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CATALOGUE OF
A COLLECTION OF PAINTINGS
AND SOME ART OBJECTS

ITALIAN PAINTINGS
BY
BERNHARD BERENSON

VOLUME I

CATALOGUE OF
A COLLECTION OF PAINTINGS
AND SOME
ART OBJECTS

ITALIAN PAINTINGS BY
BERNHARD BERENSON
VOLUME I

JOHN G. JOHNSON
PHILADELPHIA i 9 i 3

CONTENTS

I Florentine School ....
II Sienese School 
Ill Central Italian Schools
IV Venetian School 
V Schools of Padua, Verona, and Brescia
VI Schools of Ferrara and Bologna .
VII Schools of Milan and Piedmont
VIII Late Bolognese School
IX Eighteenth Century Venetian School
X Appendix 
Index to Painters represented
Index to Painters mentioned incidentally in
Index to Places ....

XI Illustrations

text

i
49 63 91
133 151 165
181187 195'97
201
207213

FLORENTINE SCHOOL

PAINTINGS
FLORENTINE SCHOOL
GIOTTO
Florentine. 1276- 1336. Follower of the Roman Pietro Cavallini, influ
enced by Giovanni Pisano.
UNKNOWN ASSISTANT OF GIOTTO
A TALL PANEL WITH POINTED TOP, containing three scenes from
* the Joys and Sorrows of Our Lady : — Starting from the bottom of the
panel we have
(a) THE ANNUNCIATION. Our Lady in profile to left, with wrists
crossed over her breast, kneels under the usual small edifice pictographically
doing duty for a palace. On the left, in an open space, with a door open
behind him, kneels Gabriel, as frontal and hieratic as an Egyptian statue.
This treatment is more immobile and geometrical than Giotto's own fresco at
Padua, and would prove that its author had, as it were, tapped his master
before the latter had unswaddled himself into the relative freedom of his
Arena style.
(b) THE NATIVITY. It is the same composition as that of the fresco in the
right transept of the Lower Church at Assisi, with the following changes:
The angels over the roof of the shed are omitted in our picture, and the choir
below is reduced to three on the right and one on the left. There is no leafy
tree on the right, but on the other hand, there are two umbrella pines on the
left. One would expect the slightly abbreviated version in this panel to be the later.
Perhaps both are derived from some design of Giotto's. Our version is
stiff er and more archaic in execution, but at the same time more monumental
and distinguished, as if done by an assistant at once older and more intellectual
than the one who painted the fresco. 3

FLORENTINE SCHOOL
In the line of development this design represents an earlier phase than Giotto's
own "Nativity" in the Arena Chapel at Padua.
(c) THE CRUCIFIXION. This occupies the upper portion and gable of
the panel. Rather to fill the space, than for theological reasons, the upright
of the cross has an unusual height above the arms. Our Lord hangs thereon
limp, and two cherubim mourn over Him. Below on the left His Mother is
represented fainting into the arms of three kneeling women ¦ — a group which,
like the Christ on the Cross, is, as pattern, identical with the corresponding
parts in the fresco of the "Crucifixion" in the right transept of the Lower
Church at Assisi. On the right stands a Saint with his right hand held to his
cheek in an attitude of grief, and behind another in whitelabeled"Benedictus."
Here again, the author shows himself as sturdier and of deeper feeling, but
at the same time less suave and fluent than Giotto's other assistant in the
Lower Church at Assisi. It is interesting to note that the Christ has the
marked ribs and hollow abdomen so characteristic of the thirteenth century
Crucifixions, but which Giotto and his other followers discarded.
It would seem from our analysis that the painter of this panel, betraying as
he does signs of distinct archaism, may have been a man raised under earlier
traditions, traces of which can be descried under his purely Giottesque designs.
Like the assistants of Giotto who worked in the Lower Church at Assisi, he
represents the master at the moment before he began to decorate the Arena
Chapel.
Wood. H. 22| in. W. of in.

BERNARDO DADDI
Florentine. Active from about 1317, died after 1355. Probably pupil, and
certainly the most gifted follower of Giotto, strongly influenced by the
Lorenzetti. He was apparently the first Florentine to fall under the spell of
the Sienese. He was not the last. For nearly a century the painters of
Florence were at least as much the followers of the Lorenzetti as of Giotto,
and the better artists they were the less were they merely Giottesque.
- MADONNA AND SAINTS. The Virgin sits enthroned with St. Lucy
•** and the Baptist on our left and another female Martyr and St. Antony
Abbot on our right. Above the throne, the Angel of the Annunciation.
Wood. H. 16 in. W. 7^ in.

FLORENTINE SCHOOL

This little pointed panel, with its gold ground and its gauffering, must have
formed part of a diptych, on the top of the other panel of which the Virgin
Annunciate responded to the Gabriel here.

SCHOOL OF BERNARDO DADDI
_ THE VIRGIN AND CHILD. The Madonna is a half length figure
J) placed rather low down on the gilt ground. She holds a book in her right
hand. The Child, seen almost in profile, snuggles against her left cheek and
points very eagerly with His right hand, while holding a little puppy in
His left.
Wood. H. 15 in. W. 8f in.
This pleasant but unequal work is undoubtedly Florentine, dates from toward
the middle of the fourteenth century, and betrays the influence of Daddi.
The little puppy is an unusual feature.

GIOVANNI DA MILANO
Milanese in origin, but ending as a Florentine. Mentioned from 1 350-1 369.
Matured under the influence of the Orcagna, and, as a painter, akin to Andrea
da Firenze and Antonio Veneziano.
. PETER FREED FROM PRISON. Behind the bars appears an Angel
^-f in the act of waking the Apostle, while on the left we see them both
departing through the sleeping guards. Gold ground.
Wood. H. I4fin. W.20§in.
Part of a predella. The attribution, suggested by Dr. Siren, is probably
correct.

"GIOTTINO"
Florentine. An artistic personality active apparently in the third quarter
of the fourteenth century. Its relation to any individual satisfactorily
authenticated by documents is vague. Nor are its outlines at all clear as yet.
5

FLORENTINE SCHOOL
Thus for the present, like many another such quasi-historical reconstructions,
it is like a comet with its tail. (See Oswald Siren's "Giottino," where, by
the way, the following picture is reproduced as Plate 12.)
— POLYPTYCH, consisting of five panels. In the middle one the Madonna
J holds the all but naked Child against her right shoulder. He has a bird in
His left hand, and with His right He touches the hem of His Mother's mantle,
which is blue lined with white. His legs are wrapped in pink draperies, and
around His neck He wears, a coral horn, sovereign charm against the evil eye.
In the panel next on our right is Stephen in buff with yellow hair; and
beyond him, St. Nicholas in white mitre and bluish green mantle trimmed with
ochre coloured stuff. In the first panel to our left of the Madonna, is St.
James with auburn brown hair, bluish green tunic and pink mantle, holding
in his right hand a dark coloured book with gilt edges. On the extreme left
is the Magdalen in red mantle and pink, holding a white vase.
All the figures are seen only to slightly below the waist, on a gold ground.
Wood. H. 24 in. W. 12 in. of each of 4 outer panels; H. 28 in. W. 16 in.
centre panel.
This polyptych is undoubtedly by the hand of the noble artist, a Florentine
profoundly influenced by the Lorenzetti (as indeed were all his contemporary
townsmen worth their salt), who painted the grand frescoes in the Strozzi
chapel at S. Maria Novella and in the Chapter House at S. Spirito in Florence.

AGNOLO GADDI
Florentine. Active from about 1360. Died 1396. Pupil of his father
Taddeo, influenced no doubt by the Orcagna and "Giottino."
r MARRIAGE OF ST. CATHARINE OF ALEXANDRIA. Against a
C panelled wall stands Our Lady holding by the wrist the Saint who kneels in
profile to our right, while Our Lord on the left places the ring on her finger.
Still farther to the left on a smaller scale, a sainted Franciscan Bishop, and
on our right, kneeling, a Clarissan Nun as Donor.
Wood. H. 32 in. W. 25 in.
A well constructed and charmingly coloured work in Agnolo's best manner.
Reproduced as Plate 27 of Siren's "Giottino." 6

FLORENTINE SCHOOL
SCHOOL OF AGNOLO GADDI
,_ THE ANNUNCIATION. The Blessed Virgin sits with folded hands in a
/ hall in front of her bed-chamber, and the Angel kneels with his right hand
held up solemnly.
Wood. H.gjin. W. 13* in.
A dainty work by some gifted follower of Agnolo who in certain respects
anticipates Pesellino.

NICCOLO DI PIETRO GERINI
Florentine. Active from 1368 to his death in 141 5. Follower of Agnolo
Gaddi. Q PI ETA. Our Lord is held erect in His tomb by His Mother who supports
^ Him with her arm around His neck. He is naked down to the waist, and
His right arm falls limp over her shoulder while the other touches the outer rim
of the sarcophagus.
Wood. Arched top. H. 36I in. W. 29! in.
A crudely executed but not unimpressive work by this mediocre master of the
collapsed monumental style of the Trecento. The attribution is due to Dr.
Siren, who has done yeoman service in the resuscitation and defence of the
later Florentine Trecento.

FLORENTINE
END OF FOURTEENTH OR BEGINNING OF FIFTEENTH CENTURY
~ EPISODE FROM THE LEGEND OF ST. SYLVESTER. The Saint
y stoops slightly, standing in profile to right, and takes the dragon's snout
between his hands to stop its pestilential breath which had caused the death
of two Magi. These we see at the same time lying extended at his feet, and
brought to life kneeling in prayer and thanksgiving. Behind the Saint on
the left are two attendants, one portly and elderly. On the right the
Emperor Constantine stands between two courtiers, looking emphatic
surprise and approval. Background of jagged, bronze-edged rocks, with
7

FLORENTINE SCHOOL
an arch leading nowhere, a sentry-box, and a tall column beside the entrance
to a cave.
Wood. H. u| in. W. 15 in.
Doubtless part of a predella by some painter who had in mind "Giottino's"
marvellous composition in the Bardi Chapel at S. Croce in Florence. One
need only compare the two designs to see that their points of likeness preclude
their being by the same hand, and that their differences imply the lapse of a
full generation at least. Our predella has the taller proportions, the quicker
movement, the more emphatic action, and the more rippling line of Floren
tine painting as Agnolo Gaddi left it rather than as he found it. Indeed there
is more in the specific style here to recall Giovanni del Ponte or the "Maestro
del Bambino Vispo" than the heroically yet graciously monumental master
of the Bardi Chapel frescoes.

LORENZO MONACO
Florentine. About 1 370-1425. Follower of Agnolo Gaddi and the Sienese.
T „ MADONNA AND CHILD. She sits on a low cushion of gold bro-
' ^ cade, wearing a blue mantle with orange lining. The Child on her left
knee, dressed in pale pink holds up His right hand, and with His left grasps
a scroll on which we read in Gothic characters EGO SUM LUX M. Gold
background, in original floreated frame. On its base is the inscription,
again in Gothic characters AVE MARIA GRATIA PLENA.
Wood, pointed top. H. 30! in. W. 18 in.

FLORENTINE TOWARD I425

I I

PART OF A PREDELLA with representations of THE BAPTISM
OF OUR LORD and THE DECAPITATION OF THE BAPTIST.
The first is treated in the received way. In the second, we see the body of the
Baptist which has just fallen forward with the head detached, while on the
right the executioner sheathes his sword. Behind him, a group of soldiers, and
on the left another group looking on eagerly. Landscape background in both.
Wood. H. 12! in. W. 23! in.

FLORENTINE SCHOOL
This spirited painting is apparently by a facile, entertaining little artist who
may have started under Agnolo Gaddi, was certainly in close contact with
Lorenzo Monaco, and probably also with Masolino. The romantic landscape,
with its recessed mountains, suggests the latter. A panel by the same hand,
most likely a companion to this one, exists in the Magazine of the Uffizi and
is reproduced by Dr. Siren in the Rassegna d 'Arte, 1909, p. 35.

"MAESTRO DEL BAMBINO VISPO"
Tuscan. The rather awkward designation given by Dr. Siren to an artis
tic personality active in the third decade of the fifteenth century. Of
fluctuating quality and vague outline, this personality would seem to have
descended from Bartolo di Fredi of Siena, and to have been strongly in
fluenced by Lorenzo Monaco, and, to a less degree, by the painters of
Lorenzo's group, such as, for instance, Bicci di Lorenzo, Rossello di Franco
and Giovanni del Ponte. There are indications that, like Don Lorenzo
himself, he was a Camaldolese monk. Thus, two considerable works
by him are still to be seen under the shadow of Camaldoli in the Casentino,
one of which, at Borgo alia Collina, is dated 1423; a number of others
go with this in style, as, for example, the fine Triptych in the Doria
Gallery. All of which may imply that our painter divided his time between
the Metropolitan House of the Order and the one in Florence. That he was of
the latter establishment would be confirmed by documents, if we could assume
that a certain panel at Bonn, representing the Magdalen, St. Lawrence and a
Cardinal as donor, formed part of an altarpiece referred to in 1422 as one to
be painted for the chapel of St. Lawrence in the Cathedral of Florence by a
monk of the Angeli (Siren in L 'Arte. VII, 349 et seq.).
T ,_ MADONNA AN D CH I LD. She sits on a throne, in flaming red dress
1 ^ and blue mantle, with the Child standing on her lap. In His left hand,
held across His breast, there is an ear of wheat, and with His other hand
He blesses, looking to the right meanwhile. Gold ground.
Wood. H. 46 in. W. 24 in.
It is probable that this Madonna was the central panel of the picture of 1422
referred to in the introductory paragraph. It seems at all events clear that
the Bonn "St. Lawrence, Magdalen and Donor" formed the sinister wing to
our picture, for not only are the two of the same height, style and colour,
9

FLORENTINE SCHOOL
but the Child is obviously looking at and blessing a donor on our left. Repro
duced in the Rivista d' Arte of Florence, VI, opp. p. 6.
T - DORMITION OF THE VIRGIN. She is being laid on her bier by
*¦ y four angels who carry her in an embroidered pall. The Beloved Disciple
bends over her, to lay her gently down, and in the foreground crouches another
disciple praying out of a book. One of the Apostles asperges her, and the
others look on in prayer. Standing by her knees a little to the right, our
Lord takes up the soul of His Mother in the guise of a diminutive old woman,
and angels gather round to sing and to pray. In the background, jagged
rocks and a palm tree.
Wood. H. 39^ in. W. 35! in. Photo. Dixon.
We have the painter here at a moment when he is closest to Bartolo di Fredi,
whose sharp-featured types the Apostles most vividly recall. There can,
however, be no question of the authorship in view of the proofs afforded by the
draperies, the colours, and the peculiar faces of the angels. A kindred work
by the same hand, representing the " Decapitation of St. Catherine" is in the
Mond Collection, and is reproduced in its magnificently illustrated catalogue,
where, however, it is erroneously ascribed to Giovanni del Ponte.
The identical subject, treated with slight variations but by the same hand,
was to be seen in the Dollfus Collection in Paris. Reproduced as No. 5 1 ,
Vol. Ill of illustrated sale catalogue.

FRA ANGELICO DA FIESOLE
Florentine. 1 387-1455. Matured under influence of Lorenzo Monaco and
Masaccio. , . ST. FRANCIS IN ECSTASY. He is visible down to the waist only,
*¦ 4 looking up all but in profile to left, with his hands folded in prayer.
He wears a purplish grey habit, and is seen shoulder high against a wall of
rectangular masonry, above which the background is gold. Behind his head
there is a circular halo with studded inner and outer rim and myriads of rays
between. Wood. H.23fin. W. 16* in.
This nearly life size bust of the Seraphic Patriarch is one of the manliest and
most vital of Fra Angelico's creations. The square jaw, the firm mouth,
10

FLORENTINE SCHOOL
suggest the living model, chosen perhaps from among the painter's companions
in Rome, where no doubt in the very last years or year of his life this must
have been painted. With this relative realism, the ecstasy is yet in perfect
harmony, an achievement of extreme rarity, failure in which was in itself
sufficient to give the aspect of insincerity to so much late Italian and Spanish
work, where a similar combination is unsuccessfully attempted.
The execution is of a breadth and freedom to be expected from the relaxed
hand of an old man. And when such relaxation follows upon a tension as
severe as that of Angelico's earlier style, the artist's work can only profit by it.
We find this figure used by a pupil in one of those decalcomania-like paintings
peculiar, almost, to Florence. It represents Christ on the Cross, with
Nicholas and Francis beneath, and is in the Church of S. Niccold. Possibly
Antoniazzo's St. Francis in his Triptych of 1464 at Rieti is also reminiscent
of our bust.

STUDIO OF FRA ANGELICO
, ^ DORMITION OF THE BLESSED VIRGIN. In the foreground
* J of a landscape consisting of sharp-edged cliffs with a few sparse trees,
the Apostles and Saints are grouped about a sarcophagus into which four
of them are about to lower the body of the Mother of Our Lord. He
bends over her while four figures hold torches, another a bough, and still
another an asperge. Nearly all are singing. Aloft in the sky in shapes of
blue monochrome we see Christ receiving His Mother in the midst of six
attendant angels.
Wood. H. \o\ in. W. 2of in.
An inscription in an eighteenth century hand on the back informs us that
this panel once belonged to the well known Anglo- Florentine, Ignatius
Hugford. Reproduced, Rassegna d'Arte, 1905, p. 113.
This exquisite work, undoubtedly part of a predella to an altarpiece, must have
been painted in Fra Angelico's workshop during his San Marco period, by a
gifted pupil. In composition as well as quality it comes nearest to the same
subject as represented in a remarkable altarpiece of Angelico's studio still
to be seen at Montecarlo near S. Giovanni Valdarno. It is not, however, by
the same hand, ours being the more robust, while the one at Montecarlo is the
more graceful. Neither possesses the essential substance which is never
lacking in the Frate's autograph works. 1 1

FLORENTINE SCHOOL
SCHOOL OF FRA ANGELICO
y /" NATIVITY — part of a predella. In a flowered stable-yard, in front
1 ^ of a thatched shed around and above which angels are making merry,
and within which the ox and the ass are feeding, kneels our Lady worshipping
the Christ Child. He is sustained on the crib by the rays emitted from His
own body. On the right appears Joseph perhaps more surprised than wor
shipping. Sheep are pasturing in the bushes adjoining the yard, with a piping
shepherd boy to watch them. The background is closed by castellated hills
against the dark night sky.
Wood. H.9|in. W. 18^ in.
This delightfully child-like painting, breathed upon, as it were, by the spirit
of the "Fioretti" of St. Francis, is the work of an Umbrian follower of Fra
Angelico. The Joseph is almost a transcript from that master, and there is
something of him in the Madonna's face, but, for the rest, the character is
purely Umbrian. Indeed, the pastoral scene echoes Ottaviano Nelli, the
castles recall Andrea de Litio, and the draperies of the Blessed Virgin's mantle
and dress, as well as the enamel-like technique, anticipate Bonfigli and
Caporali.

MASACCIO
Florentine. 1401-1428. Influenced by Brunellesco and Donatello.
T ^ IMITATION OF OR POSSIBLY A COPY AFTER A LOST WORK.
* j The panel is taken up by a building meant to represent the Temple at
Jerusalem. It consists of a broad nave with an aisle on each side
leading up to a dome. The building is open like a basilica, and, as we look
into it from outside the left hand corner of the facade, we see the
interior, with its aisle walls resting on heavy columns, and the cross-beams
supporting the roof. Those of the aisles rest on slender square pillars. In the
foreground are two groups. The one on the right, occupying most of the space
in front of the main arch and under it, consists of twelve nimbed figures.
They represent Our Lord and eleven of His apostles. Seven of them stand
around Him, while four are rather separated from the rest. He blesses a dead
child, dressed in red, whom a naked kneeling figure is presenting to Him.
On the left are six men, one of whom is Judas, who bends over with his hand
12

FLORENTINE SCHOOL
open, while a priest counts into it pieces of silver. Between the two groups,
and partly hidden by the corner pillar, runs a lightly clad young man. Far
ther in the background are other groups conversing, and through the heavy
columns on the right two or three houses are visible. Above, a bluish sky with
cloudlets.Wood. H. 46 in. W. 42 in.
Reproduced on Plate XXVI 1 1 of the Somzee sale catalogue, Brussels, 1904.
All the figures so loudly recall Masaccio as we know him in the "Tribute
Money" and other frescoes in the Brancacci Chapel, that it is not necessary
to insist on the resemblances. Rather is it important to note that no figure
in this panel is a merely slavish copy of any one in the frescoes. On the
contrary, they are all freely conceived in Masaccio's mature style.
When this much is admitted, it is our duty to point out that the construction
and draping of the figures, as well as a certain lack of inner substance and even
of distinction, preclude the possibility that we have an original by Masaccio
before us. In all probability it is a copy by his feeble follower Andrea di
Giusto, and a version — or perhaps indeed the original — of the picture
mentioned by Vasari as belonging in his time to Ridolfo Ghirlandajo. He
speaks of it in the following terms : — " He [Masaccio] was very zealous over his
work and ingenious and admirable in solving the problems of perspective.
This may be seen in a picture with small figures which is now in the house of
Ridolfo Ghirlandajo. There, besides the Christ who is exorcising the man
possessed of the demon, are to be seen beautiful buildings drawn in such a way
that they show the inside and outside at the same time. He achieved this by
taking them not from in front but at an angle, because that afforded greater
difficulties. "
It is scarcely to be doubted that despite Vasari's interpretation of the scene,
which is hardly the right one, this is the composition he had in mind. To him
it stood for one of those displays of cleverness of which his epic is so full. It
may be because it is only an imitation that we are studying, and the effects of
atmosphere are wanting, that we find it hard to share Vasari's admiration for
the perspective.
As architecture the temple is curiously less advanced in style than one would
naturally, but perhaps quite groundlessly, expect of Masaccio himself. Or is
it to be understood that he was much more the real artistic creator than the
mere innovator? Yet in his Brancacci chapel he gets perfect effects of atmos
phere; in the great "Trinity" at S. Maria Novella the perspective is of the
most advanced Renaissance type ; and,finally, in that "little giant " of a picture
'3

FLORENTINE SCHOOL
the "Birth Scene" in the Berlin Gallery, the architectural forms must have
delighted the heart of a Brunellesco.
Here, although there is not a single pointed arch, the feeling is still Gothic,
the limp, sloppy, late Gothic of Tuscany. It is hard to explain, unless we
assume that the belated executant could not get the idea of the Florence Cathe
dral out of his head. It is almost startling to find here, along with the exact
type of palace and window that we have in Masaccio's frescoes, column-
capitals which are not even Gothic but Romanesque.
This picture if it were a copy after Masaccio would thus suggest questions
regarding him not easy to answer. They remain for special students of archi
tecture, who should at all events look with interest at the cupola of the temple.
Clearly it was an attempt at a solution of the problem offered by the dome of
S. Maria del Fiore, and inasmuch as the painter was undoubtedly a contem
porary of Brunellesco, it becomes possible that the cupola here represents a
stage in the evolution of the architect's idea.
Perhaps however, the problems here suggested have no real existence, for it is
more than likely that Vasari was mistaken in ascribing to Masaccio the design
which probably is the creation of his imitator Andrea di Giusto. (See No. 20.)

SCHOOL OF MASACCIO
Two Compositions, originally parts of a predella to an Altarpiece :
T O (a) THE PRESENTATION OF THE HOLY CHILD IN THE
1 (J TEMPLE. Under a tabernacle of spindle-shanked Gothic round
arches, itself within a richly wainscoted interior representing the Temple of
Jerusalem, we see St. Anne and the High Priest holding the Child between
them, and the other customary attendant personages, amounting to thirteen
in all.

Wood. H. ioi in. W. 18*

in.

(b) CHRIST AMONG THE DOCTORS. In an ample niche flanked
A y by two smaller ones at the top of three steps, sits the youthful Saviour,
a fat, swaddled, adolescent Nero in type. On an oval-shaped platform at His
feet, each on a round settle, sit the Doctors, some looking interested, and all
corpulent. On the left we see Joseph and Mary approaching. To either side
of the tribune, glimpses of landscape.
Wood. H. ioi in. W. i8| in. '4

FLORENTINE SCHOOL
These are in a sense so close to Masaccio, that the present writer, possessing
an old and poor photograph of the "presentation," reproduced it in an
article in the Rassegna d 'Arte (1908, p. 84), with the request to students to
look out for the original panel as quite possibly a work by the master himself.
Now that it has turned up, such a question falls to the ground. With its com
panion, it is clearly the work of some mediocre, fluent little man inspired by
Masaccio, but showing affinities with Giovanni del Ponte and the "Maestro
del Bambino Vispo" as well. It is more than probable that here again we
have to do with Andrea di Giusto, and many are the resemblances to the
figures and forms in the architectural design (No. 1 7) in this collection, the
execution of which at least we have ventured to assign to the same artist.
It seems probable that the paintings on a sculptured altar in the Lucca Gallery
(No. 230) are by the same craftsman in an earlier phase, when he was an even
closer follower of Lorenzo Monaco than here of Masaccio. If he really be
Andrea di Giusto, as is all but certain, then the Lucchese paintings must be
the earliest by him known so far.

ANDREA DI GIUSTO
Florentine. Died 1455. Assisted Bicci di Lorenzo in 1424, and Masaccio
in his Pisan polyptych in 1427. Feeble scissors-and-paste imitator of
these masters as well as of Lorenzo Monaco and Fra Angelico, but not
altogether without charm. Dr. Siren has brought this minor master, as
many another of that time, into notice again. To the list he gives may be
added a Triptych with predella and spandrils, etc., the central part of
which represents the Epiphany, dated 1436, in the church of S. Andrea
Ripalta near Figline, in the upper valley of the Arno. In the small "Ma
donna with St. Francis and the Baptist" at Copenhagen, Andrea is scarcely
to be distinguished from another painter of the same group, Francesco di
Antonio Banchi. "The Legend of St. Julian" now ascribed to Andrea at
Berlin, may have been painted by him in part, seeing that we know he
assisted Masaccio while at work on the Pisan polyptych for which this St.
Julian, clearly designed, if not wholly executed by Masaccio, was one of
the predella pieces.
.^ MYTHOLOGICAL SCENE. On the tesselated pavement of a
^^J vaulted room ending in an apse in front of which, on a high column,
stands the nude statue of a god, kneels a woman in profile to left. She is
15

FLORENTINE SCHOOL
dressed in greyish purple, and the pavement and walls are mulberry and dark
grey stone. In the spandrils above the arch are medallions, in the one a bust
of Ceres, and in the other a bust of Hercules. On our right is seen a massive
brown palace, with only one row of windows on top of a huge rusticated wall,
at the foot of which a young man and woman in the costume of about 1445 are
walking away. On the left in a garden under a gold sky, is an orange and pink
colonnade of slender twisted columns, and in front of it a very tall man and
woman and two girls.
Wood. H. 17 in. W. 26|in.
This panel probably formed the front of a chest. The kneeling figure is dis
tinctly Masacciesque, and the remaining ones are slightly different from any
in Andrea's more certain works. On the other hand, the architecture is so
close to that in his Prato frescoes, and the facial types, as well as the handling
are so like his, that the attribution to Andrea seems fairly safe.

FLORENTINE ABOUT I425

21

MADONNA AND SAINTS. The Virgin sits enthroned on a purplish
pink dais on a red pavement, against a gold background. On the right,
St. Rose, and under her St. Bartholomew, and on the left, St. Lucy and below
her, the Baptist. In the foreground a slender golden vase.
Wood, arched top. H. 2 1| in. W. 1 5 in.
The painter of this picture belongs to the group of Lorenzo Monaco and Bicci
di Lorenzo. The smudged faces and sloppy handling suggest Andrea di Giusto.

DOMENICO DI MICHELINO
Florentine. 141 7-149 1. Assistant and follower of Fra Angelico, influenced
by Alesso Baldovinetti. His only authenticated work is the famous picture
of Dante in the Florence Cathedral. Even that was designed by Baldo
vinetti. It may safely be assumed, however, that the designing was
of so summary a character as not to interfere with Domenico's minuscular
personality. At all events, no trace of Baldovinetti is discernible in the
finished work. From this painting, by working back to Angelico and then for-
16

FLORENTINE SCHOOL
ward again, it is possible to hazard the attribution of a number of pictures to
Domenico di Michelino. The most noteworthy are a "Last Judgment" in
Berlin, the lunettes in the Florence Academy representing the schools of
"Albertus Magnus and of St. Thomas Aquinas" (Nos. 231, 237), a "Ma
donna with four Angels" in the Uffizi (No. 64), an "Assumption of the Virgin
with Francis and Jerome" in the Fuller Maitland Collection in London, an
important altarpiece, with predella and pilasters in the Louvre (No. 1 320), and
a predella in four parts recounting the "Story of our Lord," in the Vatican
(former Museo Cristiano Case P. VIII-XI).
_ _ THE ANNUNCIATION. Our Lady, sitting in her closed court on a
¦^ •*< high-backed seat covered with cloth-of-gold, receives with hands clasped
over her bosom the message of the Angel, who floats towards her with gold, dark
red and bronzed wings outspread. His long flowing dress is pink, his mantle
blue, lined with yellow. The architecture is of grape purple colour, the
pavement purplish grey and the sky golden.
Wood. H. 14 in. W. n in.
An early work, painted soon after Domenico had left Fra Angelico's studio.
A somewhat similar composition, which is to be found in one of the Choral
Books in the Library of St. Mark's at Florence, is not the work of our artist but
of some other follower of Fra Angelico, who also executed several other minia
tures which are to be seen in the same place.

"MASTER OF THE CASTELLO NATIVITY"
Florentine. Temporary designation for an artistic personality descended
from Fra Angelico, and standing between Fra Filippo and Baldovinetti.
Active probably throughout entire third quarter of fifteenth century.

23

NATIVITY. On a flowered meadow kneels the Blessed Virgin, slightly
turned to our left, adoring the Child who lies almost naked on a ver
milion cloth. She wears a blue mantle over a pink dress and a lilac coloured
kerchief. Behind her a tall shed, in which are the ox and the ass and two
women conversing, leans against a ruined house with a high ground storey.
Over the Virgin three angels dance joining hands; beyond, in the lovely evening
light, another angel swoops down, bringing the glad tidings to the shepherds
17

FLORENTINE SCHOOL
lying on the ground in the midst of their flocks; still farther away an angelic
host is seen, clasping hands, singing, playing on pipes and blowing trumpets.
The landscape stretches darker and darker to the horizon, closed in by castel
lated hills.
Wood, transferred to canvas. H. 45 in. W. 33 in. Reproduced in Rassegna
d' Arte, V, p. 1 14.
This nothing less than fascinating picture happily combines Fra Angelico's
delicate feeling, poetical landscape and pure colour, with something of Fra
Filippo's genre and Baldovinetti's naturalism. The angels and the landscape
are almost pure Angelico. On the other hand, the women in the shed, the
shepherds and the Holy Child recall Filippo, while the ox and the ass show
naturalistic treatment, and the Madonna's face betrays acquaintance with
some such work of Baldovinetti as the one in the Berenson Collection at
Florence.
As the personality of the painter of this panel has never yet been integrated,
a very brief account of him may not be out of place here. Undoubtedly by the
same hand and in the same phase are three other "Nativities," if anything,
more fascinatingly poetical, of finer colour and more monumental aspect than
this one. One belonged, in the summer of 1909, to the late Mr. Lesser, the well
known Bond Street dealer. The other two are in the collections of the late
Mr. Brinsley Marlay (now in the Fitzwilliam Museum at Cambridge), and of
Lord Brownlow. The last two are remarkable for the perfect fusion of the
styles of Fra Angelico and Alesso Baldovinetti. Inferior no doubt in execu
tion, these works share in the much grander conception of the human figure
brought in by the Florentine Naturalists, without losing the delicate charm
of the masters of the Transition.
A slightly earlier work is the "Madonna and Child with four Angels" left
some years ago by M. Albert Bossy to the Louvre (Photo. Alinari 23280).
Here we find the same colour as in the angels of our Nativity but the Child is
somewhat naturalistic.
Another "Madonna," left to the Louvre at about the same time by the
Baroness Nathaniel de Rothschild, shows the artist in a more advanced phase.
The Blessed Virgin stands against a niche of very elaborate Renaissance archi
tecture, she has a much severer expression, and the colouring has lost its
Angelico brightness and become more sombre, more opaque, more greyish in
tone. Different as these two works are superficially, the cut of the eyes and a
peculiar system of folds over the right forearm, not to speak of more general
resemblances, leave no doubt, after repeated examinations, that they are by
the same painter.

FLORENTINE SCHOOL
Connected in colour with the last panel is yet another "Nativity" in the
Royal Villa of Castello near Florence. Although probably the latest in date,
it is reminiscent of all the other pictures already mentioned, and that is the
principal reason for calling the painter after it, the "Master of the Castello
Nativity. " This Castello picture is in its original frame, still Gothic, and has
a predella of Prophets. Doubtless it formed part of a triptych like the Carrand
Altarpiece in the Bargello, and, like that, it is scarcely earlier than about 1460.
It is conceivable that a strange "Annunciation," verging away from Fra
Filippo to Filippino, at the Florentine Church of S. Giovannino dei Cavalieri.
may be by our master in his last phase. A more likely work of his, super
ficially very Filippesque, is another "Annunciation," a small one in the
collection of M. Gustave Dreyfus in Paris.
To complete the list of the paintings of this artist thus far known, one may add
a half length Madonna with the Child holding a bird, in the University Gallery
at Gottingen (No. 70), and a Madonna in the Berenson Collection at Florence.
Apart from characteristics of expression and general effect which escape
description, the most recognizable traits of our painter are a peculiar curve to
the cut of the eyes and a singularly ill-formed hand, the fingers looking as if
they had been slit out in limp stuff of some sort. The angels in the earlier
Louvre picture furnish instances.

UNKNOWN FOLLOWER OF FRA ANGELICO
_ . SCENE FROM SAINTLY LEGEND. On a slightly raised terrace,
¦" ^\ before the open door of a building on the right, and a slightly more
distant garden wall on the left, stand two Saints, one of them in episcopal
robes, looking on with their three companions, while buxom young women
empty sacks of meal or grain into low barrels. Two pretty pages lend
their presence to the scene.
Wood. H.8!in. W. 17! in.
_ „ SCENE FROM SAINTLY LEGEND. The same two Saints kneel
¦" j at the mouth of a cave, while a playful skirmish is going on among
the repousse rocks. These rocks are crowned by the walls of a town.
Wood. H. 8|in. W. 17I in.
The subject and author of these fresh and lovely panels are equally shy of dis
covery. They clearly are by some follower of Fra Angelico, influenced con-
19

FLORENTINE SCHOOL

siderably by both Domenico Veneziano and Francesco Pesellino. The present
writer doubts whether he has ever seen other paintings by the same hand.
It seems to him, however, that this hand resembles closely that of the painter
he has called the " Master of the Castello Nativity" (vide No. 23).

FLORENTINE ABOUT 1450
_ r MADONNA AND TWO SAINTS. The Virgin is enthroned under
¦^ ^ a low apse resting on squat Ionic columns. The huge fat Child lies
in her lap, holding an open pomegranate in His right hand. To R. a Bishop
blessing, and to L. St. Benedict with the scourge and a red book.
Wood. H. 29 in. W. 19 in.
This very poor work must have been painted by some Florentine journeyman
in contact with the followers of Fra Filippo and Domenico Veneziano.

NERI DI BICCI
Florentine. 1419-1491. Pupil and close follower of his father, Bicci di
Lorenzo. -r_ ASSUMPTION OF THE VIRGIN. As she rises from her tomb,
¦^ J which is full of roses, she drops her girdle to St. Thomas, who kneels on
the left. Near him are two male Saints, and on the right two female saints.
Gold ground.
Wood. H.62in. W. 62 in.
A characteristic work of this painter so interesting to the student of ultra-
conservatism in art, and so agreeable to the eye fond of gorgeous if somewhat
scorched colour.
_ Q NATIVITY. The Virgin kneels adoring the Child, who lies on the
^ O skirts of her mantle. Jerome to right and the Baptist to left.
Wood. H. 7 in. W. 12 in. 20

FLORENTINE SCHOOL
_ TWO YOUTHFUL MARTYR SAINTS, KNEELING.
20
Wood. H. 7 in. W. 12 in.
_ ~ TWO SAINTED POPES, KNEELING.
Wood. H. 7 in. W. 12 in.
AGNES AND ANOTHER FEMALE SAINT, KNEELING.
Wood. H. 7 in. W. 12 in.
_ - TWO OLD MONASTIC SAINTS, KNEELING.
Wood. H. 7 in. W. 12 in.
^ ^ SS. ANTONY ABBOT AND ANTONY OF PADUA, KNEELING.
33Wood. H. 7 in. W. 12 in.
These panels must have formed a predella or base for an altarpiece. Although
crude they are not unpalatable, being saved by a certain hearty homeliness.
DOMENICO VENEZIANO
Florentine. About 1 400-1 461. Formed under the influence of Fra Angelico
Donatello and Masaccio. Little of his work remains, but enough to convey
a sense of his artistic quality. His importance may be judged from the fact
that Piero della Francesca and Baldovinetti got from him nearly all, and
Pesellino a great deal of what was best in their several styles.
SCHOOL OF DOMENICO VENEZIANO
. PROFILE BUST OF A LADY. She is seen in sharp profile to left
y ^\ against a black ground. Her yellow hair brushed smoothly back from
the shaved forehead is coiled over her ear, the ends floating loose. It is tied
by a white fillet, which passes over her ear and is held in place on the top
21

FLORENTINE SCHOOL
of her head by a ruby set in pearls. A black cord encircles the skull. She
wears a double string of pearls, mixed with coral beads, ending in a pendant.
Her dress is a rather low-cut gown of dark green embroidered with yellow and
red, and the sleeve is white with a pattern of pomegranate embroidered in
very dark bronzed green. The nose is prominent and pointed, the lips firm
and red, the eyebrows pencilled, the neck long and rather thin. On top of
the panel is the cipher: G. P. F.
Wood. H. i6| in. W. 13 in.
Reproduced, Rassegna d' Arte, 1905, p. 115.
The type of profile, with the projecting eyeball, is of the immediate following
of Domenico Veneziano. The hair and dress point to a date between 1455 and
1465. The execution, particularly of the bust, is very feeble, and something
in the ruddy and coppery colouring suggests Neri di Bicci.

FRANCESCO PESELLINO
Florentine School. 1422-1457. Pupil, possibly, of his grandfather, Giuliano
Pesello; follower of Fra Angelico, Masaccio and Domenico Veneziano, but
chiefly of Fra Filippo.
. _ MINIATURE ALTARPIECE. The Blessed Virgin, robed in am-
y j pie draperies, sits on a severe but heavy throne, looking somewhat
sadly at the Child in her arms. On our right stands the Baptist pointing at
them, and on the left, nearly in profile, St. Jerome. Gold ground, in con
temporary tabernacle.
Wood. Arched top. H. I2jin. W. 8fin.
This little masterpiece shows Pesellino, the most charming figure in Florentine
art after Fra Angelico, in his maturity. He has ceased imitating Fra Filippo
in his mannerisms, while retaining his humanity. But Pesellino's proportions
and draperies here have a distinction and a dignity never attained by Fra
Filippo.
When in the Hainauer Collection, it was ascribed to Fra Filippo, but pre
sumably no serious critic would nowadays dispute the attribution to Pesellino.
22

FLORENTINE SCHOOL
"COMPAGNO DI PESELLINO" (?)
Temporary name for an artistic personality that continued for some time
the manner of Pesellino (d. 1457). Whether, as common sense would de
mand, this personality was identical with that of Pesellino's surviving
partner, Piero di Lorenzo del Pratese, is still uncertain (Cf. Mary Logan in
Gazette des Beaux Arts for July 1901).
_/~ MADONNA AND CHILD. She sits between drawn brocade cur-
y ^ tains on a niche-like throne with shell-like apse, and holds the Child
against her right shoulder. She looks a little to our left, and He, out of
the picture, slightly to right.
Wood. H. 46 in. W. 26 in.
The relation of this work to the panels by "Compagno di Pesellino" at Dres
den, in the former Hainauer Collection, and at Mrs. Gardner's in Boston, are
obvious. Whether it is by himself, however, or a studio picture, is a matter
to decide when the last phases of this artistic personality are better known.
A contemporary version of the same cartoon but by a rougher hand may be
seen at the Royal Institution, Liverpool (No. 14) ascribed to Masolino.

"MASTER OF THE SAN MINIATO ALTARPIECE"
Florentine. Temporary name for a fifth rate artistic personality descending
from "Compagno di Pesellino," and so named after its principal achievement,
a large panel in the Dominican church of S. Miniato al Tedesco, in the Val
d'Arno. This represents the Madonna enthroned between St. Sebastian, the
Baptist, a sainted Bishop and St. Roch, with the youthful male and female
donors and their little girl below. Two or three other large works are floating
about in the market, but of those having fixed abodes the following may be
mentioned : —
Detroit, Michigan, U. S. A. A Madonna between two angels, knee
length figures in arched frame, ascribed to Fra Filippo.
Rome, Vatican Gallery. The Madonna seated between S. S. Stephen and
Bartholomew, Ascribed to G. B. Utili.
Paris, Baron Lazzaroni. Madonna enthroned between St. Nicholas of
Bari and the Baptist.
Sens (Yonne) 132, Madonna. 23

FLORENTINE SCHOOL
Oldenburg, i i. Madonna seated against a high parapet with the Child on
a cushion in her lap. He is naked and plays with a bird. Ascribed to Fil-
ippino. Highnam Court, Gloucester, Sir Hubert Parry. A Madonna wearing
a crown, sits against a curtain of rich brocade, holding the Child erect on
her right knee, while the boy Baptist stands by worshipping. A delightful
picture. Photo. Mansell, 58.
Inwood, Templecombe, Somerset, Lady Theodora Guest. A Madonna
between two angels seen against the sky, holding the Child erect on a parapet.
Close to Sir Hubert Parry's picture.
The last three works make it possible that when we know their author better
we may promote him from the fifth grade to the fourth.
- f— MADONNA. She is seated in an arched pinkish purple niche, seen
y I to just above the knees, and has the Child sitting on her left knee. He
looks out vaguely and blesses with His right hand. In her right hand a pome
granate. Wood. H. 28 in. W. 20 in.
The Child closely resembles the one in a "Madonna" by the same hand
reproduced in the Gazette des Beaux Arts, July, 1901, p. 31.

BENOZZO GOZZOLI
Florentine. 1 420-1 497. Pupil possibly of Giuliano Pesello and of the Bicci;
assistant and follower of Fra Angelico.
- O THE PURIFICATION OF THE VIRGIN. Behind the low altar,
y O against the narrow choir of the temple, stands the High Priest holding
the naked Child. On our left the Blessed Virgin stands with hands join
ed in prayer, behind her Joseph with two doves, and following him two
female attendants. On our right the Prophetess Anne unfurling a scroll, and
on each side of her two men.
Wood. H.8|in. W. 13^ in.
Reproduced as Plate XI of Oesterreichische Kunstschaetze, Vol. I (Vienna,
Lowy) .
This highly characteristic little picture by Benozzo doubtless formed the
24

FLORENTINE SCHOOL
central part of the predella to his altarpiece once in the chapel of the Company
of the Purification in Florence, and now in the National Gallery (No. 283).
In style and even in measurements it is a perfect companion to the three other
already known subjects from the same predella; namely, the "Fall of Simon
Magus" at Buckingham Palace, the "Miracle of St. Dominic" in the Brera,
and the "Miracle of St. Zenobius" recently in the Kann Collection and
now in Berlin (60c). The student is referred to Mr. Herbert Home's article
in the Burlington Magazine (VII, p. 377), which renders discussion unneces
sary. The date of the work is 1461.
It is interesting to compare this panel with the same subject in the Vatican
Benozzo of eleven years earlier. If the painter has lost something of his
boyish charm, he has gained in gravity. His scene is more peopled without
being crowded. His architecture, inspired by Ghiberti's, was more Gothic
in the earlier work than in that master's "Solomon and the Queen of Sheba, "
but shows in our panel a more advanced Renaissance type than Ghiberti ever
attained.

PIER FRANCESCO FIORENTINO
Florentine. Known to have been active during the last three decades of the
fifteenth century. Follower of Benozzo Gozzoli in so far as revealed by
numerous frescoes and some panels in and around San Gemignano, Siena
and Empoli.
With this name has been connected in recent years a group of pictures
remarkable for their technique and decorative effect. They betray in hand
ling the influence of Benozzo and Neri di Bicci, and consist, for the great part,
of imitations of Baldovinetti, Filippo and Pesellino, while some of the best are
practically copies of the last two and of "Compagno di Pesellino."
The bulk of pictures currently ascribed to Pier Francesco belong to this group,
and the question whether they were painted by him in Florence before he
settled down, and perhaps degenerated, at San Gemignano, still awaits
adequate elucidation. Of one thing, however, there can be no doubt, namely,
that the whole mass of work composing this group is no more and no less
correctly ascribed to the same hand than are the series of pictures usually
attributed to a Renaissance master. There were partners, and there were
assistants, but no more here than elsewhere.
Thus, by whatever name we ultimately designate this group, its unity remains
untouched. Whether we add it to, or take it away from, Pier Francesco
25

FLORENTINE SCHOOL
himself, affects only our own conception of that painter's artistic personality,
but does not break up the coherence of the series.
MADONNA AN D CH I LD. The Virgin worships the Child, who lies
y M on a parapet sucking His finger.
Wood. H. 19! in. W. 13! in.
A Filippesque composition, similar to the one at Gubbio (Photo. Alinari,
No. 21294).
An MADONNA AND CHILD AND TWO ANGELS. The Virgin is
4 seen down to the knees, adoring the Child, who stretches out His hand
to her and is held by two angels.
Wood. Arched top. H. i8|in. W. iojin.
A degraded variant of Filippo's famous Uffizi picture. A number of versions
by this hand are known, two in the United States: one with a landscape back
ground in the Holden Collection at Cleveland, and the other, almost identical
with the present example, in the possession of Mr. Grenville L. Winthrop
of New York.
. T MADONNA AN D CH 1 LD. The Virgin is seen half length supporting
^\ A the Child who stands naked on the edge of a parapet. Background
of red and white roses.
Wood. H.24fin. W. 17 in.
This picture is a copy of M. Aynard's (Lyons) "Compagno di Pesellino,"
which seems to have been a favourite theme with our craftsman. Oddly
enough, two other versions may be seen in or near Philadelphia; one with the
very slightest variations in the Widener Collection, and another in the Acad
emy of Fine Arts, which has a landscape background in the exact manner of
the "Nativity" and the "Triumphs of Petrarch" at the Siena Academy.
These last-named works, by the way, belong to the San Gemignano category
of Pier Francesco's paintings. The best version of the Aynard "Madonna"
by this hand is the one in Berlin (Photo. Hanfstaengl, No. 453).
. - MADONNA AND ANGELS. The Virgin is very round-faced and
£\ ¦£ girlish, and stands against a niche, holding the Child seated on a parapet.
Below two infants embracing vases on a ledge. On this ledge the following
words:- JUSTA PETENTI GRATIOSA SlNT.
Wood. Arched top with original projecting frame. H. 18 in. W. 1 1 in.
26

FLORENTINE SCHOOL
A late work by this hand. The identical angels occur in a " Marriage of St.
Catherine" that was in the Ferroni Sale (Rome, 1909, No. 372).
A ._ MADONNA AND CHILD (?). The Virgin sits, dressed in a blue-
^\ y edged gold mantle over a pink dress with a peculiarly Pesellinesque bod
ice, and with a white kerchief on her head. The throne is of darkish mottled
marble. The golden halo is crossed with red. The curtains are of gold
brocade.Wood. H. 20 in. W. 16 in.
Probably a copy of a lost "Compagno di Pesellino," and very likely by the
same hand as the above.

SANDRO BOTTICELLI
Florentine. 1444-15 10. Pupil of Fra Filippo, influenced early by the Polla-
juoli and the works of Castagno.
A predella, that is to say, base of an altarpiece, in four parts, recounting
the Legend of St. Mary Magdalen.
, . CHRIST PREACHING. The scene is laid in a shallow pillared porch
*\ ^\ leading to three doors which open into blackness. The doors are
crowned by entablatures and pediments supported on small pilasters, whilst
large pilasters occupy the wall spaces between them. The colour of the whole
is a warm grey, with the exception of the bases of the pillars, and the capitals
and bases of the pilasters, which are all of a darker shade. The floor is rosy
grape purple. On the extreme right, against the side wall, Christ stands
statue-like upon a pedestal, His right hand raised as if blessing, and preaches
to about ten men and women. Of these the foremost, with eager upturned
faces, are kneeling, while the others stand. Almost in the centre the Mag
dalen, clad in red, is seen in profile to the right with her right hand raised
towards her face. She stands aloof, contrite and timid. It is the moment
of her conversion.
Wood. H.7±in. W. i6f in.
. _ FEAST IN THE HOUSE OF LEVI. A bare rosy grey room wain-
*\ j scoted in walnut to half its height, with three windows on the wall to
right, a door on the wall to left, and another next to it in the back wall. This
27

FLORENTINE SCHOOL
last door opens into a lit passage at the end of which we have a glimpse of
landscape. Inside the room stands an L-shaped table spread with a white
cloth, and seated at it, with their backs to the wall, are six men. One of these,
occupying alone the shorter wing of the table, is Christ. With His right hand
raised, He is addressing the Magdalen, who has prostrated herself at His feet.
Wood. H.7iin. W. i6$in.
. f NOLI ME TANG ERE. A garden enclosed by walls of severely simple
^\ ^ masonry of very pale rose colour. Green grass and five cypresses.
To right an arch opens on a grey landscape consisting of a stream winding
between hills. To left another arched opening is seen sideways. In the fore
ground of this shallow enclosure Christ, with a hoe over His left shoulder, is
walking to the right but turns His head to address the Magdalen, as with glow
ing face and appealing gestures, she throws herself at His feet. He is clad in
pink and blue-grey hemmed with gold, she in red and deep grape purple. The
faces and hands are unusually golden.
Wood. H. 7! in. W. i6|in.
. n LAST MOMENTS OF THE MAGDALEN. A chapel of serene grey,
^\ J trimmed with darker stone, in the pure Florentine style of about 1480,
occupies the right half of the panel. The altar is hidden in a recess, but on
its steps, between two acolytes in white, a Bishop in pink vestments is stoop
ing to give the Holy Communion to the Magdalen, who kneels on the rosy
floor wrapped in the clinging masses of her golden hair. Outside the chapel
is seen a garden plot bounded by a very low pinkish wall. Beyond this, waters
and greyish green hills stretch away into the distance except on the extreme
left, where in front of jagged rocks the Magdalen, with hands lifted in prayer,
is being taken up from earth by two angels. Close to the edge of the
facade of the chapel a youth kneels, raising his hands in prayer and thanks
giving. Wood. H. 7! in. W. 16^ in.
To what altarpiece these predelle may have served as a base remains a subject
of conjecture. One would gladly jump to the conclusion that they formed
part of a work in the Convertite mentioned by various writers, and amply
referred to in Mr. Herbert Home's scholarly book on Botticelli (p. 317). Nor
is it easy to determine the precise moment in their creator's career to which
these little panels should be assigned. The more spontaneous, the more care
free an achievement is, the more likely is it to anticipate the style which the
28

FLORENTINE SCHOOL
artist is destined to employ later in more laboured efforts. And it certainly
would be idle to search in Botticelli's autograph paintings for anything half
so joyously unconscious as these improvisations. The next of kin to some
of these figures and faces may be discovered perhaps in the two " Epiphanies"
in the National Gallery. And indeed the technique, as distinct from draw
ing, the mosaic, as it were, made by the way the paint has been applied, is
perfectly identical in those two pictures, in our predelle, and in the Chigi
"Madonna." The gem-like precision of the architecture, and the predilec
tion for openings seen sideways, point to his earlier although perhaps not
earliest years. A certain Masacciesque influence, visible, for instance, in
the "Christ Preaching," would scarcely have appeared after Sandro had
attained full maturity, say after 1482. In the panel last referred to one or two
of the faces are distinctly Filippesque, and that, too, would point to the artist's
earlier years.
Another consideration is the singular likeness of these predelle to the works of
Amico di Sandro. The golden tone, the great preference for grape purples
and rose colour, the rather churned folds in the draperies, the lighting, certain
types even, vividly suggest Amico — so vividly, indeed, that at first sight
they seem to point to his authorship in some even more charming phase than
the "Esther" panels at Chantilly, Paris, Vienna and Florence. We may
interpret these strong resemblances to mean that Amico — as is indeed char
acteristic of gifted but smaller personalities — became as it were the incar
nation of this one brief moment in the greater master's career. Now every
thing we know of Amico compels us to infer that this moment must have
occurred no later than 1480.
Before leaving these effusions of Botticelli's highest spirits, it should be noted
that the arrangement of the figures at the table in the " Feast in the House of
Levi," is singularly free in grouping, and points forward to Leonardo's "Last
Supper." The precise relations of the two artists have never been fully
studied. It is not however, unreasonable, nor does a study of all extant draw
ings for Leonardo's masterpiece make it unjustifiable, to suppose that the
latter, when he was groping toward his own sublime composition, may have
been guided, perhaps quite unconsciously, by reminiscences of the articulations
and rhythms of this small panel.
. O PORTRAIT BUST OF LORENZO LORENZANO. A man, aged
*\ CJ apparently about forty, with a clean shaved face, powerful but rather
obese. The nose is a trifle short but prominent. Lines run downwards from
the roots of the nostrils and from the corners of the mouth, and a deep furrow
29

FLORENTINE SCHOOL
seams the forehead from the eyebrow. The expression is thus one of con
centrated attention, but the sparkle in the eye prevents its looking puckered,
and gives it an air of liveliness and even geniality. The hair falls to the
shoulders from under a dark velvet hat, with lappets turned up. A dark
velvet scarf lies across the red coat. Dark background. Life size. Inscribed
at the top L. LORENTIANO.
Wood. H. 19! in. W. 14! in.
Reproduced in L 'Arte, 1908, p. 1 36.
An article published by M. Leon Dorez in the Bulletin de la Societe jran-
qaise d'Histoire de la Medicine for 1907, states that Lorenzo Lorenzano was a
Florentine, son of Piero a notary; that he was a dependant of the Medicis,
who, in 1479, when he was still very young, made him professor of logic in
the University of Pisa; that in 1483 he exchanged this chair for that of
physics, and the latter again in 1487 for that of medicine, which he occupied
with interruptions till 1501, making for himself the reputation of one of the
greatest scholars in medicine of his own time. Early in May, 1 502, he killed
himself by jumping down a well.
This portrait, though not intact, takes rank among the best character studies
and most monumental heads in Quattrocento painting. It must have been
executed soon after 1490, its next of kin among Sandro's works being the
"Coronation" of about that date in the Florence Academy.
SCHOOL OF BOTTICELLI
. MADONNA AND CHILD. The Virgin, in blue and red against a
Zf M pink curtain holds the Child in a pink sash standing on a grey bench.
To the right an angel in buff, red and blue, with roses in her hands. To left
another angel in the same colours. Landscape background.
Wood. Roundel. Diameter 38 in.
Remote following of Sandro. Hard, wooden and gaudy.
"AMICO DI SANDRO"
An artistic personality between Botticelli and Filippino Lippi.

_„ BUST PORTRAIT OF YOUNG MAN. He has a long face and droop-
J ^ ing nose, curly chestnut hair, brown eyes and black brows. He wears
a red cap and a red mantle over a dark blue coat. The flesh colour is ruddy
30

FLORENTINE SCHOOL
grey, as in the Louvre portrait. Landscape bluish green under sky of lighter
shade of same colour. Of the hands, only the thumb and forefinger of the
right are visible.
Wood. H. 16 in. W. 12 in.
Reproduced in Rassegna d' Arte for 1905, p. 118.
A characteristic work, although not of the best. In conception and handling
it is very close to the "Esmeralda Bandinelli" of the lonides Collection in the
Victoria and Albert Museum, and, like that, belongs to the most Botticellian
moment of Amico's career. It has been suggested by Mr. F. M. Perkins
that the person represented was Giuliano de' Medici. It would scarcely seem
likely, however, that the powerful hawk-like. profile of Giuliano as we know
it in the Morelli portrait by the same artist would yield such a feeble, sim-
pletonish full face as this.

JACOPO DEL SELLAJO
Florentine. 1441 or 2-1493. Pupil of Fra Filippo; influenced slightly by
Castagno's works; imitated most of his Florentine contemporaries, especially
Ghirlandajo, Botticelli and "Amico di Sandro."
~ T DAVI D. A landscape consisting of bluish green jagged rocks, winding
j 1 roads and streams. In the foreground a youth stands panting astride
over a giant's head which he contemplates. His right hand holds a sling,
his left rests on his hip. His hair is red and he wears a pale yellow tunic, a
fluttering pink mantle, and greenish blue belt and buskins.
Wood. H. 20 in. W. \i\ in.
The action of this boyish figure, all but spent with the excitement of his
victory, is so admirable that one may scarcely credit with its invention such
a wielder of the scissors and paste-pot as Sella jo. It may not be too hazard
ous a conjecture that we have here an echo of a masterpiece by Castagno.
~. ^ NATIVITY. In the foreground of a romantic landscape kneels the
J -^ Blessed Virgin adoring the Child, who lies naked on the edge of her
mantle, throwing up His hands to her. Just over His head we see the ox and
the ass; beyond walks the youthful Baptist; and still farther away on a
beetling cliff the Magi kneel gazing at the Star. In the middle distance on
3'

FLORENTINE SCHOOL
the right kneels St. Jerome, and on a height above him nearly at the horizon
line a shepherd is receiving the glad tidings.
Wood. Arched top. H. 42 in. W. 25 in.
Reproduced in the Rassegna d' Arte, V, p. 119.
This is a composition which Sellajo repeated a number of times with slight
variations, as, for instance, in the collection of Mr. Stanley Mortimer in
Long Island. One may venture to say that in the version here one sees
Sellajo at his best.
£, _ MADONNA. The Blessed Virgin sits in a flowered meadow against
J y a rose-hedge under the blue sky. To the right, an angel holding a
pink, to the left the youthful Baptist kneeling.
Wood. H. 28! in. W. 20* in.
Reproduced in the Rassegna d'Arte, V, p. 119.
Despite somewhat unusual traits, this panel must be ascribed to Sellajo. It
is possible, however, that the angel and the rose-hedge are the work of an
assistant. ^ . RECONCILIATION OF ROMANS AND SABINES. Women with
J ^\ babes in their arms and children following them come between the two
armed and mounted hosts. Some of the Sabine warriors take the babes in
their own hands, while on the Roman side archers are charging their bows
and arquebuses. On the left, the walls of Rome with the pyramid of Cestius,
and near it a broad stairway cut into a hillside. In the middle distance
horsemen skirmishing.
Wood. H. 24 in. W. 66 in.
One of Sellajo's most ambitious and successful works, and moreover very
typical. The bareheaded horseman on the left recalls Verrocchio, and the
bow man near him is reminiscent of Pollajuolo's "Hercules" in the picture
in the Jarves Collection at New Haven.

FRANCESCO BOTTICINI
Florentine. 1446- 1498. Pupil of Neri di Bicci; influenced by Castagno,
probably worked with, and certainly formed by Cosimo Rosselli and Ver-
rochio; influenced later by Botticelli and Amico di Sandro.
32

FLORENTINE SCHOOL
£, ~ THREE SAINTS. On our right a Pope, in greenish blue over white,
j j looking to our left. Facing him, a Bishop in red over white. On our
left a Saint with long hair, in orange over blue, pointing down with his right
hand and holding a book in his left. They stand on a pavement tessellated
with porphyry against a wall with porphyry wainscoting framed in marble
above which it is stamped with a pattern of gold brocade.
Wood. H. 72 in. W. 41 in.
These heroic monumental figures, although by neither Verrocchio nor Bot
ticelli, would not, in fact, be quite unworthy of either. Their author must
surely have been Botticini in one of those moments when he painted such a
grand work as Mme. Andre's " Pieta." The folds of the draperies, particularly
of the Saint on the left, are unusually Botticellian.

SCHOOL OF BOTTICINI
_ /T NATIVITY. Before a stone shed kneels the Blessed Virgin worship-
j ^ ping the Child Who lies with radiant aureole on the edge of her mantle.
The infant Baptist kneels behind Him. Landscape background.
Wood. H. 27 in. W. 16 in. In original arched frame painted with a
pretty pattern of flowers.
^ ,_ MADONNA AND CHILD. Seated in the open air upon a marble
j I throne with rounded back, under gold brocade curtains, the Virgin
holds the Child half reclining on a cushion. In His hand He holds a bird.
Beneath is a river valley.
Wood. H. 14 in. W. 12 in. In original frame, which has a coat of arms
painted upon it.
^ O MADONNA AND SAINTS. The Virgin sits enthroned under an
J f arch between the erect figures of Bernard and the Magdalen, Benedict
and a Bishop. The throne is inlaid with colored marbles, and above it appear
the tops of cypresses.
Wood. H. 19 m. W. 1 5 in.
This panel is to be classified with the following of Botticini only in the widest
sense of the term. 33

FLORENTINE SCHOOL
"MASTER OF THE CARRAND TRIPTYCH"
Temporary name given by Dr. W. Weisbach (Jahrbuch der Preussischen
Kunstsammlungen, XXII, p. 35) to a Florentine painter active toward 1460
and later. He stands between the young Baldovinetti, whose pupil he may
have been, and Cosimo Rosselli, and gives evidence of having been strongly
influenced by Pesellino.
~ MADONNA AND SAINTS. The Virgin is seated between the stand-
J y ing figures of SS. Lawrence and Antony Abbot, while SS. Cosmas and
Damian stand behind between them and her. Three cherubs above and one
b'elow are seen in the clouds against the greenish blue sky. The flesh colour
is a ruddy blond. The Madonna's gown is yellowish ruby, the three young
Saints are in pink and vermilion, and Antony in light on dark gray, with ver
milion book.
Wood. H. 19! in. W. 12J in.
Even later than Dr. Weisbach's picture reproduced in his article on this master
(cf. sopra), and in fact his latest known work. His hand is not a steady or a
powerful one, although in the Carrand Triptych and in the Casa Buonarrotti
and Montpellier predelle it promised so well.

. COSIMO ROSSELLI
Florentine. 1439-1507. Pupil of Neri di Bicci, influenced by Benozzo and
Alesso Baldovinetti.
r ~ MADONNA AND CHILD. She is seated, seen down to her knees,
\j^J with the Child supported on two cushions. Immediately behind her
are seen four slender, pointed cypresses and another spreading one, and beyond
them a stony landscape. The Virgin is in yellowish-red gold brocade. The
top cushion is of the same colour and stuff, and the lower one green embroid
ered. The flesh and hair are very blond. The Virgin's halo is of gold with
red rays, and the Child's of deep purple enamel with gold and red plaques.
Wood. H.28in. W. 18 in.
If this Madonna is by Cosimo Rosselli, as is more than likely, it is earlier
than any other, and shows him in a more monumental phase than even the
Uffizi "Adoration of the Magi." Careful comparison with that important
34

FLORENTINE SCHOOL

work as well as with other early paintings (as, for instance, the Altarpiece of
1471 at Berlin, and the "St. Barbara between St. Matthew and the Baptist"
in the Florence Academy) confirms the intuitive feeling that here we have an
unexpectedly grand picture by Cosimo.

6

SCHOOL OF COSIMO ROSSELLI
T NATIVITY. The Blessed Virgin kneels and worships the Child who
1 reclines, wrapped in tight swaddling clothes, against a saddle. Close
by sits Joseph meditating. Behind a brick wall a pretty shepherd boy looks
on, shading his eyes. To left the ox and the ass. Landscape with winding
stream. Wood. Arched top. H. 33J in. W. 17I in.
A feeble but attractive picture by a close follower of Cosimo Rosselli, painted
possibly in his workshop. Another "Nativity" by the same hand was at the
Galli-Dunne sale in 1905 (No. 323, reproduced in the catalogue).

GIOVANNI BATTISTA UTILI OF FAENZA
Florentine School. Still active in 15 15. May have been fellow pupil under
Verrocchio with Botticini, and later must have fallen under the influence of
the Ghirlandajo.

6

_ NATIVITY. The Blessed Virgin kneels in the foreground adoring
¦^ the Holy Child, who lies on the edge of her mantle, while Joseph sits
in a pensive attitude behind a saddle. Close by peer the heads of the ox and
the ass, and beyond them we have a view of the Arno looking up stream with
the Carraja Bridge as it was in the fifteenth century.
Wood. Arched top. H. 37! in. W. 22! in.
This is a work of the early maturity of a relatively little known Florentine
painter of Faentine birth, who was brought into notice by Corrado Ricci in
1906 (Rivista d' Arte, p. 137 et seq.). As Ricci says, it is not at all difficult
to recognize his hand when one happens to come across him. Utili, however,
had a wider range than his discoverer suspected. Thus, he not only painted
in his riper years such an important work as the well known " Way to Gol-
35

FLORENTINE SCHOOL
gotha" of the Louvre (No. 131 3), ascribed to Benedetto Ghirlandajo, but, in
his earlier phase, was responsible for a group of striking, if crude, works which
have puzzled recent connoisseurship not a little. The most interesting panels
of this group are the "Nativity with Saints and Donors" in the collection of
the Rev. W. Stogdon at Harrow; the large "Madonna enthroned with SS.
James, Dominic, Peter Martyr, and the kneeling Catherine" at Budapest
(No. 59, formerly ascribed to Verrocchio) ; a Madonna with an Angel at
Besancon (Gigoux 70) ascribed to Crivelli; a "Nativity" at Strassburg (No.
213); and finally "The Three Archangels and Tobias" belonging to the
Marchese Bartolini-Salimbeni-Vivai at Florence. These approach so closely
to Botticini in his most Verrocchiesque phase that some of them have been
ascribed to him, just as Utili's later works invite the attribution to one or •
other of the Ghirlandajo painters. A work connecting these earlier efforts
with those commonly received is an altarpiece representing the Madonna with
Francis, Peter Martyr, Felicitas and her two sons, in the Somers' Collection at
Eastnor Castle, where it is ascribed to Baldovinetti.

SCHOOL OF UTILI
r MADONNA AND CHILD. The Virgin, seen behind a parapet
^ ' y against a sky and landscape of vague shape, holds the naked Child
seated on a cushion. He with His left hand presses on an apple that she holds
for Him in her left hand.
Wood. H. 16 in. W. 12 in.
In contemporary Florentine frame, containing in the pediment a bust of God
the Father painted by another hand.
A pleasant homely picture, hard to place.

FLORENTINE toward 1490
/T . A CASSONE FRONT ILLUSTRATING AN EPISODE FROM
^4 BOCCACCIO'S STORY OF NASTAGIO DEGLI ONESTI. Ban
queters seated in the open air are surprised by the vision of an armoured horse
man pursuing a naked girl, upon whom his dogs have already fastened. On
36

FLORENTINE SCHOOL
the trees behind the "festive board" hang four shields, one with two crescent
moons on red ground, and the next a white dog erect on a blue ground.
Wood. H. 28 in. W. 54 in.
This fascinating story, which has occupied artists of such commanding genius
as Botticelli and Watts, is here treated as tamely as possible. Spirit was
scarcely to be expected of an artist like the author of this panel, who so ob
viously was a tame journeyman with an orbit in the bedulling sphere between
Ghirlandajo and Sellajo. Its companion is still to be seen (April, 19 12) in
the Torrigiani Palace at Florence, and shows, with some variations, the same
young female pursued in a forest by the same wooden horseman and his
stuffed beaters.
Mr. Herbert P Home has been kind enough to communicate to the present
writer that the white dog on a blue ground is on the arms of the Del Nero
family, the predecessors of the Torrigianis. Miss Eugenia Levi has patiently
sought for the record of an alliance between that family and the Strozzi, to
whom belong the arms on the other shield, but up to the present her search
has been in vain.
Whoever the author may have been — and he was probably only a furniture
painter — this much is certain. He was acquainted with the same subject
as treated by Alunno di Domenico in a panel done clearly under the inspira
tion of Botticelli, which now (April, 1912) belongs to M. Spiridon of Paris.

DAVID GHIRLANDAJO
Florentine. 1452-1525. Like his much more famous brother, Domenico
Ghirlandajo (1449- 1494), a pupil of Baldovinetti, but much more influenced
than he by Botticelli and even Filippino Lippi. Partner of Domenico,
foreman of his workshop, and probably instructor of his numerous appren
tices. r ALTARPIECE: MADONNA AND SAINTS. On a tesselated ter-
^ J race against a Renaissance arch sits the Virgin with the Child on her
left knee. He blesses with His right hand, and with His left touches the big
toe of His right foot. On our right stands St. Sebastian in armour with a
red mantle cast over it, in his right hand an arrow, his left resting on his hip.
To the left we see St. Agatha in a pinkish mantle with a palm and pincers in
37

FLORENTINE SCHOOL
her right hand and a book in her left. The architecture is of grey stone with
gilt capitals to the pilasters. Beyond the arches a landscape and sky.
Wood. H. 56 in. W. 53 in.
Photo. Alinari, Pe. 2, No. 8427.
In the main this is a work by the author of the frescoes in the oratory of the
Buonomini di S. Martino at Florence, and that surely is David Ghirlandajo.
But the head of St. Sebastian is almost certainly by Domenico, and possibly
that of the Madonna as well. In other respects this panel presents those
characteristics and qualities which in the mass of Ghirlandajesque paintings
one may safely ascribe to David.
sr MADONNA AND CHILD. She sits on a solid-backed carved bench
^ ^ in the open air, holding the nude Child on a vermilion cushion on her
right knee.
Wood. Arched top. H. 30 in. W. 18 in.
Hard and inferior to the altarpiece, but not feeble; an average specimen of
David's manner.
r n FOUR PREDELLE (framed together one over the other), (a) THE
O / LAST SUPPER; (b) THE BETRAYAL; (c) CHRIST BEFORE
PILATE; (d) THE WAY TO GOLGOTHA.
Wood. H. (of the whole) 15I in. W. 13 in.
Sketchy but spirited, and much more dramatic than Domenico.

SCHOOL OF GHIRLANDAJO
/TO NATIVITY. The Blessed Virgin kneels adoring the Child who lies
V ^ pillowed on a bundle of straw covered by the skirt of her mantle.
To right the shed, and under it the ox and the ass eating out of a marble
manger. In the middle distance Joseph kneels, perhaps scooping up water.
Background of very pretty landscape.
Wood. H. 31 in. W. 22! in.
Worthy of David Ghirlandajo or Mainardi, but apparently by neither. The
general tone is singularly deep. 38

FLORENTINE SCHOOL
BASTIANO MAINARDI
Florentine. About 1450-15 13. Pupil and imitator of his brother-in-law,
Domenico Ghirlandajo.
r MADONNA WITH THE INFANT JOHN. She is dressed in deep
^ y red with a blue mantle, and sits on a marble bench, visible to below the
knees, looking down at the infant Baptist whom she is blessing. He is seen
only down to the waist, and looks up in profile to right to the Christ Child,
who blesses him from His mother's left knee. In the middle distance, a coast
town with quays and public buildings. Background of conical vitreous green
mountains under a blue sky.
The inscription "sub tuum, praesidium confugimus," is of much later date.
Wood. Arched top. H. 36 in. W. 24 in.
A characteristic work, although close to David Ghirlandajo. It was probably
painted at the time when Mainardi was settling down in San Gemignano, his
native town, where he spent the last years of his life.

ALUNNO DI DOMENICO
Descriptive term for Florentine painter whose real name turns out to have been
Bartolommeo di Giovanni. Flourished during last two decades of fifteenth
century. Assistant of Ghirlandajo, influenced by Amico di Sandro and
Botticelli. Seems to have ended as book illustrator.
„ „ COMMUNION OF ST. JEROME. The Saint, a handsome bearded
/ ^ man, kneels with his hands clasped in prayer, while the priest, who also
kneels, offers him the Blessed Sacrament over a paten. Two kneeling monks
support the Saint. Behind the priest is an acolyte holding a candle, and on
the other side of the altar another monk. The scene takes place in a chapel
with a door in the middle of the back wall.
Wood. H.6fin. W. 1 ij in.
A charming, vividly yet daintily coloured little picture, forming part of a
predella. It shows Alunno at his best, facile without sloppiness, rhythmic in
line, gay in colour, dramatic in feeling, and with a touch of Botticellian dis
tinction. A kindred effort is represented by a drawing in the Uffizi (Ber
enson 31). 39

FLORENTINE SCHOOL
r_ y THE PREACHING OF THE BAPTIST. The Precursor, a tall
/ * almost elegant figure, stands in the foreground of a pleasant land
scape, discoursing to one man in a turban and six women seated in a half circle
Wood. H. 22| in. W. 21 in.
A late work with almost no trace of Ghirlandajesque heaviness. Graceful,
elegant, close in spirit to Alunno's book illustrations. The landscape and
the draperies vouch for its being by him.
FRANCESCO GRANACCI
Florentine. 1477-1543. Started probably under Credi, then pupil of David
and assistant of Domenico Ghirlandajo; influenced by Botticelli, Michel
angelo, Fra Bartolommeo and Pontormo.
i_ _ PIETA. In the foreground of a pretty landscape the body of our
/ ¦£ Saviour is extended on a sheet, His head supported by the Beloved
Disciple, whilst Nicodemus kneels at His feet and the Magdalen holds His
right hand. His Mother and four other women kneel mourning. Behind, a
youth, to the left two other young men, one of them with the nails and crown,
and on the right a young Saint. In the middle distance, a rock-cut tomb
stands open.
Wood. H. 1 3i in. W. 18* in.
This brightly coloured panel, doubtless part of a predella, is clearly a youthful
work. Excepting Nicodemus, who recalls Cosimo Rosselli, and the youth in
the middle distance who recalls Pintoricchio, the types and treatment betray
the influence of David Ghirlandajo. No one of his followers is more likely
to have painted in this way than the young Granacci, and many things too
minute or vague for brief statement make the attribution to him plausible.

RIDOLFO GHIRLANDAJO
Florentine. 1483-1561. Pupil of Granacci, and imitator of most of his
Florentine superiors as well as of Raphael.
r_ ^ PORTRAIT OF ANDREA BANDINI. He is about thirty, with a
I y broad forehead, a short round beard, and short dark hair. He is dressed
in the dark, rather tight-waisted clothes and the lace collar of the mid-years
40

FLORENTINE SCHOOL
of the sixteenth century, and holds a letter in his hand addressed (presumably)
to himself. Grey background.
Wood. H. 34 in. W. 28 in.
In directness and simplicity this portrait rivals the one or two best Moronis.
n . PORTRAIT OF AN OLD GENTLEMAN. He has a high bald fore-
/ 4 head and a longish grey beard, and looks out at us intently, holding a
glove in his right and a letter in his left hand. Grey background.
On Wood. H. 50 in. W. 40 in.
In the San Donato Collection this was ascribed to Sebastiano del Piombo, but
there can be no room for serious doubt that this is a very late work by Ridolfo.
It should be compared with the "Girolamo Benivieni" at The Priory, Reigate.

LORENZO DI CREDI
Florentine. 1456-1537. Pupil and follower of Verrocchio.
STUDIO OF LORENZO DI CREDI
r- ~ ASSUMPTION OF ST. MARY MAGDALEN. She is elderly and
/ J almost entirely draped in the tresses of her own hair. Four angels bear
her aloft, and another angel floats down holding the Blessed Sacrament. A
calm sky over homely hills studded with trees. On a hillock rising out of a
lake in the middle distance stands the vase from which the Magdalen had
poured the ointment over the feet of Our Lord.
Wood. H. 19! in. W. 13I in.
Reproduced in L 'Arte, 1905, p. 433.
This must be a studio version of an original, possibly the one mentioned by
Signor A. Colasanti as existing in the Chapter-Hall at Esztergom in Hungary.
Of this original one may perhaps form some idea from the dainty precision and
purity of outline noticeable in the kindred picture from the Weber Collection,
now belonging to Mrs. C. P. Huntington of New York, representing a youth
ful Saint floating between two angels. All the angels recall, of course,
Credi's stucco sketch in the Victoria and Albert Museum, and the drawing for
an angel in the British Museum (Berenson, "Florentine Drawings," No. 691,
4>

FLORENTINE SCHOOL

Plate XXIX), both for the Fortiguerri monument at Pistoja. In his larger
"St. Mary Magdalen" at Berlin (No. 103), that Saint and the angel hold
ing the chalice are almost identical with the figures here.

PIERO DI COSIMO
Florentine. 1 462 - 1 52 1 . Pupil of Cosimo Rosselli ; influenced by Verrocchio,
Signorelli, Filippino, Leonardo and Credi.
y-r MADONNA AND CHILD. The Virgin is seated between two win-
l ^ dows opening on a pleasant landscape, and wears a cherry-red dress, a
blue mantle and a greyish blue scarf. The Child, naked except for a brownish
scarf, stands on her right knee, clinging to her neck and looking to her left as
does His Mother.
Wood. Octagonal. H. 34 in. W. 27! in.
Doubtless a fragment of an altarpiece from Piero's middle years, when he was
already under the influence of Filippino and just beginning to approach Credi.

SCHOOL OF PIERO DI COSIMO
,_ y— YOUTHFUL BAPTIST. He stands, a boyish figure, wearing a skin,
J j with his right hand on his breast and his left holding a slender cross. All
about him is a pleasant landscape of hill and stream. In the middle distance
a walled town with a winding road beyond.
Wood. H. 10 in. W. 6fin.
Not easily placed, but closer to Piero di Cosimo than to any other master of
the time and school to which this mildly attractive panel clearly belongs.

FRA BARTOLOMMEO
Florentine. 1475-15 17. Pupil of Piero di Cosimo, influenced by Leonardo
and Michelangelo.
,_ Q ADAM AND EVE. An underpainting for a picture. Adam, seen in
/ ^3 profile to left, sits naked on a rock, his right hand resting on a hoe and
his left touching the stone. He is little more than outlined. Eve, slightly
42

FLORENTINE SCHOOL
draped, approaches him, holding one child in her arms and leading another.
She is somewhat more fully modelled. Background and middle distance of
romantic landscape with rocks and steep-roofed thatched cottages. The
graceful trees on the right almost painted, the rest scarcely laid in.
Wood. H. 12 in. W. 9 in.
Reproduced in the Burlington Magazine, Vol. IX, facing page 352.
This exquisite sketch is mentioned in the deed of separation drawn up between
Fra Bartolommeo and Mariotto Albertinelli in Jan. 1 5 12, where it is described
as "a small picture from the hand of Fra Bartolommeo representing an Adam
seated and an Eve standing" (Marchese, Memorie dei 
Pittori, etc. Domenicani, Genova, 1869, Vol. II, p. 547). This makes it prob
able that the little picture was not undertaken before 1509, the date of the
beginning of the partnership, although the slender figure and the oval of Eve's
face would seem to point to a somewhat earlier date.
Drawings obviously made for this composition are not known, but one sheet
in the Uffizi (Berenson, "Florentine Drawings," No. 239, Plate LXXXVIII)
comes very close to the Eve, and another in chalk (ibid No. 373) is even closer
to the Adam.

LEONARDO DA PISTOJA
Florentine. 1483- after 15 18. Follower of Fra Bartolommeo and Raphael.
y- HOLY FAMILY. The Blessed Virgin sits facing to the left with the
/ y Child astride on her knee. St. Elizabeth stoops bringing up the infant
Baptist, and above her shoulder appears St. Joseph. To the right a green
curtain. Wood. H. 38 in. W. 32 in.
A typical work of this happily rare plagiarist. The design and the types
curiously combine Fra Bartolommeo and Raphael, but the colouring is much
more the latter's.

BACCHIACCA
(FRANCISCO UBERTINI)
Florentine. About 1 494-1 557. Pupil of Perugino and Franciabigio; influen
ced by Andrea del Sarto and Michelangelo. 43

8

FLORENTINE SCHOOL
~ ADAM AND EVE. Adam, wearing only a loin-cloth, sits on his
^ mantle resting, with his left hand on the tip of his mattock. Eve, also
nearly naked, stands with her head in profile facing him, one child on her left
shoulder and another clinging to her side. Background of forest.
Wood. H. I3jin. W. iof in.
Reproduced in Morelli's "Galerie Borghese," facing p. 134.
Morelli (loc. cit.) points out how this little composition, which he would date
about 1 5 18, was inspired by the cartoon in Venice for Perugino's "Apollo and
Marsyas " now in the Louvre. The children are closely paralleled in what may
have been a companion to this panel, the late Dr. Schweizer's "Leda." The
action of Eve with the babe on her shoulder closely resembles the woman on
the extreme right in the "Moses striking the Rock" of the Giovanelli Collec
tion in Venice, by the same painter.

ANDREA DEL SARTO
Florentine School. 1486-1531. Pupil of Piero di Cosimo; influenced by Fra
Bartolommeo and Michelangelo.

8

PORTRAIT OF A YOUNGISH MAN. He is seen almost down to
1 the knees, seated, nearly in silhouette to left, but with his head turned
towards us and looking straight out. His right hand is held up as in conversa
tion and his left hangs limply over the arm of his chair. He wears a flat cap
of dark cloth and through the armhole of his sombre doublet projects a full
white sleeve reaching to below the wrist. Dark grey background.
Wood. H. 26 in. W. 18 in.
Were this picture in perfect condition, it would deserve to rank among the
masterpieces of Andrea del Sarto in particular and of Florentine portraiture in
general. Here there are no subtleties and no allurements, but a presentation
of a character in terms so direct and sopalpable as to attain the essential reality
of the monumental style. That, far behind this, there lies the inspiration of
Michelangelo,' is certain, but it is as assimilated as in Andrea's Scalzo
Frescoes, than which nothing more genuinely Michelangelesque was ever
created. 44

FLORENTINE SCHOOL
DOMINICO PULIGO
Florentine. 1492-1527. Close imitator of Andrea del Sarto.
8^ THE MAGDALEN. She is seen down to the waist holding a vase in
¦** the fingers of her left hand and pointing towards it with her right. Her
dress is pink and purplish grey.
Wood. H. 21 in. W. 15 in.
An early work, a little heavier than usual, betraying a touch of Franciabigio's
influence.

PONTORMO
(JACOPO CARUCCI)
Florentine. 1494-1556. Pupil of Andrea del Sarto; influenced by Michel
angelo. O _ PORTRAIT OF ALESSANDRO DEI MEDICI. He is perhaps no
O y more than twenty-five, with thoughtful yet lively eyes, strong nose, and
sensual mouth — on the whole, an intellectual as well as an attractive
countenance. He is dressed in a dark coat, with a mantle thrown over it, and
a biretta with lappets frames his face. He is seen, not quite to the knees, and
sits holding in his lap a square white paper on which, with a stilus, he has been
drawing a profile. His surroundings suggest a Florentine interior.
Wood. H.39in. W. 31 J in.
From the middle years of Pontormo's career and a masterpiece by this Lorenzo
Lotto of Florence. This fascinating face obviously recalls Duke Alessandro,
the young tyrant of the Medici blood, who, thanks to the favour of Pope
Clement VII, was Duke of Florence from 1531 till his assassination in his
twenty-seventh year in 1537. Aware of the extreme caution required in
identifying portraits, the present writer was hesitating as to whether he should
state that this was the likeness of Alessandro, when Mr. Clapp, to whom the
photograph has been shown, pointed out that it must be the picture referred to
by Vasari. As Mr. Clapp has discussed this in detail in the Rassegna d'
Arte for April, 191 3, we need not insist upon it here.
45

FLORENTINE SCHOOL
O . PORTRAIT OF BARTOLOMMEO DI LORENZO GUALTER-
O *\ ETTI. He is seen half length, leaning forwards, with hands crossed
on a brown parapet. To the left is the base of a column. In his bejewelled
fingers he holds a paper on which is printed the motto COM PORTA ET
ASTIENTE (hold on, and abstain). He wears a black cap and black coat
with white embroidered collar and cuffs, one link of a gold chain appearing
on his chest. His beard and eyes are brown.
On the base of the column, the inscription : —
BART. DILOR. G\ALTEROTTI
DETA DANNI XLII.
L~ANNO M. D. L.
Wood. H. 30 in. W. 22! in.
A typical work of Pontormo's last years.

FRANCESCO SALVIATI
Florentine. 15 10-1563. Pupil and follower of Bronzino; influenced by the
Venetians.

O _ HEAD OF A LADY. She is under thirty, and is seen full face, looking
(-3 j straight out and smiling. Her forehead is ample and her features well
cut. Upon her neck, which is well exposed, she wears a necklace consisting
of perfectly angular links joined by pearls. Over her ringlets a broad-brimmed
hat. Wood. H. i6f in. W. n^in.
O r HEAD OF CLEOPATRA. (?) The serpent twines around her right
O ^ arm and shoulder. The left breast is slightly draped. She wears a pale
red kerchief on the back of her head.
On Wood. H. 28 in. W. 22§ in.
By the same hand as the two heads in the Borghese Gallery ascribed by
Morelli to Salviati. 46

FLORENTINE SCHOOL
SANTI DI TITO
Florentine. 1 536-1603. Pupil and follower of Bronzino.
8y- PORTRAIT BUST OF SENATOR CARLO PITTI. He has short
j curly grey hair and beard, and wears a dark blue coat with red lining.
Over it hangs a gold chain from which dangle a lion of St. Mark's and two
medals, the latter each containing a profile head, in one case a cardinal's. The
right hand rests on a book. Greyish brown background. At the top runs the
following inscription : —
CARLO. DI. ALESSANDRO. PITTI: SENATORE. PROTETTORE.
ET. DIFENSORE. DELLA. (I)URISDITIONE. ET. DOMN. FIOREN-
TINO. ANNI. 63. 1546
Wood. H. 34 in. W. 26 in.
Reproduced in the Burlington Magazine, Vol. IX, facing p. 357.
The attribution is based on the kinship of the work with that of Bronzino, and
on the fact that Santi was, in portraiture, the best of that master's followers.
As for Carlo Pitti, he was born in 1522 and died in 1586, having served his
country in various capacities (Cf. Mr. Home's very learned remarks in the
Burlington Magazine, Vol. IX, p. 426). The inscription is later, and has
obviously been tampered with. The date, now reading 1 546, must originally
have been 1586.

47

SIENESE SCHOOL

PAINTINGS
SIENESE SCHOOL
DUCCIO DI BUONINSEGNA
Active 1279 to his death in 1 319. Heir to the best traditions of Byzantine art,
which he may have acquired at Constantinople itself.
OO BUST OF AN ANGEL. Seen full face, with wings half spread out, his
O ^ right hand on his breast, and in his left a reed.
Wood. H. 9 in. W. 6| in. Rounded top.
Doubtless from a polyptych. Unfortunately it is too much rubbed away to
give an adequate idea of Duccio's style. An almost exact replica, by an
inferior hand, but in much better preservation, may be seen in Berlin (III, 43).

UGOLINO DA SIENA
Sienese. Died about 1 339. Pupil and close follower of Duccio.
O THE PROPHET DANIEL. On a sharply pointed panel with gold
^ y ground, the youthful figure is visible to the knees, looking down a little
to our left. He is smooth faced, and wears a kind of mitre, holding in his left
hand a scroll. On this are painted the following words out of the Vulgate
(Daniel, Cap II, vers. 45):— LAPIS ASCISUS E[st] DE MO[n]TE SINE
MAN I BUS. On our left on the gold ground, the letters DAN I.
Wood. H. i8|in. W. 10 in.
A typical example of this timid and uninventive but rather dainty follower of
Duccio. The mitre is curiously shaped, as if folded out of paper. The reason
why Daniel should be wearing it is connected perhaps with the fact that in
51

SIENESE SCHOOL
early Christian art he is represented wearing a Phrygian cap. Identical or
similar mitres, crowning perhaps semi-royal personages may be seen in Duccio's
"Christ in Limbo," which forms part of his famous " Maesta" at Siena.
~ THE CRUCIFIXION. On a pointed panel gilt and gauffered, we see
y ^ Our Lord on the cross. On the right the beloved Disciple wringing his
hands. On the left our Lady looking at Her Son. The Magdalen embraces
the foot of the cross.
Wood. H. 1 3 in. W. 6 in.
The types, the treatment of the hair and the draperies make it more than
probable that, of all the close followers of Duccio who might have painted
this little panel, Ugolino is the one to whom it should be attributed.

PIETRO LORENZETTI
Sienese. Active 1 305-1 348. Pupil of Duccio; influenced by Simone Martini,
and the Sculptor, Giovanni Pisano.
T MADONNA ENTHRONED. The Virgin is wrapped in a gold and
y * blue embroidered mantle, and sits on a grand throne inlaid with mosaic,
leaning sideways and turning to right. The Child, who wears a tunic, sits on
her left knee and looks down blessing the monk who kneels below looking up
with a fervent expression. The monk is designed on a much smaller scale.
Wood. H. 49 in. W. 29 in.
This is a work in Pietro's largest style, painted not long after the Arezzo
polyptych of 1320.
~ SHUTTERS OF A TABERNACLE. These consist of three rows of
y -^ panels, each of the two lower rows containing four panels, whilst the
top row contains but two, which are of less height than the others and
have curved tops. In these is represented: —
THE ANNUNCIATION. In the panel to the right Our Lady, sitting, en
folded in ample draperies, starts back with her right hand raised before her.
On a settle behind her lies an open book, and in front of her stands a golden
vase with three lilies in it. In the left panel the Announcing Angel alights
52

SIENESE SCHOOL
before her on bended knee, his right hand raised as if in blessing, while from his
left a scroll unrolls itself.
The panels of the two lower rows are tall and narrow, and each contains a
single figure painted on a gold ground. The subjects (from right to left) are
the following: —
(Middle row) ST. ANDREW, A BISHOP, ST. BARTHOLOMEW, ST.
LAWRENCE (or ST. STEPHEN).
(Bottom Row) ST. DOMINIC, ST. FRANCIS (represented as receiving
the stigmata), ST. AGATHA, ST. LUCY.
Wood. H. 19 in. W. 19 in.
These panels must have been framed together in the seventeenth century, and
it was then that the medallion with Papal keys was painted between the curved
tops of the uppermost panels.
These are among the most spirited, brilliant and attractive creations of the
Sienese School. One is at a loss as to their exact authorship. They do not
perfectly coincide with any unquestioned work of Pietro's, being more
radiantly clear and golden in colour, and of a blither, gayer spirit. Neverthe
less they are too close to him in every way to be by anyone but a very near
follower, and among these there is none who attains to a quality so worthy of
the master himself. It is thus better to assume that they are by him until
more precise acquaintance with Sienese art proves or disproves the attribution.

BARNA
Sienese. Active middle decades of fourteenth century. Follower of Lippo
Memmi and the Lorenzetti; one of the most gifted and tragic-minded of
Medieval artists. He seems to have died in his early prime.
_ THE CRUCIFIXION. A tall gabled panel, against the gold ground
y y of which we see our Lord on the Cross. Below on our right are three
men-at-arms in chain-mail and all the military finery of the time; to our left
we see the Blessed Virgin and another figure, and the haloes of two others
behind them.
Wood. H.22^in. W. 9! in.
This little masterpiece has the great distinction and lofty style of Barna. The
53

SIENESE SCHOOL
only other panels by him known are the "Crucifixions" in the von Kauf-
mann and Walters Collections at Berlin and Baltimore, a "Christ Bearing
the Cross" belonging to Mr. Robert Benson, in London, two "Madonnas,"
one in the Musee at Le Mans and the other at MrTrJerenson's in Florence,
and a small "Madonna and Saints" (Peter and Paul, and Angels) belonging
to Mr. Joseph Lindon Smith, of Boston, U. S. A.

FRANCESCO DI VANNUCCIO
Sienese. Active 1 361-1388. Close to Bartolo di Fredi. A small reliquary
like panel, painted on both sides, signed, and dated 1 370, may be seen in
Berlin (No. 1062b). Another similar painting is in the R. von Kaufmann
collection in Berlin (No. 84, Plate LI of Catalogue).
. CRUCIFIXION. Christ hangs on the Cross whilst the Virgin
y ^\ Mary and the Evangelist stand at its foot and under its arms float two
Angels, one receiving His Precious Blood and the other lamenting.
Bright colours on gold ground. The types and expression somewhat antici
pate Giovanni di Paolo. Of the inscription on the frame only the words HOC
HOPUS are legible, but the rest seems to have been a dedication, and not a
signature.
The panel and the frame are one, the measurements being: — H. 12J in.
W. 8J in.

BARTOLO DI MAESTRO FREDI
Sienese. About 1 330-1410. Follower of Lippo Memmi and the Lorenzetti;
influenced by Barna.
„ ^ AN OBLONG PANEL which must have served as a predella, that
yj is to say, the decoration for the base of an altarpiece. It is all gilt and
worked with ornaments in relief, between seven medallions. Each of the
medallions contains a half length figure. In the middle is the Dead Christ : to
our right we have the Evangelist, St. Michael and St. Lawrence to our left,
the Blessed Virgin, St. Andrew and St. Antony Abbot.
Wood. H. 9I in. W. 73I in.
From the early period of Bartolo's career, and close to Lippo Memmi.
54

SIENESE SCHOOL
f\f\ r\H TW0 UPRIGHT PANELS, each with its Gothic frame at-
y^J y I tached in relief and the ground covered with gold. In the
one, we see St. Antony Abbot, with his flowing white beard slightly
forked, his staff in his right hand, and a book in his left; while in the other, is
St. Thomas Aquinas, in black cowl and mantle, with a dove whispering into
his left ear, and a book in his hands.
Wood. Each: H. 16 in. W. 61 in.
In every way worthy of Bartolo, and close enough to him to make the attribu
tion more than probable. Nevertheless, there is something about these two
panels which does not quite fit into the present writer's notion of Bartolo.

SIENESE (?)
about 1400
O TWO DELICATELY WROUGHT LITTLE GILT PANELS, framed
y O together, and by the same painter. On the one is the Baptist, and on
the other St. James.
Wood. Each panel H. 1 if in. W. 5 in.
It is difficult to place these figures, with their intense expression and precise
workmanship. There can be no doubt that they were painted about 1400,
but where? Less improbably at Siena than elsewhere.

TADDEO DI BARTOLO
Sienese. About 1 362-1422. Pupil possibly of Jacopo Mini, and follower of
Bartolo di Fredi.
MADONNA ENTHRONED. The Child sits in her lap, and St.
y y James and the Baptist are seen to right and left. On gold ground.
Wood. H.i 1 in. W. 8 in.
T nfi MAD0NNA ENTHRONED. Four angels and two cherubim
* {-){J surround her. In the gable above, the Crucifixion. Gold ground.
Wood. H. i3f in. W.6fin. 55

SIENESE SCHOOL
„ T ST. DOMINIC APPEALING TO A KING. He kneels with a
* ^ A manuscript from which rays of light are emitted, before an elderly
King. Six cardinals look on excitedly. All in an interior with open arches.
Wood. H. 14^ in. W. 13 in.
A rough, sketchy fragment of a predella, inspired by Pietro Lorenzetti' s fresco
in S. Francesco at Siena.

DOMENICO DI BARTOLO
Sienese. About 1400-1449 (?). Pupil perhaps of Taddeo di Bartolo; in
fluenced by the earliest Florentine Naturalists. In him Nature made an
unsuccessful attempt at a Piero della Francesca.
T „ _ MADONNA. Wearing a blue ermine-lined mantle over a gold
1 VJ 2< embroidered dress, she looks slightly to our left with a somewhat
piteous expression. The Child in her arms, who is nude but for a red drapery
over His right leg, looks straight out with round eyes. He blesses with His
right hand, and with His left holds a scroll containing a pious sentence. The
haloes are gauffered and jewelled. A lily and roses frame in the picture.
Inscribed on the frame below:— DOMENICVS DE SENIS ME PINXIT
ANNO DOMINI MCCCCXXXVII.
Reproduced in Rassegna d' Arte Senese, 19 10, facing p. 72.
Wood. Entire panel, H.2o|in. W. 13! in.
Very close to the Madonna in the Perugia polyptych of 1438, but more tender
in feeling, and more carefully worked.

PRIAMO DELLA QUERCIA (?)
Sienese. Brother of the famous sculptor, Jacopo. Mentioned 1439-1453.
Follower of Sassetta ; influenced by Domenico di Bartolo.
. „ _ ST. SEBASTIAN. Half length, with breast and right arm and
1 ^ y shoulder bare, the rest covered with a red and green mantle. He
holds an arrow daintily in his left hand, and perhaps another arrow which is
visible was held in his right.
Wood. H. 16 in. W. 1 if in. 56

104

SIENESE SCHOOL
HEAD OF ST. STEPHEN OR ST. LAWRENCE.

Wood. H. 13 m. W. 1 1 in.
These are fragments of an altarpiece in the affected style of the weaker Sien
ese working between 1425 and 1450. They suggest the "Madonna and
Angels" at Volterra, a fragment of another altarpiece known to have been
painted in 1443 by Priamo. If the "Madonna and Angels" in the
Siena Gallery (No. 207) is by him also, as seems likely, it would then be logical
to assign these two fragments to an earlier phase of the same painter.

GIOVANNI DI PAOLO
Sienese. 1403 (?)-i482. Pupil probably of Paolo di Giovanni Fei, and close
follower of Sassetta.
^ WAY TO GOLGOTHA. Our Lord, in a long pink robe, carries a
1 yJj huge Cross. Two executioners help Him with it, another beats Him
and still another tries to push away His Mother and keep back the crowd
pouring through the gate. Background of towers, walls, and a column
(reminiscent of Trajan's), all of variegated colours.
Wood. H. 12 in. W. i2iin.

SANO DI PIETRO
Sienese. 1406-1481. Pupil and follower of Sassetta.
T C\f\ MAD0NNA ANDANGELS. The Virgin is seen to the waist only,
1 vJ U dressed in blue, facing slightly to our left. The Child in her
arms wears a red mantle over a purplish pink embroidered tunic.
He holds a bird in one hand and cherries in the other. The heads of four
Angels, garlanded with olive leaves, appear on the gold ground above.
Wood. H. 16 in. W. 12 in.

LORENZO VECCHIETTA
Sienese. About 141 2-1480. Architect, sculptor and painter. Pupil of Sas-
57

SIENESE SCHOOL
setta ; influenced somewhat by Domenico di Bartolo, by Donatello, and pos
sibly by Domenico Veneziano.
y „ y- MARRIAGE OF THE BLESSED VIRGIN. In the choir of an
IvJ / Italian Gothic building, behind the round arches of the transept, in
the centre of the black and white pavement, stands the high priest holding the
Blessed Virgin's wrist, while Joseph puts the ring on her finger. A group of
women to our right, and on our left the irate suitors. Some of the heads are
obviously portraits. The side chapels in the nave are shallow and rounded
with shell-like vaultings. Above the capitals, against the pilasters, little nude
boys are trumpeting or playing on the flute or on cymbals.
Wood. H. 9 in. W. 17! in.
Reproduced in Venturi's "Storia," VII, 475 Parte II, 248-251.
_ _ Q VISITATION. On the splendidly paved space between two magni
fy WO ficent palaces, in the centre of the composition, the Blessed Virgin
with both her hands holds the hands of Elizabeth. The older Saint, just
stepping out of her porch, is followed by Zacharias and three young women.
On our left five other young women follow in the train of the Virgin, one of
them leading a child by the hand. The space is closed at the back by a wall
of fine masonry, decorated on the top with three naked little boys supporting
a heavy garland.
Wood. H.9in. W. 175 in.
Reproduced in Venturi's "Storia, " VII, 476 Parte II, 252-255.
These two rectangular pictures must have formed part of the same predella, or
decoration for the base of an altarpiece for they are identical in style, in types
and in colour. Although they are beyond a doubt by Vecchietta, they yet
stand enough apart from that fascinating artist's other works not only to
assure us that they go together, but that they must have been painted under
some unusual star. The action is more energetic, the construction more care
ful, the draperies very much more functional than customarily ; how are we to
account for these features? Perhaps Florentine influence was the cause,
a longish visit to the rival on the Arno, and hours spent with its masters and
their works. Masaccio and Uccello, but still more Domenico Veneziano, and
most of all Donatello, seem to have inspired Vecchietta while painting these
two beautiful panels. The naked little boys he might have come by without
leaving Siena, for he could not have helped getting such forms thoroughly
stamped on his memory during the years 1450-3, when he was frescoing the
58

SIENESE SCHOOL
same Baptistery for the font of which Donatello had created perhaps his loveli
est little Putti. But it would seem as if the elderly man with the forked beard
among the suitors in the Marriage were surely a portrait of that great sculptor,
and at an age far beyond that which he had reached when at Siena in 1428: so
that it may be inferred that at a much later date, and probably in Florence,
Vecchietta made the personal acquaintance of the elder and far mightier artist.
The date of these panels is easily determined. They must have been painted
after the frescoes in the Siena Baptistery of 1450-5 3, and before the Uffizi altar-
piece of 1457.

NEROCCIO DI LANDI
Sienese. 1447-1500. Sculptor and painter. Pupil of Vecchietta, and for
years partner of Francesco di Giorgio.
y „ MADONNA AND SAINTS. The Virgin sitting, visible only
l\Jy down to the knees, stoops slightly to left, holding the Child on a
cushion on her right knee. On her right and left are St. Jerome and St.
Catherine of Siena.
Wood. H.2ifin. W. 15m.
A singularly unstereotyped example of this somewhat limited although always
exquisite artist. The action of the Child blessing goes charmingly with the
expression of his delicate wistful face.

MATTEO DI GIOVANNI
Sienese. About 1435-1495. Pupilpossibly of Domenico di Bartolo; strongly
influenced by Vecchietta, and, later, by Pollajuolo.
T T ^ MADONNA AND ANGELS. Against a blue sky the Blessed
1 *¦ ^ Virgin is seen down to the waist, holding the naked Child in her
hands, while two sweet-faced, curly-headed angels stand by adoring. Ivory
tone.
Wood. H. 23 in. W. 15 in.
Reproduced, Rassegna a" Arte, 1905, p. 121.
This is a picture of Matteo's early maturity, painted soon after the
59

SIENESE SCHOOL
"Madonna enthroned with four Angels" (Siena Academy No. 286) of 1470.
The Child and the right hand of the Virgin are almost identical with those
of the panel in S. Sebastiano in Valle Piatta at Siena.
T T T CAMILLA. She is engaged with her companions under the walls
* 1 1 of Laurentium in the Battle between the Latins and the Trojans
which ended in her death (Vergil, Aen. XI, 648).
Wood. H. 14! in. W. 40! in.
Photo. New Gallery, 1893-4, No. 162.
A most spirited composition, forming a delightful pattern of graceful and
martial figures in action, with their swords flashing against the horizon. In
the women, the influence of Francesco di Giorgio is manifest. We should date
this Cassone picture somewhere about 1480.
Not long ago this painting formed the best of a triad in the Butler Collection,
all of the same shape, of nearly the same dimensions, and treating the story of
Camilla. The one here is far and away the best of the three. One less
excellent, representing Camilla swimming the Tiber, a picture painted in
part by Matteo's assistant, Cozzarelli, is now in the Metropolitan Museum
of New York.

GUIDOCCIO COZZARELLI
Sienese. 1450-15 16. Assistant and imitator of Matteodi Giovanni. Usually
little but a caricature of his master, he nevertheless has a few rare and delight
ful moments of imaginative feeling and colour.
y T ^ MADONNA AND SAINTS. The Virgin is seen holding the Child,
11^ with St. Bernardino on one side and St. James on the other. Half
length figures on a gold ground.
Wood. Frame one with the panel. H. 20 in. W. 15 in.

ANDREA DEL BRESCIANINO
Sienese. Active from 1507 to after 1525. Pupil probably of Pacchia; in
fluenced by Beccafumi, Fra Bartolommeo, Raphael, and Andrea del Sarto.
60

SIENESE SCHOOL
, . - PORTRAIT BUST OF YOUNG MAN. He turns slightly to left
*¦ * y but looks straight out of the picture, with his right hand on his
breast. He has an attractive open countenance, and appears to be scarcely
more than five and twenty years of age. Over his brown hair, which falls
straight to his shoulders, he wears a black cap, and above his white frilled shirt
a black coat. Brownish background.
Wood. H. 26! in. W. 20 in.
A very Raphaelesque work, and so close to the one at Montpellier still ascribed
to Raphael, that the acceptance of the one entails that of the other (Cf.
Gazette des Beaux Arts, March 1907 "Le Portrait Raphaelesque de Mont
pellier"). An exact replica of this portrait belongs to Lord Berwick.
, y , MADONNA AND SAINTS. The Blessed Virgin seated holds the
*¦ *¦ *\ naked Child on her right knee, and with her left hand daintily
presents an open book for St. Catherine of Siena to look into. On the left,
the naked, arrow-pierced St. Sebastian, and below him the infant Baptist,
with hands in prayer and the scroll bearing the words ECCE AGNUS DEI .
Wood. H.26in. W. 20 in.
Feeble but not unpleasant, and certainly a very characteristic work. The
Madonna is a better version of the one in the Collection of Baron Chiara-
monte Bordonaro at Palermo, and the Catherine is a replica of the one at
Count Lanckoronski's in Vienna.

BECCAFUMI
Sienese. 1485-1551. Pupil of Pacchiarotto; influenced by Sodoma, Fra
Bartolommeo, Raphael and Michelangelo.
j j |_, A FATE. She sits hunchbacked and sharp-featured in profile to
1 ' J right, clasping her knees, with a distaff in her lap. A fragment.
Fresco. Round. Diameter, 14 in.
The rapid handling and the folds of the draperies are characteristic of Becca-
fumi in his Raphaelesque manner.

61

CENTRAL ITALIAN SCHOOLS

PAINTINGS
CENTRAL ITALIAN SCHOOL
PIETRO CAVALLINI
Active from about 1270 to about 131 5. Roman. Heir to Roman traditions
invigorated by contact with Byzantine artists.
SCHOOL OF PIETRO CAVALLINI
r NATIVITY AND ADORATION. On the steep ledge of a bluish
1 1 v-/ rock, on a red mattress reclines the Blessed Virgin looking to her
left at the coffin-like crib in which lies the Holy Child wrapt in swaddling
clothes. By the crib lie an ox and an ass of unusually small size. To the
right edge of the rock clings an angel looking at the Virgin. On the cor
responding left side, another angel. A third angel, with a face of ecstasy,
greets the rising sun. The Star of Bethlehem shines over the Virgin's head.
At her feet kneel the three Magi, the eldest in front with his crown thrown
down and a precious casket in his hands. The two others gaze at the Star at
which one of them is pointing. Under the ledge of the rock (which, by the
way, presents the accidental aspect of a glacier) two women are bathing the
Holy Child in a goblet-shaped marble bowl. On the right Joseph with his
flowered staff sits in tearful contemplation; on the left the two shepherds look
up at the Star.
Wood. Arched top. H. 14 in. W. 11 in.
Reproduced in L 'Arte, 1905, p. 425.
This little panel is an interesting document in the history of Italian painting
just before Giotto's triumph. Iconographically it is still very "Byzantine"
— a term by which nothing more controversial is implied than would be by
65

CENTRAL ITALIAN SCHOOLS
the expression " pre-Giottesque. " Thus, the episode of the two women wash
ing the Holy Child in a goblet-shaped marble bowl, seldom found after Giotto
but almost never absent in pre-Giottesque and perhaps never in Byzantine
treatments of the Nativity, is very conspicuous here. No less distinctly
Byzantine is the mattress on which the Madonna is reclining. Most
Byzantine of all, is the immense importance given to a luminary in the sky
(which our artist, however, seems to regard as the rising sun, distinguishing
it from an ordinary star which he places above the Virgin's head) which in real
Byzantine art, as for instance in the mosaic at the Martorana in Palermo,
emits out of a vast disc beams in the shape of a stout bamboo reaching down
to the Child. Nor need it be especially insisted upon that every other par
ticular of this panel is pre-Giottesque if not Byzantine. Indeed, the nearest
approach the present writer can find to this panel from a purely iconographic
point of view is in a Byzantine ivory diptych that once belonged to Sir Thomas
Carmichael. Of this one valve displayed the Saviour and eight significant,
moments of His life, and the other Our Lady with as many from hers. In the
first episode of the former we find, as in our painting, the Virgin reclining with
the crib beside her, Magi bringing offerings, angels to right and left, the light
represented like a huge rope dangling down toward the Child, and below the
two women washing Him, and Joseph meditating. Only, instead of two there
is but one shepherd, and that one is above on the right and not below on the
the left.
It may occur to one to ask why our painting is not really Byzantine, and an
answer is by no means easy. It is true that the blond colouring and the tech
nique suggest the West and Italy, not the East and Constantinople, but, on
the other hand, few Byzantine panel paintings as ancient as this have come
down to us. The sense of form, too, is more robust, more substantial than we
are accustomed to in the painting (chiefly of miniatures, it must be allowed) of
Byzantium. There is something here of the fulness and inner substance of
Niccolo Pisano and the South Italian art he descends from, particularly in the
all but classically beautiful figure of the younger woman attendant. This
same figure, it might however be argued, points perhaps to one of those returns
to Antiquity to which Byzantine art was periodically subject.
But whatever may have been the case in the rest of Europe, the connection
between South and even Central Italian and Byzantine art was very close.
In view of the broadly obvious Constantinopolitan influence exerted all over
Italy through both bronze and mosaic, not to speak of the minor arts, it might
scarcely seem necessary to remind students of the inevitable effects of such
influence; and yet there are writers of vogue who ignore or even deny them.
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CENTRAL ITALIAN SCHOOLS
But who will seriously question the intimate relation of Duccio or Cavallini,
the two most eminent painters of Italy before Giotto, with the art of Byzan
tium?
The Byzantine elements in this little panel need not surprise us, even if we
remain convinced, as we do, that it really is Italian, and, more precisely,
Roman. The real reasons for the conviction are scarcely to be stated except
in a vast treatise, for they are vague, manifold and microscopically minute, as
all so-called instinctive reactions must be, based, as they are, on a vast, end
lessly detailed experience. Among superficial justifications, we may observe
that there is nothing in our panel which is more Byzantine than Duccio,
nothing which cannot be accounted for by supposing it to have been painted
by a very close follower of Cavallini.
Happily terms of comparison are not wanting. Cavallini's mosaics of 1291
in S. Maria in Trastevere in Rome would not perhaps furnish materials where
with to judge whether a small painting on wood was really from his own hand
or not, but they more than suffice to establish a close affiliation. Two of these
compositions give the data required. They are the "Nativity" and the
" Birth of the Virgin. " The way Our Lady reclines in our panel is very close
to her figure in the one, and to that of her Mother in the other, not only as
to silhouette but as to the minutest details of draping. The attendant
women in the " Birth of the Virgin" are even more classical than in the panel,
and the naked little bodies of the children are extraordinarily alike. The
shepherd has the identical action and gesture in the panel and in the mosaic
"Nativity." The crib in both has the same mistakes in perspective. The
great luminary and the Star of the one are paralleled in the other. The
Joseph in the mosaic holds his head in his hand, but is nevertheless as a pattern
nearly identical with the one in the panel. Only, the mosaics throughout are
more touched with Byzantine returns to classicism, of which an excellent
instance is the bit of late Greco-Roman genre representing the shepherd boy
piping to his flock. How near to the Greek world Cavallini remained may be
inferred from the fact that in the "Birth of the Virgin" she as infant is
labelled in Greek. This point is made with the object of suggesting that if
Cavallini was so classical and Greek and yet not a Byzantine, the Byzantine
and classical elements of our little panel do not preclude its being Italian, and
the more so as they are less pronounced. It must in all probability be by a
close follower of Cavallini, one who might have been heard of later as Giotto
was, but for the "Babylonian Captivity," namely the desertion of the Papal
Court from Rome which cut down one of the fairest promises for art that
Italy ever had. 67

CENTRAL ITALIAN SCHOOLS
ALEGRETTO NUZI
School of Fabriano. Died in 1374. In his earliest phases, as in a small
triptych at Detroit (Michigan), he is scarcely to be distinguished from the
Florentine Bernardo Daddi, whose pupil he must have been. Contact with
Andrea da Bologna or other Bolognese and Riminese Giotteschi may have had
a certain not very considerable effect on his development.
^ THE EVANGELIST. Ahalf length youthful figure, seen on a gold
' i / ground, with his head against a delicately worked halo, holding a
book with both hands.
Wood. Ogive. H. 26 in. W. 15 in.
A suave conception, anticipating late Umbrian dreaminess, yet a relatively
early work, close in character to the row of Apostles at Strasburg (No. 202a).
T O DIPTYCH:— (a) MADONNA. She is seen down to the waist,
1 * ^ looking a little to our right. She holds the sturdy Child in her left
arm. He is dressed in a scalloped robe and holds a finch. Gold ground.
(b) THE DEAD CHRIST. He rises, seen from the hips up, out of the tomb,
with hands crossed and head drooping slightly to our left. Gold ground.
Wood. H. 14! in. W. 9 in. each.
A work, not of the highest quality, but characteristic enough to be in all
probability autograph. The Madonna is so close to the one in the Apiro
polyptych of 1 366 that this may be considered but little later in date. The
Christ is somewhat more advanced and a trifle more naturalistic, and thus
probably later, than the same subject at the Casa Fornari in Fabriano.

SCHOOL OF ALEGRETTO NUZI
j , MADONNA. She is dressed in a mantle striped with gold in archaic
*¦ 1 y fashion, over a brocade tunic, and holds the Child against her left
shoulder. He is naked to the waist. Gold ground, and in each corner of the
panel a conventionalized lily.
Wood. H. 18 in. W. 16 in.
A work that has suffered a good deal and is therefore less easy to classify with
exact precision. Its close affinity with the style of Alegretto is obvious,
68

CENTRAL ITALIAN SCHOOLS

although it is probably by a pupil nearer to Ghisi than to himself. The gold
stripes hark back nearly a century. The splendour of the stuffs is a character
istic of the schools of Fabriano, Camerino and San Severino.

FOLLOWING OF ALEGRETTO NUZI
t r%r\ ^ TRIPTYCH, consisting of a pointed panel containing the
1 ^v-' "Nativity," standing on a base, whereon is painted a small figure
of the "Madonna"; and two shutters, the one containing the "Crucifixion,"
and above it the Virgin Annunciate, and the other "Ss. James, Nicholas,
Antony Abbot and Catherine," and above them the "Announcing Angel."
The "Nativity" takes place in front of a roughly pyramidal rock hollowed
out into a deep cave. At the apex of the panel appears the Eternal, sceptre
in hand, sending down His blessing. Below Him float Angels making music
or praying, and lower still, over the mouth of the cave, hover four Cherubs.
On the left, at the entrance to the cave, the ox and the ass stand behind the
manger. Nearer the foreground kneels the Blessed Virgin, a slender, gracious
figure, backed by an almond-shaped halo, adoring the Child, Who lies on a
similar halo blessing her. To right from within the cave appears Joseph, a
benign old man, stooping with hands crossed over his breast, and below him,
outside the rock, kneels a beautified elderly nun, with her staff and scrip
visible behind her. Pious inscriptions zigzag across the blackness of the open
cave.Wood. Outside panels, each, 1 7J in. x 3 J in. Centre panel, 1 8 in. x 8| in.
Perhaps no other picture in this Collection of puzzling pictures has been so
bafflingly difficult to place. At times the search grew as palpitatingly exciting
as Loti's for Aziade, and it has ended almost as despairingly, for the utmost
we can boast of is having found the painter's general address. He was un
doubtedly from the Marches, from Fabriano or its neighbourhood, as we must
beg students to believe on our authority, inasmuch as the process of proof,
though possible, would be both tedious and protracted. Its author, a fol
lower of Alegretto, and akin to Francescuccio Ghisi and Andrea da Bologna,
but more Florentine and younger, anticipates in many respects such artists of
the same general tendencies as Pietro di Domenico da Montepulciano, or the
painter of the frescoes at Riofreddo. He must have worked toward 1400.
There exists in the Vatican Picture Gallery, brought thither from the stock of
the former Museo Cristiano in the same building, a replica of the "Nativity"
69

CENTRAL ITALIAN SCHOOLS
in this Tabernacle. The Vatican version is, however, oblong, and this has
resulted in certain slight variations and additions to meet the different
shape. Thus, as there is more space laterally, we see more Angels, more sky,
and, on our right, a sleeping Shepherd being waked by one of the Angels.
The Vatican version is severer and probably somewhat earlier.

SCHOOL OF FABRIANO
Culminated in Gentile da Fabriano (i 360 (?)-i427), but its founder Alegretto
Nuzi (q. v.) was scarcely less of an artist, and after Gentile's death it produced
painters as remarkable as Francesco di Gentile (q.v.) and Antonio da Fabriano.
In the fourteenth century it was subject to Florentine and Bologna-Romagnol
influences, and in the fifteenth to Venetian as well.
. _ T ST. FRANCIS RECEIVING THE STIGMATA.
Wood. H.6in. W. iofin.
This charming predella is obviously of the school of Fabriano, but more
probably by an immediate precursor than by a follower of Gentile. It is still
very precise in line, and, for Gentile himself, too schematic in landscape.
The Francis should be compared with the one by Gentile in a representation
of the same subject in the Fornari Collection at Fabriano.

SCHOOL OF THE MARCHES
about 1400
» _ _ INITIAL LETTER E. It is shaped like a flat oval and contains
Y Ji Jj 2lX\ "Adoration of the Magi." Against a curtain, descending in
gentle volutes from its highest point, the Blessed Virgin sits on the extreme
right with the Child on her knee. He holds a sceptre in His hand and blesses
the old King prostrate at His feet. Behind the latter stand the two other
Kings each with a precious vase. Next to the Virgin appears Joseph, and
behind the curtain we see, on the one side, a barrel-vaulted, long, thatched hut,
and on the other, a steep jagged hill inscribed MONS VICTORIALIS. In
the dark blue, star-sown sky appears the Holy Child out of a spiky nimbus
70

CENTRAL ITALIAN SCHOOLS
similar to that which glorifies the head of the eldest Mage below. Above
His head is a Cross. He blesses with His right hand and holds a globe in His
left.On Parchment. Greatest height iof in., and greatest breadth 1 5 in.
Fragment of an Antiphonary with notes and the words ECCE AD VENIT
DO [minus] — of the Office for the Epiphany. Curiously backward and in
most respects still Byzantine, but the costume of the youngest King proves
that we already are past 1400. The form of the sceptre, the spiked haloes
and the shape of the curtain make it fairly certain that this miniature was
illuminated by a painter from the Marches.

OTTAVIANO NELLO
School of Fabriano. Died 1444. Follower perhaps of Alegretto Nuzi, re
inforced by stray Florentine and Sienese influences.
T ^ _ CORONATION OF THE VIRGIN. Our Lady, wrapped in her
1 "" y mantle from head to foot, sits with folded hands over her breast,
bending her head to receive the Crown which her Son is placing upon it as He
sits facing her. A curtain of gorgeous brocade is held up behind them by
Angels whose heads appear over it, and above all are other Angels making
music. Wood. Originally pointed, but the top has been cut off. H. 22^ in.
W. i9iin.
This fragment of a somewhat rustic, but vigorously drawn and sumptuously
coloured composition is, like many another picture in this remarkable Collec
tion, far from easy to place. One must, however, conclude — as the painting
of the brocade alone suffices to prove — that its author belonged to the region
of Fabriano, Gubbio and Sanseverino. Indeed, one is further forced, almost
despite one's self, to decide that it must be by Ottaviano Nello. True, it is
firmer in modelling, more rhythmic in line, and suaver in feeling than most of
his extant works. But, on the other hand, the type of Our Lord's face is so
clearly his, and so clearly his also are the ears and the strong large hands, that
one is driven to admit that this work must be by Nello, only in an earlier phase
than any other known to us. And this is confirmed by the fact that even a
tentative study of his chronology makes it plausible that he did not begin as
the sloppy and slovenly painter that we encounter at Foligno.
71

CENTRAL ITALIAN SCHOOLS
UMBRO-FLORENTINE toward 1425
A series of four Predelle painted by the same hand for the same altarpiece:
t ri a THE VISITATION. St. Elizabeth and Our Lady fall into each
1 ^ ^\ other's arms, while one female attendant, standing in profile in the
doorway of a rusticated porch on the right, holds out her right hand toward
them, and two other young women, on the left, one in profile and the other
full face, look on prayerfully. Below, a leonine cat.
Background a crenelated wall with trees behind it.
Wood. H.8|in. W. 1 1 in.
j _ p, THE NATIVITY. Under a thatch in front of a cave, with the ox
' -^ J and the ass smelling at Him, the Holy Child lies in an osier crib look
ing straight at His young Mother, who kneels just outside on our left, adoring
Him. On the right, St. Joseph sits on the ground with elbow on knee and
hand supporting cheek. Over the rock just above him appears, instead of a
shepherd, a Camaldolese monk, who having no halo or rays, may be a portrait.
A huge star, in relief, shines on our left, whence also two angels approach
hovering in the air. On the rock again, over the cave, on the right, are sheep,
and beyond them woods.
Wood. H.8Jin. W. i2jin.
, _ r ADORATION OF THE MAGI. On our left sits Our Lady on a
1 -^ ^ throne with the Child in her lap. His pose is restless and He looks
almost angrily at the hoary Mage who kneels kissing His left foot. Joseph
totters tremulously beside them, and on the right the two younger Kings
appear in all their finery, with a groom leading a horse. Background of
rounded hills lit up by a big star painted in relief.
Wood. H.8|in. W. i2|in.
T ~y- THE FLIGHT INTO EGYPT. Our Lady sits sideways on the ass
1 ^ I which is led by Joseph who turns to our left. On the left two sturdy
serving-maids follow, one carrying a bundle on her head, and the other trudg
ing along staff in hand. In the middle distance a palm tree, beyond which a
cave and castle-crowned hills, and a human-faced sun beaming down on all.
On Wood. 8|in. W. 11 in. 72

CENTRAL ITALIAN SCHOOLS
The altarpiece for which these four panels must have served as predelle was
thus 47 inches wide at least.
These succulent little paintings are by no mean artist, although we must rank
him below Lorenzo Monaco, Gentile da Fabriano and Fra Angelico, all of
whom he recalls. Of the last-named the reminder is too subtle and pervasive
to be pointed out in detail. Perhaps the loveliness of the faces and the simplic
ity of the draperies in the "Visitation" suggest him most distinctly. With
Lorenzo Monaco and Gentile da Fabriano the affinities are much closer.
To begin with Lorenzo, one feels him not only in the movement and draping
of Joseph in the "Flight," in the male figures in the "Nativity" and in the
face of Elizabeth in the "Visitation," but the compositions as wholes at
once remind us of several well known ones by the same master.
In his admirable book on Lorenzo Monaco, Prof. Osvald Siren reproduces four
panels which must at one time have gone together (Plates XV-XVI II). Two
now belong to Sir Hubert Parry (Highnam Court, Gloucester), one is in the
Kaufmann Collection at Berlin, and the fourth is at Altenburg. No one ac
quainted with both sets, and comparing subject with subject, will fail to be
struck by the singular likenesses in the compositions.
With Gentile the resemblances are more striking still. Very noteworthy are
the general tone with its rich warm colour and the heavy medium. These
more than all other considerations, establish the probability that the painter
of these panels learned his trade not in Florence but in the Marches, at Fab
riano or Camerino, under Gentile himself, or perhaps under some one who was
their common master. To enter into detail, it is difficult to believe that the
prostrate Mage in the "Adoration" is not reminiscent of the one in Gentile's
gorgeous "Epiphany." The gayly clad, turbanned and spurred young
Kings are Gentilesque, or at all events from the Marches. So is the mantle of
the lady on the extreme left in the "Visitation." Of Gentile the landscapes
also remind us, those hillsides lit up, as in a toy world, by toy orbs like brass
buttons in the sky.
It would be easy to go on by the page calling attention to detail which is char
acteristic of the Marches and not of Tuscany, but quite enough has been given
to make it seem more than probable that the painter of these little panels was
a Marchman working in Florence.
It is curious that, while in so far as he recalls Gentile it is the Gentile of the
"Epiphany" of 1423, or of the Quaratesi polyptych of 1425, at the same time
he should be harking back not to the nearly contemporary works of Lorenzo
Monaco at S. Trinita, but to those of an obviously earlier moment. The four
scattered subjects which these so closely resemble certainly formedone^ra^ZZfl,
73

CENTRAL ITALIAN SCHOOLS
and Dr. Siren presents a good case for their having made up the base to an
"Annunciation and Saints" by Lorenzo, once in the Badia and now in the
Academy of Florence, the whole evidently not later than 14 10.
This fact, coupled with the unusual one of the introduction of a portrayed
Camaldolese monk in the "Nativity," may help some day to identify the
author of our predella.
It would not be safe to jump to the conclusion that he was Arcangelo di Cola
of Camerino, although it is true that this Arcangelo, as is established by docu
ments, was at Florence about the time when they were painted. His reputa
tion, moreover, was not inferior to such a task. Happily we possess two
specimens of his art, published and reproduced by Prof. Venturi in L'Arte
for 1 9 10 (p. 377 et seq). They are a "Madonna and Angels" and a "Cruci
fixion" once forming a diptych, belonging now to Mrs. Longland at Abingdon
(Oxon). The "Crucifixion" recalls the followers of Agnolo Gaddi, particu
larly Niccolo di Piero Gerini in the Saints, and Lorenzo Monaco perhaps in
the Crucified One, Who, by the way, is curiously realistic. In the draperies
there is possibly a suggestion of Masolino. But the "Madonna and Angels"
is overwhelmingly Masolinesque, although the composition as a whole is
closer to and more on a level with Rossello di Jacopo Franco. Of the Marches
there is scarcely a reminder, no matter how faint, unless perchance one of the
angels' faces should recall Pietro di Domenico da Montepulciano, whom
despite his birth we must regard as more of a Marchman than a Sienese. The
student who knew these two panels (one of which is signed) in reproduction
only, would scarcely suspect that they were not pure Florentine. The origi
nals, however, reveal the richer colouring and the somewhat "paintier"
technique of the Marches.
Now it would take a novice in the business to assume that these two panels
alone enable one to lay down rigidly the capacities and range of their painter,
Arcangelo. Even for the determination of a straight line two points are
necessary, and Arcangelo thus far is known by this one diptych only. As com
pared, however, with the author of our four panels, he is in this diptych a
feebler, more slovenly draughtsman, altogether less certain of his forms, and
much less solid in his handling.
Gaye in his collection of documents reveals the existence of another Marchi-
gian painter, a certain Giovann' Angelo d' Antonio of Camerino, who fre
quented Florence and was intimate with the Medici. Indeed, this person
proposes by a letter dated from Camerino April 17, 145 1 , a match for Giovanni
dei Medici. But the writer's style seems that of a youngish man, which he
scarcely would be any more if he had painted our predella not much later than
74

CENTRAL ITALIAN SCHOOLS
1425. Yet it is not impossible. Florence, however, must have been fre
quented by many of his and Arcangelo's countrymen, and for the present it is
wise not to fix upon the one or the other of the only names that happen to be
known to us, as the necessary author of our series.
_ O THE MARRIAGE OF THE BLESSED VIRGIN. She stands to
l^O the left of the High Priest, holding out her finger upon which Joseph
places the ring. On our right, four women, on our left two men with staves.
The scene takes place in front of a building crudely reminiscent of San Marco
at Venice.
Wood. H. i\ in. W. \o\ in.
This panel must have formed part of a predella. Its author is inferior to the
one last discussed (No. 124-127), and nearer to Arcangelo di Cola, but on a
much lower level still.

FRANCESCO DI GENTILE DA FABRIANO
Umbrian. No known dates, but it may be inferred that he was active from
about 1460 to the end of the fifteenth century. Although his father was
named Gentile, it by no means follows that he was the great painter, for the
name Gentile was fairly common at Fabriano and in the Marches generally.
If the famous artist really was his father, Francesco could not have been
born after 1428, although he need not have been born before that date.
Five signed works are known to the present writer. They are (1) a small
Triptych, formerly at the Villa Malta in Rome, now belonging to Mr. F.
Mason Perkins of Florence, representing "The Madonna, the Baptist, and
Christ at the Column;" (2) an "Ecce Homo" in the Mond Collection (repro
duced in Dr. Richter's highly sumptuous and learned catalogue); (3) another
"Ecce Homo" belonging to Mr. Ralph W. Curtis, at St. Jean-sur-Mer in the
Riviera; (4) a "Madonna" formerly in the Museo Cristiano and now in the
Vatican Gallery; and finally (5) the "Portrait of a Youth" in the collection
of Mr. A. W. Leatham, at Miserden Park, Cirencester.
These signed paintings enable one to ascribe to Francesco di Gentile, besides
the pictures we shall catalogue in this collection, the following works. First,
a group obviously early :
Matelica (near Fabriano). Museo Piersanti. A Triptych containing the
75

CENTRAL ITALIAN SCHOOLS
"Crucifixion," "St. Blaise," the "Adoration," "St. Hadrian," and
the "Nativity."
A " Crucifixion " with a predella containing the "Story of the True Cross. "
S. Francesco. Triptych: "Madonna with SS. Antony of Padua and Fran
cis," and a predella.
Florence. Mr. B. Berenson. A panel painted with a "Madonna and
Angels" on one side, and an "Annunciation" on the other.
Mr. F. Mason Perkins. " Pieta. " " St. Sebastian. "
Milan. Brera, 481. "Madonna in Glory."
482. "St. Sebastian with SS. Antony Abbot and Roch. "
And now a group contemporary with or later than the signed pictures: —
Baltimore. Mr. Henry Walters. "Ecce Homo" — the earliest of that
subject.
Florence. Mr. B. Berenson. "Annunciation."
Gotha. Bust portrait of Man.
Lille. 1092. Bust of St. Sebastian.
Rome. Colonna Gallery, 135. Bust Profile of Youth.
Several other pictures at Rome, Naples, Lille and in Scotland, and even in
America, might safely be ascribed to Francesco. This, however, is not an ex
haustive account, but a brief, and therefore dogmatic, statement of conclusions
necessitated by the fact that Francesco is as good as ignored by writers on art.
Assuming, as one safely may, that all the above pictures are by him, and anti
cipating conclusions which we shall draw presently from the paintings in this
collection, it results that Francesco probably was first formed by his fellow
townsman, Antonio, and from him imbibed a Flemish and Vivarinesque strain
which crops out occasionally in his works, as in the caricatured types among
the soldiers in the Matelica "Crucifixion," and in the Mond "Ecce Homo."
In the signed "Madonna" in the Vatican he is inspired by Jacopo and
Giovanni Bellini. In the signed portrait there is a touch of Crivelli. In Mr.
Berenson's "Annunciation" the arrangement betrays the influence of Ver
rocchio, and the grandiose arch and columns, contact with architects like
Luciano Laurana or the young Bramante. And, finally, the " Profile of a
Boy" in the Colonna Gallery so vividly recalls both Melozzo da Forli and his
pupil, Giovanni Santi, that it has been attributed by serious students to both
the one and the other.
It would thus appear that, like most of his abler fellow Marchmen of Camerino
and Fabriano, he was a much travelled painter, sucking up juices wherever
he went, and reflecting the art of his betters. He is always true, however, to a
76

CENTRAL ITALIAN SCHOOLS
niggling notation or brushwork (which yet improves as he gets older), consist
ing of petty parallel hatchings.* He likes high lights on stuffs, and sometimes
touches them up with gold. His impasto, under the influence of Melozzo
perhaps, gets more solid toward the end. Following the example of Antonio,
he is very meticulous about hair, loving it curled and yet each hair spun out
separately. From the various reminders of contemporaries in his works, it is legitimate to
infer that Francesco was active from before 1460 to after 1480. If the bust of
a boy of about twelve in the Colonna Gallery were really of the young Guidu-
baldo of Montefeltre (born 1472), as has been plausibly suggested, it would
probably imply Francesco's presence at Urbino toward 1484. A still later
indication of his activity may be discovered in a " Madonna " in this collection,
that we shall examine presently.
But first a word about his descendants. Only one may be certainly assigned
him, but that one the best known artist, after Gentile da Fabriano, in the
Marches, namely Lorenzo di San Severino the Younger. A comparison of
his earliest dated works, such as those at Pausula and Sarnano, with Fran
cesco's at Matelica, put this relation beyond doubt. Even his notation is
singularly like Francesco's.
We now turn to the pictures by him in this collection :
_ MADONNA AND CHILD. She is seen from the waist up,
1 2t y framed, as it were, within a coffered arch, while the Child stands
on a deep red cushion on its parapet. She looks down slightly to our left, but
scarcely at the Child, and He turns a little to right. He is nude but for a
filmy veil, and she wears a dark mantle spangled with golden stars, held
together under the throat by a clasp studded with a ruby and pearls. Her
head is covered with a pale pink kerchief that falls over her shoulders onto her
richly brocaded dress. The hair of both is light yellow. A heavy garland
of pears, grapes and other fruits, as well as foliage, swings from the arch, which
is decorated in front with a border of cherub's heads.
Wood. H. 24! in. W. 17^ in.
Few pictures have resisted satisfactory attribution more bravely than this
Madonna. The present writer took something like fifteen years to achieve it.
His first impression that it was by Lorenzo di San Severino the Younger proved
untenable, but has turned out to be near the truth. And then nearly every

"This is of course found in Crivelli too, but it is not certain whether Crivelli brought it to the Marches
or whether he did not rather get infected with it (as with so much else, good and bad) afterward.
77

CENTRAL ITALIAN SCHOOLS
part of Central Italy, and Verona besides, seemed to have some claim upon it.
The Child was at once rather Verrocchiesque and yet reminiscent of Zanobi
Macchiavelli, a. crude follower of Benozzo and Filippo. But the arch, the
garland, the gorgeous brocades — what to make of them?
It was seeing Mr. Leatham's signed portrait of a Youth that roused one's
interest in Francesco di Gentile and put the key in one's hands for the open
ing up of his works. Quite a number clustered about this and the other signed
pictures, so that when one saw this Madonna again, the hatching, the tech
nique in general, the treatment of the hair, all the forms, spelled out the name
of Francesco di Gentile. And he accounts, as no one else could, for the varying
and almost contradictory elements. If the Child evokes Florence, that is not
strange, because in Mr. Berenson's "Annunciation" Verrocchio is distinctly
suggested. If the garland and the rather metallic treatment of the hair, as
well as something in the technique, recall Crivelli, there is no doubt that the
expatriated Venetian did influence Francesco. If the brocades recall Girolamo
di Giovanni and Boccatis of Camerino, as well as other painters of the Marches,
Francesco di Gentile da Fabriano was a Marchman himself. If one's first
impression brought to mind the younger Lorenzo di San Severino, this artist,
we can now legitimately infer, was Francesco's pupil.
The convincingly satisfactory "all-overishness" of the impression is worth a
thousand times the heaping up of petty proofs. Here the latter rubbish shall
not be shot. But it has all been sifted. Hands, ears, folds, curls, are all in
order. Even the disc-like halo with its cross ending in bell-shaped arms finds
its exact counterpart in Mr. Curtis' signed " Ecce Homo. " The action of the
hands harks even further back to a Madonna at Genga (near Fabriano) by
Francesco's master, Antonio.
T -fN MADONNA AND ANGELS. On an elaborately carpentered
1 y ^ throne of Gothic-Renaissance baroque design sits the Blessed Virgin
with her mantle spreading round her on the platform of the throne in a mass of
rather angular folds. The Child, fully clothed, sits on her right knee, facing
her, and yet looking at us. Four child angels, also fully clothed, stand on the
platform or sit on the balustrade beyond the voluted arms of the throne, play
ing on instruments. From the corner over the niche of the throne hang
ribbons and garlands of flowers and fruits.
Wood. H. i6|in. W. 13 in.
This picture is so obviously Melozzesque that it has been attributed to Melozzo
da Fori! despite its comparative smallness and pettiness not only in scale and
feeling but in handling as well. But something in the forms of the throne as
78

CENTRAL ITALIAN SCHOOLS
well as in the arrangement of the Virgin's draperies, has led others to ascribe
this work to that unfortunate residuary legatee of all Umbro-Flemish cast-off
wares, Justus of Ghent. The handling, however, is so clearly Francesco di
Gentile's, being indeed exactly like that in the " Profile of a Boy" in the Colon
na Gallery in Rome as to provoke the enquiry whether other considerations
as well do not warrant the conclusion that this little picture is by him.
To begin with, its evident affinities with Melozzo need not surprise us, for the
Colonna " Profile" has them so markedly that, as we have seen, it has generally
passed as his own or as least as his pupil's, Giovanni Santi's. And now for
one or two decisive points. The swags of fruit and foliage hanging down from
either side of the throne are painted with a richer impasto than we usually find
in Francesco's work, as is the rest of the picture; but in design and spirit they
are quite identical with the swags in the signed portrait and in both the signed
representations of the "Ecce Homo." More peculiar to Francesco still are
certain looped folds, like the one on the bosom of the Virgin or on the sleeves
of the two angels on our left, folds whereof we discover the counterpart in the
signed portrait at Mr. Leatham's. Finally, details so unusual as the
crotchets on the arms of the throne and the garland of overlapping pointed
leaves adorning some of its edges, are exactly matched in Francesco's early
Triptych at Matelica representing "The Madonna with SS. Francis and
Antony. "
The handling, although it is still niggling, is larger, the impasto more solid,
and the colouring more saturated and glowing than we have heretofore found
in Francesco's work. Contact with Melozzo was clearly not baneful to our
little artist. As the angels are unmistakably reminiscent of Melozzo's now
at St. Peter's (formerly in SS. Apostoli), this small panel could not have been
painted before 1480, the date of the cupola which Melozzo decorated.
y ^ T MADONNA AND CHILD. The Virgin is seen from the waist up,
*¦ y l holding the naked Child in her hands, her right elbow resting on a
pedestal, on which lie a pear and some cherries. She looks down a little to our
left, and the Child, with His head thrown back slightly to our left, looks out of
the picture. The Madonna wears her hair in heavy tresses knotted over the
side of her face and then falling free. The background consists of rocky cliffs
to right and left, with stairs leading up to a chapel upon one of them, and
water and low hills beyond.
Wood. H. 17! in. W. 12 \ in.
Here it is the technique and handling, which are practically identical with
79

CENTRAL ITALIAN SCHOOLS
what we discovered in the Melozzesque "Madonna and Angels," besides an
"all-overishness" not too quickly analyzed, which determine the attribution
to Francesco di Gentile. Assuming that it is his, we are led to conclude that
Francesco must have come in contact with the painter whom this Madonna
suggests, Pintoricchio namely, and that he, Francesco, scarcely painted it
before 1490, and perhaps even later.

UMBRIAN
about 1500
T - ^ MARRIAGE OF ST. CATHERINE. Against a green curtain
1 y -** embroidered with gold, stands the Blessed Virgin, seen to below the
waist, behind a parapet. Upon this she supports the naked Child, Who
advances towards our left to put a ring on the finger of St. Catherine. The
latter faces Him with hands crossed on her breast. She wears a crown on her
smooth hair, pearls over her bosom, and a mantle of brocade.
Wood. H. 1 3J in. W. 11 in.
Pintorricchiesque no doubt, but yet in colour and technique so like Francesco
di Gentile's later works that its painter, whoever he was, must have come in
contact with him.
. - - MADONNA AND CHILD. A roundel whereon is painted, sitting
1 y y against a brocaded background of foliage and flowers, the Blessed
Virgin. She has a rather narrow face, somewhat Spanish in type, and is
heavily draped in a hooded blue mantle lined with green, over a dress of deep
red. She draws her open left hand towards herself, as if addressing us, while
looking with half closed eyes at the naked Child. He sprawls on a cushion on
her right knee and sucks at her breast, but at the same time looks out of
the picture. Both the halos are lettered. In that of the Virgin one reads:
AVE GRATIA PLENA.
Wood. Diameter 27 inches.
Here again, in the handling there is much to remind us of Francesco di Gen
tile's later phase. But, as we have observed, there is something perhaps
Spanish in the Madonna's face, and the Child is manifestly Leonardesque.
So "Umbrian" must be used here in a sense wide enough to include the
Abruzzo, and even that outer darkness further south where the little painting
of a native sort that does appear, remotely echoes Umbrian chords. There is
80

CENTRAL ITALIAN SCHOOLS

a suggestion, too, of Cola d'Amatrice, but the picture does not seem his.
There is no reason of course why it should not be by an Italianate Spaniard.

FOLCHETTO DA SANGINESIO
School of the Marches. Signed works at Sanginesio, Urbisaglia and Sarnano,
dated from 1492 to 15 13. In these he appears as a follower of the Crivelli,
with a something Camerinesque in the background.
_ . ADORATION OF THE SHEPHERDS. In front of a thatched
1 y £• ¦ shed, in the midst of a smiling landscape, kneels Our Lady in a richly
embroidered mantle, upon whose edge lies the Child, Whom she adores.
Joseph sits close by pensively watching them. On our right we see two shep
herds, one of whom, in a short kilted tunic held in at the waist, is lifting his
nearly flat straw hat, while the other, bare-headed with fierce moustachios,
looks up at an angel floating in the sky. To the left are two other shepherds,
both bare-headed, father and son perhaps, and of a Shakspeareanly comic
rusticity. On a hillock above them sits a shepherd boy, interrupted in his
piping by an angel who flutters a scroll whereon appear the mystic Latin
words:— ANONCIO VOBIS GAUDIUM. Three other angels on the roof
unfold a scroll inscribed:— GLORIA IN EXCELSIS DEO ET IN TERRA
PAX. All the angels are mere children and are dressed in brocade. In the
foreground appear numerous kinds of birds and a hare.
Wood. H. io| in. W. i8|in.
This childish, quaint, but quite honestly painted Christmas story formed part
of a predella, whereof another fragment, representing the "Adoration of
the Magi" is known. That, oddly enough, although beyond question by
the same hand, betrays intimate acquaintance with Antonio Vivarini's splen
did treatment of the same subject in Berlin. The latter masterpiece may,
however, have found a home in the Marches and have been seen there by our
village artist. That he is Umbrian in the largest sense (which includes the
Marches), and not a provincial Venetian, is certified not only by the Crivell-
esque quaintness and technique, but by the dialect forms of the Latin repro
duced in the scrolls, and also by the painting of the shepherd lad piper and
his flock, reminding us as they do of similar episodes in two other versions of
the "Nativity," by Umbrian followers of Fra Angelico, which we find in
this same collection. 81

CENTRAL ITALIAN SCHOOLS
The two elder shepherds may easily be portraits. The costumes of all of them
are those worn between 1470 and 1480 in the centres of fashion at that time,
Ferrara and Mantua. In a remote and lonely district like the inland Marches,
such dress may have lingered on for ten or fifteen years more.
Now our earliest known work by Folchetto, a "Madonna Between Two
Bishops and the Kneeling Roch and Sebastian" in the Museum at Sanginesio,
is dated 1492, and our "Adoration of the Shepherds" could easily have been
painted five or even ten years earlier. Indeed, it is only on such an assump
tion that it can be ascribed to Folchetto. This assumption does not seem un
justifiable, and the student will not stray far in believing that he is enjoying
an early specimen of this rustic painter's proficiency.

LUCA SIGNORELLI
Umbro-Florentine. 1441-1523. Pupil of Piero dei Franceschi, influenced by
Antonio Pollajuolo.
T _ _ MARY MAGDALEN. She is seen down to the waist, slightly
1 j J turned to our right, looking into an open book which she holds with
both her hands. Her flaxen hair streams over her shoulders. She wears a
dress of blue brocade, and over it a red mantle lined with green. Where the
dress touches the throat a border is embroidered with the letters MADALE.
Landscape background. In middle distance to right, under a tree-grown
cliff, we see the Magdalen followed by the two other Marys darting toward
the tomb of our Lord. She bends to look in, and an angel sitting upon its
edge points out its emptiness.
Wood. H.24|in. W. 17! in.
This is a typical work of about 1500 in Signorelli's most fluent style. The
scene at the tomb is exquisite and spirited.
T 1 f\ ™E ANNUNCIATI0N- The Blessed Virgin falls back almost in
1 J/^ a swoon, dropping her book, as she sees through the pillars fronting
her chamber the Angel Gabriel flying toward her with great wings and flutter
ing draperies, holding a lily in his hand.
Wood. H. 9 in. W. 15^ in.
Photo. Alinari. Pe. ia. No. 5776.
This little painting of bronzed tone and vivid touch is as bare and severe as if
by Michelangelo himself. 82

CENTRAL ITALIAN SCHOOLS
j - i_ THE NATIVITY. In the foreground, on a bundle of straw lies the
1 y J Holy Child, and on the right kneels His Mother adoring Him. On
the left three shepherds bend over Him, one sprawling on the ground in his
eagerness. An old peasant bending over his staff addresses Joseph who is
similarly posed. Landscape background. On the hill at the left the shep
herds are represented as receiving the glad tidings from an angel.
Wood. H. 13J in. W. i6f in.
This is the most animated and dramatic of all of Signorelli's treatments of this
inviting theme, and it manages to combine dignity with humour. The elderly
shepherd might well illustrate Sophocles or Shakespeare. The handling is
large and vigorous. It probably formed, part of a predella to some such altar-
piece as the one in the Brera dated 1 508.
T _ Q HEAD OF A YOUTH. He is seen to the shoulders only, almost in
1 y O profile to our left, looking down rather sulkily through half-shut eyes.
His hair falls in an undulating mass to his shoulders. He wears a cap tilted
to right.
Wood. H.9^in. W. 7 in.
At once very individual and very characteristic of the master — as all good
portraits are. We find the like of this youth in the Uffizi " Epiphany, " in the
Monte Oliveto fresco representing the " Meeting of St. Benedict with Totila, "
and in the Louvre "Adoration. " It may safely be dated about 1 5 10.

ANTONIAZZO ROMANO
Umbrian School. Active 1460-1508. Pupil possibly of Mezzastris; formed
under influence of Melozzo da Forli, and following a development parallel
with the later style of Fiorenzo di Lorenzo.
j _ VIRGIN AND CHILD. She sits on a parapet, facing a little to left,
1 yy with the Child, Who looks up to her, lying in her lap on a cushion of
cloth of gold. He plays with the ends of her girdle. Her mantle is pink
hemmed with gold. Gold ground decorated with rays emanating from the
Blessed Virgin.
Wood. Arched top. H. 38 in. W. 21 in.
83

CENTRAL ITALIAN SCHOOLS

FIORENZO DI LORENZO

Umbrian School. After 1440- 15 22. Pupil probably of Mezzastris and Bon-
figli, but formed in Umbria under the influence of Benozzo Gozzoli, and, in
Florence, of Antonio Pollajuolo, and more still of Verrocchio.
T Af. ST. NICHOLAS OF TOLENTINO. Seen full length, standing on a
T" platform against a gold ground, the Saint looks straight out but turns
a little to right. He is dressed in black, with a ray-emitting sun on his breast,
and beneath it, his right hand clasping a slender gold crucifix. Still lower,
in his left hand, he holds an open book and a lily.
Wood. H.48in. W. 16 in.
Reproduced in Rassegna D' Arte, 1909, p. 147.
A characteristic work in the painter's average manner, but with no promise of
the poetry and passion and beauty Fiorenzo at times achieved. Its probable
date is soon after 1480. Nicholas of Tolentino, an Augustinian monk, was a
famous revivalist, who began to preach at Tolentino in 1278 and died there
in 1 308.

PIETRO PERUGINO
Umbrian School. I446-I523(?). Pupil perhaps of Fiorenzo di Lorenzo;
influenced slightly by Signorelli, and a great deal by Verrocchio.
T > t VIRGIN AND CHILD. Seen full length seated in a niche of grey
1 Z| * stone, she looks out with an expression of maternal sweetness and
fatigue, her head bent a trifle to the right. The Child sits naked on her left
knee, holding a finch in His left hand and blessing with His right. The Blessed
Virgin wears a pale pink dress and a blue mantle sown thickly with flakes
of gold.
Wood. H.44in. W. 27 in.
One of Perugino's last works, ample in design, free in treatment, sober yet
sumptuous in ornamentation, and altogether not unworthy to be the swan
song, as it were, of the artist who in his better years had known, as no other
since the Greeks, to convey a sense of dreamy relaxation and contemplative
repose. 84

CENTRAL ITALIAN SCHOOLS
BERNARDO PINTORICCHIO
Umbrian School. 1454-15 13. Pupil of Fiorenzo di Lorenzo; influenced by
Signorelli and Perugino.
, , - AN EVANGELIST WITH TWO SAINTS. The Evangelist sits
1 4 ¦** on a throne against a curtain, hung in front of a wide window opening
upon a landscape. He is intent upon an oblong book, which he holds open
on his knees, balancing his inkstand upon the top corner of it with his left
hand. To his right stands a bearded Saint, and to his left a youthful one,
each holding a closed volume and trying to read in the Evangelist's book.
Wood. H. i6| in. W. 12$ in.
A gayly coloured, typical work of his later years, doing him justice, but yet
giving scant idea of what Pintoricchio could do at his rare best. As a mere
specimen of his art, it serves its purpose amply.

ANTONIO DA VITERBO
Umbrian School. Active 1478-1509. Follower of Perugino, Pintoricchio
and Antoniazzo.
, . ^ MADONNA WITH YOUTHFUL BAPTIST AND ST. JEROME.
i ^\y She sits against the pale blue sky, on a marble bench decorated with a
relief representing an amorino riding a griffin, with her hands folded in worship
as she contemplates the Child, Who lies naked in her lap. On her right, the
adolescent Baptist, with his hair parted in the middle and falling in curls to
his shoulders, looks at her with eager interest, quite oblivious of the scroll
fluttering over his left hand with ECCE AGNUS DEI painted upon it. On
her left, a rather silly, bearded Jerome.
Wood. H. 31 in. W. 21 in.
The resemblance in types would not by itself offer a convincing proof that this
panel was by the painter whom Dr. Steinmann discovered for us some years
ago, securing for him a place high up among the secondary Umbrians. On the
other hand, there is nothing here which conflicts with the probability that it is
by Antonio. Indeed, the Signorellesque cranium of the Baptist is in favour
of his authorship, for scarcely any other of the Peruginesque Umbrians so
frankly betrays his connection with Luca of Cortona. To the present writer,
85

CENTRAL ITALIAN SCHOOLS

the attribution of this work is put almost beyond question by the curious,
slightly swirling, folds in the Virgin's skirt, which in Umbrian painting find
their close parallel only in Antonio's "Nativity" in the Viterbo Gallery.

BERNARDINO DI MARIOTTO
Umbrian School. Active 1497-1525. Pupil of Fiorenzo di Lorenzo; influ
enced by Signorelli, Lorenzo di San Severino the Younger, and Crivelli.
j a i PI ETA. The dead Christ, naked but for the loin-cloth, and with
T"T" hands extended, appears from above the knees out of His tomb. This
takes the form of an oblong box, and behind it, against the dark background,
we see the Cross, the Sponge and the Lance. On the left, the Blessed Virgin
with clasped hands, and on the right the youthful John.
Wood. Sharply pointed top. H. i2§in. W. 7 in.
The attribution is not of obligation but of good counsel. Something in the
colouring and in the handling, rather than anything in the types, which are
feebly Fiorenzesque, points to Bernardino di Mariotto, and to his earlier years.

EUSEBIO DI SAN GIORGIO
Umbrian School. Active 1492-1527. Pupil of Perugino and Pintoricchio
influenced by the young Raphael.
. MADONNA WITH A YOUTHFUL MALE SAINT AND CATH
IE 4 J ERINE OF SIENA. The Blessed Virgin, seated, visible to below
the knees, looks through half-shut eyes at the Child, Whom she holds sitting
on her right knee, while He points to Himself with His left hand. A young
Monk stands on her right looking down, and St. Catherine on the left looks out
at us, holding her lily in her left hand.
Wood. H.2o|in. W. 14! in.
Here we have at his best this echo of the gracious and lyrical young Raphael :
lovely types, amiable feeling, pleasant colouring, and draughtsmanship which
is, at least, inoffensive. It must be a fairly early work.

CENTRAL ITALIAN SCHOOLS
GIOVANNI LO SPAGNA
Umbrian School. Active 1 508-1 532. Pupil of Perugino and Pintoricchio;
influenced by Raphael.
_ . /" THE MAGDALEN. She is seen down to the knees, a mannered
I Zj. \J figure, in which Umbrian candour struggles with new-fangled notions
of attitude. With her right hand she holds up a small vase, and with her left
she clasps to her side a dark book, as she looks out rather languishingly from
a roundish face. Her yellow hair, parted in the middle, streams in tresses
over her shoulders. She wears a dark blue undergarment, quite open at the
neck and a dress of light green, held together at the waist with a knotted white
sash. A red mantle with blue lining leaves uncovered the right arm as well as
the rest of the bust except the left shoulder. Over her chest hangs a large
ornament of pearls and precious stones.
Fresco transferred to canvas. H. 37I in. W. 26^ in.
In all probability designed by Lo Spagna, and in his middle period. The
execution is too flat and unsubstantial for him, but this defect may be due to
what the fresco has suffered in transfer. Possibly we have here an early work
of Jacopo Siculo done under his master's eye.

MARCO PALMEZZANO
Romagnol. 1456 to about 1543. Pupil of Melozzo da Forli, influenced
slightly by Rondinelli.
_ . y— NATIVITY. In the foreground of a pleasant landscape kneels the
1 *- ¦ J Blessed Virgin worshipping the Holy Child, Who reclines against a
bundle of straw on the edge of her blue mantle. On the left, Joseph in a yellow
robe sits on a saddle against a barn, whence the ox and the ass stretch forth
their heads.
Wood. H. 10 in. W. 19 in.
Part of a predella no doubt.
SCHOOL OF COTIGNOLA
This School was an offshoot of the schools of Forli and Ravenna, and its petty
chieftain was Francesco Zaganelli. 87

CENTRAL ITALIAN SCHOOLS
,Q ST. SEBASTIAN. The youthful Saint, naked but for a loin-cloth,
I 4 stands, with arms tied behind him, against a pillar between two arches.
He tosses up his head to look toward the left, whence, no doubt, in the
polyptych of which this panel originally formed part, he saw an angel
approaching with the palm and crown.
Wood. H. 54^ in. W. 13! in.
This may conceivably be by Francesco Zaganelli in some phase slightly dif
ferent from any known to the present writer.

GIROLAMO MARCH ESI OF COTIGNOLA
Romagnol. 1471-1540. Pupil of Francesco Zaganelli (himself a follower of
Palmezzano and Rondinelli), and later close imitator of Raphael.
i Q ST. NICHOLAS OF TOLENTINO.* He is seen down to the hips
1 ^\y dressed in a black habit, looking down at the Crucifix which he holds
in his right hand. The same hand holds a lily and touches the book which he
clasps to his bosom with his left hand. Over his breast a child's head darting
rays. Background of horn-coloured romantic landscape.
Wood. H.26in. W. 21 in.
It is not always easy to distinguish between Girolamo Marchesi and his master
Francesco Zaganelli. In this instance, although the landscape suggests the
latter, the monkishness of the expression, and the folds, point rather to
Girolamo.

BALDASSARE CARRARI
Forli. Active through first decades of sixteenth century. Pupil of Palmezzano,
strongly influenced by Rondinelli, and thus Veneto-Romagnol in manner.
I rr\ FRAGMENT OF A PREDELLA containing two subjects separated
* J ^ by a pilaster decorated with cranes, dolphins, etc. On the right
"The Flagellation," which takes place in an interior before the King and
*St. Nicholas of Tolentino, an Augustinian Friar, died in 1308, and over his tomb at
Tolentino a magnificent shrine was erected.

CENTRAL ITALIAN SCHOOLS
his guards. On the left we see the apse of a chapel. A graceful and stately
female is pouring oil into a lamp while two young men look on.
Wood. H. i2| in. W. 35J in.
A characteristic work by this most spirited and pleasing of the minor Romag-
nol painters. FOLLOWING OF NICCOLO RONDINELLI
Ravenna. About 1450-1 510. Pupil and close follower of Giovanni Bellini.
MADONNA AND INFANT BAPTIST. She sits, visible down to
1 J 1 the knees, in a niche, the apse of which is decorated with a trellis
pattern in mosaic, and holds the naked Child on a green cushion. He turns
to our left to speak to the infant John who faces Him, holding a lamb. The
Madonna wears a white kerchief and her blue mantle is lined with yellow
which is turned up over her left shoulder. The eyes are brown, the flesh
very light.
Wood. H.28fin. W. 19! in. Arched top.
By some follower of Rondinelli at or near Ravenna, but not Baldassare Carrari.

RAPHAEL
Central Italian. 1483-1520. Pupil of Timoteo Viti of Urbino; assistant of
Perugino and Pintoricchio; influenced by Leonardo, Fra Bartolommeo,
Michelangelo and Sebastiano del Piombo.
COPY AFTER RAPHAEL
y ~ ^ INFANT CHRIST. He lies naked on a white cushion, throwing up
1 J ^ His hands.
Wood. H. 205 in. W. 24 in.
After the Child in the lost "Madonna Di Loreto."

89

VENETIAN SCHOOL

PAINTINGS
VENETIAN SCHOOL
TOMMASO DA MODENA
Known to have been active for thirty-five years at least before his death in
1 379, for some time at Treviso, and later in Bohemia. While the general
aspect of his art is very Sienese, it is in technique Venetian, and almost trans-
Alpine. t r- «n A. DIPTYCH (on gilt and gauffered panels in the old frame). In
* J y the panel to right St. Jerome, seen almost in profile to left, is sitting
on a high-backed wooden seat inlaid with mosaic, and writing in a book which
lies on a desk of the same materials. On the shelf above are two other books,
one open and one shut. The Saint's red hat hangs on the right whilst the lion
lies meekly at his feet. He is clad in red and ermine over blue, and the books
are red and blue.
In the left hand panel the Blessed Virgin, wearing a blue mantle over a dress
of gold brocade, sits, almost in profile to the right, on a vermilion cushion,
nursing the Child. Behind her, on a wooden chest inlaid with mosaic, is an
open prayer-book and a stand with bobbins wound with variously coloured
threads. Wood. H. 1 1 1 in. W. i6| in. (the entire Diptych). The back is decorated
almost like a backgammon board, but in grey and green.
This work has been ascribed to Bartolo di Fredi, and no wonder, for it is singu
larly like Sienese painting of Bartolo's time, even to the fashioning of the
panel itself into a precious object of art. But the execution is far too sub
stantial and the colour too vivid, and they recall, rather than Sienese paint
ing, the enamel-like quasi-Byzantine work of the Venetian Giottesques.
Comparison with Tommaso's frescoes at Treviso, carried out to minutest
93

VENETIAN SCHOOL
details, makes it certain that the present attribution is correct. As there are
only one or two other panels by Tommaso in existence, this Diptych is a wel
come addition.
It seems, by the way, that the very rare motive of the bobbins occurs in
Bohemian pictures of the Madonna, a fact which helps to connect this picture
with that country, and through it with Tommaso, who worked there, and who
may have introduced the motive, related as it is to one well known in
Northern Italy, namely that of the Virgin sewing.

ANTONIO VIVARINI
Venetian. Active from as early as 1440 till towards 1470. Developed under
Franco-Rhenish influences, coming perhaps through his partner, Giovanni
d'Alemania, as well as under the influence of Gentile da Fabriano and of
Pisanello. In his earliest years he worked with Giovanni d'Alemania, and
between 1450 and 1460 with his younger brother Bartolommeo.
y ^ . ST. BERNARDINO OF SIENA. He stands on a platform of
*¦ J ^\ Verona marble, against a gold background, turning a little to our
right. In his right hand is a red book and in his left the usual emblem of
elliptical shape painted with the letters Y H S.
Wood. Arched (Gothic top). H.44in. W. 13 in.
A late work partaking slightly of the tendency toward naturalistic detail and
over-definition which characterized the Murano-Squarcioneschi. It is closest
to such a figure as the "St. Antony of Padua," which was part of Antonio
Vivarini's contribution to the polyptych he painted in conjunction with
Bartolommeo for Osimo in the March of Ancona.

BARTOLOMMEO VIVARINI
Venetian. Active 1450-1499. Pupil of his elder brother Antonio, with whom
he worked in partnership for nearly ten years after 1450. Strongly influenced
by the Paduans. 94

VENETIAN SCHOOL
, ~ ^ ST. JAMES OF COMPOSTELLA. He stands on a mottled marble
* j J platform, against a gold ground, turning slightly towards our right.
With his right hand he grasps the pilgrim's staff and in his left he holds a book.
He wears a dark green robe and pale pink mantle.
Wood. Arched (Gothic top). H. 39I in. W. iifin.
r r- /C ST. FRANCIS. (Companion panel to the last). Like St. James, he
1 J^J stands on a platform against a gold background. Both hands are
extended across his breast; in the right, which is uppermost, he holds a slender
metal cross as well as the corner of a red book which is supported on his
left arm.
Same shape and measurements as last.
Both reproduced in Rassegna d'Arte, 1905, p. 129.
The pale colouring and the intensity of definition point to a date when Barto-
lommeo's art was still progressing. A comparison between the "James" here
and the "Baptist" in the polyptych of 1464 in the Academy at Venice, and
the same Saint in the triptych of 1474 in the Frari, makes it clear that our
panels must have been painted between those two works, and rather nearer
the latter than the former. A safe date for them is 1470. The proportions
and the over-definition are very Paduan. Indeed, Bartolommeo is never
more Squarcionesque than in this "St. James."
Both these panels were seen by the present writer years ago in the Bernetti
Collection at Fermo. This fact is worth recording inasmuch as it may lead
to the identification of the polyptych of which they formed part and of the
church for which they were painted.

STUDIO OF BARTOLOMMEO VIVARINI
j ~ y— MADONNA. She is seen behind a ledge on which she supports the
1 J I Holy Child, Who stands blessing with His right hand. His left
touches the left hand of His Mother, which is extended across her breast.
Behind them a green curtain, and to right and left, landscape.
Wood. H.24iin. W. i8Jin.
Just not the master himself, but decidedly one of the better of the pictures
turned out in numbers in his studio. The date can be no later than 1485, as
may be inferred from a comparison with the triptych of 1482 in the Frari, or
the "Madonna" of 1481 in Turin. 95

VENETIAN SCHOOL

CARLO CRIVELLI

Venetian. About 1440-1493. Brought up in Murano-Squarcionesque circles.
He took with him to the Marches their tendency to over-definition and to
sumptuous ornamentation, and there developed it without opposition, indeed
rather with the encouragement of local influences.
T £, Q PI ETA. Supported by two weeping child angels, the dead Christ,
y with open mouth and crowned with thorns, falls back to our left.
He is seen almost down to the knees above the sarcophagus, the front of which
is hung with stamped red velvet. Behind Him hangs a gold brocaded curtain.
The angel on our right is in pink, the other in bluish grey. Christ is naked
but for a loin-cloth.
Wood. Arched (Gothic) top. H.27in. W. 18 in.
Reproduced in Rassegna d 'Arte, 1905, p. 1 30.
One of the most heartfelt treatments of this theme. Having regard to the
course of Crivelli's career, it must have been painted soon after 1470. Not
only is it still reminiscent of Donatello at Padua, and perhaps even of Giovanni
Bellini, but it fits in with works dating from between 1470 and 1473, namely
the Macerata "Madonna" of 1470, the Benson "Madonna" of 1472, and the
Ascoli polyptych of 1473, as well as the Brussels "Madonna," which, though not
dated, is beyond question of 1472 or 1473. In composition this " Pieta " comes
directly after the one in the National Gallery, and this, as is known, origin
ally formed part of a polyptych together with the Brussels "Madonna." The
indented folds in our picture are singularly like those on the sleeve of the same
"Madonna." The hair and the hands are closest to those of the "Pieta" and
the "Baptist" in the Ascoli polyptych.

ANTONELLO DA MESSINA
Sicilian, that is to say, a mixture of direct, or indirect, Flemish and Catalan
with Italian (chiefly Venetian) traits. About 1430-1479. A phenomenal and
mysterious personality, who seems, when well past forty, perhaps after contact
with the greatest Venetians, to have suddenly discovered a genius for the
elemental and significant in the art of painting that places him on a level with
Piero dei Franceschi. It is a mistake to regard him as a portrait painter
merely. His "Annunciation" recently placed in the museum of Syracuse, and
his "St. Sebastian" at Dresden are among the highest achievements of
Italian art. 96

VENETIAN SCHOOL
, ^ BUST OF A YOUNG MAN. He has a broad, rather full face, and
1 J y looks straight at us, although turned slightly to our left. The cheeks
are smooth, the chin rounded, the nose strong, the lower lip full with the long
corners of the mouth drawn up, the look confident and cheerful. He wears a
black cloth cap, the drapery of which falls over his shoulders, a fur-lined dark
violet coat over a white shirt and a blue tunic tied with a brass-pointed cord.
He has auburn hair, which straggles in wisps over his forehead, and his eyes
are hazel.
Wood. H. I2§ in. W. iof in.
Reproduced in the Rassegna d' Arte, 1905, p. 1 30.
As typical a masterpiece as any of Antonello's portraits. It has the breadth
of design and the distinction in handling that characterize the artist during his
latest years.

ANTONIO DE SALIBA
Sicilian. Active 1480 -1535. Nephew of Antonello da Messina, and pupil
of the latter's son, Jacopo. Frequently confounded with his great namesake,
whose style, indeed, he follows. Manifestly he came under the influence of
Cima da Conegliano, but this does not necessarily imply that Antonio was
ever in Venice. He may have seen Cima's works nearer home, at Messina
itself, for all we know, or on the neighbouring mainland. An elaborate
polyptych from the Venetian's severe and chaste hand may still be seen
at Miglionico, half-way between Potenza and Taranto, and there may
have been still others in Calabria.

s THE SACRED FACE OF OUR LORD. It is supposed to be
1 V-' v-J seen against a gold-embroidered white handkerchief — Veronica's of
course. The face is long and somewhat Flemish in proportions, with pale
hair parted in the middle and falling down in delicately spun ringlets. The
beard is short and forked. The Crown of Thorns presses on His forehead,
and rays of light stream above and to right and left.
Wood. H. iof in. W.8|in.
The attribution of this dainty bit of painting to Saliba is suggested but not
insisted upon. It would, however, be difficult to name another Sicilian —
and Sicilian this is beyond question — who is so likely to have painted it.
97

VENETIAN SCHOOL
Antonio Saliba is the only one delicate enough in touch. The ivory-like com
plexion recalls his work. The ringlets remind one of the Christ in his "Pieta"
at Vienna. SICILIAN
EARLY SIXTEENTH CENTURY
T r MADONNA AND CHILD. She is seen behind a draped parapet
1 ^ l on which she supports the Child, Who sits looking at us and holding
up an apple. Four cherubs float around the head of the Blessed Virgin, who
wears a dress of rich brocade. The Child's halo is adorned with a Maltese
cross.
Wood. H. 22 in. W. i6in.
A poor enough work, but far above the contemporary Sicilian average. In
deed, it is too good for Antonio da Palermo, whose type of hand the hands in
this picture recall. SCHOOL OF GENTILE BELLINI
Gentile Bellini, Venetian School. 1429-1507. Pupil of his father, Jacopo
Bellini; influenced by the Paduans.
, tC - PORTRAIT BUST OF LORENZO GUISTINIANI, first Patriarch
* ^ ^ of Venice, born in 1 380, died in 1455. He is seen in sharp profile to
our left, wearing a white surplice, and a loose-fitting skull cap which comes
down over his ears. Dark background. On top the inscription in square
Roman letters: LAVRENTIVS IVSTINIANVS PRIMVS PATRIARCHA
VENETI/E. Wood. H.25in. W. i8|in.
This noble profile has been attributed to Gentile himself, and is indeed not
unworthy of him. It is however unfortunately so far effaced that a definite
opinion regarding its authorship cannot be formed. The folds seem to lack
the definition that Gentile never failed to give them, and this, perhaps, is the
chief reason for not cataloguing it under his own name.
Whoever the painter, he surely did not know the subject of this portrait, and
in all probability it is a free rendering, in a style of some twenty or more years
later, of Gentile's well-known image of the Blessed Lorenzo, dated 1465, and
now in the Venice Academy. 98

VENETIAN SCHOOL
j /T ^ THE NATIVITY. The Blessed Virgin kneels on the ground turning
* ^ J a little to our left, worshipping the Holy Child, Who lies stretched
His full length on the grass. On the left sits Joseph, a bald-headed but. vigorous
elderly man, and on the right kneels a Doge in ermine and brocade, with his
ducal cap on the ground before him. Directly behind the Virgin stretches
backward an open shed, held up on tall spindly beams. On the lower rafter
three slender, nude boy-angels are singing from a scroll which they hold be
tween them. To the left, on the lower slopes of a castle-crowned hill, various
pastoral and farmyard scenes.
Wood. H. 36! in. W. 22^ in.
A quaint picture, with something of the jolly rusticity that we found in Fol-
chetto's version of the same theme. But here we are unmistakably in Venice
itself, and indeed the introduction of a Doge as Donor makes it almost certain
that it was painted for some holder of that title. But which one? It should
be easy, you would think, to find out. As a matter of fact, it is next to im
possible. On the one hand, we are far from adequately provided with con
vincing portraits of the Doges even of a period so familiar as the latter half of
the fifteenth century. On the other hand, we are baffled by the usual dif
ficulties encountered in the attempt to identify portraits, namely the man
nerisms of the artist, which obtrude themselves in inverse ratio, of course, to
the quality of his work. Here, these are so gross that one does not at all know
how much to deduct. This medal-like profile finds no exact analogue among
the likenesses of the Doges known to the present writer. It may have been
intended for Giovanni Mocenigo (1478-1485).
It is no less difficult to identify the author of this painted Christmas carol. He
clearly was a pupil of Gentile, painting after 1470; for he was acquainted with
Jacopo's Louvre Sketch-book which came into Gentile's possession on his
father's death in that year. The shed, with its ridiculous perspective, is a
misunderstood copy of the one in a design for an Epiphany in that sketch-book,
and the ox also is reminiscent of the one in the same composition. The angel
addressing the two peasants is almost identical with a similar group in Man-
sueti's "Adoration of the Shepherds" at Berlin, whilst one of these
peasants and the seated figure of the piping shepherd appear with but little
alteration in Mansueti's signed "Nativity" in S. Salvadore at Colalto, which
also recalls our picture in several other particulars. These considerations, as
well as the ear of the Joseph, and something in the types also, leads us to won
der whether this may not be an early work by that slavish and untalented
follower of Gentile. 99

VENETIAN SCHOOL
VENETIAN ABOUT I475
T r . PROFILE BUST OF A YOUNGISH WOMAN. She is seen medal-
* ^ ^\ like to left. Her features are heavy and stupid. Her hair is tied
with fillets on the back of the head. The dress of rich brocade is cut square
and low under the throat, and her neck is encircled by a gold chain, from which
hangs a jewelled pendant. Dark background.
Wood. H. 10 in. W. 7! in.
This portrait is obviously Italian, and the notation, as well as the dress and
coiffure, point clearly to about 1475. The present writer would be at a loss
to locate this panel more precisely, were it not for the fact that when he saw
it some years ago it was accompanied (whether painted on cover or back his
memory fails to tell him) by a "St. Francis receiving the Stigmata"
which distorted Gentile Bellini's treatment of the same subject on the Organ
Shutters of Saint Mark's. This hint led one to gather up such other indica
tions, slight enough, as were offered by the colouring and the pattern of the
brocade, which might point to the Venetian origin of this feeble work of art,
and to conclude that we have here the hand of some unknown and uninspired
follower of Gentile Bellini.

GIOVANNI BELLINI
Venetian School. About 1430-15 16. Pupil of his father, Jacopo; greatly
influenced by the works Donatello left at Padua, and slightly, first by his
brother-in-law. Andrea Mantegna, and later by Antonello da Messina.
T f\ £ MADONNA. She is seen behind a parapet upon which stands the
1 "j Holy Child, Whom she supports with both her hands against her right
shoulder. He wears a dark olive green tunic, and puts the forefinger of His
right hand into His mouth, while His left hand rests against His Mother's
breast. The background is pale blue. On the parapet lies a yellow pear, and
against the ledge on a cartellino we read the words IOANNES BELLINVS.
Wood. Arched top. H.24jin. W. 16^ in.
Reproduced in Dr. Gronau's " Bellini," p. 53.
100

VENETIAN SCHOOL
One of Giovanni's earliest extant works, perhaps the earliest of his Madonnas.
The distinguished naturalness of this Mother and Child are not more wonder
ful than the exquisite intimacy of the contour. Its rivals are Dr. Frizzoni's
"Madonna" and the one recently discovered by Count U. Gnoli in the Poten-
ziani Villa near Rieti and published in the Rassegna d' Arte, 191 1. p. 177.

ALVISE VIVARINI
Venetian. About 1446- 1505. Pupil of his uncle, Bartolommeo; slightly
influenced by the Bellini, and a good deal by Antonello da Messina.
T f\f\ P0RTRAIT BUST OF ELDERLY MAN. He is smooth-faced,
1 \J \J ancj i00ks straight out with lively eyes, although turned a little to our
left. He has high cheek-bones, firm mouth and chin, and wears a round cap
over his long hair. He is seen behind a parapet against a dark background.
Wood. H.i 1 in. W. 8fin.
A characteristic work of Alvise's later years, but still betraying, as in his por
traits he never fails to do, the influence of Antonello. Its next of kin among
Alvise's portraits are the one of 1497 in the Salting bequest at the National
Gallery, the "Bernardo Sallo" of the Louvre, the "Man with the Hawk" at
Windsor, and the "Portrait" at Mme. de Beam's in Paris.

JACOPO DE' BARBARI
Venetian School. B. between 1440 and 1450, d. before 1515. Pupil and fol
lower of the Vivarini; influenced in his later years by the Germans and Flem
ings, in whose midst he lived and died.
, r y- AN OLD MAN EMBRACING A YOUNG WOMAN. The young
* ^ / woman is seen down to the waist only, with her left elbow resting on
a cushion and her left hand supporting her head. Over her right shoulder,
nestling up against her, appears the bearded head of a senile old man, with one
hand on each of her shoulders, the right bent as if to take off her cloak. She
has blue eyes, and her extremely blond hair falls down in silken strands to her
bare bosom. She wears a garland of laurel leaves, and is dressed in gossamer
like stuffs of white, violet and green. The old man wears a red cap and brown
101

VENETIAN SCHOOL
coat, and has white hair and beard. Dark background. Signed IA. D.
BARBARI M. D. Ill, and under this, the sign of the caduceus.
Wood. H. 1 5$ in. W. 12! in.
Reproduced in " Bertihmte Gemalde Alter Meister der Sammlung Weber,
Hamburg. " Joh. Nohring, Liibeck. 1912.
Perhaps the chief interest of this work is that it furnishes an external proof of
the capacity of the engraver who signed with the caduceus to produce pictures
such as the panel before us. These two threads together constitute an artistic
personality of considerable interest, for Barbari in his prints shows no small
gifts as an imaginative illustrator, and once or twice in his paintings, as for
example, in the Layard "Still Life" piece, he has a delicacy and felicity of
touch which place him high among the artists who could finish exquisitely.
In the present panel, it is the illustrator rather than the painter who is upper
most. The tired, anaemic, wistful and spent face of the young woman leads
one to wonder what Barbari could have encountered during his gilded exile in
Teutonic lands. It is not for the sober prose of a catalogue to supply this
senile idyll with an interpretation that should have come from the pen of
the late J-K. Huysmans. BARTOLOMMEO MONTAGNA
Venetian provincial, active most of his life at Vicenza. Born about 1450 and
died in 1523. Pupil perhaps of Domenico Morone of Verona, greatly influen
ced by the Vivarini, and somewhat by the Bellini, particularly Gentile.
. Z.O ALTARPIECE. The Blessed Virgin sits on a marble throne against
1 \J (J a strawberry coloured curtain under a shallow green baldachin. On
our right stands St. Lucy in Gothic attitude, with a plate in her right hand
upon which she presents the eyes and the bodkin wherewith they were gouged
out — the symbols of her martyrdom. She is dressed in brick red over green,
and wears pearls over her forehead and hair. On our left, stands St. Nicholas
of Bari, holding the balls on a book and the episcopal crook. His cope is dark
blue. Behind the throne runs a marble parapet on which are inlaid the letters
T. V T. N. On the step of the throne we read in square letters MATER IHV
CXTI (Ihesv Christi) The pavement is tessellated with slabs of white and
Verona rose-coloured marble. Blue mountains close in the distant horizon.
Nearer at hand, on the left, are seen Dolomitic crags.
Canvas. H.67in. W. 72 in. 102

VENETIAN SCHOOL
An important and typical work of Montagna's earlier middle years. The two
female figures are close to those in the "Nativity" at the Vicenza Gallery and
to the Madonna in the Altarpiece with the Baptist and St. Onofrio in the
same collection. Although no earlier than these, the Child in our altarpiece
harks back to earlier works like the "Madonna" which belonged to the late
Sir William Farrer, or the one with SS. Roch and Sebastian in the Lochis
Gallery at Bergamo. It is curious, too, how the Lucy recalls the "Mag
dalen" in Bonsignori's earliest extant work, the panel in S. Paolo at Verona,
thus further proving the common origin and education of the two painters.
The Nicholas, however, betrays reminiscences of the Saints in Giovanni
Bellini's Triptych in the Frari at Venice, a picture painted in 1488. Other con
siderations lead us to date our altarpiece a little later, say 1490.
r PROFILE BUST OF A BENEDICTINE MONK. He presents a
1 U Ky firrri) medal-like profile facing to our left, with hands folded in prayer.
The face is smooth, the nose prominent and slightly hooked, the forehead
fairly high and bald. He wears a black hood and gown and is seen against a
red curtain drawn away on our left just enough to show a bit of landscape.
Wood. H. i6in. W. I2|in.
The red of the curtain, the landscape, with its rather coppery sky and bluish
hills, the hands and the folds, and, most of all, the touch, are certainly Mon
tagna's. The mask is as plastic, as vigorous and as detailed, though without
pettiness, as the portraits of Bonzes carved in Japan some few centuries ago.
This makes one of three portraits by Montagna known to the present writer.
The second is a most determined head of a typical early Renaissance Italian,
in the Correr Museum at Venice (Sala XVI No. 4.), and the third is the "Bust
of a Lady " belonging to Mr. Altman of New York. That Montagna could
put character and life and even humour into portraits is made patent by his
fresco in the Scuola del Santo, at Padua. The one here is not earlier than
1500, and not much later. SCHOOL OF MONTAGNA
1 1-7 r\ MADONNA. She wears a blue mantle, orange lined, and sits on a
1 I ^ ledge visible down to her knees, against a green curtain. Her glance
is fixed on the Child, seated on her right knee, to whom she offers her breast.
On our left, a bit of landscape.
On Wood. H. 17m. W.i 3 in. 103

VENETIAN SCHOOL

A crude and stupid picture of the distant following of Montagna, painted
towards 1 500.

FRANCESCO BONSIGNORI
Veronese School. Circa 1455-15 19. May have been pupil of Domenico
Morone, but developed chiefly under the guidance of Alvise Vivarini. After
1490 he seems to have lived altogether at Mantua, and there fell under the
influence of Mantegna, and later, to a much less degree, of Costa.
. y- T PORTRAIT BUST OF AN ELDERLY MAN. He is seen to a little
1 J l below the shoulders turning three fourths to our left. He is smooth
faced, with a strong shapely nose, a thin smallish mouth, and a firm chin with
the flesh suddenly thickened under it like a pouch. His hair, which is short
and curly, escapes from under the fez-like cap worn in the eighties of the
fifteenth century. The background is dark.
Wood. H. 1 5f in. W. 12! in.
Reproduced as Plate X of the Ferroni Sale Catalogue, Rome, 1909.
A copy may be seen in the Modena Gallery.
The attribution to Bonsignori is based on a comparison with the signed portrait
of a Venetian Senator in the National Gallery (No. 736). Our picture is,
however, of deeper tone, more like the general harmony of the polyptych in
S. Giovanni e Paolo at Venice. We can thus date this head safely as toward
1487. It has the firmness, directness and decisiveness of the best fifteenth
century portraiture in or out of Italy.
, y. _ BUST OF OUR LORD AS A BOY. He is seen almost full face,
1 I -^ standing behind a parapet, with His left hand resting upon it. The
face is roundish with a high broad forehead, lively, wide-open eyes and stream
ing auburn hair reaching down to the shoulder over the bare throat. The
flesh tone is golden. He is dressed in deep rose colour, with a band of gold
embroidery at the neck which is repeated on the sleeve. The parapet, which
we see at an angle, is pale brownish in colour and is inscribed with the initials
F. B.
Wood. H. 19 in. W. 14 in. 104

VENETIAN SCHOOL
Here too, the attribution is beyond reasonable doubt, and is indeed attested
by the signature in initials. The handling is very flat, and the type, the forms
and the folds point to an advanced period of Bonsignori's career, when he was
beginning to betray contact with Costa. This Ferrara-Bolognese master,
who in his precocious senility was appointed court painter to the Gonzagas,
in succession to Mantegna, reached Mantua in 1507. It was after that date,
therefore, that this bust was painted. It recalls the modernized "Head of a
Female Saint" in the Poldi Museum at Milan, there ascribed to Costa,
although long since correctly attributed by Morelli, and the "Magdalen" in
"The Way to Golgotha" still at Mantua, in the Accademia Virgiliana.
But it is curious to observe how the folds upon the broad chest, and the per
spective of the ledge hark back to the "Madonna" of 1483 in the Verona
Gallery. An interesting almost contemporary copy, probably by one of the Carotos
of Verona may be seen in the collection of Mr. Robert Minturn of New York.

VICTOR CARPACCIO
Venetian School, Circa 1455-1 525. Pupil and follower of Gentile Bellini.
T ,_ _ STORY OF ALCYONE. " Daughter of /Eolus and Enarete, and
1 I y wife of Ceyx. Her husband having perished in a shipwreck, Alcyone
for grief threw herself into the sea, but the gods out of compassion changed the
two into birds." (Smith's Smaller Classical Dictionary). A group of men
and women in the dress worn by the Venetian ladies and gentlemen in the last
decades of the fifteenth century, stands on our right. The men take no part
at all in what is going forward ; the women look on in grief while Alcyone, whose
hands are already branching out into claws, rushes through a flowered meadow
to throw herself into the sea. In the foreground is a stag reposing at the foot
of a tree, and a hare. Just off the shore floats the body of Alcyone's husband,
and further to the left, at the water's edge, are two large white birds, represent
ing no doubt the unlucky pair after the transformation is consummated. On
the right the sea stretches away across the bay to the walls of a town, behind
which rises a headland crowned by a round bastion. Groups of people in
oriental garb line the beach.
Canvas. H. 26J in. W. 48! in.
Reproduced in Rassegna d 'Arte, '1905, p. 131.
105

VENETIAN SCHOOL
If in less grievous condition, this would be one of Carpaccio's most delightful
song-stories — Chant-fables—; as delightful as the best of the St. Ursula series.
With these, indeed, it has so much in common that one cannot hesitate to
assign it to the same years. It is most like the "Departure," which is dated
1495, and may well be of the same year.

LAZZARO SEBASTIAN I (?)
Venetian School. About 1430-15 12. Pupil of Bartolommeo Vivarini, close
follower of Gentile Bellini, influenced by Giovanni as well, and, not improbably
in later years, by Carpaccio.
n . MARTYRDOM OF A SAINT (?). In the foreground of a city
/ l sQuare, with flat-topped, balconied houses to right and left, we see a
dapper youth trying to lift a decapitated body lying by a block. Just beyond
this is the severed head, beside which lounges the ragged and towselled execu
tioner, leaning on his mallet, as if spent with his effort. On the left, three
soldiers look up to a balcony where stand a turbanned tyrant and his secretary.
Below a dainty adolescent holds a banner. The square is bounded in the
middle distance by a low wall overtopped by a cypress tree, and beyond
stretches the country. In the heavens, shadowy small figures of two angels
bear away the soul of the Saint, represented as a naked infant.
Wood. H.2iin. W. 17^ in.
y ,_ ^ MARTYRDOM OF A SAINT (?). Companion picture to the last.
1 J J A square somewhat different, with a ruined wall at the back. In the
foreground two slender young men lifting up a dead body. To the right, a
King in crown and long robes throws up his hands in amazement, while a friar
and a lady in a sugar-loaf hat stand by. This group is balanced on our left
by another consisting of a man in Oriental costume and a mincing youth in
the dandified dress of about 1 500, and a lancer. From the balconies spectators
regard the scene.
Wood. H.2iin. W. 17^ in.
The subject of these two companion panels is enigmatical. It would seem as
if, in the first, a Saint's head had been struck off with a heavy mallet, and in
the second, the head had been miraculously joined to the shoulders again.
The first scene suggests the Martyrdom of St. James, as depicted by Mantegna
106

VENETIAN SCHOOL
in the Eremitani Chapel at Padua; but in easily accessible sources there is
nothing to attach that Saint's legend to the scene represented in the second
panel, unless indeed, it refer to the finding of the Saint's body at Compostella
by King Alfonzo the Chaste.
The authorship is only a degree less puzzling. Obviously these panels were
painted by a Venetian of the fifteenth century. He combines unusual freedom
of handling with painstaking elaboration of perspective. The costumes, in so
far as they are contemporary, are of about 1 500, and so are the windows of the
tower. The types and movements of the figures echo Carpaccio in the "St.
Ursula" series and Gentile Bellini in his "Corpus Domini Procession."
At first glance these spirited and brilliantly coloured little paintings suggested
Lazzaro Sebastiani, and it remains true that of all known masters it is to him
they stand closest. But that pitifully dull and timid craftsman is, in no other
work correctly ascribed to him, half so vivid or a quarter so ready.
Should further knowledge justify this tentative attribution we should at the
same time lift Lazzaro up a peg in our esteem, and possess flagrant proof of
his imitating the much younger Carpaccio.

GIOVANNI BATTISTA CIMA DA CONEGLIANO
Venetian School. Circa 1460-15 17. Pupil and follower of Alvise Vivarini,
slightly and momentarily influenced by Bartolommeo Montagna, and a great
deal by Giovanni Bellini.
r y-, /C MADONNA. Seen to below the knees, sitting behind a parapet
1 j ^J against a curtain, she turns her face a little to our left and gazes
intently on the Child whom she holds naked between her hands. She wears
a white hood under a blue mantle with the usual reddish dress, here tied with
a knotted cloth girdle over the waist. On our left a landscape representing
Conegliano with its castle. On the parapet in lapidary letters the inscription :
IOANNES. BAPTISTA. DE. CONEGLIANO. P
Wood. H.23iin. W. i8| in.
A severe, incisive, clear-cut work of Cima's earlier years, dating soon after the
Conegliano altarpiece of 1491.
Two other versions of this picture are known to the present writer. One was
some years ago in the hands of the Parisian dealer, Sedelmeyer, and was to the
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VENETIAN SCHOOL
minutest detail identical with this, save that it had almost imperceptible
differences in the embroidered pattern on the Virgin's hood and chemisette and
a just perceptibly different movement in the clouds. It also was signed,
but only with the letters IOANNES B. That example was not only by
Cima's own hand, but of much better quality than the one here, and was
undoubtedly the original of which ours is an autograph copy. The other
version, which belongs to Mr. Theodore M. Davis of Newport, R. I., has
a more summary landscape. It is a studio copy, possibly by a painter
named Antonio Maria da Carpi who signed and dated with the year 1495 a
"Madonna" (now at Budapest), which is in fact a copy of the Cima picture
in the former Abdy Collection, (sold at Christie's in May, 191 1), now be
longing to Mr. Edward Tuck of Paris.
j y— y— SILENUS. On the grassy shore of an inlet of the sea rides Silenus
1 / I on his bare-backed ass. He is dressed in a loose gown, and while
grasping the bridle, a simple rope, in his right hand, which rests on the beast's
back, with his left he holds inverted a huge gourd from which he drinks with
upturned face. His head, which is huge and heavy, is supported by a
satyr with a thyrsus. Another satyr, blowing in a shell, precedes them, and
a third, swinging a vine-branch, follows. A ship is seen in the offing, and
across the water mountains close in the horizon, whilst at their feet a walled
town, surmounted by its castle, lines the shore.
Wood. H.i if in. W. 16 in.
Reproduced in the Rassegna d 'Arte, 1908, p. 41.
This is scarcely the place to write at length about merely aesthetic merit, but
much might be said in praise of this composition as pattern. Its quality as
illustration is no less remarkable, although more easily appreciated. Its
solemnity suggests, rather than a delirious revel, some ritual playing at play
like the ball game which figured at a great mediaeval festival in a certain
French Cathedral.
This panel probably formed part of the decoration to a casket, and another
fragment of the same work was acquired some six years or so ago by the
Poldi Pozzoli Museum of Milan (Cf. G. Frizzoni in Rassegna d 'Arte, 1908
p. 41, et seq.). The latter represents Bacchus, dressed like a Caesar and
seated in a car drawn by leopards, with attendant satyrs, in the act of crown
ing the blonde, Gretchen-like Ariadne. The date of both these fascinating
little panels is probably towards, but not later than 1500. The "Apollo
and Marsyas" and the "Endymion" at Parma, so like these in spirit, are
somewhat later in style. 108

VENETIAN SCHOOL
r^-O A BACCHIC FAUN. A vigorous youthful male, naked but for a
1 J ^ girdle of vine leaves, is seen running to left over a meadow by the
water's edge. With his left hand he holds a vine stock, and with his right
supports a cask on his shoulder. Across the bay, big mountains are seen reach
ing down to the shore.
Wood. H.9iin. W. -]\ in.
Although acquired later than the last, it can scarcely be doubted that it formed
part of the same work, for it is identical in style and sentiment. Perhaps it
decorated one of the ends of the same casket.
MARCO BASAITI
Venetian School. Active probably 1485 to beyond 1525. Pupil and close
follower of Alvise Vivarini; influenced by Giovanni Bellini (whom he may
have assisted), and slightly by Carpaccio and Giorgione.
. ,_ PORTRAIT BUST OF A VENETIAN GENTLEMAN. He. is
*¦ I y seen behind a brown parapet, upon which his right hand rests, look
ing a little to our left with calm rather watery eyes. He is about thirty, and
wears a full but short beard and the long bushy hair in fashion, particularly
in Venice, towards 1 500. It is brown and covered with a blue cap, and his coat
also is blue. He stands against a light blue grey sky over a brownish land
scape of fields which stretch away on the right towards a town straggling within
its walls on a hill, and on the left towards romantic crags and rocks. From his
hand falls a cartellino with the apochryphal inscription: IOANNES
BELLINVS 1488.
Wood. H. 21 J in. W. i6|in.
There exists no more Alvisesque portrait, save those painted by Alvise himself.
Yet there can be no doubt that it is not by him but by his closest follower —
Jacopo Valenza was too abject to count — Marco Basaiti. Not only is it
Basaiti all over in countless indefinable ways, but the landscape is most char
acteristic of him and of him alone. The colouring and the shape of the hand
also speak for the same painter. It is a relatively early work, scarcely later
than 1 500, and perhaps some few years earlier.
y O^ MADONNA WITH ST. (?) LIBERALE. The figures appear to
1 C) w below the waist against a curtain, the Virgin in the middle and the
youthful Saint on the right. On our left is seen a characteristic romantic
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VENETIAN SCHOOL
landscape with four cherubs in the sky. The Saint (probably a portrait) is a
youth with long bushy hair which covers his forehead and falls to his shoulders.
His throat is bare. In his right hand he holds a heavy staff like a pilgrim's,
and in his left a book bound in a stuff of almost Persian pattern but perhaps
representing a coat of arms. Its most important feature is a falcon riding a
swift and slender quadruped. Out of the book projects a cartellino on which
we read MARCVS B. . .TI P.
Wood (transferred). H. 28! in. W. 40J in.
A pleasant and typical work, containing almost every characteristic of Basaiti,
and Basaiti at his best. Even the Madonna is his prettiest, and the youthful
Saint, vaguely reminiscent of Giorgione, can without gross exaggeration be
described as charming.
Its nearest parallel is the Padua "Madonna with Peter and George"
which work, however, is a little less advanced.
O _ BUST PORTRAIT OF A GENTLEMAN. He is seen down to the
IOI waist, in an interior which has a round window opening on a romantic
sunset landscape. He is not much over thirty, probably German, very proud,
somewhat timid, a trifle provincially over-sensitive and suspicious. He wears
a huge-brimmed, dark hat, and a dark coat, over a white shirt. His right
hand appears out of his mantle and his left is white gloved. His beard is
brownish yellow. The general tone is amber yellow.
Canvas. H. 30! in. W. 26! in.
From the last years of the painter's career, and conceived in the romantic
mood which his art just sufficed to enable him to suggest, as it were, but not
by any means adequately to communicate. It is, however, good enough
portrait-illustration. VINCENZO CATENA
Venetian School. Active as early as 1495, died in Dec, 1531. Developed
under the strong influence first of the Bellini, and later of Giorgione, and to a
much less, but yet noticeable degree of Alvise Vivarini and Carpaccio.
, O ^ PORTRAIT OF A MAN. He is seen to below the waist, turning
i O 2< slightly to our left but looking straight out, with a partition of music
open in his right hand and his gloves in his left. On the partition we read the
letters A. P. (perhaps the initials of the sitter), and in cursive under the musical
1 10

VENETIAN SCHOOL
notation the phrase, several times repeated, of the anthem SPES MEA IN
DEO EST. The man portrayed is about thirty years old, has a short beard,
wears a cloth cap and a loosely fitting dark great coat with a white shirt show
ing at the throat. Brownish grey background.
Canvas. H. 30 in. W. 24 in.
Unfortunately this picture is in too poor a condition to do justice to the merit
of the artist or to admit of his identity being established with certainty. But
it is more than probably by Catena, and if his, is one of his last works. Among
Catena's indisputable portraits the one nearest to this is that of a Fugger at
Berlin. Ours is certainly a more advanced type of art, yet scarcely too advan
ced for Catena's last years.
VENETIAN 1 500-1 5 10
T Q ~ VIRGIN AND CHILD. Seated against a curtain, but in the open
1 ^ y air, the Virgin is seen to below the knees, bending her head a little to
our right and looking down through half closed eyes. The naked Child sits
lightly on her left knee and looks as if He were about to address some one
below on our right. He is lively, and seems ready to get up and step out of
the picture. His right hand rests on His knee, and His right foot, which is
extended, is supported by the fingers of His Mother's right hand. Her left
hand is held over the front of His little body. She wears a white kerchief
which falls down over her back. Her pink dress is edged with embroidery,
a strip of which runs down the shoulders and encircles the armpit. A narrow
sash is knotted over her waist. The landscape wherein she sits consists of a
meadow stretching away to a shallow stream, beyond which, on a hillock, rise
the towers and turrets of a castellated village.
Wood. H. 27I in. W. 23! in.
This is a version of a well-known pattern which recurs a number of times. It
probably goes back to a design by Giovanni Bellini although, not necessarily
to an autograph painting by that master, for a great artist of those days de
signed more than he painted. The dramatic look of the Child seems to point
to the fact that the original did not represent the Mother and Child alone, as
does the panel before us. It was more likely a composition like the Bissolo
"Madonna with Veronica, Michael and Two Donors" in the Layard Collec
tion. But who painted our version? The obvious answer perhaps would be
Bartolommeo Veneto, for our picture is very close to the one signed by
1 1 1

VENETIAN SCHOOL
that painter and dated 1505 in the Bergamo Gallery, and even to the
nearly identical picture in the Crespi Collection at Milan. Nevertheless
the present writer, who may venture to state that,- after Morelli, who
made Bartolommeo Veneto a subject of discourse, he has done perhaps
more than any other student to resuscitate this curiously uneven but
sometimes fascinating master, feels that this Madonna is not by him. The
landscape is different from his — it is, by the way, more like the one in the
Basaiti Madonna of the National Gallery — and the draperies are scarcely
in his manner. It is, on the whole, safer to leave it unattributed. It may be
by some quite unknown person, or may be an early work of some such painter
as Petrus de Inganatis. We venture upon this particular guess because of all
the existing versions of this "Madonna," the one which, taken as a whole,
most closely resembles our picture, is a painting at Chantilly (No. 21),
ascribed to Bissolo but more likely by Petrus, whom we so far know only as a
follower of Bissolo. It remains, however, a mere guess, and should be taken,
as intended, for no more than a suggestion. It is perhaps as possibly an early
work by Pietro Duia, an obscure Venetian recently discovered.

GIROLAMO DA SANTA CROCE
Bergamasque Venetian. Born about 1480, died in 1556. His earliest works
betray the influence of Cima and Mansueti. Later, he imitated, caricatured
and copied most of his Venetian contemporaries.
T O . MADONNA WITH SS. AUGUSTINE AND PETER. The
I C) ZJ. Blessed Virgin sits, visible almost down to her feet, behind a parapet
with the mitred but youthful St. Augustine on our right and the hoary Peter
on our left. The latter is absorbed in a huge book, bound in red, which he is
holding in both his hands. The Child's hair is yellow. The Virgin wears a
white kerchief, a blue mantle lined with olive green, and a pink dress. Peter
is in a blue tunic with a dingy buff mantle. Augustine wears a white mitre
with yellow stripes and a blue mantle bordered with brocade and lined with
red, over a white surplice, as well as white gloves. In his left hand he holds a
pearl grey book. The background consists of pasture and distant mountains,
with numerous small figures of men and animals in the nearer distance. On
the parapet is an apochryphal inscription in square letters which reads:
IOANNES (MCDXCII) BELLINVS.
Wood. H.28|in. W. 36 in. 1 12

VENETIAN SCHOOL
The greyness of the tone, and the fact that this picture is not improbably a
copy of one by Bellini or by one of his immediate followers (as is certainly the
case with several of the works of Girolamo da Santa Croce), may easily dis
guise the authorship for eyes which are not too well acquainted with Giro-
lamo's ever changing types and ever silly identity of tricks and mannerisms.
For such of us, however, as know him well, demonstration is unnecessary.
Perhaps the Child and the eyes of Augustine betray him most obviously.
Subtler and surer marks of Girolamo's hand are the little clumps of trees, and
such a fold as that narrow V-shaped one on Peter's sleeve.
Q c MADONNA AND CHILD. She is seen behind a parapet, against
1 C) j a green curtain, to either side of which appears a landscape. The
naked Child is supported on a white cushion on the parapet, which is covered
with a red robe of the Blessed Virgin.
Wood. H.2oin. W. i8in.
Characteristic enough in colour and look, but one of Girolamo's least dis
agreeable works. It is a free copy of a Bellinesque composition, now best
represented by the central part of a "Madonna with a Young Female and
an Elderly Male Saint" by Catena, at one time in the Widener Collection
at Elkins Park, Philadelphia, and now in that of Mr. Salomon of New York.
The other versions are in the Doria Gallery in Rome.

PALM A VECCHIO
(JACOPO D' ANTONIO DE' NEGRETI OF THE BERGAMASK)
Venetian School. About 1480-1528. Pupil of Giovanni Bellini, strongly
influenced by Giorgione and slightly by Lotto.
.O/ PORTRAIT OF A GENTLEMAN. He is seen to the waist with
1 O \J his head slightly turned to our left. The face is long, with sensitive
nostrils and mouth, a clear, rather high forehead, large calm grey eyes, and a
short, somewhat ragged, soft brown beard. He is about thirty. He wears a
black cloth cap like those still worn by unspoiled Italian sea-folk, and a black
coat, slightly open in front over a white shirt of fine linen. His hands are
together in front of him, and in the right he holds a folded letter, on the flap
"3

VENETIAN SCHOOL
of which is the date 1 5 12. On the index finger of his left land he wears a ring,
the seal of which consists of two daggers crossed within a shield.
Wood. H. 33 in. W. 25! in.
Reproduced in Rassegna d 'Arte, 1905, p. 120.
The attribution to Palma of this presentation of a refined, sensitive and calmly
intellectual but virile personality, is not compellingly obvious. Indeed, some
ten years ago, when the present writer first saw the picture, he fancied it was
by Piero di Cosimo, and he hereby makes public recantation, without even
pleading for forgiveness on the ground of such extenuating circumstances as
bad light, lack of time, etc. But the longer one examines this portrait, painted
with such quiet distinction, with reference to that eminently satisfactory artist,
Palma, the more nearly certain is one that he alone, of all known Old Masters,
could have painted it. The modelling of the nose, the cavity of the ear, and
the left hand are unmistakably his. The treatment also is beyond serious
question his, as we know it in his earlier works, such as, for example, the
Brunswick "Adam and Eve," or the "Poet" in the National Gallery; and,
as in those works, it seems to continue Giovanni Bellini's methods with
scarcely a break — as if the one took the brush out of the other's hand.
The date is the only one found upon a work that can be safely attributed to
Palma. It is, as we have seen, 15 12, and amply justifies Morelli's dating of the
"Christ and Adulteress" of the Capitol in Rome as Palma's earliest known
work. The "Adam and Eve" of Brunswick and the "Poet" of the National
Gallery would probably be just a little later.
The crossed daggers seem to have been the arms of a Venetian family named
Bardocini, and later Bardonici or Brandonici. In a late fifteenth century
manuscript belonging to the present writer, and containing the arms of all
the families in Venice, this one is stated to have come from Burano, to have
founded the church of S. Angiolo Michiel, and to have formed part of the great
Council since 806. Be all that as it may, the original of our portrait was of
the family who bore these arms. Nothing further regarding him is known.
, O,- THE RAISING [OF LAZARUS. In the foreground of a luscious
1 C? J landscape we see on our left Jesus, accompanied by several disciples,
in the act of recalling to life Lazarus whom three men are lifting out of his
sarcophagus. In the lower right hand corner, the Magdalen, a rustic beauty,
kneels imploring, and above and behind her stand a crowd of men and an
old woman. The colouring is vivid and brilliant.
Wood. H. 2o| in. W. 24^ in. 114

VENETIAN SCHOOL
Reproduced in Rassegna d' Arte, 1906, p. 117.
This rich, one might almost say succulent, bit of painting (which, by the way,
seems to have been the sketch for the picture, now lost, but once in the Arch
duke Leopold's Collection at Brussels) shows Palma in a dramatically nar
rative phase rare for him. It is interesting to note how in every respect,
whether of story, spirit, arrangement, treatment, landscape or types, he
anticipates his pupil, Bonifazio. The style is of Palma's later middle period.
OO PORTRAIT OF A GENTLEMAN. He is seen down to the waist,
1 O O in an interior against a niche, with his right hand resting on a
pedestal. He is about thirty years of age. His hair falls like a wig to his
shoulders, and his darker beard is cropped short and round. He wears furs
over a dark coat, with fine linen showing abundantly at the throat.
Wood. H.27|in. W. 2i|in.
This picture forms a connecting link between the Berlin portrait (No. 174)
and the one of Francesco Quirini, begun in the year of Palma's death and left
unfinished. Ours is unfortunately in very bad condition. Originally it must
have been a more impressive vision of humanity than the one at Berlin, and
perhaps more on a level with the wonderful masterpiece at the Quirini Stam-
palia. Like both those portraits, it belongs to the end of Palma's career.

SCHOOL OF PALMA VECCHIO
, O THE CREATION OF ADAM. The Eternal, vigorous and grey-
l KJ\jf haired, in flowing draperies of pink and orange, lined with green, is
seen modelling Adam, who faces Him and looks like a bronze statue. The
sky is grey, and in the mid distance on our left we see, as small figures, the
Eternal drawing the opulent Eve out of the side of the collapsed Adam.
Canvas. H. 58Jin. W. 43 in.
A picture of no serious value, although not lacking in a certain breadth of
design — a breadth seldom absent from the Italian spirit, even in its lowest
decline. It is not altogether easy to place it. In a general way it is Palmesque
but the hand of the Eternal reminds one curiously of Sebastiano del Piombo.
It is an ambitious, sloppy work of the kind one expects of the ever changing
but never improving Pellegrino da San Daniele, but does not exactly fit in
with any identified phase of that inferior painter's career.
• 15

VENETIAN SCHOOL
ROCCO MARCONI
Venetian School. Active during earlier decades of the sixteenth century.
Pupil of Giovanni Bellini, and follower of Palma Vecchio.
I ~ BUST OF CHRIST BLESSING. He is seen frontally in hieratic
*¦ y^J style, but with a simper as unworthy of that geometrical severity as
when found in modern Russian icons. His flowing, chestnut locks, parted in
the middle, cover His shoulders. His red garment, which is edged with a
richly embroidered strip, is cut low, leaving the throat bare. Rays of light are
emitted from the crown of His head and from His temples. His right hand is
raised in blessing, while the left is held to His breast. The background is grey.
Wood. H.2iin. W. 17 in.
A characteristic work of this sweetish painter in his mature phase. Apart
from type and general effect, which are so clearly his, the hands by themselves
would put the authorship beyond question. A comparison with the hands
in the signed "Christ and Adulteress" in the Royal Palace at Venice, or with
those in the, also signed, "Christ Between Andrew and Peter" in the
Church of S. Giovanni e Paolo at Venice, are sufficient proof. A replica of
this panel with very slight changes exists in the Carrara Gallery at Bergamo
(No. 147) attributed to Bonifazio Veneto.

CARIANI (GIOVANNI BUSI)
Venetian School. About 1486-after 1547. Formed under influence of
Giorgione, Palma and Lotto.
I I A MARRIED COUPLE. They are seen to above the knees, stand-
1 y l ing behind a parapet slightly raised on the left, against the wall of a
room which is pierced on the left by an opening giving on a pleasant landscape.
The man may be thirty, and wears a short cropped beard and the Venetian
ia\ara under a round cap. He has a shrewd, determined look, and may have
been a good ship-broker belonging to the well-to-do lower middle classes come
to Venice from some provincial town, possibly Bergamo. The woman is a nice
young thing, who, though resting her right hand on her husband's shoulder,
looks a little frightened all the same. She wears a striped puffed voluminous
1 16

VENETIAN SCHOOL
cap, and a heavy fur collar. Her husband, too, has on his holiday fur-trimmed
coat, which he clutches like a pearl of price. The fingers of his right hand rest
on the raised ledge of the parapet.
Canvas. H. 32 in. W. 44 in.
One of the best works of this crude, uneven provincial, who, at times, and to
less critical eyes, has been able to hide under the names of the great masters
he clodhopped after. Here he is pretty much himself, warm in tone, not too
thin in colour, not too sloppy in drawing, and good, homely and simple in
interpretation. SEBASTIANO LUCIANO DEL PIOMBO
Venetian School. Circa 1485—1 547. Pupil first of Cima, and then possibly
of Giovanni Bellini; strongly influenced by Giorgione, whom he assisted, and
then, in Rome, where after 1 5 10 he chiefly resided, by Michelangelo. Raphael,
naturally, did not fail to affect him.
_ ,_ MADONNA AND CHILD. She is seen down to the knees seated
1 \y 2i behind a table. She faces a little to our right and holds the naked
Child standing, or rather moving, on her left knee. He looks excitedly to our
left, and holds a bird in His left hand. Pink dress, dark background, blond
tone. Wood. H. 22iin. W. i6fin.
We shall first give some of the more obvious reasons for ascribing this picture
to Sebastiano, and then note the more interesting conclusions that follow from
the attribution.
Apart from the general impression, which to the properly trained and prepared
mind comes as a spontaneous certainty, the items which tend to prove that
this work is by the young Sebastiano, are the type of Child, the hands and the
ear. Now the Child is singularly like the one in the "Nativity" of the Fitz-
william Museum at Cambridge (No. 138), a faithful copy of an early lost
Piombo if indeed not a repainted original; and so much is it his type of Child,
that we rediscover Him, with the least possible change both as regards spirit
and action, in the Holy Child turning to the infant Baptist in the fascinating
drawing of a "Madonna," done ten or more years later, and now preserved in
the British Museum, where it is still ascribed to Michelangelo (Berenson,
Florentine Drawings, No. 2482, Plate CXLIX). Indeed, the same type of
Child recurs in the even later "Holy Family with Donor" in the National
117

VENETIAN SCHOOL
Gallery. The ear in our picture is typically Sebastiano's, as may be established
by comparison with any number of instances. One will suffice, however, as
that one is in an early work, the altarpiece at S. Giovanni Crisostomo in
Venice, where the Baptist has the identical ear. The Madonna's hand has
the pattern and the curious lack of structure of the woman's hand in the
Glasgow "Christ and Adulteress," a canvas which, on quite independent
grounds, has been attributed to Sebastiano. The Child's right hand, too, has
the same shapelessness as in the Salting "Salome" dated 1510, now in the
National Gallery.
If this "Madonna" is Sebastiano's, as we may safely allow, it becomes a
document of some importance in the history of his earlier years. The student
intimately acquainted with Venetian painting will already have noted, since
we began discussing this picture, that it is singularly suggestive of Cima da
Conegliano. Once put on that track, his memory or his researches will soon
tell him that it is no more nor less than a faithful translation into the looser
handling and fuller forms of Sebastiano, of a "Madonna" by Cima which
happily still exists in two autograph versions. One is in the National Gallery
(No. 634), and this was probably the example Sebastiano had before him ; and
the other one is in Berlin (No. 17). A minute comparison of the differences
between the copy and the originals would be most illuminating, but for our
purposes it is rather the analogies which are interesting. We should observe
how much Sebastiano owes his type of Child — a type that, as we have seen,
he retains into his advanced Michelangelesque period — to Cima, and how
the fleshy, flabby hand that we find here and, even further degraded, in the
woman of the Glasgow "Christ and Adulteress," is nothing but Cima's hand,
boned, so to speak.
The facts just adduced, establishing the close connection between Sebastiano
and Cima, confirm the conclusion imposed by the "Pieta" in the Layard
Collection in Venice. That panel, it will be remembered, is signed by Sebas
tiano, and although in the signature he makes a point of boasting, as was then
the fashion, that he was the pupil of Giovanni Bellini, it is plain enough who
his real master was. The work in question is a most faithful copy, with regard
to the figures at least, of a work by Cima recently left by Count P. Stroganoff
to the Hermitage. The Sebastiano we know later reveals himself only in the
warm, in the over-warm colour, so different from Cima's. It is a prejudice
which seems to have been native to him, which clung to him through life.
No matter what quarrel with his real master, or what spirit of imitation, led
him to sign his earliest extant picture with the statement that it was done by
a pupil of Bellini, the Madonna here would lead us to suppose that Sebastiano
118

VENETIAN SCHOOL
returned to Cima and remained in intimate relations with him until he was
twenty, or even a year or two older. Our "Madonna" was clearly painted
before the organ shutters in S. Stefano in Rialto at Venice, and just
after the "Incredulity of Thomas" in S. Niccolo at Treviso. That
Altarpiece which, besides the Twelve Apostles surrounding Our Lord, contains
below the busts of six Donors, is for the present writer, as it was for Caval-
caselle, an early work by Sebastiano and there are good reasons for assigning
the date of its execution to some time between 1 505 and 1 506. Signor Biscaro
(L 'Arte 1898 and 1901) has established this date on grounds quite external
to the work of art. Our method happily confirms his results. The painter
of this panel was certainly acquainted with Cima's treatment of the same
subject (now in the National Gallery, No. 816) dated 1504, and also with
Lotto's Portrait of Bishop Rossi, now at Naples, finished apparently in July
1505, whereof the likeness of the same Bishop here, among the Donors, is a
direct imitation or free copy. We thus get to a date for this work no earlier
than the end of 1505, and our "Madonna," which is a little more advanced
in every way, can therefore scarcely be earlier than 1 506, when Sebastiano was
in his twenty-first year.
Copy of Cima though this "Madonna" is, there is something in the colouring
and in the handling, in the planes even, which suggests Palma Vecchio. And
this is not the first time that that most suave of Cinquecento Venetians has
been called to mind by Sebastiano's works; for in the Treviso Altarpiece which
we have just discussed, some of the heads of the Apostles, especially those on
our right, recall him in an unmistakable manner. Per contra, Palma's "Jesus
and the Canaanitish Woman" in the Venice Academy (No. 310), although
of later date, betrays such undoubted resemblance in arrangement of heads
as to suggest that while he was giving Sebastiano some of the types for
the Treviso Altarpiece, Palma was himself in turn storing up the com
position in his own memory. Fairly close contact between the two painters is
thus established, and would not be really invalidated even if the resemblance
turned out to be due not to reciprocity but to a common source.
Sebastiano del Piombo, it may thus be inferred, was a pupil of Cima and must
have stayed with his master well on into manhood. He must then have come
momentarily under the influence of Palma, possibly in his master's studio,
before becoming the devoted follower of Giorgione that we find him in the
S. Giovanni Crisostomo picture, in the Glasgow "Christ and Adulteress,"
or in the Banks "Judgment of Solomon." And as this contact with Palma
must have taken place not later than 1 505, it gives us one of the earliest dates,
if not the earliest, that can be assigned to Palma's activity.
1 19

VENETIAN SCHOOL
y - VISION OF ST. AUGUSTINE. The Saint is in black habit, with
*¦ y y a T embroidered over his left shoulder, and is seated against a rock,
with his arms on a book which lies open before him on a table, and his left
hand extended in a gesture of astonishment. He is bearded and is seen in
profile to our left. In the stormy sky over a romantic landscape appears the
figure of St. Jerome, naked except for some whirling Michelangelesque red
drapery, and with his arms spread out. Augustine is supposed to have had
this vision on the day that Jerome died.
Canvas. H. 51m. W. 38 in.
Reproduced in Bernardini's "Sebastiano del Piombo" (Bergamo, Arti Grafiche,
1908), p. 125.
A most typical work of Sebastiano's mature Veneto-Michelangelesque manner,
painted probably between 1525 and 1530.

LORENZO LOTTO
Venetian. 1480-1556. Pupil of Alvise Vivarini ; influenced by the Bellini,
Jacopo di Barbari, Raphael, Palma and Titian.
T r\ A MADONNA AND CHILD. She sits on the edge of a platform
1 y ^\ against a green curtain, bending her head a little to our left, but
without turning her face, and looking at the Child, Who lies naked and
half hidden in her lap, grasping at her bosom and sucking at her breast. Her
mantle is of pale bluish green, her hair yellow and her flesh golden.
Wood. H. 12 in. W. 10 in.
Everything about this picture — pose, action, colour, touch — proves it to
have been painted by Lotto when he had left the Marches, which he did in
1 5 12, and was first working at Bergamo. Excursions thence to the neighbour
ing Milan must have first made him acquainted with Leonardesque works,
whereof the impression is plainly perceptible here. Indeed, a replica — with
at least as full a claim to originality, fresher in quality and probably slightly
earlier in date — at St. Petersburg (No. 76), used to pass for Leonardo's
until it was ascribed to Cesare da Sesto by Waagen, and finally to Lotto by
Cavalcaselle. T /-k [r ALTARPIECE. Under an arched trellis supporting a rose-tree
yj whose branches intertwine behind the green draped throne, sits the
Blessed Virgin, while the naked Child stands with His left foot on her right
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VENETIAN SCHOOL
knee and exchanges a rose with St. Catherine, who kneels in profile on our
right. On the left kneels the Magdalen, holding a rose in her right hand and
above her stands the Baptist pointing at the Infant Saviour. Balancing him
on the right stands St. Jerome with a book held in both his hands.
Wood. H.59fin'. W. 46I in.
Reproduced as Plate 37 in Catalogue of Doetsch Sale, June, 1895.
"The composition is almost mechanically simple, with two tiers of saints,
so to speak, as in Alvise's compositions. The trellis reminds us vividly of
Cima's earliest work, the Vicenza altarpiece, the only other Venetian picture
in which such a setting occurs. The pointing index of St. John is Alvisesque,
and the Magdalen's curved palm and finger are found in Alvise's Berlin altar-
piece, and in Bonsignori's San Paolo Madonna (Verona). The roses occur
ring here and frequently elsewhere in Lotto's works are probably a survival of
the rose-garden in the backgrounds of Lotto's Muranese predecessors. Of
the colouring little can now be said, Lotto being recognizable only in touches of
red in the Magdalen's robe, and in touches of heliotrope in John's mantle.
Elsewhere Lotto is seen most clearly in the Child, who suggests the one in
Signor Piccinelli's Madonna of about 1522, and has Lotto's peculiar ear.
The Madonna's R. hand is identical with the hand of St. Catherine in the San
Bartolommeo altarpiece." (Berenson, Lorenzo Lotto, 2nd edition, p. 130.)
This picture has suffered from multiple cleanings and restorations which have
made it more than usually difficult therefore to date with precision. It is, how
ever, scarcely later than 1 5 1 7, having much in common with the San Bartolom
meo altarpiece finished in 1 5 16, and at the same time pointing forwards towards
the works of 1521. In the Madonna, the Baptist and the Magdalen there is
something distinctly Milanese, and after 15 17, when Lotto's style was defin
itely formed, although far from fixed, such an aberration is not likely to have
occurred. All in all, it may safely be dated 1 5 14.
. r PORTRAITS OF GIAN GIACOMO STUER AND HIS
1 C)0 LITTLE BOY GIAN ANTONIO. He is seen down to the knees,
a man of about thirty, with short black hair and beard, dressed in a fuzzy
dark bluish grey stuff. His left hand rests on the shoulder of his child, who
ho'lds his left hand open to receive a scissors, a knife, a bodkin, and other
simple barber-surgeon instruments, from his father's right hand.
Canvas. H. 34! in. W. 29! in.
Both as interpretation and handling, a highly characteristic portrait by Lotto,
and obviously done soon after 1 540. It only required looking into his account
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VENETIAN SCHOOL
book (published in "Gallerie Nazionale Italiane, " i, 1894) to discover on p.
125 the following entry revealing the name of the sitters and the exact date
when they were portrayed: 1544 MARZO A GIAN GIACOMO STUER
CHIRURGO IL RITRATTO SUO INSIEME CON QUELLO DEL FI-
GLIUOLO GIAN ANTONIO. Nothing further is known of them. The
same is High or Low Dutch. The features are possibly Jewish.

VENETIAN ABOUT I53O
T y-, HOLY FAMILY AND DONORS. Outside a portico, against a cur-
y I tain, on a low pedestal, sits the Blessed Virgin, a youthful matronly
figure, with the Child standing on her left knee, and grasping a bird from her
hand. The infant John tries in vain to attract His attention. St. Joseph
stands by the Virgin on her right, leaning his elbow on the invisible back of
her chair. To right kneels a gentleman in profile, aged thirty or more, with
short hair and longish beard, holding a huge hat in his right hand; to left, his
wife, older looking, with hands folded in prayer. Between them parades a
weasel-like cat. Background of romantic landscape, with ruins by the sea
and a stormy sky. The general tone is a vitreous greenish grey. On the
decorated base of the pillar to right, the letters LX.
Canvas. H. 38 in. W. 46 in.
Reproduced by Muxel in his Catalogue of the Leuchtenberg Collection,
Plate 33.
A work of nearly the highest order, monumental in composition, yet of simple
almost homely feeling, careful but not niggling in drawing, freely and largely
painted. Moreover few portrait heads are more convincingly individual than
the Donor's, and the landscape makes an emotional appeal that may be des
cribed as, in the best sense of the word, " romantic. " The artist who invented
the crag-like profile formed by the line from the curtain over Joseph's head and
shoulders, along the contour of the female Donor, down to the tip of her train,
was a designer one would like to know better.
But he baffles identification. Excellent critics have thought the picture to be
by Lotto. And there is much here that recalls him. The arrangement and
even the Madonna's draperies suggest the "Santa Conversaiione" after
Lotto in the Borghese Gallery; the Donoress evokes memories of strong rustic
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VENETIAN SCHOOL
visages in the frescoes at Trescorre and the landscape has affinities with the
one in the Lochis "Holy Family with St. Catherine" at Bergamo. In addi
tion to all this, nothing could well be more Lottesque than the refined,
delicate gentleman, and the contrast between him and his rather fierce wife.
On the other hand, the picture as a whole is somehow too serious, at once too
monumental and too compact, for Lotto. The folds of the draperies are far
too functional and too linear for him. The ears are not his shape; the hands
of the Donoress are far too long; the infant Baptist is too Raphaelesque; and,
in general, the modelling is too firm and the painting too solid.
If not Lotto, who then? Its attribution to Moroni, while in the Leuchtenberg
Gallery, would rather point to its coming from Bergamo, for frequently, a hun
dred or more years ago, a picture coming from a district was ascribed without
question to the best known man of that district, as, for instance, Umbrian
works to Perugino, and Marchigian paintings to Crivelli. And in truth some
thing in the placid, heavy, homely type of the Madonna and in the proportions
of the Child does recall the Bergamask artist Previtali. On the whole, how
ever, both in style and in quality, this work is hopelessly beyond Previtali's
reach. Nor is there anything here to suggest Cariani or still less Palma
Vecchio. So, if Bergamask at all, it is by some Melchisedec of that delightful
but not exactly inspired countryside, who had no ancestor and no descendants.
There can scarcely be a doubt, however, that the painter of this remarkable
canvas was some one who knew Lotto, and to the present writer it would seem
as if there were in the landscape and elsewhere a reminder of Friulan artists.
But he will not venture a name, though several from those parts and one or
two Venetians in the stricter sense, come to mind as possible candidates.
The letters LX on the pedestal of the pillar can refer neither to the age of the
Donor, as is obvious, nor to the date of the picture. Nobody painted like
this in 1 560. The forms, the feeling, the costumes, the entire time-exhalation
of the picture place it at least thirty years earlier. On the other hand, similar
considerations should prevent our dating it much earlier than 1530.

VINCENZO PAGAN I
School of the Marches. About 1490-1568. Pupil probably of Giovanni da
Monterubbiano (his native town) ; influenced by fellow Marchmen like Pietro
Paolo Agapiti and Antonio da Faenza, as well as by Lorenzo Lotto, and later
overwhelmingly by Raphael. 123

VENETIAN SCHOOL
y O THE ANNOUNCING ANGEL. He is seen down to the knees,
1 y O advancing to our right, while his head is slightly turned in the same
direction. With his right hand he blesses, and with his left he holds a lily.
He has a broad face and prominent nose. His yellow hair is parted in the
middle and then falls in elaborately curled tresses to the neck and shoulders.
The colouring is crude, hard and bright, the wings being blue and purple and
the dress green, with darker green and raspberry coloured sleeves. He is seen
against a marble archway.
Wood. H. 30 in. W. 26 in.
In type this resembles the "Madonna" at Pausula of 15 17, and the Virgin as
well as the Christ in the two "Coronations," one in the Brera at Milan
(No. 498) and the other at Monteprandone. The right hand with its broad
palm is like the hand of the Madonna in both these pictures. The left is
almost identical with that of the young military Saint in the Macerata
"Madonna with Antony Abbot and Donor." The arch, with its severe
forms and projecting cornices, recalls the niche in the Pausula panel
again, and the masonry is treated exactly as in the Monteprandone altarpiece.
The recurrent fold, shaped like three sides of a very narrow rectangle, is as good
as a signature. This is probably the earliest of Pagani's known works. Both
in facial type and architectural forms the dominant influence is that of Antonio
da Faenza, as we know him at Loreto, Montelupone, Norcia and Cingoli.
T THE FLAGELLATION. In a tile-paved hall, with a niche at one
1 yy end and a throne at the other, Our Lord, naked but for a loin-cloth,
is being tied by the crossed wrists to a slender column, while three executioners
are preparing to flagellate Him. On our right a guard of three soldiers, and on
our left Herod and three Counsellors. The colouring is rather gay, but fused.
Wood. H. 10J in. W. 32 in.
Part of a predella to some altarpiece dating from two or three years later than
the Brera "Coronation." It is the_predella to that work which makes the
attribution of this panel to Pagani highly probable if not absolutely certain.
Onn ™E PURIFICATION. The Temple is a low hall consisting of
<<£{J{J beams resting on the bronze capitals of mottled marble columns.
The altar is a broad stone covered with a white cloth. Eighteen figures
make up the scene, most of them grouped about the altar, but others
conversing freely elsewhere.
Wood. H. 7! in. W. 22^ in. 124

VENETIAN SCHOOL
The movement, the handling and the architecture are so like Pagani's that
there is no reason why one should hesitate to ascribe this fragment of a
predella to him. Perhaps the certain work by him that gives the completest
justification for the attribution is theMacerata "Madonna with Antony Abbot,
a Young Military Saint and Worshippers." But this "Purification" is more
Raphaelesque and somewhat later. The chief influence here is Lorenzo Lotto,
and, be it noted, not the Lotto of the finished works, but the Lotto of the
sketches in the Bergamo Gallery for the S. Bartolommeo predella in the same
town. This furnishes proof that Pagani was personally acquainted with
Lotto.

201

SCHOOL OF THE MARCHES
PIETA (in a lunette). Our Saviour is supported in the lap of the
fainting Virgin, who is being upheld by Joseph of Arimathea on our
left and Nicodemus behind her shoulders. The Magdalen holds the Saviour's
legs and the Beloved Disciple His left arm. Nicodemus in his left hand holds
the Magdalen's vase of ointment.
Wood. H.33in. W. 62 in.
This lunette of some unknown altarpiece is bafflingly difficult to place. The
colouring, which is rich, and the figures of Nicodemus and the Magdalen are
perhaps Peruginesque, the Beloved Disciple suggests Lorenzo Costa, while the
remaining figures are distinctly of the Marchmen. Is it by some quite un
known painter of that region, or does it represent a new phase of one known
already? Curiously enough, in type the Magdalen recalls Antonio da Faenza's
"Virgin Annunciate" at Loreto, while her draperies have folds very char
acteristic of Pagani.

GIOVANNI ANTONIO PORDENONE
Venetian School. 1483-1540. Pupil perhaps of some Friulan follower of
Alvise Vivarini and the Bellini; developed under the influence of Giorgione
and Titian.
ris^r) MADONNA AND SAINTS. Our Lady sits enthroned against a
-£^J ^ curtain hanging from a portico. She turns to our left to converse
with the fiery and curly-haired St. George, who is bareheaded, but otherwise
125

VENETIAN SCHOOL
encased in armour. The Holy Child stands on His Mother's knee and
addresses himself to St. Catherine, who faces Him, leaning over on her wheel.
At the foot of the throne a putto, who has just been playing a viol, suddenly
becomes aware of the dragon lying dead at St. George's feet, and turns fright
ened to St. Catherine.
Canvas. H.34fin. W. 41 in.
An authentic work, brilliant in colour and execution, and yet scarcely doing
justice to this uneven but most temperamental of Venetian painters, an
artist who may well be regarded as the Rubens of the school. This picture
is dramatic, almost melodramatic, and was probably painted between 1525
and 1 530. A more average specimen of Pordenone's art, an earlier work than
the present, exists in this country in the "Madonna with St. Barbara and a
Donor," belonging to Prof. Frank Jewett Mather of Princeton.

BERNARDO LICINIO
Venetian School. Active circa 15 10-1550. Pupil probably of Benedetto
Diana, influenced by Catena, Giorgione, Palma, and Bonifazio, but most of all
by Pordenone, whose close imitator and follower he became.
r)n- PORTRAIT OF A YOUNG WOMAN. She is seen to below the
w ^ y hips, leaning slightly to left against a table, on which she rests her
right arm, in the hand of which she clasps her glove. Her left hand is on her
hip. Her amber-coloured hair is parted in the middle and bound in tight
tresses on the back of her head. Her velvet dress is cut low and over her bosom
and round her neck hangs a long pearl chain with a pendent cross.
Wood. H. 27! in. W. 22^ in.
A most typical work of this rather foolish and provincially minded artist, who
is none the less a fine colourist and good enough technician. Both costume
and style of painting point to a date soon after 1 5 30.

TITIAN (TIZIANO VECELLIO)
Venetian School. Circa 1480- 1576. Pupil of the Bellini; profoundly in
fluenced by Giorgione, whose art he continued and developed.
126

VENETIAN SCHOOL
«n . PORTRAIT OF FILIPPO ARCH INTO. He sits with his arms
¦£^-J Zj. resting on those of his curule chair, and is seen down to the knees,
dressed in the garments of a prelate, with red cape over his white surplice.
He is quite an old man, for his high forehead is perfectly bald and his longish
beard entirely white. The fingers of his left hand mark the place in a small
book which he holds shut. The background is dark. A half transparent
striped gauze curtain is drawn more than half way across the picture from our
right to our left, hiding, or at least veiling half his face and figure.
Canvas, nearly life size. H.46in. W. 36 in.
Filippo Archinto, of a well known Milanese noble family, was born in 1500
(or possibly four years earlier) and died at Bergamo in 1 558, in exile, although
he was Archbishop of Milan, his native town. He began life as a lawyer, and
after his career had for some years followed the normal course, he became a
violent partisan and favourite of Paul III, the last of the great fighting Popes.
One of Archinto's appointments was to the governorship of Rome. In that
capacity he had to decide a claim between a Spaniard and a German as to
which was the real father of a certain child. Archinto had a good meal pre
pared and told the child to fall to. The child ate his fill, but would drink water
only. Whereupon he told the German to go in peace, since no German child
would drink water when wine was within reach. Although from our point
of view this was by far the most important event in his career, seeing that it
has furnished an anecdote which for a vanishing instant brings him back to
life, he distinguished himself also by forwarding the cause of St. Ignatius
Loyola and of the Jesuit Order, as well as by an over-zealous defence at the
Council of Trent of papal claims. He was too closely identified with the
policy and ambitions of Paul 1 1 1 to be welcome to that Pope's successors, and
to be rid of him he was sent as legate to Venice. He held this appointment
from 1554 to 1556, and it was no doubt in these years that this portrait was
painted by Titian. The veil half drawn across him may refer to the compara
tive neglect and obscurity in which he regarded himself as then living (all
this from Litta's "Famiglie Celebri Italiane" sub. voc. Plate II. Miserably
reproduced in colours, ibid. There is also a reproduction of the monument
erected to him in Milan Cathedral. The inscription thereon would, by the
way, place his birth four years earlier, which would harmonize better with his
aged appearance in 1 554-1 556.)
Not an attractive but an interesting work of art, it is, as painting, thoroughly
characteristic of Titian at the end of what was for him — the Tiresias of
painters — his middle period. As this is going through the press, another
portrait of the same prelate has appeared in the market. It is also by
127

VENETIAN SCHOOL

Titian and must have been painted two or three years earlier than ours, for
there he is still a vigorous middle-aged man with no sign of the precocious
senility which, owing probably to his troubles, overwhelmed him by the time
he sat for our portrait.

SCHOOL OF TITIAN
PORTRAIT OF A LADY. She is about twenty-five years old, and
¦** ^ j beautiful, almost like an Englishwoman as painted by Sir Joshua or
even Romney. She is seen to just below the waist, turning a very little to our
left but looking straight out, and holding her right hand over her bosom.
She wears a jaunty cap, a tight-fitting black dress, slashed over the shapely
bust to show the white bodice, and a high, close-fitting collar of ruffled lace.
Her sleeves are white, with simple ruffles at the wrists. A jewelled girdle
hangs from her hips.
Wood. H.26in. W. 19^- in.
The bearing, the type and the costume vividly recall the ladies of the courts of
Charles V. and Phillip II, painted by Antonio Moro and his pupil, Sanchez
Coello. It would not be surprising if one of these painters, in some sunny,
very Titianesque moment, were in fact responsible for the. portrait of this
attractive and distinguished young woman.

PARIS BORDONE
Venetian School. 1 500-1 571. Formed under the influence of Titian.
^C\f\ ST- JER0ME ,N THE DESERT. It is a desert which, with its
-^ vy v-^ verdure and foliage, romantic castles and lovely hills, is more like a
paradise, and through it a fresh stream flows singing over its shallows. On
our extreme right Jerome, sitting almost naked, with his back to us, turns
sharply away from his book, which rests on a skull, to look at his lion, who is
climbing up from the river. In the middle distance a youth is seen running
away from a dragon.
Canvas. H. 27^ in. W. 34 in.
Reproduced in Muxel's Catalogue of the Leuchtenberg Collection, No. 2, 1 1 , S.
128

VENETIAN SCHOOL
The Saint is the same old man as the "Fisherman" in Bordone's famous
masterpiece in Venice. The landscape, based upon Giorgione's, and resem
bling those of Giulio and Domenico Campagnola, is also from the painter's
middle years. This canvas may safely be dated between 1 5 30 and 1 540.
0„,_ CHRIST TAKING LEAVE OF HIS MOTHER. Behind a para-
^yJ J pet (on the raised part of which appears a shield that may be that
of the Bragadin family) we see in half length Our Lord, a beautiful figure, with
auburn hair, in pink coat, turning slightly to the right to His Mother, who
faces Him wringing her hands. She is in bluish grey. Dark background.
Canvas. H. 3i|in. W. 28 m.
Reproduced in Rassegna d 'Arte, 1905, p. 1 33.
A most Titianesque work, inspired by some such masterpiece as the Dresden
"Tribute Money." The Christ recalls Titian's so-called "Ariosto" now in
the National Gallery. He is perhaps the most thoughtful and religious
figure ever created by Bordone, but even here the painter remains festive,
sensual, and fleshly.
A ruined version exists in the Padua Gallery.

TINTORETTO (JACOPO ROBUSTI)
Venetian School. 15 18-1594. Pupil probably of Bonifazio, but formed
chiefly under influence of Titian, and, to a minor degree, of Michelangelo.
„0 PORTRAIT OF A VENETIAN ADMIRAL. He is seen nearly to
-<£ W O the knees, in full armour but bareheaded, looking straight out a little
to our right. He has an agreeable face, easy-going yet virile and active, and,
having reached middle age, he is getting a little fat and jolly. His hair, which
is turning grey, is cropped short, and he wears a full although short beard.
The attitude is martial, with his right hand on his hip and the left resting on
the table by his helmet. He stands against a red curtain which drapes a
portico, whilst to the left is a narrow strip of sea, in which a galley is visible,
and above it, a broad expanse of sky.
On the breastplate are painted the Lion of St. Mark turned cherub (that
129

VENETIAN SCHOOL
is to say, with head and wings only), and below it the blazon of the Con-
tarini, to which family, therefore, the Admiral here portrayed must have be
longed.
Canvas, life size. H. 50 in. W. 44! in.
Reproduced in Rassegna d' Arte, 1905, p. 133.
This fine portrait is early work by Tintoretto of such solid structure and
admirable technique, that, when he first saw this masterpiece, it took the
present writer hours of study and reflection to make quite sure that it was by
him and not by Titian. Indeed, like all Tintoretto's finest early portraits
which have passed or could pass for Titian's, this one is all but worthy of the
brain and brush of the greater master. A portrait of another Admiral (said
to be Vincenzo Cappello), of about the same date, quite as impressive, and
at least as certainly by Tintoretto, is in the collection of Baron Schlichting
in Paris.
The subject of our picture recurs, dressed, this time, as a civilian, in furs and
satin, and a trifle older, in a canvas at Dresden (No. 236), painted by Paul
Veronese. There he passes traditionally as Daniele Barbaro. But the real
Daniele we see in Paul Veronese's painting in the Pitti Gallery (No. 216),
and it clearly is not the same face we see in the two others; besides which the
sea does not seem ever to have been among Daniele's many interests.
A personage who had himself portrayed by both Tintoretto and Veronese,
and was at the same time a naval officer of considerable rank, should, of course,
be easy to identify. Such, however, is the disgraceful dearth of publications
auxiliary to the study of Italian art, that one who is not a specialist in Venetian
documents, printed and in manuscript, finds it very difficult to get at the
information. All that one can surmise is that the subject of our portrait may
have been Tommaso Contarini, who in 1558 captained one hundred galleys
for the defence of Crete and Cyprus.
9 OH P0RTRAIT 0F A VENETIAN SENATOR. An old man of about
Z, \J y seventy, with wavy long grey hair and a carefully combed even more
wavy grey beard, he is seen nearly down to the knees, looking towards our left.
His right hand holds the stamped stripe of his heavy velvet mantle, and his
left falls to his side. An opening on our left shows a bit of the Piazza with the
clock tower and adjoining buildings.
Canvas, life size. H. 42 in. W. 30 in.
A typical work of Tintoretto's ripest years, keenly characterized, vigorously
conceived and boldly executed. 130

VENETIAN SCHOOL
SCHOOL OF TINTORETTO
- T ~ A FAMILY GROUP. A Venetian gentleman of about fifty, in the
¦^ l ^ robes of a Procurator of St. Mark's, with his left hand resting on the
shoulder of his eldest son, aged about twenty, recommends him and six other
sons, whom we see below as a series of busts diminishing in size and years, to
the Blessed Virgin. She appears in the sky between two young women,
perhaps departed members of the same family.
Canvas. H. 45 in. W. 49 in.
Far too good for a photograph, and yet equally far from being a real work of
art. Like so much later portraiture, it sins by being at once too life-like
and not sufficiently life-enhancing. The painter can hardly have been Tin
toretto's son, Domenico, but possibly this is an achievement of his daughter,
Marietta. The date is soon after 1600.
_ y PARABLE OF THE WISE AND FOOLISH VIRGINS (Math.
¦^ *¦ l XXV, i-12). The five foolish virgins, slender, graceful creatures,
rush distractedly about the courtyard of a severe Palladian palace vainly
crying to be admitted, while in the brilliantly lit hall above the wedding feast
is going on.
Canvas. H. 34 in. W. 42 in.
Spirited and delightful, although thin and rather improvised. Obviously
Tintorettesque, but curiously black in colour, almost un-Venetian. Perhaps
by Palma Giovane before he became the official painter of his day.
A "Feast of Herod" by the same hand may be seen in the Pitti Gallery at
Florence.

LEANDRO BASSANO
Venetian School. 1 558-1623. Pupils and follower of his father Jacopo da
Ponte, .whose homely style he continued well into the seventeenth century.
He was a Greco without madness, but also without that touch of genius which
palliates the preposterous extravagances of this idol of the critic's cave and
speculator's greed.
_ y ^ PORTRAIT OF A MAN. Turned to our right, he sits by a table,
jL 1 Jj with his right hand resting on an open book and his left held out as if
to emphasize some remark. His eyes follow the hand, and look down at us
131

VENETIAN SCHOOL
with a homely smile. He is about thirty-five, with close cropped hair and
beard, and heavy fur-trimmed coat. On the table, which is placed in a cur
tained portico, a crucifix and a book. To right, a pleasant landscape lit and
coloured in a way that reminds one of Greco.
Canvas. H.4oin. W. 54 in.
Almost German in homeliness, and so cordial as to make one forget the slight
suggestion of the photographer. Leandro has painted grander portraits, but
none more typical of the almost deliberately middle-class visions of his family.
In his more "long-tailed" manner we see him in a delightful canvas in the
Fogg Museum of Harvard College representing a gentleman worshipping our
Lord who appears in the heavens.

132

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PADUA, VERONA AND BRESCIA

PAINTINGS
SCHOOLS OF PADUA, VERONA AND BRESCIA
ANDREA MANTEGNA
Paduan School. 1 431 -1506. Brought up in the workshop of his adoptive
father, Squarcione. Influenced by his future father-in-law, Jacopo Bellini,
and to a much greater degree by Donatello, as well as by Pizzolo, the great
Florentine sculptor's assistant and his own fellow-workman in the Eremetani.
Paolo Uccello and possibly Fra Filippo may have had a certain effect upon him.
_ T _ CONTEMPORARY COPY OF THE ADORATION OF THE
¦^ l y MAGI. The composition consists of the Infant Saviour and of four
half length figures and the head and shoulders of another, all as large as the
space will permit. The Virgin turns to our right holding the Child loosely
swaddled on her knee. Over her shoulder the head of Joseph is visible. The
bald head and shoulders of the eldest Mage, who holds a bowl in his hand
appear almost in profile in the lower right hand corner. Above him we see the
turbanned face of the youthful blackamoor, and of a swarthy Oriental, each
holding a vase. The turbans are pink and red, touched with gold. The
Madonna's turban is orange coloured. The flesh is of chocolate tone as in
the Poldi "Madonna" for instance. The background is dark.
Canvas. H. 19! in. W. 25! in.
The original now belonging to the Marquess of Northampton at Melchet
Court, is reproduced in Kristeller's as well as in Yriarte's "Mantegna," and
in the volume on Mantegna in " Die Klassiker der Kunst. "
The original is a justly famous masterpiece from Mantegna's last years, and
was highly appreciated in its own day, as is attested by the number of copies
and imitations in existence (see Kristeller p. 438-9). Mantegna in this design
•35

SCHOOLS OF PADUA, VERONA AND BRESCIA
is already as far away from the early Renaissance, with its blessed love of
emptiness and its delight in detail, as Michelangelo, the mature Raphael or
Andrea del Sarto in his later works. The version here is faithful, and so close
to the original that we may suspect it was made in Mantegna's studio.

UNKNOWN FOLLOWER OF MANTEGNA
_ T , MINIATURE ALTARPIECE. Under a vaulted structure resting
^ l ^\ on four arches open to the sky, the Blessed Virgin sits enthroned with
the Child in her lap. He is naked and reaches out His left hand to take an
apple from the Infant Baptist, who also stands naked, on the step of the
throne. On our right and nearer to us we see St. Ursula with a banner and
another Virgin Martyr. Balancing them on the left stand Onofrio and
Sebastian both naked save for a loin-cloth. The facade is like a triumphal
arch, with medallions in the spandrils and putti swinging a garland of foliage
and fruit across its span. From the vaulting hangs a circular garland within
which we find in lapidary letters the words: GLORIA IN EXCELSIS DEO
& IN TERRA PAX HOM VOLUNTATIS. Landscape background of
pleasant hill country, with a castle and a church on the horizon. In front of
the throne perch three birds. Under the platform the forged inscription
ANDREAS MANTEGNA PINGEBAT.
Canvas. H. 19^ in. W. 16 in.
A dainty and even meticulous work, by a follower of Mantegna's last phase.
It seems as if one should be able to identify him, and several features suggest
Parenzano, but the touch is too delicate and the types too refined. One must
look for the author among the Veneto- Veronese painters close to the Carotos.

FRANCESCO BENAGLIO
School of Verona. Born in 1432, and still living in 1482. Formed under the
influence of Mantegna.
MADONNA AND CHILD. Our Lady appears framed in an arch
^ l J with her arms resting upon its parapet and the naked Child seated
before her on a cushion. She looks down a little to the left and wears a white
kerchief over her head and shoulders, and a cherry-red dress under a dark blue
136

SCHOOLS OF PADUA, VERONA AND BRESCIA
mantle. The Child blesses with His right hand, and holds a lemon in His left.
Strings of coral hang across the arch, and on its parapet we read on a
cartellino the words MEMENTO MEI DEI GENETRIX. Dark blue sky
and clouds. The tone is dark and warm.
Canvas. H. 19 in. W. 14! in.
The general tone of colour, the architectural forms and the clouds in the sky
betray the Veronese; the types of both Mother and Child point to a close
follower of Mantegna. Among all the painters of the school of Verona,
closest follower of Mantegna, at all events of his earlier style, was Francesco
Benaglio; and indeed a comparison between this Madonna and Benaglio's
two authenticated works (the one at S, Bernardino in Verona and the
other in the Venice Academy), leaves no doubt that all three are by the
same hand.

LIBERALE DA VERONA
School of Verona. 145 1-15 36. Pupil of Vincenzo da Stefano; influenced, in
his best days, by Girolamo da Cremona, Mantegna, the Bellini, and, in his
dotage, by Raphael.
. , /T ST. JOHN IN PATMOS. He is seen to below the waist only, a
Zi 1 \J youthful figure with a beautiful face thrown up in ecstasy. His
right hand slightly lifts the pen, as if he were waiting for dictation from On
High before putting it down again on the open book. Delightful romantic
background of landscape.
Canvas. H.29in. W. 24^ in.
Perhaps Liberale's most inspired creation, and, but for the National Gallery
"Death of Dido," certainly his most attractive work. Like that picture,
too, it shows Liberale at a moment when he might be most easily confused
with his own pupil, Francesco Caroto. The relation of this head to those
of the Berlin and Brera "St. Sebastians" by Liberale is obvious, but this
"St. John" would appear to be somewhat later in date. It is a typical in
stance of the quietistic ecstasy which found expression toward 1500 in
Verona as much as in Umbria itself, which we are more accustomed to think
of as its home. •37

SCHOOLS OF PADUA, VERONA AND BRESCIA
NICCOLO GIOLFINO
School of Verona. 1 476- 1555. Pupil of Liberale ; tending in the same direc
tion but with a whimsicality of his own.
^ TRIUMPH OF SILENUS. In the foreground of a shimmering,
¦^ l J romantic landscape, the naked Silenus, bursting with fat, rides side
ways on an ass, his head wreathed with grape-leaves. Fauns and satyrs hover
about him, and from the left advance three Bacchanals.
Wood. H. 9 in. W. I2§ in.
~ T O SILENUS ASLEEP- The scene has changed. It is just before
«£ 1 O dawn, with the dying moon fading in the sky. We are on the out
skirts of a walled town, with spires and battlements and towers. In the fore
ground lies Silenus swinishly asleep, and beside him a little faun. On the left,
one Bacchanal fast asleep and another waking and stretching. But in the
middle distance two satyrs show no sign of sleepiness, as they approach the
third of the Bacchanals. The ass, with full throated ease, salutes the morn.
Wood. H. 9 in. W. 12^ in.
Two companion panels, destined, do doubt, to adorn a casket or chest.
Highly characteristic specimens of Giolfino's work, yet in every way better
than any others known to the present writer. They are exquisite in the ivory
amber tone of their lucent colour, and vivid in presentation, yet vivid with a
certain restraint. For which reason, indeed, they remind us of Cima's Baccha
nalian scenes in this collection. At the same time, such is the humour of the
"And After" scene, that it would be no misfit of a visual garb to certain pass
ages of the "Midsummer Night's Dream." Were Giolfino always on this
level, it would never occur to us to pair him off, as we now too often do, with
Amico Aspertini. DOMENICO MORON E
School of Verona. 1442-after 1503. Pupil of Benaglio, influenced by Man
tegna and Gentile Bellini.
SCHOOL OF DOMENICO MORON E
^ T THE ANNUNCIATION. Against an arch opening on a hilly land-
<•£ l y scape with low horizon, the Blessed Virgin, kneeling, with hands
crossed on her bosom, receives the Message of the Angel, who with impressive
138

SCHOOLS OF PADUA, VERONA AND BRESCIA
gesture points up to a Dove emitting golden rays. In front and between them,
on a platform tessellated with blue and white, stands a Renaissance lectern
with open book, and foremost of all appear the nimbed head and shoulders
of a youthful Olivetan monk who, with hands raised in prayer, looks up at the
Blessed Virgin. Her wavy hair is pale yellow, her dress grey and her mantle
bluish green. The Angel is in yellow with blue sleeves. The hills are light
blue. The colour of the whole is thin and pale with a general tone as of
whitish brass.
Wood. H. 36! in. W. 21 in.
An impressive and decorative but yet mediocre achievement. Its connection
with Domenico Morone is obvious — to those of us who have gone to the
trouble of forming a conception of that remarkable artist. To which, however,
of his followers this is to be assigned, it is not easy to decide. It comes nearest
to Michele da Verona and may be by him. On the other hand, there is some
thing in the outlines and elsewhere which makes it just possible that it is an
early work of the decorator Falconetto.

CAVAZZOLA
Cavazzola (Paolo Morando). School of Verona. 1486-1522. Pupil of
Domenico Morone, influenced by his fellow students and by Caroto, Giolfino
and Raphael. SCHOOL OF CAVAZZOLA
- _ „ MADONNA. She sits on a ledge in the foreground of an idyllic
¦^ -^^J twilit landscape, with the Child in her arms.
Wood. H. 15m. W. I2|in.
Clearly related to Cavazzola, yet certainly not by him. His last known work,
the "Vision of the Madonna" (Verona, No. 335, dated 1522) precludes the
possibility of his having continued and declined in the few months or even
weeks that remained to him of life to such a style as is displayed in this
pleasant, romantic, but loosely handled work.

GIROLAMO DAI LIBRI
Girolamo dai Libri. School of Verona. 1474-1556. Pupil of Domenico
Morone, influenced by Mantegna and Montagna.
139

SCHOOLS OF PADUA, VERONA AND BRESCIA
SCHOOL OF GIROLAMO DAI LIBRI
TWO PANELS originally forming sides of a casket or in some other way
forming parts of a piece of furniture.
^ ~ T /ENEAS LEAVING TROY. He carries Anchises astride over his
2i 2 \ shoulder and leads the little lulus by the hand. A small shaggy dog
follows, and then come Creusa with an armed band behind her. Landscape
background. Wood. H.8in. W. 1 1 in.
0 ^ ^ UN KNOWN SU B J ECT. A soldier stands on guard in the arcaded
2i 2i 2 p0rch of a palace. Another hands a wax image to a young woman in
the doorway. On our left an opening shows the interior of the same palace
with a large fire-place at which the woman kneels and burns the image; with
the intention no doubt of causing to waste away the body of the person repre
sented by the image.
Wood. H.9in. W. 1 1 ^ in.
There can be no question that these two slight but pleasant and lively narra
tives were painted in Verona early in the sixteenth century, by some one in
the wake of Domenico Morone but they are not by any of the painters known
thus far. In spirit as well as in colour and types, they approach closer to
Girolamo dai Libri than to any of his fellow pupils.

FRANCESCO CAROTO
School of Verona. 1470-1546. Pupil of Liberale; influenced by Mantegna
and Bonsignori, and later by Raphael and Titian,
_ ^ _ DEPOSITION. The Blessed Virgin sits at the foot of the Cross
¦^ " y with face thrown up and hands joined in lamentation. The dead
Christ, all but naked, reclines against her between her knees. His head rests
on His own right shoulder. His right arm falls to the ground over His Mother's
knee, while His left is supported, in part by her other knee, and in part by the
Magdalen who holds His wrist as she kneels weeping, her handkerchief to her
eyes. Above her appears St. John, and on the left another male' saint, with
an old woman in front of him, kneeling.
Wood. H. 18* in. W. 1 ij in. 140

SCHOOLS OF PADUA, VERONA AND BRESCIA
A late work, Michelangelesque in feeling and composition, but Titianesque in
technique like its contemporary "St. Martin" in S. Anastasia at Verona.
The dead Christ, completely relaxed and entwined about His Mother's lap
and knees, is a motif of the highest excellence as design.
Probably the picture referred to by Vasari as "the panel of the Movi family in
S. Maria della Scala at Verona, representing the Deposition, a work of his
old age." (Vasari, Sansoni, V, 286.)

VERONESE ABOUT I54O
. ST. JOHN THE EVANGELIST RESUSCITATING DRUSIANA.
2* 2, Zj. fhe Apostle appears on our left as an old man seen in profile to right.
Raising his hand to bless her, he gazes intently upon Drusiana as she sits up on
her bier, her palms joined in thanksgiving. Bystanders male and female look
on with varying attitudes of astonishment. In the background a building,
intended perhaps for a city gate, with a crowd pushing through it. On the
right, landscape. Rich but sombre colouring, composed chiefly of browns,
greens, grape purples, red and buff.
Canvas. H. 29 in. W. 44 in.
This spirited and attractive, but sloppy, sketch has something in the attitudes
and arrangement which at one time suggested to the present writer that it
might be an early work by Jacopo Bassano. The terms of comparison he had
in mind were the three pictures in the Bassano Gallery representing "Christ
and the Adulteress," the "Three Holy Children in the Fiery Furnace" and
"Susannah and the Elders." But further study made it clear that, while the
points of resemblance between these canvases and the one under discussion
were indeed present, our picture had, as a matter of fact, nothing in common
with the other three either in spirit, in any significant detail, in colour or in
technique. In all these respects our painting proves to be Veronese, and to
such a degree that the silhouetting of the figures recalls Paolo's " Preaching of
St. Antony " in the Borghese Gallery — a work in which that supreme
master of the School of Verona was already fully realizing himself. Some of
the personages, such as the half kneeling one on the right, and the two standing
above him, are very Bonifaziesque. This would rather point to Torbido as
the author of the canvas, and such an attribution is not impossible, for we
141

SCHOOLS OF PADUA, VERONA AND BRESCIA
know but little of long stretches in his career. It is, however, more probably
by some unidentified painter between Torbido, Badile and Farinati.

DOMENICO BRUSASORCI
School of Verona. 1494-1567. Pupil of Caroto; influenced by Torbido,
Titian, Parmigianino and Michelangelo.
_ _ _. DIANA AND ACT/EON. In the foreground of a scenic landscape
^ 2 j we see Diana standing, naked, thigh deep in a pool. With her hand
uplifted she gazes at Actaeon, who is in the process of changing into a stag, as
he spies on her from his hiding-place among the trees. On our left two atten
dant nymphs and the hounds of Actaeon. Background of pasture and trees.
The foliage brownish and the sky lemon-coloured. Such draperies as appear
are of orange tint.
Canvas. H.47^in. W. 64! in.
This tableau vivant of a picture has always passed as the work of Paolo Ver
onese, and quite naturally, for Paolo comprises and subsumes everything that
his fellow townsmen of approximately his own date contributed to the art of
painting. And yet there can scarcely be the shadow of a doubt that this
placid canvas, though close to him in every way, is not from his hand. Why
and wherefore, it would take far too long to detail, and even if an explanation
were attempted, it could not be made completely satisfactory; for, besides
demanding an intimacy on the part of the reader with the School of Verona,
which it would be rash to assume, it must ultimately resolve itself into a
question of nuances that will escape the power of descriptive analysis, however
readily they might be perceived by the attentive eye.
Unstatable considerations of the same nature render it highly improbable
that this painting is the work of any follower of Paolo, or even of a fellow
pupil, like Zelotti. There are, on the other hand, many reasons each baffling
mere verbal exposition, for ascribing it to Paolo's immediate precursor,
Domenico Brusasorci.
The present writer can refer to his "North Italian Painters" for the place he
would give this distressingly unequal but remarkable Veronese painter. And
if this "Diana and Actaeon" be really by him, then Brusasorci should rank
among the earliest and most epoch-making masters of scenic composition — of
the painted tableau vivant, as it might be called.
142

SCHOOLS OF PADUA, VERONA AND BRESCIA
It is conceivable that a work like this was done under the retroactive influence
of Paolo. But neither psychology nor aesthetics easily admits the likelihood
of a man in his ripest years being radically altered by the example of one thirty-
four years his junior.
r^mf BUST PORTRAIT OF A LADY. She is seen looking slightly to
2 <£\J the left with a cheerful expression of homely self assurance. She is
blonde with rather scanty hair parted in the middle, and a low cut dress, with a
fur over her left shoulder.
Canvas. H. 17^ in. W. 15 in.
This slightly provincial but pleasant portrait is certainly Veronese, but not
quite so certainly by Domenico Brusasorci. For him the execution is per
haps the least trifle tame. Yet one is at a loss to name another master of that
school who is more likely than he to have painted this canvas.

PAOLO FARINATI
School of Verona. 1522-1606. Pupil of Giolfino; influenced by Torbido and
Brusasorci. - ^ y- A SHEPHERD AND HIS FLOCK. A charming youthful figure,
2 ^ I the shepherd walks at the head of his flock, stooping as though to
keep measure to his piping, whilst his watch-dog looks lovingly up at him.
He is bare legged and bare headed, and wears a mulberry coloured jerkin.
The landscape, with its spreading trees in the middle distance and buildings
and hills in the background, is simply delicious. The prevailing tone is
brownish.
Canvas. H. 17^ in. W. 1 5 J in.
This is the kind of idyll that used to be attributed to Titian, and now, when
in pen and ink and not in colours, to D. Campagnola. It is Veronese, however.
The only question is whether it should be ascribed to D. Brusasorci or to
Farinati. The present writer who used to give it to the former, now inclines
to believe that it is by the latter, and grants that he wishes Farinati were
oftener as good. i43

SCHOOLS OF PADUA, VERONA AND BRESCIA
_ _ O BUST OF AN ELDERLY MAN. He is seen to below the shoulders,
2 2 O wearing a heavy mantle over the fur collar over which streams his
white beard. He wears a round high cloth cap on his head.
Canvas. H.24in. W. 19 in.
This interesting face (which, by the way, used to pass for Titian's) is unfor
tunately in such a bad state as a result of repainting that it is very hard to
frame a satisfactory opinion regarding its authorship. The attribution to
Farinati is only a pious hope expressed with the intention chiefly of putting
the portrait into circulation, as it were. Entirely nameless, or too vaguely
designated works of art seldom attract the attention they deserve, because it is
so difficult to make them a subject of discourse.

PAUL VERONESE (PAOLO CAGLIARI)
School of Verona, although chiefly active in Venice. 1 528-1 588. Pupil of
Antonio Badile, formed under the influence of Domenico Brusasorci.
PORTRAIT OF A GENTLEMAN. He is seen down to the knees
2 2 y standing against a niche, with a letter in his right hand and his left
grasping the fur trimming of his mantle. He is about thirty, wears a short
beard, and, over his open forehead, a cap.
On the letter, the date 1 5 5 1 .
Canvas. H. 42 in, W. 35 in.
If by Veronese, as for the present writer is certain, this is one of his earliest
works. No other bears an earlier date. Here the artist is not yet sure of
himself, not even to the degree that he is in the "Portrait of Pasio Guad-
iento" (now in the Verona Gallery), painted five years later. He is still
much bound down by Badile, but already betrays a greater sense of form
and a deeper grasp of personality. It has this in common with all Veronese's
authentic works, even of his earliest years: it repays a great deal of looking at.

VERONESE ABOUT l600
_ ^^-. THE LAST JUDGMENT. An oblong composition with many
2 y \J small figures.
Wood. H. 11 in. W. 31 in. '44

SCHOOLS OF PADUA, VERONA AND BRESCIA
Probably a predella. Remotely reminiscent of Tintoretto and the Bassano.
On the whole, however, Veronese.
COPY OF THE FAMOUS "TRIUMPH OF VENICE" in the Hall
2 y 1 0f the Great Council at Venice, a composition due to Paul Veronese.
Canvas. H.42in. W. 28J in.

GIROLAMO ROMANINO
School of Brescia. 1485-6-1566. Pupil of Ferramola, influenced by
Giorgione, Titian, Savoldo and Lotto.

23

_ MADONNA AND CHILD. She is seen down to the knees, turning
2 to our right with the Holy Child sitting naked in her lap, supported
with both her hands, her left at the back of His head. He holds a bird in the
right hand. On her head she wears a greyish veil falling over her shoulder.
Her dress is pinkish. Background of blue and yellowish pink sky.
Wood. H. 19 in. W. 14 m.
A typical enough work in the blond manner and bluish tone of Romanino's
advanced maturity. Although this is spirited and even dashing in technique
it scarcely suggests what heights its painter did once or twice rise to in the
course of his long career.

CALISTO PIAZZA DA LODI
School of Brescia. Active 1 521-1562. Follower of Romanino, influenced
by the Venetians in general and more particularly by Pordenone.
_ _ - BUST OF A YOUTH. He has a long, pleasant, lively face, and
2 y y wears a puffed dark round cap, and a fur-trimmed coat over his black
jerkin, which is slashed at the throat to show a soft white shirt. A charming,
frank-eyed lad, apparently under twenty years of age. Greenish grey back
ground.Wood. H.i if in. W. 10 in.
Romanino, under whose influence this portrait clearly was painted, could not
have improved upon it. i45

SCHOOLS OF PADUA, VERONA AND BRESCIA
_ _ , A CONCERT. Two young women are playing on stringed instru-
2 y ZJ. ments, and two men on the flute, whilst one older man, wearing a
laurel wreath sings, and a youngish man looks out of the picture as if posing
for his portrait.
Wood. H. 38 in. W. 32 in.
A well enough painted work of Calisto's best years, when he was doing his
earlier paintings at Lodi, yet irreparably provincial in feeling and design.
Neither the ladies, who are scarcely more than lay figures, nor the male musi
cians, seem to succeed in enlivening the spirits of the gentleman who chooses
to be portrayed as the Amphitryon of this hired hilarity.
The laurel crowned sot suggests Dosso Dossi.

GIULIO CAMPI
School of Cremona. Circa 1 500-1 572. Pupil probably of his father Galeaz-
zo, but formed by Romanino, and thus essentially Brescian in style. He
was, moreover, influenced by Parmigianino, Lotto, Titian, Dosso and Giulio
Romano. _ _ ^ ST. PETER. A full length figure standing with his weight on his
2 yj left foot as if he were about to walk to the right, although his look is
directed a little to left. In his right hand he carries a red book and with his
left holds up a huge key, with another key dangling from it. He stands
towering over a low horizon of distant blue hills which stretch away on the
right, but his figure is partly silhouetted against the wall of a grey building
on the left.
Wood. H. 31^ in. W. 15 in.
Clearly Brescian in colour and technique, and a trifle Peruginesque in attitude
and draping. The two together spell "Cremonese. " No one well acquainted
with Giulio Campi's earlier works, the Altarpiece at S. Abbondio, the
Frescoes in St. Agatha at Cremona, the two Altarpieces in the Brera, and
the "Madonna and Saints" at Glasgow (No. 335) can seriously doubt
that this somewhat archaic figure must also be by him, only in an earlier
phase than any hitherto known; even earlier than the S. Abbondio picture
which bears the date of 1527. Of course this St. Peter must have formed
part of a polyptych, a style of altar decoration which lingered on in the
provinces after it had ceased to be used in Venice.
146

SCHOOLS OF PADUA, VERONA AND BRESCIA
MORETTO DA BRESCIA
(alessandro bonvicino)
School of Brescia. About 1498 to about 1554. Pupil perhaps of Civerchio,
influenced by Savoldo, Romanino, Lotto and Titian.
/C MADONNA AND DONORS. The Blessed Virgin, a matronly
2 y\J figure, seen to below the knees, sits against a massive grey building,
turning almost in profile to our right towards the female Donor. The latter,
a lady of nearly thirty, is seen in sharp profile to the left, looking up at the
Virgin. Her parted hair is smooth and she wears a turban on the back of her
head. She is dressed in yellow with puffed, crumpled sleeves and her fingers
are very long. The Holy Child leans heavily on His Mother's right arm, and
is seen in sharp profile to left addressing the male Donor, a close-cropped but
bearded youngish man, dressed in dark blue, who is in profile to right. Above
them we are wafted over a luscious landscape to romantic castle walls. The
general tone is a watery grey.
Canvas. H.47in. W. 5 1 J in.
Excepting masterpieces ranking with the highest achievements of Italian
art, such as the "Portrait of an Ecclesiastic" at Munich, the full length
of a "Nobleman" in the National Gallery, or the "Santa Giustina" at
Vienna, this is as admirable a work as Moretto has left us. It is monumental
in arrangement, penetratingly yet tenderly characterized as portraiture and
very romantic withal. Beautifully painted, too, in those exquisitely cool yet
rich tones which Moretto had during his best years. The date is scarcely
after 1540. Before this work left Brescia, it was ascribed to Romanino, and
indeed a slight breath of the latter's influence may be felt here, in the sharp
nose of the Madonna for instance. It is a matter of common knowledge that
at certain moments these two Brescian painters all but coalesced their styles.

MORONI (G. B.)
School of Brescia. 1520-25-1578. Pupil and follower of Moretto, influenced
by Lotto's works which then abounded at Bergamo, the chief seat of Moroni's
activity. __,_ PORTRAIT OF A GENTLEMAN. He is seen to below the knees,
2 y J seated, with his left hand, in which he holds a handkerchief, resting
upon the arm of his chair and in his right holding an unfolded letter. Upon
H7

SCHOOLS OF PADUA, VERONA AND BRESCIA
the latter, among much that is not easily decipherable, we descry the date
MDXLVIl, and lower down the initials G.B.M. He looks out at the spectator
from brown eyes, has a dark beard that is turning grey, and good features.
He wears a flattish black cap and a black mantle with puffed sleeves of velvet
and silk. On his left stands a table covered with a red cloth, and upon it a
gilt " Cellinesque " inkstand within which is a quill pen. On the same table a
folded letter on which among other words, more or less illegible, we can read
" Al Magco Signor, " etc. Behind the seated figure is stretched a glossy green
curtain. Canvas. H.44in. W. 36 in.
Reproduced in Rassegna a" Arte, 1905, p. 1 34.
This portrait, which deserves a place among the least provincial and common
place that Moroni ever painted, is the earliest work of his that has come down
to us. The left hand and much else here speaks for its being by him to those
well acquainted with the original canvas, and in any case the letters G.B.M.,
the initials of Moroni, are undoubtedly a signature. A more skilful and
patient epigraphist than the present writer may succeed in extracting from the
various inscriptions even more clenching evidence if need be. As the date
is 1547, it is six years earlier than the "Bust of a Young Man," in Berlin,
or the "Portrait of an Abbess" in Mr. Davis' collection at Newport,
R. I., both inscribed 1553, and hitherto his earliest dated works known.
Other portraits of this over-estimated artist — so dull but for three or four
masterpieces — have betrayed in pose and arrangement the influence of Lotto.
Here it is far more manifest, appearing not only in the general design but in
the red of the table cloth, the green of the curtain, and perhaps even in the
modelling of the face.
_ _ O PORTRAIT OF AN OFFICER. He is a young man little over
2 y O thirty, with short dark hair and beard. He stands awkwardly, as if
posing at the local photographer's, with his right hand on his hip and his left
on a mailed glove which he supports on a table of "Cellinesque" design.
He wears a short coat over a mail shirt and tight hose. From his belt dangles
a sword. An elaborately curtained bed behind on the left, and on the right
against the wall a huge circular disk with a handle — whether a military
standard or an instrument for making griddle cakes, or possibly a warming-
pan for the bed, must be left to conjecture.
On one of the feet of the table the date M DLX 1 1 .
Canvas. Nearly life-size. H. 76 in. W. 42 in.
148

SCHOOLS OF PADUA, VERONA AND BRESCIA
Here we have Moroni in his average uninspired mood. Needless to say there
is talent even here.

ITALIAN
ABOUT I59O
- _ ST. BERNARD. The youthful Saint is dressed in his habit, with
2 yy shaven crown. Sitting under trees in the open air, he is copying into
a book which lies on a stone pedestal from another book which is held open by
an amorino. A second amorino on the left holds an ink-pot, a third a vase,
while on the right again, one plays with the Saint's crook and another puts
on his mitre.
Canvas. H.gfin. W. 7! in.
The author, unknown to the present writer, belongs to the end of the Correg-
giesque tradition, and stands somewhere between Bernardino Campi, Baroccio
and Santi di Tito. The subject is treated in a way that merits the attention of
students of the "Catholic Reaction." Here we see how essentially that
movement amounted to a further Romanization, or, if you will, Alexandriniza-
tion of the so-called Latin world. No touch of Hebraism here! Apart from
the differences inherent in the subject, no Hellenistic artist working at a
pseudo-Anacreontic theme would have dealt with it in a more playfully
Pagan spirit.

NORTH ITALIAN
ABOUT l600
O Ari THE BAPTIST PREACHING. The scene takes place by the
-^Z|.W water's edge. A sturdy boatman is pulling off from the shore.
Canvas. H.2ofin. W. 15^ in.
This recalls the late work of the Campi of Cremona, and may be by a follower
of theirs.

'49

SCHOOLS OF
FERRARA AND BOLOGNA

PAINTINGS
SCHOOLS OF FERRARA AND BOLOGNA
COSIMO TURA
School of Ferrara. Circa 1430- 1495. Formed under Paduan influences.
r\ A T TWO SMALL PAN ELS in their original carved and gilded frames: —
24 1 (Right hand Panel) ST. JOHN THE BAPTIST. He stands with
his weight on his right foot looking in sharp profile to our left, in his right hand
the bowl which he is emptying, in his left a long reed ending in a cross. He
wears a long bluish mantle over a pearly grape-purple shirt, the right arm
and the left leg bare. Background of "Squarcionesque" mineral character,
greyish horn-coloured under greyish blue sky.
(Left hand Panel) ST. PETER. A much less ascetic figure than the last,
rather massive, with a powerful head, standing nearly in profile to right,
reading. He wears a long bluish mantle over a pale grape-purple coat, and
the book is raspberry coloured. Landscape as in last.
Wood. Both together with frames H. 9^ in. W. 1 if in.
It would perhaps be hard to exaggerate the degree to which these two tiny
paintings concentrate the qualities of the artist — not in one of those moments
when he grows all but feverish in the intensity of his grip upon the graspable,
but in his suaver mood, when he is almost Greek in simple aloofness. His
line is never more sinuous and refined than here, his colour seldom so sugges
tive of the precious minerals used in early reliquaries.
Originally these panels must have been let into the pilasters, or have occupied
the spaces between the various subjects of a predella in some polyptych
or altarpiece. '53

SCHOOLS OF FERRARA AND BOLOGNA
STUDIO OF COSIMO TURA
r\ a t^ MADONNA AND CHILD. She is seen to below the waist, looking
2 ZJ. 2 Upon the Child who sits on the edge of her mantle which is spread on
a parapet whilst He holds a string fastened to the leg of a bird. On the
extreme right, the angry head of a cat. Greyish flesh colour, and dark back
ground. The Blessed Virgin wears a veil over her high forehead. Her right
hand touches her girdle, and her left supports the Child.
Wood. H. 17J in. W. 1 3 in.
One is sorely tempted to ascribe to Tura himself this delightful work with its
charming motif of playful genre, and its loving and loveable Madonna.
Indeed it is all but worthy of him; and so close to his manner that one is at a
loss to find another painting closer and yet not by him, the "Charity" of the
Poldi Museum not excepted. All the same, it is too relaxed, too domesticated,
as it were, to allow us, with our present knowledge of Tura, to ascribe it to
him in person. It must, however, be remembered that we are quite ignorant
of the master's chronology and it is not impossible that, if ever we do learn it,
we may discover that such a work as this Madonna was painted with his own
hands in his last years.
ERCOLE DE'ROBERTI
School of Ferrara. Circa 1450-1496. Studied at Padua. Pupil of Tura,
influenced by the Bellini.
_ . _ BUST OF A LADY. She is about forty years old with strong fea-
2 *-. y tures, not handsome but able and pleasant. She is seen to below the
shoulders looking slightly to our left, and wears a dress cut low which is laced
down the front, over a white chemise. Her head is covered with a coiffe which
clings tight to the hair, and then falls down over to the right, whence it is
swung around the neck, hangs over the other shoulder and is finally tucked
under the throat behind the lacing. Dark background.
Wood. H. 12 in. W. 9 in.
It must be confessed that the reasons for attributing this masterpiece to Ercole
rather than to Costa are purely conceptual and aesthetic. To ascribe such a
painting to Costa would be repugnant to one's concept of that artist who, in
his most heroic and monumental works, like the famous "Bentivoglio
Altarpiece" in S. Giacomo at Bologna, is relatively dumb in feeling, timid
'54

SCHOOLS OF FERRARA AND BOLOGNA
in contour, and somewhat niggling in technique. In every other respect that
work, like much else that he did in his earlier years, is scarcely to be distin
guished from his master, Ercole's. Indeed we may go farther and avow that,
owing to the latter's unfortunate inequality of achievement, and perhaps even
more to our pitifully fragmentary acquaintance with his career, it is quite
impossible to be perfectly certain whether a given work is by the master or the
pupil, the inventor or the imitator. It is our feeling that must decide, our
sense of how a work tastes to our aesthetic palate. Now to the present writer
it is incredible that a portrait so vital, so direct, so simple ¦ — such a perfect
expression of an idea — that a design so bold and frank, an execution so
masterly, that in short an achievement so worthy of the best Florentines, such
as Antonio Pollajuolo himself, should be due to Lorenzo Costa. Although
Ercole does at times fall, Costa surely never rose to such a height.
The ear is clearly exposed and should be a sign manual, and the folds of the
coiffe as well. But, although these point rather more to the master than to
the pupil, neither is perfectly decisive, so closely was the one artist imitated
by the other. The coiffe again is so rare that, if we had a proper authority
on Italian fashions, it should be easy thereby to date the picture. But as
this is lacking, one is thrown back on one's own memories : — the only exact
parallel which the present writer recalls, is worn by the lady in the marvellous
little double portrait by Antonello da Messina in the Liechtenstein Gallery at
Vienna. As Antonello died in 1479, that gem can be no later. It is more
likely that it was painted three years earlier, before the great Sicilian left
Venice. Assuming that our portrait was of about the same date, say 1476,
we should have to credit Costa with a masterpiece like this when he was but
sixteen years old, and even if we put the date of the picture a few years later,
the improbability of such an achievement is but little decreased.

LORENZO COSTA
School of Ferrara-Bologna. 1460-1535. Pupil of Ercole Roberti; partner of
Francesco Francia at Bologna, and finally court painter at Mantua.
r* a a MADONNA AND CHILD. She is seen to below the waist, holding
2 Zj. ZJ. the Child erect on a pearl grey parapet. She wears a greyish blue
mantle over a white kerchief and red dress. The flesh is ruddy. Dark back
ground. On the parapet a cartellino from which the signature has been erased.
Wood. H. 18 in. W. 13^ in. '55

SCHOOLS OF FERRARA AND BOLOGNA
One of Costa's severest and finest works, redolent of Ercole Roberti, and
painted just before the kindred altarpiece at S. Petronio in Bologna, dated
1492. ERCOLE DI GUILIO CESARE GRANDI
School of Ferrara. About 1465- 15 35. Pupil of Ercole Roberti; influenced
by Costa, Francia andlMantegna.
- , „ THE ANNUNCIATION. Before the tent-like curtains of her bed
2 Zj. j sits the Blessed Virgin, a youthful figure bending forward, with her
right hand on an open book resting on her knee, and her left on her breast.
To her left kneels an Angel in profile, with a huge lily in his right hand.
Behind him a window with two broad lights opens on a landscape of idyllic
loveliness. The colouring is bright and fresh.
Wood. H. 14! in. W. i8| in.
A late and very pretty work. ORTOLANO
School of Ferrara. Active in the early decades of the sixteenth century.
An artistic personality emerging from Ercole Roberti; strongly influenced by
Dosso Dossi, and, in its last phase, scarcely to be distinguished from Garofalo.
- -/ NATIVITY. In the foreground of a lovely landscape of almost
2 ZJ. \J Giorgionesque feeling kneels the Blessed Virgin with her palms
joined in worship as she adores the Child. He lies on a spotless white cloth,
long and narrow like a towel, and stretched over a little circular pile of hay
held together by osier shoots. One baby angel naked, holds the crown of
thorns over His head, another kneels close by with the cross, and two others,
fully clad, float above looking on prayerfully. High up in the sky three more
angels appear, each with one or more of the instruments of the Passion.
On our right a neatly carpentered shed. Pleasant bright colour.
Wood. H. 19I in. W. 14J in.
This Nativity must have been painted by its bafflingly mysterious author
between his two earliest known works, the one so close to Ercole Grandi, the
"Madonna Adoring the Child" in the collection of Don Guido Cagnola
at Milan, and the other, also a "Nativity," in the Louvre, which last
156

SCHOOLS OF FERRARA AND BOLOGNA
indeed it resembles closely. So large a proportion of Ortolano's extant paint
ings are Nativities that one must suppose it to have been his favourite subject.
Much as they differ in other respects, they never forego the spotless linen on
which the Child lies, whether spread on a hummock, or in a basket, or on straw,
or on the bare ground. Every additional work by this master is precious, as
each contributes something towards a possible solution of the problem of
his identity. The Giorgionesque background deserves attention.

AMICO ASPERTINI
School of Ferrara-Bologna. 1474— 1 552. Pupil of Costa and Francia; influen
ced by Ercole Roberti, Signorelli, Pintoricchio and Raphael.
. n DEATHBED OF ST. BERNARD. He is laid out on the sheepskin
2 Z|. J coverlet of a wide bed consisting of one rectangular platform resting
on another much larger one. To right and to left are fourteen monks, all in
black except for three officiants, attending to his last moments, and above him
under the ceiling appear our Lord and His Mother, with two baby angels
below them, receiving the Saint's soul. The scene takes place in a shallow
alcove, which occupies the greater part of the far wall of a spacious room, and
contains, on our right, a window closed but for the upper shutter. The wall
of this alcove on the right separates it from the Saint's study, a small room,
severely furnished, and lined with books. On our left is a door opening on a
passage, and beyond it again the end of a carved table with a candle upon it.
The colouring is brilliant and gem-like.
Wood. H. 12 in. W. i8|in.
This panel shows the unstable, unequal, often slovenly and even vulgar Amico
at his best, not only as a painter but as an artist. The action is keenly dram
atic, ranging from a religious fervour almost Chinese, to a cool and perhaps
even sneering scepticism. Very interesting too is this study of an interior.
Although of course much severer, it brings to mind Carpaccio's idea of a
great scholar's surroundings as he has rendered them in his " Study of St.
Jerome," at S. Giorgio degli Schiavoni in Venice. It need hardly be said that
this little panel must have formed part of the predella to some altarpiece.
The date is a little earlier than Amico's frescoes at Lucca.
•57

SCHOOLS OF FERRARA AND BOLOGNA

MAZZOLINO

School of Ferrara. Circa 1478-1 528. Pupil of Ercole Roberti, influenced
by Costa and Dosso.
.O CHRIST WASHING THE FEET OF HIS DISCIPLES. The
2 l^O Apostles sit in a half circle, in front of a pillared stage, whereon
appear four figures theatrically bringing water and gesticulating. Our Lord
kneels in the foreground, and is about to wash the feet of Peter. Through
the arch on the left, a landscape, where we see enacted the Agony in the
Garden.Wood. H. 19! in. W. 21 in.
A typical specimen of this limited and almost ludicrous talent, parallel to
Amico Aspertini's, but on an even lower plane.

SCHOOL OF MAZZOLINO
_ . CHRIST BEFORE PILATE (?). Our Lord, bound and bent, is
\y brought by two landsknechts before Pilate, an elderly man in sup
posedly Jewish dress, seated on a throne. He is washing his hands over a
shallow basin in his lap, while a servant pours water over them. On the left
are two spectators in the foreground and two in the middle distance. The
scene takes place in a hall perhaps intended to be in the German Renaissance
style, through the opening of which we see a romantic landscape.
Wood. H.i 7! in. W. 27 in.
This has passed for some time as a work by Goltzius, and indeed on first glance,
it seems Northern enough. The types remind one of Lucas van Leyden, the
folds of the draperies, on the other hand, are German, in the manner rather
of the late fifteenth century engravers. Indeed, it is likely that one who had
the leisure to look through all the known prints, Flemish and German, would
find the prototypes of almost every element in this ugly but somewhat humor
ous and certainly amusing composition. Nevertheless, the present writer is
inclined to believe that, if the photograph, which alone he knows, does not
misrepresent the original, this painting may be by Ludovico Mazzolino.
The landscape is quite in his manner, and so is such a head as Pilate's. The
remaining types have something of his, despite their pronounced Northern
character. 158

SCHOOLS OF FERRARA AND BOLOGNA
This is one of the rare instances of an Italian work wherein we see not the mere
taking over of figures or entire episodes from Northern art, but an attempt
made to speak, as it were, with the Northern accent. The most conspic
uous instance of this was Pontormo, as is recounted at length in Berenson's
" Drawings of the Florentine Painters. "

GIACOMO FRANCIA
School of Bologna, i486— 1 557. Pupil, assistant and follower of his father,
the famous Francesco Trancia.
_ _ ~ MADONNA AND SAINTS. The Blessed Virgin, a queenly figure,
2 j \J is seen to below the waist behind a parapet on which she supports
the Child. He stands leaning against her with her right hand under His chest,
and His left hand playing with her veil. Her left hand is extended as if in
an explanatory gesture. On our right St. Gregory, with a face of equivocal
feeling, in heavy tiara and vestments, and on the left the less odious but yet
far from simple St. Lawrence. Behind them all, vague glimpses of landscape.
Dark tone.
Wood. Top slightly arched. H.4oin. W. 29 in.
A typical work, reminiscent of one by his father, but wherein he too had a
hand, a "Madonna with Domenico and Barbara," formerly in the Leuch-
tenberg Gallery at St. Petersburg, and now in the Collection of the late
J. P. Morgan, New York.

DOSSO DOSSI
School of Ferrara. 1 479-1 541. Pupil of unknown Ferrarese master, but
formed under influence of Giorgione and Titian.
rsri PORTRAIT OF A GENTLEMAN. He is seen to below the waist,
2 j 1 between the raised part of a parapet, on which his right arm and hand
are resting, and a dark grey curtain. With his left hand he points to the
drawing of a maze on the ledge of the parapet, and at the same time he looks
appealingly and with a touch of pathos to our left. He is dressed in a dark
coat with a bit of the frilled shirt showing under his bushy but short beard, and
he wears a broad-brimmed diamond shaped hat. His brow is high and broad,
'59

SCHOOLS OF FERRARA AND BOLOGNA
the mouth and nose sensitive, the whole character that of a man who broods
and ponders — to no purpose. On our right a fascinating Giorgionesque
landscape with feathery trees, a romantic village with its towers and houses
in the background, and nearer at hand a saddled ass upon which a thunderbolt
is crashing down from the heavens.
On Canvas. Nearly life-size. H. 35 in. W. 46^ in.
This deserves to rank among the most interesting portraits in Italian art, for
it combines interpretation of character and mood with romance and magic.
The sensitive subjectivity of the face has not been surpassed by Lotto, for
which reason, no doubt, authoritative critics have thought of ascribing it to
that exasperatingly unequal Venetian. But this is beyond question one of
Dosso's very rare masterpieces. If formal proof be needed, it is forthcoming
in the left hand which is so much like that of the Borghese "Circe," to cite
but one of many instances. Or take the landscape and it will be found to
be as much as possible like that in Mr. Benson's "Circe," or in Count Lan-
ckoronski's "Jupiter Painting Butterflies." Again, what could well be more
Dossesque than such curious references to symbols, and symbolical action as
the maze on the ledge, or the thunderbolt and the ass? Of course they are
Giorgionesque stage-properties, if you like, but here they are combined in a
way peculiar to Dosso alone. The date must be before rather than after 1 520.

SCHOOL OF DOSSO DOSSI
_ _ _ DAVID AND GOLIATH. David, represented as a bald old man
2 j 2 with a grey beard, bare-headed, but coated in full armour, is seen
down to the hips behind a parapet upon which, with his right hand, he holds
the head of the Philistine, while leaning on his left. The top of the giant's
sword is seen across the picture on the left. On the right appears a page in
a plumed hat.
Wood. H.4oin. W. 31 in.
A copy, with a most significant variation, of a picture by Dosso Dossi in
the Borghese Gallery in Rome (No. 181). The variation lies in the fact
that the head, instead of being that of a knight still young, Giorgionesque,
and life-enjoying as in Dosso's version, is that of a man at the very least
thirty years older. Now there can be no doubt but that in the original,
the head is a portrait, and one is rather tempted to conclude that the
selfsame sitter had this copy made when he was an old man, causing himself
160

SCHOOLS OF FERRARA AND BOLOGNA

to be portrayed therein as then he was. The original may be dated about
1525 or so, and this copy perhaps as late as 1555. One is further tempted to
ascribe this copy to Dosso's ablest follower, Girolamo da Carpi.

FOLLOWING OF DOSSO DOSSI
_ BUST OF AN ELDERLY PHYSICIAN. He is seen nearly full
2jy face, looking straight out as he stands behind a parapet upon which
rest the endlessly long fingers of his right hand, grasping a bronze caduceus
entwined with laurel. On the third finger he wears a ring with a red seal.
He has a keen yet meditative look, vigorous features and a determined mouth.
The face is clean-shaved but for a stubbly beard which powders the chin. He
is dressed in a black coat showing a bit of white below the throat, and a dark
cap of soft cloth. Dark background.
On Canvas. About life size. H.26|in. W. 21 in.
Reproduced in Rassegna d' Arte, 1905, p. 121.
Perhaps the most puzzling work in this collection. Years ago when the
present writer first saw it, he found therein so many reminders of Piero di
Cosimo, and particularly of his Portraits of the San Gallo at The Hague,
that he did not hesitate to ascribe it to the same master. And indeed there
was much provocation to such a course in the character of the face, the
planes and modelling, and the shape of the ear. The costume has nothing
clearly decisive about it. The singular hand, it is true, should have put one
on guard, but attention flags when a theory has found lodgment.
On a later inspection it was the hand that first made the attribution to Piero
seem doubtful, and further study made it impossible. Repeated examination
of the painting revealed a technique pointing to a date far advanced in the
sixteenth century, and much in the character of the portrait harmonized with
this impression. Indeed able critics to whom the photograph has been sub
mitted have quite spontaneously thought of Salviati or Rosso as its painter.
The original is however more likely by some Emilian artist descended from
Dosso Dossi, some such person as Gaspare Pagani for instance.
Until recently this canvas passed for a portrait of the famous humanist,
Francesco Filelfo, and was supposed to have been painted by Andrea Mantegna,
and as such is reproduced as frontispiece to the first volume of that gifted
scholar-blackguard's life by Carlo de' Rosmini (Milan, 1808). At that time
161

SCHOOLS OF FERRARA AND BOLOGNA

the painting belonged to Giuseppe Bossi, well known to the students of the
history of Italian art as the discoverer of the so-called " Raphael Sketch-Book "
(now in Venice), and as the organizer of the Brera at Milan.

CORREGGIO (ANTONIO ALLEGRI)
School of Ferrara-Bologna. Pupil of Bianchi and of Francia and Costa;
influenced by the works of Mantegna, and not improbably by those of Raphael,
Leonardo, and Michelangelo, as well as personally by Dosso Dossi and the
Venetians. COPY AFTER CORREGGIO
rj c i MARRIAGE OF ST. CATHERINE. In the foreground of a plea-
2j^\ sant landscape the Blessed Virgin sits on our left with the Child in
her lap. He seems to have turned suddenly to her, as if to ask her what to do
with the ring towards which the kneeling St. Catherine holds out her hand.
H. 1 1^ in. W. 10 in.
Faithful, but poor, Carracciesque copy of an original probably no longer
extant. See Ricci's "Correggio, " Translation by Florence Simmonds, Heine-
mann, 1896, p. 172. IPPOLITO SCARSELLA
(SCARSELLINO)
School of Ferrara. 1 551-1620. Formed under the influence of the works of
Dosso Dossi, the Carracci and Paul Veronese.
SUSANNAH AND THE ELDERS. She sits naked on a rug
2 j j thrown over the edge of a tank, bending her supple body to the right
and wiping her right foot which is extended over her left knee. Beyond the
tank is a fountain, and then, in the watery distance, a pavilion. To right and
left, trees through which the two old men creep up stealthily.
Wood. H. n|in. W. 9 m.
A delightful work by this charming painter, the last noteworthy figure of his
school, and the last who in Italy, whilst eclectic and abreast with the innova
tions of his time, retains something of the old directness and freshness of
162

SCHOOLS OF FERRARA AND BOLOGNA

feeling. The Dossesque, Carracciesque and Paolesque elements are well
harmonized.

LUCA LONG HI
School of Ravenna. 1 507-1 580. Developed under influence of the younger
Francia, the Cotignola painters, and Parmigianino.
/ MADONNA AN D CH I LD. She is seen to below the waist, turning
2 j\J slightly to the right and nursing the Child, Who clings to her breast
while looking out of the picture. Behind her rises a red-topped, gold-tasselled,
green canopy, and on the right there is a bit of homely landscape with a long
drawn low cottage in the distance.
Wood. H. 17 in. W. 12 in.
The pattern is more or less taken from a "Madonna" by the "Maitre de
Flemalle" in this collection. A version of our picture, possibly by Luca's
daughter Barbara, was seen at the Giovio and Mantovani-Orsetti Sale in
Milan, May, 1898.

163

SCHOOLS OF
MILAN AND PIEDMONT

PAINTINGS
SCHOOLS OF MILAN AND PIEDMONT
VINCENZO FOPPA
Founder of the School of Milan, but himself a Brescian. About 1427 to about
1 5 1 5 . Studied in Padua in school of Squarcione ; influenced later by Bramante.
_ c y- MADONNA AND CHILD. The Blessed Virgin is seen nearly
2jj down to the knees, seated against a curtain of yellow brocade with a
pleasant landscape showing on the right. She looks towards our right and
suckles the Child Whom she holds to her left breast. She wears a dark grey-
blue mantle over a light vermilion dress. The Child is in yellow with a close
fitting red cap. The flesh is silvery grey, the landscape rather brown. The
halo has a pattern of Roman letters trying to look Cufic.
Wood. H. 16 in. W. i2§in.
Reproduced as Plate III in the Catalogue of Pictures by Milanese Masters,
Burlington Fine Arts Club, 1899. Also in C. J. Ffoulkes' " Vincenzo Foppa. "
Massive, grave, yet homely, much more on the plane where we encounter
Giovanni Bellini in his earlier years, than on that of the " painted lilies" which
usually come to our minds when we hear mention of Milanese art. But no
one can breathe provincial air with entire impunity. In the case of Foppa it
merely arrested his growth. Here we have a picture designed towards 1490,
that is to say from his ripest maturity. At that time Bellini had already
created his Frari Triptych and the S. Giobbe Altarpiece; and yet they started
pretty even.
SCHOOL OF FOPPA
ryrQ THE RESURRECTION OF OUR LORD. In an agreeable land-
2 j O Scape, with a Mantegnesque cliff on the left, Our Lord is seen in mid
air, blessing with His right hand and holding the banner in His left. He is
167

SCHOOLS OF MILAN AND PIEDMONT
draped in a sheet which leaves the chest and right arm bare. Below we see the
open grave shaped like a plain sarcophagus, and around it four guards in var
ious attitudes of overwhelmed and even grotesque surprise. On the right, in
the middle distance, one guard is seen running away with his hands to his ears.
Wood. H. 12 in. W. 9 in.
Close to Foppa, but too crude, and too feeble for his own work. It is, however,
by no one else with a distinct personality. Probably it was turned out in his
workshop. AMBROGIO BORGOGNONE
School of Milan. About 1450-1523. Pupil and follower of Foppa ; influenced
by Zenale, and, toward the end slightly by Leonardo.
_ _. THE MAGDALEN. She stands full length, turning a little to our
2^Jy right, with a censer-like silver vessel in her left hand and her right
held up as if she were talking. Her rippling long hair, parted in the middle,
streams down to her knees. Below on the right, a glimpse of roses, with the
sky above.
Wood. Arched top. H. 51 in. W. 19 in.
Obviously part of a polyptych, and of the date of the paintings in the Incoron-
ata at Lodi (1498-1500). Indeed, in the "Presentation in the Temple"
there, the Blessed Virgin is all but identical with our Magdalen, who, how
ever, is just a trifle sweeter, which would point to her having been painted
somewhat later. SOUTHEASTERN PIEDMONTESE
TOWARD I475
TWO FRAGMENTS OF A POLYPTYCH. On gold ground, each within
its cusped and trefled frame which adheres to the panel, we see the seated
figures, visible to the feet, of FOUR SAINTS, two in each fragment, with a
sort of Gothic pilaster dividing them. They represent : —
_ f ^ ST. SEBASTIAN, with thatch-like hair, a Quentin Durward in
2\J\J aspect, with his right hand on the handle of a sword and in his left an
arrow (Reproduced in La Bibliofilia, Florence, Ann. XIII. Aug.-Sept.,
191 1, p. 166); 168

SCHOOLS OF MILAN AND PIEDMONT
ST. CATHERINE, with hair puffed out like cushions, her right hand hold
ing a naked sword with its tip on the ground, her left resting on the wheel.
^ /T j ST. MARGARET, with her hair parted in the middle and combed
2 \J 1 smoothly over the temples, a crook in her left hand, and the leash
holding the Dragon in her right.
ST. BARTHOLOMEW, pointing vehemently with his right hand, and holding
a huge butcher's knife in his left.
They wear robes of gorgeous brocade, and sit on elaborately tesellated or
inlaid pavements.
Wood. The Sebastian fragment, H. 14^ in. W. 38^ in.; the other fragment,
H. 14^ in. W. 37! in.
These panels along with a third still in the market must have formed part (pos
sibly of the predella) of a polyptych painted toward 1470, probably by some
southeastern Piedmontese master under the influence of the purely French
painter, Miralhete, a native of Montpelier, but active at Nice, as well as of
the fascinating Nicene Franco-Italian artist, Jacques Durandi. It is a
temptation to ascribe these figures to the one master of the region in ques
tion who manifests the same influences, namely Giovanni Canavesio of
Pinerolo. But, although with the exception of the polyptych once at Pornassio,
the present writer has studied all the works authenticated by documents
or inscriptions, or reasonably assigned to Canavesio, and although at the
same time he recognizes many and striking points of affinity, yet these are not
conclusive enough to produce the conviction that the panels under discussion
necessarily are by Canavesio. It is possible, however, that they are earlier
achievements of his than any we know, dating from a time when he had not
yet fallen under the spell of hideously crude early German woodcuts.
Collections made nowadays consist necessarily in great part of works which
retain many of the qualities of the design but scarcely any of the execution of
the old masters. It is with joy therefore that one greets panels which have
kept as these do, all their original advantages of workmanship, not dimmed but
only enhanced by the hand of that ultimate and supreme artist, Time. One
may revel in these fragments as one does in purely unrepresentative objets
d'art. GIOVANNI MASSONE
Lombard-Ligurian School. Active at least during last two decades of the
fifteenth century, and probably into the sixteenth. Developed under the in
fluence of Foppa and of local artists. 169

SCHOOLS OF MILAN AND PIEDMONT
r\ (^. r\ ST. JEROME. He sits enthroned against a cloth of gold, in his red
2\J 2 robes, with his silver fleecy beard spread out over a cape of white
brocade. His right hand is uplifted in blessing and with his left he rests a
book on his knee. His tall crozier stands beside him. Two angels hold his
red hat resting on the crown of his head, and two larger angels in green stand
on the pavement playing, the one on a viol, and the other on a mandolin. To
right and left glimpses of landscape.
Wood. H. 54 in. W. 29 in.
In design as flat and geometrical as a mediaeval sepulchral brass and in colour
like stained glass of the French Renaissance, this impressively hieratic and yet
decorative figure does no discredit to its painter. That the latter was Gio
vanni Massone of Alessandria, the best of the Lombard-Ligurian masters, we
conclude after careful comparison with the patterns, the landscapes and the
folds in his Polyptychs at Savona, in S. Mariadi Castello at Genoa, and at
Pontremoli, as well as in his Triptych in the Louvre.

MILANESE ABOUT I5OO
_ r . THE CIRCUMCISION. Before an altar in an open-air chapel of
2\J y porphyry columnsfestooned with coral beads, we see, on the right, the
High Priest in profile, with an acolyte standing beside him, and, on the left,
the Blessed Virgin in profile to right, presenting the Holy Child. Behind her
comes Joseph, who is followed by a servant carrying two doves in a basket.
All about, a gentle landscape.
Wood. H.8|in. W. 21 in.
Part of a predella, freely painted and pleasantly coloured, decidedly like
Foppa in style, with no obvious Leonardesque infiltration. Much here
suggests Civerchio, and this mav well be a work of that will-o'-the-wisp
painter. The eyes of Joseph and of his servant remind one of Oggiono, who,
however, could not have painted anything so unaffected and yet distinguished
as this.

AMBROGIO DA PREDIS
School of Milan. Active 1482- 1506. Formed under the influence of Foppa,
and later a close follower and assistant of Leonardo.
170

SCHOOLS OF MILAN AND PIEDMONT
- r . PROFILE BUST OF ELDERLY MAN. He is seen in medal-like
4 profile to our left. A vigorous, handsome man of sixty at least,
with beautifully defined features, and able as well as cheerful character. His
grey hair is cropped short over the forehead and ear. He wears a brocade
coat, and a round-topped cap. Dark background. The general tone is
greyish. Wood. Life size. H. 14 m. W. 1 1 in. Nearly a third of the present panel
on our right is a modern addition.
Fragmentary and not over well preserved, but one of Ambrogio's most com
pletely typical works, and one of the best presentations of the elderly patrician
that we have in Renaissance art. It is a relatively early work.
O f\ C PR0FILE BUST 0F A LADY. She is seen in perfectly flat profile
2 \J j to left nearly down to the waist, with her hands folded in prayer.
She is scarcely more than five and twenty, has regular, very Leonardesque
features, and wears her hair in a wig-like mass over her ears down to the small
of her back, with an embroidered, close-fitting kerchief encasing it behind, and
a string of pearls encircling it all round. Another string of pearls hangs around
her throat. Her brocade dress is cut low and is tied with ribbons on the shoul
ders where it is slashed to show white linen. Dark background. Rather
gay tone.
Wood. H. 20 in. W. 12 in.
This attractive but somewhat wooden and chromo-like profile is not to be
attributed with dogmatic assurance. These slavish Milanese followers of
Leonardo have moments when their fluctuating, and even gaseous personalities
nebulate into each other in a way which makes it all but impossible to tell
them apart. The present writer has at times spent hours one day with the
growing certainty that a given picture was by one of them, only to pass as
many hours the next day with an equally ripening conviction that it must be
by another. This particular profile, for colour, modelling, and all that is
indefinable, seems to be by Predis in his later years. On the other hand, he
is seldom again, if ever, quite so Leonardesque, with so little of his own, except
the sagging and enfeebling of all things, due to the exiguity of his talents.
The outer corner of the eye lacks that opening so peculiar to him as to amount
to a signature. If not by him, then it must be by Bernardino de'Conti, to
whom certain things point, such as a vague something in the character of the
profile, and the corkscrew folds in the linen. Yet the balance is perhaps in
favour of Ambrogio, and, at the moment of writing, it seems on the whole safer
171

SCHOOLS OF MILAN AND PIEDMONT

to credit him with this pretty lady. She, by the way, doubtless adorned the
court of Lodovico Sforza when his long and motley carnival reign was draw
ing to a close.

MILANESE FOLLOWER OF LEONARDO DA VINCI
^f\f\ UNDERPAINTING FOR HEAD OF WOMAN. She is seen three
2 \J \J fourths to left, looking down. Her hair streams dishevelled from a
parting in the middle. Indication of line of her right shoulder. The mask is
almost wholly modelled, but the rest only sketched in.
Wood. H. 10 in. W. 7J in.
Copy of an original in the Collection of Col. Holford, ascribed more majorum
to Leonardo, but not unlikely by Ambrogio da Predis. This original may have
been a study for the head of a Madonna in a " Nativity. " At Dijon there is
a drawing (No. 798) which according to the present writer's somewhat dim
recollection of it, is related to these two heads. There, it is attributed to Luini.

BRAMANTINO
(bartolommeo suardi)
Milanese School. Circa 1460- 1529. Pupil probably of Butinone, influenced
slightly by Foppa, and overwhelmingly by Bramante.
~ ZT y-, LUCRECE. A youthful creature, seen down to the waist only, with
2\J J dishevelled hair, and shift leaving the breasts bare, points at herself
a dagger held in her clenched fist. Background of mountains appearing low
on the horizon.
Wood. H. n| in. W. 12 J in.
A characteristic work of this most inspired of native Milanese painters. Per
haps it is more accurate to say that it is as typical as a single head can be, when
the special gift of the artist consisted in the poetical adjustment of architec
ture and figures.
Apparently this "Lucrece" is none of those whereof we have any record.
172

SCHOOLS OF MILAN AND PIEDMONT
BOLTRAFFIO
(giov. antonio)
School of Milan. 1467-1 516. Close imitator of Leonardo, influenced slightly
by Costa and Francia.
r^fO PORTRAIT BUST OF A YOUTH. He is sweet and gentle, with
2\J\J the dreamy expression we find in the aged Perugino and the young
Raphael. He is smooth-cheeked, but the first hairs are sprouting on his chin.
He wears an embroidered coat with a square opening over the chest, showing
the pleated white shirt. From his neck hangs a slender gold chain. His
hair falls down like a wig to his shoulders, and his cap, with turned-up brim, is
adorned with a medal. Background of conical mountains and water.
Wood. H. 21! in. W. i7|in.
A highly characteristic work, with a landscape imitating, perhaps copying,
some drawing or sketch of Leonardo's. The date must be between 1505
and 1 5 10.

BERNARDINO DE'CONTI
School of Milan. 1450- after 1522. Pupil perhaps of Zenale; close imitator
and very probably assistant of Leonardo da Vinci.
~ tC BUST PORTRAIT OF YOUNGISH MAN. He is seen with his
2\Jy high cheek-bone turned a little to our right, looking straight out.
The lank, light hair falls like a wig down to his shoulders on both sides of his
close-shaven face. He wears a dark coat, with the frilled shirt showing a good
bit under the throat, and a dark hat with turned-up brim. He is inside a room
with an opening to the sky on the right, and on the left a green curtain drawn
across diagonally. On the wall under the opening, the inscription in square
letters: BERNARDINU DE COM1TIB DE CASTRO SEPII FACIEBAT.
Wood. H.23jin. W. 19! in.
Reproduced in L'Arte, 1905, p. 438.
A feeble thing as a work of art, but not without a certain pathos and appeal
as a portrait. It must be later than any of the dated pictures by Conti, the
last of those being of 1 506.
Castro Sepii in the inscription stands for Castelseprio, which Lombard village
'73

SCHOOLS OF MILAN AND PIEDMONT
must have been the nest of Bernardino's forebears. He himself seems to have
been born at Pavia.
y- _ BUST PORTRAIT OF LADY. She is visible to above the waist,
2 j \J turning very slightly to our left. Her face is young — she is scarcely
five and twenty — and her features are delicate, with a pleasant oval and a
vivacious look. She wears her hair in the Milanese fashion of about 1500,
that is to say in a wig-like mass down to her back with a filet over the forehead.
A few strands of hair straggle over the shoulders. Her dress is cut square well
under the throat, and is worked with vertical zigzag lines and trimmed with
bow-knots. Background of sky with the merest bit of landscape under it.
General tone greyish.
Wood. H. 17 in. W. 14 in.
One would perhaps be puzzled to whom to ascribe this curiously attractive
head, and be tempted to give it to Bartolommeo Veneto because of the strag
gling strand or two of rippling hair and the look in the eye. Happily, we are
saved from this error by the fact that it is a replica of a much larger picture
which used to be in the Barbi-Cinti Collection at Ferrara (No. 461), and was
last seen in the studio of Mr. J. A. Holzer of New York. That work, although
itself fragmentary, having been reduced to a long oval, carries the figure
down to the knees, and shows both of her hands and a good glimpse of the
landscape. Not only does it there appear clearly as a Milanese portrait of
about 1 500, but quite as clearly as the work of Bernardino de 'Conti. Besides
possessing the general character, indefinable yet persistent, of his work, it
displays a right hand exactly like the corresponding one of the Virgin in the
"Madonna with Museo Civico of St. James and a Donor" (Cora Collection)
now in the Turin. The left hand is close to the corresponding one
in the Poldi Pezzoli "Madonna Nursing the Child," and the landscape
in the last-named painting is extraordinarily like that in our portrait.
Not only may we rest assured, then, that this is by Bernardino, but we may
also note that, serving, as it does, as a connecting link between the Cora and
the Poldi pictures, it strengthens their attribution to him, and thereby further
confirms the hypothesis that he really was, as Morelli long ago sustained, the
author of the much discussed "Sforza Altarpiece" of the Brera, the one
with Ludovico il Moro and his wife, Beatrice d'Este, as Donors. Our lady,
by the way, has a certain family resemblance to Beatrice d'Este, and one is led
to ask whether conceivably this is the way Bernardino de'Conti might have
portrayed her far more gifted and doubtless better favoured sister, the famous
Isabella, Marchioness of Mantua. The extant likenesses of this great lady
render such a question far from absurd. '74

SCHOOLS OF MILAN AND PIEDMONT
GIANPETRINO
School of Milan. Active in the first decades of the sixteenth century. Imita
tor of Leonardo da Vinci.
n MADONNA WITH THE INFANT JOHN. She sits in the open
2 J 1 air, under a green curtain, with a pleasant bluish landscape on her
right, a queenly figure. The Holy Child sits on her right knee, restlessly
exhorting the Infant Baptist, whose cheek He fondles at the same time. The
Virgin wears an orange-lined blue mantle thrown majesticallyover her shoulder,
and a red dress. Her auburn hair falls in lovely and elegant ringlets over
her shoulder.
Wood. H. 25 in. W. 18 in.
Gianpetrino never painted anything more stately and less disagreeable than
this picture. Indeed, the composition leaves little to be desired for enveloping
sweep.
ANDREA SOLARIO
School of Milan. Active 1493-1 5 15. Pupil perhaps of his brother, the sculp
tor, Cristofero, but formed at Venice under Alvise Vivarini; finally influenced
by Leonardo.
_ y- ^ MADONNA AND DONORS. The Blessed Virgin, in bright blue
2 J 2 mantle, sits against a red curtain between two arched openings re
vealing a delightful well-watered landscape. The Child sits on her left knee,
and turns to our left to bless the male Donor, whose bust only appears in
profile to our left, a smooth-faced, healthy, shrewd personage, with his little
boy beside him. The Virgin holds her right hand in protection over his head,
but glances out of the corner of her eye at his wife and daughter, who appear,
also as busts, in profile on the right.
Wood, transferred to canvas. H.27in. W. 35 in.
Reproduced in Rassegna d 'Arte, 1906, p. 34.
Where everything is so characteristic of a master as in this work, there is
happily no need of verbal hocus pocus in the way of attempted proof. Unfor
tunately the picture has suffered greatly, or it would deserve to count as the
most important achievement of Solario's best and most interesting, because
Venetian, period. Indeed, the male Donors could scarcely be more Antonello-
Alvisesque, and the female likewise more Gentile Bellinesque. But something
affected in the movement of the Virgin, and the pattern and folds of her
'75

SCHOOLS OF MILAN AND PIEDMONT

draperies, suggest the return to Milanese influences, Bramantinesque in
particular, and make it probable that this picture was painted a year or two
after Solario had left Venice, say about 1497.

t„; - BUST OF A MAN IN PRAYER. He turns a little to our right, and
J y is visible down to the waist, with his hands folded in prayer. He is

2
fifty at least, has a large, rather flabby face, with a mouth slightly open, and
is shaved perfectly smooth. His temples are nearly bald but over the ears
and at the back his hair, still brown, falls down to the shoulders. He wears
a dark mantle with red sleeves, and a brown fur collar. On the left, looped
up, a dark curtain: on the right a garden-wall, overgrown in a tangle with a
rose-branch trailing across it, and in front of it a winding garden path, bor
dered with white flowers and grasses.
Wood. H. 20^ in. W. 17! in.
This well characterized and individualized portrait, so probably Solario's, not
only for general reasons, but because of the shape of the hands, the porcelain
like flesh, and the colour of the rest, belongs to the years that Solario passed in
France, and may well have been painted there, portraying a Frenchman.
It had never occurred to the present writer to doubt but that this admirable
work was by Solario. It now turns out that Dr. Friedlander and other most
highly respected authorities on the art of the North are convinced that it is
not Solario's, not even Italian, but by Jean Prevost. The present writer is
very happy to record this fact, but as he will not see the original again before
this is printed, he can do no more than record it. He admits the strong proba
bility that he is in error, and knows how easy it is to go on "thinking so because
one once has thought so." He must, however, in self-defence declare that it
did not escape him that there was a strong Northern element in this portrait.
To a student of Solario this is not enough to start doubt, for Solario, working
as he did for some time at Chateau Gaillon and elsewhere in northern France,
acquired a sleek, soapy, metallic and minute manner sadly un-Italian in many
respects, as a number of his later paintings show. The fact that he worked in
the North puts out of court any inference made from the nature of the wood
this portrait was painted on. The present writer always contemplated the
possibility that Solario executed it away from Italy, so that its being on a
hickory panel proves and disproves nothing, as to the authorship.
_ ,_ . " ECCE HOMO. " Our Lord is seen almost down to the knees with
2 J Zj. His head bent a little to our left,*His wrists tied together with a coarse
rope hanging from His neck, a broken reed in His right hand, and Himself as
176

SCHOOLS OF MILAN AND PIEDMONT
broken in body and spirit. His auburn hair falls from under the spiky thorns
in curls to the shoulders. A purplish brown mantle covers Him, leaving the
chest bare. In the lower right-hand corner on the dark background is the
signature in script:— ANDREAS DE SOLARIO F. On the back of the panel
is a coat of arms carved in wood, unintelligible to the writer.
Wood. H. 24! in. W. 17! in.
Reproduced in Rassegna d 'Arte, 1905, p.i 35.
Extravagantly highly finished and almost Morales-like in sentiment, this
picture of Solario's later years seems to have been a great favourite. Various
excellent replicas of it are in existence, apparently either from his own hand,
or from his studio at least. The best is one in the Speck von Sternburg Col
lection at Lutschena. Another belonged to the late Herr Wittgenstein at
Vienna. One at Dijon (Musee Trimolet No. 9) may be a copy by Simon de
Chalons. BERNARDINO LUINI
School of Milan. Circa 1475-circa 1532. Pupil probably of Borgognone;
influenced by Bramantino and Leonardo.
STUDIO OF LUINI
nrjr ST. CATHERINE OF ALEXANDRIA. She stands looking to
2 I J the right, with her right hand raised, and holds a vermilion book in
her left. She wears a white kerchief and a blue mantle over a red dress.
The background is of architecture in brown.
Wood. H.24in. W. 14 in.
Too feeble for even Luini, and yet too like him to be anything but a picture
painted in his studio. It may have formed part of some polyptych, and is
said to have been painted for the family of the Torriani di Mendrisio.
In the Exhibition of Early Italian Art held at the New Gallery in London
1893-94, this was exhibited by J. Ruston, Esq., under the number 183, along
with No. 184, a "St. Stephen," by the same hand, having the same dimen
sions and the same origin. DEFENDENTE FERRARI
School of Vercelli. Active circa 15 10-1535. Pupil of Spanzotti; influenced
by Macrino d'Alba and the art of the North. '77

SCHOOLS OF MILAN AND PIEDMONT
r\r-if^ ALTARPIECE. The Blessed Virgin sits on a sculptured throne
2 J \J which out-tops the architrave of the little, open air temple contain
ing it. She holds the Child with both her hands and looks at Him meekly,
while He sucks lustily at her right breast. On the tesellated floor there stand,
on our right, a Saint reading in a book, with St. Antony behind him, and on our
left, the Evangelist and St. Catherine. We catch, over and between them,
glimpses of pleasant country. Bright, metallic yet harmonious colour.
Wood. H. 53 in. W. 45 in.
One of the best of the works of this gentle artist, so prolific in his native Pied
mont, and so rare elsewhere. Here he is quite close to a fellow-countryman
and contemporary, Girolamo Giovenone. This must be a fairly early work
of this Piedmontese Crivelli.

SODOMA
GIOVANNI ANTONIO BAZZI
School of Vercelli. 1477-1549. Pupil of Spanzotti, but practically formed
by Leonardo; influenced somewhat by Fra Bartolommeo, and more by
Raphael. Spent most of his life in or near Siena.
^ y- y- ADORATION OF THE MAGI. On the left, outside a building
11 w'th slender Lombard columns but now reduced to a stable, sits the
Blessed Virgin with the three Magi kneeling at her feet and offering gifts to
the Holy Child. On the right, a group of spirited horses with their palfreniers
and mounted attendants. Between and behind the Child and the kneeling
Magi, appears St. Joseph clasping a column. Landscape background.
Wood. H. 5! in. W. 20 in.
This fragment of a predella to an unknown altarpiece is clearly a very early
work by Sodoma. To give all the reasons for this attribution would take
much writing. The student need only be invited, if he already has a long
familiarity with Sodoma's evolution, from beginning to end, to refresh his
memory of the frescoes S. Anna in Caprena, near Pienza, of those at Monte
Oliveto Maggiore, or of those in the Vatican, to see that colour, spirit, action,
types, and even folds of drapery, point to Sodoma as the only possible author
of this pleasing little painting. The precise date is not easily determined, for
in a thing so spontaneous and sketchy as this, a youthful artist's manner is apt
to pulsate backwards and forwards. Perhaps its prevailing Piedmontese char-
178

SCHOOLS OF MILAN AND PIEDMONT
acter and the fact that the Madonna is still reminiscent, though faintly, of
Foppa, and that the Star of Bethlehem retains its early mediaeval tail, should
decide us to regard it as one of Sodoma's earliest, perhaps his earliest, extant
achievements. rji-rQ VIRGIN AND CHILD. She is seen to just below the knees, with
2 J O the Holy Child suspended in air, as it were, between her right hand
and shoulder, while she hands Him a flower with her other hand. She bends
a little to our left, and He is seen nearly in profile to our right. She wears a
light blue mantle lined with green, a light kerchief of pale yellow, and dress of
pinkish red. Landscape background faintly indicated in pale blue. General
tone between silver and autumn leaf colour.
Wood. H. 25! in. W. i8| in.
The ample sweep of the mantle is Leonardesque, not in the indirect, general,
way in which Sodoma was Leonardesque from the start, but in a definite,
detailed fashion, betraying personal contact with Leonardo. This could have
taken place no earlier than their meeting in Florence. Whether the some
thing of Raphael noticeable here is of the kind that was then in the air only
waiting for him to give it final form, or whether it should be taken as a sign
that Sodoma was already acquainted with Raphael, as easily could have been
the case, this picture does not clearly reveal. There is nothing here that
Sodoma might not have done as late as his earliest Roman period, and it may
indeed be safest to date it 1 508-1 510.
In Munich and Turin there exist "Holy Families" in which the Blessed
Virgin alone is almost identical with Our Lady here, but tighter and harder
in execution. In both these pictures there is a St. Joseph of a type which may
be taken to indicate acquaintance with Fra Bartolommeo, and a baldachin
betraying equal acquaintance with Raphael's design for the "Madonna del
Baldacchino."
One may fairly assume that our picture is a simplified and enhanced version
of the others, and that it is somewhat later, being distinctly broader and
larger in treatment.

'79

LATE BOLOGNESE SCHOOL

PAINTINGS
LATE BOLOGNESE SCHOOL
THE CARRACCI
LUDOVICO (i 555-1619), was a pupil of the mannerist, Prospero Fontana,
and founder of the new eclectic so-called " Bolognese School." AGOSTINO
(1557-1602) and ANNIBALE, his brother (1560-1609), were cousins and
pupils of Ludovico.

279

FOUR HEADS OF BOYS.

Canvas. H. 14 in. W. 29I in.
The present writer is too little acquainted with the Carracci to distinguish one
from the other, or even to feel sure that this canvas is an original rather than
a copy.

280

BUSTS OF THREE BOYS AND A LITTLE GIRL.

Wood. H. 14 in. W. 11 in.
Of much finer quality than the last.
"ROMAN SCHOOL"
That is to say, followers of the Carracci active in Rome.
Q . MADONNA AND CHILD. She is seen to above the knees,
2(D I seated in profile to left, fondling the Child, Whom she holds with
both hands against her bosom.
Wood. H.29in. W. 23 in. '83

LATE BOLOGNESE SCHOOL
If the progress of art coincided with progress in expression, this would be a
masterpiece. As it is, its qualities of design are far from despicable, although
these qualities would undoubtedly have been greater were they not so sub
ordinated to the expression of motherly tenderness.
The author (who may be readily identified by those who know him) is to be
sought in the environment of Lanfranco and Trevisani.

BARTOLOMMEO SCHEDONE
Late Bolognese. 1 5 70- 1615. Follower of the Carracci.
^ O - PORTRAIT OF A YOUTH. He is smooth-faced, and wears his
2\J 2 c[arh chestnut hair in natural curls. He has on a starched white
ruff, and an elaborately stitched red coat. In the fingers of his Parmigia-
ninesque left hand he holds the gilt pommel of his sword. Grey background.
On top the forged inscription in square letters: — AUGUS MARTELLI
AETATIS SUAE XVIII ANGELUS BRONZINO FECIT ANNO . . .
Canvas. H. 29 in. W. 24 in.
A spirited work, fluent and yet incisive, for the author of which the name of
Schedone is suggested by Dr. Frizzoni. A comparison with that painter's
work makes the attribution probable if not certain.
Of course no such person as an Augusto Martelli existed towards 1600.

GUI DO REN I
School of Bologna. 1 575-1642. Pupil of the Caracci; strongly influenced
by the Antique. AFTER GUIDO RENI
~ Q ~ PIETA. The Blessed Virgin and two Angels are seen weeping over
20 y the Dead Christ.
Canvas. Oval. H. 35 in. W. 43 in.
Slightly varied reduced copy of the upper part of the famous "Altarpiece"
in the Bologna Gallery (No. 134, Catalogue 1900).
184

LATE BOLOGNESE SCHOOL
ANDREA SACCHI
Roman School. 1 599-1661 . Pupil of Francesco Albani.
r>Q a CHRIST AND THE ADULTERESS. She is held by two young
2 O ZJ. men in the midst of bystanders (some in Oriental garb), while our
Lord bends down to write in the sand.
Canvas. H. 15 in. W. 20 in.
A fairly architectonic pleasant composition. The types and the character
of the draperies put the attribution beyond serious doubt.

185

EIGHTEENTH CENTURY
VENETIAN SCHOOL

PAINTINGS
EIGHTEENTH CENTURY
VENETIAN SCHOOL
GIOVANNI BATTISTA PITTONI
Venetian School. 1687-1767. Slightly elder contemporary of Tiepolo,
formed under the same influences, and pursuing, without genius, the same goal.
-O- ASSUMPTION OF THE VIRGIN. She rises heavenward, sus-
2 O j tained by Angels and cherubs. Others attitudinize about her, one
in conspicuous adoration, another holding a crown of thorns.
Canvas. H. 26 in. W. 22 in.
Probably sketch for a ceiling decoration. The affinities with Tiepolo are mani
fest.

GIOVANNI BATTISTA TIEPOLO
Venetian School. 1696-1770. Pupil of Gregorio Lazzarini; strongly in
fluenced by G. B. Piazetta and by the works of Paul Veronese.

286

GLORY OF ST. DOMINIC.

Canvas. H. 15^ in. W. 19^ in.
Sketch probably for the fresco on the ceiling of the Gesuati at Venice, painted
in 1738-9. 189

EIGHTEENTH CENTURY VENETIAN SCHOOL
,-jOr- VENUS AND VULCAN. The goddess reclines haughtily on a
20 J luxurious couch in the smithy of Vulcan, while he looks up at her
spellbound. Canvas. H.26Jin. W. 33^ in.
Sketch possibly for the fresco on the ceiling of the Sala de los Alabarderos in
the Royal Palace at Madrid, painted in 1765-6.
0 O O HEAD OF A HAIRY, HOARY OLD BEGGAR WITH A LONG
^OO BEARD.
Canvas. H. 18 in. W. 14! in.
A character that might illustrate a Russian novel of the last generation. The
model that served for it was painted more than once by Tiepolo in the later
years of his life.
^ O ST. ROCH. He sits lightly on a stony ledge in sharp profile to our
2\Jy jeft> against a cloudy sky. His expression is eager and wistful.
He holds a loaf of bread in his right hand and his pilgrim's staff in his left.
He is bare-legged and bareheaded, wearing his broad-brimmed hat swung on
his back. At his side is a drinking flask, and a dog's head appears in the lower
right hand corner.
Canvas. H. 17! in. W. I3jin.
Spirited of course, but unusually careful in treatment of light and shade.

FORTUNATO PASQUETI
Venetian School. 1770-1702. A contemporary of Pietro Longhi, and, as
portrait painter at least, sharing his characteristics.
OnO P0RTRAIT 0F DOGE PIETRO GRIMANI (Doge 1741-1752).
2y\J Hejs seen down to the knees, clad in gold and ermine, with the Doge's
cap over his periwig, his left hand resting on something (invisible here), and a
glove in his right hand. On the left an arm-chair, and above, a curtain.
Canvas. H. 65 in. W. 37 in.
A spirited, typical XVIII century work, not unworthy of Longhi.
190

EIGHTEENTH CENTURY VENETIAN SCHOOL
VENETIAN
FIRST HALF OF XVIII CENTURY
r. j PORTRAIT OF MUSICIAN. He is young, jolly, smooth-faced,
^7 ' and possessed of that divine gift for living which characterized
Goldoni, Casanova, Da Ponte and other Venetians of their time. Before him,
on an orange drapery, lies open a musical partition on which his right hand
rests. His left is on the viol that he holds nearly erect on the table, behind
which he appears from the waist up. He wears a dark green coat with purplish
sleeves, and a dark cap. The background is grey. Life size.
Canvas. H.4iin. W. 31 in.
It is humiliating not to know the painter of such a typically Venetian work
of the XVIII century a punishment for having inefficiently studied such a
charming moment, as is this ultimo sospiro of Italian art. If the painter was
not Piazzetta himself, it was some contemporary who, like him, was a
precursor at once of Longhi and Tiepolo.

GIOVANNI ANTONIO CAN ALE
(FREQUENTLY CALLED CANALETTO)
Venetian School. 1697- 1768. Pupil of his father Bernardo.
_ -VIEW FROM THE LAGUNA, comprising the Doge's Palace and
2 y 2 the Salute, with the Bucentaur off the Piazzetta.
Canvas. H. 47! in. W. 76 in.
Light and good, but painted with the aid of assistants.

293

STUDIO OF CANALE
COURT OF DOGE'S PALACE, looking toward S. Marco.

Canvas. H. 30 m. W. 43 m.

191

EIGHTEENTH CENTURY VENETIAN SCHOOL
FOLLOWER OF CANALE
~ A VIEW FROM PIAZZETTA, comprising Libreria and Salute.
Canvas. H. 19 in. W. 30 m.
This attractive work is painted by some follower of Canale's, who in the hand
ling of the distant figures, and of light and shade, anticipates or imitates
Guardi. -. ~ VI EW comprising the Carita and Grand Canal to the Salute.
Canvas. H. 19 in. W. 30 m.
Pendant to last, and by the same hand.

BERNARDO BELOTTO
Venetian School. 1720-1780. Pupil and imitator of his uncle Antonio
Canale, whose nickname of Canaletto he took over.
_ /T VIEW comprising Peschiera, Fondaco dei Tedeschi and Rialto.
Canvas. H. 13 in. W. 25! in.

MICHELE MARIESCHI
Venetian School. Circa 1 700-1 743. Contemporary of Antonio Canale, but
romantic and impressionistic; a precursor at once of Guardi and Piranesi
(Cf. Gino Fogolari in Bollettino d 'Arte, III, pp. 241-251).
~ y-, VIEW, from Lagoon, of Doge's Palace and Libreria, with boatmen
2y J in foreground.
Canvas. H. 24 in. W. 44 in.
Excellent example, colder and sharper than Canale, with more flickering light.
192

298

EIGHTEENTH CENTURY VENETIAN SCHOOL
THE RIALTO.

Canvas. H. 22 in. W. 33 in.
Same quality and tone as last.
0 COURT OF A PALACE.
2yy
Canvas. H. 14 in. W. 22 in.
A Piranesi-like variation on the Court of the Doge's Palace.
inn villabysea.
Canvas. H. 14m. W.2i|in. FRANCESCO GUARDI
Venetian School. 1712-1793. Pupil of Canale, influenced by Marieschi.
. „ T VI EW OF DUCAL PALACE, from Lagoon, with effect of approach-
y ^ *¦ ing storm and high lights.
Canvas. H. 15! in. W. 14 in.
_ „ _ AN ISLAND IN THE LAGOON.
j \J 2
Canvas. H. 7! in. W. 9I in.
_ „ _ VI EW OF G RAN D CANAL, at the point where the railway station
y ^ y now is, with the Churches of the Scalzi and S. Simeone Profeta
Piccolo.
Canvas. H.26in. W. 36 m.
. COTTAGE ON THE DUNES, by the sea, with various figures.
Canvas. H. 14 in. W. 185 in.
A picture of the better class of Guardi's works.
- „ „ VIEW SEEN THROUGH LAST THREE ARCHES OF DOGE'S
y^J PALACE, with S. Giorgio in the distance. Figures.
Canvas. , H. 18 in. W. 12 in. •93

EIGHTEENTH CENTURY VENETIAN SCHOOL

THE PIAZZA LOOKING TOWARD ST. MARKS. Very dark,
with lower left hand corner in the shade.

306
Canvas. H. 15! in. W. 28 in

^ ^ y- FESTIVAL OF THE BUCENTAUR IN THE GRAND CANA L
Canvas. H.4oin. W. 66 in.
Dark and heavy.

308

VIEW BETWEEN GIUDECCA AND S. GIORGIO.
Canvas. H. 12 in. W. 16 in.
VIEW OF SALUTE AND DOGANA.

309
Canvas. H. 12 in. W. 16 in.
Pendant to last.
- , ^ EDGE OF WALLED TOWN, with obelisk by the sea.
Canvas. H.8^in. W. 12! in.
_ y y BRIDGE AND RUIN BY LAGOON.
Canvas. H. 16 in. W. 22 in.
- , ^ WALLED TOWN BY LAGOON.
Canvas. H.6|in. W. 9! in.
« , _ RUINED ARCH, and other buildings, with man in foreground.
J [ J
Canvas. H. 5! in. W. 7! in.
Good

'94

APPENDIX
Index of Painters Represented
Index of Painters Mentioned Incidentally
in the Text
Index of Places

INDEX OF PAINTERS REPRESENTED
(THE NUMBERS REFER TO THE CATALOGUE NUMBERS)

NUMBER
Alegretto Nuzi  117, 118
Alegretto Nuzi, school of  1 19, 120
Alunno di Domenico  70, 71
Amico di Sandro  50
Andrea di Giusto  20
Antonello da Messina  1 59
Antoniazzo Romano  139
Antonio da Viterbo  143
Aspertini, Amico  247
Bacchiacca (Francisco Ubertini) .... 80
Barbari, Jacopo de'  167
Barna  93
Bartolo di Maestro Fredi. ... 95, 96, 97
Bartolo, Domenico di  102
Bartolo, Taddeo di  99, 100
Bartolommeo, Fra  78
Basaiti, Marco  179, 180, 181
Bassano, Leonardo  212
Beccafumi  115
Bellini, Gentile, School of  162, 163
Bellini, Giovanni  1 65
Belotto, Bernardo  296
Benaglio, Francesco  215
Boltraffio, Giov. Antonio  268
Bonsignori, Francesco  1 7 1 , 1 72
Bordone, Paris  206, 207
Borgognone, Ambrogio  259
Botticelli, Sandro. ... 44, 45, 46, 47, 48
Botticelli, School of  49
Botticini, Francesco  55

NUMBER
Botticini, School of  56, 57,58
Bramantino (Bartolommeo Suardi) . 267
Brescianino, Andrea del  1 13, 1 14
Brusasorci, Domenico  225, 226
Calisto, Piazza da Lodi  233, 234
Campi, Guilio  235
Canale, Giovanni Antonio (called
Canaletto)  292
Canale, School of  293
Canale, Follower of  294, 295
Cariani (Giovanni Busi)  191
Carpaccio, Victor  1 73
Carracci, The  279, 280
Caroto, Francesco  223
Carrari, Baldassare  1 50
Carucci, Jacopo (Pontormo)  83, 84
Catena, Vincenzo  182
Cavazzoja (Paolo Morando) , School of 220
Cavallini, Pietro  116
Cima, Giovanni Battista, da Conegli-
ano  1 76, 1 77, 1 78
Conti, Bernardino de  269, 270
Correggio (Antonio Allegri) Copy
after  254
Cosimo, Piero di  76
Cosimo, Piero di, School of  77
Costa, Lorenzo  244
Cotignola, School of  148
Cozzarelli, Guidoccio  112
Crivelli, Carlo  158
'97

APPENDIX

Daddi, Bernardo  2
Daddi, School of  3
Domenico di Michelino  22
Domenico Veneziano, School of . . . . 34
Dossi, Dosso  251
Dossi, School of  252
Dossi, Follower of  253
Duccio di Buoninsegna  88
Eusebio di San Giorgio  145
Fabriano, Francesco di Gentile da 129
130, 131
Fabriano, School of  121
Farinati, Paolo  .... ... 227, 228
Ferrari, Defendente  276
Fiorenzo di Lorenzo  140
Florentine School, XV century, un
known artists  9, 1 1 , 2 1 , 26
Foppa, Vincenzo  257
Foppa, School of  258
Fra Angelico da Fiesole  14
Fra Angelico, Studio of  15
Fra Angelico, School of  16
Fra Angelico, Unknown follower of 24, 25
 78
 250
95. 96, 97

Fra Bartolommeo 
Francia, Giacomo 
Fredi, Bartolo di Maestro.

 6
 7
 8
65, 66, 67

Gaddi, Agnolo 
Gaddi, School of 
Gerini, Niccolo di Pietro.
Ghirlandajo, David . ...
Ghirlandajo, School of. .
Ghirlandajo, Ridolfo  73
Gianpetrino 
Giolfino, Niccolo  217,
Giottino 
Giotto, Unknown assistant of 
Giovanni da Milano 
Giovanni, Matteo di  no,
Girolamo Marchesi of Cotignola. . . .
Girolamo da Santa Croce  184,
Girolamo dai Libri, School of . . . 221,

.74
271218 5 1
4
1 1 1
'49185
222

198

Gozzoli, Benozzo  38
Grandi, Ercole di Guilio Cesare  245
Granacci, Francesco  72
Guardi, Francesco,  301, 302, 303
304, 305, 306, 307, 308
309, 310, 311, 312, 313
Italian School about 1590  239
Landi, Neroccio di  109
Liberale da Verona  216
Libri, Girolamo dai, School of . . 221, 222
Licinio, Bernardo  203
Longhi, Luca  256
Lorenzetti, Pietro  91, 92
Lorenzo, Fiorenzo di  140
Lorenzo, Monaco  10
Lotto, Lorenzo  194, 195 ¦
Luini, Bernardino, School of  275
Maestro del Bambino Vispo  12, 13
Mainardi, Bastiano  69
Mantegna, Andrea, Contemporary
copy  213
Mantegna, Unknown follower of. . . . 214
Marches, School of the  122, 201
Mariatto, Bernardino  144
Marieschi, Michele. . 297, 298, 299, 300
Masaccio, Imitation of or copy
after  17
Masaccio, School of  18, 19
Massone, Giovanni  262
Master of the Costello Nativity. ... 23
Master of the San Miniato Altar-
piece  37
Master of Carrand Triptych  59
Mazzolino  248
Mazzolino, School of  249
Milanese School about 1 500  263
Monaco, Lorenzo  10
Montagna, Bartolommeo  168, 169
Montagna, School of  1 70
Moretto da Brescia  236
Morone, Domenico, School of  219
Moroni  237, 238

INDEX OF PAINTERS REPRESENTED

NUMBER
Nello, Ottaviano  123
Neri di Bicci  27, 28, 29, 30, 31, 32, 33
Neroccio di Landi  1 09
North Italian School about 1600. . . . 240
Nuzi, Alegretto  1 17, 1 18
Nuzi, School of  1 19, 120
Ortolano   246
Pagani, Vincenzo  198, 199, 200
Paolo, Giovanni di  105
Palma Vecchio  186, 187, 188
Palma Vecchio, School of  189, 190
Palmezzano, Marco  147
Paris, Bordone  206, 207
Pasqueti, Fortunato  290
Perugino, Pietro  141
Pesellino, Francesco  35
Pesellino, Compagno di (?)  36
Piedmontese, Southeastern, School
about 1475  260, 261
Peiro di Cosimo  76
Piero di Cosimo, School of  77
Pietro, Sano di  106
Pintoricchio, Bernardo  142
Pistoja, Leonardo da  79
Pittoni, Giovanni Battista  285
Pontormo (Jacopo Carucci)  83, 84
Pordenone, Giovanni Antonio  202
Predis, Ambrogio  264, 265
Puligo, Domenico  82
Quercia Priamo della  103, 104
Raphael, Copy after  1 52
Reni, Guido, Copy after  283
Roberti, Ercole di'  243
Roman School, about 1600  281
Romanino, Girolamo  232
Romano, Antoniazzo  139
Rondinelli, Niccolo  151
Roselli, Cosimo (?)  60
Roselli, School of  61

Sacchi, Andrea  284
Saliba, Antonio de  160
Salviati, Francesco  85, 86
Sanginesio, Folchette di  134
Sano di Pietro  1 06
Santi, di Tito  87
Sarto, Andrea del  81
Sebastiani Lazzaro  174, 175
Sebastiano, Luciano del Piombo 192, 193
Sellajo, Jacopo del  51, 52, 53, 54
Scarsella, Ippolito (Scarsellino) .... 255
Schedone, Bartolommeo  282
Sicilian School, Early XVI century. . 161
Sienese School, about 1400  98
Signorelli, Luca  135, 136, 137, 138
Solario, Andrea  272, 273, 274
Sodoma (Giovanni Antonio)
Bazzi  277, 278
Tiepolo, Giovanni Battista.  286
287, 288, 289
Tintoretto (Jacopo Robusti) . . . 208, 209
Tintoretto, School of  210, 21 1
Titian (Tiziano Vecellio)  204, 205
Tommasa da Modena  1 53
Tura, Cosimo  241
Tura, Studio of  242
Ubertini, Francisco (Bacchiacca) . 80
Ugolino da Siena  >  89, 90
Umbrian School, about 1500. . . 132, 133
Umbro-Florentine School, about 1425 124
125, 126, 127, 128
Utili, Giovanni Battista of Faenza . . 62
Utili, School of  63
Vannuccio, Francesco di  94
Vecchietta, Lorenzo  107, 108
Vecchio, Palma  186, 187, 188
Vecchio, School of  189, 190
Venetian School, XV, XVI and XVI I
century, unknown artists  197
164, 291, 183
Veronese, Paul (Paola Cagliari) .... 299

199

APPENDIX
NUMBER NUMBER
Veronese School, XVI century  224 Vivarini, Bartolommeo  155, 156
230, 23 1 Vivarini, Bartolommeo, Studio of . . . 157
Vivarini, Alvise  166 Viterbo, Antonio da  143
Vivarini, Antonio  1 54

200

INDEX OF PAINTERS
(MENTIONED INCIDENTALLY IN TEXT)

PAGE
Agapiti, Pietro Paolo  123
Agnolo cf. Gaddi.
Alba cf. Macrino.
Albani, Francesco .  185
Albertinelli, Mariotto  43
Alegretto Nuzi (or Nuti). . . 68, 69, 70, 71
Alemania cf. Giovanni.
Alesso cf. Baldovinetti.
Alvise cf. Vivarini.
Amatrice cf. Cola.
Ambrogio da Predis  172
Amico Aspertini  138. 1 58
Amico di Sandro  29. 31, 32, 39
Andrea da Bologna  68, '69
Andrea da Firenze  5
Andrea di Giusto  13, 14, 15, 16
Andrea de' Litio  12
Andrea del Sarto  43, 45, 60, 136
Fra Angelico  n, 12, 15, 16, 17, 18
19, 20, 21, 22, 24, 73, 81
Antonello da Messina  10 1, 175
Antoniazzo Romano  11,85
Antonio da Fabriano  76, 77, 78
Antonio da Faenza  123, 124, 125
Antonio da Palermo  98
Antonio Maria da Carpi  108
Antonio Veneziano  5
Arcangelo di Cola of Camerino .... 74, 75
Aspertini cf. Amico.
Badile  142, 144
Baldovinetti, Alesso. ..16, 17, 18, 21, 25
34, 36 201

Bambino Vispo cf. Maestro del.
Barbari, Jacopo di  120
Barna  54
Baroccio  149
Bartolo di Fredi  9, 10, 54, 55, 93
Fra Bartolommeo  40, 43, 44, 60
6 1 , 89, 1 78, 1 79
Bartolommeo Veneto  112
Basaiti  112
Bassano (Jacopo da Ponte) .... 131, 141
Bassano, Leandro  132
Beccafumi  60
Bellini, Gentile  98, 99, 100, 102
106, 107, 138
Bellini, Giovanni  76, 89, 96, 103
106, 107, 109, in, 113
114, 116, 117, 118, 167
Bellini, Jacopo  76, 98, 99, 135
The Bellini 101, 102, 1 10, 120, 125, 126, 154
Benaglio, Francesco  138
Benozzo Gozzoli  25, 34, 78
Bernardino de' Conti  171
Bianchi  162
Bicci di Lorenzo  9, 15, 16, 20
Bicci, Neri di  22, 25, 32, 34
The Bicci  24
Bissolo  in
Boccatis da Camerino  78
Bonfigli  12
Bonifazio  115,129,141
Bonsignori  103, 121, 140
Borgognone, Ambrogio  1 77
Botticelli  30, 31, 32, 37, 39, 40

APPENDIX

Botticini  33, 35, 36
Bramante  76, 167, 172
Bramantino  176, 177
Bronzino   46, 47
Brunellesco  12
Brusasorci  142, 143, 144
Buonarotti cf. Michelangelo.
Butinone  1 72
Byzantine Tradition in Art . 65 , 66, 7 1 , 93

Campagnola, Giulio and Domenico 129, 1
Campi, Bernardino  1
Campi Giulio  1
The Campi  1
Canale, Bernardo  1
Canaletto  191, 192, 1
Canavesio  1
Caporali 
The Caracci  162, 183, 1
Cariani  1
Caroto  1
Carpaccio, Vittorio 106, 107, 109, 1 10, 1
Carpi cf. Antonio Maria da.
Carpi cf. Girolamo da.
Castagno, Andrea del  27,
Castello cf. Master of the Castello
Nativity.
Cavallini  65, 66,
Cavazzola  1
Cima da Conegliano  97, 1 12, 1
119, 121, 1
Civerchio  147, 1
Coello, Sanchez  1
Cola, D'Amatrice 
Compagno di Pesellino  25, 26,
Conti cf. Bernardino de.
Cosimo cf. Piero di.
Cosimo cf. Roselli.
Costa, Lorenzo  125, 154, 155, 1
157, 158, 162, 1
Cotignola, Painters of  88, 1
Credi, Lorenzo di  40, 41,
Crivelli, Carlo  76, 77, 78, 86, 1

434946
499193 69 12
8423 37 57

3'

67 39 17
3870
28
81 27

56
7363
42 23

The Crivelli  81
Daddi, Bernardo  5
Domenico cf . Veneziano.
Domenico di Bartolo  58, 59
Donatello  12, 21, 58, 59, 96, 135
Dosso Dossi. . 146, 156, 158, 160, 161, 162
Duccio  52, 67
Duia cf. Pietro.
Durandi, Jacques  169
Ercole Roberti  1 5 5, 1 56, 1 57, 1 58
Fabriano, School of  70
Fabriano cf. Gentile da.
Falconetto  139
Farinati  142, 143
Fei, Paolo di Giovanni  57
Ferramola  145
Filippino cf. Lippi.
Filippo cf. Lippi.
Fiorenzo di Lorenzo  83, 86
Florentine End of XIV, Beginning
of XV Century  7, 8
Florentine, towards 1425  8, 9, 16
Florentine, towards 1450  20
Florentine, towards 1490  36, 37
Fontana, Prospero  183
Foppa  167, 168, 169, 170, 172, 179
Francesca or Franceschi cf. Piero.
Francesco Antonio di Banchi  15
Francesco di Gentile da Fabriano. . . 80
Francesco di Giorgio  59, 60
Francia, Francesco  155, 156,157
159, 162, 173
Francia, Giacomo  163
Francia Bigio  43, 45
Gaddi, Agnolo  7, 8, 9, 74
Garofalo  1 56
Gentile da Fabriano.. . 70, 73, 75, 94
Ghent cf. Justus von.
Ghiberti  25
Ghirlandajo, David  38, 39, 40
Ghirlandajo, Domenico 31, 37, 38, 39, 40
The Ghirlandajo  35

202

PAINTERS MENTIONED INCIDENTALLY IN TEXT

Ghirlandajo, Ridolfo  13, 14
Ghisi, Francescuccio  69
Giolfino, Niccolo  143
Giorgione.... 109, no, 113, 116, 117, 119
125, 126, 129, 145, 157, 159
Giottino  6, 8
Giotto  3, 4
Giovanni d'Alemania  94
Giovanni Angelo D'Antonio of Cam
erino  74, 75
Giovanni di Monterubbiano  123
Giovanni Pisano  52
Giovanni del Ponte  8, 9, 10, 15
Giovenone  1 78
Girolamo da Carpi  161
Girolamo da Cremona  137
Girolamo di Giovanni da Camerino. 78
Girolamo dai Libri  140
Giulio Romano   1 46
Golzius  1 58
Gozzoli cf. Benozzo.
Greco, El  131
Guardi  192
Guido Reni  184
Italian about 1 590  149
Italian (North) about 1600  149
Jacopo da Messina  97
Jacopo Delia Quercia  56
Jacopo da Valenza  109
Justus von Ghent  79
Lanf ranco  1 84
Laurana, Luciano  76
Lazzarini, Gregorio  189
Leonardo da Vinci  29, 42, 80, 162
168, 170, 171, 173, 175, 177, 178, 179
Leyden cf. Lucas Van.
Liberale  140
Libri cf . Girolamo.
Lippi, Filippino  19, 37, 42
Lippi, Fra Filippo  17, 18, 19, 20
22, 25, 26, 27, 29, 31, 78, 135

Lippo Memmi  53, 54
Longhi, Pietro  190, 191
The Lorenzetti  4, 6, 53. 54
Lorenzo Monaco . . 9, 10, 15, 16, 73, 74
Lorenzo di San Severino  77, 86
Lotto, Lorenzo  45, 113, 116, 119
122, 123, 125, 145, 146, 147, 148, 160
Lucas Van Leyden  1 58
Luini  1 77
Macchiavelli, Zanobi  78
Macrino d'Alba  1 77
" Maestro del Bambino Vispo " . . . . 8, 15
Mainardi  38
Mantegna 136, 137, 138, 139, 140, 156, 161
Mansueti  99, 1 12
Marches, School of the  70, 71, 125
Marieschi  193
Martini cf. Simone.
Masaccio 10, 12, 13, 14, 15,21,22,29, 58
Masolino  9, 23, 74
Massone, Giovanni  1 70
"Master of the Carrand Altarpiece" 19, 34
"Master of the Castello Nativity " . . 20
Mazzolino  1 58, 1 59
Melozzo da Forli  76, 78, 79, 83, 87
Memmi cf. Lippo.
Mezzastris  83
Michelangelo  40, 42, 43, 44, 45, 61
89, 1 17, 129, 136
Michele da Verona  1 39
Milanese about 1 500  1 70
Milanese Follower of Leonardo  172
Mini, Jacopo  55
Miralhete  169
Monaco cf . Lorenzo.
Montagna Bartolommeo. 103, 104, 107, 139
Morales  177
Morandi cf. Cavazzola,
Moretto  147
Moro, Antonio  128
Morone, Domenico  138, 139, 149
Moroni, Giovanni Battista  123
Nelli, Ottaviano  12

203

APPENDIX
PAGE

Neri cf. Bicci.
Niccolo di Piero Gerini 
Niccolo cf. Pisano.
Nuzi (or Nuti) cf. Alegretto.

Porderione  '45
74 Predis cf. Ambrogio da.
Previtali  123
Prevost, Jean  1 76

Oggiono, Marco d'  1 70
Orcagna  5,6
Ottaviano cf. Nelli.
Pacchia  60
Pacchia Rotto  61
Padua, School of. . . 94, 95, 153, 154,167
Pagani, Gaspare  161
Pagani, Vincenzo  125
Palma Giovane  131
Palma Vecchio. . 115, 116, 119, 120, 123
Palmezzano, Marco  88
Paolo (Paul) cf. Veronese.
Paolo di Giovanni cf. Fei.
Parmigianino  146, 163
Pellegrino di San Daniele  115
Perugino 43,44,85,86, 87, 89, 123,125,146
Pesellino.. . 7,20,21,22,23,25,27,34
Pesello, Giuliano  22, 24
Petrus de Inganatis  112
Piazzetta  189, 191
Piedmontese (South Eastern), about
1475  168, 169
Piero di Cosimo  42, 44, 114, 161
Piero Delia Francesca (or dei Fran-
ceschi)  2 1 , 82
Piero di Lorenzo Pratesi  23
Pietro Duia  112
Pietro di Domenico da Montepul-
ciano  69, 74
Piombo, Sebastiano del  89, 1 1 5
Pintoricchio. .40, 80, 85, 86, 87, 89, 157
Piranesi  192
Pisanello  94
Pisano, Niccolo  66
Pizzolo  135
The Pollajuoli  27, 32, 59, 82, 155
Ponte cf. Giovanni del.
Ponte cf. Bassano.
Pontormo  1 59

Quercia cf. Jacopo della.
Raphael  40, 43, 60, 61, 86, 87, 88
89, 117, 120, 123, 137
140, 157, 162, 178, 179
Reni cf. Guido.
Roberti cf. Ercole.
Romagnol, Minor Painters  89
Roman School  183
Romanino  145. '47
Romano cf. Giulio.
Rondinelli  87,88
Rosselli, Cosimo  32, 34, 35, 40, 42
Rossello di Jacopo Franco  9, 74
Rosso  161
Rubens  126
Salviati  161
San Miniato cf. " Master of the San
Miniato Altarpiece."
San Severino cf . Lorenzo di.
Santi, Giovanni  76, 79
Santi di Tito  149
Sarto cf. Andrea del.
Sassetta  56, 57, 58
Savoldo  145, 147
Sebastiano cf. Piombo.
Sellajo, Jacopo del  37
Sicilian, Early XVI Centry  98
Siculo, Jacopo  87
Sienese about 1 400  55
Signorelli  42, 84, 85, 86, 1 57
Simon de Chalons  1 77
Simone Martini ....  52
Sodoma  61
Solario, Cristofero  175
Spanzotti  177,178
Squarcione  1 35, 167

Teotocopuli cf. Greco.

204

PAINTERS MENTIONED INCIDENTALLY IN TEXT

Tiepolo  191
Timoteo cf. Viti.
Tintoretto, Marietta  131
Titian  120, 125, 128, 129, 130, 140
141, 143, 146, 147, 159
Torbido  142, 143
Trevisani  184
Tura, Cosimo  154
Uccello, Paolo  58, 135
Umbrian about 1 500  80, 81
Umbro-Florentine about 1425... . 72, 73
74, 75
Utili, Giovanni Battista of Camerino 23, 36
Valenza cf. Jacopo da.
Vecchietta  59
Venetian about 1495  100
Venetian about 1510  111,112
Venetian about 1 530  122, 123

Venetian, First half of XVI 1 1 Century 1 9 1
Veneto cf. Bartolommeo.
Veneziano, Domenico. 20, 21, 22, 58
Veronese, Paolo.. 130, 142, 145, 162, 189
Veronese School about 1540... 141, 142
Veronese School about 1.600... 144, 145
Verrocchio.. 32, 35, 36, 41, 42, 76, 78, 84
Vincenzo da Stefano  137
Vinci cf. Leonardo.
Viti, Timoteo  89
Vivarini, Alvise  104, 107, 109, 1 10
120, 121, 125, 175, 176
Vivarini, Antonio  81
Vivarini, Bartolommeo  95, 101
Watts  37
Zaganelli, Francesco  88
Zelotti  142
Zenale  168, 173

205

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
ABINGDON (Oxon)
Mrs. Longland. . . .Madonna and Angels; Crucifixion
Arcangelo di Cola of Camerino 74
ALTENBURG  Lorenzo Monaco 73
APIRO (Abruzzi)  Polyptych  Alegretto Nuzi 67
AREZZO Pieve  Polyptych  Pietro Lorenzetti 52
ASCOLI Duomo  Polyptych  Crivelli 96
ASSISI Lower Church . . . .Giottesque Frescoes  3, 4
BALTIMORE Walters Collection: Crucifixion  Barna 54
" Ecce Homo." .... Francesco di Gentile da Fabriano 76
BASSANO  Christ and the Adulteress; Fiery Furnace; Susannah
Jacopo Bassano 141
BERGAMO Carrara  Madonna  Bartolommeo Veneto 1 12
Christ Blessing  Rocco Marconi 1 16
Lochis  Holy Family  Lotto 1 23
Sketches  Lotto 125
Madonna and Saints  Bartolommeo Montagna 103
Piccinelli Collection: Madonna  Lotto 121
S. Bartolommeo . . .Altarpiece  Lotto 121
207

APPENDIX
PLACE AND COLLECTION SUBJECT ARTIST PAGE
BERLIN  Legend of St. Julian.  Andrea di Giusto(?) 15
Miracle of S. Zenobio  Benozzo Gozzoli 25
Portrait of a Fugger  Catena 1 1 1
Madonna  Cima 1 1 8
The Magdalen  Credi 42
Bust of Angel  School of Duccio 5 1
St. Sebastian  Liberale 137
Adoration of the Shepherds  Mansueti 99
Birth Scene  Massaccio 1 4
Last Judgment  Dom. di Michelino 17
Bust of a Young Man  Moroni 148
Portrait of a Man  Palma Vecchio 1 1 5
Madonna  Pier Francesco Fiorentino 26
Altarpiece  Roselli (Cosimo) 35
Reliquary  Vannuccio (Francesco di) 54
Altarpiece  Vivarini (Alvise) 121
Von Kaufmann Collection: Crucifixion  Barna 54
Panel  Lorenzo Monaco 73
Reliquary  Vannuccio (Francesco di) 54
(Late) Dr. Schweizer: Leda  Bacchiacca 44
BESANCON Musee Gigoux  Madonna and Angels Utili (Giovanni Battista of Faenza) 36
BOLOGNA  Altarpiece  Guido Reni 184
S. Giacomo  Bentivoglio Altarpiece  Costa 1 54-5
S. Petronio  Altarpiece  Costa 156
BONN  Panel  " Maestro del Bambino Vispo" 9
BORGO ALLA COLLIN A (Casentino).
Altarpiece  " Maestro del Bambino Vispo" 9
BOSTON (U.S.A.)
Mrs. J. L.Gardner: "Chigi" Madonna  Botticelli 29
Madonna  Compagno di Pesellino 23
Mr. Joseph Lindon Smith:
Madonna and Saints  Barna 54
BRUSSELS  Madonna  Crivelli 96
BRUNSWICK  Adam and Eve  Palma Vecchio 114
BUDAPEST  Madonna  Antonio Maria da Carpi 108
Altarpiece. . . .Utili (Giovanni Battista of Faenza) 36
208

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
CAMBRIDGE Fitzwilliam Museum. Brinsley Marlay Collection:
Two Nativities .." Master of the Castello Nativity" 18
Nativity  Piombo (Sebastiano del) 1 1 7
CAMBRIDGE (Mass., U.S.A.)
Fogg Museum  Man in Adoration  Bassano (Leandro) 132
CHANTILLY Musee Conde  "Esther" Panel  Amico di Sandro 29
Madonna  Petrus de Inganatis (?) 1 12
CINGOLI (Marches).. . .Antonio da Faenza  124
CIRENCESTER Miserden Park, Mr. A. W. Leatham:
Portrait of Boy. . Francesco di Gentile da Fabriano 75, 79
CLEVELAND (Ohio, U.S.A.)
Holden Collection: Madonna  Pier Francesco Fiorentino 26
COLALTO (Near Conegliano).
S. Salvadore  Nativity  Mansueti 99
COPENHAGEN  Madonna and Saints  Andrea di Giusto 15
CREMONA S. Abbondio  Altarpiece  Giulio Campi 146
S. Agata  Frescoes  Giulio Campi 146
DETROIT (Mich.,U.S.A.): Triptych  Alegretto Nuzi 68
Madonna . . " Master of the San Miniato Altarpiece " 23
DIJON  Drawing of Woman's Head. .Ambrogio da Predis (?) 172
" Ecce Homo." Copy of Solario, by
Simon de Chalons (?) 1 77
DRESDEN  St. Sebastian  Antonello da Messina 96
Madonna  "Compagno di Pesellino" 23
Tribute Money  Titian 129
Portrait of Man  Veronese (Paolo) 130
EASTNOR CASTLE (Ledbury)
Somers Collection: Madonna and Saints Utili (Giovanni Battista of Faenza) 36
EMPOLI (Near)  Frescoes  Benozzo Gozzoli 25
ESZTERGOM (Hungary)
Chapter Hall  Assumption of the Magdalen  Credi 41
209

APPENDIX
PLACE AND COLLECTION SUBJECT ARTIST PAGE
FABRIANO Casa Fornari  St. Francis  Gentile da Fabriano 70
The Dead Christ  Alegretto Nuzi 68
FLORENCE Academy  Coronation  Botticelli 30
Schools of Albertus Magnus and St. Thomas Aquinas
Domenico di Michelino 1 7
Epiphany  Gentile da Fabriano 73
Annunciation and Saints  Lorenzo Monaco 74
Madonna and Saints  Rosselli (Cosimo) 35
Bargello  Carrand Altarpiece  19, 34
Casa Buonarotti . . .Predella  " Master of the Carrand Altarpiece" 34
Pitti  Feast of Herod  Palma Giovane (?) 131
"Madonna del Baldacchino"  Raphael 179
Portrait of Daniele Barbara  Veronese (Paolo) 130
Uffizi  Drawings by  Alunno di Domenico 39
Drawings by  Fra Bartolommeo 43
Madonna and Angels  Domenico Michelino 1 7
"Quaretesi Altarpiece." (Central Panel at Bucking
ham Palace, London.)  Gentile da Fabriano 73
Madonna  Lippi (Fra Filippo) 26
Epiphany  Signorelli 83
Adoration of the Magi  Roselli (Cosimo) 34
Altarpiece  Vecchietta 59
Library of St. Mark's: Miniatures  School of Fra Angelico 1 7
Castello (Royal Villa):  "Master of the Castello Nativity" 19
Berenson Collection (Settignano) :
Madonna  Baldovinetti (Alesso) 18
Madonna  Barna 54
Madonna; Annunciation; large Annunciation
Francesco di Gentile da Fabriano 76
Madonna  "Master of the Castello Nativity " 19
Marchese Bartolini — Salimbeni-Vivai:
Three Archangels Utili (Giovanni Battista of Faenza) 39
Mr. F. Mason Perkins (Lastra-a-Signa) :
Triptych; "Pieta"; St. Sebastian
Francesco di Gentile da Fabriano 75, 76
Mr. Herbert P. Horne: " Esther" panel  Amico di Sandro 29
Torrigiani Palace: Cassone picture  Florentine School about 1490 37
Buonomini (Oratory of):
Frescoes  David Ghirlandajo 38
Carmine, Brancacci Chapel:
Frescoes  Masaccio 1 3
210

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
FLORENCE — Continued
Duomo  Fresco of Dante  Domenico di Michelino 16
S. Croce, Bardi Chapel: Frescoes  " Giottino" 6
S. Giovannino dei Cavaliere: Annunciation. . "Master of the Castello Nativity" (?) 19
S. Maria Novella : Trinity  Masaccio 1 3
S. Maria Novella, Strozzi Chapel:
Frescoes  " Giottino" (?) 6
S. Niccolo  Crucifixion  Follower of Fra Angelico 1 1
S. Spirito, Chapter House:
Frescoes   Florentine 6
S. Trinita  Frescoes  Lorenzo Monaco 73
Scalzo  Frescoes  Andrea del Sarto 44
FIGLINE (Upper Val d'Arno)
S. Andrea Ripalta: Epiphany  Andrea di Giusto 15
GENGA (Near Fabriano): Madonna  Antonio da Fabriano 78
GENOA S. Maria del Castello: Altarpieces  Giovanni Massone 1 70
GLASGOW  Madonna and Saints  Giulio Campi 146
Christ and the Adulteress . . .Sebastiano del Piombo 1 18
GLOUCESTER Highnam Court, Sir Hubert Parry:
Madonna: " Master of the San Miniato Altarpiece."
Panel  Lorenzo Monaco 73
GOTHA  Bust of Man  Francesco di Gentile da Fabriano 76
GOTTINGEN University Gallery: Madonna  "Master of the Castello Nativity" 19
GUBBIO  Madonna  Pier Francesco Fiorentino 26
THE HAGUE  Portraits of the San Gallo  Piero di Cosimo 161
HARROW Stogdon Collection: Nativity  Utili (Giovanni Battista of Faenza) 36
IN WOOD Templecombe, Lady Theodora Guest:
Madonna . . " Master of the San Miniato Altarpiece" 24
KINGSTON LACY
Mrs. Ralph Banks: Judgment of Solomon  Sebastiano del Piombo 1 19
LE MANS  Madonna  Barna 54
21 1

APPENDIX
PLACE AND COLLECTION SUBJECT ARTIST PAGE
LILLE  Bust of St. Sebastian Francesco di Gentile da Fabriano 76
LIVERPOOL Royal Institution : Madonna  School of Pesellino 23
LODI Incoronata  Pictures  Borgognone 168
LONDON Buckingham Palace., H. M. the King:
Fall of Simon Magus  Benozzo Gozzoli 25
Central Panel of "Quaratesi" Polyptych. Gentile da Fabriano 73
British Museum . . . Drawing of an Angel  Credi 41
Drawing of the Madonna. . . .Sebastiano del Piombo 1 17
National Gallery: Madonna  Basaiti 1 12
Altarpiece  Benozzo 25
Venetian Senator  Bonsignori 104
Epiphanies  Botticelli 29
Madonna; Incredulity of Thomas  Credi, 1 18, 1 19
"Pieta"  Crivelli 96
Death of Dido  Liberale 1 37
Portrait of Nobleman  Moretto 147
Poet  Palma 1 1 4
Holy Family: Salome. . .Sebastiano del Piombo, 117, 118
"Ariosto"  Titian 129
Portrait of Man  Vivarini (Alvise) 101
Victoria and Albert Museum (Ionides Bequest):
Portrait of Esmeraldo Bandinelli . . .Amico di Sandro 3 1
Stucco Sketch  Credi 41
Mr. Robert Benson: Christ Bearing Cross  Barna 54
Madonna  r  Crivelli 96
Circe  Dosso Dossi 1 60
Dorchester House, Holford Collection:
Head of Woman  Ambrogio da Predis (?) 172
Late Sir William Farrer's Collection:
Madonna  Bartolommeo Montagna 103
Late Mr. Lesser's Collection:
Nativity  "Master of the Castello Nativity" 18
Fuller Maitland Collection: Assumption of the Virgin. ..Domenico di Michelino 17
Mond Collection. . " Ecce Homo." .... Francesco di Gentile da Fabriano 75
Decapitation of St. Catherine " Maestro del Bambino Vispo" 10
Ruston Collection : St. Stephen  School of Luini 1 77
212

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
LONG ISLAND (U.S.A.)
Mr. Stanley Mortimer: Nativity  Sellajo 3 1
LORETO  Antonio da Faenza  124, 125
LUCCA  Paintings on Sculptured Altar. . Follower of Masaccio 1 5
S. Frediano  Frescoes  Amico Aspertini 157
LOTSCHENA Speck von Sternburg Collection:
"Ecce Homo "  Solario 1 77
LYONS Aynard Collection: Madonna  Compagno di Pesellino 26
MACERATA  Madonna  Crivelli 96
Madonna and Saints  Vincenzo Pagani 124
MADRID Royal Palace, Sala de los Alabarderos:
Ceiling  Tiepolo 190
MANTUA Accademia Virgiliana: Way to Golgotha  Bonsignori 105
MATELICA (Near Fabriano)
Museo Piersanti . . Pictures  Francesco di Gentile da Fabriano 75, 76
S. Francesco  Triptych  :  idem 76, 79
MELCHET COURT
Marquess of Northampton: Adoration of the Magi  Montagna 135
MIGLION ICO (Calabria): Polyptych  Cima 97
MILAN Brera  Miracle of St. Dominic  Benozzo Gozzoli 25
Sforza Altarpiece  Bernardino de' Conti 174
Two Altarpieces  Giulio Campi 1 46
Madonna in Glory; SS. Sebastian, Antony Abbot
and Roch. . . .Francesco di Gentile da Fabriano 76
Coronation of the Virgin  Pagani 1 24
Altarpiece . -  Signorelli 83
Poldi-Pezzoli  Madonna  Bernardino de Conti 174
Head of a Female Saint  Bonsignori 105
Bacchus  Cima 108
Charity  Tura 154
Don Guido Cagnola: Madonna  Ortolano 1 56
213

APPENDIX
PLACE AND COLLECTION SUBJECT ARTIST PAGE
MILAN — Continued
Crespi Collection: Madonna  Bartolommeo Veneto 1 12
S. Marie delle Grazie: Last Supper  Leonardo 29
MONTECARLO (Upper Val d'Arno) :
Altarpiece  Follower of Fra Angelico 1 1
MONTELUPONE (Marches)  Antonio da Faenza 124
MONTE OLIVETO MAGGIORE (Sienese):
Fresco  Signorelli 83
Frescoes  Sodoma 1 78
MONTEPRANDONE (Marches) Coronation  Pagani 1 24
MONTPELLIER  Portrait of Man, ascribed to Raphael .... Brescianino 61
Predella  " Master of the Carrand Altarpiece" 34
MUNICH  An Ecclesiastic  Moretto 147
Holy Family  Sodoma 1 79
NAPLES  Portrait of Bishop Rossi  Lotto 1 19
NEW HAVEN (Conn., U.S.A.)
Jarves Collection: Hercules  Pollajuolo 32
NEWPORT (R.I., U.S.A.)
Mr. Theodore M. Davis: Madonna  Copy of Cima 108
Portrait of an Abbess  Moroni 148
NEW YORK
Metropolitan Museum: Camilla Swimming the Tiber  Cozzarelli 60
Mr. Benjamin Altman: Bust of a Lady  Bartolommeo Montagna 103
Mr. J. A. Holzer: Portrait of a Lady  Bernardino de' Conti 174
Mrs. C. P. Huntington: Saint and Angels  Credi 41
Mr. Robert Minturn: Copy of Bonsignori's Head of the Young Christ.
One of the Carotos (?) 105
Morgan Collection: Madonna and Saints  Giacomo Francia 159
Mr. Salomon  Madonna and Two Saints  Catena 1 1 3
Mr. Grenville Winthrop: Madonna  Pier Francesco Fiorentino 26
NORCIA  Antonio da Faenza 124
214

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
OLDENBURG  Madonna. . " Master of the San Miniato Altarpiece" 24
PADUA  Madonna and Saints  Basaiti 1 10
Christ Taking Leave of His Mother. .Paris Bordone 129
Arena Chapel . . . Frescoes  Giotto 3, 4
Eremitani  Frescoes  Mantegna 106, 107
Scuola del Santo. .Frescoes  Bartolommeo Montagna 103
PALERMO Baron Chiaramonte-Bordonaro: Madonna and Saints  Brescianino 61
Martorana  Byzantine Mosaic  66
PARIS Louvre  Portrait of a Youth  Amico di Sandro 3 1
Sketch book  Jacopo Bellini 99
Triptych  Giovanni Massone . 1 70
Two Madonnas. "Master of the Castello Nativity" 18, 19
Altarpiece  Domenico di Michelino 1 7
Nativity  Ortolano 1 56, 1 57
Adoration of the Magi  Signorelli 83
Way to Golgotha. Utili (Giovanni Battista of Faenza) 35, 36
Portrait of Bernardo Sallo  Vivarini (Alvise) 1 o 1
Andre Collection : "Pieta"  Botticini 33
Comtesse de Bearn: Portrait of a Man  Vivarini (Alvise) 10 1
Former Dolfus Collection: Dormitionof the Virgin. "Maestrodel Bambino Vispo" 10
M. Gustave Dreyfus: Annunciation. . "Master of the Castello Nativity" 19
Former Goldschmid Collection :
" Esther" panel  Amico di Sandro 29
Baron Lazzarari . . Madonna. . " Master of the San Miniato Altarpiece" 23
Baron Schlichting: Portrait of Adxniral  Tintoretto 130
Spiridon Collection: Story of Nastagio degli Onesti..Alunno di Domenico 37
Sedelmeyer Collection: Madonna  Cima 107, 108
Mr. Edward Tuck: Madonna  Cima 108
PARMA  Apollo andMarsyas; Endymion  Cima 108
PAUSULA (Marches) . . . Madonna .S  Pagani 124
PERUGIA  Polyptych  Domenico di Bartolo 56
PHILADELPHIA Academy of Fine Arts: Madonna  Pier Francesco Fiorentino 26
215

APPENDIX
PLACE AND COLLECTION SUBJECT ARTIST PAGE
PHILADELPHIA — Continued
Johnson Collection: Bacchanal  Cima 1 38
Widener Collection: Madonna  Pier Francesco Fiorentino 26
PIENZA S. Anna in Caprena : Frescoes  Sodoma 1 78
PISA  Polyptych (once at Pisa)  Masaccio 1 5
PISTOIA Duomo  Forteguerri Monument  Verrocchio and Credi 42
PONTREMOLI  Altarpiece  Giovanni Massone 170
PRATO Duomo  Frescoes  Andrea di Giusto 1 6
PRINCETON Prof. Frank J. Mather: Madonna  Pordenone 1 26
REIGATE The Priory  Portrait of Girolamo Benivieni. Ridolfo Ghirlandajo 41
RIETI  Triptych  Antoniazzo Romano 1 1
RIOFREDDO(Abruzzi): Frescoes  Umbro-Florentine painter 69
ROME Borghese  Circe; David and Goliath  Dosso Dossi 160
" Santa Conversazione"  Copy after Lotto 122
Two Heads  Salviati 46
Preaching of St. Antony  Paul Veronese 141
Capitol  Christ and the Adulteress  Palma Vecchio 1 14
Colonna  Bust of a Boy. . Francesco di Gentile da Fabriano 76, 77, 79
Doria  Madonna  Bellinesque 1 1 3
Altarpiece  " Maestro del Bambino Vispo" 9
Vatican  Nativity  School of Alegretto Nuzi 69, 70
Madonna  Francesco di Gentile da Fabriano 75
Madonna and Saints
"Master of the San Miniato Altarpiece" 23
Story of Christ  Domenico di Michelino 1 7
Frescoes  Sodoma 1 78
Ferroni Sale (1909) :Madonna and St. Catherine. Pier Francesco Fiorentino 27
S. Maria in Trastevere: Mosaics  Cavallini 67

St. Peter's New Sacristy: Frescoes  Melozz da Forli
216

79

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
SAN GEMIGNANO  Benozzo Gozzoli; Pier Francesco Fiorentino 25
SAN GINESIO (Marches) Madonna and Saints . Stefano Folchetto di Sanginesio 82
SAN MINIATO AL TEDESCO (Val d'Arno).
S. Domenico  " Master of the San Miniato Altarpiece" 23
SAVONA  Polyptych  Giovanni Massone 1 70
SENS  Madonna . . " Master of the San Miniato Altarpiece" 23
SHREWSBURY Lord Berwick  Bust of Youth  Brescianino 61
SIENA Belle Arti  Madonna and Angels  Matteo di Giovanni 60
"Triumphs"  Pier Francesco Fiorentino 26
Madonna and Angels  Priamo della Quercia (?) 57
Opera Del Duomo. " Maesta"  Duccio 52
Baptistery  Font  Donatello 59, 60
Frescoes  Vecchietta 59, 60
S. Francesco  Fresco  Pietro Lorenzetti 56
S. Sebastiano in Valle Piatta:
Madonna  Matteo di Giovanni 60
ST.JEAN-SUR-MER Villa Sylvia, Mr. Ralph Curtis:
"Ecce Homo" . .Francesco di Gentile da Fabriano 75, 78
ST. PETERSBURG
Hermitage  "Pieta"  Cima 118
Madonna  Lotto 120
STRASBURG University Gallery: Apostles  Alegretto Nuzi 68
Nativity  Utili (Giovanni Battista of Faenza) 36
SYRACUSE  Annunciation  Antonello da Messina 96
TREVISO  Frescoes  Tommaso da Modena 93
S. Niccolo  Incredulity of Thomas  Sebastiano del Piombo 1 19
TRESCORRE (Bergamask): Frescoes  Lotto 123
TURIN  Holy Family  Sodoma 1 79
Madonna  Bartolommeo Vivarini 95
Museo Civico, Cora Collection:
Madonna with St. James and Donor. Bernardino de' Conti 1 74
217

\

appendix
PLACE AND COLLECTION SUBJECT ARTIST PAGE
VENICE Academy  Portrait of Beato Lorenzo Giustiniani. Gentile Bellini 98
"S. Giobbe" Altarpiece  Giovanni Bellini 167
Altarpiece  Francesco Benaglio 137
The Fisherman  Bordone (Paris) 1 29
Jesus and the Canaanitish Woman. . . Palma Vecchio 1 19
Cartoon for Apollo and Marsyas  Perugino 44
Polyptych of 1464  Bartolommeo Vivarini 95
Correr  Bust of Man  Bartolommeo Montagna 103
Doges' Palace.. ..Triumph of Venice  School of Paul Veronese 145
Royal Palace  Christ and the Adulteress  Rocco Marconi 1 1 6
Prince Giovanelli: Moses Striking the Rock  Bacchiacca 44
Quirini-Stampalia: Portrait of Francesco Quirini  Palma Vecchio 1 1 5
Layard Collection: Still Life  Jacopo de' Barbari 102
Madonna, Saints and Donors  Bissolo 1 1 1
" Pieta"  Sebastiano del Piombo 1 18
Frari  Triptych  Giovanni Bellini, 103, 167
Triptych  Bartolommeo Vivarini 95
Gesuati  Ceiling  Tiepolo 189
S. Giorgio degli Schiavone: Study of St. Jerome  Carpaccio 1 57
S.Giovanni e Paolo: Polyptych  Bonsignori 104
Christ and Saints  Rocco Marconi 1 16
S. Giovanni Crisostomo: Altarpiece  Sebastiano del Piombo 1 18, 1 19
S. Stefano in Rialto: Organ Shutters  Sebastiano del Piombo 1 19
VERONA   Madonna  Bonsignori 105
Vision of Madonna  Cavazzola 139
Portrait of Pasio Guadiento  Paul Veronese 144
S. Anastasia  St. Martin  Caroto 141
S. Bernardino . . . Madonna and Child  Francesco Benaglio 1 37
S. Paolo  Altarpiece  Bonsignori, 103, 121
VICENZA  Altarpiece  Cima 121
Nativity; Madonna and Saints. Bartolommeo Montagna 103
VIENNA  "Pieta"  Antonio da Saliba 98
Santa Giustina  Moretto 147
Count Lanckoronski: Madonna and Saints  Brescianino 61
Jupiter Painting Butterflies  Dosso Dossi 160
218

J

INDEX OF PLACES
PLACE AND COLLECTION SUBJECT ARTIST PAGE
VI ENNA — Continued
Liechtenstein Gallery: " Esther " panels  Amico di Sandro 29
Double portrait  Antonello da Messina 155
Wittgenstein Collection: " Ecce Homo "  Solario 1 77
VITERBO  Nativity  Antonio da Viterbo 89
VOLTERRA  Madonna and Angels  Priamo della Quercia 57
WINDSOR  Man with Hawk  Alvise Vivarini 101

219

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232

II FLORENTINE, TOWARD I425

12 IL MAESTRO DEL BAMBINO VISPO
234

13 IL MAESTRO DEL BAMBINO VISPO

235

14 FRA ANGELICO
236

to

15 STUDIO OF FRA ANGELICO

to00

1 6 SCHOOL OF FRA ANGELICO

17 IMITATOR OF MASACCIO

239

too

1 8 SCHOOL OF MASACCIO

24 1

242

22 DOMENICO DI MICHELINO

243

32 MASTER OF THE CASTELLO NATIVITY

244

24 UNKNOWN FOLLOWER OF FRA ANGELICO

to

25 UNKNOWN FOLLOWER OF FRA ANGELICO

34 SCHOOL OF DOMENICO VENEZIANO

247

35 PESELLINO 248

36 "compagno di pesellino" (?)
249

37 "MASTER OF THE SAN MINIATO ALTARPIECE"
25O

o o

czWca

cc

25'

252

45 SANDRO BOTTICELLI

to

46 SANDRO BOTTICELLI

47 SANDRO BOTTICELLI

48 SANDRO BOTTICELLI

256

50 AMICO DI SANDRO
257

51 JACOPO DEL SELLAJO
258

53 JACOPO DEL SELLAJO
259

<->

o u<

260

55 FRANCESCO BOTTICINI
26l

SCHOOL OF BOTTICINI
262

59 "MASTER OF THE CARRAND TRIPTYCH
263

60 COSIMO ROSSELLI (?)
264

62 G. B. UTILI OF FAENZA
265

to

64 FLORENTINE, TOWARD I49O

65 DAVID AND DOMENICO GHIRLANDAJO

267

66 DAVID GHIRLANDAJO
268

SCHOOL OF GHIRLANDAJO
269

MjM

PR A -Si DI /
confvcimvs

69 BARTIANO MAINARDI
27O

z
uzLUSo Q

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o

271

71 ALUNNO DI DOMENICO

272

to

72 FRANCESCO GRANACCI

73 RIDOLFO GHIRLANDAJO

274

74 RIDOLFO GHIRLANDAJO

275

75 STUDIO LORENZO DI CREDI
276

76 PIERO DI COSIMO

277

77 SCHOOL OF PIERO DI COSIMO
278

78 FRA BARTOLOMMEO

279

79 LEONARDO DA PISTOJA

280

80 BACCHIACCA

28l

)I ANDREA DEL SARTO
282

83 PONTORMO

283

SIENESE SCHOOL

89 UGOLINO DA SIENA
287

91 PIETRO LORENZETTI

92 PIETRO LORENZETTI
289

93 BARNA
29O

94 FRANCESCO DI VANNUCCIO

29I

to

95 BARTOLO DI MAESTRO FREDI

98 SIENESE (?) ABOUT I4OO

293

102 DOMENICO DI BARTOLO

294

103 PRIAMO DELA QUERCIA (?)

295

105 GIOVANNI DI PAOLO

296

297

toCO

1 08 LORENZO VECCHIETTA

109 NEROCCIO DI LANDI
299

oo

I I I MATTEO DI GIOVANNI

112 GUIDOCCIO COZZARELLI

301

113 ANDREA DEL BRESCIANINO

302

CENTRAL ITALIAN SCHOOLS

I l6 SCHOOL OF PIETRO CAVALLINI

305

117 ALEGRETTO NUZI

306

120 FOLLOWING ALEGRETTO NUZI

307

o CO

121 SCHOOL OF FABRIANO

o

W^M

122 SCHOOL OF THE MARCHES, ABOUT I4OO

123 OTTAVIANO NELLO

310

3"

*OJ to

125 UMBRO-FLORENTINE, TOWARD I425

3'3

Q<
oHz
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3'4

129 FRANCESCO DI GENTILE DA FABRIANO

3'5

130 FRANCESCO DI GENTILE DA FABRIANO

316

131 FRANCESCO DI GENTILE DA FABRIANO
3'7

132 UMBRIAN, ABOUT I 5OO

3.8

133 UMBRIAN ABOUT, 1 5OO

319

w z
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H HwIu
Jo

320

135 LUCA SIGNORELLI
321

-1-J
w ti
ozo

<u
D

322

323

I38 LUCA SIGNORELLI

324

I40 FIORENZO DI LORENZO
325

141 PIETRO PERUGINO
326

142 BERNARDO PINTORICCHIO

327

143 ANTONIO DA VITERBO

328

144 BERNARDO DI MARIOTTO
329

145 EUSEBIO DI SAN GIORGIO

330

HffT i "'^Jj^HK^ ' ^HVHHbw* %mH
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I46 GIOVANNI LO SPAGNA
33'
148 SCHOOL OF COTIGNOLA
332

149 GIROLAMO MARCHESI OF COTIGNOLA

333

334

151 FOLLOWING OF NICCOLO RONDINELLI
335

VENETIAN SCHOOL

<
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339

,.<33fc^

I55 BARTOLOMMEO VIVARINI
34O

I56 BARTOLOMMEO VIVARINI

34'

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I58 CARLO CRIVELLI
342

159 ANTONELLO DA MESSINA

343

l60 ANTONIO DE SALIBA

344

- ^  ;  ;  .1, .. .;. . Mi.$fa.L
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l62 SCHOOL OF GENTILE BELLINI
345
163 SCHOOL OF GENTILE BELLINI
346

164 VENETIAN, ABOUT 1475

347

165 GIOVANNI BELLINI
348

l66 ALVISE VIVARINI

349

167 JACOPO de' barbari

350

BARTOLOMMEO MONTAGNA

35'

169 BARTOLOMMEO MONTAGNA

352

171 FRANCESCO BONSIGNORI

353

172 FRANCESCO BONSIGNORI

354

u'J<a.ai<'Jz
'r- U

355

174 LAZZARO SEBASTIANI (?)

356

175 LAZZARO SEBASTIANI (?

357

I76 CIMA DA CONEGLIANO

358

359

170 CIMA DA CONEGLIANO

360

179 MARCO BASAITI

36 1

362

l8l MARCO BASAITI

363

l82 VINCENZO CATENA

364

183 VENETIAN I 5OO-I 5 10

365

366

l86 PALMA VECCHIO

367

368

l88 PALMA VECCHIO

369

189 SCHOOL OF PALMA VECCHIO

370

I90 ROCCO MARCONI

37'

z
< <

372

192 SEBASTIANO DEL PIOMBO

373

193 SEBASTIANO DEL PIOMBO

374

194 LORENZO LOTTO

375

195 LORENZO LOTTO

376

I96 LORENZO LOTTO

377

o

H D
oca<<
PwzUJ>

378

I98 VINCENZO PAGANI

379

<<

zuz

380

201 SCHOOL OF THE MARCHES

z
o z
maat,O

382

203 BERNARDO LICINIO

383

204 TITIAN

384

205 SCHCOL OF TITIAN

385

00

206 PARIS BORDONE

mmWM,
207 PARIS BORDONE

387

208 TINTORETTO

209 TINTORETTO

389

O

2IO SCHOOL OF TINTORETTO

211 SCHOOL OF TINTORETTO

tJ

212 LEANDRO BASSANO

SCHOOLS OF
PADUA, VERONA, AND BRESCIA

>o-> O

213 CONTEMPORARY COPY OF MANTEGNA

214 UNKNOWN FOLLOWER OF MANTEGNA

396

215 FRANCESCO BENAGLIO

397

2l6 LIBERALE DA VERONA

398

o z
jo3o_!Ou

399

400

SCHOOL OF DOMENICO MORONE
401

223 FRANCESCO CAROTO
402

403

404

226 BRUSASORCI (?)

405

227 PAOLO FARINATI

406

229 PAUL VERONESE

407

234 CALISTO PIAZZA DA LODI

408

235 GUILIO CAMPI
409

410

237 G- B- MORONI

4"

238 G. B. MORONI

412

239 ITALIAN, ABOUT 1 59O

4>3

SCHOOLS OF
FERRARA AND BOLOGNA

4'7

242 STUDIO OF COSIMO TURA

418

243 ERCOLE DE ROBERTJ

419

244 LORENZO COSTA

420

245 ERCOLE GRANDI

246 ORTOLANO

422

oj

Ha!

O

423

424

oQ

O Q

425

2 53 FOLLOWING OF DOSSO DOSSI

426

2 55 SCARSELLA

427

SCHOOLS OF
MILAN AND PIEDMONT

257 VINCENZO FOPPA

43'

258 SCHOOL OF FOPPA
432

259 AMBROGIO BORGOGNONE
433

260 SOUTH EASTERN PIEDMONTESE, TOWARD I475

26l SOUTH EASTERN PIEDMONTESE, TOWARD I475

262 GIOVANNI MASSONE
436

o o

Do <

wz <
-4

437

264 AMBROGIO DA PREDIS

438

265 AMBROGIO DA PREDIS (?)
439

O

267 BRAMANTINO

268 BOLTRAFFIO

44'

269 BERNARDINO DE' CONTI

442

270 BERNARDINO DE CONTI

443

27I GIANPETRINO

444

<o <as Qz<

M

445

273 ANDREA SOLARIO

446

274 ANDREA SOLARIO
447

276 DEFENDENTE FERRARI

448

449

278 SODOMA

450

LATE BOLOGNESE SCHOOL

279 THE CARRACCI

453

201 ROMAN SCHOOL

454

4^5

Ol Os

284 ANDREA SACCHI

EIGHTEENTH CENTURY
VENETIAN SCHOOL

285 GIOVANNI BATTISTA PITTONI

o

286 GIOVANNI BATTISTA TIEPOLO

On

287 GIOVANNI BATTISTA TIEPOLO

29O FORTUNATO PASQUETl
462

29I VENETIAN, FIRST HALF OF EIGHTEENTH CENTURY

463

IHDS3IHVW 313H3IW L6z

X

a*<

465

Os

303 FRANCESCO GUARDI