogue of 1S03, prepared for the exhibition of the pictures at Ihe Historical Society's building, contained 134 numbers. LIST OF DOCUMENTS. L Extract from the London " Athcnajum," 12th February, 1859. n. Letter of C. C. Black, Esq., of the " Science and Art Department," Sonth Kensington Mnseom London. HI. Letter of Sig. Bucci, Inspector of the Ufflzi Gallery, Florence. IV. Letters of Mons. A. F. Rio, of Paris, Author of "Life of Leonardo," and " Poetry of Christian Art." V. Letter from Sir Charles Eastlako, Director of National Gallery, and President of the Eoyal Academy, London. A7L Letter from Louis Thies, Esq., Cambridge College. DOCUMENTS. Letter of Mr. T. A. Trollope. From the London Atlienwim of 12th February, 1859. Florence, January 20. I was invited the other day to A"isit a gallery of pictures, the collection and object of Avhich interested me much, and seemed strangely to indicate the apparently inexhaustible artistic Avealth which has been stored up in these old Tuscan cities, as in a garner, for the perennial supply of the entire world. They have furnished forth galleries for the delight and art-instruction of every nation of Europe ; and uoav they are called on to per form a similar civilizing office for the rising world on the-other side of the Atlantic. And to how great an extent they are still able to answer to the demand, the collection I am speaking of most surprisingly proves. It has been brought together by an American gentleman, a Bostonian, of the name of Jarves. One would have thought that it had been already too late to accom plish so patriotic a purpose, Avere not the gallery in question here to prove the contrary. English amateurs have Avistfully sounded the owner as to tlie possibility of tempting him to relinquish one or two of his treasures. But the answer was, that the collection would go unmutilated to America. This first attempt to make the New World a sharer in tho. 1 02 DOCUMENTS. groat art-heritage of Europe's old civilization is a circumstance so interesting, and, in view of the special bent the specimens ob tained may give to an entire new lineage of art and artists, is so important, that it seems worth while to say a few Avords of the nature and merit of the collection. Mr. Jarves has been for some years a resident in Florence, and has devoted himself entirely to this object. In the pursuit of it, Yankee energy and industry were, as u. matter of course, not wanting. But the very creditable knowledge and judgment manifested in expending the funds devoted to the object, might, perhaps, have been less to be, anticipated. BtrJ, most of all, the amazing good fortune which has helped him in his aim Avill strike those who can appreciate the difficulty of obtaining speci mens of many of the masters. Mr. Jarves has done wisely in seeking to make his collection especially illustrative of the history, progress, and, so to speak, genealogy, of the art ; being aware that it is by such a study of its masters that an artist, as distinguished from an imitator, must be formed. He has also done well in paying particular attention to the condition of his specimens ; preferring to have them with the mark of time upon them, when not such as to de face the master's sense and treatment, rather than to have more showy pictures at the cost of restoration amounting to repaint ing. The collection is especially rich in specimens, one or two of them almost, if not quite, unique, of the earliest days of revived art. Some very curious Byzantine works of the tenth and sub sequent centuries bring the history down to Margaritone da Arc-zzo, in 1240, who is represented by a most remarkable altar- piece. There is also a very important picture, as an historical document, of date between 1198 and 1210, which may be found engraved in the thirteenth volume of Fumigalli's " Collection of the Principal Pictures of Europe." Cimabue, Giotto, Duccio, Taddeo and Agnolo Gaddi, Andrea Orcagna, Gentile da Fabriano, (a signed picture by this very rare artist, of whom not above eight works arc known to be extant in Europe,) Fra Angelico, Sano di Pietro, Masaccio, (a fragment DOCUMENTS. 103 of a.z>redcHa cited by Vasari,) Fra Filippo Lippi, Botticelli, Pietro Perugino, Lorenzo di Credi, Fra Bartolomeo, (a A-cry grand altar-piece,) Leonardo da Vinci, (Holy Family, with same charac ter of background and about tho same date as Lord Suffolk's Vilrgc aux Rochcrs, a A-ery A-aluablc and undoubtedly authentic work,) Lo Spagna, Sodoma, (two fine specimens,) Pinturicchio, Domenico and Bidolfo Ghirlandajo, Raphael, (a very interesting early work, painted by him while still with his master, Perugino, from a design of his, but with A'ariations,) all these, and several other less generally known names, are represented. There are also some interesting portraits, especially a contemporary one of Fernando Cortes ; and a full-length Spanish grandee in armor, by Velasquez. It will be admitted that no ordinary degree of good fortune must have been added to activity and judgment to render feasi ble the collection of such an assemblage of genuine pictures at this time of day. Those who have attempted, with more or less success, to purchase pictures recently in Italy, will probably be not a little surprised that it should have been possible ; and it. may be safely asserted that, if any other of the more Avealthy communities of the United States, stimulated by the example and success of my Bostonian friend, should think, like Jack the Giant-killer's Cornish foe, "her can do that herself," and should attempt tho feat Avith twice the pecuniary means, they Avill find that it is not to be repeated. II. Letter of Mr. ft G. Black, of the " Science and A H Department," South Kensington Museum, London, and for many years Agent of the Museum, for the purchase of works of art. My Dear Nohton : July, 1859. When Goldsmith laid down, as one of the two rules by which a reputation for coriiioisseurship might be attained, that the as pirant must praise tho Avorks of Pietro Perugino, we may pro- 104 DOCUMENTS. sume he did so not from any accurate appreciation he himself possessed of that old painter's merits, but rather that he selected the name as that of a recondite and rarely investigated luminary in the galaxy of Art. Keener eyes and better aesthetic telescopes have, hoAvever, of late years, been directed toward the pictorial sky ; and Perugino's name would uoav stand far down, Avere we to catalogue the lights which shine from distances beyond the orbits even of Giotto and Cimabue, till the gazer is finally be- Avildered among Sienese nebulae and Byzantine star-dust. These thoughts came on me forcibly, on crossing, the Piazza Maria Antonia, after a by-no-means thorough examination" of the very interesting coUection formed by our friend J. J. Jarves. Although I think you visited it, when in Florence some years ago, his un tiring energy has added to it so largely since you were among us, that I am minded to give you (without much pretence to chronological accuracy) some notes of a few chief objects of my admiration. Though aware that Mr. Jarves had confined his purchases principally to the more ancient masters, proposing — and wisely — to illustrate the germ and growth of Modern Art, I was not prepared for the distance to which skill and patience have carried him back ; and found him, to my surprise, the possessor of one of the earliest known representations of the Crucifixion, dating from the tenth, or possibly tho ninth century. By the Avay, in writing to one who is acquainted Avith the galleries of the Cata combs, I may enter a caveat against tlie accusation of inaccuracy by explaining that I mean one of the earliest movable repre sentations ; excluding, of course, Avall-paintings. Specimens of this date are naturally A-ery rare : some, howeA-er, there are, and well authenticated ; one, in particular, in the Museum of Fine Arts at Florence, closely resembling this of Mr. Jarves. A marked and distinctive peculiarity is the form of the cross ; Avhich indeed, can be termed so merely fur convenience, as it is Y- shaped, curiously resembling the embroidery on a priestly stole, and figuring, moreover, in the hliield of the Archbishop of Can terbury. To step from this strange relic of early piety to Mar- garitone of Arezzo may not be btrictly chronological ; but, as I DOCUMENTS. 105 said before, this I do not profess to be. This old master is represented here by a Virgin attended by the saints Peter and Paul ; the central painting surrounded with smaller ones, Avhich show various events of their lives. Their martyrdoms, in par ticular, are packed Avith an economy of space truly Avondcrful. In singular contrast to tho hard, rugged, Ben-Jonsonish energy of Margaritone, is a Greek painting of very early date, (well known to collectors, and engraA-ed by Fumigalli,) highly finished in detail ; the jeAvels of the tiara and the folds of embroidered drapery quite wonderful ; but the features smooth, polished, and insignificant as one of Hayley's poems. I was much pleased with a small Giovanni di Paolo, representing a female saint in gray, who kneels to a pope. How these old artists caught the key-note of character in their figures ! It seems as though there was in tho childhood of Art something analogous to the actual cliildhood of human life ; for even as an observant child unfail ingly selects the chief characteristic, bodily or mental, of a visi tor, so do we find these early painters insisting on distinctive character as determinately as though they had j ust been reading the " Ars Poetica." We have here a demure train-bearer and a sulky cardinal, both of whom I ha\-e seen in Roman processions — Corpus Domini, for instance — times without number. Duccio, Avhose noble picture at Siena hangs on the Cathedral Avail so awkwardly as to be hardly visible, may be admired here much more satisfactorily in a beautiful Virgin and Child, as also in a Crucifixion ; showing what, to me, was a someAvhat novel treatment of this much-Avorn subject. Perhaps no better ex ample could be found, to show the soul these early masters put into their works, than the various expressions, gestures, and costumes here displayed on a space not larger than a sheet of letter-paper. Fra Angelico appears here unmistakably in a painting of three saints— St. Zenobio, St. Francis, and St. Thomas, (I forgot which of them;) and an adoration of the Magi, by Simone Memmi, Avould attract any one's notice, if only from a wonderful irroup of men, horses, and camels, thrust together in much- admired disorder. 1 00 DOCUMENTS. I have really no time to expatiate on tho various excellent specimens of painters, good and rare ; such as, Pietro Cavallini, Andrea Castagno, Matteo da Siena — of whom Ave haA-e a Virgin and Child, and happily not his oft-repeated and horribly elabora ted Murder of the Innocents — Taddeo Gaddi, Avho shows us St. Dominic receiving at the hands of Peter tho sword he used so ruthlessly against heretics. Nor can I do more than offer to more leisurely speculation two quaint Byzantine tablets, in which Ju lian the Apostate is being speared by Mercourios (?) ; Avhile Max- cntius undergoes the same fate at the hand, nofr of Constantine, but of one Dicaterina — St. Catharine, I suppose ; but let it pass. I must, however, do homage to Sano di Pietro ; an artist whose works, even in Italy, must be sought with care, as nearly all the best are confined to his native city of Siena. Nevertheless, we find here no less than three specimens of his handiwork — an Adoration of Magi ; a St. Margaret, wonderful in drapery ; and a Coronation of the Virgin, so pure and sacred in feeling as to show at once his right to the title of the Sienese Fra Angelico. Of Benozzo Gozzoli there is an Annunciation, in a state of preser vation very uncommon ; and the same subject by Credi, clean and fresh in coloring as all his works are, and treated in a A-ery pleasing, unconventional manner. " Omnia ex ozo," says the old physiological adage : and I pre sume that the Virgin Mary herself forms no exception to the rule. At all events, here we have the Virgin, very pleasingly painted by a scholar of Albertinelli, enclosed in an egg — not a vesica pis- cis glory, nor an oval mass of clouds ; but a veritably well-paint ed egg — the shell broken open at the side, the fractured edges carefully drawn, so as to display the figure. Leaving unsolved the mystic meaning of this very pretty picture, I pass to another Virgin and Child, delicate in coloring and charming in expression, by Sandro Botticelli; and to a small panel, likely to be over looked by a casual observer, but very interesting, as being not improbably the identical Birth of St. John, painted by Masaccio, and described in Vasari. The circumstantial evidence, Avith which I shall not trouble you, is very strong in its favor. You know the man of many names — Sodoma to the world, DOCUMENTS. 107 Razzi of Piena to his familiars ; and now, by favor of some of those confounded investigators, who upset our faith in Bomulus, Richard, Joan of Arc — nay, even would do so in respect to Shake speare himself — Bazzi ot' Piedmont Avould seem to be the genu ine name of the painter. Happily, these rixm de land caprind are very unimportant. The names may perish ; but Borneo, Lear, Hamlet, and, though in humbler sphere, the Chapel of San Bernardino at Siena and the upper floor of the Farnesina at Rome, are undeniable facts. Mr. Jarves possesses u. glorious Bazzi — Christ bearing the Cross — almost as rich in coloring as the grand fresco in the Belle Arti at Siena, and decidedly nobler in expression — the point in wliich Sodoma was most commonly weak. A proof of this assertion may be seen by comparing his celebrated St. Catharine Fainting, in the Dominican Church at Siena, with the same subject as treated by Bcccafumi in this gal lery. Although in many points closely resembling, and gene- rail}- to the advantage of Sodoma, the countenance of the Father, in Beccafumi's work, is far grander. I should like to detail to you some of the gorgeous court cos tumes devised by Paolo TJcello to grace the pageant Avhere King Solomon, in all his glory, meets the Queen of Sheba ; to specu late on the interpretation of a most perplexing and enticing alle gory by Gentile da Fabriano, called the " Triumph of Love ;" and to speak more fully than is now possible of a beautiful female head by Cesare da Sesto, of a soldierly Velasquez, of a largo and important Ridolfo Ghirlandajo. Before concluding this very imperfect reA-ieAv, in Avhich I have left quite unmentioned many interesting pictures, let me revert to our old friend Perugino, with whose name I began my letter and of Avhom Mr. Jarves possesses a small but unmistakably genuine painting ; as also to our dearer friend Noll Goldsmith, Avhoso other recipe was, " to observe that the picture Avould haA'e been better if the painter had taken more pains." How very safely this remark may yet bo applied to the Caracci and their school ! Rarely, if ever, do we meet a work of the Bologneso school which docs not, in spite of its unquestionable merit, offend by a certain careless air, which seems to show that the painter 1 OS DOCUMENTS. felt himself fully equal, nay, possibly superior, to the require ments of his subject. On the other hand, the conscientious labor, the solemn purity, visible in every portion of a painting by Duc cio, Fra Angelico, or Sano di Pietro, impress on us the conviction that these men felt called on to make a holocaust of the talent God had given them, in serving, as best they could, tho Giver. I must now conclude ; and only hope that this imperfect sum mary may suffice to show what can be done, even at this late pe riod of picture-hunting, when good j udgment and activity are backed by patience and well-timed liberality. ' C. C. Black. HI. Letter of Sig. Bucci, Inspector of the Ujfizi Gallery, Florence. Translated from the Italian. Mr. Jara-es : Dear Sir : I have long been acquainted Avith your praise worthy design of making, Avitliout regard to cost or trouble, a collection of paintings of our older Tuscan schools, in order to show how these masters prepared the way for the very excellent artists who lived in the sixteenth century, and to transport the same to America, to make known by examples in that remote region, just risen so high in the scale of civilization, the charac ter of the primitiA-e masters of art, and how they Avere able to make painting attain so eminent a position. However little the paintings of these masters may be appre ciated by a people accustomed, for the most part, to the sight of works of mere illusion and pleasure to the eye, yet the paintings carried by you to America cannot fail of being of great benefit to artists, and institutions of education. I congratulate you, Mr. Jarves, upon a selection, Avhich, from ' its excellence, must have cost you much persevering research and money. Your politeness has enabled me, before your de parture, to examine all your paintingH ; and among the number, by no means small, of excellent ones, permit me to especially DOCUMENTS. ] 09 notice, as A-ery remarkable and rare, even among us, and of our own school, "The Rape of Dejanira," by Antonio Pollajuolo; that beautiful " Madonna and Child," by Sandro Botticelli ; St. Girolamo, by Fra Filippo Lippi ; the " Annunciation," by Lorenzo di Credi ; tho " Sacra Familia," by Lo Spagna, a scholar of Peru gino ; the " Holy Family," by Domenico Ghirlandajo ; and a f mall and extremely rare and A-aluable picture of the " Adora tion of the Magi," by Luca Signorelli. Among later paintings of other schools, I admired a magnifi cent portrait by Diego Velasquez ; and the " Crucifixion," by Rubens. Permit mo, then, before you leave our city, in attestation of my esteem, to contribute my feeble praise and congratulation for the efforts you have made for the advantage of art in your native country. With, etc., etc., etc., Emilio Bucci, Inspector of the Ulfizi Gallery of Florence. IV. Extract from a Letter from Mons. A. F. Rio, of Paris, the weU- known author of " Poetry of Christian Art," and " Life of Leonardo da Vinci." You are quite right in trying to get pictures of tho Sienese school, Avhich has been, till now, less studied than the others, and which is growing more and more into repute. Your tAvo pictures of Antonio Razzi (Sodoma) are quite sufficient to give an idea of that great painter, who has so often been compared with Raphael himself; but my weakness for the old school im pels me to say, that, for my own gratification, I should prefer your pictures of Sano di Pietro. A time will come Avhen that cliannine- master Avill be appreciated to his full value, and his works sought after as so many precious gems of mystical thought. France England, and Germany knoAV him only by reputation. 1 1 0 DOCUMENTS. I do not remember seeing a single picture of his in any of those countries. The specimen which you possess has two great ad vantages : it represents the painter's favorite subject — tho Coro nation of the Virgin — and is in a perfect state of preservation. I have observed in your collection a charming little picture by Matteo di GioA'anni. Your Gentilo da Fabriano is, on account of its date, an important document in the history of that school ; and I should place still higher the Madonna between four Saints, by Lo Spagna, who was the best pupil of Perugino, next to Ra phael. You will render the science of art more accessible to those [in America] who cannot cross the seas to study it in its birthplace. With the best wishes for the success of your patriotic under taking, Most sincerely yours, Rio. Letter of Sir Charles Locke Eastlake, President of the Royal Academy, and Director of lite National Gallery. Died in 1866- 7 Fitzroy Square, London, Nov. 16, 1858. Dear Sir : I rejoice to hear that you purpose to send your collection of specimens of early Italian masters, in its entire state, to America. Few Avould have taken the trouble you have gone through, in discovering and obtaining these works. Yourcontin- ued residence in Tuscany has enabled you to avail yourself of many excellent opportunities. Good fortune has also sometimes rewarded you; but to your discrimination and knowledge your success is chiefly to bj ascribed. I consider that the series in question would form pn excellent foundation for a gallery of Italian art ; and I trust that, in your native country, it will be appreciated and kept together. I pur posely avoid particularizing any works, because I haA-e at all times uniformly declined to give any kind of certificate as regards single pictures ; but I can conscientiously congratulate you on the DOCUMENTS. 1 1 I formation of the collection as a whole. I believe that many val uable additions have been made to it even since I saw it. Wishingyouall success in your patriotic object, I am, dear sir, Your faithful servant, C. L. Eastlake. James J. Jaictes, Esq. VI. Letter from Louis Thies, Esq. Mr. Thies is well known among connoisseurs' in Europe and America for his successful exertions in getting together and ar ranging the Gray collection of engravings, lately bequeathed to Harvard University. Having been formed, without regard to expense, by the late public-spirited owner, it is the finest and most complete in our country, and is excelled by feAvonly in Eu rope. Not only do we find in it the best impressions of tho most celebrated engravers, but some of extreme rarity : one by Fini- guerra, the father of Italian engraving, if not the European in- A-entor, Avhich is considered as unique, and Avould command a price that Avould startle the uninitiated in these matters. This collection is accessible to the student of art through the courtesy of the curator ; and it does for the history of engraving that wliich I have sought to do for painting. Mr. Thies, having devoted a lifetime to tho study of art, with the advantages of a European education, is Avell qualified to speak on the subject. To an enthusiastic feeling for his pursuit, he joins the critical acumen and patient inquiry which distinguish his former compatriots, Rumohr, Kuglcr, Passavant, and Forster. J. J. J. Cambridge College, Sept. 13, 1860. My Deatc Sir : I cannot help expressing to you the very great pleasure I had in being permitted to see, on several occasions lately, the specimens of the old Italian masters which you had 1 1 2 DOCUMENTS. the kindness to show me. I certainly never looked forward to seeing in America pictures of such great merit and A-aluo. The Perugino — Baptism of Christ — is extremely characteristic of that master, and is one of his most pleasing compositions. The upper part — the Almighty with the angels — recalls to mo Raphael's fresco in San Severo, Perugia, in Avhich ho borrowed this upper part from his master ; only that, in your picture, the principal figure holds a globe instead of a book. The Lorenzo di Credi Crucifixion pleases mo still more. I think it is one of the most charming little pictures the master ever produced. The figure of the Saviour is wonderfully fine, and the expression of the Magdalen at his feet embodies the poe try of grief. The portrait of the Princess Vitelli, by Franc. Francia, is a re markable picture, most charming in the landscape. It is beauti ful in modelling, warm in color, and with those peculiar charac teristics that please so much in Raphael's earlier pictures. The picture would be an acquisition to any public gallery, on account of the great rarity of the master, as well as for the subject. Luca Signorelli is a still rarer master. Your specimen, the Adoration of the Magi, is as perfect a one as I have ever seen, and admirably represents the peculiarities of the artist. It is particularly valuable for its fine condition. It would take too long to particularize all the pictures worthy of mention, even among those of your collection which you Avere able to let me see. Louis Tries. INDEX PAINTEIiS MABKED ¦WITH A * ARE NOT REPRESENTED IN TUB .tAI'.VES COLLECTION. Agnolo Gaddi, notice of, 37. , school of, 41. Agostino Caracci, notice of, 90. Attissimo, (sec Cristofano.) AlbcrtinelH, Mariotto, notice of, 75, mentioned, 07, 74, 79. ::'Ambrogio Lorenzctti, mentioned, 41. Andrea del Castagno, notice of, 53. Andrea di Cione, (see Orcagna.) Andrea Cione di Michcle, (see Veroc chio.) Andrea Mantegna, (see Mantegna.) Andrea Vanucchi, called Del Sarto, notice of, 79, mentioned, 49, 74, 7(i, 79, SO, 81, 83. ?Andrea Pisano, mentioned, 35. Angelico, Bcato Fra Giovanni da Fie sole, notice of, 4G, mentioned, 9, GO. ?Annibale Caracci, mentioned, 90. Antonio Pollajuolo, notice of, 61. Antonio ATeneziano, notice of, 41, mentioned, 37. Aretino, (see Spinello.) Arezzo,- Margaritonc da, sec Marga- ritone.) Arezzo, Spinello da, (see Spinello.) Authenticity of Pictures, 10, ct sen.. Baccio della Porta, (see Fra Bartolo meo.) Barbarelli, (see Giorgione.) Bartolo, (see Matteo da Siena.) Bartolomeo di Pagholo di Fatorino, (sec Fra Bartolomeo.) Basal ti, (see Marco.) Bnssiano, (sec Jacopo del Ponte.) Bazzi, (see Sodoma.) Bec.cafumi, (sec Domenico.) Bellini, (see Gentile.) , (see Giovanni.) , (sec Jacopo.) Benedetto, (see Piero della Frances ca.) Benozzo dl Lose di Sandro, called Bcnozzo Gozzoli, notice of, GO. Bicci, (see Lorenzo.) , (see Neri.) Biagi, (see Pinturicchio.) Bigordi, (see Ghirlandajo.) Bolognete «7ia>itftvla, mentioned, 76. Sebastiano del Piombo, (sec Fra Se- bastiano.l Siena, (see Matteo.) &'i(j/£>e school, mentioned, 27, 29, 40, 54, 55. Signorelli, (see Luca.) Simone Martini, or Memmi, notice of, SS, mentioned, 9, 31, 54. Simone, (see Andrea del Castagno.) Sodoma, notice of, 81. Spagna, (see Lo Spagna.) Spinello Aretino, notice of, 40. Squarcione, notice of, 55, mentioned, 56,64. ?Stamina, mentioned, 46. Stefano, (see Sassetta.) Taddeo Gaddi, notice of, S3, men tioned, 37, 38. ?Tintoretto, mentioned, 8, 19, 7G, 88. ?Titian, mentioned, 49, 8G, 88. Tiziano Vccellio da Cadore, (see Titian.) Tomaso, (sec Giottino.) , (see Masolino.) (see Masaccio.) Torrita, (see Jacopo.) ITccelli, (sec Paolo.) I'utli urn frlionl, 42, 63, 65, 00, 75, 76. Unknown Painters, 15, 29, :ii, 38, 40, 55, 70, SI, 84, 92. A'anncchi, (sec Andrea del Sarto.) A'anucci, (see Perugino.) Vasari, (sec Giorgio.) 116 INDEX. Vchsqncz, 98. r'< iu thin f-chool, 42, 70. Veneziano, (see Antonio.) ~ , (see Domenico.) A cuusti, (see Marcello.) TeR notico or' ^ mentioned, 49. 50, 73. * Verocchio, (see Giuliano.) ' Veronese, (sco Paolo.) A uici, (see Leonardo.) Wall-Painting, the good influence of, orer Italian art, 0. - TVall-Pictures, 8. Zampicrl, (sco Domcnichlno.) YALE UNIVERSITY LIBRARY 9002 03023 5031