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^be Brt of tbe IDatlcan BY MARY KNIGHT POTTER ^be Brl of tbe ipittt ipalace BY JULIA DE W. ADDISON OTe Bet of tbe Xouvre BY MARY KNIGHT POTTER
tTbe
Brt of tbe IDenice BcaDemi^ BY MARY KNIGHT POTTER ^be Brt of tbe Batfonal (Bailer^ BY JULIA DE W. ADDISON tibe Brt of tbe 2)res&en (3alleri2 BY JULIA DE W. ADDISON ^be Hrt of tbe praDo BY CHARLES S. RICKETTS tTbe Hrt of tbe IRetberlanD
Galleries
fiJS
BY DAVID
C.
PREYER
:ffiel0ian (Ballcrfes
^be Hrt
L. C.
Wo
gij
C^
DONNA VELATA
By Raphael;
in the
be Hrt of tbe
f^tttl
With
an Appreciation of
l^alace
^
Treasures
Julia de
Author of
By Wolf Addison
Illustrated
Copyright, 1903
By
I,.
C.
Page
& Company
(Incorporated)
(iTolonial
^rrss
&
Co.
Contents
CHAPTER
I.
PAGB
II.
III.
IV.
LUCA PiTTI AND HiS PaLACE The Growth of the Collection The Hall of Venus The Hall of Apollo
32
46
68 TOO
130
160
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
206
246 290 312
333
362 377
Stanza della Stufa and the Stanza OF THE Education of Jupiter Stanza of Ulysses and Stanza of Justice The Stanza of Flora and the Stanza
.
DEI Putti
XIII.
379
Xi8t of miustrattons
PAGE
Donna Velata
By Raphael ;
Frontispiece
in the
Facade of the Pitti Palace Garden -Front of the Pitti Palace Venus and Vulcan with Cupid
By
By
Tintoretto ; in the Hall of Venus
22
.
27
48
52
Marriage of
Titian
;
St.
Catherine
Hall of Venus
in the
Angelo Doni
By Raphael;
By
Murillo
;
69
in the
Hall of Apollo
1^
Hall of Apollo
PietA
By Fra
Bartolontnteo
;
84
in the
Hall of Apollo
95
in the
Hall of Apollo
96
100
in the
Hall of Apollo
Hall of Mars
Four Philosophers
By Rubens ;
in the
106
Hall of Mars
EccE Homo
By
Cigoli; in the
no
Hall of Mars
.
112
in the
Hall of Mars
"5
VUl
3Lt0t of IHlusttattons
PAGE
130
in the
Hall ofJupiter
Conspiracy of Catiline
By Rosa ;
in the
142
152
Hall ofJupiter
in the
Annunciation
By A ndrea del Sarto ;
By Raphael ;
in the
Hall ofJupiter
160
170
Hall of Saturn
Vision of Ezekiel
in the
Hall of Saturn
....
;
186
/ the
Hall of Saturn
188
in the
Hall of Saturn
John Asleep
By
Carlo Dolci ; in the Hall of Saturn
197
Iliad
;
206
208
Hall of the Hiad
in the
Christ Enthroned By A Caracci; in the Hall of the Hiad Tobias and the Angel
.
212
218
By
Biliverti ; in the
-
Altar Piece
By Fra Angelico ;
in the Stanza of Prometheus
250
254
-
....
266
272
in the
Stanza of Prometheus
Stanza of Prometheus
The Epiphany
By
Pinturicchio
;
in the
Stanza della Stufa, with Dupre's Statues of Cain and Abel La Zingarella
By
B;y
292
304
324
Temptation of
St.
Jerome
....
%iBt ot iniustrattons
Stanza of Flora, with Canova's Venus Allegorical Head
Bj'
ix
PAGB
. .
336
347
366
372
Royal Apartments
.
2.
345-
6.
7-
8.
Hall of Venus Hall of Apollo Hall of Mars Hall of Jupiter Hall of Saturn Hall of the Iliad Stanza della Stufa Stanza of the Education of
Jupiter
910.
Bath-room
Stanza of Ulysses Stanza of Prometheus
Columns
16.
(The
I.
There
is
no gallery of
size in the
world so
replete with
gems of
art
Age
One
and
it is
may
is
seen in the
somewhat degenerate
art
but of
all
bly there
some example of
I
interesting,
and usually
IPtttt
palace
typical,
Here we may
ism of Raphael;
the
whom
Ruskin terms
patient,
tury,
Nearly
and Tintoretto.
The
is florid,
and might
be trying
much time
The
is
style
of an
late-Renaissance
type,
gilded
bossy
frescoes,
and
exhibiting
what Browning
calls
everywhere."
The rooms
are
named
in
romantic
and
attributes of classic
times.
these apartments as
Pitti,
Xuca
ipitti
and
is
supported by the
little
goldsmith's booths on
rich
In the
and
is
and
insufficient
you
sit in
damask
chairs
rest
your elbows on
tables of malachite."
There
taste;
but
interiors
its
still
to their time.
later
Renaissance and
who
lived
in these periods.
Age.
The latter may be called The Golden Age had preceded it.
the Gilded
Raphael,
apol-
these need no
is
ogy
of
even
but there
a vast horde
men who came after them, not worthy to be named with them, and yet who possessed fine qualities,
and
produced
significant
pictures.
These
in the
pictures,
Pitti
Palace.
their
is
due.
While there
early
more
interesting
would
all
Hbe art
centuries
was
bad, because
them
now
fascinating
ters.
mas-
It
is
much
and
men who lived in conditions more like our own. But we cannot overlook the fact that we force ourselves into an unlater
we
fail
as well as
such
men
as
the
stagey and
artificial.
We
all
can
make
we
as
these shortcomings;
just
we make
to,
and are
culture has
made
and
it
far
more
less intellectual
and
Xuca
legends, arid
life.
iptttt
more with
The
were the Florentine, which was famous for its comprehension of form the Umbrian, in which religious
;
feeling
the
school
in
which colour
princi-
and the
other,
incom-
On
and form,
message
is
no more complete
It
may
and
art is inis
tended to do both.
The
purest combination
that
medium
of
The
Florentines,
Umbrian and
on more of
Iptttt
palace
was often
of the
Many
ideal before
one principle
to portray
in
which they
all
That was,
to recognize individual
and
away
per-
The Greek
ideal of beauty
;
had
the Renaissance
was
to
show the
men
it
them
in their labours.
And
would be well
if all
their perceptions
down
by Leonardo,
is
here quoted
When you
perspective,
draw the
anatomy and
...
.
it
.
should be your
.
delight to observe
and consider
the different
actions of men.
... Be
Xuca
with
slight
ipitti
and
Ibis ipalace
strokes
in
your pocket-book,
. .
which
full,
When
it is
forms
memory
is
ers for
Tintoretto the
that there are
artists for
some
artists
who
be
may
subject
vitally
or
apochryphally
connected
with
Biblical teaching.
Many
little difficult
to appreciate.
from the
intellectual appreciation of
Leonardo
There
is
no
emotion;
sordid duty
presses
it,
;
and
is
gloom
wrath
is
as
"his soul
really
Hebrew
prophets "
Ubc Hrt
ot tbe
l&tttt
palace
matter of taste
Fashions change so
in art, that
it is
much
in the
any
salient quality.
This quality
may be
spirit
either disliked or
admired exceedingly
at various
way
in
which the
woman
Guido Reni's
but
Good enough
who
Donna
Velata, TinLippi's
" Spent
go away from
feelings,
if
atmosphere, and
my
I
good
feel
conscious that
I
my
it
eye
is
know
that
must be a
and
the conduct of
to
phere and
It is
felt
such an influence."
unfashionable just
now
to admire
Domen-
3Luca
ichino, Caracci,
ipfttf
anb
Ibis H^alace
and other
is
late
men
of the Renais-
sance.
ralistic
Ruskin
angels
particularly irritated
sprawling infants
children,
howling
and
kicking
in
volumes
of
late
know
angels
and cupids.
And
yet,
granting
all
this,
why
manifest grace and loveliness of the picture by Annibale Caracci in the Pitti, entitled Christ in Glory
and too
verti,
little
Bacchus (which
is
free
from
mannerisms).
One
merit wherever
exists,
whether or not
it
happens
Mrs. Jame-
son
is
is
right
when she
valuable
art.
The
Pitti
was begun
by Luca
Pitti,
10
Zbc art
of tbe
ipitti lC>aIace
Luca
the
first'
Pitti is declared
citizen of Florence.
He
felt
for power,
life
while he was
life
very young.
there
is
at best:
a person
whom you
hate,
Send him
was governed by the Priors of the Arts, a company of eight men selected from among the members of the guilds and crafts, and presided ovef
Tlie city
by a Gonfalonier of
the Signoria,
Justice.
and lived
at
charge in the
ofifice,
which was
two months.
positions
:
Luca
Pitti
to
Rome,
also
Ambassador
as a merchant.
While
He
those
England,
Constantinople,
in
and
were
Barbary;
such
expeditions
days
Xuca
hazardous.
pltti
anb
Ibis
palace
"
the fact
was the
florins
richer
by
over
one hundred
thousand
The
people imme-
and showered
upon him
in gratitude.
By
such means he
managed to get the confidence of the Florentines, so that when he decided to spread nets for their
entanglement and for his
own advancement,
officers,
the peo-
Wishing
to appoint his
own
he determined
is,
his
head up as long as he
did.
He
had
all
movements
for those
in the
government.
it
usually does
who
evil.
Pitti,
made
The
Balia
was a board of
whom was
12
Ube Hrt
new Balia elected from among his adherents; and so, when the Signoria, contented with the existing conditions, refused to appoint a new Balia, he and
Cosimo decided
call
was
to
names which were proposed for a new Up to this point Pitti had appeared
only the interests of Cosimo;
Balia.
to consider
and
his
by a coup
composed of
own
conspirators.
Vecchio.
lace
to
by having two thousand of his soldiers on Meanwhile Pitti had secretly arranged to guard.
post six thousand foot-soldiers and three hundred
mounted guards, so
had assem-
would be
by Luca
Pitti.
When
Pitti
nominated
his
Xuca
Pietro,
lC>itti
anb
1bfs
palace
13
by
his
was within the Palazzo Signoria, surrounded gnards, reaHzed that he had warmed a viper,
shifted.
the
For
it
must have
and
there,
motley-coloured throng,
men
interspersed here
mounted on
The
people, pleased
and when
this
obtained, the
show was
over.
evacuated to
citizens
was formed, and the square was the sound of the Te Deum. So the
now
passed under a
result in
For no
and was
keen and
less
Luca ruled him with the iron hand of one who has attained his power through his own cunbeen.
14
Ipttti iC^alace
ning, and, until the old man's death, never ceased to oppose and govern the Medicean faction.
During
Pitti
it,
began to
was
built,
making him
presents for
its
under the
spell of this
Another
means of completing and enhancing the richness of the work was employed Pitti would offer refuge
;
and protection
adornment.
to exiles
his palace,
its
assist in
building and
Ruskin, in "
Pitti's
The Lamp
of Power,"
sums up Luca
self
method
in his drastic
way,
who
gathered to him-
town-house,
whom
its
Luca Pitti when he said " You follow the infinite, and I the finite. You lay your ladders in the sky,
:
and
lean
I
them
may
fly
so
high that
may
fear to fall."
He
stood aside,
prosperous rival
Xuca
go
his
ipitti
an&
:
Ibis
palace
is
own way, saying " You and I are like two great dogs who rush at each other and then pause and sniff. As both have teeth, each passes on his way. Look to your own business, and I will attend
to mine."
The
while the
was
When Cosimo
younger and
more active, seeing the plight into which his faction had fallen, decided upon the overthrow of Luca As a guileful opening wedge with which to Pitti.
commence
and
even
his
Pitti
his
work he introduced a
friendly sug-
so that Pitti
made the proposition of a marriage between own daughter and young Lorenzo de Medici.
suit,
while he prepared to
call
strike.
For
in planning to
knew
ria
to
back
Pitti
a second time.
" Let
who
in
sword
up over the
i6
Ube art
The
own
With
how
to get the
last
promises to the
and
placid
condition
of
pseudo-friendship,
Medici he had
called a
Parlamento
;
in his turn;
and
lo'!
villain
must be beaten
were the
Medicean
tain Pitti.
Meanwhile,
Pitti's friends
him
had
to
to be practised
own
party, for he
was
fact,
together
This
its
resolution
liberty;
you
government, and
rest will
I shall
lose
my
property,
and the
be banished,"
Xuca
pitti anJ)
Dis palace
17
And Soderini proved to be somewhat of a prophet. When Luca Pitti's adherents found that their chief
was on
the verge of defeat^ they began deserting to
was
ready to
act,
to his hand.
seeing at last
him on the
scruple,
hip,
fell
and
In
fact,
and
was too
to lay
ratified
to appear.
in the
made, resulting
promise of the
down
Pitti
their
arms;
Then
was conducted
terrible
and he
in
Luca
is
held on the 2d
made no
Balia;
effort
new
in fact,
some
own
The
neck,
had
own
he
himself,
although
undeniably
the
ringleader,
XT be
The
fol-
he himself, although
the
no
sentence,
was
practically ruined;
and
his
friends
turned
who had
and there
no further record of
his career.
is
Though
unknown, he
his
name
ument
which
city,
exhibits,
among
early Renaissance.
Luca
day
Pitti
who had
Cosimo
It
built the
dome
and
Pitti
rival.
must
Brunelleschi re-
He
Xuca
much
lC>itti
an&
t)is iC^alace
wisdom of
When
Pitti
He
Monna
known
family of Rossi^
the well-
dwellings
on the other
Gardens,
side of the
Then he
then
called Bogoli,
for
which he gave
450
florins.
many
whole
pressed
some disapproval of
this
outlay,
extravagance.
Luca met
their
money.
After
this,
the criticism
gifts of
abated;
make him
propitiation.
to
20
the great
it
Palace.
No
doubt
gave pleasure
Pitti also
boasted to Filippo
courtyard; but
was not
Vasari also
so, unless
he was an infant
another Fancelli;
Silvestro, so
cellis in
it is
Florence.
By
to
its
final
design could be
Solidity of
scale
was
made
somewhat
Pitti.
Simplicity
detail)
characterized
The
original design
Only the
is
Xuca
pttti
an^
Ibis
palace
21
added
later.
Many
Doric.
But there
it,
is nO'
tecture about
it
except that
massive, in which
There
is
no
classical detail
the
lower storey
there by Brunelleschi.
architect has
:
one source
is
a plan, which
now
in the Uffizi
another
is
a picture in the
Church
Pitti
Palace ap-
pears;
probably some
member of the Pitti family through an open window in the background of this picture the Pitti Palace may be seen. By means of these
discovered. Professor
and a row of
An exam-
22
now
Some
is
too
much
it
like a jail;
this impression
is
might be
justified;
but placed as
on an eminence,
is
its profile is
For
its size,
the
ruggedness
The
separate
stones of which
built are
are so
many
Some
men.
among
those which
They
are as
little
worked as
flat
is
con-
with an approximately
surface;
they
Their colour
effect of
is
the
The whole
front as
it
stands to-day
475
feet long;
twenty-four
feet.
unornamented.
more than
is
string-courses.
in the building as
it
now
stands there
length,
The
has
immense
in
proportion to
its
height,
This
Xttca
IS
IPitti
anb
Ibis iC^alace
owing
In the
facade are no vertical divisions except such articulations as the constant repeat of the round-arched
windows
height,
indicate.
Each
storey
is
forty
feet
in
feet across.
These
by a heavy cornice^ as
is
what
Ruskin
calls
Judging from
the bridge
to continue
that time
known
as Ponte Trinita,
was engaged
By
Buonacorsi
Pitti^
sell
the place.
So
Cosimo
I.
de Medici bought
it
grounds, an
into
He moved
May
The
building which
to the original
Ammanati added about 1568 structure was the whole cortile, and
24
Ube art
Succeeding
owners
enlarge
II.
the
palace, especially
and Fer-
dinand IL,
who
The
until
was not extended to its full length 1640, Giulio and Alphonso Parigi designing
palace
The
were added,
also to
ground
floor,
which had
structure,
duced at
intervals.
The back of
first
The
gigantic
in
the pilasters,
first
Xuca
iC^ittf
anb
ftfa iC^alace
2^
To
an extent
this
of a sturdiness
which
defies
celled in
majesty of
Ruskin^
who
greatly
expresses him-
most warmly
in
admiring
who would
!
desire
may
be op-
modern
times."
Ruskin outlines
his
in the Pitti
in the following
art,
"
As
in
higher works of
cution
Negligence
it,
*
is
only noble
when
it
is,
as
Fuseli hath
to purpose
is
the
shadow of
energy.'
Sufficiency
;
is
the test of
for instance,
Pitti
26
Ube Hrt
of tbe
lC>itti
t^alace
the solemn
well-proportioned arches.
One
amounts almost to a
decorative motive,
carried
away by most
observers
who have
floor
not
The
is
ground
windows
with
caps)
upon
From
the
hill-
country of Pratolino.
the exigencies of
unfortunate that
necessary to
fill
arch
subdivided
and
filled
with two
is
seen
all
the
tii
u < <
Pi
H H
O H O
I
&a
Q
<:
Xuca
pttti
an5
Ibis
palace
27
of windows.
Among
was that of observing the ceilings in the interior. The rooms between these openings have vaulted
ceilings, while those into
On
the
may
still
The
some shadow,
but,
it
owing
to the length
is
hard to realize
how
it is
often called,
would seem
enough
as
if
lavish
but on
Here
is
Farnese Palace
in
Rome, and
this is
while
is
beyond.
is
This
is
the
and
part of Brunei-
28
Ube art
by Ammanati.
The
and
is
the
first
obvious
plane,
characteristics
of
the faqade.
The
On
the basefloor,
ment the
Ionic;
on the second
and on the
Corinthian.
The
owing
effect
of columns, however,
practically lost,
to the
on up and down
courses,
it
in
alternating
so
that
The
The windows
set
and round.
On
Renaissance grotesque,
On
on the third
;
cushions.
On
pass muster;
considered in detail,
it
would
3Luca
be
difficult
iC^ittf
anb
'tis l&alace
29
to decide which
was worse.
There
is
no comparison between the masonry of the main fagade and that of the garden front; the first is so far superior both in sincerity of intention and
in proportion.
more
must
Pitti.
On
tain,
the terrace
is
surrounded by
those
mythological
beings
usually
denominated
" putti,"
masquerading
Eight of these
This fountain
is
on
several steps,
and
is
octagonal in shape.
maids writhing
smaller
flat
The
may
be detected
in
in this design,
detail,
which
is
restless
and inadequate
effective-
ness which
Renaissance.
Walks
in
who
30
lC>itti
alace
Considering hov^
on the
Pitti
many hands have been at work Palace, and how many heads have
its
amplification
between
its
first
erection
call
it,
and the
present day^
it is
hardly correct to
as a
com-
work of
Brunelleschi.
It is interesting to
men have
ods
:
Council,
II.,
who saw
it
in
who was
is
there
in 1702.
"
that
The
it
so spacious
occupieth the
room of
fifty
houses at the
least."
essayist, says
Remarks on
Italy "
"
:
and
rustic
work owe
The
solid
duke's
new
palace
is
a very noble
it
pile,
built
which makes
It
is
look extremely
and majestic.
Luxembourg
at Paris,
which was
by Marie
Xuca
ipttti
31
men
fell
into the
Tuscan humour.
in
There are
abundance of pictures
CHAPTER
II.
When
tion of
it
was with no
inten-
making
the
home
of a great collection
of art treasures;
it
was
made
beautiful
and
The growth of the collection of paintings which now adorn the palace was a process of generations. The
significant
pictures
which
have
survived.
different
such
became a gallery of
any
in
At
first
collection,
the palace
was developed
into a treasure-house of
artistic excellence.
The
first
This
XCbe
transfer
Growtb
of tbe Collection
Pitti,
33
a grand-
1549 to the first Grand Duke of Tuscany, Cosimo I. de Medici (1519-1574), for his wife,
in
Eleanor de Toledo.
The Medicean
immorality,
marked
which
characterized
the
subsequent
Cosimo
I.
and a leader
He
is
re-
membered
dering his
for the
own
this act.
His
virtues,
whatever
however,
it
Florence owes
much
of
and
aesthete.
Cosimo
I.
was a great
all
philanthropist.
Universities
built
would never have been able to leave so great a mark on the art of his time if it had not been
for the generous friendship of Cosimo,
who
appre-
34
Zbc Htt
much
of
its
He
for
the open
air,
protected
from
found
son,
it
in his heart to
him already
to
brother.
From
father to son
life.
Cosimo
I.
may
collecit,
having bought
he
bequeathed
it
to his successors^
who
Francesco
succeeded his
I.
(1541 1581), the son of Cosimo, father as second grand duke, and con-
He was
not
man
was equally
famous as a patron of
sciences,
A
and
student of
art
many
was one of
an expert
life.
He was
when he stood before the furnaces in It was Francesco I. who founded atory.
state
his labor-
the Uffizi
35
who
executed
him the celebrated group of the Rape of the Sabines, which now stands in the Loggia di Lanzi.
Besides the other additions
made by Francesco
two are
:
to
particularly
made by
Giovanni da Bologna.
The name
ried to his
romance of Francesco's
He was
already mar-
when by
St.
Marco and saw a very beautiful woman looking out of a window; this was Bianca, the wife of a young Florentine, Pietro Buonaventuri. He fell
violently in love with her, and, after the death of
his wife,
he married her.
The
statue of
Johanna
of Austria, which
now
under the name of Abundance, was begun by Giovanni da Bologna at the request of Francesco, but
when the fickle grand duke met Bianca, he countermanded the order, and the statue was left unfinished
until
Ferdinand had
it
sculptor,
named
monupor-
ment
trait
The
36
Ubc art
who immediately ascended the ducal throne so, by common report, Ferdinand became the murderei*
:
The
ramifications of family
Murder was as common with them as more common than natural death. The
finally
seemed
seems to contradict
dogma
of heredity, but
was
parallel to the
into
Ferdinand
I.
to be a better
man
whole
was
a benefit to Florence.
On the He was
of his
the purchaser of
many
Many
them
in the Uffizi
and the
Pitti Palace.
The Niobe
strain into
He
married a princess
new
This
in-
Cosimo
II.
(15901621).
This kindly
Zbc rowtb
man
with small
ings, all of
ot tbe Collection
37
He was
which came
in 161 3,
in the Imperial
Pitti,
and
II.,
the
son
of
He
mar-
all
the
Duke Federigo
of
11.
same purpose.
II. Italy
These paintings
had hung, up to
During the
reign of Ferdinand
field
was
selected as a battle-
who
indulged in wars and rumours of wars with unceasing pertinacity, invading Italy for the purpose
of settling their
own
disputes.
among
others, Galileo,
whom
the
Pope
his
and
inquisitors
had attacked.
111.^
He was
of the
followed by Cosimofull
who had
hands quite
enough
in repairing the
ravages
war and famine of his father^s reign. Although, like some other pious people, he succeeded
in antagonizing his
38
Ube art
returned to her
home
he was nevertheless
Yet withal he
upon
his
were probably
tired of rebelling
a peaceful one.
With
the son
of this philanthropic
By
of Lorraine.
in
Under Francis
and the
Pitti
II.,
with pictures;
The
when
Pietro da Cortona
commenced work
arotti the
in the Pitti.
He
and Cino
Ferri,
Younger, decorated
in turn,
typical of
some
was
virtue
called
Cosimo
I.
Thus^ one
hall
was supposed to symbolize another, the Hall of Jupiter, from which niaturity one was intended to infer that great majesty was
the Hall of Saturn, and
;
Ube Ctowtb
of tbe Collection
after
that,
39
an attribute of Cosimo;
the Hall of
Mars, symbolizing energy (which none will denyto have characterized the first
grand duke)
the
the
Duke As
CosimO',
lenged.
that enchanting old writer
it,
and
traveller,
Dr.
" There
is
more fancy
The
:
quaint
them
in his usual
humourous vein
is
"
The
from what
naturally ex-
name
some
the
As
it is
was
left entirely to
the painter."
The dukes
ence wisely.
left
tria,
This
first
Austheir
in
But
govern Florence
40
Tuscany became
He
and
his
tO'
and Puritanic
letters to
tastes in art.
Sir
Horace Mann,
in his
strictness,
which was
libertinage
from the
the
in the ascendency.
He
who was
in
Grand-Maistre at
period,
and who,
1763, " He
has
palace,
in the garden.
pictures
to
make
it
depend
upon the
fresh-
their backs
coming here!
shows
will
This
ill
have
left.
"
Later,
Mann
writes, "
is,
it;
Zbc (Browtb
no
of tbe Collection
41
ill-painted
hall at the
the
how
"
!
Church ought
Pitti
to be treated
Pietro Leopold
came
to the
new
in Florence.
had been no
special decorations
and, amid the succession of undertakings that attracted the best artists,
promoted."
If
we do
was an
this
in art,
we must
perforce admit
activity;
prince
lection,
and
in place
Ferdinand
III.
manner of
right
his taste,
light of
He
finished the
wing of the
Pitti
Palace,
arts
tells,
flourished
still
more
bril-
and Lanzi
as a contemporaneous event,
how
new
42
ipitti
Ipalace
lost to
statue of Venus, a
us by chance of war."
and twenty-two
fifty-six of these
and
By 1815
were returned.
dispersed,
In
of paintings,
was
these
francs.
gems
amount of
more room
and
in 18 19 the
Finally,
after
all
these
vicissitudes,
It
the
Pitti
saw a grand
Tuscany's
duke
fleeing,
The
last of
came to the throne in Under him the Pitti was thrown open to 1824. the public in 1833. Leopold was a man of rather
grand dukes, Leopold
II.,
and
enough
stuff to
The
In
" Casa
Guidi
living
much
of this strange
Ubc (Browtb
the grand duke:
"
I like
of tbe Collection
43
She describes
his face.
The
forehead's build
Has no
And
careful nobly
not with
stifle
and sad.
care that wraps
and make mad, But careful with a care that shuns a lapse Of faith and duty, studious not to add A burden in the gathering of a gain. And so God save the Duke, I say with those Who that day shouted it."
Self-loving hearts, to
vacillating
Frightened
responsibil-
of his
office,
he
fled
ignominiously in 1848.
I
looked out.
Again looked, and beheld a different sight. The Duke had fled before the people's shout
f
Long
live the
Duke
'*
'
in this volatile
was experienced when he returned in a year, guarded by Austrians, afraid to face the people
he had wronged.
whom
"
From Casa Guidi windows gazing then I saw and witness how the Duke came back. The regular tramp of horses and tread of men
Did smite the
silence like
.
an anvil black
And
sparkless.
Then
With
gazing,
the sun
Austria's thousands.'*
44
Ube Htt
pitiful
of tbe pltti
palace
for
Tuscany
i860.
After Leopold,
Italy in
still is,
an
artistic rather
than
an historic one.
In the Pitti Palace, under the guidance of the
Academy was
Encouraged by
his brother, to
the success of this undertaking, this prelate interested the grand duke, Ferdinand
II.,
del
Cimento, in 1657.
The meetings were held in the royal apartments of the Pitti, and among its members were Magalotti,
Torricelli, Viviani, Rucellai, Borelli,
men
of the day.
It
is
Many famous
given at the
spectacular
entertainments
I.
were
Pitti.
When Cosimo
married his
Corteccia,
was
prefirst
This
is
In
1600,
when
Marie
de
Medici
married
Ube (Btowtb
'*
of tbe Collectiort
45
proved to be
first
of Italian operatic
art.
CHAPTER
III.
The
Palace
best
is
way
to examine them
room by room.
in
it
Though
be, since
still
this plan of
moderately
sized
rooms
often arbitrary, as
must
it
has
may be
seen in a measure
by themselves.
The
official
as the first
room
is
not the
room
In
at
once by
The
names:
school of Venice
Titian, Veronese,
46
Ube
livdd
Iball of IDenus
47
from 1477 ^^ ^S7^y Veronese from 1528 to 1588; while Tintoretto was not born until 15 18,
and, living to a ripe old age, died in 1594, thus outliving the other two.
The
of painting; he expresses, as Symonds points out, " moods of passion and emotion by brusque lights,
Veronese supplemented
by "
ele-
Thus
show
all
the excellences
art.
The
as the
Pitti
Palace
is
sentative
says that
and Tintoretto
in
his
full
so
little
perfection,
picture
flesh
will
Human
has
the figure of
woman
is
gestion of nakedness,
although
is
nude.
Mr.
Kirkup pronounces
sentation of the
this
human
flesh
which the
art of paint-
Milo
is
nude.
is
the head
beauty,
48
Ube Hrt
hair-ornaments of pearls,
pleasing.
The crouch-
beautifully handled,
stuff
on which Venus
scene
The
is
almost domestic.
The
father
is
and true
more woddly-
instructing
in his hand,
him
and
He
has a
little
bow
The
is
full
of noon-light;
Phoebus's chariot
charming
This
one of Tintoretto's
in his
earlier
most cheerful
vein.
is
Tintoretto
was
rapidity of
Modem;
effect
at
He was
who
Q
h-( PUl
M 3 C
<u
U >
X H I ^ ^ <u < j3 U a D pH > o Q (U ^
-<-
1^
.-)
...
-4-1
4->
<i5
-(-
w
>
D H
Zbc
nical
Iball of
Denus
49
in
requirements, as too
His paint-
ing of
tuous,
women shows
for he
draws
their
He
and love of
own
sake.
is
Tintoretto's
to be poetic.
imagination
It is
true he
is
Browning were
poetic, so, in a
marked
was Tintoretto.
In treating the
human
into
colossal with
fashion;
graceful,
so that his
women
in
less
angelo.
His position
was
day by Tolstoi.
His poetry
expressed in great
in word-pic-
Tintoretto's colour
his feeling for colour
is difficult
to characterize, for
was
for form,
warm
mood
inspired
by
his subject.
is
As a
general
50
iplttf
palace
In the
shall
a low key
numerous
observable.
portraits
by Tintoretto which we
he
is
closer
whether
commonly
sees
or
fails to notice in
sitions
in colour.
much
as in his colour,
using every style of treatment from delicate perfection of detail to the boldest
sweep of a broad
his
brush.
having painted
a head-dress with as
as Raphael bestowed
much
finish
Velata.
The
cution
facility
was one of the chief reasons for his pictures preserving a harmony of action and feeling in all parts. They were painted, generally, while the mood was on him, and were not the
after-elaboration.
result of painstaking
The
original
inspiration
was
Annibale Caracci, in a
letter
XLbc Iball or
Wenus
s^
had seen
much below
Tintoret."
in the Forest,"
it
in a
some-
of trees.
ture,
When
in
came
he
actually
the
So when
When
his
patron
"
came
is
Where
the saint was not visible. St. Jerome? " asked the surprised man.
with more humour than one would have credited him with, replied, " Well,
the patron,
then, I think
Whereupon
you had
better take
it.
first
Zbc Uxt
This
of tbe
lC>itti
palace
St.
Marriage of
Cath-
much
the
ject as that
by the same
National Galare in
flower,
lery in
London.
the central
who
and
The young
St. John.
if it
flock
out Ruskin's statement that Titian rarely paints sunshine, but instead a certain " opalescent twilight "
of imitative truth in
if
we would
understand
He
was the
While
^ S H
<u
W
r-t
c O ^^
Zbc
some question
this picture,
it
Iball ot
Denua
S3
is is
most
short
make a
we
shall so often
Although
a way,
this is a picture
which
may
:
be
criti-
we may
"
The
relig-
ion of Titian
like that
of Shakespeare, occult
all
his life
among
atic,
the
hills
of Cadore, where he
was born,
a mountain
district,
is
:
which
described by Titian's
rapher thus
"
The famous
Titian
was born
hill
At
the
reside.
laid out.
a fountain
of limpid water.
in the neigh-
bourhood."
two
54
Zbc Hrt
men who
ever really
drew a
tree.
when he went
Titian's colouring:
Or ...
On
The
Is here
accomphshed."
centuries.
method of
painting,
though common to
many
is
later artists,
a treatise
was original with him. There by Palma Giovane which tells how the
He
says
that he
first,
as
laid,
the
months.
out,
it
dab
put
away
again.
He
literally
fingers almost as
much
The
ss
last
was smooth,
and
it
was
filed
was almost
like porcelain.
of inspiration, Titian
of any time. broader.
was the
life,
Later in
story
is
told of
some German
one day.
who
These gentlemen
who
It
really
understood
finish,
and
was Durer.
pictures
netian
never
attained
to
Durer's
smoothness.
To
he con-
aim of
early
might
easily
have
Durer himself.
was
He could
Titian's Bella
is
is
and
one of the
finest
painted.
The
rich clothes
strange to her:
she
is
home amidst
precious
She
S^
l&ftti
iPalace
long
chain hangs
down from
her throat.
The
details
much
numerous
Veronese.
She
is
way with
Her
head-dress
tian beads
made
She
is
Tintoret.
blonde, but a
warm
is
blonde
not
pearl
and
a pale one.
pendants;
seen lying on
her shoulder.
trait of the
The
picture
is
thought to be a porit
is
was painted
in
1535.
It
new backpainted,''
ground.
'*
subtlety with
says
Crowe,
tones
being
harmonized and
appli-
thrown
into keeping
cation of glazings
and scumblings."
aristocrats,
not
home.
He was
When
the
57
news of
Since the
in
solemn procession,
honour to
Giorgione
is
more startling; Bonifazio is brighter, and VeroIf any one man nese more formal and stately.
could combine
Titian.
all
these qualities, he
would surpass
arisen.
With a sudden sensation of contrast we turn to examine the work of Albert Durer. What a cold, colourless, stiff conception of Adam and Eve How
!
in
Tintoretto's picture!
Golden Age;
tell
So we
Adam
and Eve,
who
rich clothed
room
beside
as actually
exe-
cuted.
Adam,
whom
jection, holds a
is
His figure
is
much
better
s8
tbe art
of tbe
ff>ittt
Jbalace
Her
figure
is
not so
well painted.
She
is
looking at
Adam
in a
way
She
is
Paradise looks a
feels that
little chilly
and one
Adam
in
1570.
They were
the Hotel de
Ville at
Emperor Rudolf.
They may
finished.
he commends the
the
little
branch which
it is
Adam
saying that
and spring
in every line."
is
Michelangelo
he were not
Emperor Charles V.
Bellini visited
XTbe Iball ot
Denus
59
Durer
The Venetian
said,
'*
No,
Durer
had
not seen
it."
no
lovelessness chills^
no
evil
overcomes, in which
The
1861, says:
"He
passed
Albert Durer
Lent, as he
He
away during
his Easter in
New
Jerusalem."
to turn to an
Now,
views
example of the
look at the
art of the
extreme South,
we may
is
Number 4 and
is
15,
by Salvator Rosa.
One
way
like
Turner
it,
opposite to
utterly virtueless.
any
care.
It is
perhaps more
And
if
6o
his trees
rivers
might
Number
It is
2,
shows a
man
with a mask.
It
man, a
satirist,
and a buffoon.
jesting,
He
had
in
a grim sense of
this picture.
is
gloomy
which appears
man
heaviness."
picture, the
more important
Vow
lived
from 161 5
is
tO'
1673.
He was
a Neapolitan.
His colouring
manner which seemed to him to suggest mystery and " Sturm und Drang." Ruskin alludes to certain
qualities in his
work which he
calls
sublimities of Salvator."
The two landscapes by Rubens, one, with peasants. Number 14, and one representing Ulysses on the Island of the Phaeacians, Number 9, are both wooden
panels,
this
qualities
of
great
But as ex-
for nature.
He
61
His treatment
is
manly,
healthy,
and
rational.
Often condescending to
detail
:
always, as far as
in composition
Number 9 shows
veil,
and
is
There
is
town on the
seashore,
all
hill,
and a waterfall,
and a chateau on a
ing.
The
purpose of the
objects;
In the picture
motive.
Number
arid
14,
he
is
The Apollo
8,
is
Marsyas, by Guercino,
Number
handled.
The
action
tO'
is
make
it
any one.
Why
is
this subject
for
art purposes
a mystery.
is
Number 29
quaint
of
St.
he holds a
staff
which
62
Ubc art
way
intO'
con-
He
lays
breast.
He is
Biliverti
was a pupil of
His work,
style
Cigoli,
in Florence
in 1576.
un-
equal;
his
He
and Marsyas,
dictive
spite,
in his turn.
When
god taking
his
same
hall,
one
is
same
place.
The Hall of Venus seems to be full of flaying episodes! The martyrdom of St. Bartholomew, by Ribera, confronts us when we have already had
enough of
this sort of thing in the
two
studies of
mew
some
saint
to be slain.
;
The knaves
lies
diversion
on the ground
It is
a severed head
very
Greek
in aspect.
martyrs.
Number
6.
being a
work of
rare,
very few
tEbe t>aU of
collections possessing
Wenus
<3
his painting.
any example of
He
is
one
cence of expression,
his
who
palm and
is
The
foolish
is
all
the
The
rather
is
effective,
in
more ambitious rivals the Hall of Venus. The young gipsy is clothed black, with red sleeves; a white cloth bound
its
falls to
swarthy complexion
well.
The maroon
vest of the
woman
is,
which
Number
is is
The
central figure
Her
eyes are
The
soldiers
The
picture
64
The
above
all this
disorder, giv-
There
is
salizia (espousals),
by Manetti, Number
sitting
12.
Four
around an apartment,
Hymen's
torch.
Hymen
stands, with
left,
looking about
among
his
victims
he
is
The
chief couple,
whose
They
youth wearing
a hat with
feathers,
with jewels.
They
none so
In the lower
left
The
The
light,
being
thrown on
ful effect,
fire.
all
from a
if
central point,
makes a
delight-
as
It is full
of action, but
The
fresh
figures of the
women
and beautiful
in colour.
tunic, advances,
Ube
Iball of
Denus
65
in
He
conducted by
in-
Matteo
Ro'selli
was born
in
Florence in
ability
1578.
He
Next we come upon a fine rich Rembrandt, NumRembrandt is always original in his porber 16.
traits;
this one, of
to the rule.
lost in
The
observing him.
and the
way.
a very natural
It is
positions of
St.
is
thrill-
ing composition
of events in
virgin,
is
all
directions.
St.
Martina was a
ander Severus.
over the idols
Roman
There
in the
The
lightning
The
of the picture, her eyes rolled up, with a real expression of surprise and
face.
The
are
lightning
is
idols,
who
falling to the
ground from
their pedestals,
and upon
66
the evil
girl.
The
is
There
and there
In
a young Sienese
artist,
who
is
died in 1625,
style,
Mary
seen repenting
whom
airily presents
The
picture.
Number
is
of the Vineyard,
by Domenico
In the
sitting
in the street
at
least
appears to be the
street^,
about;
he waves
his
hand in argument
he ex-
who
stands before
is
At the
right
another
man who might be called an idler in the market-place. Number 30, an illustration of the Parable of the
Lost Piece of Money,
ico Feti.
is
also
is
The woman
She
few
is
in a vast cellar
with
furniture,
and what
bits there
The woman
is
Zhe IbaU
of tDenus
in
^7
little
her hand a
still
in small
managed.
Cigoli, in
Number
when
it
Peter sees the risen Lord upon the shore, and, as the
apostle relates, "
When Simon
And
were
came
is
just stepping
CHAPTER
IV.
first
make
the acquaint-
who
ever lived.
The
a cheerful serenity.
He
kinds.
Leonardo leaned
to the intellectual
and the
Raphael
psychical;
work the
real
But
is
thrown
realistic.
aside.
absolutely exact,
He
pitilessly
Raphael
If his
model was an
;
if
he was
handsome man, he was equally true to nature; when he turned his glance inward and painted what he saw in his own imagination, he was a great idealist. He was an idealist because he was
so
much
saw,
of a realist
spiritual vision.
68
ANGELO DONI
By Raphael;
in the
Hall of Apollo
69
The
portraits of
the earliest
Angelo and Madelena Doni are painted by Raphael. They hang in the
They were
These
are
among
the
best
that
Raphael has
are rather
They
and have a
slightly
man
is
the
more pleasing
He
is
represented in three-
falls thick
and
The
The
is
beautifully rendered.
and
left
refined.
The
trifle
picture
not idealized
and
if
it,
the
as
eye
is
paints
the most
lovely
at
all.
Madonna with
of the pencil
is
is
eyes which
do not match
in
which a
slight error
It
felt
to be a blemish.
a test of greatness
when
rule the
drawing
is
of the
counts
all
The
portrait
7o
is
Ube Hrt
ot tbe
;
iplttt
palace
not petty.
;
The
They
in both portraits
but the
show some influence of Leonardo da Vinci (compare them with the Monaca and the Goldsmith, both in the Pitti), and also recall the work of Ghirlandajo. Madelena sits turned towards the left, as Angelo
has
so that
the
two
is
portraits
pieces, fac-
Her
by a
which
is
held in place
dress,
ferronniere.
A pinkish
stiffness.
about
it
from actual
The
the
little
position
Monna
much
has
common
The
most exqui-
shadow.
The
shad-
The
finish is
almost like an
observes, "
Muntz
it
is
Of
the
Iball of
apoUo
it
most
and
flattered him.
The
is
character of
sitting in a
man
is
laid bare.
The
Pontiff
towards the
cardinals.
right )^
These are
also' portraits,
Leo X., who afterwards became Pope Clement VIL, and on the left, Cardinal Luigi de Rossi, who was secretary to the This latter portrait is thought to be by Pope.
Giulio Romano',
picture.
who
assisted in the
is
work upon
some
this
supposed to be
cause.
presiding at
some
debate, or listening to
lifelike.
is
wonderfully
be near-sighted, and he
may
be observed
to hold in one
Many
X.'*
blind
cardinals
created
the
blind
Pope,
Leo
There
ticity
is
Duke of Mantua, passed through Florence on his way to visit the Pope in Rome, and was much struck by the nobility of Raphael's portrait of Leo X., one
of this picture.
of the cardinals in the picture being that same Pope,
Clement VIL,
whom
see.
When
Rome, he
72
and the
pleasant
portrait sent to
his return to
him
as a gift, to greet
him on
Mantua.
Medicean
hired
foresight,
Andrea
del Sarto to
make
a copy, which he
No
one
One
Romano.
admired
Upon
it,
but that
!
it
Not by Raphael " exclaimed the astonished Romano; " why, I ought to know, for I can detect
"
my own
" It
is
brush-marks
"
!
by Andrea
it
can prove
to you."
And
all
his pictures,
an A with a V
monogram. At this, Giulio was so overcome by amazement that he expressed himself more than ever delighted by the painting. " For,"
said he, "
it is
a marvel that a
!
man
"
can so flawlessly
imitate the
manner of another
Pitti,
and Andrea's
ttbe 1ball of
copy
is
apoUo
is
in Naples.
which was
and
was reached
anas is
Medici
Had
it
was painted after the execution of Cardinal Petrucci, who had conspired against Leo,
portrait
The
and attempted
his
life.
The
whom
would be danand
is
gerous to tamper.
It
was painted
in 15 18,
Crowe considers it worthy to be ranked with the Sistine Madonna and as a technical work of art
master.
;
Dres-
den
picture.
is
portrait
(who
his illus-
it,
presenting bulls
to be signed, supposing
flesh
The
table,
fully treated;
lies
and the
which stands
74
The
man.
in the
is
a language of
colour,
and an
made
opportunities in depicting
roundings.
blind
Due to tell what was his impression of the colour red, The replied, " Red is the sound of the trumpet."
textures of the varied fabrics and materials in this
picture are faultlessly portrayed.
A copy by
della
seen
Madonna Lucertola, which is in Madrid^ may also be Giulio Romano was the pupil in this room.
Giulio
Romano
of Raphael's
whom
was more in sympathy with Raphael's own than that of any other follower of his school. So it is an especially
good copy of
this picture
is
which we have
to examine.
The
and
painting
this little
on wood.
is
emblem
Ube
Iball of
Hpollo
trifling detail,
75
usually dominated by
some such
Madonna of the Goldfinch, the Madonna of the Diadem^ Madonna of the Chair, and of the Linen Window; both of these last being in the
such as the
Pitti Gallery.
The
full,
we
are
now
considering
oval
face,
in
(as seems
number
child
The
'*
St.
John,
who
stands by
Ecce
Agnus
lutely
Dei."
The
turning to look
is
abso-
special
frame of
and
is
mind.
The
of
life.
At
a charming
cradle,
with a
of swathing
it.
Near
is
mean-
dering.
The background
is
with buildings on a
hill at
the
and a graceful
76
ipitti
palace
is
The
family
grouped
at
We
hang
now come
in the
The
is
first,
the
Madonna
of the Rosary,
Number
It
56,
was
III.,
by Ferdinand
The
artist
had
in
bought
is
it
dealer.
The Virgin
and he
as
all
is
on her knee,
very lovely,
has rather a
Murillo's
Madonnas
are;
but
it
Number
63,
which
is
how
to
by carping
critics.
The
eyes.
is
is
child
is
spectator, with a
It
large, liquid
it
may
strikingly beautiful
The
colouring
mellow and
restful.
in Seville in
As
way,
a studio
in Seville,
in the Hall of
Apollo
77
money
any sense
feel,
Feria " was a proverbial expression in Spain for a " daub," but the slight
fairs.
" Pittura
de
la
was
necessarily
his
chief
consideration,
so
he
away
saints
bravely,
shipping off
Madonnas
and popular
pencil gained.
At
the
an invalid
sister,
trade to enable
him
go
to
Madrid
to study.
As
known
to Velas-
own
he lodged him
for
in his
own
him
from one
as having
and
is
known
three manners
his
first,
warm
style;
and, in about
by which we
chiefly
know
him, and
is
to be seen
7^ in the
in
iC^ttti
t)alace
less
Madonna and Child, Number 63, but Number 56. Murillo died in 1682.
so
the
well-
numbered
and
54.
courtier, with
whom
Titian
was
inti-
thirty years.
He
is
a striking
and
his
handsome
clothes,
a
I.
russet tunic
portrait
and red
The
was painted
as a present
him
Cosimo
de Medici.
The
fact
payment
is
upon Cosimo
peculiarities.
quite in
He
as representing
him
truly as an engaging
and
dashing man.
pital of
who,
was a gentleman of
Brought up
in such baleful
He
handsome
bully."
His
services
were
for
bought by
all
who wished
them
he wrote scurrilous
Ube
Iball of
Hpollo
79
He was
by turns
ing
all
**
who
He
was a
result
self-made
man
" in the
wrong
was
sense;
and the
was a
glutton, a slanderer,
and a spendthrift,
for his interest
apparently generous
to be lavish.
when
it
Aretino was so popular and so famous that his face was represented on " pipe-heads and china-
ware "
shops of Venice, but when he ventured to satirize Tintoretto, the " Thunderbolt " got hold
in the
Aretino, and
but
it
is
quite
main
intention
was simply
make an enemy where the only alternative was to make a friend. Undoubtedly a clever rogue like Aretino was good enough company when he was
not to
well disposed,
bore.
at least, never a
8o
political
Ube Hrt
He
pursued
ai
whose
was
that
no
ill
He has
hill.
He was
early
and
men
He
1527; Titian,
in that year,
Gonzaga
ness."
Pitti
at
Mantua, "
portrait in the
lost.
He
painted Aretino
Some
ill-natured
men by
spite.
The
idealized.
The brow
is
quite powerful,
fire
in
them.
The
look of
traceis
still
not unpleasant.
blended.
The pigments
lie
thickly
is
and well
and
The
excellent,
XTbe 1baU of
the colouring has great
HpoUo
8i
warmth and depth. Titian made no attempt to discover new and strange combinations in pigments. He used a palette in no way peculiar, but like the great organist who knows how
to elicit unsuspected tones
them
painters.
An
epitaph
was written
Here
lies
who
said
ill
Him."
Pietro Aretino received splendid gifts from Francis L,
pomp
in his
Seven Psalms.
In sending this portrait to Cosimo I., Aretino wrote " Surely I breathe here; the blood circulates,
:
and
I see
myself in a painting.
Had
given the
artist
Magdalen
a picture familiar to us
all.
was painted
Duke of Urbino,
82
zbc Hrt
is
ot tbe Ipttti
palace
and
on a wooden panel.
she
is
The
turned upwards;
thick,
is
an attempt
a remunerative one,
Crowe and
Cavalcaselle
Madonna
much
Crowe assumes
His only
its
praise.
criticism
that
it
a pure one
a
that
was not
is
quite
his intention
was simply
to paint
displayed
The
Crowe and
Cavalcaselle
How
different
As
to this Magdalen,
Ruskin, always frank, speaks out with special directness, calling her " disgusting," with
little
no apology and
qualification.
He
faced
woman,
dull
and coarse of
much
83
her
and as
But he goes on to
think
first
why
critics, I
best to quote
directly.
Titian,
being the
the
"
saw
was
women
to love
no
less
re-
less
so painful;
painting a
entirely belonging
and that
in
Greek
in his
art.
Very coy
ture
is
remarks about
La
Fontaine,
is
who saw
it
in 1663.
^^
^^"
adding,
"These newly-made
are
H
fly
Ube Hrt
and
all
dangerous;
men
from them."
But setting aside the subject and considering the
execution
painting technically,
tory.
It is
its
is
most
satisfac-
signed upon a vase of ointment which appears in the right corner, " Titianus."
in the
one of the
world
"
It is
in the
:
not possible to
an instance
in
which a
lifeless
form
is
flexibility
or with more
anatomical accuracy.
ing, the
As
Magdalen
is
unsurpassed."
The body
of
Christ, extended
St.
on a linen
cloth, is sustained
by
John;
the feet of the Saviour, while the Virgin in the centre holds tenderly the
arm
figures of St.
Peter and St. Paul which were formerly supplementary to this group, but they were afterwards separated
from the
rest.
Woltmann
ren-
and expression."
The background
in
is
is
sombre and
gloomy landscape,
the hour
when
the scene
< X
4)
J3
< H
O
B
'o pq
85
Living- near
in
1469.
San Pietro
Gattolini,
he acquired the
Piagnoni, that
is
to say, a follower
whom
Dominican
soul.
He
cio;
tion.
He
his por-
and
his simplicity
good,
human form
and
He
draws most
correctly,
and transparent.
drew
He
Although
masters
he did not
vOf
more of
their merits
86
zhc Htt
From Savonarola
learned the
From Leonardo he
real into
making the
foil
inspiration
the
which he placed
his figures.
He
While he borrowed
own by adding an
individual touch.
He was
Fra BartO'lommeo
which resulted
"
finally
chill
:
by Vasari
Having laboured
perpetually beneath a
window,
He
in
was
San
figs,
he was attacked,
his life
7.
The
astery
Pieta
for the
Augus-
Gallo.
This mon-
was taken
to
Zbc IbaU
Fossi,
Pitti
of
SpoUo
it
S7
taken to the
latest pictures
by Fra Bartolommeo.
Had he
lived
longer,
he
style characterized
by a
his
power than
us.
that of
any of
it
is
interesting
which
It is
a spiritual picture,
for the sis-
was painted
the plague
it
when
it
was raging
III.
is
in Florence.
Later,
in the
I.
and placed
to the Pitti.
Uffizi.
moved
it
The dead
lifeless
hand
in hers.
There
is
the hands.
St.
morse
is
attitude,
and genuine
self -forgetting
sorrow charis
The
colouring
good, St.
Maggold.
in green
is
and
In St. Cath-
continued, and
mixed with
88
St.
ube art
position,
usual, is in blue.
is
most
inter-
As
prolific
works of striking
is it
light
and shade.
So marked
brilliant light
a peculiarity
on the
to stand for
is
this style,
common
This por-
executed
about
Ferdi-
in 18 18
Poor Rembrandt!
pose.
was a
pathetic one,
whom
he loved with
all
the depth
of which his nature was capable, he was a gay, lighthearted, good-natured fellow, amiable, devoted, and
clever.
him.
He was
art
is
artist
whose
when
Of him literally it other conditions are changed. may be said that " the light of his whole life died
when
He
was done." He declined in every way. became morose and brooding and indifferent to
love
Zbc
dim, but
t)all of
life.
apoUo
^9
took on a
withdrawn.
Once, when Rembrandt was in great need of
funds, he took a novel
way
it
tO'
realize quickly
on
some of
of his
his
belongings.
He
own
death,
saw to
had wide
house.
circulation,
sale of his
pictures, finished
and unfinished,
at his
own
was crowded. The smallest sketches brought immense sums. When a safe time had elapsed, Rembrandt came to life again. But he
auction
The
Number 36
is
is
robes of violet.
The
portrait
painted on wood,
was executed
lived until
Pope Leo X.
age of
He
fifty-six years.
is
that
of
Bishop
Girolamo Argentino, Number 35, painted in the school of Morone, a Venetian master of the sixteenth century, of
whom we
The
bishop
is
shown
full face
90
IPtttt
palace
beretta.
on a parapet.
The
inscription reads
" leronimus
et Brachiensis."
Number
37.
This picture
by Veronese, and
is
usually spoken
artist,
although
no other record
to
show
was
married.
to
She
right.
is
the
Taine's
of
this
:
picture,
*'
though
drastic, is
perhaps merited.
He says
This
She
is
forty-eight years
and the
coiffure of a poodle-dog.
enough, and proud of her charms; her perfect contentment and general roundness suggest a fine turkey
spit."
The
Fortunately
many
colours,
being
The Supper
by
his school,
Palma Vecchio
14801548.
is
school,
seated,
in
one
Ube
The
l)all of
apollo
91
and awe.
is
The
of a Venetian sailor,
ground
sits
a very breezy
little
dog,
observer,
provocation.
The
still-life is
less
clear
and
An
open window
landscape.
The whole
is
without inspiration.
Number 39
is
It
painted on wood.
rests asleep
and
is
John.
His mother,
castle
on a
in type,
and
classic in the
Her
which
fitted
has a closely
deep point
in front,
The
is
St. Julian of
Christofano Allori;
Number
41,
at--
9
tractive
tCbc Htt of tbe pitti ipalace by the young figure which occupies the and by the
lights,
central place,
in
a convincing manner.
The legend
it.
is familiar,
without an allusion to
Julian Hospitator,
when
and
his
the
story
a long one
under
The
re-
special cause of
all
him
to
welcome
it
strangers
So
is
told that
one
who wished
Instantly Julian
rowed
own
him
in
care.
sent
me
to thee, for
is
and thy
rest is near at
Not long
moment when
is
being lifted
St. Julian,
carefully
to the shore.
93
leper,
The
boat-
man on
is
seen dispensing
on the doorsteps of
not exactly
is
her house.
It
is
realistic.
The
leper
is
But
his figure
is
be-
yond
All the
by most
critics said to
be the masterpiece of
Allori.
The
him
is
so that he
may
very graceful.
The semi-nude
is
man looming up
little
Number 42
is
whom
we
is
shall hear
more
later.
if
one
It is
may
be permitted to use
such an expression.
brown shadows
her
name
Her hands
are meekly
94
She wears a green mantle with a furred edge which is soft and attractive.
Perugino evidently believed
in penitence
understood
The Salembeni Holy Family is very attractive. rather an unusual choice The scene is an interior for the subject. Mary and Joseph are sitting by a table with the Holy Child, while through a door
On
the floor,
little
St.
John stands, or
arms
full
is
the mother
taken
abeth
ones.
At the
left,
St. Eliz-
seated, spinning.
laughing,
much amused
at the incident.
St.
Next
The
scene
is
in his
brown
may
vent of
La
Vernia.
The
face
tifully rendered,
Reni,
is
This
is
much
Guido
he makes such a
selection,
he does
it
full justice.
<
O
o O
Ph
a>
jC
--
(I,
>
95
The
child
near his
contents.
lips,
and
is
about to drink of
its
brimming
needs
is
little
evidently prepared to
to be replenished.
it
On
an
expression of enjoyment.
Bacchus
is
that of a child,
in
infusing into the youthful mirth of his smile a certain flavour of worldliness, such as
one sometimes
has had to
life.
is
who
own
support early in
The
which
deity.
most
The
person.
all
little,
as they
would do
in contact
is
with the
warm
little
Young Bacchus
a genuine rogue,
with
child.
Number 49
Tito.
It
is
a most engaging
little
portrait of
was painted
in
161 7.
Prince Leopold
IL, the
Duke Cosimo
was probably
it
Palace, for
is
would
"
He
effect of the
is
colouring
He
96
and
little
The
textiles
in
this
picture are
and
art.
He was
was
made by him.
Pitti collection.
of age.
The subject of this picture is so engrossing that we have so far neglected the artist, who was a Florentine, doing most of his work in the early seventeenth century.
He
Some of them may be seen in the Though somewhat stiff, his figures
still-life
is
usually
Widow
The
Tabitha (Dorcas)
is
the one
numbered
lights
This picture
is
piece of Guercino.
was painted
his
in
16 18,
when
power.
< X H
>-t
PQ
< H
o O
D.
^ < O VM o Q 1 ^ W w 0) H
J,
ctf
iTi
-t->
O Z
t-H
t-H
o
J2
<
oi
<u
13
H W
pL.
> PQ
H
CT)
97
feet
and illuminat-
lies
extended on her
Peter in a com-
St.
manding
attitude stands
by the
hand
about
Sev-
command
to the
dead to
while his
left
hand grasps
his cloak
him.
The
the figure of a
woman on
sorrow, she
miracle.
The
this figure,
which
most
upon the
back of a
ies
woman on
the extreme
and head-dress
recall
some of the
women
of Tintoretto.
This
woman
The
is
colours of
rich,
warm and
delightful.
of models.
It is
Number
51.
Hanging
in the
suffers
by contrast.
lowering the body from
Three
9^
Zbc Hrt
feet of the
dead Christ.
At
the left
is
the Virgin
at
her
feet.
Mary
turned, and
well drawn.
She
is
The Madonna,
in the fore-
ground,
is
not a stage
face
trical
is
substitute,
the
down Her
thoroughly expressive.
Number
(a
name
pic-
usually given to a
saints appear),
Holy Family
is
in
which other
by Pordenone,
too
an interesting
it
is,
clad in
damasks and
in the
stuffs
days of the
striking canvas
is
Number
Spagnoletto's
St. Francis,
who
is
His
human
skull.
accessories.
story.
It is
The
very
man and
Number
55
is
much-upholstered
Duke of Urbino, by
Baroccio.
99
life
amidst the
stiff rich-
from
this
mass
Federigo
embroidered
stuffs.
He was
a youth, he
de Medici,
own daughter was that Princess Vittoria Rovere who married Ferdinand II., so in this
baby was doubly connected with the
way
this royal
pretty
62.
del Sarto, is
Number
The
in
sition is satisfactory.
was painted
Zanobi Bracci.
St. Philip
altar.
an
He
is
clad in rich
brocade vestments.
both arms extended;
the altar.
St.
The
the
figure
graceful,
with
Madonna
appears above
sanest, his
Philip Neri
most
times.
practical,
CHAPTER
V,
of
Rubens's
workj
exhibiting
all
his
pic-
and few of
his blemishes.
These two
tures
called
are
Mars Preparing
of
for
War
(sometimes
The Consequences
portrait
Examining
variety in
It
its
first
Mars Preparing
for
War, one
is
treatment.
It is entirely
the
work
were many of
Mars, clad
in
his pictures.
It
exhibits
nearly
The
cen-
tral figure.
shield,
is
pressing
onward
by one of
Although
his steps
do
100
S3
Pi
111
^
-
loi
his
whole body
is
for-
ward
his"
to
who
is
clinging to him, on
beautiful
nude,
with
all
the
plump
yet
is
pliant
qualities
of
Rubens's
women.
Venus
Cupid
attended by Love,
in vain.
who
Mars, but
lie
the
bow
of
unheeded
Mars
treads relentlessly
lies
Harmony, symbolized by a woman bearing a lute, has also been thrown down; his next step bids fair to encroach upon her. Farther to the right,
also dashed to the
aloft a
is
comof
made
broken
Charity, grasping an
is
In the air
On
is
overthrow of Empire.
corner
sits
left
little
nude
102
upon which
Peter
cross.
may
be
Paul
He was
born
in
He
spent
some time
in Italy,
going there
in 1600.
He was
especially
drawn to Venice,
When
In October, 1607,
In
1608
first
he returned to Antwerp
wife being Isabella Brandt.
and
married, his
The
above
"
pression
all
rose
He
used to say:
;
Do
well,
and people
will
affable,
will
be jealous of you
their jealousy."
do
better,
and you
overcome
He
was of an
careful student.
In
traveller,
Italy.
and
visited Spain
He was
also a states-
diplomsitic work.
103
He was
This combinadiplo-
While on a
London nobleman
that the ambassa-
"I hear
dor amuses himself sometimes with painting." To " No the painter amuses which Rubens replied
:
Antwerp was May, 1640. clouded with gloom and sorrow on the occasion
Rubens
died
in
His
life
by
his
winning personality.
characteristic of
his
is
The
light,
primarily
joyous
sunlight,
warm,
soft flesh-paint-
ing,
remarks, "
To
opportunity."
was
in
sympathy
Roman
at
that.
While
he
is
in his life
sometimes
Mrs.
"
Jameson
has
summed up
many
To
to
venture to judge
we ought
senses gross,
104
ipitti
f^alace
indiscriminate excess;
his
his exaggerated
his
his-
redundant forms;
coarse allegories;
his vulgar
torical improprieties;
and most
delicate creations of
poetry;
let all
these be granted
...
if
and
vital-
his
own
exuberance of
and
volition
'*
fifteen
hundred works,
number ever produced by one Contentment was one of his greatest charms.
visited
by an alchemist, who
tried
him
He
informed
it.
The
up
Rubens held
show
it
you
*'
!
He worked
ing
letter
altogether
from
living models;
and
to
secure
him
certain
had occasion
third
saio,
"
may
week following
two
ladies Caslittle
niece, Louisa;
making three
studies
me
Ubc
fcall of {VbatB
105
much on account
still
of the
their
diffi-
more from
finding elsewhere;
figures."
"
Whatever imperfections
from
in his art
may have
resulted
his unfortunate
want of seriousness
and
calibre of
may
it
see
mind was such that I believe the world another Titian and another Raphael before
saying a great deal for Ruskin, with his
but Ruskin
is
This
is
he so
Rubens
in the
is
own words
work doing
all this;
on
this subject
"
was
different
.
dank
fields
of Flanders
much hardening
fleshy,
substantial,
still,
humanities
humanities
...
as
much
that
favour in his sight as the wasted aspect of the whispering monks of Florence.
it
(Heaven forbid
still!)
should not be
so, for
And
Ru-
we
to
is
no
nobility in
io6
bens's masculine
this,
all
it,
and with
his
human
rendering of
... he had
and
his
him, that
we may
fit
alike for
The
celebrated portrait of
Rubens and
his brother,
Lipsius and
It
as fine as
some of
Titian's portraits,
and
is
one
He
has a red
as satisfactory a por-
him, at the
is
left
He
brother, but
thicker.
much
like him.
His hair
is
darker and
He
wears a
full rufif.
FOUR PHILOSOPHERS
By Rubens
;
in the
Hall of Mars
107
was
to
He was
taken
Rome
to Cardinal Colonna.
He was made
Antwerp
Secretary of
in 1609.
On
book.
position,
upon an open
time
His
classical
knowledge and
persecution.
Grotius
1583, and
is
in profile.
He was
jurist,
born in Delft, in
was a great
astical debater.
As
was famous. At nine, he made good Latin was ready for the university at twelve, and
teen edited the extensive
pella.
De
Jure Belli,"
was a masterpiece.
tation to England.
cannot say
seen so
how happy I esteem myself in having much of one so truly great as Grotius,
io8
ube art
man!
a wonderful
I
knew him
to
be before
saw him, but the rare excellences of that divine genius no one can sufficiently feel who does not see his face and hear him speak. Probity is stamped
upon
piety
his features;
his conversation savours of true
His reputation
rests
upon
and
and
his scholarly
scientific
He was
a countryman of
whom
Rubens was proud, and there was a sympathetic interest between the two, owing to their somewhat
similar talents in learning
and diplomacy.
is
The
a
little
still life
in the picture
excellent, especially
placed by the bust of Seneca (tulips being the favourite flower of Lipsius).
costumes
and
accessories
handled.
There
is
The
a decorative picture.
St.
Francis by Rubens
is
The
he
kneeling, and
in profile,
lithe,
and the
little
and
is
canted a
heavens above
109
portraits
in
the world,
its
Raphael's Pope
brown
to
reds.
is
which
this
in the Pitti,
A very impartial
is
statement
given by
Henry
monograph
one
on Raphael, which
having the
dict as
it
quote.
two
either ver-
"
The mouth
different shape
In the former
the
fact,
decidedly.
in the Pitti
It
is,
in
Now,
example,
mouth
softened.
acterless one.
The same
work
upon the
on the
nose.
big and
runs up
to-
The
nose
is
less
heavy.
The
somewhat
sudden
lights
no
Ube Hrt
ot tbe
Ipitti
palace
face in the Uffizi
traordinary vivacity.
The whole
seems
portraits of
Raphael
show him
have been
The best picture that Cigoli ever painted is Ecce Homo, Number 90. The group of three
ures
is
the
fig-
placed on a balcony.
In the
seen standing
full face,
crowned with
a torn
the
Crown
gether by a chain.
At one
is
side a
man
in
forward, pointing to the sufferer, and act of exclaiming, " Behold the Man "
!
in
the
The
ex-
is
that of extenuation
and
The
soldiers
On
the scourge.
on the whole,
The
fatigue and
human endurance
ECCE HOMO
By
Cigoli
;
in the Hall of
Mars
The artist has caught the true moment chosen for portrayal.
exaltation.
There
is
by any uplifting
The hands
little
They are
lacking
hardly
The hands
is
really
weak element
in the picture.
The
an interesting one.
Neither of these
When
Cigoli
was so
prelate returned
It
this one.
was afterwards owned by the celebrated musician, Giovanni Severi, and later, through him, came into
portrait
like to think of as
is
Titian's
young man
in black.
Number
92.
The
it
type
is
112
Ube Hrt
The
Howard, Duke
of Norfolk.
Voy-
age en
trait
:
Italic,''
" It
of.
is
know
It represents a
man
;
of thirty-five years,
all
in black, grave,
the face
a delicate moustache
He
is
left
their
marks upon
his
...
it
is
the face of
is
life-size.
This portrait
is
so striking
record of
it
remarkable that
it
we have no
was painted by the great VeneThe black texture of the garment is that of
This portrait has unusual
alive.
virility,
not velvet.
is
wonderfully
artist needs.
At
of
but, like
it
much
upon
closer
examination
will be
found to glow with that ineffable quality of handling which Ruskin has aptly called " a peculiar mys-
in the Hall of
Mars
"3
but
reality a
way
that a mosaic
is
owes much
exactly like
any other
broad spaces of
of
little
made up
varie-
gated dots.
It
would be
difficult
any
Near
pannata.
by.
Number
94,
is
is
the
Madonna
del
Imap-
This picture
of doubtful authenticity,
It
speaks of
its
window,
whence
if
its
name,
was
be-
gun by Raphael,
position
down
to the
left.
The Madonna
figures.
St.
on a higher
level
Elizabeth and
114
Ubc Hrt
by
The
still
and, perhaps
is
placed out-
This
is
part of
it.
The heads
symbolical, for
the
as
Christ
is
an infant, as that
stripling.
St.
John should
picture
is
at the
same time be a
ground
The
sometimes
doubtless
attributed to Giulio
Romano.
There
is
for Giulio
worked some-
what
on
among other of the Madonnas and Holy Families. The picture is on wood, and was painted
this
for
Bindo
Altoviti, a young-
Ube
1ball ot /lDar6
Altoviti
115
near Raphael's
villa
Rome.
of
The picture afterwards came into possession Grand Duke Cosimo, and it was placed in his
In 1587
bit
it
chapel.
was
in the Uffizi.
is
A
The
grand
of colour
Christofano Allori's
Head
of Holofernes,
is
Number
96.
figure of Judith
queror,
she
is
famous Mazzafirra,
in the back-
ground.
The
picture of Judith
was ordered
for
The
head of Holofernes
Allori.
is
a portrait of Christofano
He knew
women, and
was
his
dif-
in
at
Three
replicas
ferent times,
in the Corsini
Palace
is
much more
original
In
not
an essentially
vicious face.
ii6
The
the
and
is
often
The robe of
ex-
Judith
The triumphant
of a typical Jewish
red,
well rendered.
and green
in the painting,
effect.
not a
it
is
treated
by a master
experience
a masterly manner.
The
personal
human
The
element
who would
otherwise regard
long-lidded,
She
hand
her
left
hand
still
woman
The
picture
was taken to
Paris,
where
it
remained
in Paris,
it
was examined
of Holofemes
in his
thus
"
The
Head
Ube
Iball ot
/ars
117
in ex-
Our
attention
attire of the
Hebrew
woman, and
the representation."
manner of the
a
many
of his pictures.
In the
first place, it is
humour.
The Rebecca
understood;
in
at
the
some
pictures
in others
as
much
much more
interesting
is
when
this
is
the case.
it
unsatisfactory unless
is
com-
a picture untreat-
worthy of the
ment given
it.
Many
is
sentiment
many good
to ex-
compositions in music
harmony
ii8
when
among
the
draw water
And
before
many
many
where
she
is
Rebecca
is
The
that
Rebecca
handing the
jug to him.
At
the
left is
little
boy, carrying a
gifts
inter-
the boy
is
much
his
among
the retainers
it is
quite a
human touch
way.
to represent the
boy as sympathetic
left is
in this arch
seen a
man
holding
many
The women
119
way
in
which the
visitor
has ad-
what
will
come of the
interview.
There
is
good
in
deal of thought
women.
One
of the well,
is
much
entertained,
and stands
in a
per-
do
better
by coming to
is
her.
The
picture
is
quite
spirit
than
most of Guido's
genius for
cility,''
scenes.
in 1575,
He was
He
is
whom
he studied
intelligently.
As he
designing that
is difficult;
colour
quickly at-
tained."
painter.
no other," he
says, "
who seems
and inscrutably as
own
I
He
will
I
replied
am working now.
it
And
if I
am working on
then
"
!
another to-morrow,
will
be that,
be the one
illness,
am
doing
After a tedious
120
Ube Htt
The Assumption
is
The Magdalen
Both
is
The angel
bearing the
flying practically
on
on
either
side,
whole weight of
raised
his substantial
hands.
The Magdalen
with
clasped
in the attitude of
one
who
She seems
bliss-
whose
face
is
hidden, and
who
is
not remarkable
correctly fore-
is
shortened.
He
and which
upon a tree-stump
at his side,
may
The Madonna Enthroned, by Soggi, shows Our Lady with the child upon her knee, sitting on a high throne. The child leans forward to bless a warrior saint who stands at his right side. On
the other side of the composition
a
is
the Baptist as
man
of middle age.
This
is
sentation of the
121
Madonna and
Child enthroned
they are
Number
80.
He
is
sitting
He
such as
men
wore.
was acquired
in
and taught
his
profession.
He
got
into
to
trouble in Spain,
where Charles V.
called
him
Less
liberal
day
in
by Philip H.
On
his
Spain,
picture
is
so
much
whether
of
it
it
be by Titian at
There
also a
The
de-
figure grouping
is
well arranged.
There
no
It
nothing
from which
in
it
its
name, as are
common
the
Madonnas of Raphael.
was
122
Zbc Srt
who
it
it
because
certainly restful
in colour;
The Virgin
St.
Madonna hung
Cardinal Bentivoglio, by
Near him
lace
letter
is
a table.
is
A
On
in
.
draped behind
office,
him, and he
dressed in
robes of
with
flowers.
Cardinal Bentivoglio
was born
teen,
Bologna
15 19.
He
became papal
secretary to Clement
and
later
was
by Paul V. to Flanders
He was the author of a work, " History of the War in the Netherlands," and also wrote memoirs. He was one of Galileo's judges, and tried
as nuncio.
to use his influence in the astronomer's favour, but
unsuccessfully.
Number 83
retto,
of Luigi Cornaro.
in his early
life entirely
He
reformed his
treare-
grew
old,
and wrote a
tise
on
sobriety.
He
Ube
Iball ot /iDars
"3
when
old.
The Santa Conversazione, Number 84, in a landscape of some charm, is either by Bonifazio Veronese (not Paolo, the great Venetian) or by Palma
Vecchio.
Critics are divided.
she, together
is
with
who
is
in her lap,
silhouetted
Little
St. Elizabeth,
a charm-
woman,
sits
on the
ground
open volume.
John.
Mary
is
The
left,
infant
on the
who
is
The baby
it
in the
way any
which
is
little
child will
it.
presented to
The
is
beautifully
man
and wearing a
rich
crown
is
Ma-
donor
124
stands a
ipittt
palace
dog,
who
Numbers 87 and 88 are two wooden panels painted by Andrea del Sarto. They were the tops
of marriage-chests recently alluded
in the set of furniture
to,
which were
his son's
Accajuoli to wife.
by the best
Baccio d'Angelo,
lids
portraying scenes
from the
life
of
Joseph.
They were such choice works of art that an attempt was made to carry them off during the Siege of Florence. The King of France had an agent, Giambattista della Palla,
who persuaded
the government
to give
ace,
him permission
send to
in
tribute
But
when
who
firmly re-
" Begone,
exclaimed;
*'
reprobate salesman!
How
With a prolonged
Ube
Iball of /IDats
1^5
their
them from
attempt.
The
instead of dividing
into smaller
panels in the
The Repose
restful picture,
is
shady and
with the
spell of the
holding out a
is
little
down
fruit to him.
know
the
these
little
creatures,
who
play
among
the
The
preparations
woman
is
at
the
left is
The
par-
The
is
very
human and
The
varied.
At the
fruit.
feet
of St. Joseph
a flagon of wine,
126
room representing
have developed
full
Carlo Dolci.
the
''
Both of these
artists
its
extent.
It
is difficult
Peter
is
sitting
and
up to heaven.
near by.
.
The
cock
is
The
is
picture
was executed
1654.
Here, too,
the Sacrifice of
Abraham by
Chris-
tofano Allori.
Abraham
is
with which he
stands
stroke.
who
meekly,
with
The
bit
firmly
his right
The head
of the
ram
is
In the background
is
was
and
down by
degrees to
its
present
There
is
Number
97, inferior in
power
to other treatments
Ube Dall
has good colour, but
in
ot flDat6
later.
127
It
which
it
differs
from
The Mary
trifle
As
This
was painted
for the
is
figure of a
is
monk
introduced by courtesy.
The
seen
Magdalen
is
not important
when
It is
company with
his great
is
Ecce Homo.
num-
bered 98.
The
saint
Her
manner of
in
Magdalens; a
her
The tears are coursing down her cheeks, but for some reason she does not greatly move the beholder to sympathy. The profile view of her nude figure is good. The crucifix
hands.
figure
is
The
poised a
human
is
skull.
who
Heaven.
128
Iptttt
palace
Lombard
It
is
school,
born on Lake
Como
in 1530.
Magdalen
is
painted on wood.
modern
much
dressed,
and
This
was painted
leads
ha"
were
bric-a-brac,
The only picture by Luca Giordano in the Pitti The is Number 104, the Immaculate Conception. Virgin is standing on the new moon, above the
terrestrial
globe,
upon which
feet.
is
She
crowned with
A
Love
most exquisite
bit
The treatment
as soft
and
The charming
restful.
head
rest-
The
attitude
is
casual,
is
and yet
The
that of di-
when
129
called
is
Venal
Number
105.
It
is
an unpleasant subject,
It
though a technical
success.
represents Venus,
it
by biting
it
The
figure
is
stands an evil-looking
who
is
pouring
trinkets
cele-
a head of Galileo,
looks
Number
io6.
The astronomer
is
sad
and
on
his
CHAPTER
VI.
revealed to us.
It
is
the collection in
many
types of pictures,
we have
no example of the
nese;
truly characteristic
work of Vero-
He
excelled in large
canvases
with
silks,
dressed out in
ar-
fruit,
and
all
the
Venice
in the Renaissance.
brawny and
little
lusty bodies;
women have
often
too
anatomy to exthis
skilful
the
fair
o
< X
131
but
is
poetic in
which he indulges.
He was
exactly the
set in essentially
show
forth a
home when he has group of worldly women tricked finery than he is when trying to
more
at
He showed good
judg-
ment do
in
for he
in his art to
justice to them.
There
is
good
The
in his picture
just as
in the
Assumption
may
also be said of
him
His and
habitual preference
was
almost
graphic
with noble,
intent.
He was never vulgar. Of the three great Venetians with whom we are here principally concerned, he
stands as the apostle of light and
gaiety.
132
The
notice,
Three Maries
first
at the
to our
is
Number
is
134.
at
which are
two angels examining the linen clothes, etc. One of them is crouching at the door of the sepulchre, and the
and shrubs growing.
the door are the
other,
the three
has
is
risen.
women that the Saviour is not here but The nimbus of light about their heads
fire.
Vene-
Raphael has
The
in the
attitudes,
expressing surprise.
is
resist
an opportunity
seen.
is
She
woman.
This
companion
is
and
veil
Zbc Dall
being
of
ot Jupiter
133
wound about her head to emphasize the shape her coiffure. The third Mary is only seen in part,
she
is
gathering the
around
her,
and
is
gazing
The
to be
is
that
his mother.
The
a
figure
is
is
the
work of
man who
felt
is
not essentially
it
might be any
raised
The
is
right
displeasing, especially as
lattice,
background of
drapery,
ject,
is
when
extremely lovely.
exquisite grace.
The
large,
broad folds
hang with
steps;
sits at
draped by a white
and her
The depth
such a scene
of feeling which
is
in
entirely lack-
saints,
occupy
Madonna and
at her left
134
side.
is
Zbc Hrt
The one
The
of
of tbe
t>itti
palace
whom
Her
very pleasing.
most
artistic.
other
woman
much
reverence.
it
is"
There
is
some grace
not
artistic.
flight of stairs,
stands another
woman much
;
in the
shadow, lean-
com-
The
Veronese
always master of
tints.
Veronese understood how to paint with as bold an impression as a scene-painter, and yet with
such effect of
life as finished
A
life
few touches of
But while, as
a few careless
Ruskin points
out,
it
appears as
if
made
possible
knowledge
which
is
guided
the
;
brush
unerringly.
delicate art
and
all
coarse art
Number 140
Leonardo.
is
Nun, of
in the
This portrait
the only
work
13s
critics
Some
conIt
is
painted on wood,
and
is
exquisite
in
its
finish.
Taine
says
:
is
picture.
He
" This
from the
an actual
woman who
Monna
Is of inward contrasts and as inexplicable. she a nun, a priestess, or a courtesan? " This being,
who
is
shown
in three-quarters view,
low corsage of
The
She
be
may
name
of Christ;
in fact,
resents a monastery;
said to be a view
Maria Novella.
An
is
head of
supposed
The
is
abigio, Ghirlandajo,
and Perugino.
The costume
life,
certainly a
all
little
hence
these speculations.
much
that
is
would hardly
The
13^
IPitti
IPalace
fine.
Ferdinand
III.
bought
There
is
is
some
not by Leonardo.
is
In the
eye
in
bad drawing,
a
is
the farther
Leonardo.
The beauty
of his faces
is
a subtle charm of
them
us.
their virility.
faultlessly
drawn.
He was
The striking picture in low tones of brown, called The Fates, has been attributed to Michelangelo, but much doubt is thrown upon its authenticity. It
more probably by Rosso Fiorentino, from a design by the master. The three elderly crones, Clotho, Lachesis, and Atropos, stand in a monumental
is
group.
ground;
thread,
the
centre,
in
has
twisted
life,
is
The Greek
137
young
girls,
goddesses
life
but Michelangelo
them as witches.
ture (for
it
is
woman who
used
There are
De-
work of Michelangelo;
But
it
ally
more exaggerated.
and even
if it is
a powerful picit
ture,
by Rosso Fiorentino,
it,
merits
the
" Severe,
is
is
but there
truly
great originators,
Tintoret.
in
grotesque
...
to such
to
all
Lotto's Three
Ages of
Man may
we
be compared
As
a composition,
all
is
really
more
conscientiously painted,
138
Ube art
The
first
child is
glance
instinctively
drawn
to
him
right
and
left,
deserve study.
setting
The two
central
for
the
as
in
the
Concert.
it
certainly
At any
rate, if
it,
he was the
in-
spiration of the
The
is
child,
seen
in
brown and
red,
of the Lagoons.
The
is
slouched on
He
His gaze
at
amination;
unrolling before
him by
degrees.
figure of a
is
The
picture
young man
>
Oi
<
%
Ci.
'A
M <
ri
^ o B Ol
4-*
aJ
(U
-1
u
oi
**
Zbc
Iball of Jupitet
139
The
is
face of this
man
is
art.
His
healthy;
point.
the picture
is
full
of optimism up to this
its
The green
tunic,
with
dawn
of self-con-
No
The
old
man on
possibly
symbolizing
The
delightful
completed by his
His
face,
is
the
ment
is
much
in evidence.
sition is full of
The heads
people as
fail
are probably
we might
new
significance,
We're made so that we love First, when we see them painted, things we have passed Perhaps a hundred times nor cared to see So they are better painted Art was given for that
:
"...
God
..."
Browning.
140
^be Hrt
and
of tbe pitti
palace
There
by-
Portraits
is
battles
abound
in this hall.
an
enormous warlike,
smoke-laden
battle
punctuated by
little
scintillating
eyes.
Rarely
is
made
so
Bourgognone,
school, living
from
62 1 to 1675.
horses are in
who
is
already
Number
133,
two detachments of
on the right
left is
is
on the
a cava-
who
who
supposed to
He holds
the
a shield bearsyllables of
is
A R O,
first
This
was the
first
Florence.
Another great
dying
in 1561, a
Ht
I.
Vasari describes
battle-piece
affair of
in
his
The
Montemurlo,
which
all
exiles
and
rebels to the
...
standing,
who
is
away
the
skies;
this
part
borrowed from
his
in
picture to
still
...
It
now ...
most
in
the
which
his
illustrious
Per-
who
not
fail
Leonardo
entitled
da Vinci,
"
on Painting,"
It is
How
In
to
Compose a
Battle."
Number
Salvator
Rosa.
Rosa
is
better represented.
142
t>itti
l^alace
this salon,
and
is
The masterpiece
this picture in Paris,
repHca of
was executed
it is
and
Some claim that the Paris copy is the original. The figures were drawn from the demonstrative Neapolitans of his own day, dressed in ancient Roman costume. The scene is in the Palace of Catiline. The light,
historical
paintings.
falling
from above,
it
is
walls that
and figures in
An
effective
shadow
is
upon the
In the centre
which
about
moment when
having employed
all
selves to secrecy
and to the
terrible cause
by taking
This ceremony
now Roman
in process.
Two men
The one on
the
left,
a weak.
w 2 a 3 ^ H O
t-i
4-l
<;
u
Pi4
13
o
>H
X
(D
4-
u
ei
C4 en
O u >
143
He
was
sacrifice, to
supply
imagination
that
he
Treachery
may
and undecided
ing these
Catiline himself
men to their duty with uplifted arm. The conspirator who clasps the hand of Curtius is better
looking than the traitor, but his beauty
fiery order.
is
of a brutal,
One would
way
mercy
at his hands.
Neither of these
men
appears
to be in any
reliable, as
men
willing to bind
are
guard of
Sylla, in full
armour,
fighters wearied
They
Some
right.
on the
One
of them, how-
144
ever,
sight,
a hbation of
human blood
a
it
still
more
is
other
powers
in subjection.
calls
Burckhardt
evil-
which
is
doubtless
In alluding to another head painted by him, he says " It is as elevated a type as he ever
:
reaches,
sufficient
Catiline.'^
in
Naples in 1615.
He
style
we may
almost consider
him
He
he
is
in his se-
tan, although
left
Rome when he
was only twenty years of age, and spent his life in the Imperial City. While he was a youth in Naples, he joined the band known as " Compagnie
della
under
death,
but
at
Massaniello's
tragic
Rosa
lost heart
and
fled to
Rome.
145
That Rosa was an original and positive person is He wrote poetry, and his house was the certain.
resort of wits, artists,
ecclesiastical grandees.
He
probably owes
much
of
his
fact that
he took certain
In a picthe swine
the nose
liberties
mentioned guests.
among
who were
feet,
masquerading as an
great personage
ass,
was strewn
in
another
ly-
was recognized
an old goat
So
and
and
rebellion,
his
all
friends
evil
made him
draw up a formal
denial of
intent in his
was
some other
matters, too;
for they
tell
among
his
its
own
things, without
any announcein
ment as to
authorship.
picture.
Artists
came
crowds,
When
to his satisfaction,
146
Ubc art
the
ot tbe IMttt
palace
was
if
work of
the surgeon.
would have the advantages of his services in setting some of the broken and deformed limbs that
occur in the exhibitions."
The
Nativity
is
Lombard
until
Reggio
in 151
1,
and painting
The Virgin is kneeling, in profile, bending toward the child, who lies on a linen cloth on the ground. The attitude is suggestive of Correggio's The shepoccasional treatment of this subject.
1586.
is
present
his
the other,
is
natural.
rather an
original touch.
The
not remarkable in
other ways.
The
pose.
portrait,
by Sustermans, of Vittoria
is
della
most delightful
in
There
is
Her
The
whole
effect is
of Grand
Duke Ferdinand
who came
u?
Cosimo
will
him the
Vittoria
father,
II.
was
Maria
be
della Rovere,
whose
portrait
by Baroccio
and on
born in Antwerp
But
his claim as a
Flem-
He
went early
in life to Italy,
portraits
he went to
portraits of
Florence,
all
family.
He was
III.
Cosimo
He
had the
perhaps
:
the most
thus
sums up
his
excellences
"
KugHe was of
much
He
died in Florence in
Number 118
It will
Andrea
del
help us to understand
more
intelligently
the large
number of
pictures
by Del Sarto
in the
148
Pitti
we
look for a
life,
moment
born
his
in
intoi
the cir-
cumstances of his
He was
Florence in
whence
name,
" Del
Sarto."
His
real
As
a youth,
artistic talents,
and
was
sent early to
Cosimo.
none other
set
up
many
Among
their intimates
was
Rustici,
who
eccentric genius.
;
He
among
these
was a hedgehog,
rooms
ser-
Bohemian
freaks of these
his follies,
boon
Andrea
might have
by his art;
but unfortunately, he
general fascinator,
Ubc
Iball of
Jupitet
149
it
when
Lucrezia's
all
his
money went
toi
decking
led,
Andrea seems
tO'
have
worshipped
this
most sacred
pic-
most inappropriately
the Virgin.
lovely that "
inexpressibly
as
Browning
has expressed
one of
his
moods of conjugal
as
spiritual,
adoring his
interpreting
Lucrezia's
his
outward appearance,
emotions
people
and
common
mistake
among
in
who have
an unhealthy degree
" Let
my hands
in
You
Andrea painted that Raphael did this The Roman's is the better when you pray,
But
still,
was
his
wife
Men
will
excuse me."
And
"
again:
You
Why, there's my picture ready made There's what we painters call our harmony
smile
?
!
.
My
'*
!
ISO
Artists laboured
much
at the Ser-
a bunch of votive
candles.
The good
Perhaps
all
this
Madonna Madonna is
in
In 15 18 followed the
in the
Pitti
Gallery
Andrea executed
of two marto
by Salvi Borgherini
Mar-
left
was raging
there.
He
went
be described in
its
turn.
Madonna
is
in Glory with
Saints
was executed;
It is
this
also
woman
151
was
he
for, as
cadence.
Among
his
latest
two
Holy Families
in the Pitti,
left
Some
of his
in
credits
him
No
I
sketches
first,
no
studies,
do what many dream of all their lives. Dream? Strive to do, and agonize to do,
And
fail in
doing."
Andrea
His
del
which
The
him with
short delay.
his
Baldinucci
interest.
some
was em-
152
tbe art
at work.
of tbe
lC)itti
Ibalace
that one of the
him
wife.
was a
Upon
it
statement,
was Lu-
She
is
to be eighty-seven.
subject,
Number
is
by
The
picture
was
monks
to
of
San
Gallo,
was removed
then purchased in
San Jacopo Tra Fossi, and was 1626 by the Duchess Maria Maand hung
in the chapel of the
dellena of Austria,
Pitti.
It is
on a wooden panel.
At
and submission
she wears a dull red robe and the right the Angel Gabriel
a blue mantle.
At
especially delicate.
There
is
a slight haze
The background
scene
in
is
of this picture
is
famous.
The
air,
a beautiful garden,
is
house
seen at the
left.
with a vaulted
ceiling,
ANNUNCIATION
By Andrea
del Sarto
,
in the
Hall of Jupiter
Ube
fjall of Jupitct
153
On
is
resting,
and an ex-
may
be seen a picturesque
little
Mary
is
prie dieu,
upon
which
an
may
be thus translated
The
legend, as most of us
have heard,
is
an ancient one.
The
atmosphere
Sibyl
is
is
little
The
154
Zbc art
The
scene
is
laid in
an open portico.
Augustus Caesar
Roman Em-
The
of the
Sibyl
is
On
the floor
is
an extremely diminutive
possible that a Sibyl
it
lap-dog.
One wonders
if it is
In other words,
It is
is
d'etre.
put there in
a space.
The
picture
not a powerful
The
full
gigantic St.
Marc
The
is
figure
is
it
restless
and
energetic.
The
saint
is
While Delia
work of Da
works are so
had been
fine as to
be almost miniatures.
He
criticized as
all cavil
on that
score.
to
draw the
figure nude,
and
XCbe
then to drape
error
it,
KaU
ot Juptter
fell
iss
into the
of
under them.
good
cavalier portrait
is
Number
126,
by Phi-
lippe de
in 1674.
This
portrait
of a
man
in
from shoulder
is
and a
square lace
collar.
His hair
There
Crespi,
is
a very sweet,
132.
Number
bird,
main
a
figures in half-length.
little
and brings
it,
tied
by a
show
The
arms,
is
at liberty.
The
arise
attitude
is
thoroughly
little
childlike,
and might
from
fear at the
wild bird,
when brought
into
in either case,
it is
inal picture.
The
picture.
Number
style
129, of the
Woman
is
Taken
a
in Adultery, being
good
example of the
of Mazzolini, a painter of
Ferrara from 14811530, remarkable for his ex,treme finish, equal care being taken with
all details.
156
Ubc Htt
is in
ot tbe
mm palace
woman, who
Pharisees stand
Christ
down.
The
hypocrites and
virtue gloating
without
woman whom
feeling
they condemn,
all
are
drawn with
is
and
force.
One
turning
another
is
a spirited
have
the
are
cast.
The
in
one
in
in blue
and
dressed
inconspicuous
shades of a neutral
is
The
good;
he
is
in black,
together capitally.
The hunter
at
carries his
gun on
his shoulder,
and
h7
It
a good picture of
its
class.
wholesome,
Number
139,
is
quite in
human, winsome,
is
a portrait-study of his
own menage,
which
it
purports to repchildren
The
are
blooming,
father,
jocund
chaps,
to there being
any inspiration
in the
more than a proud grandmother and parents viewing two very rollickIt is said by some to be a ing, plump children.
is
impossible to find
studio piece.
a family group,
Nevertheless,
it is
considered simply as
thoroughly charming.
Ruskin
and mystery."
istic at times.
It is true,
he was
toO'
baldly realhis
He
own
He
is
so
much imthem
woman.
by
of
full
Done by my
my
hand.
most beautiful
picture,
and
15^
lp>itti
Ipalace
the appeal
many
young
girls."
He knew
is
to popular taste.
The Bacchanale
satyrs
of Rubens
and nymphs.
whom
they can.
On
the
and have
fallen in
with nymphs.
The
picture
is
numbered
141.
is
Num-
ber 142.
On
is
a table
is
perfume
lady
on the ground.
On
Optimam Partem
satin,
The
in a
costume of luscious
good
society.
Her
hair
is
and there
is
endowed with a
art.
halo,
proof of sainthood in
is
Near the
skull
on the table
a mirror.
Her
lips
She might be
Very few women painted in the era of the Renaissance, but among them was Artemesia Gentileschi, who worked at Pisa, where she was born in 1590. She was the daughter of an artist, and is said to
have been a most charming woman.
She was as
Zbc
talents as
Iball of
Jupiter
159
a painter.
She
lived for
some time
in
The
of
the
Magdalen was
made
in
mosaic.
the mosaic
made
Rome;
for in the
Roman
is
vari-
produced
by innumerable tiny
bits of colour,
on something
while in pietra
embroidery;
dura the actual stones are cut and polished the exact
shape and size of the values they are to represent,
the edges fitted to a nicety, and the workmanship
necessarily
in
Roman
mosaic.
CHAPTER
VII.
name
its
it
was
fifty
years ago?
Modern
criticism is not as
ready with
earlier
unstinted praises as
is
above fashion, as
it
above criticism."
It is
a narrow person
particular style
who
own
which happens
day.
be
Raphael
in the
from
prejudice,
is
or defect.
One
whom
the
lenge.
shown
Raphael's
Madonna
of the Chair.
round
in the
Hall of Saturn
Zbc
countries.
It
Iball ot
Saturn
i6i
To some sensitive souls than any other picture. But v^hat this signifies that it is " too common/'
are the quahties w^hich have thus appealed to so
many
generations?
Not
until
one
know
the real
inlike
power of
this picture.
There
is
an element of
it,
first
is it
seen in the
new
is
of that subtle
quality
which
so different
any
inferior artist.
Jhe
trouble
that so
much
undiscriminating and
lavish
praise
at last.
Let
really is to admire.
little
over two
feet in
during his
Roman
period, between 15 lo
was prob-
Leo
There
painting.
is
The story is that a venerable hermit dwelt among the hills near Rome, who was called
62
ube art
ot tbe
IPitti
palace
of a wine-dresser.
daughter, Mary,
who was
When
Father Bershelter,
he
pronounced a blessing upon Mary, and also besought the Almighty that the friendly tree might
be distinguished by some special favour.
After
many
tree
prepared
arms.
An
show her a
which
cross.
Raphael, reported
came up
at the
moment when
this propitious
tableau presented
itself.
He
immediately appro-
there.
He
del
carried
Thus the
hermit's
Modern
small evidence
of the devotional
occur in so
many
Madonnas
163
realistic
an absolutely
hugging her
extreme
child close,
and a happy
with them.
little
But
is is
little
in
Taine to
That there
is
not as
But
An
artist
has a right
beliefs;
own
and
it is
Holy Family
similar
in
Naz-
areth presented a
somewhat
outward ap-
The
Holy Family
in
and other
so
many
early pictures
by
visible halos
and
attitudes
of conscious piety,
may
in reality
is
be quite as
much
own charm;
gross
Madonna because we
Memmi.
Hawthorne expressed himself as convinced that this was the most beautiful picture in the world, and
George Eliot evidently found
religion, as she inter-
i64
preted
it,
Ube art
in the "
is
ot tbe
l^itti
ipalace
made
in the eight-
an anecdote
with the
Madonna
of the Chair.
He
the excellences of
some of the
listen
who would
to the lectures of a
apartments.
When
he returned, he
said,
know
would
in
my
pointer;
but there
I
handsome country woman with her child arms. We followed him, and the
. .
her
.'
picture
donna
del
Seggiola by Raphael.
Our
instructor
man
of
genuine
instruction he
had fixed
his admiration
on the
finest
picture in Florence."
disappointment
when
represented the
*
Holy Family.)
admire the
though
it
and thought
ever saw, yet
one
con-
Ube
fess
ftall of
is
Saturn
165
my
admiration
much
was
the
abated
me
*
Why
so ?
'
repHed
The Virgin
rank in Hfe/
of high rank
'
No
the person
by an angel from
in the
comeliness,
admiration,
divine love.
is
and
I
virgin
modesty,
and
And when
am
am
What
I
justice there
it
is
in this gentleman's
remarks,
leave
to be to determine."
To show how differently two persons of different temperaments may be struck by the same picture,
I will
liard,
may
"
is
by Doctor
Moore's friend.
in
its
human
elements.
Some
in such a
way
mother
i66
Ube art
The
is
pression,
Circassian sultana,
Queen of Heaven,
It is
De Te Fabula
is
a healthy
peasant,
the
up
artist.
risen
to
by some other
Among
space,
well
filled.
Crowe
at the
accomplished
subjects,
bit
is
cramped to
circle.
But
as a composition
graceful, and,
if
the costume
styles,
ous fabrics
is
relief
Whether one
Raphael
is
prefers
Greek or Gothic
styles,
who
unites in his
manner
for
these
167
them.
There are
who
no other
nas.
artist
this rich
Madon-
ture, I
quote from
Lyman Abbott "I came back the Madonna of the Chair; be:
the mother's
face,
me
with
by
his story,
art,
is
was born
ins
Urbino
in
1483.
Raphael's style
:
generally di-
his early or
Umbrian
from
where he developed
till
second
about 15 12;
to
Rome
to paint in the
1520.
acteristic styles in
self is
which
him-
now our
purpose.
i68
Ube art
first
of tbe t>itti
palace
lofty,
The
we have
alluded;
was minute,
careful,
and
The
fuller
second, or Florentine,
style,
a development of this
comprehension and a
sion.
The
third, or
and defined
lines,
and
mod-
More power,
more
ability to express in
he intended to convey,
acteristics of
ages,
were marked
Roman manner
of Raphael.
this
To
what
farther
degree of
perfection
will never
amazing
his death
in a cold
be known, for
was only
thirty-seven years,
and
came
in 1520.
He
had taken a
ous
life.
chill,
Roman
fever,
which
in
169
The
mother
*'
:
It
seems to
me
am no
is
longer in
Rome,
since
all
my
no more."
We
know
how Raphael
is
hanging over
his bed.
His tomb
to be
Rome.
Some
years ago
remains
his
We
now
Madonna
del
by some
critics
detects so
much
earlier master,
it
Timoteo
he considers that
called the
Madonna
del
Duca, as
was very
Ura
Duke Guidobaldo.
It
it
which
was purchased
then bought
for
III.
it
for
i^d
tbc Urt
so
about $800,
transaction.
He
that
it
he had
it
rather
is
it
on
feet
The composition
remarkable degree.
is
perfectly
satisfactory.
It
has
much
Tuscan
painters.
The Madonna
full face,
hand,
while with her right hand she gives him the usual
support suggested by his position.
The
is
infant's
level,
looking in
ele-,
same
direction.
There
is
a suggestion of
if
body there
is
a very
human
As Mr.
Still-
man
says, she
One
how
restful
it
must
down
work of
art.
in the Hall of
Saturn
Ube Dall
The robe
veil
ot Saturn
is
171
of the
Madonna
slightly defined.
As
was
to
convey the
as
local
idea of beauty.
The
Hare
. .
which
is
Perugino."
This
is
in
There
which
scarf
The
the
only
bit
is
This
from the
manner of Raphael to
:
his
second.
" It
showed
that he
;
had
command
over himself
the
modcol-
to the painters
ouring became much clearer and more brilliant.'' " The Madonna del Granduca," says that appreciative critic,
in
it
the mingling
Umbrian
new
style."
When
172
^be Hrt
Diary of an Ennuyee,"
One
"
was suspended beside the bedside of the grand duke. She admits that she bribed the attendant to show her this room, which is never
exhibited,
Madonnas
by some other
pic-
he need not
gem.
In Raphael's
165, the setting
Madonna
del Baldacchino,
Number
fered
vault,
with Corinthian
tre,
throne
is
in the cen-
on which
this
is
and
throne
is
The Virgin
ful.
is
of the Granduca
St.
child
is
delight-
Peter,
in
good
cool yellows
St Bernardo,
St.
Bernardo
On
the right are St. James the Less, and St. Augustine,
in bishop's mitre
and clothed
Two
charming
Ube
from a parchment
them.
"fcall
of
Saturn
173
scroll
two
is
figures,
admirable.
quite as
much
as
The
and
St.
Peter on the
left,
and
staff
on the
The
way
to turning somersaults.
trasts rather abruptly
of the composition.
The next
small scale,
picture to be considered
it
is
is
Raphael's
on a very
work.
upon the
transported
to the heavens,
theme of the
beasts of the
picture.
is
174
Ube art
The
sub-
is
"
And
came
infolding
.
it,
out of
came the
face of a
side:
and
had the
o^f
lion,
on the right
left side;
.
.
.
And when
of an host;
was the likeness ... appearance of a man above upon it. And
was over
their heads
saw
it,
and
it
had brightness
so
in
O'f
rain,
was
the
appearance
of
the
brightness
round
about.
And when
I
O'f
saw
it,
fell
upon
my
and
heard a voice
No more
to a painter,
inspiring subject
nobly.
The
eagle,
symbol of
John,
is first
VISION OF EZEKIEL
By Raphael
in the
Hall of Saturn
Ube
f)all ot
Saturn
St.
175
Mark and
Matthew
all
Two
in the
life
little
angels support
amber clouds
about
beautifully expressed.
Amber
eighteen
light
is
than on this
little
thirteen
by
can
inches.
" Raphael
might be applied to
this majestic
atom.
is
Some
God
critics
too rem-
iniscent of Jove;
Romano's work
and considers
not Raphael's
it
except in design;
little.
with such a
in
result,
matters
It is
worthy of Raphael
any
case,
and ap-
The
ried
it
picture
was executed
for
Count Vincenzio
The French
in
carit
and when
it
was returned
181 5,
was placed
in the Pitti.
is
The
usually attrib-
uted to Raphael.
He
is
watered
One hand
lies
on the arm
is
a copy of an
176
Ube Htt
original in Madrid,
Castiglione.
Passavant
statement.
represents
The
story
is
that
who was
a great friend
O'f
his,
is
Bernardo Dovizi.
This
shown the battle between the Saracens and the Romans in the port of Ostia. This portrait, now in the Pitti, was originally in possession of the Dovizi
family at Bibiena.
The
and
picture
is virile,
refined,
polished ecclesiastic.
Crowe thinks that the head is by Raphael, but that it was finished by subordi" The nates. I quote from his description of it
:
nose
is
it
where
The
seat of
power
is
hair.
The
gestive of cunning."
in
town
in the Casentino,
a valley
behind Vallombrosa.
interest in
him while he was a youth, and brought him to Florence under his protection. He became
Ube
who
Iball ot
Saturn
177
whom was
Gio-
Leo
him a
and
his
portrait appears
was a statesman and an author. The first idiomatic Italian drama is from his pen. Bibiena and Raphael
were friends and mutual admirers.
fered his niece to Raphael as a bride;
died, so the project
There
suddenly in
Rome
in
Van Dyck's
is
which
is
less
simply conceived.
This
a more
intellectual
Still
face,
sickly.
is
Tommaso
It is
Phaedre Inghirami.
It is generally sup-
posed to be a
being in Volterra.
on wood.
it.
Much
is
injured
ries
There
the work.
a strong reminder
pictures,
this
can be only a
is
The Roman
prelate
sitting
at
17S
^be Htt
seems to be
He
in thought,
He
a heavy ring.
Red and green predominate in the picture. Inghirami was a distinguished scholar, Vatican librarian,
and papal
all
secretary.
this
Like
to
cross-eyed people,
in
profile;
man
preferred
be
painted
Raphael
would
not
quite give
ject's
up so
face,
The whole
face ex-
Considering his
The
face
is
by beautifying or
The
is
finish
delicate glazings,
accurate
and smooth.
Tommaso
both parents.
to
two years of
he went
Rome
to study
ond name
because of an occasion upon which he exhibited great presence of mind. Seneca's tragedy, " Hippolytus,"
was being
acted,
Something
machinery
Zbc *all
arrested.
ot
Saturn
179
and began
sion,
impromptu Latin
verses,
which
in those days
He
title
became ambassador
in
1495* ^^
of Count Palatine.
Pope Julius II. made him Bishop of Ragusa in 15 10 and secretary at the conclave in 15 13, when Giovanni de Medici was elected Pope Leo X.
Raphael
He
died at
effects of
fall,
at the
this
it
age of forty-two.
portrait
is
not
known
it
just
when
came
likely that
Leo X. obtained
from Inghirami
himself.
"
What
distinguishes
phael,"
says
Symonds,
He
on what
is
loath-
some or
horrific.
He
shunned stern
Even sadness and sorrow, take loveliness from him. His and painful subjects.
.
. .
. .
Touched by
is
his inno-
once more
flesh
harmony of
intellect
and
and
Instead of asceti-
"
iSo
Raphael."
Mr. Strachey
of the master, "
says,
in
summing up
upon
the
the genius
of the art
of Raphael seem to
in a
me
to rest
his possessing
gifts of
.
rhythmic constructhought
is
tion
and
lyrical
beauty
ex-
pressed
firstly
and
figures."
No
so equally to intelligent
and uneducated,
to scholar
and to peasant.
Says Longfellow:
Raphael
;
...
He
is
not dead,
for
Who
immortal in
To
is
turn
from Raphael to
master,
let
us
It
pictures.
in
was once a
pupil of
and he
in turn
was a
He
showed much
of mist or mystery;
full,
everything he paints
in
clear light;
no
call
sudden lights to
all is in
a glow, some-
iSi
times almost as unadulterated as Fra Angelico's. Ruskin says that " no painter belonging to the purest religious school ever
with his
lucid,
straightforward repre-
a devotional
spirit.
The
ecclesiastics
were most
and any
artist
who
did
al-
lowed to paint
work.
altar-pieces.
Ruskin seems to be
in his
Raphael
style;
the materials
no brocades were
ornament
edges of robes, or in
freely,
He
in foliage.
i82
ube Hrt
Perugino
he employed
it
This
pera painting;
it
it
is
impossible to model
lie
as if
it
were
it
oil
paint;
must
as
first
applied, therefore
helps in the
effect of
shadow
Occasionally he
is
undoubtedly used
oil;
always
in
tempera.
is
story
told of
how Perugino
artist
read a lesson to
where the
was working.
As
ultrait
was
who
ordered
the picture should supply the ultramarine, so that the artist should not be put to such heavy expense.
This particular old prior was for ever watching and peering about to see if Perugino was using too much
ultramarine.
trust,
The
it
painter
in a
was amused
at his dis-
and repaid
his brush
He
took occasion to
wash
was
that
he
had
up the powder
he presented
to the
the t)aU
suspicious prior,
father;
of ^atutrt
1S3
saying:
"This
belongs" to you,
deceive those
who
know how
yourself
if
they desire
of
the
tO'
do
so."
The
beauty
landscape backgrounds
of
know how
enchanting
little
rolling
distances,
towns
visible at
once
hills,
in various places,
forti-
fied
towns capping
If
approached by winding
in the
white roads.
Assisi
monastery at
and looked
stand
how
all
these things
may be
In-
clear a light as
Perugino
depicts,
is
here to be seen.
The
is
one
was
The
space
is filled
in the
manner.
felt in
The
is
justly
famouSc
i84
Both as a
tance,
is
unrivalled.
The
faces
have serenity of
beauty.
is
The
Our Lord
drawing
specially
worthy of
The
expressions of
all
None
tions,
and yet
all
the
The group
is
somewhat passive;
it
is
per-
is
way
is
in
which
Perugino
the
fire
is
usually religious.
There
none of
ous
life
The
balance
more
noticeable
action.
"
The
expression of heart-stricken
is
which
exquisitely
1S5
Entombment
is
the legiti-
mate forerunner of
The
Saviour's body
sustained by Joseph of
Arimathea.
The Magdalen
is
The
Virgin mother
ing somewhat,
Over
their
this
tempted to treat
form
is
Mary
The head
At
is
perhaps
one of the
on his head,
is
holding the
John
and
an
one,
showing the
One
little
of these
is
a lovely
shows too
it is
We
i86
Ube art
it
exhibits in a rein
skill
it is
drawing and
In this detail
possible to trace
the fine lines of the hatching, which are so characteristic of his style.
It is as
significant
an ex-
his
work
as could be
The
Chiara.
Pieta.
picture
was painted
is
This subject
usually
called
in
art
There was a
one
Francesco Pugliese,
who
if
offered
the nuns
sell it
three
they would
to
him;
ture went
first
to the
Academy, and
it
then,
under
was brought
One of the finest of Andrea del Sarto's pictures, and among the -most celebrated, is the Dispute of
the
Holy
has
Trinity,
or
"The
of
Disputa.''
It
was
monks
San Gallo
early in 1518.
passed
through
many
vicissitudes.
The
in the
Hall of Saturn
187
in
Then
Arno
1555 rose
was badly
fact.
soaked, and
still
shows evidence of
it
this
came
to the
it
Pitti Palace.
Crowe and
at
Cavalcaselle speak of
:
" In order to
show
that he
was
home
in every
mood, he accepted a
dis-
the attitudes
are grandiose;
the
forms
his intellectual
power more,
The group
It
and
is
full
shows
Seis
who
St.
seen a vision of the Creator, shrouded in a red robe, sustaining the figure of Christ upon the cross, typi-
al-
though
disciples
may
i88
Zbc Htt
Observe of what
what
Augustine, the
expounding
his
views to
in the
St.
group, stands with an open book and a deterhis face, awaiting his turn to
is
mined expression on
make
reply.
Peter Martyr
dressed in the
at
Do-
minican habit.
the extreme
may
The
other
terrible
St.
emblem
of
his
martyrdom,
Sebastian
St. Francis,
As
was painted for the Augustine friars, it is natural that Andrea should have chosen the moment for representation when Augustine was apparently
The
intro-
who
between the
first
and sixth
Thus
DISPUTA
By Andrea
del Sarto
;
in the
Hall of Saturn
Ube
Iball of
Saturn
189
distinguished in
some way.
Aud.,
well
was one of
preacher, and
nified
figure,
no
artist
His
is
noble head
the
While he was
general under
whom
rank
Two
him
put to death.
So they hired
assassins to
waylay
him between Como and Milan, where he was obliged to pass through a wood. They struck him on the head with an axe; the blow felled him to the
ground, and they then turned their attention to
the
lay
brother
who accompanied
him.
They
190
IC>ittt
ipalace
Martyr,
who had
struggled to his
feet,
repeating
the
work with
pacific
sword.
St.
much more
for St.
if
than
well maintained,
Francis's face
he would rather
go on with
St.
Lawrence
concerned;
is
much
in
the
St.
life
of a true Christian.
Sebastian
seems to
have been
introduced
and to
a a
The Magdalen,
particularly
fine
is
and
this profile is
piece
of
anatomical
delineation.
The hands
tion.
of
all
Probably no one ever drew hands more faultthan did Del Sarto.
is
lessly
This picture
"
full
The
"
says
Woltmann,
is
still
Ube
combined
in a
Iball ot
Saturn
191
clear outline."
Much
Although the
Correggio
the luminous
little
head,
Number
153,
is
the only
in the gallery,
it is
characteristic,
and has
glow of the
quality
artist's touch.
Correggio
like
was
in
essentially
Greek by nature.
of
his
He
mind.
is
Sappho
a
the
poetic
and shade,
not
He was
a great in-
He was
born in
an obscure
baptismal
in 1494; his
He
stands
and
own
loveliness.
His
quiver.
There
is
nothing
They are
literally spirits
more
modern
standards than he
really typical
features of
Of
192
Ube Hrt
own
creations,
worthy.
In an appreciation of Correggio, Mr. G. B. Rose
says
:
is
divorced
neither
from
actual
evil,
goodness;
but
Correggio's
is
good nor
glad."
Of
is
no suggestion
that
it
failed to inspire
him
with respect.
The sweet
ample of the
is
a good exit
is
no more important
always
works of
his with
which
it
might be compared.
is
refreshing.
Giorgione's
Nymph and
Satyr,
Num-
ber 147,
is
one which
is
and agreeable.
expression
'*
applied to
Titian,
when
Giorgione was
bom
in
we may
home
laid
upon
his
Ube
l)all ot
Saturn
193
vades his
him perform at their The spirit of harmony and gladness perwork; he was the first great Venetian
spirit.
was
still
mediaeval in his
Giorgione stands
smooth school
and the
later
Tintoret.
He
He
de-
Vasari
tells
of a whimsical
in order to paint,
as he
in such
way
and both
profile
In order to ac-
of a limpid stream;
front view of the
same
figure.
On
was supreflected a
off,
and
in this
was
view of his
figure,
was seen
in a mirror.
194
Ube Hrt
He
monumental
feeling
later
work of
Tintoretto,
human and imaginative artist, for the normal human being has imagination, and it is no more characteristic of human nature to degrade and brutalize
a sympathetic
it.
The nymph
is
The
picture
A Nymph
She
Pursued by a Satyr,
flight,
quite happy.
is
clothed in leopard
Her
luxuriant hair
is
curious picture.
Number
148,
is
called
It
the
looks
and the
like.
It
its
the real
is
power of
stiff,
painter,
Dosso Dossi,
for
it
a crowded,
but there
it
it
is
worth noticing.
Undoubtedly
is
an early work,
final
Ube
manner.
f)all of
Saturn
195
At
the
left,
a crown of leaves;
cature of Bacchus.
ures,
he may be intended as a
Close about are the other
carifig-
two women, dressed in a gaudy and wanton manner, and a jester with his bauble; on the mosaic top of the table is seen a tambourine, and one of the figures in the background carries a bird. They
are
all
One
of
them holds a
dog.
149, representing Ippolito Ippolito de
The
portrait.
Number
His escapades
his
Hungary
his
will be alluded to
when we study
room.
portrait
spite of
by Titian
in the next
He
was, in
adventurous
Itri.
tastes,
made
a cardinal.
He
full
died in 1535 at
face,
tache,
table,
wearing a sword
one hand
rests
upon a
is
laid
Van Dyck's
rietta
and Henall
students of history.
Whatever may be
I.,
one's judg-
English
refined
fanaticism,
who was
196
Ubc Hrt
and wisdom.
present, as this
without force.
The next
Francis, and
is
She
is
roses.
life in
While
The
kill-
picture
in 1668.
an unusual composition.
in
The two
figures,
fill
necessarily
the
elbow of
Thus,
literally,
two men,
meeting
Cain
is
who
lies
is
The
picture
spirited,
and
is
force, disis
playing
both figures.
The background
Ubc Dall
of
Saturn
197
One
the
little St.
John
asleep,
Number
difficult
154.
The
child lies
finish is
in unconscious relaxation.
Although the
for
smooth,
a
it
would be
more
The
attitude
natural,
face indicative of
little
He
lies
upon
thus,
his cross,
young
St.
John usually
is
car-
and
him
praying
As
is
the
Madonna
is
often repre-
Elizabeth
all
vision of
to come.
May
He
His
pic-
marred by
Charles Blanc
calls
him
The
tones of
and harmonious.
He was
his best
Among
St.
Weeping.
198
Ubc Brt
His manner
said that his
it
is
was
affected by seeing
said
more works attributed to him in the of Europe than he could have painted if
life.
The Madonna
O'f
Madonna
The Virgin
sits in
the clouds, in
slightly
almost on
is
own
face.
The
child,
however,
charming.
perches^ a
lovingly,
ful
He
little
He
is
and with
a grace-
and
infantile attitude.
The
is
silhouette of his
is
little
very pretty.
At the
is
right
an adoring angel, a
intellectual being.
is
spiritual
and
The Virgin
ular,
beautiful;
the nose
rather irreg-
ideal to be strictly
human.
Her
hair
is
arranged
at the
back with
fillets
and
There
is
lumi-
Zbc
and a
f)all of
Saturn
199
Every
line is soft
and every
numbered
156.
manner of
Jesus
is
On
a pedestal in a niche
arm
raised
on high,
and
in the left
hand carrying a
staff
cross, his
in white.
On
either
side of him,
are grouped;
St.
John and
St.
Luke and St. Mark on the right, Matthew on the left. These are
is
heavy,
school;
An
above
this is
MVD"
and above
is
The
picture
is
C,
pinxit., 1516.*'
The two great figures of Isaiah and Job, which are now in the Uffizi, were originally the side panels
to this composition,
scale.
200
Ubc Hrt
The Moses
of Giorgione,
Number
i6i,
is
a long
left is
At the
Moses
which
Two
ashore
women
by a
it
stick.
and
it
is
They wear
mantles, fur-collars,
little
dog
is
jumping up
boys are
new
acquisition,
and two
little
At the
right
is
an or-
while a
man
is
health of the
little
The
and serve
their
They
some
piece of furniture.
to Bonifazio.
in the
This one.
Number
163,
is
painted on a
long,
narrow
The
Vir-
gin starts back in terror and surprise at the apparition of the angel,
who
Ube
site side of
is
Iball of
Saturn
sill
201
the panel.
On
the
of the
window
there
lily.
Two
There
was painted
for Julian
cheerful
little
panel
is
Giulio
Romano's Dance
a wreath
It
lips
parted in song.
rest-
by Campagnola as
hut
is
little
ground
left
and on
on
their
At the
feet of
Eve
lies
human
skull.
a matter of conjecture
they being the
first
Venetian
is
many
:
of
whom
Titian
said to
in the
have been
jealous.
He
mark
of artifice."
One
202
is
Fra Sebastiano
Piombo's Martyrdom of
extremely
St.
Agatha.
rich;
ful
The
warm and
figure of
specimens of Renaissance
is
The
the saint
tween the
tints of her
creamy
is
striking.
Schegel,
in
his
''^Esthetic
Works," makes an
How
have
after
many
first
spectators turn
away shuddering
Martyrdom of
St.
Agnes by Domenichino,
or
Agatha
in
Agatha.
No
for
blood,
as yet
instruments
we do
203
of a martyrdom.
the horror which
It
it
is
pro-
duced by the
resentation.
The
artist
the
of the torture.
noble
woman
still
few who
the design
who
An
doom approach-
speak more indignation and contempt for her miserable tyrant than concern for her
own
sufferings.
In
. .
him
in his
and subduing- a
Perhaps noth-
204
more worthy of
notice
soldiers,
who
Mute
spectators of
alter,
dare attempt to
.
like
There
is
a reif
markable resemblance
this circumstance
yet
more
of these tragedies."
The Tragedy
ber 182.
of the Forty
Crowned
Saints
is
Num-
The legend
is
edifices,
We
recog-
of in
many
ingenious ways.
in
features.
November
in the year
400
a. d.
In
205
seen,
a youthful tyrant
on the
left
may
Madonnas;
and
Salvator's
is
Poet
hangs
here,
Number
less
i8i.
There
also rather a
weak copy of
in
Titian, a Bacchanale,
sylvan
creatures,
little
dancing.
CHAPTER
VIII.
ILIAD
Iliad stands a
The treatment
of the subject
is
The
the
called
picture of
first
is
commonly
power and
practical sense," as
has given
The work
is
playing.
full,
The hands
rich chord
finely.
Evidently a
being struck.
The modelling
is
master-
ful.
At
O
J
<
Ubc Dall
of tbe Iflta^
is
207
resting his
hand
what
the
is
it is
a lute.
rather
on
He
is
white-plumed
is listening.
hat.
By
courtesy
it is
assumed that he
the
first.
The
answered
it
to the satis-
faction of
all critics.
To one
But on one
point
all
must agree.
all
as
Symonds so happily
expresses
it,
" the
Abt Vogler,' passing through his Timothy Cole, who has made an
tells
eyes."
exquisite engrav-
a story of people
who
passed
of different tourists.
Two young
ladies
herself regarding
One
effect
2o8
that
ing,
it
ubc art
" Oh, brother,
sister of this
exclaim!
The
it
ferent impression
how grand how glorious " young woman had received a diffrom the picture. To her she said
laid his
seemed as
its
if
that
hand on
obliged to request
him
two
girls
came
up, and,
first
Melancthon just
own
out
of the age.
these critics
When
ambled up.
of the " old beer saloon
!
One of them remarked upon the likeness monk " to " the one we saw in the lager"
the extremely
c o o
Ube
Iball ot tbe
ITltat)
209
was of somewhat
from
its
different
But
it
was
cut
When
returned to
its
was added
in the
young
There
which
is
is
is
warm
perhaps a
little
dimmed by
varnish.
There
effect-
ive
among
is
some rather good reasons for this. Grant Allen accepts this amendment, and the Braun Catalogue
enters
it
as a Titian.
whom
(and
who
is is
when
experts disain
He
sold
it
to the
Grand Duke of
monk was
in
the
same as the
Man
is
with the
Glove
in the
one of the
arguments
artist.
3IO
ube art
Flame
of Life."
"
dra Vivaria
at the
of the
moment of the Venetian soul. By means harmony of colour, the power of significance
is
of which
working of a yearning
whom
life
of a rich inheritance.
"
The monk
and
his
monks
They
are of nobler
and stronger
finer
and the
and richer
it
is
What
must
draw
working
in the
is
mu-
He
half-way
through
he
is
already detached
from
life is
only
now
good
which
an
fall
known
He
does not
un-
comes
desire, while
weaves
such
itself
as
it
before
His compan-
who
is
Emerging
we
whom
Hellenic
ideal
maphrodite arose.
stranger, separated
He
own
is
there, present
no care but
finitely his
is
for his
to
dream and
to multiply in-
power of enjoyment.
life
He knows
that he
master of the
the harmonies sought after by the player seem only the prelude to his
own
feast.
He
glances sideways
intently as if turning to I
know
cinates
him,
His
212
closed
kiss;
Zbc Hrt
mouth
is
but
if I
consider
in the
imagine them
perfume his
The
one of the
this master.
The
inis
The
face
is
that of a youth
he
showing that
after
his
it is
Christ
crucifixion.
in
art.
On
sym-
Day
On
Evan-
St.
Peter at the
books, and St. John with his eagle and book on the
right.
restful.
is
refined
and
vis-
ion,
it
might be
with
213
The
left,
first,
At
the
Edward
of England
hand on
placed on the
St.
England may be
either St.
Edward
the
wood by the wicked treachery of his stepmother, or St. Edward the Confessor, who is a later and more familiar saint. In the case of the
was stabbed
in a
is
palm
in the case of
which English
saint
was intended.
ground
is
move independently
The
of his
is
ground
the
The
all
Bologna.
They were
were
Agos-
tino',
and Annibale.
we
are
now
214
Ipitti
palace
concerned.
in
1
bom
in
Bologna
560.
Nearly
art
which
is
owes
power
to the in-
They observed Correggio and his peculiarities very closely; they knew anatomy well, and understood the human figure. In treating costume, they were rather noted for good plain folds than elaborate detail; drapery well managed rather than decorated. Mengs does not consider them consummate as
colourists.
faded.
being used.
They employed blues freely; often to the verge of They abandoned the yellow tones which coldness.
had been so long
in
vogue.
all
It
In a group of artists
who were
few
had
all
drew the
;
statue, observing,
words
The
Rome,
mark
line of the
Golden Age
in Italy.
Annibale died in
in 1609.
Ube "baU
The Assumption Sarto, Number 191, The Virgin is top.
directed
of tbe fllfab
215
The
face
that of a
is
woman who
first
youth.
angels,
feet is a
She
two of
whom
hold tablets.
Below Mary's
in a strong light
celestial vis-
Below are
gaze above.
some
There
is
is
Some
of the
are unfinished.
is
the
picture
Andrea
upon
it.
that
It
Panciatichi,
who had
ordered
it,
and
it
hung
in
the house of his son for a long time, being sold after-
wards
to the
The
arm
raised
2i6
startled,
modelled)
lifted in a
gesture of surprise.
This picture
may be
The Assumption of the Virgin, by Andrea del Sarto, Number 225, hanging in the same room, is sometimes confounded with Number 191. The
upper part of the canvas
gio's
is
quite like
some of Correglights.
The Virgin
slightly upraised.
Her
observer upward.
for a signal
and
She looks
as
if
as
if
that signal
little
angels,
The
saints
and extended
Margaret of
St.
of the pose.
St.
Cortona appears
garet
Mar-
was born
Tuscany, and
in her
youth was
a noted evil
liver,
having been
left
early an orphan,
One
of her lovers
dog
body so
afifected
217
a saintly
life.
legend
is told,
that as
was bent
in forgiveness.
ative of the
Magdalen
little
As
a rule the
;
dog
in art
St.
omitted.
He was
Minor.
The
first
his
in his bath, in
God
him
He
is
He
Weddeter-
nesdays
or
Fridays, being
from the
first
mined
left
He
sums
Many
famy through
unknown
generosify.
One
narra-
2i8
tive
is
Zbc Hrt
of tbe
ft^itti
palace
to steal
related of an innkeeper
who used
children,
and serve up
their
The
down,
arose,
and the
home
to their parents.
Niccolo
are
three
to
balls
some
three
The
at-
claim
that
represent
girls
widow from
starving;
St.
some say
His
who had
relics
unchallenged,
acens.
was painted for the Cardinal of Cortona, and was placed in the Church of St. Antonio del Poggio in that city. The grand Duke Ferdinand
II.
The
bought
it
in 1639,
and
it
was taken
is
Biliverti's
the door,
iverti
one of his
finest
works.
Giovanni
Bil-
was a Florentine
living between
1576 and
TOBIAS
By
Biliverti
in
219
and a pupil of
Cigoli.
bought
it
from the
artist
it
has
what dramatic.
the Angel.
it is
The
and
out-
As
will
the story
told in the
Apocrypha,
probably unfamiliar to
it
many
readers.
An
line of
ing.
marry a
suffered
leaving at
home
his
father,
who
in
from blindness.
his journey,
reality the
accompanied by a stranger
who was
Tigris.
"
And when
wash
the
to the
river to
Then the angel said unto him, Take the fish. And the young man laid hold of the fish and drew it
to land. " To
"
whom
Open the
fish
and
take out the heart and the liver and the gall and
put them up safely."
.
The
Jthes^e
220
devils
Ube Htt
and
in healing blindness.
returned home, his blind father " And he took hold of his father and strake of
the gall on his father's eyes, saying:
Be
of good
hope,
who
" I
am
he
moment
in the
story,
his father,
with
newly recovered
who
sage.
is
them
his great
mes-
The
instant of transition
is
from ignorance to
could hardly have
knowledge
action.
more
moment
preme importance of
incident.
Tobias
in
has
his
made
hands,
his
offer of jewels,
which he holds
the
the
pression,
quite
remarkably
indicating
unac-
customed sensation of
sight, stands
The
lips
tbe tall
of tbe
lUab
2^1
In point of
fact, instead
of such a picture
full
St.
young Tobias took living from the stream, whose heart, consumed by passion, put the
the fish which
demon to flight and restored sight to the blind." The heads of the three chief figures are beautifully
drawn, that of the angel being, as
it
were, a Greek
also are
is
head
in a
Renaissance setting.
The hands
soft.
in soft
grays and
is
Thus even
the colour-scheme
thought-
ize
lying on the
is
His wing
bent
way
which,
if
On
the
ground are
any
bow and
quiver.
fails
to give
subject
not objectionable.
The
face of Jesus
is
222
in
B>itti
ipalace
shadow.
The
way,
and
is
acceptable
if
not striking.
is
not
metallic
his breast.
The
He
is
in
no
way
demand
of the subject.
St.
Her upal-
turned face
in
rather
stiff,
the gen-
in the picture.
Two
ual,
a white
The Holy
falls
ing light
which
all.
In
this picture
of his
style.
The background
is
that of a thick
Ube
223
was a shady
ncx)k
by the side
many
There
artists,
who have
broad open
is
river.
picture with
may
be
On
gin,
At
the top
on the right
of Vincenzo
I.,
Duke
I.
of Mantua. She
was
a daughter
of Francesco
brought up
She
is
dressed in
we
ruff;
is
dressed
young
artist
dying
in 1593,
art.
having come
He
reached
Van Dyck
of the Ro-
man
school.
He finished
and even
his pictures;
he
expression,
even when
laboured,
His
style
was
224
but
it
was
full
he
lived.
A
saint.
stiff
head of
St.
;
hangs
in this
suggests the
He
is
simply a
man
in
An unknown
much charm and
top of the
portrait
by
Tinelli
is
painted with
sprightliness.
opposite side.
numerous
portraits
in
a decollete
She
It
is
gowned
a very
and
'*
is
is
" dressy
portrait.
daughter of Francesco
bom
of
This
to gallantries
which greatly
who
good-
less
who had
husband's affections.
has of-
225
Her
is
her
even
history
She
lived to
in
be sixtyher youth.
She died
There
;
There
is
thor-
oughly Spanish-looking
man
The
IIL,
Number
in
190,
is
King of Denmark.
It
shows a youth
armour,
col-
He
is
The
portrait
us,
is
a decorative
one, and
is
familiar to
most of
through photo-
graphs.
A mediaeval,
from
portraits
on the other
side.
It is
human
cool, restful,
among
airtist
who
226
Zbc Hrt
1557.
naivete.
feehng.
The handhng
is
Perugino, but " for mastery over oil painting," says John Addington Symonds, " and for charm of
colour,
is
best in Perugino,
There are
dinando
II.,
portraits, too,
Bronzino,
lives
by
the
accounts
of
will be
found
in the
Number 215
doza, by Titian.
is
was painted
while
Men-
good
subject,
it.
a favourite of Charles
The emperor
of Valencia
conferred upon
him the
viceroyalty
when he left his kingdom for an expedition into Germany. Mendoza was also Ambassador to Rome and
Venice, and was brought into close relations with
skilful
master of diplo-
Ube
227
and
it
was
which he
Benedict
among
is
Paul Veronese,
master's gorgeousness.
The
saint
is
displayed in
a cope
O'f
regal magnificence;
His attitude
crozier.
benign
and
of
stately,
and he holds a
At
either side
Placidus, his
two
St.
At
many
is St.
ments of nuns
among them
In the sky
The
197,
is
an oval
pic-
in a corner.
It is
a graceful
partly
composition
of clinging
children
about a
draped woman.
afifected.
22S
Ube art
is
of tbc t>itti
palace
Hanging high
II.
of Spain, by Titian.
is
Velasquez
presents the
realistically,
but
monumental
effect
It is interesting to
artists,
genuine impression
may be
gained
how
man
spirit there
was
in him.
his repu-
in
cruelty,
imperfectly educated,
grasping, avari-
power
his
at his
will,
command, he
all
own
and destroyed
open warfare
or secret plot
of
who
withstood him.
Motley speaks
ventured near.
him as a
all
who
and as
invis-
have ever exercised so great a power, and fewer have ever used
it
for such
unworthy ends.
ery, conspiracy,
The murderer
that he should
of Will-
iam the
Silent,
it
is fitting
have
re-
Ubc Dall
ot tbe irua&
229
The
Philip
II.
and Alva
and
We
of
of the
resources
Philip
sufficient
modem
thought;
one
tion.
oif
He was
religious,
to
Hun-
He
is
In
hand
is
He
one.
He was
Duke
of Nemours, and
was born
in
Urbino
in 151
1.
230
'Q^be
Hrt ot tbe
ipitti
palace
who
be-
came
fitness
was a conIppohto
his first
Pope to bestow.
and took
disposition,
army when Charles V. assembled a host to go out against Solyman and the Turks. Clement VII., who was then Pope, appointed him as his legate, and gave him three hunopportunity to join the
whom
he proceeded joyously
His
more
peaceful fields
nounce him
slightly insane.
He
had found
favour
with
Pope
ap-
Clement, with
treaty,
whom
he decided to
who
was here
is
The bronzed
visage
painted
remarkably
lifelike
The
"
description by
Crowe and
No
231
tous cunning.
in the
There
is
and
elevation by a broad
lineaments,
any
research
of
miniature.
to
essential
the
Looking
strained over
is
the
skill
the result."
It
is
on the
breast.
It is
the draperies.
delicate finish
As
usual,
transitions of half-tones
col-
ours," as
Crowe
describes his
method of mottling.
The picture has a landscape background. The weak, vicious face of Francesco I. de Medici confronts us in Broozino's portrait, Number 206.
This was the son of Cosimo L,
bom
the 25th of
arts
March, in 1541.
He
and
letters,
232
tions
Ube art
were involved.
He
He
used to
cir-
cumvent
in
plots
and conspiracies
in the
:
and chronicled
which
I
quote
"
He
when
all
was distinctly heard in a Here he often took his the other side.
that
said
was
gallery
on
post, and,
much
to his honour,
if
he detected
in
tiality,
the cause
decree reversed,
This good
woman was
stant
The
in
In
set
but in vain.
Our Lady
of Loretto
was powerless
Ube *all
and Johanna was put
in 1578.
of tbe IHfab
1^33
aside,
and shortly
after died,
The
this
trouble,
Number
beautiful
204,
hangs
here.
It
was
She
is
richly dressed.
She wears a
gown
of embroidered stuff
were
frills
left
Short
The neck
is
a lace-trimmed chemisette;
She
The
Her defenders say that Bianca was a virtuous woman, and that she was never the mistress of Francesco. Her husband was a weak and lazy member of society, and Bianca was finally reduced to taking in washing to supdesperately in love.
Finally,
was
in the
way;
that
it
434
tbe Htt
him to death, but that the same grand duke would pardon any assassin who chose to kill Pietro on his own account. One day, not long
business to put
after, the
on a bridge near
virtuous
in
home.
was certainly very much attracted to the duke, went to him in all the " pomp of mourning," and demanded justice foT the *' murderer." Whereupon
Francesco replied
:
"
The
you
marry you myself." This arrangement conforming absolutely with the proprieties as Bianca
is
to
Their only
Some
it
if
nand came to
luncheon.
visit
A tart
was
set before
them.
of this delicacy,
He and
By
a curious coin-
235
is
the Gold-
work
for generations,
and
it
is
interesting
The Goldsmith
is
now thought
It is
to be the
work
of Ridolfo Ghirlandajo'.
The main
little
in the
charming
ground.
The
expression of the
which he holds
hand
it
very living.
It
might
by a painter
under
it is
in representing
an ideal subject.
is
The
But
lip is
not regular.
;
the small
touch of
happy
relief.
and was
also'
what
:
in
236
Ubc Hrt
ot tbe pittt
etc.,
palace
When
him
invited
to assist
him with
Vatican;
refused,
foresight,
to posterity in connection
He
and
Many
amusement than
what might be them
as a profession;
called
was
an amateur.
He
assembled
instructed
arts
him and
minor decorative
which
He was
it
with fortitude.
He
seer,
and
visited all
new
buildings, gardens,
etc.,
Vasari
tells
how
Ube
237
was
it
so greatly
had formerly
Vasari was
knew
it
again."
when he
I
man
shall
artists
who
deformed made
1560, and
beautiful,
was
interred in Santa
Maria Novella.
In
Madonna
above which
Bartholomew, standing
by on the
stands in
right, is
in his
and a book
On
the
left St.
Michael
full
heavy
St.
side.
He
hand.
His head
is
The
angels at the
upon a
violin
painting that
almost a monochrome.
relief,
It is
well
drawn, in good
and
is
a fine composition.
238
ipittt
ipalace
is
The
kind.
St.
stately
The
infant
is
hand of
Catherine.
St.
ence was
named
for this
She was a virgin of Cappadocia, and was She was tortured and then beheaded,
have issued from her
and her
spirit is reported to
mouth in the form of a white dove when she died. Her usual emblems are a crown, a palm, and banner with a red cross on it. This picture was painted It hung in 1 5 12, in partnership with Albertinelli. originally in the Church of San Marco, but was
taken to the Pitti in 1690, where
it
was placed
in
imo
III.
it,
which
was given
to $800.
was equal
is
a good portrait,
The man
is
is
he
The hands
In
a thor-
Bar-
239
Born
in Venice,
in-
and other
sciences.
After having been for some time in diplomatic service in Venice, he accepted the position of
Ambas-
He
died in 1570.
St.
is
as
It
his pictures.
full
prettiness "
in Dolci's
and the
day
;
was admired
ception to
it
Number
rior,
standing in
spectator.
He
is
little
moustache above a
is
His
Rembrandt.
is
The
foreshortening
slightly doubtful;
but appar-
is
perhaps to the
battle-field,
St.
is
by Perugino,
wood
in oils.
this master,
who
g-enerally
employed tempera;
240
Ipitti
palace
is
The Virgin
on a
attitude.
The
He
is
fat thing,
with
one finger
right
in his
hand
raised,
to sug-
so interpret
it.
The
not
among
little
Perugino's
fig-
but the
kneeling
St.
would be impos-
him
whom
landIt is
he
is
adoring),
The
most
delightful.
and yet
detail
Umbrian
hillside.
The
work on the
and
of the Virgin
is
only
is
face,
is
a shade of
and yet
foresees, as she
was usually
believed
241
that
is
The Madon-
Madonna Granduca.
may have been one to which the youth gave special attention when he came under the masThe head-dress is most gracefully ter's influence.
This head
arranged, and
the head.
is
Number 221
is
was painted
1520.
There
gione.
is
The woman
in Titian's
wound
foliage,
portrait of a scholarly-looking
He
is
The
painting
else.
242
St.
Ube Hrt
really inexcus-
able.
she
is insipid.
This conception
is
portrait,
The Gravida
of Raphael
is
This
is
doubtless precisely
One would
it is
was an
idealized line in
In
and execution
a masterpiece;
of beauty,
as a thing
well,
It
is
admired
it.
rank in technique;
Del Sarto.
like Raphael.
The
is
not
Madel-
can
still
be claimed as gen-
Number
She
at
is
230.
The
Virgin, in a blue
is
the cen-
nothing more or
less
than an
her
The
is
sleeping child
lies in
arms.
Angels
infant,
him
a crystal vase.
Near a portico
in
man
unrolling a scroll,
243
The
ture
is
painter
was
in
Everything in the
pic-
drawn
of a ridiculous proportion;
the Madonna,
it is
and as
to the neck of
it
has
The Madonna
" full of grace
Long Neck."
Vasari finds
it
and beauty."
of landscapes.
He
and
his
wife,
Ippolita,
both
travelling about
these
journeys
that
Rome.
who have
a decided ability in
effort to
one
line,
music.
"
He who
he has
lost
know.
to heaven,
in the
Assumption by Lanfranco,
literally
swimming up
like those of
Cor-
reggio at Parma.
angel of
244
Ibttti
ipalace
her, appar-
welcome
out of a book.
idea of the scene.
In
Madonna, with
II.
Cosimo
III. as
an infant, and
St.
Joseph represented
Susannah
is
represented as havit
in this
afar,
her draperies!
The bath
itself is
an attractive one,
and a
sedilia.
A
is
is
Number
236, by Bassano.
there
is
It represents
a domestic interior;
no
ulti-
mate
On
in the
foreground on
is
the right
in
is
fireplace,
engaged
is
Lazarus
seated
Martha, rising
Zbc
I
t)all of
tbe 1lta5
245
from the
left
who
is
entering at the
Mary is already on her knees at the door, kissing the hem of his There are many domestic accessories garment.
through an arched doorway.
room;
and,
some fowl
on the
laid
left side, in
man may
be
bom
in
He
who
used to go
mema
Mark upon
all
He
was, in
setting,
fact,
a sort of Beau
Brummel
an Italian
less a subject
of mirth.
He
CHAPTER
IX.
one example
be passed by as a
less
stiff,
we
realized that in
is
any work of
this
unique
master there
is
well to consider
is
many whose
tO'
upon
In the
friar.
first
place,
the artist
was a Dominican
life
of a monas-
tery,
painting,
is
not to be wondered at
if
the repre-
came
less easily to
O'f
celestial
visions.
He
him was
of
Umbrian
art;
from the
247
He was
his ideal
His
service
to
his
mind.
was
body
were
woman? No;
lights, as
his
aim was
finest
gold, the
he conceived
his
we gaze upon
is
we
there
reverence so
profound that
effects of the
detail
it
and
whole
in equal perfection.
unclouded light," says Ruskin; " his shadows themselves are colour,
his darks."
One must
more
full
pre-
is
" the
out-
spirit."
His
gelico
real
name was
Giovanni.
He was
called
An-
from
and after
his death
him the
prefix of Beato,
248
t>ttti
palace
The
(1387
In most
men who
convent;
art!),
called
the
down from
quotation
"
On
physiognomy
three cubits;
The
Her
height
The most
Paint the
How to
Apocalypse," "
etc.
Artists
rules,
He
gives
strictly observed.
Theophilus
colours.
tells
how
to grind, prepare,
and mix
Ubc Stanja
to this recipe
fill
:
of iC)rometbeU5
little
it
249
"
Mix
black with a
white and
yet
add to
white, and
in
more For
been
all-sufficient
fill
"
Mix
little
and
in the hair,
One
from the invaluable education of personal experience) that the artists of the early period received.
naive and insufficient teaching there lay a wonderful spirit of devotion, and that " ca-
But behind
this
mod-
Listen to the
tell
me
yo'U
do not
feel
Theophilus,
an humble
to
all
priest, servant
Skilful in
let
no one
as
received
let
but
him be thankful
from
whom
.
. .
and through
whom
all
God has
filled
his temple.
Through the
f
)
^^o
Zbc Art
ot tbe
iC^ittf
ipialace
Through the
spirit of piety
you regumeasfollows
ure,
(And here
"
And through
not steal in."
may
Blessings
Do
new With
meaning
after
his
exhortations?
Browning
"
How
Utter
shall
fit
we
prologuize,
how
shall
we
?
perorate,
Make
of the
'*
!
With a
tolerance,
then, bred, as
let
is
all
tolerance;
of understanding,
us examine
this
picture of
Fra Angelico's.
Unfortunately,
it is
good
deal restored.
sits
It
framed as a
triptych.
In the centre
the Vir-
The
The
is
persistence of mis-
The
Child
is
also in
09
(U
(U
P4
r1
"J
< o
Ube Stansa
rose colour.
ot lPrometbeu5
251
Mary
holds a box,
This
is
not
orig-
the delicate
work
in the
background should
be noticed.
On
the left
is St.
Dominic, the
lily
and
is
an exquisite
On
and
Gothic lettering.
habit.
Dominican
Above them,
on the other
two small
may
be observed
Dominicans
painted
spirit,
The
faces
those of the Paradiso in the Academia, nor yet with those of the familiar angels with musical instru-
Ufifizi.
paintings of
its
school,
It
it
is
more
interest-
was painted
for the
monks of
St.
Peter Martyr.
It is interesting to
have
in the
252
monastic
choice,
by temperament;
monk through
dians sent
circumstance.
guar-
him
to a
Carmelite convent.
In the
He
was
instructed in art.
He
mine Chapel.
and elopement.
Otherwise there
is
little
known
in
of
Orders
way
in
the monastery tO' which he had been consigned. " You should not take a fellow eight years old,"
says Fra Lippo, in Browning's poem, " and
make
him swear to never kiss the One cannot tell the story
romance of the episode.
girls
"
!
in better
words than
and the
Margherita to
253
who had
been sent to
Fra
was the name of the girl, who was exceedingly beautiful and graceful, so persuaded the nuns that he prevailed upon them to permit him to make a likeness of her for the Virgin in the
The
result
man-
away from
By
father of Lucrezia
that he never
was so grievously
afflicted thereat
more recovered
tO'
his cheerfulness,
and But
made
cause,
some other
would not
to
whom
who was
little later
And
yet
how
differ-
No
The
joy of por-
traying a lovely
zeal
woman
recommended by Theophilus.
very
human
254
man
is
work
in this picture.
The
child, instead of
amusing himself
Of course
there
may
in
act,
used,
death.
The Virgin
art.
is
one of the
types
of Florentine
painted-
many
beautiful
this
one than
subdued;
was never
is
The
lids
evidently intended to be
Browning has
delightfully
summed up
the charm
is
Lippo
telling
how
the
monks
criticize his
work because of
it
his
As much
'tis
devil's
game
Your business
not to catch
men
with show,
Ube Stan3a
of
ptometbeus
255
With homage to the perishable clay But lift them over it, ignore it all Make them forget there's such a thing
as flesh.
**
!
A
So
fine
ill
way
to paint soul,
And
Why
Make
Both
lift
and
more
like ?
Take
The You
Prior's niece
Patron
if it
so pretty
can't discover
Sorrow or joy. Suppose I've made her eyes all right and blue. Can't I take breath and try to add life's flash And then add soul, and heighten them threefold ?
Or, say there's beauty with no soul at
(I
all
never saw
it
If
You
God
invents
That's somewhat
and
missed
Within
yourself,
when you
return
him thanks."
Verily Fra Lippo had grasped the principle expressed by D'Annunzio, " to create with joy." But
it
is
there
is
2s6
Ube Hrt
The Madonna
in the Pitti, is
said to be a
portrait
of
The
The composition
It
is
of the picture
is
quite elaborate.
Anna
Golden Gate,
is
admiring friends.
Burckhardt
Baptist.
a matter of interpretation;
way
this
in
the gallery.
Filippino Lippi, the son of Fra Lippo, has also
Holy Family
in this
room.
Number
347.
It is
They are surrounded by exquisite angels, equal to some of Benozzo Gozzoli's; one of them standing at the left
the infant,
who
lies
on the ground.
is
On
the
right
just fluttering
tist is
The
little
Bap-
and
257
seen
all
Filippino
a youth;
He
and shows
It
in his
work the
Margherita
in Prato,
when
had occurred,
was employed
across
do some of
church;
his life
his best
work
directly
from
their
happen.
Most of
he painted
in Florence,
cities
as
An
anecdote
is
told of his
management of
still
perspective,
and
Hfe.
In
a cleft represented in
that
at the studio
Filippino
was taken
power by a sud-
He died in 1505, in the forty-fifth year He had inherited the happy temperajovial
father,
ment of
beloved.
artist
his
His
father's sin
258
Ube Hrt
here, a nar-
The
is
well
known
latine
how
this chaste
and afterwards
The
episode chosen
is
his panel
the
mohas
friends
them of her
picture
is
distress,
stabbed herself.
scenes.
The
divided into
two
The
first
who
Near by
In Shakespeare's
graphic words
" Storm-still, astonished with this deadly deed
all
And from the purple fountain Brutus drew The murderous knife, and as it left the place
Her
blood, in poor revenge, held
it
in chase."
The second
division
all
about,
some
Ubc Stansa
testifying to their grief
of
prometbeuB
259
and others to
their rage.
When
doom
They did conclude to bear dead Lucrece hence To show her bleeding body thorough Rome,
And
Which being done with speedy diligence The Romans plausibly did give consent To Tarquin's everlasting banishment."
The Tondo
sibly not
of a
is
posis
by
Botticelli, as usually
critics to
It
supposed, and
said
by many
of his pupils.
istics,
and
his
in
manner
the royal
work of
the master,
Madonnas
note
is
why
to
conformed
at-
tract
to
26o
Ube Hrt
At
first
contrasting
them with
these,
wan.
Her
trouble
whose gaze
and
who
tion
love,
and which
still
saint
an object
Madonna
of the Rose-
Bush near
and
fant,
child.
The
Virgin, seated,
tO'
is
and he reaches up
affection.
human
On
lily,
upon a balustrade.
and
St.
is
He
carries
the Annunciation
bowing
in adoration.
At
young
He
In the
closed,
foreground
lie
tibe Stansa ot
prometbeus
Probably
261
this
picture
or, if laid in
mere
among
them.
But
this
for him.
ticelli
He
is
a visionary painter."
in
di
was born
Mariano
tanner,
Vanni
Filipepi
Sandro
was a
celli
aptly describes the peculiar position held by Bottiin the art oi his time: find
"In
its
Botticelli's
work
earlier
we
school,
spiritual feeling.
Though
may remind
There
treatment
is
is
no
classical feeling in
him.
Mediaeval
applied to Greek
myth or
classic orna-
and Gothic.
not
He was
a mystic.
tempera.
Botticelli painted in
oil paintings.
Casual observers
not always
realize
what
is
method
There
is
a sort of bloom;
262
as.
Ipttti
palace
"
common
with the
oil vehicle.
Tempera
der,
ground to a powsize,
gums
and water.
Egg
all
Cennini,
who wrote
kinds of technicalities in
A glaze of albumen
in
was sometimes
sometimes also
quite dry and
was rubbed
naivete
when
all
was
some
set.
of
the
mediaeval
of
Theophilus
"
And
now by
to teach
you to colour
is
pictures.
a gentleman
what he
as
pleases.
much
The
water."
he
is
ad-
And now
it
is
ttbe Stanza of
prometbeus
:
263
" These
draperies
will
please
you much,
particularly
the
He
gives di-
How
without
fish."
The
or conclusion to
its
book
touching in
sweet,
"
John,
Luke the
St.
tachius,
Francis, and
Anthony of Padua
and that to
may
those
who
it
study
well
and to retain
it,
sO'
may
live
which
is
to
come
live
and
ever.
Amen."
The same spirit is observable in Botticelli's work. Even when he is painting a pagan deity, he has a quaint, ascetic way of dealing with the subject. In fact, as a master in the Renaissance, when the reaction against so-called religious painting
in
was merged
exactly,
the
passion
for
imitating
nature
he
One
in his
bud-
264
which was so
all
fast
re-
placed on
sides
by new
The joy
to the
was
to be at least
human
their
faces
dolls
which are so
with
full
far
pink
cheeks
way
lar heart
first
makes
it
every-day
Raphael
lifted
above the
but the
expres-
common.
sion."
To
Botticelli the
symbol of that
He
by
no-
This
is
which
will
be treated
later.
He
stands
at the point
meet.
As Michelangelo
the
This
is
his
265
Every
it
amount of
culture
and a certain
in the
He
uses
more
As a draughtsman, he
he
is
is
supreme; as an anatomist,
extremely faulty.
Some
critics
complain that
His colour
subordinate to his
lines,
erring,
regards proportion.
He
his colour to
model
his lines
away.
Some
criticize his
it is
and botan-
accuracy.
The
real
When
Greek
tradition
sculpture,
of
its
former rendering
illustrates
it
in
painting or
and
tates of his
own
standard.
He
delights in carmines
and
has a wonderful
way
of glazing a colour so as to
2(>(>
l&ittt ffialace
give
lucidity
and transparency.
is
He
had a great
heightening
sense of what
freely in
his effects
ornament and
by delicate hatchings
gold.
in action;
frequently this
lightly
overdone;
they
float,
While
work
is
exquisite,
almost a
shape.
mony.
It is
transitory quality
lie in
which charm.
His
art
tO'
held
by
Spenser's
" Faerie
Queene
actly
literature.
is,
what
this quality
to enjoy it?
The Madonna
by,
is
It is chiefly
remarkable,
on a
first
com-
position,
which has
the extreme
him
to
embrace
St.
John, leading to
is
unprecedented
result.
There
a very beauti-
fully
from
Stanza of Prometheus
Ubc Stansa
ot
prometbeus
its
267
name.
Ulmann
con-
to be
by
Botticelli himself;
these experi-
work of Sandro.
It
has
some of
the
modern decorative
probably
never
painted
the
if
portrait
which
it
is
called
La
he did,
This
is
is
She
is
certainly, as
Woltmann
was
it
Simple
to excess."
La
Belle Simonetta
seems
aesthetic
unconvincing;
however
it
is
that Botticelli
may
be responsible for
Vasari
but
Botticelli,
Due d'Aumale,
in France.
She was a Genoese, the daughter of one Cattani, and married to a noble member of the family of
Vespucci.
less
ex-
There
is
Number by an unknown
268
ipitti
palace
Across
''
Nulla Deterior
is
Quam
to say,
no worse
evil
than the
is
youth
seen in
crea-
The
twining
itself
society.
In the
re-
the
his ribs,
and striking
It is
he
lies
overthrown
full
on the ground.
significance
of
the
for
it
was probably
private injury,
right sits the
painted in commemoration of
some
is
clear enough.
At the
In the background
is
ence;
may
be seen, and
This picture
art,
The
I.
de Medici,
that of Ferdinand
son of Cosimo
I.,
and succeeded
after
Tuscany
in
1587,
Ube Stanja
nand,
ot C>tometbeud
269
who had
the
rumour of
When
tentiously that
if
importance
of
soul-culture,
he
would
and
not
have
in collecting jewels
bibelots.
He
He
Don
the
was a great
in
all
Italian ports.
His
titles
ran thus
;
"
God
O'f
Tuscany, the
Siena,
Grand Duke;
of Florence and
fourth Duke;
Petigliano and
a Prince of Capistrano;
Count of
Suianus;
Lord of
arid
canio,
ter
and the
Isle of Giglio ;
of the Religious
Stephen."
Where
were menaced, he
the Pitti
and he had,
in
Palace,
little
which anon-
ymous
him
He was
^10
patronage of
Medici.
classes of
of the
Yet he
all
known
indis-
He
surrounded by
Duke
1609.
of Lorraine.
His
eldest
son,
He
died in February,
Number 338
Bellini.
It is
is
Madonna
At
is
the
left,
the Virgin, in
her knee.
child
is
closed book
The
quite
At
St.
on Greek
lines,
being shown.
James, in a rather
and a pilgrim's
employed.
staff.
The combination
side
of a landscape background
is
on one
Epiphany,
Ube Stansa
which
is
ot
prometbeus
271
Pin-
turicchio,
in
a painter of the
detail,
would be
is
beauty which
artist;
it is
is
work of
It
this
his pupils,
is
supervision.
charming
it
picture,
and
is
Umbrian
Perugino
is
much broader;
main
turicchio
and
the actual
to revel in a pageant.
cession
The
in the
a festal proit
winding away
background, as
in
does
in this picture,
cially rejoiced.
was something
:27a
Ube Hrt
The Virgin
are.
as the
is
Madonnas of
this
master usually
There
lacking that quality which Ruskin notes in the Madonnas of Pinturicchio, " in whom the hues of
of ineffable love."
knee, with his
The
child stands
in
on his mother's
hand upraised
blessing,
and
is
They
an extremely
In fact
it is
tall
hair.
He
is
has
also
crown
and
His draperies
gems.
much
more important
parts of
in
the picture.
an equally
He
first
who
but he
is
here repre-
THE EPIPHANY
By
Pinturicchio
;
in the
Stanza of Prometheus
; :
Ubc Stansa
of
tometbeus
73
The
and
as
is
collar.
His crown
also the
He
is
His hair
in
successful
woman
sonality,
is
in this
minute work
is
absolutely different
from every
other.
Each
is
There
to repre-
much
the
work
of a loving, careful
man who
has
fill
done
his best.
The
the foreground.
Men
at the right
and an
intellectual old
The
is
collar
of his mantle
Be-
Man
a youthful
its
a74
it
is
in the
fitted in
to
fill
spaces
this
results in
many
One
quaint
a
full,
head
is
Wise Man,
set
all
jovial face,
with medallions
of
jewels,
whom
these
The
expression of
is droll,
upturned corners,
and
elusive of
smile.
expressions of the
human
face,
the
in
catching
in the distance;
camels,
their
men, riders on
fiery steeds,
beyond.
As an
allegorical
complement to the
may
walking, and
in the
Mary and
an angel
flying, direct-
^73
Probably this
is
the angel
Joseph
little
farther
up the road.
At
two opposite
sides,
The
picture
interesting as illustrat-
an
artist
was willing
was held
at such a prohibitive
premium.
The
who
married Vittoria
all
des-
Cosimo
III.
was
a religious fanatic.
yet grasping
He was
up
in
was carried on
ner.
guilty
An
is
amusing account of
given in Mark Noble's " Medici Memoirs." He " The hand of such a saint, or the toe of such says
:
The
regalia of
"
76
martyr
to
Margaret Louisa,
she was a great
daughter of the
Duke
of Orleans;
and
little
which
more intolerable to the young Frenchwoman. Cosimo objected equally to the lively manners of the French, in fact, the young couple were so entirely
grew
older.
seized with
Rome;
so,
he had created
him a canon.
garb,
ecclesiastical
ceremony
Afterwards he
was permitted
which
He
often used to
citizen.
like
an ordinary
On
woman came
to him,
Ubc Stanza
with the
don,
ot
prometbeus
277
the
Duke Cosimo
III. for
ished.
and
into
the pardon
was soon
received.
At another
it
time,
when
his
he had taken
fided to
him
its
hospitality
III.
to
Cosimo
When
he became confined to the house by failing health, he had some skilled mechanics and pageant managers come and arrange a procession of saints'
gies, so that
effi-
on the day of
saint
Cosimo
fifty years,
note.
to Heaven, by Zucarri, is
The
scene
is in
the clouds,
is
a large ex-
the motive.
In the
Magdalen
is
floats
27S
Ipitti
ipalace
is
The
the scene
almost
angels in the
on harps,
lutes,
and
viols.
performing upon a pipe-organ, and singing their " joy over the sinner that repenteth/*
numbered 367 and 378; they represent the Creation of Eve, and the Angel Driving Adam and Eve out of the Garden
of Eden.
In the
first
picture
Adam
is
shown
sleep-
summons Eve
The woman's
much
first
the
same
attitude.
the
is
and
ire.
The
angel
positively in a temper;
and
from
of Lorenzo di Credi
St.
is
delight-
It
is
a circular picture,
who
lies
of fagots.
By an
'
Ube Stansa
legs!
of t>tometbeu3
279
The works
He
was, in
fact,
aesthetic
eccentric;
he
separately,
He was
dust.
call
ment going on
He
was, in
what modern
would
If
a crank.
But the
As Vasari
be ob-
There should
in all things
it is
always good to
Lorenzo
di
died in 1536.
ways were
inherited
The
infant,
who
28o
Ube art
to
St. Catherine,
who
sits at
raising one
hand
in exclamation,
the comsaint,
is
and seems
to be speaking to her.
is
The Madonna
who
is
more
but
it is
of refined
ist,
womanhood.
Luca
Signorelli
was
a real-
as
we know from
where
the
still
Epiphany
is
painting
of
In
Within,
is
the kings do
homage
to the
Holy
Child,
who
held
the
by
his
mother.
Many
Wise Men,
their power.
to render in
service lies in
"
charming for
its
com-
the testimony of
Crowe regarding
the
Holy Fam-
281
by
Albertinelli,
Number
365.
his
The
infant Jesus
resting
on the ground,
swathing clothes so
loosened that he
limbs.
tional
may
is
feel the
freedom of
all
his
The mother
an angel on the
left,
who
were given to
it.
He
it
hand
he
is
who
is
extending
Deo''
If the picture
were
of no other value,
it
would be interesting
for the
charming
bit
Number
372, in
is
by
Castagno.
esting face,
The
and
cap,
scarf
hangs
His hair
alert.
curly,
his
whole
breezy and
He
sance.
Andrea
ality,
del
and by
we may
see that
he was
282
Zbc Hrt
of tbe
Ipftti
palace
His
first artistic
inspiration
circumstances.
He was bom,
until
on a
little
farm
life
in
hood.
One
day, while he
pened to be caught
to a small house, living
in the rain,
where
lived a
Just at
he had
When
he returned home, a
new
coal,
life
was awakened
in him,
stylus
wall.
who owned
Immediately he made
as one of the
ability
ward
disposition,
life
ventional
Ubc Stan3a
flattery
ot
prometbeu0
283
among
grown up
and
He
all his
He
had
own
where
him of the news of the crime. exclaiming, " Alas, my brother! " and
tell
He
fell
ran out,
upon the
grief.
The
lifetime.
No
Convent of
St.
Appolonio.
evil
But on
weight of his
deed
for
him
to bear,
and he confessed
guilt,
so that
The
tragic
to an end in 1477.
Number 374
Bound
to the
is
Homo
by Sodoma.
It is
Column, which
visitors
tO'
Siena will
remember.
He
284
Number
382.
He
wears a
he demonstrating,
of his hand,
movement
in the act of
expounding or
original.
is
striking
vital.
and
The
whole picture
''
is
very
(Sodoma)'
Among
whose
real
name was Razzi or Bazzi. Gifted with a strong sense of humour and grotesque, this man was greatly misunderstood, dwelling among an unimaginative and severe set of people.
in
Had
he lived
we
are so devoted.
first,
of in Siena
from the
Vasari,
who
unique man,
who seems
to have rubbed
him the
joyous-
wrong way.
of
much
to
good laugh.
fied figure,
as Vasari thinks
artists
should be,
285
lighter
biographer.
in
to be entirely despised.
buffoon he
may have
his
all
been, but he
art
is
in his life;
Sienese
work of his period. Sodoma, 1479 1554, obtained a nickname, Mata name given him in taccio, meaning arch fool,
an endearment.
often
He
lute.
and sing-
He
racing;
talker, so that, as
with disgust,
very ark
"
The dwelling
of this
man seemed
like the
of Noah."
engaged to paint a
small,
picture,
and
jovial
He was
infer.
as
haphazard
life
might have
been led to
One
286
tbe art
Sodoma had
''
My
pen-
Mattaccio,
''
If
am
He was
frank,
at least.
in
Sodoma was
gold,
his neck.
Vasari,
who
can
Pudding or a mountebank."
When Leo
saw
his opportunity.
He
Sodoma
he was promptly
He won
;
Bernaba
his horse
had an ape on
its
back,
and
one
it
much to the indignation of serious old betters." So did this foolish, clever featherweight squander his time and his money; when
captured the prize,
^'
he grew
old,
he was
left
in a hospital in Siena.
Ubc Stan3a
work
of
prometbeus
287
ample of
his
in the
II.
Stanza of Prometheus:
BentivogHo, in a doublet
a portrait of Giovanni
which fastens
his head.
in the back,
is
His hair
chopped
fashion.
is
He
This portrait,
tones,
Num-
ber 376,
treated
of strong
brown
and
is
broadly
picture
The
This
Lorenzo Costa
He was
an
intelligent
follower of Francia.
here,
numbered 379, represents, on a long, low panel, crowds of figures coming from the surrounding
plains.
On
a slight
hill,
Virgin
the
Wise Men
at the left
The
them
In the background
seen a
city.
At the
portrait
may
be detected.
One
of the
Wise Men
Number 383;
the
288
zbc art
a
One
rustic,
on
the
left, is in
tree,
of the vine;
below, one
pouring the
fruit
from
Two
in the left
drawing a large
tre is a
tub.
who have been employed in On the ground near the cenIn the middle of the com-
woman on
is
On
the right
seen another
ing a shoulder-slat
they
may
the
more
easily
dog
is
seen
on
this side.
in the
background,
right,
may be distinguished a sower. The other rustic scene by Bassano represents people who have evidently just moved to a new region,
and are about to build
are seen several
their
home.
At the
busily
right
working
The
At
the left a
woman, kneeling on
the ground,
is
etc., piles
convenience
lie
abcmt her.
women
Ube Stansa
are
of lprometbeu5
it
289
making a
fire,
blowing
rainbow
is
down through
the clouds.
decorative panel,
Number
385,
is
the picture
The
arrangement
is
quite conventional
the three
from an angel.
At
the
picture
man
figure opposite,
CHAPTER
X.
THE STANZA BELLA STUFA AND THE STANZA OF THE EDUCATION OF JUPITER
In the Stanza
the
della Stufa there are four large
and
this
is
any
are
on the
ceilings,
and are
difficult to
examine.
Here
The Age
in the
of Gold
is
among
wild beasts;
Age of
Some
Age
of Brass, exhibiting to
received in battle,
Age
of Iron are
more
soldiers,
breaking into
who have fled there for refuge. There are two figures among the captives of war in the fresco representing the Age of
a temple, maltreating those
290
Ube Stansa
Brass,
bella Stufa
291
a
The
are sitting in
in the left
illustra-
be seen in the
frescoes are
and just
they are
Ber-
called Pietro
He
and
his scholars,
it is
needless to remark,
pictures
are
Pietro da Cortona
was born
in
much
of his
in
work
Rome
1669.
Under Ferdinand
be seen in
he was
in-
and
may
many
lunettes in the
rooms of the
picture-gallery.
The
work of
sources;
his life.
He
many
he copied
bas-reliefs,
choosing Trajan's
Rome, being
an
knows how
on
ceilings,
to foreshorten,
an
He
abso-
art
which
is
lutely necessary to
is
and, while
to be painted
his
292
Ipitti
ipatace
intellectually designed,
and though
in
exaggerates
the
action
simple
he was a good
decorator.
The
Dupre of
Siena.
The
making
is
He
began
his career
by beautiful
In 1840 he took the prize at the Academy, with a bas-relief representing " The Judg-
wood-carving.
ment of Paris."
where
his life's
He
He
de-
some sacred
finally
subject;
being a subject
little
to be exhibited at the
in 1842.
Acad-
emy
in the
September exhibition
tells
Thirty-
"
When
The
imitation
< Q
<
I
O
CO
H
CA
Pi a,
Q X H
<;
H
CO
<J
W
Q
<
CO
Ubc Stan3a
^ella Stuta
293
in-
awakened a deep
it
to day.
began to be asserted, at
my
statue
was an imposture
of
art,
that
it
creation
that I
was seeking
to impose
should be
exhibition, for
it
was dishonestly
fact, it
thrust in there as a
was only a
cast
plaster
The
the
figure of
men
was
work of a sculptor at all. Giovanni continues " At last they went so far as to strip my model,
in order to
Antonio Petrai,
He
was made
and
his
to lie
down
length and
Of
about
it,
had made
my
This amiable
who
accidentally surprised
them
in
the act,
was
full
294
Academy who
in the performance.'*
When
^^^
and
were
But when,
after
more
study,
medal of the
first class.
The
critics,
it
who would
was easy
to
not
let
him
began
to say that
make
a recumbent figure,
but that
nuity of
it
Dupre
So,
companion
this,
piece, the
work upon
the
much
controversy.
statue of
As a
sum
two
berg,
who
Academy
The
first
^gs
in the
They were
cast
by Clementi Papi.
two great
verities in
is
The
*'
martyrdom;
forgiving in
indicates.
Cain,
on the contrary,
his
face
shows no repentance,
is
in the act of
rushing
away from
in
contrast to
is
less pleasant
it
than
a greater
achievement of
Bartolini says
in this
work
difficulties
it
The
feeling of terror
first
and remorse," he
which the
then he
is
not dead
lida.
Death
is
like sleep,
"!
296
His
Jbitti
palace
are apart,
it
And
. .
.
yet
feel
not.
wet And yet there are no dews 'Tis blood, my blood, My brother's and my own, and shed by me.
is this
*tis
what
Oh,
for a
That
may
my own
again "
!
The
reflections until
it
is
last wail,
he
cries:
The
first
But who hath dug that grave ? Oh, earth, oh, earth For all the fruits thou hast rendered to me, I Give thee back this Now for the wilderness
!
1
1882.
From
its
name
indicates.
Let us look
widely
first at
the
two famous
paintings, so
different,
yet
equally
famous,
Raphael's
Donna Velata and Guido Reni's Cleopatra. " La Donna Velata," that most seductive and
cinating
Isis,
fas-
whose luminous
same
beauti-
of perpetual youth,
ful
is
a portrait of the
model who
is
297
between 15 15 and
151J7.
She
is
Roman woman
it
of noble blood.
Min-
ghetti believes
to
tress of Raphael.
Some
is
the well-
known Fomarina,
whom
is
he
is
no actual legend or
and
called the
work of Raphael
it
to be indis-
The world
and to
welcome
There
is
valuable
that
some
still
Few
Monna
and
representations of a
human
is
illusive
and piquant.
ages.
little
coquetry, a
and her
seem
either to
which
29^
l^ttti
Jiat^ce
and
'*
may
be acknowledged
if
one compares
but
if
*'
Flora
Rome;
Pitti
one compares
Magdalen of the
it
by Raphael,
finitely
more
intellectual
The costume which she wears is in keeping with her expression. The loose bodice, held carelessly
together with one hand, gives the impression that
the outer dress
fallen
is
being removed.
The
hair
sleeve has
sheer,
laid
closely gathered
Her
is
is
in
on each
side,
counteracted by the
worn
straight
has slipped
to lie exactly
side.
whose function
at
is
one
The
painting of textures
of
Leo X.
La Velata wears
The way
by a
in
held in place
series
also be noted.
tail
There
is
which
of this picture
that
it
came
Matteo Botti
after
Ube Stansa
1824
it
bella tufa
299
at
Poggio Imperiale.
In sharp contrast to his portrait
but
the celebrated
much
was painted
for
Count
Barbazzi, and
was a
who
was
Guido's picas he
woman, such
Her
fat,
There
of the composition.
a blonde Genoese.
She
and
is
partially
clothed in a
basket of
on the table
at the left
the picture,
serpent.
little
The asp
is
panse of humanity.
called
Cleopatra
more
like
some
honest, dull,
handsome bourgeoise,
who had
300
ipittt
palace
escape by death.
mellow
and exquisite
in
modelling.
When
the Cardinal
Leopold de Medici paid 140 crowns (about $235) for it, in 1640, it must have undoubtedly appealed
to his taste.
The main
the
Donna Velata
to the Cleopatra,
that
Guido
One
which was
in-
vading Italy
works
In the Presen-
the
Madonna
recalls
Spanish masters.
lightful little
finely
The
is
Child
is
faultless.
The
de-
body
painted.
The
confidence
of
young
is
The
all
pic-
ture
very dark,
probably
was painted
altar-cloth
;
than
was when
altar,
it
comes
is
from the
in
deep shadow.
The
man who
is
Zbc 3tan3a
subdued
bella Stufa
3^1
The
in tone.
almost
lost.
ecclesiastical figis
looking at the
High
Priest.
There
part of
is
all
is less
stagey than
in the
and he
ing are
The
the
The
rich
Spanish,
may
in
On
of the
effect.
Although
typical groups,
has some
Don
is
in this
room,
a
its
little
of this
artist.
The composition
show
is
;
is
interesting;
the
there
is
Christ
302
Ube Hrt
of tbe
lC>ttti
lI^alacc
thoughtfully conceived;
are not
paid to
Don
painter
Giulio
of
the
Clovio
Roman
illuminating
very
He
and living
illustrations,
until 1578.
really
pictures
rather
ornament in
books.
He was
was made
He was
him the
a pupil of Giulio
Romano.
The
Libri, taught
pigments with
water and
angelo;
gum on
vellum.
his
He
studied Michel-
and many of
by such
a standard.
his
The
work
is
although
a truer apprecia-
book
illustration,
itself as
one
this.
Don
He
surface.
His vellum,
303
pigment; except
in small high-lights,
he uses
it
as
is
most
book.
artists
literally
His
pic-
upon card-
board or paper;
really in itself a
Clovio visited
Duke Cosimo
and
little
it
Deposition which
now hangs
in the
Stanza
all
oif
Vasari describes
his
of
known works minutely, saying, for " They those who cannot see them
:
the benefit
are almost
all in
...
know some
private persons
who have
small
whom
they
have loved."
The
tist,
boy
St.
by Andrea
a beautiful
happy.
toration.
It
face, a
has suffered
It is
much from
injudicious res-
304
IPitti
palace
with
its
honourable duskiness
all
peeled
off,
and
facial expression
remain to enchant
The
is
by Velasquez,
This painting with
presents the
monarch on horseback.
and
detail,
minute
in finish
and
in keeping
it
whom
portrays.
best
work.
Philip
IV.
was one of the weaklings on the Spanish throne who succeeded such men as Charles V. and
Spain,
Philip II.
He
He was
kingdom which
arm
man.
The charming head usually attributed to Garo folo, called La Zingarella, is given by Morelli to one Boccaccio Boccaccino, who served apprenticeship in Ferrara and Venice. The best qualities in
his art are those derived
from
Bellini, Vivarini,
and
Giorgione.
If
he painted
this
head, he certainly
LA ZINGARELLA
By Garofalo
;
in the
Ube Stan3a
was a
master.
Delia Stufa
305
The
show
that he could
human
ern
Italy.
On
the whole,
it
would be more
Garofolo's.
interest-
it
was one of
it
was by There
seems almost
like dis-
favourite
of a
new
artist in
Florence
worth the
sacrifice.
The
They seem to hold one in a spell. The head is that of a young girl, and is very spirited, with a realistic, untamed gipsy look, and with none of the tawdry theatrical mannerism adopted by some painters to express a wild child of nature. The features are rather large, and might
honest, clear gaze.
be
called,
On
chains.
Her
She
3o6
Zbc Hrt
effect;
is
Number
slight
248,
is
shade and
grouping.
is
artists
whose work
light, colour,
and
come
drawing
is
very Venetian
The heads
women and
As Longfel-
"...
If the
But half as much of drawing as of colour They would indeed work miracles of art."
He
light
gave the
effect for
which he
he used
aimed.
finish,
his intelligence
Ube Stan3a
toret often
bella Stuta
in
307
made balance
his
;
compositions by
it
may have
do such
struck
knew how
figure.
to
make
it
service
intro-
ducing another
position,
it
he had a fault
in
com-
in costumes, so that
another.
Many
the uncultured
taste,
but
human
nature.
this
is
He
Whether
praiseworthy or blameworthy
the fact remains.
as
masters.
subtle;
Raphael was
obvious;
Leonardo was
The
Sibyl
done in rather a
different
manner from
that
by
moment chosen
vision
is
The
altar,
seen
laid in a temple,
looking through
The
sibyl
and Augustus
the altar a
fire
On
3oS
is
Ipitti
Ibalace
lies
lighted,
a wreath of
The costumes are not very historic, the Roman Emperor being arrayed in a Venetian brolaurel.
cade of the fifteenth century, while the sibyl wears a cameo brooch.
A
II.
quaint portrait of
Henry
11.
of France, by
Henry
king, so slight
it
was
upon
his age, if
fact that
he
will
be remembered
as the
The
portrait
is
and pa-
some time among the most precious possessions of their families. They
painted must have been at
represent a
little
boy and a
little girl in
unaffected
may
be seen,
Number
275.
The
saint
is
represented
unusually
large
nose
which
distinguished
him;
is
He
is
clad in a
garment
Ube Stan3a
bella Stuta
309
in the other.
halo
ground.
Medici,
was painted
later
for
Cardinal
to
Carlo de
the
and
was bequeathed
Grand
Duke Cosimo III. The picture numbered 2y(), by Mancini, represents St. Henry of Bavaria and his wife, St. Cunegunda. The canvas was long attributed to Dolci,
until finally the signature, "
Mancini
F.,
1629," was
Henry of Bavaria was born in 972, and became emperor in 1002. He was the founder of the cathedral at Bamberg. He was very devout, but was unlucky in war. At one time he considered renouncing his empire to become a monk. The prior told him that, if he relinquished his sceptre,
St.
the
first
vow
required of
him would be
that of
obedience.
Henry
replied that
he had no objection
to obeying- humbly.
him
best
em-
by ruling judiciously."
His wife,
woman.
demanded the Trial by Ordeal. After a promenade upon hot ploughshares, her enemies
character, she
3IO
St.
iPittt
ipalacc
also
founded
the
in Florence.
In this paintlily,
the
emblem of
collar.
chastity.
Henry
is
is
seen in full
face,
He
wears an
over
his
ermine
Cunegunda
is
looking
shoulder, and
the
numbered 277. Lucrezia was the daughter of Cosimo I. de Medici, and was born in 1542, and married Alphonse H. of Ferrara. She was the sisrara,
is
ter of
shall
Don
Garcia,
whose
portrait " as
Cupid
"
we
next examine.
his senior.
But
at the death
of the Pontiff, Cosimo considered Alphonse of Ferrara a better match, so in February, 1560, she
was
is
The charming portrait of little Garcia de Medici Number 279. He is dressed in a Florentine court
with a sash across his breast.
Evidently
it
suit,
was
" Cupid," so he
is
invested with a
bow and
a quiver
Poor
little
by his father
self,
mother; he him-
3"
murdered
Archbishop of
Pisa.
St.
Francis Xavier
is
made
acter
as affected as
most
is
of Dolci's saints.
He
carries a staff.
His figure
at his belt.
With both
his
hands he
halo
is
most exaggerated
it
takes up as
much room
and
is
arranged
in regular rays,
him.
As
can say
manner of
with sunbursts, the central one, on his breast, having a face in the centre.
and a book.
CHAPTER
XI.
little
bath-room leads
this
room
is
Virgin
in a visionary painting
by Tintoretto,
Numis
seen
The
proportions
more
is
in
no exception to
For
it
is
not a rep-
stanza of xaipsaea
313
bold.
When
he has to rep-
own
them
them
flying about in
their
in
instead of ranging
meek ranks
of semi-
This
more
active imag-
restless;
they
may
alive
reflect
virility,
the amiable
float,
when ana-
No
model could
His
vital
and
it
never failed
him.
There seems to be as
as with Michelangelo.
for
little
limit to the
power of
figure
human
No
attitude
is
too impossible
him
No
rules previhis
Nature and
own
3H
Ube art
He did
all
not paint
a scene in a certain
way because
it,
painters
from
it;
he brought his
own
he
Had
represented
row of
toretto
saw
it
differently.
he
in
and, at the
light about
by the aureole of
sits
Master
new and
and
Tintoretto's own.
Number
on his
is
seen an angel,
who
comes to minister
one hand
and a cross
in the other.
The
Number
290.
He
is
before him.
seen the
little
In the background on a
may
be
Stansa of TUlpsses
where
St.
315
Francis spent so
many
precious hours.
It is interesting to
compare
this
Number
left
of
below him
lies
Madonna and
scale
all
The
on an enormous
around the
central, figure
little
winged heads of
It is dignified,
Baptist, standforceful.
refined
and
The
crowd of
centre
composed.
In the
may be
seen a
the ground,
Quite
modern
touch.
the nephew of Christofano, and the author of a " Treatise on Anatomy for Painters." He was inferior in
power
to his uncle.
His habit of
intro-
He was
born in 1535,
may be
seen
of
Tobias
and the
3i6
Ubc Hrt
but
it
Angel;
Biliverti
Iliad.
is
Hall of the
Child in the
There
school,
also a
Madonna and
same
Number
force.
is
originality or
it
is
about
is
objectionable.
"It
is
dependent
effects of
upon
scenic effect."
All this
may be
true;
inspiration of
in
one of
his illus-
which
is
undeniably a Jabberwock.
in terror
The
saint
is
crouching
which
wock.
is
in
almost
To
say that
is
it is
ludicrous, as applied to a
it
religious theme,
to put
mildly.
The
picture
was painted
hope that
it
Let us
proved salutary.
Carlo Dolci's
ing, but
it is
Madonna
is
a pretty picture.
The
Stansa of XIllp56e6
3^7
in
a series of defined
in
way
placed in what
in
is
panoply/' as decoration
an armory.
Christofano Allori's
St.
John
in the
Desert
is
The
saint
is
valists delighted to
per-
ingredients
The picture of
is
the
Madonna and
The two saints in the foreground are disposed very much like those in the Disputa. The Magdalen in profile, and the St. John, who kneels, are much like the St. Sebastian and the Magdalen
Pitti.
in that picture,
and might
easily
of the
made
same
time.
The
child
is
on
heavenward.
His other
is
an ex-
and foreshortening.
Madonna
and
is
Lucrezia, maturer
The
stately.
On
3iS
ipttti iC^alace
figure,
On
evidently
divine
hair.
Adam, who gazes into the face of the infant, his own face hidden by his sweeping
it
The
hung
picture
is
was
some time in a church near the Chateau of Cambassi. There was originally a predella, showing portraits of the donor and his wife. This
portrait of a
a slashed court
suit.
This,
Dolci,
is
one
artist,
a superb study of
is in
on
flesh.
He
is
wears a
flat ruff,
an
easy attitude.
Number 317
who
shows a Roman
columns standing
The
pictures
There
is
by Procaccino;
is
full
of glowing transparency
idyllic feeling.
The
shepherds
Stansa of XHli^sses
are Greek;
319
child in
the mother
is
hugging the
an
Camillo Procac-
cino
was one
Bologna between 1546 and 1626. He was famous both for his drawing and his colouring.
living in
He drew
was
us,
with
spirit,
and used
O'f
He
to
Lombardy; although
him
who
are not so
as a painter as
we
are interested in
Number
327.
It
repre-
young
girl,
thoroughly enchanting.
She
In the
rietta
is
is
I.
She
It
full gloss.
is
She
is
There
a
is
To
give
human touch
of
interest,
Caracci
has painted
woman
Annibale to
whom
made, and
who
320
Ube Hrt
was somewhat
of Correggio.
serious, inclining
mood
as his
Most of
is
his time
much
He
said,
model, and
alive.
who approached
is
it,
thinking
it
to be
Number 326
portrait
is
III.,
by
Naples.
The
figure appears to be
much
But
is
usual.
it is
the subject
this peculiarity.
is
He
is
clad in red
and white,
as that chosen
by
Paul
III.
and was
elected
Pope
in
He was
of Lutheranism.
He
Order of
the Jesuits.
He
Stansa of
stantly
Xllli^00e0
321
vio, Contarini,
I.
of France.
now through the Stanza of Promewhere we have already spent some time, we
to
is
go beyond, through the Corridor of Columns, the Stanza of Justice. This Gallery of Columns
so called because of the
of
Oriental
alabaster.
were originally
pold de Medici;
in the collection of
Cardinal Leo-
but
it
is
jecture to assume
whom
they
may
represent.
work of
the
the
temptation
fixed systematically
upon the
all sides.
He
is
beset on
left,
while
still
a third
teasing
him from
behind.
The
up sympa-
thetically, as if to
encourage him.
Gossiping, inaccurate, imagi-
333
native,
Ube Htt
and apochryphal
day.
He
to his diligent
notes,
we owe most
in
life
de-
times.
And
is
that his
book
full
we
are
all
we
receive.
And
he
himself understands
human
know
shall
He
says
"
And now
my
short-
What
matters
it
if
he had been,
he would never have found time to prepare these voluminous biographies; and the world, richer by
a few more great pictures, would have been inestimably poorer by the loss of one of the most fascinating
editors,
in literature.
Later
He
is
the Boswell of
He
Stansa of VH^q^cb
tors,
323
architects,
Vasari,
who had an
inimitable genius
for
Such
in-
results.
He
tells
how he and
his contemporaries
used to go
Rome and
Florence
they returned
home
in the evening,
man might
They
possess the
Nor did we breakfast in the morning, except on what we ate while standing, and that very frugally." The narrator adds, with an unconscious confession, " The desire of glory
take time for meals
:
"
most
prolific painter,
the works of the Golden Age, they can never compete with the best.
He
tells
324
St.
Ubc art
Jerome, and
it
:
we
own words
I
in
describing
exefig-
life;
he
is
in
conten>
on the death of
cross,
Christ,
whom
he has before
him on a
and
is
he most fully
us in his
own
writings.
I
To
depicted
in her
flying
from
made
shot
brought back to
Venus by her doves." Michelangelo was a kind and wise friend to Vasari, delicately hinting to him how well it would
be to devote himself to architecture;
but Vasari
own
talents,
in this advice
a form
**
of general encouragement.
The idea of writing his " Lives was first suggested to Giorgio at
dinal Farnese's.
of the Painters
a supper at Carjust
TEMPTATION OF
By Vasari
;
ST.
JEROME
in the
Stanza of Justice
Stanja ot xaii^sses
in his
*'
325
Eulogies/*
was mentioning
to the
company
men who had been famous in these arts, from Cimabue to his own times. The cardinal and Giorgio
Vasari began to talk over this proposition, and
it
was suggested
torical student.
in this undertaking,
he being recognized as an
his-
volume.
Accordingly he went
and presented
to Giovio.
work
yourself,
"I would have you undertake for I see that you know perfectly
:
well
his
how
to proceed therein."
monumental book.
When
Artists "
was
finished,
it
Duke Cosimo
author to give
Torentino.
to the ducal
printer,
Lorenzo
forward.
Vasari superintended
tivities incident to
all
Duke Cosimo
running
L;
from the
Pitti.
was completed
in five
months.
326
zbc Hrt
He
his
life
was
an account
own career, the last sentence being this now it shall suffice me to have spoken thus much of myself, who have thus arrived amidst many labours to the age of fifty-five; but I am prepared
of his " And
to live so long as
it
shall please
my
friends;
and so far as
me
lies will
He
died in June,
years of age.
He was much
His
life
had
left
nations
and
times.
charming, quaint
little
portrait
is
that of Elea-
nora of Mantua as a
artist,
child, painted
by the Flemish
Franz Porbus.
The
picture
is
numbered 391.
still
She
is stiff
hand,
while
the drawing
fingering
With her other hand she is a jewel which hangs round her neck. Her
made!
is
lace collar
stiff
and
tall,
arranged with
artifice,
She looks
thoroughly uncomfortable;
Stansa of tll^sses
fortable time of
it.
327
Bohemia
in
1627.
by Carlo Doki
St. Casimir,
Number
392,
is
no exception
to the rule
of his affectations.
as those chosen
spontaneity.
He was
St. Casi-
born
in 1443,
recluse,
he died of a decline
in 1483, still a
young man.
life,
He
Leo X.
but,
He
portrayed by
Doki
we may
tiful
is
anatomically a
much more
ascetic
and
intellectual
328
of art.
It is finer
than the
St.
artist,
is
too
much
cock,
and that
it
poulterer,
judging from
attributes!
This
pic-
Number
is
91.
Noble Infant
an amus-
ing picture;
vast hall, at
is
the mother
is
is
which
In the
is
new baby
its
appears to be for
tender
Naked
with dogs, and otherwise disporting themselves during the preoccupation of their elders.
It
seems to
all
appear to be about
all,
perhaps, after
they
in
may
be
intended as cupids.
dog-fight
is
progress,
little
is
urchins on
a fireplace,
At
warm them
of swing.
This
is its
chief merit.
The maid
carries a basket
Stansa of xai^66e6
with the head in
it.
329
Perhaps
it
takes a
woman
is
to
shoul-
She
is
starting forward,
and laying her hand on the shoulder of her com" panion, as if to say, " Hush what noise was that?
!
She
is
humanly overawed
at her
own
act,
and
is
physically unstrung.
The
She does
It
not so
much
cannot
Salchild-
was an intimate
the
friend of Vasari
from
Among
coeter,
Dutch
pictures
is
a canvas by
Honde-
born at Utrecht
in 1636,
who
painted chiefly
swans, peacocks,
etc.
Quite a barn-
yard
of
its
kind
who admire
I.,
these
subjects.
Here
ber 403.
is
Num-
Cosimo was born on the nth of June, 1519; he was a great student in early youth, and In January, ambitious and devoted to the arts.
1536, he
was
saluted
of the
itself
Florentine Republic.
330
prises, so that in
Italy.
prince in
erected
He
so
many and
obeHsks that
was with
'
'
He
found a
city of stone,
and he
fair
'
one of marble.'
*
He made
cent,'
Florence the
it
truly
the magnifi-
and
in
became the
Men
in his
famous
find protection
court.
. . .
more
elegant,
and
better
monarchs."
who bought
of Toledo.
later portrait of
Hall of Jupiter,
is
Number
It
older,
grew
stouter,
was
to
have been a
was of an age
to look
is
Stansa of
Xllli^eses
ss^
In
Number 408
We
wonder why
it
among
we
his
fiftieth
year.
nand
who
and
he ordered
by Sir Peter Lely. Peter Van der Faes, a master of Flemish art, was born in 16 18,
is
and
better
known
There
is
a legend
of a
lily
which
which was
cepted.
his
home; but
It is
name, for
more likely that his father changed some unexplained reason, from Van
He
and Cromwell.
The
special occasion
when he had
was to Pope
would
so
This threat,
directed
332
Zbc Htt
II.
The
menico
to
picture
in
Number 406
it
is
Doin
a Grotto, but
it
describe
Domenico
one corner of
where he kneels
centre.
at his devotions.
The
light
At
from
hell fire,
being enacted.
may
;
by Tintoretto
a delightful
St.
Madonna
John EvangeUst
by Carlo Dolci, Number 397, similar to the one in the Hall of the Iliad, Number 217. There are several landscapes here also,
Number 412;
Both
by Jan Both,
although he
who was
called
d'ltalia, because,
was born in Utrecht in 16 10, he worked also in The other Italy, where he died, in Venice, in 1650.
is
by Swanevelt,
called
Herman
dTtalia because he
Rome
in
1690.
CHAPTER
XII.
DEI PUTTI
We
of
is
Venus
as for
its
paintings.
link
modern
sculpture.
He
man
He was
Saints'
born
in
Day, 1757. For the first twelve years of his life, he lived in a mud-lined hut in the Alps,
in
which he
first
saw the
light.
was a stone-cutter, and the young Antonio from the first was free with
father,
His
Pietro Canova,
He lost
he was a
child,
and continued
same
in his
man, who
brought him up
well,
334
some
talent
an appreciative public
interesting.
member
and
his
and Antonio
The amiface,
young
figure
The
was
cheerful old
also
who was
quite a wit,
an ob-
One
day, at a festival
at the
when suddenly
saw
that there
The
they went to
man
priate.
had an
Ube Stansa
ter.
ot jflora
33s
When
this
elled
when
it
was placed
and asked
upon the
The
and
to the noble
Vene-
From
his
this
who were
With
or occasion to deal.
For many
and
when in the Napoleonic wars Italy was stripped of many of her art treasures, the celebrated Venus de Medici was carried away from Florence, where she had so long reigned. The empty pedestal was to be filled. Casince Michelangelo.
last,
At
loss.
He was
deem himself capable of producing anything equal to the Venus de Medici," and adding, in a letter, *' The Greeks, equally with nature, are my instructors
;
it
which
his preceptors.
My
may
Venus, therefore,
like
attract for a
moment
336
Ube Htt
1806.
Mrs. Jameson,
who saw
it
when
it
stood in the
"
It is,"
modem
art,
To
great,
The
statue
attitude
is
of
this
similar to that of
it.
copied from
rather
modern
taste,
she embodied
nineteenth century.
little
tastes
made
In
goddess
slighter,
more
She
active,
taller.
she
is
classic statue.
This
drapery
no
up before her
is
rather
shows a consciousness of
>
O < o
H
>
O
1x4
o
< N
<:
c/3
Ubc Stansa
nudity.
in front,
of flora
falls
337
obliquely
One
and the
Greek
ground
in small
folds.
The
figure
is
poised on the
little
The
is
right
arm
is
thrown
entirely
arm
is
undraped, as
is
unbroken.
The
breast, but
being seen.
The
nova's
ginal
lines of the
Venus are
delicate,
The
is
more
if
spiritual
left,
The head
turned to the
and
because
came from
that quarter,
side
first,
left side,
oversight
is
a justification of Ruskin,
in imagi-
when he
nation.
asserts that
is effective,
and her
is
33^
It is
^be art
comings of
but
it
which
is
so good in parts;
period,
and
little
it
certainly
is
not modern.
It is per-
haps a
fected
too timid,
too' self-conscious,
too afrepre-
and apologetic.
When
modern man
sents Venus, he
as did the
Greeks; there
ing indiscreet;
is
it
as be-
shown
fairly
and
freely,
with
no attempt
is
at disguise.
too obviously a
woman who
is
In an ode
by
Missisini,
is
impression
own view
Canova remained
in
Rome
for a period of
fif-
In 1815 he was entrusted with the important mission of visiting Paris, in order to redeem for the
As
the trusted
re-
made good.
Canova, amidst
all
339
last.
He
died in 1822.
Vasari's
differ
enough
which
familiar subject to
There
one point
is
in
is
rather unique:
the Virgin
actually
making
she
is
positively flirtatious
The
portrait,
II.
Ferdinand
active, not
young man,
earnest,
He
is
clad in a
His face
is
short.
is
not
and yet
it
The
delicate embossing,
wonderfully
fine.
It
ise of
Ferdinand
grew up
to be.
He made
He
340
liittt
palace
to
taining Christina of
Rome,
their
way
the
papal
II.
court.
He
also
materially
helped
Charles
when he was an
exile,
and numerous
him.
He
Peter Lely, which has already been noticed, he being a great admirer of Cromwell.
stition of his
With
the superall
his success to
Our Lady
her shrine a missal with twelve topazes on the cover, and a silver galley four feet long, inscribed, " Ferdi-
from the
plague.'^
Among
in 1642.
Mohammedan
pirates
He was
strict
living.
Rovere;
and valuable
He
his funeral,
March 24, 1670. An account of which was one of the most magnificent
died
341
given by
Mr.
Style,
who was
who wrote
writes as
"A
1671.
He
great
Duke Ferdinand,
afterwards buried at
Lawone in
The
funeral
the
morning before
of
the
was
all all
:
finished;
there
were
bishops
domain,
viz.
the
knights
of
St.
Duke accompanied
their
by
Francesco;
mourning
march
lastly,
a grate
sixe
At
it
St.
Lawrence's
who
Sir
placed
putt
it
in the vault.
procure
me
Duke
of
Strozzi."
342
uhc Hrt
Stanza
In one
They show a
in the
certain similarity.
a river
is
foreground.
In another,
left,
while the
other with a
will.
These are
typical landscapes of
who was
but
Claude Lorraine,
Caspar Dughet,
Poussin,
who was
a native of
Rome, born
in 1613,
1675.
that they
might be
fifty
miles away,
is
concerned;
that
He
admits that
lav-
ished on them
unintelligent.
He
further berates
hard and
solid
and
them;
rolled
badly reefed."
there
is
Ube Stansa
for
of Jflota
343
Ruskin to say about Poussin's interpretation of His foliage elicits similar compliments, and sky.
his tree-trunks are likened to carrots or parsnips.
same
that
con-
you cannot
tell
the shade
made darker
same sharp,
as
it
recedes from
which
it
and
cov-
with about as
much
intelligence or
feeling
what
is
moment suppose
So does
Now
to look for a
moment on
" Pous-
344
ipttti iC>atace
retire-
cares of state,
ment."
tures
which
Lanzi
mentions as a virtue
demns
as a sin:
that Poussin
composed
imagined by Tasso
asserts that
it
Gardens
of Armida.
He
is
the opinion of
land-
many
is
that there
is
not a greater
name among
is
scape painters.
founded
in nature.
In his leaves he
as varied
...
in
Caspar everything
displays elegance
and erudition."
That
is
the key-
note to this difference of opinion between the eighteenth and the nineteenth century ideals of landscape.
man
the
used his
painter
who
it
in the nineteenth
it
who
the
stands
at
historical, or poets
crowned with
laurels,
or hawk;
and
min-
iature painting.
345
to the
we recommend
Numbers
Many
has unfortunately
Rem-
St.
Jerome, writing,
The
modem,
At
two
if
angels.
The
lights
efifectively,
rather artificially,
upon the
facial
crucifix stands
it
on the
and below
rests the
Madonna and
upper half of a
human
on a closed book.
:
There may be a
significance
in this
and the
power of the
living between
Carl Ruthart,
to
346
1680.
lC>ttti
iC^alace
One
The
of these,
Number
;
mals
in a state of domesticity
show.
other,
Number
all
him
from
all
quarters.
O'f
It is
rangement
unpleasant beasts.
of Art,
is
The Genius
Riminaldi, and
Number
422,
is
painted by
His attitude
the left side
and graceful.
At
lie
lute, a spear,
and a
composition there
bits
of armour.
The Genius
Furini's
himself
is
tectural ruin.
Adam
and Eve
is
something of a de-
Adam
and
and
on
their knees
who,
seated under
The
Father
is
entirely
human,
he looks as
if
he might
Fran-
apostles.
ALLEGORICAL HEAD
By
Furini
;
in the
Stanza of Flora
Ube 5tan3a
cesco Furini
of
jf lota
347
was
called the
He was
and
He was
was a great student of other masters; he did not allow any traces of their work to creep into his own manner; rather, he entered
the fact that he
into their spirit,
uality to
his
own
individ-
have free
He
He was
ordained priest
flesh tints
when he was
forty.
He
handled his
pictures this
The
beautiful
underneath;
shoulder
the face
graceful.
it
would be
in profile.
difficult to find.
In each case
is
The
in
type
is
The
girl
Calumny, by Franciabigio,
scription
is
painted by Apelles.
ancient painting, as
The theme
of Apelles in his
we
learn
shape;
Apelles
it
might be
was a Greek
for his
348
colour,
Zbc Hrt
and
painted
his
many
allegorical
subjects,
though none of
tells
Lucian
how
had maligned
Apelles to
tector
King Ptolemy, who had been his proup to this time. The king listened to the
and Apelles, learning of
this
gossip,
change
in the
by painting
Inno-
the
King of Egypt
is
as
Midas with
ass's ears.
cence
a torch.
Treachery.
group.
rance,
She
is
Envy,
dull
clothes,
precedes
the
The king
listens to
his
is
hand
approbation to
Calumny.
of Calumny.
for justice.
Truth, a naked
appeals
tO'
heaven
Child,
by
Cigoli,
a rather
is
most
unsatisfactory.
any
of the Virgin.
mediaeval
missal
lies
is
Child
way
is
much more
She
sits
interested
facing the
of an arsenal
observation.
Ube Stansa
of iflora
349
fascinating sleeve
Number 431
St.
St.
John stands on the left, on a slight exhorting the motley crowd of listeners.
tions
All na-
In the
centre
boots,
man
in a short-skirted robe,
with high
quills,
he
There
is
probably the
conception of an Indian, or
else a Russian.
He
is
Moor
The
ex-
intended to be
is
is
being converted
seen in a wheel-
by the preaching
barrow
a boat.
A poor
family
in the foreground,
in another place;
A
self,
by her-
seen
in
Number
433.
of Bologna.
in
Rome
in 16 14.
She
is
here
represented as rather a
hair dressed in the
with a
tall,
3SO
down on
Lavinia
Her mantle
sleeves
artist
is
and the
large
are of brocade.
Fontana was an
several
Scripture
Christ
and
the
Woman
chief
among her
ladies liked
works.
Roman
elab-
She was
better as a colouris
than as a designer.
Her work
not intellectual,
who
He
is
flared
away from
His hair
in the
brim.
is
bon bow
in fact,
he
is
quite
coquettish.
He
shoulder, which
the
back
left
is
slightly turned,
shoulder.
in
dress
There
is
no more charming
in a
Van Dyck.
art,
It
has
been engraved
under
351
title
of "
is.
really
The Queen of Angels." And such The baby angels are heavenly, although
still,
the joyous
almost
child
alone in creations of
its
kind.
Joseph
all
is
near by in an attitude of
and
children
The
little
angel
who
picture, his
on
his
Ruskin
but
possibly
until
How
shall
we know
we have
picture
This
picture of
some
originality
that of Jesus as
an infant crowning the Madonna, painted by Alessandro Allori, and hanging over the door which
leads to the Sala dei Putti.
It represents
the Virgin
Mary
up
two
is
sides with
little
bows.
The
child
on
her knee
35*
let
in his other
of thorns.
Gentihschi
Number
who
lies
rapt in slumber;
one
who
is
Her
for her.
We
on the
go now
ceiling.
sweet
Madonna and
Child,
by Del Sarto,
is
The mother,
in pro-
He
is
not so suc-
and un-
Among
are
graver,
hang here
two by Paul
who was
bom
in
Antwerp
in 1554.
also' strik-
Two
ing.
Numbers 451 and 455. They are painted by a Dutch artist named Rachel Ruysch.
In Salvator's landscape. Peace Burning the
Arms
Zbc Stan3a
ot flora
:
353
impossible,
moment
it is
loaded with."
This picture
Number
453.
Aelst,
who was
a painter
He
style.
an
same
fruits.
A
457.
He was
a painter of the
Number 461
Venus
left
lies
is
rock,
and
embraces Cupid
who
stands by her.
satyr at the
One
trying to
ground unobserved.
called the
Correggio
of his
flowers which
Putti,
may
462,
Number
direction.
His treatment
Jan
354
Amsterdam, where
bom
in 1682.
Here also hangs a marine by Ludolf Bakhuisen, who was a Dutch artist born at Emden in 1631.
This marine
angle.
is
at every
1709.
In
Number 465
away
in the
Carlo Dolci
John
is
seen
The
vision
is
of a "
woman
clothed with
feet,
her
and
is
stars.'*
She
Scrip-
tures
"
And
to the
;
woman were
might
of a great eagle
that she
fly
wonder
heads."
in heaven;
On
is
is
Number
470.
In
Diogenes
is
away
aid
his cup.
He
artificial
Ube Stanja
of fflora
355
from it. Ruskin says of this picture that it is " rendered valueless by coarseness of feeling and
non-reference to nature."
in this
room, by
After
at the
state.
She was
and
who
in
tastes,
was
every
way
fitted to
adorn
this position.
But
the lady
was of a
way
came known
to be a
to her,
happy one.
in the Pitti.
When
supreme
to church, or at night,
She never went out except when she was always escorted
Her
regal
death
mag-
and
left
some generosity
crowns
to her
distant
relatives,
string of
and to the
King of Spain a jewel worth one hundred thousand crowns. She had collected many valuable art treasures and jewels during her
life.
The
furniture of
of
silver,
tables,
chairs,
stools,"
and
screens,
3s6
*'
iptttf
palace
more
Of
little
hand for a
shows Anna
fact she
it;
The
first
slight of figure,
which
elaborately
rich
embroidery
There
is
a hall
window
background
at the right,
and
Anna
car-
She
is
stand-
is
is
on the neck of a
Her
plumes.
In
Number 471
is
the redoubtable
lace
apron
in
Number 478, with her husband, the Elector Palatine. They stand in a hall at the end of which is
Ube Stan3a
such moulds as
resented as
of jflora
357
Anna Maria has already been repcomposing. The costumes of both are
The
lady
is
of a flamboyant age.
wine-pot, or
pointing to a
some large
piece of bric-a-brac
which
we
turn to the
left
little
long Galdecorated
leria Poccetti,
its ceiling.
named
who
is
The
here.
There
their con-
The
visit-
bust
1802,
Canova
Napoleon
and
new
empire;
In speaking of the French, Canova used to say, " They are not inspired with genuine love of art it
;
is
One
of the
who
worth repeating.
Canova showed
358
Ube Htt
was
to appear
when
completed.
Not seeing
Napoleon
plot
in the composition,
against me,
you
must be a
have
left
me
without defence."
sword,
At
in the statue,
" No,
Sire ;
wishes of
all
inclined."
Na-
asking him
if
he did not
The
"
he replied
They were
certainly bet-
In a painting by Tiarini,
Number
488,
Adam
and
Eve have just discovered the murder of their son, Abel. They are horrified, and express their emotion The first grief is dein true primitive fashion.
picted as a transport of rage
fleeing in fear
and
lies
despair.
Cain
is
and awe.
Abel
dead
in the fore-
ground.
He was
a pupil
quarrelsome turn;
from
Zhc Stanja
of
if lora
3S9
years.
He
was expert
much dramatic
force.
He knew how
human
is
face,
and
this
selectfull
The
picture
of
dramatic power;
tiated.
in 1688.
is
a strong
feel-
ing of Christian fortitude expressed in the kneeling figure of the saint, whose hands are tied before
her.
The
is
executioner
is
and
He
is
a good-
much
and to
It
is
the chief
is
criti-
cism.
The
floating in a
most
ing;
delicious
way, and
is
is
in exquisite foreshortenair,
the figure
and
could poise
might
fall.
The
angel
The whole
picture
attractive
and mellow.
3^0
Ipftti
i&alace
tree.
is
bound to a
His
The
face
is
upturned,
and he
is
most
sky-
demand.
In the
one
of those
Cosimo
III.,
life
here appears,
Number
496, painted
true to the
by another Jesuit
like himself.
Padre
of his
Andrea Pozzo.
who
painted both in
and fresco;
in Turin.
much
He
lived
from
art,
" Italian
its
poetry, be classed in
two
dis-
If the simple
beauty of Perugino
may no
less aptly
be compared
have
that the
same stages
Ubc Stansa
of iflora
all.
361
farther,
CHAPTER
XIII.
The
On
Pitti
Palace
is
the great
The
hall
was decorated
in
1633 by
who was
considered one
In the vault
apropos of
of Lo-
marble figures;
other figures
in bronze.
On
the correspond-
Day
and Night.
with
The
laurels, palms,
and helmets,
shields,
and other
expect
One would
Ubc
IRopal
Hpartments
363
Among
homage
;
to
Mars
in the person
of
Ferdinand IL
Nymphs
of the Arno,
who
produce;
chestnut-tree,
which
is
him by a group of
further satyrs,
is
crown of
victory.
intro-
Medici to
all their
;
forerunners in history.
poets are chased over
The Muses
precipices
by satyrs
away
all
of Lorenzo.
the centre of
attraction in
one group;
manner.
364
Ube Brt
Lorenzo
of tbe
Ipitti
palace
On
may
he welcomes Apollo and the Muses by cordially extending his hand to them.
in
government.
Evidently Pruwill.
dence conduct the infant Genius, while the other " infant industries " are grouped about. A real
scene without symbolic meaning follows this:
Lo-
seen
the
air,
On
by
Francesco
the
famous
Marsile Ficino and Pico della Mirandola and Politian here disport themselves.
The
statue of Plato
Ube
IRopal
apartments
365
is
surrounded by books.
The
series is
con-
In the
Elysian
fields,
Mars prepares
to devastate
Peace.
in the royal
Madonna, by Carlo
Dolci, one of
works;
Madonna
is
Centaur.
The
It
painting, Pallas
is
one of
name
it
of
An
in
it
Allegory;
in
1842
an
illustrated
Pitti Palace,
when
tion,'*
was alluded
to as
relating in
Magnifico.
up to
this
time
four of Botticelli's pictures had always been accredited to the Pitti, after
reported.
eral
The
Pallas
was
stored
away among
sev-
366
Ube Hrt
ot tbe iPftti
palace
for at that time
in the gallery.
were inaugurated
In
86 1 "
all
"
havthe
re-
and
in
some way
and
was overlooked
in this transaction,
floor,
where
it
escaped
artist,
collector,
and
was
visiting the
Duke d'Aosta
at the Pitti
known
claimed that
it
must be a
Botticelli.
He
called the
and,
it
was unquestionably
The
picture
is
tempera,
is
The
as
exquisitely
especially
is
noteworthy.
Pallas
is
represented
young
and the
fluttering
upon the
earth.
Her
type
sort,
is
rather intel-
although of a cheerful
by no means
She
car-
in the
Royal Apartments
XTbe IRopal
ries a halberd in
is
Bpartments
367
about her
triumph
is
over
brute force
evidently
Authorities claim
was painted
1480,
the king at
sible.
when Lorenzo de Medici visited Naples and made this agreement posis
The
real
dress of Pallas
most exquisite
in its ethe-
quality,
and
slim,
bound the
closer
twining olive-branches.
The
device of Lorenzo,
rich green
mantle
is
falls
gracefully about
free.
her,
hanging
as Minerva, subduing
embodying
is
also purity
and
symbolism, she
most
lovely.
The
jection.
centaur,
attractive subject,
in
He
and
his
bow
is
368
The background
very delightful
little
a bit of low-
boat at anchor;
ground on the
rocks,
ing.
left,
there
is
tall
ledge of striated
a build-
The
The unassuming,
Pallas
tells
is
typical of Sandro's
own
nature.
Vasari
illustrates Botti-
celli's
cloth
weaver
set
up eight looms
in the
own
by
in Florence.
The
all
most uninhabitable.
this nuisance,
He
requested an abatement of
own
an
So
entire cart,
and had
liable
fill
of his
own
dwelling, which
would be
to bring
through his
neighbour's
Botticelli re-
do
as he liked in his
Xtbe IRoigal
Bpartments
was
satisfactory.
hair.
369
Verily
own
house.
The
result
Who
now
a mass of
them.
We
One approaches
be,
There used
to
on the Boboli
Hill, quarries,
city,
That
it
many made by
so
of them.
The
was
work was
carried forward
by Buontalenti.
Many statues adorn the gardens at One is the fountain sometimes called
Bacchus,"
squat;
all
points.
little
the "
is
diminutive
and
he
mounted on a
turtle,
reptile.
is
a portrait, or rather
man
distinguished
Cosimo
I.
and his
dilettantism.
The
statue
by Valere de Settignano.
370
Ipitti
**
palace
This fact
is
Cosimo
is
Margutte."
known as the " little Bacchus " that the entrance is named for it, and is called the Bacchino.
so well
On
a plateau
is
a small
as a football
ground
in the
as
Mr. Piatt
calls
which
climb one
hill
after another."
here, built in part
has, in niches,
two
statues
The
was
and made
it
into a Ceres, to
which he
The
rest
was constructed
statues
at the insti-
by Michelthey
commonly known
as the Prisoners;
were given
to
Ube
Michelangelo,
IRosal
his
Hpattments
executor.
371
and
The
grotto
is
built in a curious
way
monly
hills.
called sponges,
The
unfinished
The artist also has covered the grotto with strange human and animal shapes, cut in this calcareous material
;
he
also'
in
air
which
;
fishes
it
were
but
was not
practicable
doned.
Poccetti orna-
were
in a state of collapse.
Cosimo
III.
from
Cav-
Rome
in 1696.
High
to the right
is
the
little
Garden
delle
aliere, built
town
in 1529.
III.
Cosimo
Gaston,
sciences
as
who was
a cultivated
man
interested
in
and languages.
From
city.
One
is
the
372
amphitheatre, where
many
festivities
This amphitheatre
hillside,
is
form of the
ural in
its
and seems
a long oval.
obelisk
well preserved.
A
and
set
with
is
made
it
given there.
Among
nand of Austria
was spared
III.
in a royal
1739 the arrival of Francois of Lorraine and Marie of Austria was celebrated by a superb assembly in
the amphitheatre.
When
the
King
nand
IV.,
and
his wife,
Pitti, in
and
in 1787,
was
Then, on
181
the
1,
the amphitheatre
to celebrate
good news.
Zbc
The
the
IRopal
Hpartments
373
Pitti Palace, to
somewhat
Stone
same way
Rome
if
overlooks
the
Circus
Maximus.
may
be called.
It is
surrounded by cypresses
and yews, and has been described by a rather imaginative Italian poet as the ingenious work of one
of the
nymphs who
retreats
preside over
is
woods and
fields!
shady
Much
of the garden
in
a fashion of luxury,
It is
cool, green,
and
restful.
long-forgotten
episodes
which
covered avenue,
is
situated a tiny
Before
it is
little
meadow
or bird-snare (once
L'Uccellaja.
flowers,
is
common
in
Florence), called
is
On
planted with
Oceanus or Neptune.
Jets of water proceed
In the centre
is
raised a rock
hydrostatic novelty.
Cosimo
I.
had
this
triumphal car copied from the one which had appeared in the great procession in Florence in 1565,
374
Ubc Hrt
on the occasion of the " mascarade " of the Genealogy of the Gods.
The
statue of
Neptune
dales.
is
the
Settignano.
hills
This lake
surrounded by
artificial
and
Mr.
cir-
cular
terraces
''
ponds
as seeming to be
fit
"a
natural
formation,
so exactly do they
in
On
statue of Abundance,
tale.
I.
It
was
commenced by Giovanni da Bologna to be placed But Francesco, who in the Piazza San Marco. was a vacillating gentleman, became enamoured of
Bianca Capello, and
his
lost
so he countermanded the
order,
When,
Tuscany
revelled in
in
was again
trotted out
under -Giovanni's
pupil, Tacca.
this
With
certain deft
possible,
changes of attributes,
it
was made
and
was
set
up
to
plenty,
and to celebrate an
the Medici
Peace
no formal garden
The
tCbe
Iftoi^al
ilpartmcnts
from
375
this,
was complete
and the
casino, or coffee-house,
It
for refreshments,
was
built in 1776,
by Zanobi
del Rosso,
under Leopold.
From
this
this
around the
city is extensive;
and
the
galleries, terraces,
view
more
available.
little
There
case in this
triangular space.
At
in
hill,
upon which
Giardi-
the charming
little
Madama,
interest,
much
in
so that
was
Deli-
cious pineapples
were grown
Gardens
who was
fruit
silly
grottoes,
its
curtains of laurel
hedge,
domes of
unkempt
with
lake, its
lawns,
its
grotesque,
overgrown
fountain,
its
those sea-horses so
much
wandering
in talking
alleys
and moss-grown
seats,
abounding
A
trf
would be impossible to
find.
THE END.
Bibliograpbi2
Grant Allen.
Renaissance Architecture in Italy. Anderson. Lorenzo de Medici. Armstrong. Venetian Painters of the Renaissance. Berenson. Fra Lippo Lippi. Browning. Andrea del Sarto. Browning.
Historical Guide
to Florence.
Life of Rubens. Crowe and Cavalcaselle. History of Painting Crowe and Cavalcaselle. Life and Times of H. Frieze. Giovanni Duprd. H. Guinness. Andrea G. HiLLiARD. Six Months Horner. Walks Florence. James Howell. Familiar HowELLS. Tuscan Henry James. of Jameson. Legends of Monastic Orders. Jameson. Sacred and Legendary Art. K. Karoly. Paintings of Florence. Lafenestre. La Peinture Europe. LuiGi Lanzi Painting Longfellow. Michael Angelo. Machiavelli. History of Florence. Memes. Life of Canova.
G. H. Calvert.
S.
BuRCKHARDT
Die Cicerone.
in Italy.
Titian.
del Sarto.
S.
in Italy.
in
Letters.
Cities.
Portraits
Places.
the
in
in Italy.
377
37^
3Bibltograpbi2
A. C. Owen. Art Schools of Mediaeval Christendom. D. Passavant. Life and Works of Raphael. Walter Pater. Miscellaneous Studies. Walter Pater. The Renaissance. History of Florence. F. T. Perrens Count Plunkett. Ricci. Guida Delia Palazzo G. B. Rose. Renaissance Masters. RusKiN. Modern Painters. RusKiN. Stones of Venice. ScHLEGEL. Esthetic Essays. Leader Scott. Brunelleschi. Leader Scott. The Renaissance SiSMONDi. History of Europe. F. P. Stearns. Life and Genius of Tintoretto. Old Masters. W. Stillman. M. F. Sweetser. Life of Giiido Reni. A. Symonds. The Renaissance Taine. Voyage en Theophilus. The Arts of the Middle Ages. T. A. Trollope. Commonwealths of Florence. Giorgio Vasari. Lives of the Painters. Williamson Fra Angelico. G. C. Williamson. Life of Perugino. Woltmann and Woermann. History of Painting,
J.
Travels in Italy. Dr. John Moore. Mark Noble. Memoirs of the Medici Family.
Botticelli.
Pitti.
in Italy.
J.
Italian
J.
in Italy.
Italie.
tnbcx
Campagnola,
Durer, 57 Furini, 346 Migna, 278 Tiarini, 358. Addison, Joseph, 30. Aelst (Von), 353. Ages of Gold, Silver, Iron, and Brass, by Cortona, 290. Albano, 361.
Albertinelli, 238.
Angelico, Era, i, 2, 4, 7, 86, 105, 163, 180; Sketch of His Life, 246; 251. Angelo Doni, Portrait of, by Raphael, 69. Angel's Head, Correggio, 191. Annunciation, by Andrea del Sarto, 126, 152 (No. 124), 200.
See Correggio.
Apollo
and the
Muses, Giulio
Allen, Grant, 209. Christofano, Judith and Holof ernes, 8, 115; 21; St. Julian, 57, 91 Sacrifice of
;
126; St. John in the Desert, 317; Preaching of the Baptist, 315; Jesus Crowning Mary, 351. Alphonse II., 310.
Abraham,
Assumption, by Lanfranco, 243. Assumption of the Virgin, by Del Sarto (No. 191), 215;
(No. 225), 216.
Alphonse d'Este,
44.
Sibyl,
by Paris by
Augustus
and
the
Sibyl,
Garofolo, 153.
Alva, 229.
Ammanati,
372.
Amphitheatre
Gardens,
Bacchanale, by Rubens, 158. Bacchanale, by Titian, 205. Bacchus, by Guido Reni, 94.
379
; ;
38o
'
irnbex
Bologna, Giovanni da, 35, 374. Bonaventure, Pietro, 35, 232, 233.
Bonifazio, 57, 123, 200.
Bacchino," 370. Bakhuisen, Ludolf, 354. Baldacchino, Madonna of the, by Raphael, 172. Baldassare, Count, 168.
Baldinucci, 151.
Balia, 11, 12, 15, 17.
Bordone, Paris, Repose in Egypt, by, 125, 224; Portrait of Paul v., by, 320; Augustus and the
Sibyl, 307.
**
2,
69, 257
Sketch
259;
259-267;
Tondo,
365-
173;
Virgin
199.
;
Enthroned,
;
237;
Isaiah
Bourgognono.
Bril,
and Job,
;
Bassano, 8 St. Catherine, by, Christ in the House of 63 Mary and Martha, by, 244
245, 287.
Paul, 352. 91
;
y
Bianca
Capello,
^33 Cosimo I., by, 226; Francesco I. de Medici, by, Lucrezia of Ferrara, 310; 231
;
Bath-room, 312. Bazzi. See Sodoma. Bella, La, by Titian, 55, iii. Belle Simonetta, by Botticelli,
267.
Bellini, 58, 193, 270, 304.
Cosimo
I.,
by, 329.
B., 42, 43.
Benson, 160.
Bentivoglio, Cardinal, by Van Dyck, 122; 177. Bentivoglio, Constanza, 241 Giov. II., by Costa, 287. Bibiena, Cardinal, by Raphael,
175-
2, 49, 139, del Sarto, 149; Fra 207, 250; Lippo, 254, 255; 250, 252. Brunelleschi, 18, 20, 21, 26, 30. Buonarotti, Leonardo, 370. Buontalenti, 369, 371. Burckhardt, 47 Catiline, 144.
;
Tobias and the Angel, by, 9; 218; Apollo and Marsyas, 62, 316. Birth of a Noble Infant, by ScarBiliverti,
62
Bushnell, Horace, 8. Buti, Lucrezia, 253, 256. Byron, " Cain " quoted, 295. Byzantine Guide to Painting, 6;
248.
cellino, 328.
Boboli Gardens,
375-
369-
Boccaccino,
rella,
Boccaccio,
Zinga-
by, 304.
Cadore, 53. Cagnacci, Assumption of the Magdalen, by, 120. Cain and Abel, by Dupr^, 292296; by Schiavone, 196. " Calumny," by Franciabigio, 347. Calvart, St. Jerome, by, 345.
ffn&ei
Cambassi, 318.
381
Adam
Canova, Antonio, 41, 294, 2331 Venus, by, 336-338; Napoleon, by, 357. Canova, Pietro, 233-
Capello,
374. Caracci,
Bianca,
35,
4,
232,
9,
333,
Cleopatra, by Reni, 296-299. Clouet, Henry II., by, 308. Clovio, Don Giulio, Deposition, by, 301. Cole, Timothy, 207. Cologne, 225. Conspiracy of Catiline, by Salvator Rosa, 142. Conti, Cosimo, 21, 26.
Correggio
Annibale,
50;
212; Christ Enthroned, by, by, 319. 214; Landscape, Caravaggio, Sleeping Love, by,
III, 221.
191, 214, 216, 320, 360. Corridor of Columns, 321. Corsini Palace, 115. Corteccia, 44. Cortona, Pietro da, 38, 65 Frescoes, 290. Costa, Lorenzo, 286. Courtois, Jacques, Battle, by, 140. Credi, Lorenzo di, Holy Family, by, 278. Crespi, 155.
;
(Allegri),
Crivelli, 55.
Crowe and
;
230,
Lely, 331, 340. Cavalcaselle, on Titian's Bella, 56; on Leo X., 73 on Titian's Magdalen, 82 on Madonna of the Chair, 166 on Portrait of Cardinal Bibiena, 176; on the Disputa, 187; on Ippolito de Medici, 230 on Titian's Christ, 231 on Al;
;
bertinelli,
280; on the
Donna
by Titian, 231. Christ and His Mother, by Veronese, 133. Christ and Peter, by Cigoli, 67. Christ Enthroned, by Caracci, 212. Christ in the Garden, by Carpi, 289; by Dolci, 314. Christ in the House of Mary and
Velata, 297.
66.
;
Deposition, by Cigoli, 97 by Clovio, 301 by Perugino, 180; by Andrea del Sarto, 87 by Tintoretto, 306. Descent from Cross. See Depo;
sition.
Diocletian, 204.
Ecce Homo, by, no; Magdalen, by, 127; 219; Madonna, 348. Clement VII., 71, 122, 230.
197;
169;
St.
382
Christ
in
Hn^cx
Garden,
197
;
St.
John Asleep, 197; 222; St. John Evangelist, 239; St. Margaret,
BorroFrancis meo, 309 Niccolo di St. Xavier, 31 1 Tolenta, 311; Christ in the Garden, 314; Madonna, 316, 365; 318; St. Casimir, 327;
242 308
St.
Carlo
St.
John on Patmos, 354. Domenichino, 8, 159; St. Agnes, Venus and Satyr, 353 202
St.
;
361.
Velata, by Raphael, 241, 296, 300. Dossi, Dosso, 194. Douwen, Portraits of Anna Maria de Medici, by, 355. Dovizi. See Bibiena. Dubbels, Jan, 353. Duke of Marlborough, 120. Duplicity, by Salvator Rosa, 60.
Donna
ascribed
Dupre, Giovanni, 292-296; Statues of Cain and Abel, 296. Durer, Albert, 6, 55; Adam and Eve, 57-59; 136.
135; "Calumny," by, 347. Francis I. of France, 321. Franco, Giovanni, Battle of Montemurlo, by, 140.
Frassinetti, 365. Furini, Adam and Eve, 346; Allegorical Subject, 347 ; Fres-
Ecce Homo, by Cigoli, no; by Sodoma, 283. Education of Jupiter, Stanza of,
296-311. Elector Palatine, 355.
Gabbiani, 238.
Galileo, ^y, 122, 129. Garofolo, Sibyl, by,
1
53
Zinga-
Epiphany, by Ghirlandajo, 280; by Pinturicchio, 270; by Pontormo, 287. Erasmus, 107, 320.
Ercolani, 175. " Euridice," 45.
rella, 304. iSenius of Art, by Riminaldi, 346. MagArtemesia, Gentilleschi, dalen, by, 158; Judith, by, 328 Another Judith, by, 352. Gerini Gallery, 42, 88, 351.
;
Ghirlandajo,
ascribed ascribed
by, 280.
Luca and
Silvestro, 20.
Immaculate Luca, Giordano, Conception, by, 128; 198. Giorgione, Monk at. the Clavichord, by, 8, 40, 137, 206; Nymph and Satyr, by, 192;
1n^CI
Finding of
304Giotto, 360.
38
Hall of the, 42, 137, 206-
Moses, by,
200
Iliad,
Giovio, 324.
Goldsmith, The, 70, 235. Gonzaga, Marquis, 80. Gozzoli, Benozzo, 256.
103,
172,
Guercino, Apollo and Marsyas, 61 St. Joseph, by, 61 Raising of Tabitha, by, 96; St. Sebastian, by, 127, 360; Madonna della Rondinella, by, 198 Susannah and the Elders,
;
;
Johanna of Austria, 35, 232, 374. Judgment of Paris, 292. Judith, by Allori, 115; by Gentilleschi, 328, 352. Julius II., 109, 370. Jupiter, Hall of, 2^* 60, 130-159. Justice, Stanza of, 321-332.
Guidobaldo, 169.
Kirkup, 46. Kugler, on the Three Fates, 137 on Sustermans, 147.
;
La
Henry
308.
II. of
Fontaine, 83. Lanfranco, Assumption, by, 243. Lanzi, quoted, 41, 201, 343.
Henry IV.
268.
Hilliard,
of
S.,
G.
Laocoon, 214. Last Supper, by Tintoretto, 314. Leo X., portrait by Raphael, 71
289, 298, 320, 327.
Holbein, 177, 241. Holy Family, by Bronzino, 91 by Lorenzo di Credi, 278 by Fra Lippo Lippi, 258 by Palma Vecchio, 123; by Rubens, 157, 244; by Andrea del Sarto, 99, 121 by Luca Signorelli, 279; by Vasari, 339. Hondecoeter, 329.
; ;
6,
7,
68,
40,
134;
Lisa, by, 135, 297; GoldTreatise on Battle, 141 smith, by, 40, 235 274, 307.
; ;
Monna
Leopold
II., 42,
Leuchtenberg, Prince of, 294. Libri, Fra Girolamo, 302. Life of Joseph, by Del Sarto,
124. Ligozzi, St. Francis, by, 315. Lippi, Pllippino, Holy Family,
Howell, James, 30. Howells, W. D., 369, 375. Huysuias, J. van, 353.
384
Lippi,
;
ffn&ex
Mann,
Sir Horace, 40.
by Va54,
180,
Maria Theresa, 39, 40. Marie Louise, 41. Marines, by Salvator Rosa,
Marini, 361. Marriage of
Titian, 52.
St.
59.
Catherine, by
Mars, Hall of, 39, 100-129; 328. Mars Preparing for War, by Rubens, 100.
Mary Queen
of Scots, 308.
Luxemburg,
30.
70.
Woman
270.
;
by
;
Dolci, 316; School of Del Sarto, 316; by Del Sarto, 317 another Del Sarto, 352. Madonna of the Chair, by Raphael, 75, 82, 160. " Madonna of the Long Neck," by Parmigiano, 242. Madonna della Lucertola, by
362; Anna Maria de, 355; Bernadetto, 282; Cardinal Carlo de, 60, 309, 316; Catherine de, 308 Cosimo, 10, 12, 14, 15, 18, 19, 23, 226; Cos;
imo
I., 33, 34, 39, 44, 78, 81, Portrait of, by Bron115, 141 zino, 226; 231, 268, 310, 329,
;
Madonna
Pomegranate,
37
244
Portrait
and
Madonna
Madonna
rillo,
by
life of,
of the Rosary, by
;
Mu-
Ferdinand I., 36, 87, 99, 234, 268 Ferdinand II., 24, 37, 44,
;
76
Another Madonna, by
99, 146, 218; Portrait of, 226, Portrait of, 244, 275, 291, 331
;
Zuccari, 277.
Mancini, Sts. Henry and Cunegunda, by, 309. Manetti, 64. Manfredi, Bart., 62.
339; Funeral of, 341,363, 374, Ferdinand HI., 41, 76, 87, 88, 136, 169, 170; Francesco I., 34, 81, 223, 224; Portrait, 231, 268, 371, 374; Don Garcia de, 310; Gian Gaston de, 371; Giulio de, 195, 229, 267; Ippolito de, 195, 229; Julius de,
7
1
;
Leopold
irn6ei
38s
321
176, 178, 362, 365, 15, Marie 367 Lucrezia de, 44 de, 30, 44, 268 Matteo de,
18, 44,
;
;
Orvieto, 280.
37;
Ottaviano
de,
72,
122,
Owen, A. C,
Pallas
59, 171.
Mendoza,
Mengs, 214.
Don Diego
da,
by
ticelli,
Titian, 226.
Michelangelo,
49, 54, 58, 86; 199, 264, 278, 306, 323, 324, 364; Prisoners, 370; Bastion, 371.
of Money, 66.
Parigi, 24. Paris, 42, 65, 116, 142, 209:
Abel
294; 357. Parlamento, 12, 15, 16, 17. Parmigiano, " Madonna of the
exhibited
in,
Long Neck,"
Passerini,
242.
Monaca
da
Cosimo, 218.
1.
Monk
by
Passignano, 11
Montalvo, 293. Moore, Dr. John, 39, 164. Morelli, Opinion of, on Three
Ages of Man, 138; on Giorgione's Moses, 200; on the Granduca Madonna, 169; on
the Vision of Ezekiel, 175; on
the
;
Pastorals, by Bassano, 287, 288. Pater, Walter, on Botticelli, 259, 261. Paul IIL, by Bordone, 320. Paul v., 122. Peace Burning the Arms of War,
by Rosa, 352.
Peri,
Jacopo, 45.
;
;
Monk
at
the Clavichord,
;
e r u g
209 on Botticelli, 266. Morone, School of, 89. Motley, 228. Muntz, 70; on Granduca donna, 171.
Murillo,
2,
Magdalen, 93 2 i n o, Monaca, ascribed to, 135 169, 170; Deposition, 180; Advice
a
Prior,
;
Ma-
Pescia, 73. Petrarch, 360. Petrucci, Cardinal, 73. Philip IL, by Titian,
121,
228,
Naples, 73, 320, 350. Napoleon, 209; by Canova, 357. National Gallery, London, 52. Nativity, by, Procaccino, 318. Noble, Mark, 232, 375.
304Philip IV.,
Phillips,
58.
Satyr,
by Gioigione,
Piero di Cosimo, 135, 148. Pieta. See Deposition. " Pietra Dura," mosaic, 159. Pietro Leopold, 39, 41, 215. Pinamonte, Padre, by Pozzo,
36a
386
Pinturicchio,
2,
'^ni>cx
270.
Raibolini.
See Francia.
;
Piombo,
Sebastiano del, St. Agatha, by, 202. Pitti, Buonacorso, 23, 33. Pitti, Luca, 9-31 Public Offices held by, 10; Triumph, 12;
;
Raphael,
8,
;
Donna Velata, 2, 3, 7 50,68, 69-74; 86, 121, 296, 300 Angelo Doni, 69 Madelena Doni, 69-70; Leo X., 7174 Madonna of the Goldfinch,
; ;
Defeat, 17; Building of Palace, 18-20; 32. Pitti Palace, i, 2; History and Building, Architecture, 9-31 Fa9ade, 22 Rustications 14 Garden Front, 27 on, 24 Fountain, 29 42, 44 Gallery
;
; ;
; ;
75;
75,
113;
Madonna Impannata, 75, Madonna of the Chair, 82, 160 et seq.; Madonna of
in,
No
Montemurlo, 141 269 Decoby Cortona, 291 Cain and Abel bought, 295 Clovio Francis I. methods, visits, 303 Four Examples of Polem232
rations
;
; ;
the Diadem, 75; Julius II., 109; Three manners of, 167; Granduca Madonna, 169; Madonna of the Baldacchino, 172 Vision of Ezekiel, 173; CardiInghirami, nal Bibiena, 175 Gravida, 242; 184, 236; 177; Compared with Botticelli, 264 ;
;
;
320, 323-
berg, 318
I,
Home
Anna Maria
Royal Apart-
Reni, Guido,
;
i,
4; Cleopatra,
;
8,
Gardens," 370,
Re299, 296 Bacchus, 9, 94 becca at the Well, 117; St. Peter, 126, 159; Charity, 227.
Repose
lin
Egypt, by Bordone,
125; by Van Dyck, 350. Return from the Hunt, by Manozzi, 156.
Polemberg, 318. Ponte, Leandro da. See Bassano. Ponte Trinita, 23. Ponte Vecchio, 3, 19, 325. Pontormo, Forty Saints, by, 195, 204 Epiphany, by, 287. Porbus, Franz, 326. Pordenone, Holy Family, by, 98.
;
Ribera,
Martyrdom of
St.
Bar-
meo,
by
Romano,
Madonna
;
Prometheus, Stanza
of,
3,
246-
Lucertola, 74 Impannata, 1 14 Vision of Ezekiel, 175, Apollo and the Muses, 201, 302. Rosa, Salvator, i, 4; Vow of Marines, Catiline, 8, 60, 142
;
289; 321, 357. Pugliese, 186. Pulzone, Portraits, by, 223, 224. PuUi, Sala dei, 351, 352-357.
Life of, 144; Fortuna, 145; Poet, 205; Portrait of himself, 225; Warrior, 239;
59; 140;
D up lie it y,
60
Battles,
; ;
ffn^ex
Peace Burning the Arms of War, 352
Landscapes, 342
;
387
87
;
sition,
Holy Family,
99,
121, 317, 352; Life of Joseph, 124, 150; Annunciation, 126, 152, 200; Portrait of himself
of,
by Bot-
and
tion
Disputa,
of
150,
Rosso, Zanobi, 375. Rovere, Vittoria della, 37, 99 Portrait as a Vestal, 146; 244, 275 by Sustermans and Dolci, 330 340.. Rubens, Peter Paul, 60, 100-108 Ulysses, 61 Mars Preparing for War, 100; Life of, 102; Four Philosophers, 106; St.
;
the Virgin (No. 191), (No 215 225), 216; Portrait of himself, 225; St. John the Baptist, 303. Saturn, Hall of, 38, 160-205. Savonarola, 85.
;
Schiavone,
on on
St.
'
Rubens,
Phillip, 106.
Rudolf, Emperor, 58. Ruskin, John, on Cupids and Angels, 9; on Luca Pitti, 14;
Settignano, Astoldo, 374. Settignano, Valere de, 369. Severi, Giov., iii.
on
Pitti
Palace,
52,
;
Titian,
53,
on on
Durer, 58
105' 157
;
or'
Sleeping
221.
Love,
by Caravaggio,
on Veronese, 134; on the Conspiracy of Catiline, 144; on Perugino, 181 on Giorgione, 206 on Fra Angelico, 247 on Pinturicchio, 272; on Dolci, 328 on Canova, 237 on Pous;
Soderini, Niccolo, 16, 17. Sodoma (Razzi or Bazzi), Homo, by, 283. Soggi, 120.
Ecce
Solyman, 230.
Spagnoletto, St. Francis, by, 98.
by
Allori,
by Manetti, 64. St. Agatha, by Sebastian del Piombo, 202. St. Agnes, by Domenichino, 202.
Sponsalizia,
St.
St.
126.
St. Benedict,
St.
Sarto,
Andrea del,
2, 3,
72
Depo-
St.
Bartholomew, by Ribera, 62. by Veronese, 227. Carlo Borromeo, 308. Casimir, by Dolci, 327.
388
St. St. St.
1[n^ex
Susannah
St. Cecilia,
Cunegunda, 309.
Domenico
St. Francis,
by
and the Elders, by Guercino, 244. Sustermans, 129; Vittoria Rovere, by, 146; Federigo of Denmark, by, 225; Ferdinand
II.,
;
by Ligozzi, 315;
108.
St.
by Rubens,
by
Dolci,
Francis
Xavier,
by, 226, 339 Madonna, by, 244; Cosimo III., by, 275. Swanevelt, 332.
3"St. Sts.
Symonds,
J.
by Guercino,
by
135;
Madonna
317.
Tasso, 360. John Asleep, by Dolci, 197. St. John Evangelist, by Dolci, Tempera painting, 262. Temptation of St. Anthony, by 239 332. Rosa, 316. St. John on Patmos, by Dolci,
St.
354St.
Teniel,
Baptist,
J.,
316.
Tennyson, 49. by Sarto, 303. John St. John Preaching, by Tassi, Theophilus, 248. Three Ages of Man, by Lotto, 349St. Joseph, by Guercino, 61. 137. Three Fates, by Michelangelo, St. Julian, by Allori, 91. St. Marc, by Fra Bartolommeo, 136. Three Maries, by Veronese, 132. 154. Tiarini, Adam and Eve, by, 358. St. Margaret, by Dolci, 242. Tiberio Tito, 95, 96. St. Margaret of Cortona, 216. St. Martino, by Pietro da Cor- Tinelli, 224. Venus and Tintoretto, 2, 6, 7 tona, 65.
;
311St. Peter,
Guido Reni,
St. Peter Martyr, 189. St. Philip Neri, by Maratta, 99. St. Reparata, 238.
St.
St. Sebastian,
Vulcan, by, 8, 47; 46, 51, 56, 79; St. Jerome in the 57> Forest, by, 51 102 Luigi Cornaro, by, 122; Paradise and Crucifixion, by, 132 193, 194, 300 Deposition, by, 306 Virgin, by, 311, 320; 332.
;
; ;
Titian,
2, 3, 7,
102
;
Marriage of
Vecchio, 90.
by, 52; Bella, by, 55, 68, in Pietro Magdalen, by, 78, 81 Aretino, by, 78 ; Howard, Duke of Norfolk, by, in; Andrea Vesalius, by, 121 Assumption, in Venice, by, 131, 311; 192, 193, 195, 201, 205, 209; Mendoza, by, 226; Philip II., by^
;
;
fn&ci
228; Ippolito de Medici, by, 229; Christ, by, 231; Sacred and Profane Love, by, 241 F 1 o r a, by, 297 298 264 School of, 300 320, 360. Tobias, by Biliverti, 218; School of Del Sarto, 315.
;
389
Venus, Hall of, 39, 46-67. Venus de Medici, 42, 335. Venus de Milo, 47. Venus and Satyrs, by Domenichino, 353.
Tolstoi, 49.
Torentino, 325.
Tornabuoni,
lori,
16.
* Treatise on
315.
Anatomy," by Al-
Veronese, 2, 46, 47, 56, 57 His Wife, 90; 102, 123, 130-134; Marriage in Cana, 131 Three Maries, 132 Christ and Mary, 133; 192, 193; Baptism of
;
;
" Treatise on Painting," Leonardo, 6, 141. Tribolo, 369. Triptych, by Fra Angelico, 250. Triumph of David, by Roselli,
64.
Christ, 221 St. Benedict, 227 Barbaro, 238 Presentation in the Temple, 300 Two Chil;
341.
35,36,56, 87,109,115;
del 199, 251; Bridge,
Fates, 137;
Madonna
Arpie, 150; 325Ulysses, by Rubens, 60, 61. Ulysses, Stanza of, 312-321.
Vincenzio of Mantua, 223. Vinci. See Leonardo. Viollet le Due, 74. Virgin, by Tintoretto, 311.
Virgin and
239-
Child, by Perugino,
Virgin
Bentivoglio,
319 Repose
;
Vanni,
Octavio, Frescoes, by, 364. Vasari, 20, 72; on Perugino, 181 on Giorgione, 193 ; on Ghirlandajo, 236 on Parmigiano, 243 on Lippi, 252 on Botti;
; ;
Viterbo, 196.
Viti,
Timoteo, 169.
Vivarini, 304.
Walpole, 40.
Warrior, Salvator Rosa, 239. Wife of Veronese, 90.
368; 279; on Sodoma, 284-285 on Clovio, 303 319; St. Jerome, by, 321 Madonna, by, 339; Grotto, by, 370 Estimate of, 321. Vatican, 167, 176, 236, 320. Velasquez, 55, 77, 225, 228;
celli,
267,
Pieta,
Woman Taken
in Adultery,
by
Mazzolini, 155.
Zelotti, 90.
54,
:^t
Harold
B.
Lee Libra
UT
4/26/05
91
Date Due
All library items are subject to recall at
anj time.
200i^