UNIVl BSH 'I I IMHMI 3 9002 04492 6781 > SCHOOL OP THE PINE ABTS < catalogue of romanesque, gothic and renaissance sculpture r ,r * 6fl<. THE METROPOLITAN MUSEUM OF ART CATALOGUE OF ROMANESQUE, GOTHIC AND RENAISSANCE SCULPTURE BY JOSEPH BRECK ASSISTANT CURATOR DEPARTMENT OF DECORATIVE ARTS NEW YORK M C M X I I I COPYRIGHT, 19 13, BY THE METROPOLITAN MUSEUM OF ART °l\3 K\ PREFACE THE sculptures described in this catalogue have been ac quired by the Museum either through purchase or gift or are lent to the Museum by Mr. J. Pierpont Morgan. This latter class of material, included in the catalogue by the kind permission of the owner, is composed chiefly of the sculptures in the Gothic section of the Georges Hoentschel Collection, placed in the Museum by Mr. Morgan in 1907. Thanks to this munificent loan, supplemented by gifts from Mr. Morgan and other donors, and by recent purchases made by the Museum, the examples of French, Flemish,1 and German sculpture constitute a collection unquestion ably of exceptional importance. Spanish sculpture is rep resented in the collection by only a few examples, but one of these is the beautiful alabaster retable from Zaragoza given to the Museum by Mr. Morgan in 1909. Although the English sculptures are not numerous, they include several interesting pieces. The hundred or more sculptures of the Italian school have been acquired chiefly by purchase; they illustrate satisfactorily the general development of Gothic and Renaissance sculpture in Italy, and include as well not a few masterpieces of the highest order. In this catalogue the sculptures have been grouped first by countries and then by periods. A further division by materials has not seemed advisable, but at the end of the 'Flemish, as employed in common usage, referring not only to Flanders but to the Netherlands as a whole, generally, however, exclusive of Holland. PREFACE catalogue there will be found an index of sculptures arranged by material. Although for the most part the sculptures are by unidentified artists, certain works can be ascribed to known sculptors or to their immediate followers, and an index of these is also given, together with an index of sub jects and persons represented. With few exceptions, sculp tures intended primarily for decoration, such as the carved paneling of a room, or architectural details, capitals and doorways for example, are not included in this catalogue. Abbreviations have been avoided as far as possible, and those used need no explanation. In the measurement of an object, unless otherwise specified, the height is always ex clusive of any modern mounting. Base is used in the text to indicate the supporting member of a sculpture when it is naturalistic in form, and plinth, when it is geometric, for example, square or hexagonal. A wall statue or statuette, as the name implies, is one intended to be seen from the front and is consequently unfinished or only roughly com pleted in the back. A relief without background is one in which the area of the piece is defined by the outline of the figures with their scenic accessories. 1 n the ascription of the sculptures I have been greatly aided by the advice and helpful supervision of Dr. W. R. Valen- tiner, Curator of the Department of Decorative Arts. Joseph Breck. February 3, 191 3. vi TABLE OF CONTENTS Preface. Table of Contents . List of Illustrations PAGE V vii xi ITALIAN SCULPTURE I. Romanesque Period. XI-XII Centuries A. School of Campania . B. North Italian School II. Gothic Period. XIII- A. Tuscan School XIV Centuries III. Early Renaissance Period. XV Century A. School of Verona B. Tuscan School C. Florentine School D. School of Lucca E. Sienese School . F. Paduan School . G. Mantuan School H. School of Vicenza I. School of the Emilia J. Lombard School K. Venetian School. L. North Italian School M. Roman School . N. South Italian School 3 4 8 1218 48 5° 5i58 59 6061 626868 72 vn table of contents ITALIAN SCULPTURE— Continued IV. Late Renaissance Period. XVI Century A. Florentine School 73 B. Venetian School . 81 C Paduan School . 89 D. Roman School . 90 E. Unclassified . 92 SPANISH SCULPTURE I. Romanesque Period. XI — XII Centuries A. Unclassified . . . . -95 II. Gothic Period. XIII — XV Centuries A. School of Catalonia ... 98 III. Renaissance Period. XVI Century A. School of Castile . . . 101 B. Unclassified . . . . .102 FRENCH SCULPTURE I. Romanesque Period. XI-XII Centuries A. School of Auvergne . . . 107 B. Unclassified . . . . 108 II. Gothic Period. XIII Century A. Unclassified . . . . .110 III. Goth ic Period. XIV Century and Half of XV Century "irst A. Unclassified . 114 B. North French School 122 C School of Ile-de-France . 124 D. School of Burgundy . . 126 E. School of the Bourbonnais. • '33 F. School of Provence . 134 table of contents FRENCH SCULPTURE— Continued PAGE IV. Late Gothic-Early Renaissance Period. About 1450 to 1525 A. North French School B. School of Lorraine C. School of lle-de-France D. School of Burgundy E. School of Touraine . F. School of Lyons G. School of Toulouse . H. Unclassified 135140141142 '43158 159160 V. Late Renaissance Period. About 1525 to 1600 A. Unclassified . . . . .162 ENGLISH SCULPTURE I. Gothic Period. XIII — XV Centuries A. Unclassified ... B. School of Nottingham . 169 . 170 FLEMISH AND DUTCH SCULPTURE I. Late Gothic-Early Renaissance Period. About 1450 to 1525 Flemish School A. Unclassified . . . . . 179 B. School of Brussels . . . 202 C. School of Antwerp . . .211 Dutch School A. Unclassified . . .216 II. Late Renaissance to 1600 Flemish School A. Unclassified Period. About 1525 221 table of contents PACE GERMAN SCULPTURE I. Romanesque Period. XI-XII Centuries A. Unclassified . • 225 II. Gothic Period. XIII, XIV, First Half of XV Centuries A. Lower Rhenish School . . 226 B. Middle Rhenish School . . .231 III. Late Gothic-Early Renaissance Period. About 1450 to 1525 A. Franconian School . . . .232 B. Suabian School. . . .236 C. Tyrolese School . . 245 D. Unclassified South German School 248 E. Lower Rhenish School . . .254 IV. Late Renaissance Period. About 1525 to 1600 A. Franconian School .... 256 B. Suabian School. . . . 259 C. Unclassified ..... 260 INDEX Index of Sculptors ..... 265 Index of Sculptures according to Material 267 Index of Subjects and Persons represented 268 LIST OF ILLUSTRATIONS catalogue nos. page Nos. 3, 4. Angels of the Last Judgment ... 5 Workshop of Giovanni Pisano Italian, Tuscan School, early XIV century No. 7. Portrait Medal of Leonello d'Este . . 9 Pisanello Italian, Veronese School, about 1443 No. 9. Enthroned Madonna 11 Master of the Pellegrini Chapel Italian, Tuscan School, first half of XV century No. 10. Madonna and Child 13 Italian, Tuscan School, first half of XV century No. 14. Madonna and Child 17 Italian, Tuscan School, first half of XV century No. 15. The Veronese Madonna . . . . • 19 Donatello, 1 386-1466 Italian. Florentine School xi LIST OF ILLUSTRATIONS CATALOGUE NOS. PAGE No. 18. Hercules and the Nemean Lion . . . 23 Bertoldo di Giovanni(F), i42o(?)-i49i Italian, Florentine School Nos. 22-26. The Nativity 27 Antonio Rossellino, 1427-about 1478 Italian, Florentine School No. 27. Head of a Laughing Cherub. ... 29 Antonio Rossellino, 1427-about 1478 Italian, Florentine School No. 33. Madonna and Child 33 Andrea del Verrocchio, 1435-1488 Italian, Florentine School No. 35. Putto 35 Workshop of Andrea del Verrocchio Italian, Florentine School, second half of XV century No. 36. The Assumption of the Virgin ... 37 Andrea della Robbia, 1435-1525 Italian, Florentine School No. 37. Head of a Youth 41 Andrea della Robbia, 1435-1525 Italian, Florentine School No. 40. Kneeling Madonna 43 Giovanni della Robbia, 1469-1 529(F) Italian, Florentine School No. 42. Portrait Medal of Elizabetta Gonzaga . 45 Adriano Fiorentino, d. 1499 Italian, Florentine School list of illustrations catalogue nos. page No. 43. Portrait Medal of Marsilio Ficino . . 47 The so-called "Hope'' medalist (?) Italian, Florentine School, second half of XV century — early XVI No. 44. Angel of the Annunciation .... 49 Matteo Civitali, 1436-1501 Italian, School of Lucca No. 50. Glorification of a Hero . . . .53 Riccio, 1470-1532 Italian, Paduan School Nos. 52, 53. Two Lamps . 55 Workshop of Riccio Italian, Paduan School, first half of XVI century No. 57. Cacus stealing the Cows of Hercules 57 Moderno . Italian, Paduan School, late XV-early XVI centuries No. 59. Crouching Venus 59 L'Antico(F), i46o(?)-i528 Italian, Mantuan School No. 65. Altar Relief 63 Gerardo di Mainardo, d. 1422 Italian, Venetian School No. 68. Portrait of a Youth 67 Pietro Lombardo, d. 15 15 Italian, Venetian School xiii list of illustrations catalogue nos. page No. 78. Model of a Fountain .... 79 Giovanni Bologna, 1524-1608 Italian, Florentine School No. 84. Door Knocker . . 81 Style of Jacopo Sansovino Italian, Venetian School, XVI century No. 87. Bust of Simone Contarini . 85 Alessandro Vittoria, 1 525-1608 Italian, Venetian School No. 89. Satyr 87 Italian, Venetian School, about 1575 Nos. 91,92. Lion and Lioness. 87 Italian, Venetian School, second half of XVI century No. 101. Retable . . 99 Atelier of Pedro Juan de Vallfogona Spanish, second quarter of XV century No. 108. Virgin and Child .... . 109 School of Auvergne French, second half of XII century No. 110. Aquamanile . . . . . 111 French, XIII century No. in. Crook from a Pastoral Staff . 113 French, XIII century No. 113. Virgin and Child . . 115 French, first third of XIV century xiv LISTOF ILLUSTRATIONS catalogue nos. page No. 114. Virgin and Child . . .117 French, first half of XIV century No. 116. Diptych: Nativity and Crucifixion . 119 French, XIV century No. 119. Leaf of Diptych: Virgin and Child . 119 French, XIV century No. 123. Saint George . . .123 North French, early XV century No. 125. Head of Christ . . . .125 School of Ile-de-France French, XIV century No. 126. Saint John the Baptist . . . .127 School of Ile-de-France French, XIV century No. 127. Virgin and Child 129 School of Ile-de-France French, middle of XV century No. 129. Six Apostles 129 Burgundian School French, about 1400 No. 131. Virgin and Child 131 Style of Claus Sluter French, early XV century No. 133. A Mourner . . .... 133 Burgundian School French, middle of XV century LIST OF ILLUSTRATIONS catalogue nos. page No. 135. Saint Mary Magdalen 133 Bourbonnais School French, middle of XV century No. 141. The Nativity. . .... 137 North French (?) School End of XV century No. 153. "Saint Catherine of Alexandria . . .145 School of Touraine French, second half of XV century No. 155. Saint George . . . ... 147 School of Touraine French, end of XV century No. 156. Pieta 149 From the Chateau de Biron School of Michel Colombe French, end of XV century No. 157. The Entombment 151 From the Chateau de Biron School of Michel Colombe French, about 15 10-15 12 No. 159. Virgin and Child 155 School of Michel Colombe French, about 1 500 No. 160. The Education of the Virgin . . .157 School of Michel Colombe French, beginning of XVI century xvi LIST OF ILLUSTRATIONS catalogue nos. page Nos. i 77-1 79. The Entombment, Crucifixion, and Ascen sion 171 School of Nottingham English, about 1430 No. 219. S. Anne, the Virgin, and Child . . . 189 Flemish, about 1500 No. 220. An Angel with the Handkerchief of S. Veronica 189 Flemish, about 1500 No. 224. Saint Nicholas 191 Flemish, about 1500 No. 225. Saint Peter 193 Flemish, about 1500 No. 226. Saint Paul 193 Flemish, about 1500 No. 229. A Trumpeter 195 Flemish, about 1500 No. 243. Legendary Scene 201 School of Brussels (?) Flemish, about 1450 No. 244. S. Anne, the Virgin, and Child . . . 203 School of Brussels (?) Flemish, about 1500 No. 253. Three Soldiers 209 Style of Jan Borman Flemish, about 1520 xvii LIST OF ILLUSTRATIONS catalogue nos. page No. 265. A Kinswoman of the Virgin . . . .215 School of Antwerp (?) Flemish, about 1520 No. 272. S. Anne, the Virgin, and Child . .217 With two Angels Dutch, about 1500 No. 281. Crucifix . 227 German, XII century No. 282. Jouee of Choir Stall 229 Lower Rhenish School German, middle of XIV century No. 283. Jouee of Choir Stall 229 Lower Rhenish School German, middle of XIV century No. 285. Virgin and Child 231 Middle Rhenish School First half of XV century No. 290. The Virgin and Child 235 School of Tilman Riemenschneider Franconian School German, early XVI century No. 295. The Death of the Virgin .... 237 Suabian School German, about 1500 No. 296. Altar-shrine with painted doors . . . 239 Suabian, School of Ulm (?) German, about 1 500 xviii LIST OF ILLUSTRATIONS catalogue nos. page No. 298. An Apostle 241 Suabian, about 1500-15 10 No. 301. S. Anne and S. Joachim .... 241 Suabian School German, about 1520 No. 310. Pieta . . 247 Tyrolese, early XVI century No. 317. The Visitation . .... 251 After a wood-cut by Diirer South German, about 1520 No. 318. The Nativity . . . 253 After an engraving by Schongauer South German, about 1520 No. 321. Christ among the Doctors. . . . 253 Lower Rhenish School German, about 15 10 xix ITALIAN SCULPTURE I ROMANESQUE PERIOD XI-XII CENTURIES A. SCHOOL OF CAMPANIA UNKNOWN SCULPTOR. About iioo. I THE SIXTH DAY OF CREATION. Standing at the left, facing partly to the right, the Creator raises His right hand in blessing (the first, second, and fourth fingers extended, the third bent in to touch the thumb). In His left hand He holds a scroll ; the forearm crosses the body and is covered by the folds of a toga worn over a tunic showing the sandaled feet. At the right in the foreground facing the Creator are a lion and a griffin; above them coils a large serpent; an ox, a basilisk (or cockatrice, a cock with a ser pent's tail), and an animal seated on its haunches, perhaps a dog, constitute a third row; above these, in turn, are a horse, a stag, a ram, and two animals difficult to identify. The re lief is framed on three sides by a plain moulding and on the left vertical side by a twisted column with a foliated capital, divided vertically, the other half presumably appearing on the relief which must have adjoined it on the left. Low relief. Ivory. Height, 4! inches. Width, 4^ inches. Lent by J. Pierpont Morgan, 191 1. This panel is evidently from a large paliotto or altarpiece consisting of many ivory panels illustrating scenes from the ITALIAN, ROMANESQUE New and Old Testaments. Although Byzantine influence is marked, this ivory may surely be assigned to an Italian artist working in the south of Italy towards the end of the eleventh century or a little later. The relief illustrates the verse from the first chapter of Genesis: And God said, Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind: and it was so. The introduction in this scene of the Creation of the griffin and basilisk among the more prosaic denizens of the field and forest bears striking testimony to a naive belief in the real existence of these fabulous monsters. B. NORTH ITALIAN SCHOOL UNKNOWN SCULPTOR. XII Century. 2 SAINT HILARION. Wearing a long gown with a hood, girdled at the waist and falling in stiff parallel folds, the saint stands against a rounded shaft extending above and below the figure. His feet are supported by a shell-like projection from the shaft. His head is tonsured, his face long and narrow, the forehead low, the features crudely modeled. The pupils of the eyes are deep cut. The nose has been partly destroyed. Both arms are held closely at the sides, the forearms crossing the body. In his left hand, he holds an unrolled scroll bearing an inscription. Statuette. Marble. Height, 35 inches. Rogers Fund, 1908. This piece came from Venice. The meaning of the inscrip tion is not clear, but the first line gives us the name of the saint: ses hilar', that is, Saint Hilarius or more prob ably Saint Hilarion. , - - NOS. 3, 4 TWO PILASTERS WORKSHOP OF GIOVANNI PISANO II GOTHIC PERIOD XIII-XIV CENTURIES A. TUSCAN SCHOOL PISANO. Workshop of Giovanni Pisano (about 1250-- after 1328). Probably first quarter of XIV Century. 3-4 TWO PILASTERS. On each pilaster two angels, dressed in simple tunics girdled at the waist, are represented blowing long, curving trumpets. A few slight traces remain of painting. (Illustrated, page 5.) High relief. White marble. Height of each, 31! inches. Rogers Fund, 191 1. It is probable that these pilasters enframed a relief of the Last Judgment. In execution, the treatment of the massive, swiftly rounded planes," the bold use of deep shadow accents, the simplification of the forms are thoroughly characteristic of Giovanni's way of working. It is only in occasional passages where the exaggeration is felt to be a mannerism rather than an explanation that ground is given for questioning an unquali fied attribution to the master himself. The pilasters were purchased in Florence by John Ruskin in the middle of the last century and formed part of his collection at Brantwood, Coniston, England. They were said to have come from the Baptistry at Florence, but the claim is at present unsupported by any evidence. J. B.: Giovanni Pisano; A Recent Purchase, etc., in Bulletin of the Metropolitan Museum of Art, 191 1, VI, p. 44. 6 TUSCAN SCHOOL PISANO. Follower of Nino Pisano (died about 1368). Third quarter of XIV Century. 5 MADONNA AND CHILD. The Virgin, a standing figure with the left knee bent, supports on her left arm the seated Child, who blesses with one hand and holds a little bird in the other. The Virgin's mantle, falling open at the shoulder, is drawn across her body at the waist and held by her right hand. The Child has short, curly hair. The Virgin's wavy hair is parted in the middle. The base is hexagonal. With the exception of a few minor injuries the statue is in good condition. Statuette. Marble. Height, 33 inches. Rogers Fund, 1909. J. Breck: La scultura italiana nel Metropolitan Museum, in Rassegna d'Arte, 1910, X, No. 2, p. 21. (111.) UNKNOWN MASTER. XIV Century. 6 CHRIST. A seated figure, draped. His right hand is raised in benediction; with His left hand He holds in front of Him an open book. His face is youthful; His long hair is parted in the middle and hangs down to the shoulders. Behind the head, a cruciferous halo. The figure, in high relief, is mounted on a four-pointed star-shaped plaque decorated with a foliage design repousse on a dotted ground. High relief. Silver gilt. Height, 8| inches. Width, &r\ inches. Rogers Fund, 1910. From a piece of ecclesiastical furniture, possibly a reliquary or crucifix. Ill EARLY RENAISSANCE PERIOD XV CENTURY A. SCHOOL OF VERONA PISANELLO. Vittore Pisano, called Pisanello. Probably to be identified with Antonio Pisano (di Puccio or Pucino). Born in Pisa or Verona before 1395. Died in Naples (?) between 1450 — 1456. Pain ter and Medalist. 7 MEDAL OF LEONELLO D'ESTE. (1407-1450). Obverse: bust portrait, profile facing right, bareheaded, scale armor over undervest. Legend in raised letters: leonel lvs • marchio • estensis separated by olive-branches. Reverse: mask of a child, three-faced, between two trophies of armor suspended from olive-branches. Legend in raised letters: opvs • pisani • pictoris. (Illustrated, page 9.) Medal. Low relief. Bronze. Yellow brown patina. Diameter, i\ inches. Gift of H. Heilbronner, 1909. Of the seven portrait medals (or, if we regard as two the slight variations of the medal with the lynx impresa, eight), which Pisanello made for the young Marquis of Ferrara, the only one bearing a date is the marriage-medal of 1444, the culmination artistically, and possibly also in point of time, of this extraor dinary series of medals. The others were probably executed within a few years of this date, certainly not earlier than 1441. L. Testi believes that the medal with the triple-face impresa was executed in 1443, at least before May, 1444, when it was 8 SCHOOL OF VERONA reproduced by Giovanni Badile in his frescoes at Verona in S. Maria della Scala. The triple-face impresa which is found on the reverse of our medal is difficult to explain, but probably may be taken as alluding to the prudence of Leonello, defender of the peace and prosperity of his subjects. The triple-head is found again on the shoulder-piece of King Alfonso's armor in a drawing by Pisanello in the collection His de la Salle, in the Louvre. G. F. Hill: Pisanello. London, 1905. J. B: Renaissance Portrait Medals, in Bulletin of the Metropolitan Museum of Art, 1912, VII, p. 49-54. (111.) Recent literature (partial list) dealing with the identification of Pisanello with the artist Antonio di Puccio, his biography and date of works : G. Biadego: Pisanus Pictor, in Atti del reale istituto veneto di scienze, lettere ed arti, 1907-1908, LXVII, part II, p. 849 ff. Id. Pisanus Pictor, in Id. Second note, 1908-1909, LXVII I, part II, p. 229-248. Id. Pisanus Pictor, in Id. Third note, etc., 1909- 1910, LXIX, part II, p. 183-188, 797-813, 1047-1054. G. F. Hill: Recent Research on Pisanello, in The Burlington Magazine, 1910, XVII, p. 361-362. L. Testi: Storia della pittura veneziana. Bergamo, 1909, part I, p. 380. ITALIAN, EARLY RENAISSANCE L. Testi: Vittore Pisanello o Pisanus Pictor, in Rassegna d' Arte, 19 10, X,"N6T 9, p. 131-14'- Id. Quando nacque "Pisanus Pictor" o meglio Antonio di Puccio?, in Rassegna d'Arte, 191 1, XI, No. 7, p. I — I II. A. Venturi: Review of article Pisanus Pictor by Biadego, in L'Arte, 1908, XI, p. 467-469. Id. Review of third note by Biadego, in L'Arte, 1910, XIII, p. 74-75. G. Biscaro: Appunti e notizie, in Archivio Storico Lombardo, 191 1, Series IV, Vol. XV, p. 171-173. PISANO. Follower of Pisanello. Possibly Fer- rarese. First half of XV Century. 8 MEDAL OF NICCOLO III D'ESTE. (1 383-1 441). Obverse: bust portrait in profile to the right, wearing a high berretto, and a tunic edged with fur over an undervest. Legend in relief: nicolai mar ¦ chio estensis. Reverse: coat-of-arms, the fleurs de lys of France quartered with the eagle of the House of Este. To the left of the shield is the Gothic letter It in relief; to the right m, (Nicolaus Marchio). The reverse is bordered by a wreath of laurel. Medal. Low relief. Bronze. Black patina. Diameter, 2j\ inches. Rogers Fund, 1909. This medal must have been executed after the first of January, 143 1, date of the letters patent from Charles VII, King of France, to Niccolo III authorizing him to add to his arms the three fleurs de lys of France. There is a second version of this medal in which the head is uncovered and the arrangement of the dress at the throat different. Furthermore, the legend is inscribed instead of being in relief. Both are reproduced by Heiss, and in other works on Pisanello. Bernasconi has attributed both medals to Vittore Pisano. Heiss more justly ascribes them to a follower of Pisano who he conjectures may be Andrea Guazzalotti. Julius Friedlander, Rossi, Gruyer, and others accept the attribution to Pisanello. Armand places both in the class of attributed works. Hill does not accept the ascription to Pisanello, but considers them by a Ferraresc follower. 10 SCHOOL OF VERONA A. Armand J.B.: Les me'dailleurs italiens des quinzieme et seizieme siecles. Paris, 1883. Renaissance Portrait Medals, in Bulletin of The Metropolitan Museum of Art, 1912, VI I., p. 49-54. (111.) C. Bernasconi: II Pisano. Verona, 1862. no. 9 J. Friedlander: Die italienischen Schaumiinzen des fiinfzehn- ten Jahrhunderts. 1882. G. Gruyer: L'Art Ferrarais. Paris, 1897; II, p. 585. A. Heiss: Les medailleurs de la renaissance, Vittore Pisano. Paris, 1881. G. F. Hill: Pisanello. London, 1905, p. 102. U. Rossi: II Pisanello e i Gonzaga, in Archivio storico dell'arte, 1888, p. 455. n ITALIAN, EARLY RENAISSANCE B. TUSCAN SCHOOL MASTER OF THE PELLEGRINI CHAPEL. First half of XV Century. This name is given to the unidentified sculptor, possibly a Florentine, who worked about i42o-3o in the pellegrini chapel of the Church of S. Anastasia in Verona, executing reliefs in TERRACOTTA WHICH SHOW THE INFLUENCE OF JACOPO DELLA QUERCIA AND OF THE DALLE MASEGNE. 9 MADONNA AND CHILD WITH ANGELS. The Madonna enthroned holds on her knee the standing Child who embraces her. On either side, two angels are standing with hands crossed on their breasts. Two flying angels hold up drapery behind the throne. Ornately modeled frame, mingling Gothic and Renaissance characteristics. (Illus trated, page 1 1 .) Middle relief. Terracotta. Height, 25! inches. Width, 14J inches. Rogers Fund, 1909. Compare with a relief representing the Madonna between two angels, in the South Kensington Museum, and with a relief of the Virgin and Child, in the Museo Nazionale, Florence; both reproduced by Dr. Bode in the work cited below. W. Bode: Denkmaler der Renaissance-Sculptur Toscanas, Munich, 1892 -1905, pls.XXV, XXVI. W. R. V.: Italian Renaissance Sculpture, in Bulletin of the Metropolitan Museum, 1909, IV, p. 208 (fig. 3.) J. Breck: La scultura italiana, etc. in Rassegna d'Arte, 1910, X, No. 2, p. 20. (111.) UNKNOWN MASTER. First half of XV Century. Near in style to the so-called Master of the Pelle grini Chapel. 10 MADONNA AND CHILD. The Virgin, repre sented in half figure, supports the standing Christ Child with her left hand, holding a pomegranate in her extended right hand. In a niche, with painted drapery, elaborately NO. 10 MADONNA AND CHILD TUSCAN, FIRST HALF OF XV CENTURY ITALIAN, EARLY RENAISSANCE patterned. Two adoring angels are painted on the gable of the Renaissance frame. The Virgin wears a blue mantle, drawn up on her head, over a red gown. The background drapery is red patterned with gold. The frame is painted red and blue and gilded. Two shields modeled on the base contain coats of arms. (Illustrated, page 13.) Middle relief. Terracotta. Polychromed and gilded. Height, 42 inches. Width, 2 if inches. Rogers Fund, 1908. J. Breck: La scultura italiana, etc., in Rassegna d'Arte, 1910, X, No. 2, p. 20. (111.) UNKNOWN MASTER. First half of XV Century. Near in style to the so-called Master of the Pelle grini Chapel. 11 MADONNA AND CHILD. The Virgin holds the Christ Child seated on her right arm, wrapt in the folds of her striped head scarf; the Virgin's mantle is blue, and her gown, like the Child's tunic, is vermilion patterned with gold. Represented in half -figure; on a base with ave maria be tween two shield-like projections. High relief without background. Stucco. Polychromed and gilded. Height, 28 inches. Width, 15! inches. Rogers Fund, 1908. Several examples are known of this relief; at Baiso in Reggio Emilia, Casa Scaluccia, (Venturi, L'Arte, 1908, p. 300); in Museo Nazionale, Florence; in Kaiser Friedrich Museum, Berlin; in the Louvre, Paris. An analogous stucco in the col lection of Baron Tucher, Vienna, is ascribed by C. von Fabriczy to the Master of the Pellegrini Chapel, No. IV. (Jahrbuch d. K. preuss. Kunsts., 1909; Kritisches Verzeichnis Toskan- ischer Holz und Tontstatuen U. S.W., Item II, 222, illustrated). Venturi ascribes a like example in the Berlin Museum and other similar pieces to a Florentine popular school contempor ary with the early development of Luca della Robbia. (Storia dell' arte italiana, 1908, VI, p. 228.) An example, differing in the arrangement of the drapery on the head of the Virgin, was in the collection of Mrs. Philip M. Lydig of New York. TUSCAN SCHOOL UNKNOWN MASTER. Possibly of the Cremonese School. First half of XV Century. Derives, like the so-called Master of the Pellegrini Chapel, from the art of Jacopo della Quercia, and POSSIBLY FROM THE DALLE MaSEGNE. 12 MADONNA AND CHILD. The Virgin, repre sented in half figure, gives her breast to the Child, whom she supports with her left hand; behind this group, two angels hold up a drapery. A white drapery (restoration) around the Child's waist; otherwise relief is in natural color of the terra cotta, although originally painted. Middle relief. Terracotta. Indications of original painting. Height, i2f inches. Width, n inches. Gift of J. Boehler, 1909. Other examples in the Museo Archeologico (No. 325), Milan; Santa Maria della Scala, Verona; Museo Ala-Ponzoni, Mar seilles; Kaiser Friedrich Museum (No. 108 H), Berlin. See Venturi: Storia dell'arte italiana, 1908, VI, p. 116, for an explanation of the ascription to the school of Cremona. UNKNOWN SCULPTOR. Possibly Sienese. Early XV Century. 13 THE CRUCIFIXION. The figure of Christ is nude except for a gilded loin-cloth fastened on His left side. His head is bent forward and to His right, His long hair falling upon the shoulders. Above the crown of thorns is a halo. The cross from which the figure hangs is attached to a dark blue background upon which are painted four flying angels surrounding the Saviour. They have gilded halos; their garments and wings are painted vermilion, crimson, yellow, light blue, and gray. At the right of the cross is a statuette of the Virgin standing with hands clasped in lamentation. She wears a blue mantle over a red gown; the flesh parts are painted in natural colors. At the left is a corresponding statuette of S. John, who holds his right hand to his face, which is convulsed with grief. Over a blue tunic, he wears a 15 ITALIAN, EARLY RENAISSANCE red mantle covering his left shoulder and drawn across at the waist, where it is held by his left hand. The figures are enclosed in a box-like shrine, originally with doors. At the sides are slender twisted columns, and, filling the upper corners, Gothic tracery, forming an arched opening. These parts are gilded. The shrine itself is painted dark blue in the inside, and red, black, and white on the exterior. Wall statuettes. Wood, (poplar and oak). Polychromed and gilded. Dimensions of shrine: Height, 38^ inches; Width, 23 J inches. Depth 5! inches. Lent by J. Pierpont Morgan, 1907. The Georges Hoentschel Collection. UNKNOWN SCULPTOR. First half of XV Century. 14 MADONNA AND CHILD. The Madonna, a half- figure, holds on her left arm the Child Jesus wrapped in her mantle, and bends down her head to His. Somewhat restored. (Illustrated, page 17.) High relief without background. Terracotta. Height, 26^ inches. Rogers Fund, 1907. At one time attributed to Jacopo della Quercia. Another example in stucco, with polychrome decoration and mounted on an ornate base, is in the Kaiser Friedrich Museum, Berlin (illustrated by Bode: Denkmaler der Renaissance-Sculptur Toscanas, 1892-1905, pi. XXXIII, p. 9; and by Venturi: Storia dell'arte italiana, 1908, VI, p.133). Another example is in the Morrelli Collection, Bergamo; also one in the Museo Nazionale, Florence. This relief belongs to a group of popular works, many times repeated in stucco, designed to adorn unpretentious shrines in the streets of the cities and little towns in Tuscany, that were executed in the first half of the XV century, contemporaneous with the early years of Luca della Robbia. It has some analogies with a Madonna and Child in terracotta at Budapest ascribed by Loeser to Michelozzo. J. Breck: La scultura italiana, etc. in Rassegna d' Arte, 1910, X, No. 2, p. 20. C. Loeser: An unknown terracotta Madonna by Michelozzo, in Rivista d' Arte, 1910, VI I., p. 107-1 11. 16 NO. U MADONNA AND CHILD TUSCAN, FIRST HALF OF XV CENTURY ITALIAN, EARLY RENAISSANCE C. FLORENTINE SCHOOL DONATELLO. Donato di Niccolo di Betto de' Bardi, called donatello. born in florence, about i386. Died there, 1466. Sculptor and architect. Worked chiefly in Florence and in Padua. 15 MADONNA AND CHILD, (the Veronese ma donna.) The Virgin, represented in half relief, turned three-quarters to the right, eagerly embraces the Christ Child, pressing His head to her cheek, holding His little body, clad in a simple, sleeveless garment, with her right hand, while with her left, the fingers wide spread, she supports His head. The Child's pose is naive; resting His left arm on the Virgin's breast, He puts a finger of His right hand in His mouth as He turns to look at the spectator, His artless indifference contrasting with the severe, impassioned ardor of the Mother. The Virgin wears a close-fitting gown and a mantle which is thrown back from her head showing her long wavy hair. Both figures have halos. The relief appears originally to have been painted; it is in good con dition with the exception of the Virgin's nose, which is partly restored. The wooden mount, painted and gilded, is modern. (Illustrated, page 19.) Half relief, without background. Terracotta. Height, 29J inches. Width, 20I inches. Rogers Fund, 191 2. From the Dr. J. Hampden Robb Collection, New York. This relief is sometimes called the Veronese Madonna from an example in Verona, attached to the wall of a house in the via della Fogge, which has a music-making angel on either side copied from the bronze reliefs on the paliotto of Donatello's altar in the Santo at Padua (1446-1450). The two little musicians in question, one playing a guitar and the other a small harp, have been variously ascribed, for example, to Pietro Urbano by Schubring. These two figures occur again on either side of a stucco relief of the Madonna and Child in the Museo Civico at Verona, and, somewhat modified, in a stucco privately owned in Florence. Comparing the two Madonnas 18 NO. 15 MADONNA AND CHILD BY DONATELLO ITALIAN, EARLY RENAISSANCE at Verona, the one in the Museum and the other in the via della Fogge, it is evident either that they are by different hands or that the second represents a later and more developed style of the same master. (A. Venturi: Storia dell'arte italiana, 1908, VI, p. 454-5.) The first proposition seems unquestionably the correct solution. Furthermore, it does not follow that the author of either Madonna is responsible for the original execution of the two music-making angels, since the moulds may well have been the common property of Donatello's work shop and used without compunction for decorative adjuncts to an original piece. Therefore, the putti flanking the Madonna of the via della Fogge do not aid particularly in determining the origin of this relief which is known in several examples, two (stucco and terracotta) in the Kaiser Friedrich Museum, Berlin; one in terracotta (stucco?) in the von Beckerath Collection, Berlin; one in the Louvre, and one in the Museo Nazionale, Florence, and finally, the example, previously unknown, from the Robb Collection. In the catalogue of the Berlin Museum, 1888, (W. Bode and H. von Tschudi; Beschreibung der Bildwerke der Christlichen Epoche, No. 49), the relief in terracotta (an inferior piece and now withdrawn from exhibition) is described and assigned to the school of Donatello. Attention is called to the affinities between this so-called Veronese Madonna and the Madonna and Child in a tondo occurring in the background of Donatello's relief (1446), in the Santo at Padua, representing one of the miracles of S. Anthony, the confession of a new-born child. The Veronese Madonna, it is argued, is consequently not earlier than the middle of the forties. In the Denkmaler der Renaissance-Sculptur Toscanas, Dr. Bode reproduces the example in the von Beckerath Collection and ascribes it to Donatello. Schubring (Donatello, in Klassiker der Kunst, Leipzig, 1907) among others coincides in this opinion. Venturi (Storia dell' arte italiana, 1908, VI, p. 454-5), however, prefers an ascription to the school of Donatello. Although the ques tion of attribution is complicated by the undoubted genius of many of Donatello's assistants, still in view of the austere dra matic quality, the intensity of expression and grave beauty which characterize this relief, it is not unjustifiable to regard the Veronese Madonna as the work of Donatello, executed, perhaps while in Padua, towards the middle of the century. W. Bode: Denkmaler der Renaissance-Sculptur Toscanas. Munich, 1892-1905, pi. XCIX, p. 32. FLORENTINE SCHOOL DONATELLO. School of Donatello. Middle of XV Century. 16 MADONNA AND CHILD. The Madonna, a half- figure turned three-quarters to the right, holds the Child seated in her arms. The Child is unclothed except for a long scarf around His neck, and holds a large ring in both hands. The relief is painted in blue, gray-white, and dark flesh colors to which the deep red and gold of the halos give variety. In an old wooden frame with the Dove, emblematic of the Holy Ghost, painted on the gable and the Monogram of Christ on the base. Low relief. Terracotta. Polychromed and gilded. Height including frame, 15! inches. Width, nf inches. Rogers Fund, 1908. UNKNOWN SCULPTOR. Florentine School (?). Sec ond Half of XV Century. 16-A DIANA. In profile to the left; head and shoulders; crowned with a diadem; her hair loosely tied at the nape of the neck ; part of a bow and quiver showing above the left shoulder.Low relief. Oval. Bronze. Dark brown patina. Height, 2-fa inches. Width, 1 ¦£$ inches. Purchase, 1 9 1 2. This piece belongs to a comparatively large group of Renais sance bronzes made in imitation of the antique, either as copies, or as free adaptations of classical motives. Molinier catalogues an oval plaquette (No. 44) in the Louvre which is identical with ours except that in ours the bust does not fill completely the lower part of the oval, but is cut horizontally to form an exergue, nor has ours the slightly raised rim which frames the Paris plaquette. Another example catalogued by Molinier (No. 45, L. Courajod Collection) has a reverse representing the head and bust of Alexander in profile to the right; it is slightly smaller in size. A third example (Molinier, No. 46, G. Dreyfus Collection) has the bust of Diana as in the other examples, but with the addition of a second head, representing a warrior, facing in profile to the right. Another example of ITALIAN, EARLY RENAISSANCE this oval plaquette with the confronted busts in the His de la Salle Collection is inscribed with the names of Dido and Scipio. A similar piece, without legend, and a plaquette of Diana, similar to ours, with the exceptions noted in the Louvre example, are in the Berlin Museum, where both are ac credited to Donatello. A piece similar to ours and one without the exergue are in the collection of Mr. J. Pierpont Morgan. E. Molinier: Les plaquettes. Paris, 1886, I, p. 23-25, Nos. 44, 45, 46. W. Bode — Die italienischen Bronzen (Kgl. Museen F. Knapp: zu Berlin). Berlin, 1904, p. 50, No. 634. W. Bode: Denkmaler der Renaissance-Sculptur Toscanas. Munich, 1892-1905, pi. XCII. J. B.: Renaissance Metalwork, in Bulletin of the Metropolitan Museum, 1912, VII, p. 191. (III.) DUCCIO. Agostino di Antonio di Duccio. Born in Florence, 1418. Died in Perugia shortly after 1481. Worked in Florence, Modena (1442), Rimini (1446-56), Perugia (1456-61, 1473-81), Bologna (1463). 17 MADONNA AND CHILD. The Virgin, repre sented in half figure, is seated, turned somewhat to the right, and holds on her left knee the seated, nude Christ Child, who raises His right hand to grasp the folds of the mantle cover ing the Virgin's breast. In His left hand the Child holds a bird. The Virgin's mantle is drawn up on her head, but shows the hair parted in the middle and waved at the sides of the face. Behind the Virgin are a hanging garland and a shallow, round-arched niche with ornamented pilasters at the sides. The upper margin of the relief is interrupted by the projection of the Virgin's halo. The relief is in an old frame, somewhat later in date, which is said to have come from Perugia. It is of wood, painted and gilded, ornamented with six painted medallions of the Umbrian school, representing S. Catherine, S. Lucy, S. Ursula, the Angel of the Annunciation, the Virgin, and be tween these last two, the Christ Child bearing a cross. 22 FLORENTINE SCHOOL Low-middle relief. White marble. Height, 27! inches. Width, 22j inches. Height (of frame), 46| inches. Width, 32 inches. Lent by J. Pierpont Morgan, 1907. BERTOLDO DI GIOVANNI(F). Born about 1420. Died at Poggio a Caiano (near Florence), 1491. Sculptor no. 18 and metal worker. Worked chiefly in Florence, but probably at Padua (1443-53, and (?) later) and elsewhere. 18 HERCULES AND THE NEMEAN LION. His right leg thrown over the lion's back, Hercules tears at the beast's widely opened mouth with both hands, his body straining and his head thrown back from the effort. A light garment is drawn around his loins. His left foot has been broken off. (Illustrated, page 23.) Statuette. Bronze. Brown-black patina. Height, 7tV inches. Length and breadth, 7J and 4! inches. Rogers Fund, 1909. 23 ITALIAN, EARLY RENAISSANCE A like piece (No. 2323) is in the Salting Collection, Victoria and Albert Museum, where it is called Italian, XVI century. Another example in the same museum is No. 5432, 5433~59- A third was in the Adolf Hommel Collection (Sale catalogue, Cologne, 1909). A fourth is in the Museo Schifanoia, Ferrara. The example in the Victoria and Albert Museum is repro duced by Dr. Bode in the third volume of the Italian Bronze Statuettes of the Renaissance (1912), pi. CCLIV, and described as Italian, XVI century, after the antique. UNKNOWN SCULPTOR. Middle of XV Century. 19 MADONNA AND CHILD. The Virgin, repre sented in half-figure, turned three-quarters to the right, holds the Child reclining in her arms and gazing upwards with hands folded. The Virgin wears a veil and a blue mantle over a red gown. In an old frame, painted and gilded. Low relief. Terracotta. Polychromed and gilded. Height, 28I inches. Rogers Fund 1908. UNKNOWN SCULPTOR. Influenced by Luca della Robbia. Second half of XV Century. 20 MADONNA AND CHILD. The Virgin, wearing a heavy mantle drawn up on her head, holds in her arms the nude Child, who turns His head to look playfully over His shoulder. The Virgin is represented in half-figure; the base is trilobate. The Virgin's gown is red; her mantle, blue. High relief without background. Stucco. Polychromed and gilded. Height, 15! inches. Width, nf inches. Rogers Fund, 1908. Another example, in stucco, in the Kaiser Friedrich Museum, Berlin, is reproduced by Dr. Bode: Denkmaler der Renais sance-Sculptur, dI. ccXlvi, p. 77. UNKNOWN SCULPTOR. Probably early in second half of XV Century. 21 SAINT MARK. Wearing a cloak, fastened at the throat, over a long tunic or gown which is girdled at the waist, 24 FLORENTINE SCHOOL the saint kneels on a low, square base, resting his left hand on his left knee, while with- his right hand he holds opposite his breast an open scroll. His head is turned to the right; he wears a close-fitting skull-cap or berretto; his hair, which hangs to his neck, is treated in small, wire-like locks. A projection on the top of the head indicates that a halo was originally attached. At the right of the base, partly worked in the round, is a small winged lion. The back of the figure is unfinished in parts; a horizontal groove runs from elbow to elbow. Indications of solder. A small hole is pierced in the front of the base. The marble block upon which the figure is mounted is a modern addition. Statuette. Bronze gilt. Height, 2f inches. Width, iT9T inches. Hewitt Fund, 191 1. This statuette presumably served to ornament some reliquary or other piece of ecclesiastical furniture. The author of this vigorous little statuette is unknown, but appears to be Florentine and to some extent influenced by Antonio Pollaiuolo. ROSSELLINO. Antonio di Matteo di Domenico Gambe- relli, called antonio rossellino. born in florence, 1427. Died there about 1478. Worked in Florence chiefly. Executed sculptures for Florence, Pistoia, Empoli, Naples, Prato, and other cities. 22-26 THE NATIVITY. This group consists of five pieces. The Virgin kneels at the right in adoration of the little Christ Child, who lies in the center of the group. S. Joseph is seated at the left, his head bowed in meditation. In the background are the ox and the ass. The different pieces of this group are separately described below. (Illus trated, page 27.) The Virgin. Kneeling, a blue mantle lined with green and bordered with gold covering her shoulders and falling in long straight folds, the Virgin raises her hands, finger tips 25 ITALIAN, EARLY RENAISSANCE touching, in an attitude of worship. Her head is slightly inclined forward and to her left; her brown hair is parted in the middle and waved back, at the sides of the face, partly covering her ears and falling a little below the shoulders in the back. Beneath her mantle, of which the long folds in front are caught up under her forearms, the Virgin wears a crimson gown, high girdled with a green sash, and bor dered at the neck and wrists with a pattern in gold. The face and hands are painted in flesh colors. The low oblong base is painted green. In the crown of the head is a small opening for the attachment of a halo. The statue has been partly repainted. The Christ Child. Lying supine, His right leg crossing the left, the left hand resting on His body, the nude Child raises His right hand in a playful gesture. His head is turned slightly to the left. The. flesh is painted in natural colors; the hair a light golden brown. The right hand has been fractured at the wrist; and the head at the neck, the fracture extending to the right shoulder. In. the crown of the head is a small opening for the attachment of a halo. The figure is somewhat repainted. Saint Joseph. Seated on a sloping, irregular base of rough ground, the saint supports his head with his left hand, the elbow resting on his left knee; his right hand is on his right knee. His feet are bare, but partly covered by the drapery; the right is advanced in front of the left. The saint wears a green-blue tunic with long sleeves; the opening at the neck is wide and the folds fall in a V over the breast. The sleeve slips back from the left wrist to show the cuff of a red inner garment. Over this tunic he wears a yellow mantle covering the lower half of his body, his left shoulder and arm. His head is bald on top except for a few rumpled locks of hair over his forehead; he has a short curly beard; the hair is gray-brown in color. A bit of the right sleeve at the wrist has been restored. As in the other figures, an opening has been made in the crown of the head for a halo. 26 NOS. 22-26. THE NATIVITY, BY ANTONIO ROSSELLINO ITALIAN, EARLY RENAISSANCE The Ox. The animal is kneeling, the tail curved up on the right flank. Painted gray, with the tips of the horns, the forelock, and the eyes a brown-black. Repainted in parts.The Ass. The pose is similar to that of the ox. The piece is painted a dark reddish brown. When purchased, all the figures except the Christ Child were mounted on modern wooden bases. To these mounts, in the case of the ox and the ass, metal rings had been attached, apparently to permit the pieces being drawn in procession. Statues. Terracotta. Polychromed and gilded. Dimen sions (not including halos or wooden bases) : The Virgin — Height, 34J inches. The Child- — Height, 17! inches. S. Joseph — Height, 24J inches. The Ox — Length, 29 inches; Height, 1 7§ inches. The Ass — Length, 29! inches; Height, 1 7J inches. Kennedy Fund, 191 1. In pose and, with the partial exception of the Virgin, in the arrangement of the draperies, the S. Joseph, Virgin, and Child of our Presepio closely resemble the figures in the famous marble altar-relief of the Nativity in the church of Monte- oliveto at Naples executed by Rossellino probably about 1470. A tondo representing the Nativity, a marble relief in the Museo Nazionale, Florence, ascribed to Rossellino, and a second tondo, in terracotta, in the Berlin Museum, show considerable analogies with the altarpiece at Naples. It may be questioned whether the animals in our group are the work of Rossellino himself as they are inferior in quality to the figures.Although our group constitutes in itself an artistic whole, and although the Presepio often consisted of only these five figures, still it is not impossible that our Nativity included the shepherds and other accessory figures of the elaborate groups that were popular even as early as the end of the fifteenth century in Naples. In 1478 a Presepio was constructed for S. Giovanni a Carbonara, Naples, that consisted of the Virgin, S. Joseph, the Child, Ox, and Ass, these life-size; besides three shepherds, twelve sheep with two dogs, four trees, eleven angels, two prophets, and two sibyls. Another Neapolitan 28 < r "' 1 ^1 W^^ % > -^ |i ># ; ^ 4 ! f 1 B^i ^?T _^jb£- — • — ' . — ¦ — -^ff ¦ NO. 27 LAUGHING CHERUB BY ANTONIO ROSSELLINO ITALIAN, EARLY RENAISSANCE Presepio, ordered in 1507, consisted of nearly as many pieces and still exists in the church of S. Domenico. Luigi Correra: II presepe a Napoli, in L'Arte, 1899, II, p. 325. W. R. V.: A Group of the Nativity, in- Bulletin of the Metropolitan Museum of Art, 191 1, VI., p. 207-210. (111.) 27 HEAD OF A LAUGHING CHERUB. A child's head against a background of flutteri ng wings. (Illustrated, page 29.) High relief. Marble. Height, 9 inches. Rogers Fund, 1 909. Fragment from a large relief. Said to have come originally from a church in Florence. Two other fragments with cherubim known, one in the collection of Dr. J. E. Stillwell, New York. W. R. V.: Italian Renaissance Sculptures, in Bulletin of the Metropolitan Museum of Art, 1909, IV., p. 206. (111.) J. Breck: La scultura italiana, etc., in Rassegna d'Arte, X, 1910, p. 19. (111.) ROSSELLINO. Repetition after Antonio Rossellino. Second half of XV Century. 28 MADONNA. Represented in half-figure, seated, turned three-quarters to the right, holding with her right hand the Child seated on her left arm. In the background a garland is suspended. In an old frame. Heavily repainted. Low relief. Stucco. Polychromed and gilded. Height, 30! inches. Width, 24! inches. Dimensions include frame. Gift of J. and S. Goldschmidt, 1909. This is one of the many gesso and stucco reliefs that reproduce, often with slight variations and always with a deterioration of quality, a marble relief by Antonio Rossellino that must have enjoyed a great popularity among his contemporaries. ROSSELLINO. School of Antonio Rossellino. Second half of XV Century. 29-30 TWO ANGELS. Two panels in low relief. In one, an angel bending forward with arms crossed upon the 30 FLORENTINE SCHOOL breast advances to the right; the face seen in three-quarters. The angel in the second relief is represented advancing to the left, the left arm crossing the breast and the right arm extended; the face is turned to the front. Both angels wear long, fluttering gowns with tight sleeves. Curly hair falls to their shoulders in small ringlets. Their wings are open as if in flight. A flat moulding frames the relief. Numer ous traces of bright color and gilding indicate that the panels were originally painted and gilded, although much of this decoration has now been lost. The panel with the angel facing to the right has been broken in the upper left-hand corner of the background and restored. Low relief. . Pietra serena. Height, 2o| inches, 2o| inches. Width, 1 6f inches, i6| inches. Purchase, 1912. J. B.: Italian Sculpture, in Bulletin of the Metropolitan Museum of Art, 1912, VII., p. 151-152. (111.) ROSSELLINO. Manner of Antonio Rossellino. Sec ond half of XV Century. 31 MADONNA AND CHILD. The Virgin supports withfboth hands the nude Christ Child, who is seated on a cushion on her right knee, holding in His right hand the crown of thorns, while in His left hand He holds up three large nails. In the background, on either side of the Madonna, are two adoring angels in low relief. The Virgin wears a blue mantle and head-cloth, and a red gown. The cushion is painted red. One of the angels wears a red tunic with blue drapery; the other, a dark red gown with light red drapery. The halos of the Virgin and Child and parts of the Virgin's costume are gilded. At the top and right side a low mould ing frames the relief; this has been destroyed on the left side. The relief has been heavily over-painted. The large taber nacle frame, gilded and painted, is partly modern. High relief. Gesso. Polychromed and gilded. Dimensions of relief: Height, 28 inches; Width, 21 inches. Gift of Thomas F. Ryan, 1912. 3' ITALIAN, EARLY RENAISSANCE UNKNOWN SCULPTOR. Second half of XV Cen tury. 32 MADONNA AND CHILD. The Madonna, a seated half-length figure, supports on her knee the nude Child, who stands with His arm around her neck. In the background, two cherubim. The flesh parts are painted in natural colors. The Virgin wears a blue mantle over a red gown. In an old wooden frame, originally with doors. Above the relief is painted the inscription: ave • maria ¦ gratia • plena ¦ dom • ; and below, small half figures of a Bishop and an Angel, by a painter of the Umbrian School. Low relief. Gesso. Polychromed and gilded. Height, 28! inches. Width, 22f inches. Rogers Fund, 1908. This is a repetition of the marble relief in the Liechtenstein Collection in Vienna, ascribed by Dr. Bode to Antonio Ros sellino in the Denkmaler der Renaissance-Sculptur Toscanas, pi. CCCXXIX. For the painting on the frame and for general resemblance, compare No. 32 with the anconetta from the Cathedral in Perugia shown at the Mostra d'antica arte umbra, 1907. Another example of our relief in Reggio d' Emilia is reproduced by A. Balletti: Transizioni efiltrazioni d'arte, in Rassegna d'Arte, 1908, VIII, p. 35. VERROCCHIO. Andrea di Michele di Francesco dei Cioni, called Andrea del Verrocchio. Goldsmith, sculptor, and painter. born in florence, 1 43 5 . dled in Venice, 1488. Worked in Florence, and in Venice (about i481, 1485-88); also for rome and plstoia. 33 MADONNA AND CHILD. Seated figure turned three-quarters to the right. The Madonna, wearing a light blue mantle lined with dark green over a red gown, her white head-cloth showing under the hood of the mantle, supports on her raised left knee the seated, nude Christ Child. His right foot rests lightly on the Virgin's right hand; with His right hand He blesses, and with His left clasps a yellow orb. The hair is painted yellow-brown; the flesh, a light red; the background, dark blue-green. The 32 no. 33 madonna and child by andrea del verrocchio ITALIAN, EARLY RENAISSANCE projecting halos and the mantle clasp are gilded. Slightly repainted in parts. In gilded frame of Renaissance design (somewhat restored). (Illustrated, page 33.) High relief. Terracotta. Polychromed and gilded. Di mensions with frame: Height, 46! inches; Width, 36! inches. Rogers Fund, 1909. In Verrocchio's first manner, perhaps a little before 1470. J. Breck: Une "Madone" de Verrocchio, in Gazette des Beaux- Arts, Fourth period, 1910, IV., p. 271-274. (III.) W. R. V.: Relief, etc. in Bulletin of the Metropolitan Museum of Art. Supplement, March, 1910, V., p. 32. (111.) VERROCCHIO. Workshop of Andrea del Verrocchio. Second half of XV Century. 34 SAINT MARY MAGDALEN. The saint is kneel ing, clothed in her long hair. A rope is knotted about her waist. There are indications that the hair was originally gilded and the flesh parts painted. The statuette is in poor condition. Both arms, the left leg and right foot have been destroyed. The hands were originally folded in prayer. Statuette. Terracotta. Height, 2o| inches. Lent by J. Pierpont Morgan, 1907. The Georges Hoentschel Collection. A better preserved example is in the Kaiser Friedrich Museum, Berlin, where it has been ascribed to Verrocchio. Interesting to compare with this is a closely analogous kneeling Magdalen in the church of Santo Spirito, Siena, which was shown at the Exhibition of Sienese Art in 1904. It has been variously ascribed to Cozzarelli, Neroccio di Bartolomeo Landi, Fran cesco di Giorgio, and to Fra Ambrogio della Robbia, with whose Presepio in the same church it shows a marked similarity in style; the type is Florentine rather than Sienese, which would favor the attribution to Fra Ambrogio. A kneeling Magdalen similar to our statuette occurs in an early painting by Lorenzo di Credi, a pupil of Verrocchio, representing the Madonna and Saints, in the collection of Mr. John G. Johnson, Philadelphia, in a painting by the same master in the Berlin Museum, ,and in a painting by Francesco Botticini in the Louvre. 34 FLORENTINE SCHOOL G. de Nicola: Arte inedita in Siena e nel suo antico terri- torio, in Vita d' Arte, 1912. W. Bode Beschreibung der Bildwerke der Christ- and H. v. Tschudi: lichen Epoche. Konigliche Museen zu Berlin, 1888. No. 94. Denkmaler der Renaissance-Sculptur Tos canas. Munich, 1892-1905, pi. CDLXI p. 148. Collection Georges Hoentschel, 1908, I., p. 8-9, pi. XVII. W. Bode: A. PeYate" and G. Briere: no. 35 35 PUTTO. A reclining boy child supports himself by resting his right arm on a mound, as he turns to look up over his left shoulder; his left forearm crosses his breast. The base is curved. (Illustrated, page 35.) Statuette. Bronze. Brown patina. Height, 7§ inches. Length, i2§ inches. Rogers Fund, 1909. The pose of the figure recalls certain sketches of playing children in a drawing by Verrocchio now preserved in the Louvre. In the Kaiser Friedrich Museum, Berlin, there is a figure in 35 ITALIAN, EARLY RENAISSANCE terracotta similar to ours, with a companion piece in a reversed pose, ascribed to Verrocchio. W. Bode Beschreibung der Bildwerke der Christ- and H. v. Tschudi: lichen Epoche. Konigliche Museen zu Berlin, 1888. Nos. 96, 97. W. Bode: Denkmaler der Renaissance-Sculptur Tos canas. Munich, 1892-1905, pi. CDLXII, p. 148. W. R. V.: Italian Renaissance Sculptures, in Bulletin of the Metropolitan Museum of Art, 1909, IV., p. 206-7. (HI.) J. Breck: La scultura italiana, in Rassegna d'Arte. 1910, X, No. 2, p. 19. (Frontispiece.) UNKNOWN SCULPTOR. Influenced by Benedetto da Maiano (1442-1497.) Late XV Century. 35-A ANGEL WITH EMBLEMS OF THE PASSION. The angel, wearing a robe with wide collar, girdled at the breast and falling in loose folds over a second girdle at the waist, is represented advancing swiftly, the left arm raised, the right crossing the body, holding two emblems of the Passion of our Lord, a sponge attached to a staff and a spear. The angel's halo and wings are separately attached. Statuette. Gilt bronze. Height, 5I inches. Purchase, 191 2. A companion piece is described below under No. 35-B. Both statuettes presumably formed part of the decoration of a reliquary. The influence of Benedetto da Maiano is mani fested in the pose and treatment of the drapery. J. B.: Renaissance Metalwork, in Bulletin of the Metropolitan Museum of Art, 1912, VII., p. 192. (111.) 35-B ANGEL WITH AN EMBLEM OF THE PAS SION. Similar to the figure described above except that the pose is reversed, the right arm being raised and the left crossing the body. There are minor differences in the treat ment of the drapery. The angel supports a small cross. Statuette. Gilt bronze. Height, 4! inches. Purchase, 191 2. Companion piece No. 35-A. 36 NO. 36 THE ASSUMPTION OF THE VIRGIN BY ANDREA DELLA ROBBIA ITALIAN, EARLY RENAISSANCE ANDREA DELLA ROBBIA. Andrea di Marco di Simone della Robbia. Born in Florence, 1435. Died there, 1525. Worked chiefly in Florence for Tuscan and Central Italian patrons. 36 THE ASSUMPTION OF THE VIRGIN. The central panel of this large altarpiece represents the seated Virgin, surrounded by a glory of cherubim, rising from a sarcophagus, filled with lilies, behind the four saints stand ing in the foreground. These saints, from left to right, are (1) S. Donato, Bishop of Arezzo, with mitre and crozier; (2) S. Francis, holding a cross in his right hand and with his left indicating the wound in his side; (3) S. Bernardino of Siena, distinguished by his attribute, a disk which he holds in his left hand, usually inscribed with the monogram of Christ, I H S, but in this instance clearly lettered V H S (perhaps referring to the Virgin as Virgo Hominum Succursor, although, if we accept the V as a Y the traditional interpre tation may be preserved) ; (4) unidentified Franciscan saint, possibly S. Anthony of Padua, whose folded hands and rosary evince his humility and his adoration of the Virgin. Above these saints, at the right and left of the Virgin, are eight small angels blowing trumpets. The relief is characterized by a greater use and variety of color than is common with Andrea. The figures, except in some details, are enameled white. The background is dark blue, a lighter shade being employed for the elliptical man- dorla. The panels of the sarcophagus imitate green and red-violet marble and are ornamented with yellow rosettes. The leaves of the flowers are green; the clasp and knobs of the book and the lettering of the disk held by S. Bernardino, yellow. Details in the eyes and brows are also worked out in color. These colors are beneath the glaze and are perma nent. Traces also remain of superficial coloring applied to the hair, wings, garments, and trumpets of the angels, upon the border of the Virgin's robe, upon the bishop's mitre, crozier, maniple, and the border of his vestments. 38 FLORENTINE SCHOOL The altarpiece has suffered considerable injury. Surface abrasions of the enamel have been covered with smears of white lead. Some portions of the relief have been replaced with modern work. The Virgin's head and hands, the head of the second cherub from the top at her right, the three uncovered heads of the standing saints, part of the right foot of the bishop, and the feet of the two saints to the right, are quite modern. These restorations may be dis tinguished, apart from their lack of proportion and clumsy modeling, by the whiteness and hard brilliancy of the glaze. The central panel is surrounded by an elaborately ornamented frame. The base probably constituted the cornice of a predella. The pilasters are decorated with a graceful floral design in low relief; the two lower blocks of each pilaster do not exactly correspond. The architrave, made up of four blocks, is also ornamented. The cherub-frieze above, con sisting of six pieces, ends abruptly at the sides without architectural framework; the seven cherub-heads project from a background of dark blue. The pupils of the eyes and the eyelashes were painted before firing; other details in the wings and hair were added later in red and brown paint, but remain only as traces. The tympanum, constructed of six pieces, contains two angels who hold the Virgin's crown. These figures are modeled in low relief and were originally painted in parts; the background is a dark blue, painted beneath the glaze. The halos of the cherubim and saints and probably other details as well were originally gilded. (Illustrated, page 37.) Middle and low relief. Enameled terracotta. Gift of Henry G. Marquand, 1882. Dimensions: Frame — Total height, 1 185 inches; width at center of architrave, 80 inches; greatest width, upper length of base, 88 inches. Central Panel — Height, 65! inches; width, 65! inches. In his exhaustive studies of this altarpiece (see below) Prof. Allan Marquand has clearly established the authorship of Andrea 39 ITALIAN, EARLY RENAISSANCE della Robbia and determined the date of production as not far removed from 1502. Prof. Marquand, moreover, has found analogies in several works by Andrea in Arezzo and La Verna which permit a more accurate reconstruction of the restored portions of this relief and consequently better appreciation of its original character. In this connection, compare the Virgin with the similar figure in an Assumption in the Cathedral at Arezzo. S. Bernardino in one of the altarpieces in the same chapel at Arezzo, while differing somewhat in pose, preserves the same type as in our relief. The S. Francis is almost identical with one at La Verna. The praying monk cannot be restored with the same security, but may be compared with two figures of a praying saint in the same Virgin chapel at Arezzo. When purchased, our relief was said to have come from the private chapel of the Duke of Piombino. It was in Florence in the year 1830. Cavallucci Les Della Robbia. Paris, 1884, p. 283, Cat. and Molinier: No. 481. Allan Marquand: Andrea della Robbia's Assumption of the Virgin in the Metropolitan Museum, in The American Journal of Archaeology, 1891, VII., p. 422-431, pi. XXII, XXIII. Id.: Della Robbias in America. Princeton, 1912, p. 78-85. (111.) Maud Cruttwell: Luca and Andrea della Robbia. London, 1902, p. 177. 37 HEAD OF A YOUTH, in a medallion. Head and part of the shoulders, turned three-quarters to the left. Flesh parts and hair in white, with details in the eyes and brows in violet-brown. Over a reddish violet tunic, he wears a light blue mantle, lined with green. Blue background. The medallion is surrounded by a wreath (concave) of pine cones and fruit, violet-brown and yellow against green foliage, finished on the outer edge by a bead moulding. (Illustrated, page 41 .) High relief. Enameled terracotta. Diameter (sight), 21 \ inches. Rogers Fund, 1903. Compare with this youthful portrait-head, possibly represent ing S. Ansano or some other boy saint, an analogous medallion 40 no. 37 head of a youth by andrea della robbia ITALIAN, EARLY RENAISSANCE in the collection of Prince Liechtenstein of Vienna, ascribed by Dr. Bode to Andrea della Robbia; and also with a very similar but earlier work by Luca della Robbia in the Berlin Museum (Denkmaler der Renaissance-Sculptur Toscanas. Munich, 1892 -1905, pi. CCXXIX). Another medallion with the head of a youth by Andrea della Robbia was in the Rodolphe Kann Collection, Paris. Compare also with a somewhat similar re lief, a head of S. Ansano by Giovanni (?) della Robbia in the Oratorio of S. Ansano at Fiesole. The medallion, No. 37, was purchased at the Henry G. Marquand Sale in 1903, and was previously in the collection of Count G. Stroganoff, Rome. A. Marquand: Delia Robbias in America. Princeton, 1912, p. 89. (111.) DELLA ROBBIA. Workshop of Andrea della Robbia. Early XVI Century. 38 THE NATIVITY. Oblong panel. At the right of the Child who reclines on a bed of straw is the Virgin, kneel ing, with her hands joined in a posture of adoration. At the left is S. Joseph, bending his right knee to the ground, hold ing a staff with both hands. Behind the Child are the heads of the ox and ass. At the extreme left of the composition is a palm tree; at the right, another tree; both are enameled yellow-green and a grayish-olive. These colors are repeated in the ground; the straw is yellow-green. The figures, the animals, the moulding on the sides and top of the panel are enameled white. The background is dark blue; the pupils of the eyes are black. The surface is somewhat chipped; part of the moulding on the left side is destroyed. Three holes are pierced along the top. Low relief. Enameled terracotta. Height, 14 inches. Width, 19! inches. Depth, i| inches, average. From the predella of an altarpiece. The relief is not by Andrea himself, but was probably made in his atelier and for one of the altarpieces of his later period. A Marquand: Delia Robbias in America. Princeton, 1912, p. 86. (111.) 42 FLORENTINE SCHOOL DELLA ROBBIA. Workshop of Andrea della Robbia(F). First third of XVI Century. 39 BROTHER LEO. From a relief representing S. Francis receiving the stigmata. Kneeling, the companion of S. Francis, Brother Leo, turns his body to look up at the no. 40 marvelous vision of the Seraph bearing the crucifix. He raises his right hand to his head; his left rests upon his breast. He wears a light blue-gray frock girdled with a knotted cord ; on his feet are dark brown sandals. The flesh parts are a warm white with details on the eyes and brows in blue; the lips are light red-violet, the hair, yellow. At the right, rising to the height of the figure, is a rocky hillside in shades of 43 ITALIAN, EARLY RENAISSANCE green and greenish yellow with a large green tree, and a wind ing stream light yellow in color. In the foreground are two animals, a dark brown sheep and a yellow stag. High relief. Enameled terracotta. Height, i6| inches. Width, 14 inches. A. Marquand: Della Robbias in America. Princeton, 1912, p. 153. GIOVANNI DELLA ROBBIA. Born in Florence, 1469. Died there, 1529 (?). Worked for Tuscan, North and Central Italian patrons. 40 KNEELING MADONNA. The Virgin kneels with her hands folded in adoration. She wears a white head- cloth, and a blue mantle, patterned with gold, over a red gown. Her brown hair, her face, hands, and gown are painted; other parts, enameled. (Illustrated, page 43.) Statuette. Terracotta. Enameled and painted. Height, i6| inches. Rogers Fund, 1907. Presumably an early work, under the influence of Andrea della Robbia. The pose of the Madonna suggests that the figure originally formed part of a Presepio group or of an Adoration of the Child. The Madonna is closely related in style to the Madonna in the lunette of the Lavabo in the Sacristy of S. Maria Novella, made by Giovanni della Robbia in 1497. A. Marquand: Delia Robbias in America. Princeton, 1912, p. 105, 106. (111.) Bulletin of the Metropolitan Museum of Art, 1907, II, p. 157. (III.) 41 THE BOY SAINT JOHN. The head is held erect, the eyes looking to the front. The hair, painted a dark brown, is short and curly. He wears a goat-skin fastened on the right shoulder with a gilded clasp and a dark blue mantle drawn up in folds on the left shoulder. The mantle is enameled; the flesh parts and the goat-skin painted in natural colors. Head and bust. Terracotta. Painted and enameled. Height, 14! inches. Lent by J. Pierpont Morgan, 1907. 44 FLORENTINE SCHOOL For an interesting chapter on these portrait busts of children represented as the Boy Christ or as the youthful S. John Baptist, consult W. Bode: Florentine Sculptors of the Renais- ADRIANO FIORENTINO. Sculptor and medalist. Died in 1499. Worked in Florence, Naples, (1483-95), Urbino (1495), and in Saxony at the court of Frederick the Wise. no. 42 42 MEDAL OF ELISABETTA GONZAGA (d. 1528F). Obverse. Bust portrait in profile to the right. She wears a low cut bodice and a necklace. Her hair, bound by a fillet, is confined by a coiffe and hangs down in a long queue. Legend in raised letters: elisabet • gonzaga • feltria ¦ dvcis • vrbini. Reverse. A nude female reclining on the ground regards Fortune, or Opportunity, who escapes in the form of a head of hair, part of which remains in the woman's hand. Legend in raised letters: hoc • fvgienti ¦ fortvnae • dicatis. (Illus trated, page 45 .) Medal. Low relief. Lead. Diameter, 3! inches. Rogers Fund, 191 1. Elisabetta Gonzaga married in 1489 Guidobaldo da Monte- feltro (d. 1508), Duke of Urbino, and died in 1528 (?). Famous 45 ITALIAN, EARLY RENAISSANCE among the ladies of the Renaissance for her wide culture and lively spirit, she contributed materially to the brilliant life of the court of Urbino which Castiglione pictured in II Cortigiano. The medal described above was executed, as we know from documentary evidence, in 1495, when Adriano Fiorentino stopped at Urbino on his way north after the conquest of Naples by Charles VIII. Besides the medal of Elisabetta, the sculptor executed presumably at the same time a medal of the sister-in- law of the Duchess, Emilia Pia, the wife of Antonio da Monte- feltro, who died a little after 1 509. The costume, arrangement of hair, and pose are nearly identical in these two medals, which are clearly by the same hand. C. von Fabriczy: Adriano Fiorentino, in Jahrbuch der Konig- lich Preussischen Kunstsammlungen, Berlin, 1903, XXIV, part I, p. 71-98. Id. Italian Medals (English edition). London, 1904, p. 135, pi. XXVIII. A. Armand: Les medailleurs italiens des quinzieme et seizieme siecles. Paris, 1883, p. 1 18, No. 54. LB. Supino: II medagliere mediceo, etc. Florence, 1889, p. 233, No. 790. Tresor de numismatique et de glyptique. Medailles coulees et ciselees en Italie, etc. Paris, 1836, part II, p. 21-22, pi. XXIV, No. 3. J. B.: Renaissance Portrait Medals, in Bulletin of the Metropolitan Museum of Art, 1912, VII, p. 49-54 (111.) UNKNOWN MEDALIST. (The so-called "Hope" medalistF). Second half of XV Century — Early XVI Century. 43 MEDAL OF MARSILIO FICINO (1433-1499). Obverse. Bust portrait in profile to the left; he wears a berretto and a simple garment with low, standing collar; his face is wrinkled and his hair falls in long locks to the neck. Around the rim, in raised letters — marsilivs • ficinvs ¦ florentinvs. (Small hole is pierced through the -'v" of ficinvs). Reverse. In raised letters, horizontally across the middle of the field, the name: platone. (Illustrated, page 47.) 46 FLORENTINE SCHOOL Portrait medal. Low relief. Lead. Diameter, 2 A inches. Rogers Fund, 191 1. Marsilio Ficino, the Florentine philosopher and classical scholar, was a famous translator and commentator of Plato and the head of the Platonic Academy which flourished under the protection of the Medici. This medal, which is known also in bronze, is by an anonymous Florentine medalist near to Niccol6 Fiorentino (d. 1514) but more refined in style. Von Fabriczy suggests as a possible as cription, the so-called "Hope" medalist, the "medailleur a l'esperance" to whom Heiss and Armand ascribe a number of NO. 43 medals dated 1489 or 1492 on which the figure of Hope is rep resented, sometimes in connection with Faith and Charity. (See L. Forrer: Biographical Dictionary of Medalists. London, 1904, II, p. 552"555-) There are examples known of this medal with a different re verse, without legend, representing a woman standing, turned to the left, and holding a serpent. A. Armand: Les medailleurs italiens des .quinzieme et seizieme siecles. Paris, 1883, 2nd ed., II, p. 49, No. 8. J. B.: Renaissance Portrait Medals, in Bulletin of the Metropolitan Museum of Art, 1912, VII, p. 49-54- (HI.) A. Heiss: Les medailleurs de la renaissance. Florence et les Florentines. Paris, 1891, Part I, p. 145-147, pi. XVIII. I. B. Supino: II medagliere mediceo, etc. Florence, 1899, p. 65, No. 143. C. von Fabriczy: Italian Medals (English edition). London, 1904, p. 130, pi. XXVII. 47 ITALIAN, EARLY RENAISSANCE D. SCHOOL OF LUCCA MATTEO CI VI TALI. Sculptor and Architect. Born in Lucca, 1436. Died in Lucca, 1501. Worked chiefly in Lucca; also, Florence (early), Pisa, and Genoa. 44 ANGEL OF THE ANNUNCIATION. A graceful figure bending forward as if swiftly advancing; the arms are folded across the breast; the head is held up and slightly inclined to the left. The angel wears a long tunic fastened at the shoulders and hanging in loose folds over a girdle; this tunic was originally painted a light blue and decorated with a formal trellis pattern in red and green. The long, rather close sleeves of the underdress are painted crimson ; the flesh parts in natural colors, and the hair gilded. The painted surface of the figure has been considerably injured in several places. The wings that balanced the forward inclination of the figure and the halo, indicated by openings in the figure, are missing. Parts of the base have been destroyed. (Illustrated, page 49.) Statue. Terracotta. Polychromed and gilded. Height, 62! inches. Hewitt Fund, 191 1. This figure formed part of a group of the Annunciation, probably arranged in a niche. W. R. V.: A Terracotta Statue, etc. in Bulletin of Metropolitan Museum of Art, 191 1, VI, p. 148, 151 (ill.). CIVITALI. Manner of Matteo Civitali. Second half of XV Century. 45 CHRIST IN THE TOMB. Half-figure, with arms folded, head bent down and turned in profile to the right. In a tabernacle frame (terracotta) with round arched opening. Middle relief. Stucco. Polychromed and gilded. Height, 1 1 inches. Width, 8 inches. Rogers Fund, 1908. 48 ¦ no. 44 angel of the annunciation by matteo civitali ITALIAN, EARLY RENAISSANCE E. SIENESE SCHOOL GIOVANNI DI STEFANO SASSETA. Sculptor and ARCHITECT. BORN IN SlENA. DlED ABOUT I 5OO. WORKED in Siena, and in Urbino ((F)-i477). 46 MADONNA AND CHILD. The Virgin, represented in half-figure, holds the nude Christ Child standing in front of her on a parapet to the right. With His right hand the Child gives a blessing; in His left He holds a little bird. The Madonna bends down her head tenderly to the Child. Originally painted. Half relief. Composition material. Height, 28| inches. Width, 16J inches. Rogers Fund, 1909. This is a repetition after the central motif of the Madonna relief in pietra calcaria at Urbino ascribed to Giovanni di Stefano by P. Schubring: Die Plastik Sienas in Quattrocento. Berlin, 1907, p. 136, 137. UNKNOWN SCULPTOR. Sienese (?) School. About 1500. 47 CLEOPATRA. A standing nude figure, the right leg relaxed, the upper part of the body turned to the left. With her left hand she holds a serpent to her breast; her right arm, unbent, is held slightly away from the body. Her head is thrown backward in pain. The first and third fingers of the right hand have been destroyed. Statuette. Reddish bronze with remains of black patina. Height, 1 of inches. Rogers Fund, 1910. A similar piece in 191 o was owned by a dealer in London. In the Kaiser Friedrich Museum, Berlin, is another example (without the fig leaf), lower part of right arm restored, repro duced in W. Bode-F. Knapp: Die italienischen Bronzen. Ber lin, 1904, No. 246, attributed to Sienese (?) School, end of XV century. This statuette, together with one in the Museo del Castello, Milan (a figure having vine leaves about the loins) is reproduced by W. Bode: Italian Bronze Statuettes of the 50 SCHOOLS OF SIENA AND PADUA Renaissance, 1908, II, plate CXLVII, attributed to Italian School, beginning of XVI century. F. PADUAN SCHOOL GIOVANNI DA PISA. Manner of Giovanni da Pisa. Middle of XV Century. 48 VIRGIN AND CHILD. The Madonna, a half- length figure, with face in profile to the right, her head crowned with a diadem, holds in both hands the naked Child. An oblong panel forms the lower part of the relief. Low relief, without background. Bronze. Brown and green patina with remains of gilding. Height, 3^ inches. Width, 2^f inches. Rogers Fund, 1909. A more elaborate version of this relief, with background, a candelabrum on either side of the Virgin, scarf on parapet, is reproduced by W. Bode-F. Knapp: Die italienischen Bronzen. Berlin, 1904, No. 671. Examples are in the Museo Nazionale, Florence, Cat. No. 395; the Salting Bequest, No. 3332, Victoria and Albert Museum; and in other collections. On a small bowl of Gubbio manufacture, dated 1535, and probably by Maestro Prestino, in the Metropolitan Museum (Cat. of Ceramics, No. 21 19) the same group is found in relief and glazed. Another similar bowl is in the collection of Mr. Frank L. Babbott, Brooklyn. E. Molinier: Les bronzes de la renaissance. I. Les plaquettes. Paris, 1886, No. 367. (111.) W. R. V.: Italian Renaissance Sculpture, in Bulletin of the Metropolitan Museum of Art, 1910, V, p. 18. (III.) UNKNOWN SCULPTOR. Third quarter XV Century. 49 MADONNA AND CHILD WITH ANGELS. The Madonna is seated, turned to the right, and holds on her left knee the standing Child. Her robe and mantle are of gold patterned with black. On either side stand two angels with their arms folded in adoration. Behind this group a room is represented in perspective; two angels look through 51 ITALIAN, EARLY RENAISSANCE the side windows. An elaborate tabernacle frame, also in relief, encloses this scene. In the upper corners are figured the Virgin and the Archangel Gabriel. The colors are bluish green and gold. A crack extends diagonally across the relief. The relief is enclosed in a wooden shrine with painted doors. On the left, inside, is represented S. Catherine dressed in brown and brownish green and holding the symbol of her martyrdom; on the right, S. Francis, right hand raised as he points to the wound in his side. Both figures stand in niches painted red. On the outside, two putti are rep resented, one seated and one standing, in an arcade seen in perspective from below. They hold shields with coats of arms. Below these putti, two medallions imitating porphyry. Low relief. Stucco. Polychromed and gilded. Height, 30! inches. Width, 18 inches. Width, with doors open, 31 J inches. Rogers Fund, 1907. L. M. P.: Four Renaissance Objects, in Bulletin of the Metro politan Museum of Art, 1907, II, p. 109. (111.) RICCIO. Andrea Briosco, or Brioschi, called Riccio. Sculptor in bronze, goldsmith, medalist, and architect. Born, 1470. Died, 1532. Worked in Padua. 50 THE GLORIFICATION OF A HERO. A naked youth stands on a platform, resting his left hand on a horn of plenty; beneath his right hand is- a vase holding laurel branches, from which curls a snake. At the left stands the Goddess of Victory, naked, with wings outspread, her left hand on his shoulder. At the extreme left are two female figures dressed in short chitons, with helmets on their heads; one holds a laurel branch, the other a shield and a standard. On the ground beside them is a vase with a snake. At the right of the central figure two men are sacrificing an ox. Behind this group are two youthful figures making music, and an aged man holding an olive branch. Background of trees and architecture. (Illustrated, page 53.) 52 PADUAN SCHOOL Low-middle relief. Bronze. Dark brown patina. Height, 3 inches. Width, 41V inches. Rogers Fund, 1909. Inspired by an antique sarcophagus relief (Tresor de numis- matique et de glyptique, recueil general des bas-relief, II, plate VI, No. 4.). Reproduced in W. Bode-F. Knapp: Die italienischen Bronzen, No. 701. Other examples in the collections of M. Gustave Dreyfus, and M. Paul Gamier; the Salting Bequest (No. 3316), Victoria and Albert Museum; and in many other museums. E. Molinier: Les bronzes de la renaissance, I, Les plaquettes. Paris, 1886, No. 233. W. R. V.: Italian Renaissance Sculpture, in Bulletin of the Metropolitan Museum of Art, 1910, V, No. 1, p. 19. (HI.) NO. 50 RICCIO. Workshop of Andrea Briosco, or Brioschi, called Riccio. Early XVI Century. 5 1 SEATED BOY. With his bare legs crossed and rest ing his arms on his knees, a seated boy holds with both hands a small wooden bucket against his breast. He wears a short garment, open on the right shoulder. Statuette. Bronze. Brown patina. Height, 4! inches. Gift of J. and S. Goldschmidt, 191 1. Another example of this statuette, which probably served as an ink well, is in the collection of Mr. J. Pierpont Morgan. The piece is included in several other collections. An example at Oxford, Ashmolean Museum, Fortnum collection, is labeled 53 ITALIAN, EARLY RENAISSANCE Italian, XVI century; Dr. Bode describes this piece as Italian, beginning of XVI century. W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1912, III, pi. CCXLIX. 52 SMALL LAMP In the form of a horse's head, held by a naked dwarf to whose shoulders is attached a curving handle of twisted vine stems. A basin for the wick projects from the animal's open mouth. (Illustrated, page 55.) Lamp. Bronze. Dark brown and black patina. Height, 3 inches. Length, 5 Jf inches. Rogers Fund, 191 1. Other examples are in the Museo Nazionale, Florence; in tne Museo Estense, Modena; and elsewhere. W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1908, I, pi. XLVI. 53 SMALL LAMP. In the form of a crouching sphinx; projecting basin between the breasts; opening in the back covered by a fluted shell. The sphinx is represented as blow ing the flame that rises before her. (Illustrated, page 55.) Lamp. Bronze. Dark brown and black patina. Height, 4}|- inches. Length, 5-} J- inches. Rogers Fund, 191 1. Other examples are in the Museo Nazionale, Florence; in the Museo Estense, Modena; in the Hofmuseum, Vienna, and else where. W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1908, I, pi. XLVI. UNKNOWN SCULPTOR. About 1500. 54 PAPERWEIGHT. Two lizards facing in opposite directions, their tails interlaced. The base is oval in shape. Middle relief. Bronze. Dark green-brown patina. Length, 2\ inches. Width, 2\ inches. Thickness, -& inches. Rogers Fund, 1909. W. R. V.: Italian Renaissance Sculpture, in Bulletin of the Metropolitan Museum of Art, 1910, V, p. 19. (111.) 54 ¦ m% p^H nos. 52, 53 two small lamps workshop of riccio ITALIAN, EARLY RENAISSANCE MODERNO. A North Italian goldsmith and metal WORKER WHO WORKED PRINCIPALLY IN PADUA AND PROBABLY also in Rome during the last years of the XV Century AND IN THE FIRST YEARS OF THE XVI CENTURY. 55 PAX. The Madonna is represented in half figure, seated, facing slightly to the right, her head turned to the left, looking down on the Child on her knee, to whom she offers her breast. At the right, the head and bust of S. Joseph, who holds a small cross in his hand. In the tympanum of the tabernacle frame with ornate pilasters is represented God the Father, blessing with outstretched arms; at the left a cherub head. On the base of the frame a shield with the cipher s m. Low middle relief . Bronze. Height, 4A inches. Width, 2A inches, including frame. Rogers Fund, 1908. This relief of the Madonna, with some additions in the back ground and in a different frame without the pediment relief, is reproduced in W. Bode-F. Knapp: Die italienischen Bron- zen (Kgl. Museen zu Berlin). Berlin, 1904, No. 735. See also E. Molinier: Les plaquettes, etc. Paris, 1886, No. 162. 56 PAX. Pieta. The body of Christ, seated on the tomb, is supported by S. John, standing at the right. The Virgin, at the left, raises His right arm, aided by a sorrowing child. Emotion is strongly marked on the faces of S. John and the Virgin. The ornamental frame is crowned by a bal anced motive of curved torches sheathed in foliage. Low middle relief. Bronze gilt. Height, 4§ inches. Width, 3 A inches. Rogers Fund, 1908. Another example of this relief, without the frame, is reproduced by W. Bode-F. Knapp: Die italienischen Bronzen (Kgl. Museen zu Berlin). Berlin, 1904, No. 743. See also E. Molinier: Les plaquettes, etc. Paris, 1886, No. 176. W. R. V.: Italian Renaissance Statuettes and Plaques, in Bul letin of the Metropolitan Museum, 1908, III, p. 231. (111.) 56 PADUAN SCHOOL 57 CACUS STEALING THE COWS OF HERCULES. At the right Hercules lies asleep. At the left, standing in the entrance of a cave, Cacus drags at the tail of a cow. In the background, the head of a second cow, and a grove of trees. Signed: • o • moderni • (Illustrated, page 57.) Low relief. Bronze. Yellow-brown patina. Height, 2f inches. Width, 2! inches. Rogers Fund, 1908 A similar relief is reproduced by W. Bode-F. Knapp: Die italienischen Bronzen (Kgl. Museen zu Berlin). Berlin, 1904, No. 776. This and three others also reproduced, Nos. 733-5, form a set of the Adventures of Hercules. See also E. no. 57 Molinier, Les plaquettes, etc. Paris, 1886, No. 194. There are examples in numerous collections, for example, in the Museo Nazionale, Florence, and the Salting Bequest (No. 3278), in the Victoria and Albert Museum, London. 58 THE ADORATION OF THE KINGS. At the right the Madonna, holding the Child, sits in front of a thatched hut; behind her stand S. Joseph and a naked boy. At the left are the three Kings followed by their attendants. A long procession winds across the upper half of the relief which represents a rocky landscape. The plaquette is un- framed, the upper edge nicked. 57 ITALIAN, EARLY RENAISSANCE Low relief. Bronze. Yellow brown patina. Height, 3! inches. Width, 2§ inches. Rogers Fund, 1909. An example of this relief in a tabernacle frame, is repro duced in W. Bode-F. Knapp: Die italienischen Bronzen, No. 737. See also E. Molinier: Les plaquettes etc., No. 168. Other examples are in public and private collections. G. MANTUAN SCHOOL UNKNOWN MASTER, possibly L'ANTICO. Pier Jacopo Ilario (or Alari) Bonacolsi, called L'Antico. Medalist, goldsmith, and sculptor. Born about 1460. Died, 1528. Worked in Mantua. 59 CROUCHING VENUS WITH CUPID. The God dess bends her right knee to the ground; her body is turned as she looks over her right shoulder at the little Cupid who stands behind her with wide spread legs, his arms raised to embrace her. In her right hand Venus holds the end of a dolphin's tail or possibly a flower. (Illustrated, page 59.) Statuette group. Bronze. Black patina. Height, i6§ inches (with base). Width, 9I inches (at base). Height (of base), 5 1 inches. Rogers Fund, 1909. This is a free reproduction of the type ascribed to the sculptor Doidalses (original supposed to have been in the Temple of Jupiter at Rome), and known to us through several antique copies (one in the Metropolitan Museum), differing in some particulars, but retaining the same motive and general details. The bronze, No. 59, has close analogies with two antique groups; one at Naples, in which the pose of the Goddess' arms is the same; and the other mentioned by Cavaceppi and said to be in a private collection in England, in which Cupid is repre sented embracing Venus, as in this bronze. The base, deco rated with garlands and trophies, is the invention of the Renaissance sculptor, but may not have been made for this group. A similar Renaissance bronze is in the Salting Collection (No. 2507), Victoria and Albert Museum. Another, with the arms differently posed, in the Museo Nazionale, Naples, is described as after an original by L'Antico and reproduced by Dr. Bode in Italian Bronze Statuettes of 58 SCHOOLS OF MANTUA AND VICENZA the Renaissance, London, 1912, III, pi. CCXXXVI, p. 17, 18. Dr. H. J. Hermann, however, ascribes this bronze in Naples, despite its inferior quality, to L'Antico. See his excellent article on this artist in Jahrbuch der Kunst-historischen" Sammlungen, 1909-1910, XXVIII, p. 201-288. A group in enameled terracotta from the della Robbia atelier is in a private collection, New York. no. 59 W. R. V. : Italian Renaissance Sculpture, in Bulletin of the Metropolitan Museum, 1910, V, p. 18. B. Cavaceppi: Raccolta d'antiche statue, etc. Rome, 1768-72. H. SCHOOL OF VICENZA VALERIO BELLI, called VICENTINO. Sculptor in crystal and precious stones, and medalist. Born in Vicenza about 1468. Died there, 1546. Worked chiefly in Vicenza. 59 ITALIAN, EARLY RENAISSANCE 60 PAX. In a gilt bronze tabernacle frame, oval relief in silver of the Entombment. The seated body of Christ is supported on the sarcophagus by a man standing at the right; at the left the Virgin kneels, raising His right hand to her lips. In the background, mourning women and men. Two angels flying above hold the crown of thorns. In the space below the tomb is an inscription on a tablet: hvivs iivore | sanait svmvs. The spaces between the relief and the frame are filled with niello work on silver. In the tympanum is a relief in silver repousse, by a later and inferior hand, representing Saint John the Baptist standing, with a cross in his hand, between crudely conventional trees in a mountainous landscape. Low relief. Silver and gilt bronze. Dimensions of frame: Height, 5f4 inches; Width, 4A inches. Dimensions of oval relief (sight measure): Height, 3 J inches; Width, 2^ inches. Dimensions of tympanum relief (sight measure): Height, 1 A inches; Width, 2 A inches. Rogers Fund, 1908. An example of the oval relief, without frame, in the Berlin Museum, reproduced by W. Bode-F. Knapp: Die italienischen Bronzen, No. 1 109 has on the reverse a representation of the Crucifixion; see also No. 1108. I. SCHOOL OF THE EMILIA UNKNOWN SCULPTOR. Probably of the Ferrarese School. About the third quarter of the XV Century. 61 CRUCIFIX. The Christ is nude except for a loin cloth fastened on His left side. The head, crowned with thorns, is inclined forward over the right breast. The right foot is crossed over the left. On the head of the cross is a tablet inscribed I N R I . The cross, as well as the figure, is marble. The sculpture is archaistic in style, but vigorous and dramatic. High relief. Marble. Height of cross, 48 inches. Width of cross, 24! inches. Gift of George Blumenthal, 191 1. 60 SCHOOLS OF THE EMILIA AND LOMBARDY The attribution of this Crucifix to the Ferrarese school is made on the authority of Dr. Bode. J. LOMBARD SCHOOL AMADEO. Style of Giovanni Antonio Amadeo (1447- 1522). Late XV Century. 63 FRANCESCO SFORZA (1401-1466), Duke of Milan. Tondo; bust portrait representing the Duke in profile to the left, bare-headed, wearing armor. The legend is inscribed: F . SF. D . | . M . Q ARTVS. Middle relief. Marble. Diameter, 19! inches. Rogers Fund, 191 1. From the Oscar Hainauer Collection. Similar portrait medallions were used (particularly in the north of Italy) for the ornamentation of doorways or other architec tural features. The Certosa at Pavia affords an excellent il lustration; the medallions of Francesco Sforzaonthe doorway from the church to the old sacristy and on the entrance to the small cloister should be noted. W. Bode Die Sammlung Oscar Hainauer. Berlin, 1897. and others: The Collection of Oscar Hainauer. London, 1906. In one volume, p. 12, 13, 18. (111.) ANTONIO DELLA PORTA, called TAMAGNINI. Died after 15 13. Worked at Pavia (-1491-, 15 13), Genoa, Brescia (1499-1500). 64 ACELLINO DI MELIADUCE SALVAGO. Tondo; bust portrait, in profile to the left. Simple costume; doublet with low, standing collar; berretto. The rim of the medallion is ornamented with the guilloche pattern. The lower part of the relief has been restored. At the right and left of the head are the initials P P (Pater Patriae). Around the rim is the inscription: accellinvs cer(ivs). The letters enclosed in the brackets are incorrectly restored; the word should be cernitvr. Middle relief. Marble. Diameter, clinches. Rogers Fund, ITALIAN, EARLY RENAISSANCE 191 1. From the Sante Varni Collection, Genoa (ascribed to Matteo Civitali). From the Oscar Hainauer Collection. Acellino Salvago, Genoese banker and statesman, died shortly before 1506. During his long life he held numerous public offices and three times was sent on diplomatic missions to the courts of Milan and Naples. Through his connection with the famous Bank of S. George and the Society of S. John the Bap tist of the Cathedral, he was able to give considerable patron age to the arts of.sculpture and architecture. In the Kaiser Friedrich Museum, Berlin, there is a marble bust signed by Tamagnini and dated 1500, which represents the Genoese banker at about the same age as in our relief. This bust was formerly in the possession of the Empress Frederick at Friedrichshof. W. Bode Die Sammlung Oscar Hainauer. Berlin, 1897. and others: The Collection of Oscar Hainauer. London, 1906. In one volume, p. 13. (111.) Carl Justi: Miscellaneen aus drei Jahrhunderten spanischen Kunstlebens. Berlin, 1908, I, p. 143-146. W. Suida: Genua. Leipzig, 1906, p. 64. K. VENETIAN SCHOOL GERARDO DI MAINARDO. Died in Venice, 1422. Worked in Venice, and probably elsewhere in the north of Italy. 65 SAINT PETER, SAINT PAUL, AND SAINT JOHN BAPTIST WITH DONORS. Over a red tunic S. Peter wears a gilded mantle, lined with brown; his short curly hair is a bluish-black. He holds against his side a book in his left hand and a cord from which hang two large keys; his right hand is raised in benediction. At the left is S. John the Bap tist, at the right, S. Paul; both figures are somewhat smaller in size than S. Peter. S. John wears a green mantle over a brown goat-skin, and holds in his left hand a red scroll lettered in black, to which he points with his right hand. S. Paul, his yellow tunic partly covered by a red mantle, holds in his left hand a red and gold book, and in his right, a large sword, brown, with a gilded hilt. The halos of the three saints are 62 NO. 65 SS. PETER, PAUL, AND JOHN THE BAPTIST BY GERARDO DI MAINARDO "| TJ 1"! ITALIAN, EARLY RENAISSANCE gilded and in relief; the background is light blue. Kneeling at the feet of S. John and S. Paul are small figures of the two donors, a bearded man and his wife. In a medallion at the peak of the gabled frame the Virgin is represented in half -figure, holding the nude Child on her right arm; her garments are gilded. The ornate frame-work is painted red and gilded. The sculpture is well preserved and still retains much of the original gilding and polychromy. On the side of the relief at the right is the following Italian inscription: mccc|c ¦ vm| • a di • x -| dotv|brio -| s • girar| do • ta|iapier|a • fexe • qv|esto | altar| ¦ d ¦ mis|er • s • p| iero • a r|ever|entia| • d • mi • s ¦ | - dome|nedio | e • d MA|DONA • | • SNTA • | • MARIA • | • E DE T|VTA LA ¦ | CORTE • | ¦ CELESTIAL | AMEN • | Translated, this reads: On the tenth day of October, 1408, ser Gerardo taiapiera (stone carver) made this altar to messer Saint Peter in reverence of messer Saint Lord God and of madonna Saint Mary and of all the Celestial Court. Amen. (Illustrated, page 63.) Low relief. Stone. Polychromed and gilded. Height, 67 inches. Width, 40 inches. Depth, \\ inches. Hewitt Fund, 191 1. The altarpiece came originally from a church in Venice. Gerardo di Mainardo {Gerardus tagliapieira q. m. ser Mainardi de confinio S. Benedicti, Ser Gerardus Tagliapieira condam ser Maynardi de Confinio Sandi Benedicti, Girardo Taiapiera de la contrada de San Benedetto, as he is variously named in several documents published by Paoletti), left six gold ducats to his parish church of San Benedetto in- a will made in 141 ion condi tion that masses should be celebrated weekly on Fridays at the altar of S. Peter. The presumption may reasonably be enter tained that the "altar di miser S. Piero," mentioned in the in scription on the Museum's relief is one and the same with the altar favored in the testament. This and other evidence make almost certain the identification of "ser Girardo taiapiera" with Gerardo di Mainardo, a Venetian sculptor prominent in the Arte dei tagliapietra (guild of stone-carvers), and one, it would appear, of considerable importance, but of whose work nothing is known today if we except the present example. 64 VENETIAN SCHOOL J. Breck: Una scultura ascritta a Gerardo di Mainardo, in L'Arte, 1912, XV, No. 3. J. B.: An Altar Relief, etc., in Bulletin of Metropolitan Museum of Art, 191 1, VI, p. 193-94. Paoletti: L'architettura e la scultura del Rinascimento in Venezia. Venice, 1893. (Miscellanea di docu- menti.) UN KNOWN SCULPTOR. Second half of XV Century. 66 ALTAR-SHRINE WITH PAINTED DOORS: MA DONNA AND SAINTS. Central part: in an ornate archi tectural setting of wood, carved in openwork and gilded, with pinnacles, foliage scrolls containing small figures, and other characteristic devices of the florid Gothic carving of the Venetian School, the Madonna is represented seated on a low throne with her hands clasped in adoration of the sleeping Christ Child reclining in her lap; the figures are painted and gilded. On the inner side of the doors of the shrine which encloses this central part four saints are painted ; on the left, in the upper compartment, S. Jerome; in the lower, S. Sebas tian; on the right, in the upper compartment, S. Louis of Toulouse, in the lower, S. Roch. The paintings, on a gold ground, recall the manner of Alvise Vivarini. Middle relief without background (Virgin). Wood. Painted and gilded. Height of Virgin, i8f inches. Height of shrine, 49! inches. Width of shrine (doors open), 56! inches. Depth, 9 inches. Width of shrine (doors closed), 28J inches. Depth, 1 of inches. Rogers Fund,. 1908. The Virgin adoring the sleeping Child who lies on her knees was a motive particularly popular in the third quarter of the fifteenth century. It seems to have been introduced among the first by Antonio and Bartolomeo Vivarini in their polyptych dated 1450 in the gallery (No. 205) at Bologna. Laudedeo Testi instances, however, two slightly earlier pictures. Somewhat later in date, but probably in the decade 1450-60, is an early work by Giovanni Bellini in the Accademia (No. 591) at Venice representing the Madonna with the Child asleep in her lap. The motive is found again in the polyptych dated 1464 by 65 ITALIAN, EARLY RENAISSANCE Bartolomeo Vivarini in the gallery (No. 615) at Venice, and in another work dated 1467 by the same master in the Museum (No. 83906 Inv.) at. Naples. Compare also with a triptych by Quirizio da Murano in the Museo Civico at Venice, and with the early polyptych dated 1475 by Alvise Vivarini at Montefiorentino. For an early instance of this motive in sculpture, see the large ancona by Michele Giambono and Paolo di Amadeo at S. Daniele del Friuli, dating 1440-41. Com pare also with the ancona, dated 1470, by Bartolomeo Giolfino of Verona now in the Royal Gallery at Venice. G. Fogolari: L' Ancona dei Querini Stampalia in Venezia, in Bollettino d'Arte, Rome, 1909, III, p. 387-398. L. Testi: Michele Giambono, in Rassegna d'Arte, Milan, 191 1, XI, p. 93-94. L. M. P. : A Tabernacle of the Muranese School, in Bulletin of the Metropolitan Museum of Art, 1908, III, p. 72. (111.) RIZZO. Manner of Antonio Rizzo. About 1480. 67 ADAM. The figure represents a nude man, standing with his left arm outstretched, holding an apple in his hand, his head turned to the right. His right leg is relaxed, and his right arm hangs naturally at his side. Statuette. Bronze. Black patina. Height, 5! inches. Rogers Fund, 1908. Analogous bronzes attributed to a Venetian master, XV cen tury, in the Hof Museum, Vienna, and collection of the Com- tesse de Beam, Paris, are reproduced by W. Bode: The Italian Bronze Statuettes of the Renaissance, 1908, I, plate LXXV. It is possible that these three bronzes are studies for Rizzo's famous statue of Adam on the interior of the Porta della Carta of the Doge's Palace, Venice. T. von Schlosser: Werke der Kleinplastik in der Sculpturen- sammlung. Vienna, 1910, I, plate III, No. 2. The author disagrees with Dr. Bode's ascription, preferring to assign the work to an anonymous Paduan master. W. R. V.: Italian Renaissance Statuettes and Plaques, in Bulletin of Lhe Metropolitan Museum of Art„ 1908, III, p. 229 (ill.) and 230. 66 VENETIAN SCHOOL LOMBARDO. Pietro di Martino da Carona, called pletro lombardo. sculptor and architect. d1edi515. Worked principally at Venice (from about 1462); but ALSO AT COMO AND FaENZA (BOTH EARLY) AND AT R.AVENNA (1482-83), Treviso (1485), and Mantua (1495-97). 68 PORTRAIT OF A YOUTH. Head and bust, in pro- no. 68 file to the left. The young man wears a berretto on his slightly curly hair, and is dressed in doublet and light, sleeve less tunic with embroidered bands at the neck and on the shoulders. An inscription at the bottom of the panel gives the age of the sitter: • xix • etatis ¦ anno • The exquisitely modeled relief is in perfect condition; the white marble has taken on a mellow patina. (Illustrated, page 67.) Low relief . Marble. Height, 17! inches. Width, 9 inches. Hewitt Fund, 191 1. 67 ITALIAN, EARLY RENAISSANCE Probably executed about 1490-1500. The attribution has been made by Dr. Bode J. B.: Italian Sculpture, in Bulletin of the Metropolitan Museum of Art, 191 1, VI, 11, p. 232, 243. (111.) L. NORTH ITALIAN SCHOOL UNKNOWN SCULPTOR. XV Century. 69 MADONNA AND CHILD. Wearing a heavy man- " tie that is drawn up on her head, the Virgin supports on her left arm the Christ Child, who holds an orb in His left hand. A console with shell and foliage motives supports the figures. Middle relief without background. Yellow bronze, with traces of gilding. Height, 5}f inches. Width, 2 inches. Rogers Fund, 1910. A like piece is in the Berlin Museum. W. Bode-F. Knapp: Die italienischen Bronzen (Kgl. Museen zu Berlin). Berlin, 1904, Plate XXXVII, No. 479. UNKNOWN SCULPTOR. About 1500. 70 HEAD OF A MAN. In profile to the left. The hair is treated in the antique manner, with long, separate locks brushed forward toward the face. Middle relief. Stone. Height, 2of inches. Width, i8j inches. Rogers Fund, 1909. This piece is said to have come from the facade of a palace in Perugia, where it was purchased. M. ROMAN SCHOOL UNKNOWN SCULPTOR. Probably of Roman School. Second half of XV Century (possibly 1470-80). 71 TEMPERANCE. Standing figure, head turned to the right, with right leg relaxed. From a ewer held in front 68 ROMAN SCHOOL of her breast in her right hand, she pours a stream of water into a cup held against her side in her left hand. Over a tunic falling in long straight folds, she wears a light mantle widely open at the shoulders; the bending of the right knee is em phasized by the folds of the mantle. The hair is neatly rolled back from the rounded oval of the face; in the center, above the forehead, two small upstanding curls. Statue. Marble. Height, 42I inches. Rogers Fund, 1907. In pose and general arrangement of draperies, although not in style, our statue shows close analogies with the figure of Temperance on the Triumphal Arch of Alfonso I at Naples. On this monument worked Isia and Antonio Pisani, Domenico Gagini, Pietro da Milano, Andrea dall' Aquila, Francesco Laurana and Paolo Romano with their assistants and pupils; but recent endeavors to disengage the work of each individual sculptor from the rest have been far from successful and much remains uncertain. Our sculptor may have worked in Naples with Isia da Pisa or Paolo Romano (Paolo di Mariano) with whom he has something in common, and returning to Rome, have come later under the influence of Bregno and Mino da Fiesole. In this connection it would be interesting to know more of the problematic Paolo de Urbe (Romano), if indeed he exists as a separate personality distinct from Paolo di Mariano. GIOVANNI DALMATA. Giovanni Duknowich di Trau, called Giovanni Dalmata. Born in Trau in Dalmatia about 1445. Died probably soon after 1509. Worked principally in Rome; also, in Hungary about i49i; probably in venice, about i498; and in ancona, I509. 72 FRIEZE WITH THE BORGIA COAT OF ARMS. This frieze, presumably from a mantelpiece, is divided hori zontally into two equal parts, the lower, or architrave, consisting of mouldings ornamented with beading and a modification of the egg and dart pattern. In the center, projecting above the line of the architrave, is a shield with the Borgia coat of arms attached by ribbons on either side. In the upper part, or frieze proper, are the busts, placed at equal 69 ITALIAN, EARLY RENAISSANCE intervals, of five putti, young children with curly hair bound by fillets. Between these putti are suspended garlands of fruit and flowers attached by waving ribbons. Four small medallions with formal ornament add a- further enrichment. Low relief. Marble. Length, 96! inches. Width, i6f inches. Purchase, 1912. This attribution is made on the authority of Dr. Bode. ANDREA BREGNO DA MILANO, or properly, DA OSTENO. Born in Osteno, 1421. Died in Rome, 1506. Worked chiefly in Rome after about 1460. 73 SAINT ANDREW, APOSTLE. Standing, with the left knee bent, the saint holds a book with ornamented cover in his right hand, while with his left hand he supports a cross resting against his upper left arm. He is bearded and has long curly hair. He wears sandals, a tunic with sleeves, and a mantle which is draped over his right shoulder, drawn across the front of his body, and the gathered folds held in place by his right hand. Behind the figure is a shallow, shell-capped niche, completed by an egg and dart mould ing, and in the spandrels, medallions with ribbons. At the sides of the niche are pilasters ornamented with arabesque designs. High relief. Marble. Height, 47! inches. Width (with pil asters), 3 if inches. Width of niche, 2of inches. Lent by J. Pierpont Morgan, 1908. From an altar, dated 1491, originally in the ancient basilica of S. Peter's (S. Pietro in Vaticano), at Rome. During the demolition, long continued, of the old basilica of S. Peter's, monuments were not only dismantled, but in many instances removed from Rome. Early in the seventeenth century, the Bishop of Bauco, Giovanni Battista Simoncelli, an apostolic prothonotary and intimate of the household of Pope Paul V., obtained from the ancient basilica several sculptures and fragments of mosaics, which he used to em bellish a chapel in the church of S. Pietro Ispano at Bauco, a small town now called Boville Ernica. 70 ROMAN SCHOOL Among these sculptures were two marble figures of S. Peter and S. Paul, standing in niches, which were placed at the entrance of the chapel where they may be seen to-day. The Apostles are certainly the work of Andrea Bregno himself, an ascription based on stylistic evidence and supported by their known prov enance. For there can be no question that these two figures formed part of an altar originally standing at the left of the left side-entrance of the old Vatican basilica. The demolition of this altar in 1606 was noted by Jacopo Grimaldi, the diligent chronicler of the work of destruction carried on by Paul V. From the description and drawing left by Grimaldi (see Codex Barberinus Lat. 2733 [formerly XXVI, 50] fol. 100), we learn that the altar consisted of a base ment supporting a plinth with an inscription flanked by stemme, and above this, three Apostles, S. Peter, S. Paul, and S. Andrew, standing in niches separated by pilasters sup porting a cornice ornamented with festoons and the heads of cherubim. The inscription gives us the name of the donor, Guillaume de Perrier and the date, 1491 : gvillermvs de per- RERIIS AVDITOR HOC ALTAR DEO ET SANCTIS APOSTOLIS DE- DICAV1T ANNO D. MCCCCLXXXXI. Guillaume de Perrier, Guillermo de Pereriis or Guglielmo de Pereris in Italian, a French prelate born in Aquitaine, gave several altars to Roman churches, three to S. Giovanni in Laterano in the years 1492 and 1493, one to S. Paolo Fuori le Mura in 1494, and one to S. Maria del Popolo in 1497; another must have existed in SS. Apostoli (two figures of Apostles in Stroganoff Collection), but its date cannot be determined with certainty. The earliest of these altars, however, is undoubtedly the one formerly in the old basilica of the Vatican. They ail follow the same type and were executed by Bregno or his fol lowers.The provenance of the two figures at Boville Ernica has been described at some length because unquestionably the S. Andrew lent by Mr. Morgan, formed part originally of this Perrier altar demolished in 1606. The pose and drapery of S. Andrew are the same as in Grimaldi's drawing, and the niche exactly corresponds with those of the figures at Boville Ernica, with the added interest that the pilasters in Mr. Morgan's piece have been preserved. For notes on the sculptures and other relics at Boville Ernica, with numerous illustrations, including one of Grimaldi's draw ing, see the excellent article by Antonio Mufioz in the Bollet- tino d'arte, for May, 191 1. A further note on the sculptures of 7> ITALIAN, EARLY RENAISSANCE the Perrier altar, including the S. Andrew in Mr. Morgan's collection, was published by Dr. Munoz in the same periodical for June, 191 2. See also J. B.: A Sculpture by Andrea Bregno, in Bulletin of the Metropolitan Museum, 1912, VII, p. 165-167. BREGNO. Workshop of Andrea Bregno 73-A FRIEZE. In the centre, a medallion surrounded by a wreath ; on either side, a cherub with extended wings, a smaller pair of wings folded over the breast . At the corners, similar heads. Middle relief. Marble. Length, 50! inches. Height, io| inches. Gift of Henry Walters, 1912. N. SOUTH ITALIAN SCHOOL LAURANA. Francesco Laurana. Born in Dalmatia about 1430. Died in France, probably in 1502. Worked in the South of Italy and in France. 73>B MASK OF A YOUNG WOMAN. The head is erect; the eyes, downcast; a small portion of the bust is indicated. The shoulders appear to be covered by a fine gauze under-vest, V-shaped at the throat. Except for a narrow band of hair, apparently covered by a veil, framing the oval of the face, the back of the head is not represented. The mask is roughly hollowed out in back. The extremity of the nose has been broken off and restored. Modern pedestal. Mask. Marble. Height of mask, ii^f inches. Gift of J. Boehler, 1912. Similar masks from the same atelier exist in the museums of Berlin, Villeneuve-les-Avignon, Aix-en-Provence, Puy-au- Velay, Bourges, Chambery, in the Morel Collection, Carpen- tras, and in an English private collection. They were prob ably affixed to sepulchral figures or to busts sculptured in material other than marble, either for reasons of economy or for the effect of contrast. F. Burger: Francesco Laurana, Strassburg, 1907. "2 IV LATE RENAISSANCE PERIOD XVI CENTURY A. FLORENTINE SCHOOL UNKNOWN SCULPTOR. About 1510. 74 THE VISITATION. Both figures are represented advancing. S. Elizabeth at the right, bending forward to embrace the Virgin, places her left hand on the Virgin's shoul der, her elbow held by the Virgin's right hand. Her left hand the Virgin rests on S. Elizabeth's shoulder. The Virgin wears a yellow-green head-cloth, a blue mantle, and a light red gown. S. Elizabeth's mantle is dark blue lined with yellow, her dress and head-cloth, blue-green. The base is an irregu lar semi-circle; at the back is a low parapet or wall, a few inches in height. This base is painted green. The group is only roughly worked in the back. The terracotta is in excel lent condition; the original polychrome coloring is largely preserved. Wall statuette group. Terracotta. Polychromed and gilded. Height, 20 inches. Hewitt Fund, 191 1. J. B.: Italian Sculpture, in Bulletin of the Metropolitan Museum of Art, 191 1, VI, No. 1 1, p. 232. (111.) BENVENUTO CELLINI. Goldsmith, medalist, and sculptor. Born in Florence, 1500. Died there, 1572. Worked principally in Florence, Rome, and Paris. 73 ITALIAN, LATE RENAISSANCE 75 MEDAL OF CARDINAL PIETRO BEMBO (1470- 1 547.) Obverse: Bust in profile to the right, bare-headed, long beard, cardinal's costume; legend in relief: petri • bembi • car • Reverse: Pegasus flying, to the right. Without legend. Medal in low relief . Bronze. Yellow-brown patina. Diam eter, 2J inches. Rogers Fund, 1908. In 1537, when on his way to the court of Francois I, Cellini stopped at Padua to make a study for the portrait medal of Pietro Bembo, which the future Cardinal, then at Padua, had commanded. At this time Bembo did not wear a long beard nor was he then Cardinal (not till 1539); furthermore, this medal was to have been struck, not cast, as is our medal de scribed above. This latter is not, therefore, the medal men tioned by Cellini in his memoirs. But it may very well have been made by him some time later, with slight modifications, such as the beard and the addition of the Cardinal's title to the legend, from the earlier portrait study of 1 537. This opinion, moreover, is supported by stylistic evidence. J. B.: Renaissance Portrait Medals, in Bulletin of the Metro politan Museum of Art, 1912, VII, p. 49, 54. (111.) The following critics accept the ascription to Cellini. J. Friedlaender: Miinzen und Medaillen des Benvenuto Cel lini. Berlin, 1855, p. 6. A. Durand: Medailles et jetons des numismates. Genoa, 1865, p. 16. E. Plon: B. Cellini orfevre, medailleur, etc. Paris, 1883, p. 328 ft. A. Armand- Les medailleurs italiens, etc. Paris, 1883, I, p. 150. A. Heiss: Les medailleurs de la renaissance, Venise, etc. Paris, 1887, p. 196 ff. (But classes with an onymous medals of Bembo in later edition, although still inclined to believe in the au thorship of Cellini.) P. Rizzini: Illustrazione dei civici musei di Brescia. Brescia, 1892, p. 31. E. Miintz: Histoire de I'art pendant la renaissance. Paris, 1895, III, p. 205, 283. I. B. Supino: II medagliere mediceo nel R. Museo Nazionale di Firenze. Florence, 1899, p. 101. 74 FLORENTINE SCHOOL R. H. H. Cust: Life of Benvenuto Cellini. London, 1910, II, p. 489. ("May be reasonably attributed to Cellini.") The following doubt more or less strongly the ascription to Cellini: C. Milanesi: I tratti dell' orificeria, etc. Florence, 1857, p. 268. G. Ciabatti: Notizie ed osservazioni, etc., in Periodico di numismatica, etc. Florence, 1868, I. O. Bacci: Vita di Benvenuto Cellini. Florence, 1901, p. 184. The latest contribution to the literature on this subject is the interesting article by L. Rizzoli: Una medaglia del Bembo che non e opera di Benvenuto Cellini, in L'Arte, Rome, 1905, VIII, p. 276-280. After a careful review of the material, the author ascribes this medal of Bembo, on no other evidence, however, than a stylistic comparison affords, to Danese Cat- taneo (1513-73) a pupil of Sansovino, who worked in Venice, and particularly in Padua where he did a bust of Bembo among other works. CELLINI. Attributed to Benvenuto Cellini. 75-a,',THE BANQUET OF THE GODS. This relief, with the background cut away in parts, is attached to a rectangular panel of lapis lazuli inlaid in slate. At each of the four corners of the panel is a large cartouche ornamented with an oval carnelian. The scene represented is enclosed by an oval frame. The gods are grouped about a round table. In the middle of the foreground is Ganymede, a nude boy holding out a cup. At the right, seated and playing a lyre, is Apollo; beyond him, a group of five gods and god desses. The central figure of this group is Jupiter, who leans across the table to receive the cup from Ganymede. At the left, in the foreground, is a seated goddess; then Hercules and Venus with Cupid playing at her feet, Mars, a male divinity, Minerva, and two embracing couples. The table is covered with a long cloth heavily fringed, and is set with various dishes and utensils. The foreground is minutely 75 ITALIAN, LATE RENAISSANCE pitted to give a variety of texture. The figures at the ends and far side of the table are silhouetted against the blue background of lapis lazuli. Middle relief. Repousse. Gold. Mounted on lapis lazuli inlaid in slate, and ornamented with carnelian. Height of panel, 5! inches. Width, 9! inches. Purchase, 191 2. This plaque is one of a series of panels of which six are in the Kaiser Friedrich Museum, Berlin, one in the posses sion of the Emperor of Austria, and one in a Bavarian collection. Among the few examples of goldsmith's work generally accepted as the work of Cellini are two embossed silver plaques in the Vatican Library, Rome, representing respectively The Combat of Perseus and Phineus, and Jupiter destroying the Giants. These plaques were copied with slight modifications by Wedg wood and Bentley among their earliest pieces, and appear in the first edition of their Catalogue, published in 1773. The plaques were oval, six by nine inches, in black basaltes, later in the jasper body. No reference is made in the Catalogue to the originals from which the reliefs were copied. Bracketed with these two plaques in Wedgwood and Bentley's Catalogue is a third oval plaque of the same dimensions and material, entitled The Feast of the Gods, and representing, with some unimportant variations, the same scene that is found on the Museum's plaque described above. Evidence of style, as well as other considerations, makes it probable that the original of this third plaque was by the same hand as the two silver reliefs in the Vatican. In this connection, note that a drawing attributed to Cellini and representing the Banquet of the Gods, is recorded by Eugene Plon (Benvenuto Cellini, 1883, p. 278) as existing in the collection of the Marquis de Vallori. The drawing is said to have close analogies in the attitudes, modeling, and contours of the figures with the representations of the gods in the Vatican plaques. The original of The Feast of the Gods copied by Wedgwood and Bentley may have been an embossed silver plaque similar to the two in the Vatican, or it may have been the gold relief in the Museum's posses sion, although this is perhaps less probable. For an account of Cellini's method of working fine gold in hollow relief, sometimes cutting out the background in parts and attaching the relief to lapis lazuli, as was done for example with the Atlas made for Federigo Ginori, Cellini's own treatises 76 FLORENTINE SCHOOL on Goldsmithing and Sculpture may be consulted. (Excellent English translation by C. R. Ashbee, 1898; chapter on Minu- terie Work.) J. B.: Renaissance Metalwork, in Bulletin of the Metropolitan Museum of Art, 1912, VII, p. 194. (111.) UNKNOWN SCULPTOR. Influenced by Michelangelo Buonarroti (1475-1564). Middle of XVI Century. 76 A BISHOP (one of pair). Wearing a cope, mitre, and alb, the saint stands with left leg relaxed, knee thrown out, holding a book in his left hand against his breast. Wall statuette, open in the back. Bronze. Dark brown pat ina, originally black. Height, 6| inches. Rogers Fund, 1 908. 77 A BISHOP (one of pair). The pose of this figure is the reverse of No. 76; the right leg is relaxed, and a book is held in the right hand at an angle to the body. The vest ments are the same. Wall statuette, open in the back. Bronze. Dark brown pat ina, originally black. Height, 6| inches. Rogers Fund, 1908. Analogous in style and pose is the statuette of Moses, similarly attributed, in the collection of Mr. J. Pierpont Morgan. W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1908, II, Plate CXXXVIII. W. R. V.: Italian Renaissance Statuettes and Plaques, in Bul letin of the Metropolitan Museum of Art, 1908, III., p. 230. (111.) GIOVANNI BOLOGNA (JEHAN BOULONGNE). Born in Douai, 1524. Died in Florence, 1608. Studied in Antwerp under Jacques Dubroeucq. Went to Italy about 1554. Worked in Rome (i 554(?)— 56(F)), Florence (1 556(F)— 1 563, 1565, 1 567-1608 [with interruptions]), Bologna (1563- 1567). 78 MODEL OF A FOUNTAIN. On a stepped platform is a structure having at each of the four corners a naked man 77 ITALIAN, LATE RENAISSANCE kneeling on a dolphin and supporting a shell; on the long sides, small basins for water. Above, completing the super structure, are two mermaids supporting a large flat basin. The figures, dolphins, and some other details are painted to imitate bronze; the rest represent various colored marbles. (Illustrated, page 79.) In the round. Terracotta. Polychromed. Height, i8f inches. Width, 22f by 20 inches. Gift of J. Pierpont Morgan. BOLOGNA. Workshop of Giovanni Bologna. 79 KNEELING MAN. Naked, he crouches on irregular ground, his body bent forward, his left shoulder raised as he holds up his left hand as if to guard against a blow; he sup ports himself with his right arm, resting his hand on a hillock. Bearded, with long hair thrown back in locks from the low forehead. There are two large openings in the rocky base where another figure was attached. Statuette. Bronze. Black patina. Height, 9 inches. Rogers Fund, 1909. From a group after the so-called Rape of the Sabines, a sculp ture in marble of heroic size in Florence by Giovanni Bologna. Reduced copies in bronze of this group exist in the Wallace Collection, London, and in the Louvre, Paris. In the South Kensington Museum, London, there is a model in red wax (No. 1092-1854) for the Rape of the Sabines; it is smaller in size than the bronze statuettes. A bronze group in the Museo Nazionale, Florence, is reproduced by Dr. Bode in the third volume of The Italian Bronze Statuettes of the Renaissance (1912), pi. CLXXXVI. 80 MERCURY. Naked, with wings on his feet and the winged helmet on his head, he stands poised on his left foot, his right leg raised, his right arm extended before him in a direction continued by the unbent left arm. In his right hand he holds a purse; in his left, the staff of a broken caduceus. 78 FLORENTINE SCHOOL Statuette. Bronze. Black patina. Height, 6\ inches. Rogers Fund, 1909. Four statuettes by Giovanni Bologna, studies and smaller replicas of the large bronze Mercury (1564) in the Museo Nazionale at Florence are reproduced by W. Bode-F. Knapp: Die italienischen Bronzen, Nos. 287, 288, 289, 290, as in the Kaiser Friedrich Museum, Berlin. Other examples are in the Museo Nazionale, Naples (see Napoli nobilissima, 1897, p. 20 f.); in the Museo Nazionale Florence; in the collection of O. Huldschinsky, Berlin, etc. NO. 78 BOLOGNA. Manner of Giovanni Bologna. 81 LUCRETIA. Nude woman standing, her left leg relaxed; with her right hand she plunges a sword into her body, her left hand held to her breast. Her head, with hair dressed in the antique fashion, is turned to the right and 79 W1 ITALIAN, LATE RENAISSANCE thrown back in agony. The figure, standing on a circular plinth, is mounted on a bronze pedestal of later date, having on the front in relief a coat of arms, and on the back in dotted outline the monogram i.h.s. with a cross above the h, and below three emblematic nails. The pedestal is mounted on a marble base. Statuette. Bronze. Green patina with indications of orig inal black lacquer. Total height, 9 inches. Height of figure with circular base, 5! inches. Height and width of pedestal, 3I inches by 2j inches. Rogers Fund, 1910. UNKNOWN SCULPTOR. XVI Century. 82 DOUBLE-TOOTHED COMB. The Story of Joseph. The decoration consists of four scenes from the story of Joseph, arranged in panels and carved on both sides of the comb. The scenes are separated by pilasters, and are continued at the sides in the upper spaces; the lower side fields are filled with grotesque and foliated ornament. The episodes illustrated in the four reliefs are taken from the Book of Genesis, 42-45, in which chapters are related the coming of Joseph's brothers from Canaan into Egypt to buy food in the years of famine, Joseph's reception of his brothers, and their final reconciliation. The subject of the first relief is the measuring out of the corn and the filling of the sacks; of the second, the weighing of the purchase money which Joseph ordered on the departure of his brothers to be hidden in their sacks of corn. In the third scene, Joseph gives a steward his silver cup to be hidden in Benjamin's sack; and in the last, Joseph forgives and affectionately embraces his brothers. Low relief . Ivory. Height, 4^ inches. Width, 5^|- inches. Rogers Fund, 191 1. From the Eugen Felix Collection. A. von Eye Die Kunstsammlung von Eugen Felix, etc. and P. E. Borner: Leipzig, 1880, page 99 and plate XXIV, 2. J.B.: Ivories, in Bulletin of the Metropolitan Museum of Art, 191 1, VI, 165 (111.). 80 VENETIAN SCHOOL B. VENETIAN SCHOOL SANSOVINO. Jacopo Tatti, called Jacopo Sansovino. Sculptor and architect. Born in Florence, i486. Died in Venice, 1570. Worked in Florence, Rome, Venice. 83 MADONNA AND CHILD. The Madonna is seated and holds on her right knee the Child, who raises His hand in benediction. Her head is turned to the left, as if to look at one whom the Child is blessing. One end of the Virgin's mantle is loosely drawn up on her head; the sleeves of her gown are long and close-fitting. Wall statuette. Bronze. Black patina. Height, 22 inches. Rogers Fund, 1910. NO. 84 W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1912, pi. CLXXXIV. J. B.: A Bronze Statuette, etc., in Bulletin of the Metropolitan Museum, 1910, V, No. 12, p. 288. SANSOVINO. Style of Jacopo Sansovino. XVI Cen tury. 84 DOOR KNOCKER. Two coiling serpents interlace their bodies, their heads projecting over a demon mask with goat's horns, behind which is the heavy contact iron. Above 81 ITALIAN, LATE RENAISSANCE is an escutcheon and the piece of drapery or scarf attaching the knocker to the iron clamp which passes through the opened mouth of a grotesque mask. (Illustrated, page 81 .) High relief. Bronze. Black lacquer patina. Height of knocker, 14 inches. Width, 1 1 inches. Height of mask, 5§ inches. Width, 5! inches. Hewitt Fund, 191 1. In the Kaiser Friedrich Museum, Berlin, there is a knocker which differs only slightly from ours. This is tentatively as cribed by Dr. Bode to Jacopo Sansovino. "Certain specimens, such as the simple, large coil of serpents with the demon mask in the Simon cabinet of the Kaiser Friedrich Museum . . . can very well have been designed by Sansovino himself." Else where Dr. Bode writes that on the removal of a knocker the flat mask through which the iron clamp passed "was generally sep arated from it, or altogether lost." The mask is missing in the Berlin example, and ours, although contemporary with the knocker and in the same style, may have belonged to an other piece, as it is slightly different in patina and execution from the knocker itself. W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1908, II, pi. CLXXII. SANSOVINO. Workshop of Jacopo Sansovino. XVI Century (1544). 85 MORTAR. Inverted bell shape, decorated with four oval cartouches enclosing reliefs, separated from each other by balanced arrangements of foliage, grotesque figures, and children. Below the reliefs is a band of acanthus leaves; above, an inscription in raised letters: anno • mdxliv ¦ mannvs ¦ crocvlvs • amerinvs • fieri ¦ fecit. The subjects of the figure reliefs are taken from the Trojan Cycle, or more particularly, from the history of Paris: 1 . Eris, Goddess of Discord, appears uninvited at the mar riage feast of Peleus and Thetis, bringing with her the Apple of Jealousy. 2. (On the opposite side of the mortar). The Judgment of Paris: Juno, Minerva, and Venus conducted by Mercury before the young shepherd. 82 VENETIAN SCHOOL 3. The Rape of Helen: Paris, carrying the wife of Menelaus in his arms, hastens to his ship. 4. The Sack of Troy : Cassandra(F), threatened by Ajax(?), kneels before an altar; the Wooden Horse is in the back ground. Mortar. Bronze. Dark brown and black patina. Height, 14! inches. Diameter of base, 1 if inches. Diameter of rim, 19 inches. Rogers Fund, 1910. J. B.: A Bronze Mortar, in Bulletin of the Metropolitan Museum, 1910, V, No. 8, p. 190-1. (III.) UNKNOWN SCULPTOR. Second half of XVI Century. 85-A MADONNA AND CHILD. Standing with the right leg bent, the Virgin supports on her left arm the nude Child, who gives a benediction with His right hand. A cherub serves as console for the figure. Pierced with three holes to permit the relief being attached as an ornament. High relief, without background. Bronze, gilded. Height, 5T% inches. Purchase, 191 2. UNKNOWN SCULPTOR. Influenced by Sansovino. XVII Century. 86 VIRGIN AND CHILD WITH SAINTS. At the left of the Virgin, who is seated on a high throne, is S. Dominic, kneeling, who receives a rosary from the Virgin. Behind him are figures representing Church and State. At the right are S. Catherine of Siena and four nuns. In a bar oque frame. Low relief. Silver. Oval. Height, 6T\ inches. Width, 3T5ff inches. Rogers Fund, 1908. Similar piece, in bronze, reproduced by W. Bode-F. Knapp: Die italienischen Bronzen (Kgl. Museen zu Berlin). Berlin, 1908, No. 1282. W. V.: Italian Renaissance Statuettes and Plaques, in Bulletin of the Metropolitan Museum of Art, 1908, III, p. 231. 83 ITALIAN, LATE RENAISSANCE VITTORIA. Jacopo Alessandro Vittoria della Volpe, called Alessandro Vittoria. Sculptor and architect. Born in Trent, 1525. Died in Venice, 1608. Worked chiefly at Venice after 1543. 87 BUST OF SIMONE CONTARINI. The famous Venetian diplomat and poet is represented in this bust as a middle-aged man with short curly hair, large moustache, and long, forked beard. His head is turned to the right, and he looks in that direction with a lively expression of interest. He wears a doublet of some figured stuff, buttoned down the front, and over this, a mantle fastened on his right shoulder by a large clasp. The bust is signed on the side of the right shoulder, a • v • F (Alessandro Vittoria fecit). (Illus trated, page 85.) Bust. Terracotta. Height, 30^ inches. Hewitt Fund, 191 1. The same arrangement of drapery occurs on a marble bust of Sebastiano Venier by Vittoria in the Ducal Palace at Venice and in a terracotta bust by the same sculptor in the Museum at Berlin. Simone Contarini (1 563-1633) served the Venetian Republic as Ambassador at several European courts. He enjoyed a con siderable reputation as a poet. J.B.: Italian Sculpture, in Bulletin of the Metropolitan Museum of Art, 191 1, VI, No. 11., p. 232-3. (111.) UNKNOWN SCULPTOR. About 1575. 88 INKSTAND. Two putti, half reclining, support a semi-spherical vase. The child at the left leans on his right arm, supporting the vase with his left hand. The child at the right holds in his left hand a small, cylindrical vase, supporting with his right the larger vase. The cover of the ink-well is slightly stepped; upon it is a reclining child, who holds his right arm above his head. The cover with the figure is of later date, probably of the XVIII Century. The wooden base is modern. 84 NO. 87 SIMONE CONTARINI BY ALESSANDRO VITTORIA ITALIAN, LATE RENAISSANCE Bronze. Black and brown patina. Height, jT\ inches. Width, 9! inches (including wooden base). Gift of Duveen Brothers, 1910. The inkstand was No. 77 in the Francis Capel-Cuve Sale at Christie's, 4th May, 1905. UNKNOWN SCULPTOR. About 1575. 89 SATYR. Seated on a tortoise-shell, a malignantly smiling satyr holds in front of him between his legs a large conch-shell to be used as an ink-well, supporting it with his right hand against his left thigh, while, with his left arm bent behind him, he rests his other hand on a dolphin's head. (Illustrated, page 87.) Inkstand. Bronze. Dark brown patina. Height, 7^ inches. Width, 5 inches. The Samuel P. Avery Memorial Fund, 1910, A like piece in the Fortnum Collection, Oxford, (B 1088) is labeled, Florentine, of the School of Bartolomeo Ammanati. It is reproduced by Dr. Bode in the third volume of The Italian Bronze Statuettes of the Renaissance (1912), p. 14, and described as Venetian, about 1575. UNKNOWN SCULPTOR. About 1575. 90 TRITON WITH SHELL ON TORTOISE. An ink stand, or possibly, salt-cellar. Crouching on the back of a tortoise who advances with outstretched head, is a bearded triton who supports with both hands a large conch shell balanced on his head. His legs terminate in long fish tails, one of which curls up to form a handle. The bronze is mounted on a marble base. Statuette. Bronze. Brown patina. Height, 6 inches. Gift of Rene Gimpel, 1912. Two analogous pieces are reproduced by Dr. Bode in his book on Italian bronze statuettes; one is at Oxford in the Ashmolean Museum, and the other was formerly in the Rodolphe Kann Collection, Paris. They differ from ours principally in the direction of the shell on the triton's head and in having a second shell, intended to hold sand, supported by the triton's tail. 86 NO. 89 SATYR ITALIAN, VENETIAN, ABOUT 1 575 NOS. 91, 92 LION AND LIONESS ITALIAN, VENETIAN, XVI CENTURY ITALIAN, LATE RENAISSANCE W. Bode: The Italian Bronze Statuettes of the Renaissance. London, 1908, pi. CLXXI. UNKNOWN SCULPTOR. Second half of XVI Century. 91 LION. The right front and hind legs are ad vanced; the tail curved over the back; the head is held low and turned to his right. One of a pair. (Illustrated, page 87.) Statuette. Bronze. Green-brown and black patina. Height, 4 inches. Length, 6J inches. Gift of J. and S. Goldschmidt, 191 1. 92 LIONESS. Her right front and hind legs are ad vanced; head turned to her left. (Illustrated, page 87.) Statuette. Bronze. Green-brown and black patina. Height, 3T9¥ inches. Length, < J > < J ( i)ORe:sci ;sa Translated this reads: In honor of Saint Salvator, Sanccia (Sanchez) Guidisalvi made me. The relief is generally low except in the figures, where parts occur in high relief and in the round. The thin silver plates are bent over and fastened with nails to the sides of the cross, which in turn are covered with narrow strips (many missing). Relief with parts in the round. Silver, parcel-gilt. Total height, 23J inches. Total width, 19I inches. Width of arm, 25 inches. Width of arm at the extremity, 4! inches. Lent by J. Pierpont Morgan, 1912. From the Church of San Salvador in Fuentes, near Villaviciosa, Province of Asturias, Spain. Nothing is known of the silversmith who signs himself Sanccia, or Sanchez, Guidisalvi. The name, however, suggests that he may be of foreign origin, possibly Italian. In point of style, the cross shows many analogies with Romanesque sculpture in the south of France. 97 II GOTHIC PERIOD XIII— XV CENTURIES A. SCHOOL OF CATALONIA VALLFOGONA. Atelier of Pedro Juan de Vallfogona (died 1447). Second Quarter of XV Century. 101 THE PENTECOST AND FOUR SCENES FROM THE LIVES OF S. MARTIN AND S. THECLA. The sculptured decoration of this retablo consists of five figured reliefs overhung by elaborately pierced canopies; these are surmounted by three shields of which the middle one shows the emblems of the Passion, and the other two, the arms of the Archbishop of Zaragoza, Don Dalmacio de Mur. Below the reliefs is a basement divided into three panels by carved uprights. A cornice of richly sculptured foliage with grotesque heads and tiny angels among the leaves completes the line of canopies and a similar one supports the five reliefs. The central one of these represents the Pentecost; the Holy Ghost, in the form of a dove (this portion of the relief is now destroyed) descends upon the Virgin Mother, who is surrounded by the Apostles. At the right are two reliefs illustrating episodes from the life of S. Thecla of Iconium. In one, the saint is represented at her window listening to S. Paul preaching to the people gathered around him. The figure of S. Paul, probably ex- 98 w Qz