jp^^iiiiiiiiiiiiiiiiiiiiiiiiiiHifr. :nil«*>' ._J^'\rjn>^iii— XaljU^ PAINliNGS OF THE LOUVRE • ■*, * ,* *•* v/ .:*ftzH/'eG' //^/^^-n/t /^^i€t' ^.y^A^: ■^ffO't/Cfa^/r,^,^^ f^^tnct' 3 3 3 1 '3 3 3 >'J,3 1>3,3 33 5 ' ' 3 ' 3' 3 3 , T ' " ',.»', 3 , Paintings of the Louvre Italian and Spanish By D r. A r t h u r M a h 1 e r IN COLLABORATION WITH Carlos Black el- and W. A. Slater NEW YORK DOUBLEDAY, PAGE & CO, 1905 * • • " '-13 * • toi'tftl^tl^f, 190^ BY DR. ARTHUR MAIII.KR, CAKIDS lil.ACKK.R AM) \V. A. SI.ATKR PUBLISHED SEPTEMUER, I905 ENTERED AT STATIONERS' HALT,, LONDON A// rights reserved^ including that of translatio7t into foreign languages including the Scandinavian Wl ^■kU THE HEINTZMANN PRESS, BOSTON, U. S. A. ^ Dedicated to Solomon Re'inach 21G978 CONTENTS Introduction . • ■ • ■ Cimabue to Fra Angelico Fra Angelico to Antonello (hi Messina Antonello da Messina to Lionurdo da Vinci Lionardo to Raphael Raphael to the renetian School The Venetian School and Correggio Decline of the Italian Renaissance The Spanish School Notes ..... Index of Paintings Alphabetical List of Artists 1 3 20 70 98 122 158 206 239 269 271 301 VII LIST OF ILTATSTKATrONS Monna Lisa .... The Virgin and Child St. Francis Receiving the Stigniat;! The Banquet of Herod . The Annunciation . The ]March to Calvary The Presentation in the Tenijjle The Dream of St. Jerome The Coronation of the Virgin The Beheading of St. John the Baptist The Virgin and Child . A Battle The Virgin and Infant Jesus . The Nativity .... The Stigmatisation of St. Francis The Triumph of St. Thomas Acpiin;- The Virgin and Child The Virgin in Glory The Virgin and Child . The Virgin writing the Magnificat The Virgin, the Infant Jesus and St. John The Visitation Old Man and Child The Virgin and Child Christ on the way to Calvary The Birth of the Virgin The Adoration of the Magi . Portrait of a Princess of Fste Pandolfo Malatesta Praying to the Virgin The Presentation in the Temple The Virgin and Child . Saint Sebastian Combat between Love and Chastity ix PAGE l>. Ghlrlandajo 46 T>. Ghirhnidiijo 47 Maituirdi 48 r>. Ghirlandajo 49 SiguoreUi 51 SigHdrelli 53 Pusanello 54 Fahriano 55 Fahriano 56 Peru gi HO 59 Perugino 61 Perugino 63 LIST OF ILLUSTRATIONS >r ;it Cain rus.-ilciii Till' Virjjfin ;iiul Cliild The \'ir);iii and CliiUl The Virf;;in in Glory St. John of Cji{)i.straii Portrait of a Man . Portrait of two Men Reception of a A'ciutian Aiiil)assu( Tiie Preachinf? of St. Steplnn at J Calvary .... The Virgin of the Victory Victory of Mrtue over Vice Parnassus The Virgin and Ciiild St. Augustine and a Donor Four Fathers of the Church Pieta .... The Virgin and Cliiki Court of Isabella of Kste The Nativity . Christ on the Cross The Virgin and Child Christ Carrying the Cross The Birth of Christ The Last Sujjpcr . . Copij of The Virgin of the Rocks Portrait of Lucrezia Crivelli St. John the Baptist The Virgin, the Infant Jesus and St. A The Virgin of the Scales The Holy Family . The Virgin of the Casio Family The Crucifixion The Virgin of the Green Cushion Head of St. John the Baptist on a Charger Salome Receiving the Head of St. John the Baptist The Holy Family . The Sleeping Infant Jesus Saint Paul St. Michael and the Dragon St. George I'AtlK f'hifiirlrflili) ()5 . Sj)(l(/tHI ()(j Mitini'i (i7 . ]'iriiriiil ()S . MrxxitKl 71 (•■fii/lle iirllln! 72 < Gentile Bellini 1 1 Carpaccio 7() Jfinifcffiia 78 MittileijiKi HO Mantfgua H-2 Mdiitffjiiu H3 Ittrlh. fn hill Llhri 84 . lloryiKjiKine H5 . Sdcrhi H7 . < 'dsIiiio Turn HH III rill, to Srhiitcone 8!) . CoKtd !)() . Panetti 92 Friinrid 93 I'lijjil of Fnuicia Ot Marchesi !),5 Massone 9<) •do's ])ii't iin\ 1)1/ Of/(/io)io f)9 LioiKinlo (hi I'iiici 101 Lionardo da Vinci 103 Lionardo da Vinci 105 Liotmrdo da Vinci 107 Cfi.iare da Scsto 109 Oggiotio 110 lioltraffii, 1 1 1 . Soldfio 113 . Solario 114 . Solaria 115 Lnini 117 . Liiini 118 Liiiiii 119 . Ferrari 120 Raphael 123 Raphael 125 Tint LIST OF ILLUSTRAT Apollo and Marsyas La Belle Jardiniere The Virgin of the Blue Diadem The Holy Family of Francis I St. John the Baptist in tlie Desert The Vision of Ezekiel . Portrait of a Young Man Portrait of Two Men Portrait of Balthazar Castiglione . Portrait of Jeanne of Aragon The Nativity The Triumph of Titus and Vespasian David and Goliath .... The Visitation .... Coronation of the Virgin Coronation of the Virgin The Mystic Marriage of St. Catherine The Virgin and Child . The Holy Family .... Charity ...... An Engraver of Precious Stones Portrait of a Sculptor Christ and the Woman taken in Adultery Annunciation to the Shepherds A Pastoral Concert The Holy Family .... The Holy Family .... The Entombment .... Christ being Crowned with Thorns Alphonso of Ferrara and Laura Dianti Allegory in honour of Alphonso uf Avalos Francis I . . . . The Man with a Glove . Portrait of Jerome Crofft The Virgin and Child . Susanna after the Bath . Portrait of Tintoretto A Venetian Senator The Smiting of the Rock The Burning of Sodom . 1 V^ !■< o A.1 PAGE Altrih. to Ku/jliael 127 TUvphael 129 Ruphael 131 Rnphad 133 Raphael 131. Raphael 135 Raphael 13« Raphael 137 Riiphai'l 138 Raphael 139 Romano 141 Romano 112 Volterra 113 Ludano 114 . ilarho 14(5 Lorenzo 14T Fra Bartolommeo 14S AlherlineUi l.il Del Sarfo 1, 52 Del Sarto lo3 Carrncci 1,55 Bronzino 157 Lotto 159 1 'alma Vecchio l(jl Giorgione 162 Pup I I of Giorgione 163 . Titian 166 . Titian 169 . Titian 170 . Titian 172 . Titian 174 . Titian 175 . Titian 176 Paris Bordone 178 Bonifazio 179 Tintoretto 181 Tintoretto 183 Tintoretto 185 Bassano 186 Veronese 188 xu LIST or ii.i.rsTiJA rioNS Susanna and till- Elders. Calvary ..... The Holy l-aniily . The Wediliii;; l''east of ('ana . Repast at the House of Simon The l*ilj;rinis of Emniaus I*ortrait of Gaston dc Foix The Virfrin and Child . The Mystie Marriage of St. Catherine The Sleeping? Antiope The Cireunu'ision . The Virgin in (ilory The Dead Clirist on the knees of the Virjiin, The Sleeping Infant Jesus The Hunt .... The Fishinj; .... The Penitent Mary Majidalene The Rape of Dejanira Saint Cecilia .... Protecting Saints of the City of Modena A Concert .... Mary Magdalene Rospigliosi . The Death of the Virgin A Concert .... A Woman Fortune Teller Alof of Wignacourt, Grand Master of Malta A Battle .... The Dance of the Cupids The Triumph of David . A Concert in Rome Interior of St. Peter's Venus and Cujiid . Church of the Madonna Delia Salute Embarking of the Doge on the Bucentaur Procession of the Doge to the Church of St. The Last Sui)i)cr . Christ Carrying the Cross St. Basil Dictating his Doctrine The P\ineral of a Bishop The Entombment . .Inn A lit) A tin Ann K.l 1 'eronexe 1 ''eronsse I ^eronese ]'^nran>rri Jiarorrl tulle Carrarrl hale Carracci hale Carrarrl hale Carrarrl Guldo Jlenl Guldo Renl Domeuirhino Cuerrhlno Spada Maratta Carar(i)f(/i(> Caravag Cararagglo CaraiHigglo Sah'ator linKa iliurdatio liossrlll , Panlnl . Panlni Yariitarl Canaletto . (r Hard I Cuardl . Tlrpolo ^foralf.t ITi'rrfra Ziirharati . lUhera ri;is IHf) 1!»1 if):j lOl- 1!»() li)7 1!)9 202 io;} 20\. 201 ■208 ■210 211 -212 213 214 215 217 218 219 221 223 224. 226 226 228 229 230 231 232 233 234 23.5 236 237 240 241 243 245 LIST OF ILLUSTRATIONS Adoration of tlie Shepherds . The Club Foot The Infanta Maria Mar>«;ucrita Phihp IV in hunting- costume Don Pedro Moscoso de Altainira An Assembly of Artists The Kitchen of the Anjrels The Vir P \ i I .>, ' ' ' ' > 5 3 > a » » » 5 3 . PAINTINGS OF THE LOUVRE INTRODUCTION THE visitor who passes from the lower to the upper galleries of the Louvre might, with reason, be tempted to ask himself where the art of the intervening thousand years was to be found, and, on realizing that his search would be in vain, he might speculate as to the cause or causes which had conspired to make this so. How and why, he might ask himself, did that perfect art of Greece and its humble Roman imitation find no followers ? How and why did they so vanish that art had to be born again and reappear in the form of almost childish attempts at expression a thousand years later ? To these questions, the answer must be that the prin- cipal factors in operation were Christianity and Barbarian invasions. Christianity would not, and the Barbarian could not, appreciate those peerless productions which were before their eyes. In them Christianity saw Pagan- ism, and the Barbarian deemed them effeminate and futile. Rome, the centre of civilization, invaded by wild hordes from without and disintegrated by the new Christian teaching from within, was so radically transformed that the art of the past could find no place in its organism. Olympus was no more, and the representations of its Gods were looked on as impure and idolatrous objects. The temples were abandoned, and many a work of 1 C r ^ * r r t < ■ t r r % i> INTRODUCTION incomparable beauty was doomed to perish in the fire of lime-kilns. Then artistic efforts found refuge in the adornment of objects of daily use, such as sarcophagi, and this, later, became stereotyped into those Byzantine productions which still live in the form of religious pictures so called, while mosaic was much used in decoration. The Byzan- tine model was the artistic standard and, in tliis form. Art lived through the Dark Ages. Gold ornamentation, crude coloring ami rigidity alone prevailed, and the iconoclasts did the rest. Architecture indeed lived, but it expressed itself in massiveness rather than beauty. Efforts and labour w^ere not wanting, but research was trammelled, and so the results were poor. Then, and only when the very memory of the great men and great things of the past seemed to be forgotten for ever, appeared the first gliin- mer of that wonderful light, the Italian Renaissance, and among the first to herald its dawn was Giovanni Cimabue. NOTE IT will be found that the pictures are given in the order of their numbers. In many eases, the dates of the artists do not agree with those on the pictures, but, where these do not agree, it is because the dates here given are taken from later authorities. In most cases we have given the artists to whom the pictures are attributed on the pictures ; but it will be noticed that, in the text, we do not alwaj s agree with these authorities. In some catalogues, many more pictures are mentioned, but this is because they give all the pictures that are in the possession of the Louvre, although some of them are in storage. We have tried to give only those that are exhibited and to omit none of these. This bv)ok only deals with the Italian and Spanish Schools, but it is the intention of the authors to treat the other schools of paintings after the same manner in sub- sequent volumes. CIMABUE TO FRA ANGELICO T X T'lTH Cimabue (1240-1302), after an eclipse of a ^ ^ thousand years, art finally emerged from darkness. Not that Cimabue was the first to paint on a flat surface with colour, for, even earlier in the thirteenth century, there had been a street in Florence called dei Pittori (of the Painters). But that which had existed before him was the work of decadence and was tainted by the most severe Byzantinism. It was Cimabue who infused a new spirit into the old schools in which he had studied, who renewed in man forgotten types and who first gave to inanimate forms a new life. He imbued his subjects with energy of expression, greater subtleness of outline and more delicate colouring. It was this severance from the traditions of the past which caused his efforts to be of such immense importance. This is why the father of the history of art, Georgio Vasari (1511-1574), in his work called " The Lives of the Most Eminent Painters, Sculptors, and Architects," begins his series of biog- raphies of celebrated painters with Giovanni Cimabue. To-day, when we are masters of technique and can so easily give an object the appearance of relief on a flat surface, we can scarcely appreciate the difficulties which in Cimabue's time had to be overcome. In order to realize this progress as compared with past traditions, one must study Cimabue's picture, " The Virgin and Child" (No. 1260), which is to be found in 3 i E. Hautecoeur, Phot. [-1] Salle VII 1260. The Virgin and Child. — Oimahue. CIMABUE TO FRA ANGELICO 5 the Salle des Primitifs in the Louvre. The Virgin ap- pears against a background of uniform gold, severe and majestic, seated on a massive throne with the Child upon her knees. It is the gentle inclination of the head and the melancholy resignation with which the artist has softened the expression of the face which announce tliis new era. The Child is no longer the traditional, rigid doll. He has become animated, and a wistful expres- sion plays over the faces of the angels, thus giving an appearance of life to a woriv of art for the first time. The grouping still seems primitive, the angels stand stiffly on either side of the throne, but the problem of grouping, here considered for the first time, is of capital importance. Cimabue also felt the power of colour and tried to give it greater emphasis; and, although the blue garment of the Virgin is still traditional, it is treated with a certain gracefulness of outline, and there is originality in the red band which, running round it, forms a hem, while the wings and robes of the angels are variously and richly shaded. It is especially in the colouring, however, that one clearly recognizes the still active influences of tradition and of mosaic work, for here we see no shade of gradation. The tones are placed in violent contrast to each other; what should be red in the faces is brown, and the robes of the angels are bluish pink with no intermediary shades. This great initiator only timidly attempted to interpret nature, as if he feared that the problem was beyond his powers; and so the head of the Virgin is too large, the fingers are too tapering, the chin and mouth too small and the eyes too almond-shaped. 6 PAINTINGS OK THE LOUVRE 'J'he awakening of art from its sleep of centuries be- ing an acconiplislicd fact, Ciinabue left tlie continuation of the work to his great and capable pupil, Giotto di Bondone (h27()-l.'537). While still living, Giotto saw his fame proclaimed by no less a poet than his friend Dante. " Cimabue believed that, in painting, he was master of the field, but, to-day. Giotto has the acclamation of the public and Cimabue's fame is overshadowed" (Purgatorio, XI-32). Cimabue was said to have found Giotto as a shepherd in a field making drawings of sheep, and was so surprised by their excellence that he took him as his pupil. Another story was that Giotto, apprenticed to a wool merchant, had so ncirlcctcd his work in order to be near Cimabue that he was dismissed by his master. A little later, however, he was enabled to devote the rest of his life to the art of painting which he loved so well. The subjects which Cimabue represented were con- fined by tradition to scenes from the Gospels and the ( )ld Testament. Giotto had the good fortune to find a fertile subject in the new and touching legends connected with St. Francis of Assisi. To-day, his masterpieces are to be found in Assisi and Padua. Unfortunately, the Louvre contains only one specimen of this artist's work, '* St. Francis of Assisi Receiving the Stigmata" (No. 1312), which, as well as nearly all of the pictures coming imme- diately under consideration, is to be found in the Salle des Primitifs. Though a valuable example of Giotto's work, this picture, unfortunately, is not entirely free from restoration. The saint is kneeling in ecstasy, stretching out his arms and raising his eyes to the figure of Christ E. Hautecceur. Phut. Salle VII 1$12. St, Francis receiving the Stigmata. — Giotto. [7] 8 PAINTINGS OF THK LOUVRE which floats above in the act of transmitting the stigmata to the body of St. Francis. The remarkable feature of the composition is that St. Francis' attitude of wonder and reverence is such that the transmission of the stigmata seems natural and suggests no physical distortion. The ex- pression on the countenance of St. Francis is no less remarkable; for in it we read timidity, reverence, and astonishment, inspired l)y the grace imparted to him. Up to the time of Cimabue it was the custom of artists to wet the drapery on their models in order to make it c'eave more closely to the body, but the robe here is no longer treated in this primitive manner, as if glued to the figure in parallel lines, and the amply draped gar- ments adapt themselves to the movements of the body. Giotto, however, confined himself to an excessive sim- plicity of detail in the treatment of landscape, to which he was limited by the ignorance of perspective, charac- teristic of the period. The stiff trees seem pasted to the mountain, and these, together with the buildings, bear no relation to the figures. Below the main picture are three small scenes relating to the legend of St. Francis. One of them represents the dream of Pope Innocent III to whom St. Francis appears propping up the crumbling basilica of St. John of Lateran. The architecture is simply suggested by means of thin columns without proportion. The second scene represents the Pope conferring the rules of the Order of the Franciscans; and the third refers to the most charming of legends — St. Francis preaching to the birds. Here Giotto seems to have expressed some- thing of his gentle nature, for there is a distinct dain- CIMABUE TO FRA ANGELICO 9 tiness in each of the birds and something touching in the sohcitous attitude with which St. Francis so sweetly manifests liis immense love for the things of nature. The paintings by Giotto connected with the legend of St. Francis of Assisi have become classic in Italian art and, more than a hundred years later, we find the same subject treated in the works of Pesellino. The sudden progress achieved by Giotto, as compared with what had gone before, was too great to be continued by his immediate successors. The " Funeral of St. Ber- nard" (No. 1313), School of Giotto, shows some ten- dency to imitate the master's manner, but without complete success. Emotion is expressed in a conventional manner; mourning, for instance, is suggested by the bowed head and raised hands; but, on the other hand, the treatment of grouping is varied and in accordance with the man- ner of Giotto. Some figures are in profile, while others are in full face, and the composition is clear and in- telligible. While Giotto portrayed emotion by the actual expres- sion of the face, primitive art and Giotto's immediate suc- cessors could do so only by means of narrative. Thus, in "St. Francis Receiving the Stigmata," Giotto ex- pressed awe and veneration on the countenance of the saint, whereas, in the " Funeral of St. Bernard," by a pupil, we see sorrow expressed only by means of bowed heads and raised hands. In other words, Giotto gives us the emotion itself, the others an attribute of emotion. Thus, primitive art delighted in narrative expressed by means of accessory compositions, and described in them incidents which occurred before or after the principal lo TAIN TINGS OF 1' H K LOUVl{K event. This may be seen in "The lianfjiiet of Herod," l)y Tudcleo (ia(l>/ llcniil. — Ptirli.fn Predella by Taddeo Gaddi. "The Crucifixion" of the same predella as well as in the side panel representing " The ^lartyrdom of a Saint," we see the qualities which Giotto had taught the Floren- tines to search for, namely, animation of movement and expression on the countenances. In " The Crucifixion " are to be found other new elements — the repose of the body of the dead Saviour, and the characteristic con- trast l)etween the good and bad thief. Although, in this picture, the colour and touch are less delicate than those of Giotto, his influence is still very perceptible. CIMABUE TO FRA ANGELICO 1 I As the subjects treated became more complicated, tech- nique was necessarily more and more developed; and, with technique, came the decorative element. This commenced with Taddeo (1300-1366?) and continued with Agnolo Gaddi (1343-1396). "The Annunciation" (No. 1301), l)y Agnolo, shows great freshness of colouring, but a lack of observation in his treatment of nature. The Virgin E. H.-ititcLcur. i int. 1301. The AnrmnrUtfidti. — A'jnolo Gaddi. is neither standing nor seated; the action of the other figures is stereotyped, and the expression of the faces is affected. We see this tendency to affectation and manner- ism in "The Virgin and Child" (No. 1316), evidently a work by Agnolo Gaddi, though ascribed on the frame of the picture to the school of Giotto. Here his angels' faces are w^ithout character and all are alike; the hair is too artificially arranged, and the whole is on a uniform back- 12 PAINTINGS OF THE LOUVRE ground of ^oljects, as in "The Crucifixion" (No. KKJo) by an un- known master. Here an attempt at symmetry in the grouping niay be distinctly seen in the horsemen at the sides of the picture. Siena clung to Byzantine traditions in interpreting sacred subjects and became the model for the treatment of sacred art in all Italy. To this day we still see a survival of the Byzantine manner in the hn^dling of certain religious sub- jects. We find in Siena the most charming works of this kind, such as those of Simone Mennni (ISSS-lS^i), to whom, as the worthy rival of Zeuxis, Petrarch dedicated some eulogistic sonnets (Nos. 57 and 58). It is in his types of the Virgin that Memmi shows his greatest power. CIMABUE TO FRA ANGELICO 15 An example of this is "The Virgin Enthroned" which may be seen in the pubhc palace at Siena, and in which E. HauteCLLur, Phot. Salle VII 13S3. The March to Calvary. — Mem mi. there remains none of the green flesh-tint peculiar to the Byzantine school. Simone Menimi painted in clear and distinct tones. Iti IWINIINCS Ol' TIIK LOrvUK 'J'lu- inovcMiiriits arc calm, the groupinj^ symmetrical, ami the expression oi' ciiiolioii is natural. His manner was so individual and so firmly ingrained that even his stay at Assisi and Avi/ Sf. Francis. — Pixe/lino. in his colounii possesses in "The \'ir^iii iiiul ("liikl with St. Jiilijiii and St. Nicholas" (No. !";?(!;{), ji work in which, aceordiuf^ to Vusari, Lorenzo (M ( rciH surpassed himself. The di'tails are of a ])ainful minuteness and seem to have the j)olish of ivory; the drawing is rigorously correet, hut the modelling of the faees, especially that of St. Nich- olas, is of a metallic hardness. There is here a singular hli'iiding of (liircrcnt influences, as if the manner of the various pupils of \'errocchio were united in one num. The face of the Virgin wears the sweet expression peculiar to Perugino, and St. Julian, by his contemplative look and by the inclination of the body, recalls the great Francia of liolotrna. Lorenzo di Credi was not a marked innova- tor, otherwise he would not have allowed St. Julian and St. Nicholas to shut out the landscape, neither would he have permitted the grey and monotonous wall to withdraw attention from the Virgin who is the principal figure of the composition. It is easy to exaggerate the importance of such a pic- ture and the talent of the artist. His "Noli me tan- gere" (No. V26i) enables us to form a more correct judgment. Here, again, are the j)olIsh, the precision and careful execution of enamel, but breadth of drawing and concentration of the different elements are lacking; for, though tlie landscape has charm and brightness, the scattering of the sul)jects seems to make of the picture two different compositions. In tlie fifteenth century each decade seemed to bring forth a great man, but there is one who is particularly associated with the latter part of that century, Sandro Bot- ticelli (l-i-iG-1510). He put into his pictures a spiritual FRA ANGELICO TO MESSINA 41 element unknown and unsuspected before. He has not the brilliant manner of Ghirlandajo, nor the worldly lan- guage of Filippo Lippi, but a treatment all his own, full E. Hautecoeur, Phot. ^^^^^^"^^^"^ Salle VII 1295. The Virgin writing the Magnificat. — Botticelli. of mysticism and beauty drawn from his very soul. In his pictures, slender figures of maidens appear in all their severe grace, with mysterious, earnest expressions, while fields of fantasy and fairy-like splendour are drawn from the strange world of dreams. 42 I'AINriNC.S OK TIIK LOUVRE Little is known of liotticelli's life. lie was born in Florence and was already fainons when his master, Fra Fili|)j)o Lij)j)i, died in 1 Kii). lie was called by Pope Sixtus IV (1470-1484) to decorate the Sistine Chapel in Rome. At a certain period of his life, a great chaiifije took j)lace in the nature of Botticelli, l)nt it is difficult to state the precise moment. It may have been durinf^ his stay in Rome, but it is more likely that it was due to the influence of Savonarola after his return to Florence. The fierce indi_ui^liL 4.V Clc, i'hut. ballL \ 11 127S. The Presentation in the Temple. — Fabriano. Of Gentile da Fabriano INIichael Angelo has mo.st aptly said, "Aveva la raano simile al nome" (His hand was like his name). He was gracious, gentle and joyous. He delighted in luminous colouring and brilliant ornamentation and loved detail in modera- tion. His predella, "The Presentation in the Temple" (No. 1278), shows his style to have been influenced by that of the fourteenth century rather than by the ad- vanced Florentine manner of his own period. The prin- cipal feature, the High Priest with the Child in his arms, placed between the Virgin, St. Joseph, and St. Anne, under a hexagonal kiosk, almost becomes secondary to the accessories in the shape of two women of quality on FRA ANGELICO TO MESSINA 57 the left, two beggars on the right and the background with its carefully executed architecture. "We find the same characteristics in the four pictures of Gentile's school (Xos. h280 to 1283), the manner of which very nearly resembles that of the master. They are all painted by the same hand, as is proved by the multitude of scenes represented in the different parts of the picture. They have the same freshness of colouring, the same attention to accessory incidents, the same minuteness of execution in the garments, and the same richness of ornamentation. There is no inclination to the grandiose, but there is tlie inherent tendency to re- turn to primitive art peculiar to Siena which character- ised and united the local schools of Umbria. Like Fabriano, the other cities of Umbria, such as Ca- merino, San Severino and Urbino, were uninfluenced by the great Florentine movem.ent. The same applies to Foligno where Xicolo Alunno (1430.^-1492.*) flourished. This forerunner of Perugino was acquainted with the great works of his time, but could not assimilate them, as is shown by the predella in three parts, in the Long Gallery (No. 1120), representing three scenes from the passion. The panel on tlie extreme left tells us that "Nicolo Alunno painted this work in 1482 by order of Brigida." The two angels with Umbrian features have been draped after the manner of Ghirlandajo, though not very successfully, for there is no breaking up of detail in the large folds of their garments. This arti- fice remained unknown to Nicolo Alunno. Li "The Prayer in the Crarden of Olives" (part of this predella), the figure of Christ is eclipsed, according to the Umbri- 58 rAINTINGS OF THE LOUVRE an manner, by the landscape and by the sleeping Apos- tles. In "The Flaf^cUation" a foreign element has been introduced in tlic treatment of the nude, for Alunno was here influenced l)y the powerful genius of Signorelli. an influence which has lent life to the figures, though they are too large. A beautiful perspective has been given to the landscape by means of a serpentine road. Alunno's drawing is stifi", as we see in the ''Christ on the Way to Calvary" where the horses appear to be made of wood and the cross is too long. In another panel of the predella, "The Crucifixion," the concentrated expressions and the positions of St. John and the Virgin make us realize that Xicolo Alunno was the real precursor of Perugino. In the works of Pietro Perugino (14-46-15'24), we see no longer the severe grandeur of Ghirlandajo ; the some- what rude Florentine realism is modified, and there is deeper feeling. He was first taught by Piero della Fran- cesca and was afterwards, with Lionardo and Lorenzo di Credi, under the instruction of Verrocchio. He was one of the first in the Italian schools who was a complete master in the technique of painting in oils. What he learned under these different masters was harmoniously bleHded with his strong personal genius and was, especially, applied to religious subjects. It was in this field that he could reveal all the peculiar qualities of his talent, as in "The Virgin and Child" (Xo. 1564), in the Long Gallery, — an admirable picture, painted in the year 1491. On a throne in the middle of a terrace the Virgin is seated in full face between St. Rose and St. Catherine, with the Infant Jesus on her knee. On the FRA ANGELICO TO MESSINA 59 E. Haiitecoeur. Phot. Salle VI 1564- The Virgin and Child. — Perugino. balustrade behind the Virgin, two angels, standing with joined hands, are observing her with reverence. How- ever simple the composition may, at first sight, appear, one sees that it is the result of careful study when one examines it attentively. The water-colour treat- ment gives to the work a certain hardness. All the strength of the colouring is in the red of the Virgin's garments, the blending of which, with the similar colour in the robes of the two holy women, gives a great unity. (i() I'AINIINGS OF THK LOUVRE to the <;r()Uj) ill tlio foreground. In this luminous fram- iiii; the uiotlicr sujiports the figure ot" the Child, so white ;ind soft and so dehcately rounded. The Child rests on the right knee of the Virgin who leans her head to tlic (t|)jx)site side, thus giving balance to the composi- tion. We here see tlie tyj)e of woman created by I'ietro Perugino in all its ]>urity. The face is rather l)roa(l, the lips are tightly closed, a high, straight forehead is en- circled by hair parted in the middle and twi.sted in large curls hanging in ])arallcl lines. The space between the Virfi^in and tlu' holy women is filled with the fiirures of two angels, and their wings (piite naturally conform to the circumference of the picture, justifying its round .shape. The same applies to the curves of the arms of St. Rose and St. Catherine, the line;; of which are parallel with the framing. A wide, silvery landscape, studded with i.solated trees, opens out in the background, and this with its distant blue mountains and green fields helps to emphasize the depth of the composition. The balustrade which surrounds the group breaks up the distance and causes the foreground to appear nearer to us. This work already shows us a gentle and tender depth of expression unknown before and was destined to make a profound impression on Florence and to be much ap- preciated in that city, agitated at the time by the violent preaching of Savonarola. Perugino w'as a stranger to grandeur, but he expressed tenderness of feeling in a masterly manner. His "St. Sebastian" (No. 1566a), also in the I^ong Gallery, to which the oil treatment gives an intense bi'illiancy, Avas formerly the property of Prince Sciarra and belongs to FRA ANGELICO TO MESSINA 61 E. Hautecoeur, Phot. Salle VI . 1566 A . Saint Sebastian. — Perugino. about the same period as the last picture. It is not pain nor ecstasy which we see in the features of the saint, but an almost joyful suffering. The eyes, languidly raised to heaven, seem to express absolute resignation and sub- mission to the will of God. The beautiful young figure stands out against the dark column to which it is 62 IWINTINC.S OF rilK LOUVRE fasteiuMl, ill I lie middle ol" aii open Renaissance peristyle, Avitli a tar-reaeliinroperly speaking, and tlic faces are without expression; the attitudes are cjuite conventional and sometimes bor- rowed, as, for instance, that of llic person standing on the left which has evidently been c()j)icd from the frescoes of Signorclli. In 1.507, Pope Julius II called I'erugino to Rome asecond time, to decorate the Papal Palace, and the work he did there would have been afterwards removed had it not been for the reverence of Raphael for his master. The period of Perugino's greatness was gone. The "St. Paul" (No. 1566) is a work in his latest manner. The traditional type of face has lost all expression, the eyes are fixed, the garments hang clumsily on the shoulders like a coverlet on a couch, and, in the uncertainty of the features, we see the feeble and trembling hand of an old man. At the dawn of the splendid art of the sixteenth century, Peru- gino was a mere wreck, but he had certainly liclped to prepare for its development. The pictures of his school in the Louvre are only of moderate value, such as "The Dead Christ" (No. 1568), "The Stigmatisation of St. Francis" (No. 1569) and "St. Jerome in the Desert" (No. 1570), as well as Nos. 1571, 1572 and 1573. The first of these works lacks life and is overdrawn and full of mannerism.'' Bernardino Betti (1454'-1513), surnamed II Pinturicchio, a friend of Raphael, may also be counted among the pupils FRA ANGELICO TO MESSINA 65 of Pcnigino. An imitator rather than an originator, he had talent for decoration and slione by tlie richness of ornamentation and profusion of gikhng. His bad drawing he concealed by means of drapery. " The Virgin E. Hautecceur, Ph-.t. Salle VI 14^7. The Virgin and Child. — Pinturicchio. and Child, St. Gregory and another Saint" (No. 1417) is a good specimen of his manner and shortcomings. The art of Penigino with its character of sweetness was bound to degenerate the moment Perugino could no longer work himself. In order to maintain its excellence it was necessary to introduce some foreign elements. This was 66 PAINTINGS Ul' THK LUL VRE done by Spagna (P-1530?) who got his training from as- sisting Pcrugino and who also assimilated the character- istics of Raphael, Pinturicchio, Ghirlandajo and even Filippo Lippi. "The Virgin and Child" (No. 1540), by Spagna, as well as an almost identical copy of it (No. E. IlautL'cnE'ur, Phot. Salic \- 1 1540. The Virgin and Child. — Spagna. 1573 a) in the Salle des Priraitifs, recalls some charac- teristics of Raphael, especially in the faces, although they are less refined.^ The similar inclination toward the right of the Virgin and the Child shows a remark- able absence of feeling for symmetry. The copy (No. FRA ANGELICO TO MESSINA 67 1573a), above mentioned, bears no name, but it can only be by Spagna himself, although it has been attributed to Perugino. Compare, in both pictures, the treatment of the landscape with the single trees on either side, the E. Hautecoeur, Phot. 1312. The Vb-ffin in Glory. Salle VI • MaiDii. similar inclination of the heads of the Virgin and the Child and, above all, the position of the fingers of the Vir- gin's right hand. Giannicola Manni (died 1544) followed the manner of his master Perugino and with it incorporated that of sev- 68 rAINTINGS OF TIIK LOIVRR oral other artists. In his large picture, "The Virgin in Glory" (Xo. 1872), in the Long (iallery, we feel the influence of Pcrugino. The landscape is entirely bor- rowed from him, and the fac(> of the Viririn is hut an imitation of Perugino's type. The other foreign elements in the picture are taken from Verrocchio, and his influence may also l)e seen in " The Bap- tism of Christ" (Xo. 1369), particularly in the composition of the central group. The male figures recall those of Raphael, and the an- gels those of Perugino. In " The Adoration of the Magi" (Xo. 1371), in the Salle des Primi- tifs,the treatment of the Infant Jesus is inspired by Lionardo. Unlike Florence Ven- ice presented no partic- ular artistic activity at this period. Its power- ful no})ility were concerned with foreign affairs and held the great mass of the people in subjection. N^ew ideas Braun, Clement &• Cie., ?hot. Salle \-I 1607. St. .Tdhti of Capistran. — Vh-arini FRA ANGELICO TO MESSINA 69 made their way only slowly, and there was no intellec- tual movement in its society. The spirit of the Middle Ages lasted longer in Venice than in any other part of Italy, and l?yzantine art, therefore, survived here up to an advanced period in the sixteenth century. The School of Murano produced the Vivarinis and Crivellis, but these masters represented an exhausted and dead art rather than any new development. Bartolommeo Vivarini's (.^-1500.^) "Portrait of St. John of Capistran" (No. 1607) shows the figure of the saint standing out against a dark background. There is almost over-refinement in the treatment of the small face and pinched lips, in the slightly inclined body and in the manner of holding the standard. The same criticism applies to "St. Bernard" (No. 1208), by Carlo Crivelli (1430-1498), painted in water-colours and executed in a masterly manner. The beautiful picture, "The Virgin and Child Adored by Angels" (No. 1076 a), in which the Virgin presents the Child to two angels, is wrongly at- tributed by some critics to Crivelli. ANTONELLO DA MESSINA TO LIOXARDO DA VINCI ' I ''HE most important moment in the evolution of Ve- -■■ netian art, perhaps of Itahan art in general, is that of the appearance of Antonello da Messina (144-t ?-1493), for it was he who first introduced into Italy the method of paint- ing in oils. He left the city of ^Messina, which was so fer- tile in artistic production, to emigrate to Rome and thence to Flanders, where he became a pupil of Roger van der Weyden, and w as, probably, the first Italian to succeed in mastering the process of painting in oils. This treatment satisfied his intense appreciation of colour and minuteness of execution. He was a stranger to the deep feeling re- quired for religious subjects, but, as a daring realist and one endowed with remarkable quickness of observation, he became, on his arrival in Venice, the leading portrait painter of the time. " The Portrait of a Man " (Xo. 1134), the highest mani- festation of his powerful work, has a predominating warm brown shade, and the execution is of a careful minuteness without being overdone and without any trace of the brush obtruding disagreeably. The young man in this picture, with his l)ig, defiant under-lip, has an expression of energy and grandeur that has been surpassed only by the por- traits of Jan van Eyck. The artist has grasped the most subtle details of nature. All the delicate qualities which can be produced by painting in oils are represented here 70 MESSINA TO LIONARDO 71 E. Hautecceur, Phot. Salle VI 1134. Portrait of a Man. — Messina. in the fine modelling, the strong relief, the blending and transparency of the shading and the perfect treatment of the fur and tissue of the garments. The influence of Man- tegna and Piero della Francesca prevented Antonello da IVIessina from maintaining the highest standard, as is shown by his works in the Museums of Vienna and Berlin. The process which he had brought from Flanders soon be- 7'2 PA I NIT NT, S Ol' Till-', T.OrVRK came the common property of the artists of Venice where Murano liad been succeeded by the Belhnis. Gentile IJeUini (1 4^2(5- lo()7), the elder of the two broth- ers, was a daring realist, while Giovanni (1428-151(5) was a poet full of sentiment and feeling, one brother thus sup- plying qualities which the other lacked. Like true Vene- tians, thev both had an intense love of colour. An exam- ]ile of the manner of Gentile Bellini is the " Portrait of *^^^^^^^^^H p^p^^^ ''*T^^^^^^B^ ^vv -^^^^^^H . ^ .' .^^sP [-firV k . .,^R ■ H. Ilaiil. .1 ;)r. I'h..t. Salle Vi 1156. Portrait of Two Men. — Gentile Bellini. Two Men" (No. 11 50), by some follower, though attrib- uted on the frame of the picture to Gentile Bellini himself, and to Cariani l)y Crowe and Cavalcaselle. Here the cheeks are flat, the hair appears artificial, and the portrait cannot be compared to that of Messina, although the expres- sion of the eyes is full of life and character. Notwith- standing the close resemblance of these two figures which were for a long time supposed to be the Bellini brothers themselves, we discern, in the one on the left, a nature full of fire, and, in the other, a calmer temperament. We MESSINA TO LIONARDO 73 get a better impression from Giovanni Bellini's picture, the " Portrait of a Man " (No. 1158 a), recently acquired by the Louvre, which hangs on the left of the Long Gallery near the "Portrait of a Man" (No. 113-t). His gift of repre- senting character is triumphantly displayed in this person- age with dark hair. Here is not a portrait only, but a representation of the times. His power as a colorist is revealed by the manner in which he introduces a blue sky and white clouds as a background and thus relieves and almost destroys the first impression of darkness given by the picture. In 1479, Gentile, vrho w^as then occupied with the deco- ration of the great hall of the Ducal Palace, was sent by the Republic of Venice to the Court of the Sultan Mahomet IL From this journey to the East, the first, perhaps, in the annals of art, new inspirations were acquired, and "The Reception of a Venetian Ambassador at Cairo" (No. llo7), attributed by Mr. Berenson to Catena (l-17o- 1531), was the result. At the entrance to a high gate, seated on his divan and surrounded by his emirs, the Sultan is receiving the ambassador of the Republic. The contrast between the black costume of the ambassador and the variously coloured robes of the Orientals is very striking. The persons on horseback and on camels give life to the scene, and the treatment of the perspective with its minarets and palms is excellent. A dazzling light bathes the whole composition and plays in big rays upon the arcade of the porch, producing vigorous contrasts of light and shade. The poetic and distinguished manner of Giovanni Bellini is very superior to the realism of his elder brother o 3 s §- « 74 MESSINA TO LIOXARDO 75 Gentile. His domain was religious subjects. In "The Virgin and Child between St. Peter and St. Sebastian" (So. 1158),^ there is a gentle repose on the face of the Mrgin, and, though there is nothing divine about her, she is full of poetic charm. The handsome St. Sebas- tian clasps his hands in timid veneration, and St. Peter holds the key in an energetic manner. Resolution is printed upon Peter's features, and we are reminded of the words addressed to him: "Thou art Peter and upon this rock I will build my church." In the lighter tints of the pic- ture, Giovanni shows himself to be a great colourist, as, for instance, in the white of the cloak and veil of the Vir- gin, in the figures of the Child and St. Sebastian and in the white clouds in which float the heads of angels. Of the numerous imitators of Giovanni Bellini, however faithful their imitation, none could equal his excellence, for with them tranquillity became indifference, and sweet- ness, vapitlity. This is shown in " The Virgin and Child with St. Sebastian" (So. 1159), a picture of his school which, although it does not lack charm, has not the power nor the colouring of Giovanni. Gentile Bellini, before his death in 1j07, had confided to his brother Giovanni the completion of his work, " The Preaching of St. Mark," now in Milan. From this, the picture in the Louvre called " The Preaching of St. Stephen in Jerusalem" (So. 1211), by Vittorio Carpaccio (died 1518 ?), is entirely borrowed. The composition of the two is almost identical. St. Stephen stands on a high pedestal at the left surrounded by a group of listeners many of whom wear Oriental costumes, and the background is full of cupolas, minarets and pleasant green hills. But that 76 PAINTIXGS OF THE I.orVKK which Carpaccio could not imitate was the dazzling sun of the south. In spite of his efforts to give an impression of it, he could not prevent his colouring from being some- what yellow and grey. The new process of oil ])ainting which Antonello da Mes- E. HauteccEur, Phot. Salle VI 1211. The Preaching of St. Stephen at Jerusalem. — Carpncdo. sina had introduced into Venice was improved upon by the Bellini brothers who collected about them artists of diverse characteristics. One of the most agreeable of these was Cima da Conegliano (died 1517 ?), a master par excellence of religious subjects. The grouping in his picture, "The Virgin and Infant Jesus" (No. 1259), is strictly pyramidal. The Virgin looks with devotion upon the Infant Jesus MESSINA TO LIONARDO 77 who rests upon her knees, while two saints approach and adore Ilini. Their positions, though graceful, are some- what affected. Behind the Virgin is a large, richly decorat- ed canopy, a detail for which the Venetian artists had a predilection, and which Alhrecht Diirer also introduced into German art. In the distance stretches out a beautiful landscape representing a country scene of Frioul, the in- spiration of which we owe to the love of the artist for his native land. Here winds a silvery river, while bright fields and the frowning tower of a fortified castle, all richly warm in colouring, make a singularly beautiful background in the picture. Andrea Mantegna (1431-150(5). son of a poor peasant, was adopted at the age of ten by Francesco Squarcione who taught the art of embroidery as well as painting. Moreover, Squarcione, like a modern master, made his pupils work from plaster models of the antique, and Man- tegna thus became enamoured of tlie forms of antiquity which afterwards inspired all his works. But art was still too much in its infancy for any danger to come from purely academical work. Mantegna's character was too realistic and decided to fall under the influence of archaism. He was one of the greatest artists of his time and was the first who, keeping truth ever in sight, introduced into painting all the elements of antique forms and infused into them his own peculiar spirit. From this point of view let us consider one of his first works, "Calvary" (No. 1373). This picture shows all the characteristics of his manner — realistic treatment, knowledge of perspective and the introduction of elements from the antique. From a paved surface rise three crosses. 78 rAT\TT\GS OF THE LOUVRE and, on the central one, Christ is nailed between those bcarint]: the two thieves. On the ri^ht are some soldiers who, with perfect indifference, throw dice for the Saviour's garments while others, on horseback, with equal indiffer- ence, raise their eyes to the cross. On the left are St. John, E. Hautecceur, Phot. 1313. Calvary. — Mnntegna. bathed in tears, and the Virgin who is only prevented from sinking by the support of some holy women. A steep road leads to Jerusalem on a height in the background. The composition is strong. The cross of the Saviour is placed in the open space between two mountains, thus causing it to stand out from those of the tw'o thieves which are less in relief against their darker background. The deep, wide landscape, the steepness of the road leading up to the town, MESSINA TO I>IONARDO 79 the softness of the tones pahng in colour and vanishing in the distance constitute a very reahstic perspective. But the picture's most striking feature is its truth of expression and action. The Roman legions have the classic calm of figures in antique bas-reliefs, in striking contrast to the group in which we see the Virgin. On her aged face there is an expression of distracted grief. Her arms fall inert, her body is inanimate, and her face is of a paleness as death-like as that of the body of her Son. Mantegna was called by the Duke Ludovico Gonzaga (1460) to Mantua, where he painted the series of frescoes in the " camera degli sposi " (bridal chamber) of the old castle. On the death of Gonzaga, Mantegna devoted his services to the Duke's son, Francesco, and in " The Virgin of the Victory" (No. 1374), painted in 1496, he transformed into a victory the defeat which this prince had suffered at the hands of Charles VIII of France. In this picture the Virgin is seated under a canopy of foliage richly orna- mented with garlands, and blesses the Child whom she holds standing on her knees. Her cloak is held by the Archangel Michael and St. George who spread it out in the form of a canopy. By her side stands St. John the Baptist and, in the background, we see St. Andrew and St. Longinus. The composition is in the form of a per- fect pyramid, and, from the summit of the construction, there hangs a branch of coral. The drawing is excellent, and the composition, owing to the manner in which the persons are bound to one another by the cloak of the Vir- gin, and to the way in which the figures of Francesco and St. Elizabeth are introduced, is masterly. The E. Ilautecueur, I'lint. 1374- The Virgin of the Victory. — Jfaiif>/ena. 80 Sail; VI MESSINA TO LIONARDO 81 scheme of colour is even superior to the drawing. A certain unity of tone is given by the red garment of the Virgin, the head-dress of St. Longinus and the branch of coral, and red is scattered here and there in the rich garlands which are like painted Roman bas-reliefs. It is a work w'hich has been carefully thought out in all its harmonious details and unites and combines the characteristics of an- cient and modern art. Mantegna had the good fortune, which few enjoy, to maintain the same high level up to old age, although that old age was not exempt from cares. This excellence is shown in two mythological pictures painted in the last years of his life. Elizabeth of Este, who ordered one of these, herself chose the subject "The Victory of Virtue over Vice" (No. 1376). ^Minerva, armed with a lance and preceded by two nymphs, is seen to burst from a wood; at sight of her the Vices fly, and among them, Venus, represented as standing on the back of a centaur. The Virtues, in their turn, appear in a halo of clouds. An inscription on the figure on the left is intended to make this poetic fable intelligible. Andrea ^Vlantegna knew how to make the most of this ungrate- ful subject. The figure of Venus contributes the perpen- dicular effect which gives equilibrium to the picture. The dominant lines, on the left, pass over Minerva and are directed towards the fluttering cupids, while a descending curve, on the opposite side, is formed by figures carrying Avarice and Ingratitude. The picture is painted in Avater colours, a process requiring particular care, in which Man- tegna excelled and to which he remained faithful all his life. 82 PAIN nXC.S OK THK LOUVRE "Parnassus" (No. l.'JTo), is an oven superior work. On a natural eminence of rocks, Mars is taking kuive of Venus and, below, the Nine Muses are dancing to the music of Apollo's lyre. On the right is Mercury leaning on Pega- E. Haulci-u;ur, I'liut. 1376. Victory of Virtue mm- Vice. — Mantegna. Salle VI sus and, from the top of the rocks, Cupid blows a pipe at Vulcan in his forge. Until Raphael, Italian art never dis- played so much charm and so much grace of movement as is found here. The pose of each Muse is different from that of the rest, and yet they are all equally graceful. These figures, drawn from the antique, far from being painted statues, seem instinct with life. Mars and Venus form MESSINA TO LIONARDO 83 a group of statuesque beauty. The lands; ape, which we see through a vista, with its blue mountains and green fields, is worthy of being the abode of the gods. The whole is bathed in a bright light, the dazzling body of Venus t.. llautccujur, Phot. Sai:e VI 1375. Parnassus. — Mantegna. stands out against a background of dark green, and, in the gloomy cavern of Vulcan, we see the gleam of his red cloak. "WTien Mantegna died at Mantua, in 1506, the art of ]\Ian- tua died with him, but his influence remained and dom- inated all Northern Italy. This influence may be seen in the " Ecce Homo " (No. 1393) by Bartolommeo Montagna of Vicenza (died 1523 ?), who followed in his footsteps. 8i PAINTINGS OF THE LOUVRE Montagna also shows himself to have been influenced by the Bellinis, as may be seen in the agreeable picture called "Three Young Musicians" (No. 1394). H. HautLLUur, Pilot. Salle VI 131S. The ^^Irghl and Child. — Attributed to O irolamo dai Libri. The school of Verona also was affected by Andrea Man- tegna, and this is evident in a picture called " The Virgin and Child" (No. 1318) attributed to Girolamo dai Libri, (1474-1556) butwhich might better be attributed to Carotto MESSINA TO LIONARDO 85 in whom the characteristics of the art of Mantua are strong- ly mingled with Venetian influences.^ This exchange, this "traffic" of ideas between these two artistic centres is one of the most interesting; of studies. A characteristic of the school of Verona is the very rich, light colouring which clearly distinguishes it from the Venetian School. In Lombardy, the influ- ence of ^Nlantegna was greatly attenuated by local character- istics. These consisted in a certain calm, a certain sweet- ness of expression peculiar to the works which preceded Lionardo, as, for example, in the case of Borcoo-none (1450-1523). In his " Presen- tation in the Temple" (No. 1181), the faces, although natural and animated, have a severely mute expression. With the Virgin, emotion is under control; and, in the Child, it is only expressed by an attitude of affection. In the two neighboring portraits, "St. Peter of Verona and an Unknown Woman" (No. 1182) and "St. Augustine and a Donor" (No. 1182a), notwithstanding the pains taken in the execution, the E. Hautecu.'ur, Phot. Salle VI 1182 A. St. Augustine and a Donor. — Borgognone. 86 I'AINTINGS OV THE LOUVRE pleasinn; iinprcssion left by their l)ettcr (jualities is spoiled by the grey tint of the faces. This greyish tint is again found in IJartolommeo Suardi il Braniantino (died 1530). His " Circumcision " (No. 1.54.5) is dark in tone, and there is again the same expression of calm and inward devotion in the face of the Virgin, while the livid and aged man on the right reminds us of the "Presentation in the Temple" (No. 1181) by Borgognone. Piero Francesco Sacchi di Pavia (after 1527), author of the " Four Fathers of the Church " (No. 1488), is generally an indifferent master, but appears to us here to good ad- vantage. The psychological characteristics of each figure are carefully studied. On the left is St. Gregory, the man of unshakable and blind faith, with the Scriptures open before him. Next is St. Augustine, the philosopher, listening to and writing down what the Holy Ghost, in the form of a Dove, is communicating to him. Then comes St. Jerome, in ecstasy turning to the angel. Finally we see St. Ambrose mending his pen, and by his calmness and simplicity he forms a decided contrast to the others. The colouring is light, the execution of the details is careful without being overdone, and the wide blue landscape is imposing. To the Lombard school at this remote period belonged likewise two masters, both of whom had little charm. The one, Fasoli, called Lorenzo di Pavia, who died about 1520 (?), crowded too many figures into his picture called "The Family of the Holy Virgin" (No. 1284), thus pro- ducing a medley of heads and limbs. The grouping of the other, Bartolommeo Bononi, who painted at the be- ginning of the sixteenth century, is good in his picture MESSINA TO LIONARDO 87 E. Hautec»_t:ur, Phot. Salle VI 1488. Four Fathers of the Church. — SaccM. called "The Virgin and Child" (Xo. 1174), but the col- ouring is weak and reminds us of a chromo-lithograph. The manner of the school of Ferrara is quite the oppo- site of that of the peaceful and gentle school of Milan. At Ferrara the old Cosimo Tura (1432-1495), called Cosme. is the initiator of a severe school. In his "Pieta" (No. 88 PAINTINGS OF THE LOUVRE 155(5), there is no trace of composition properly speaking. The emaciation of the body of Christ, which rests on the Virgin's knees, is so distinct as to cause it to resemble a skeleton. The faces contracted by grief have nothing pleasing, and the action is exaggerated. But, neverthe- less, there is great power in this work and a daring and E. llaiitecoeur, ?liut. Salle VI 1556. Pieta. — Cusimo Tura. conscious realism. The picture is painted in water-col- ours, but the colouring is as crude as enamel, and the hues are inharmoniously juxtaposed. The folds of the drapery are too fine and abruptly broken up, and the shadows are too strong. The same appUes to his " Portrait of a Saint " (No. 1557). Another example of the hard style of the primitive school of Ferrara is the small picture called "The Virgin and Child" (No. 1523), attributed, probably wrongly, to Gregorio de Schiavone.^" The colours are loud and shine like lacquer. The heads are ugly, and the drapery MESSINA TO LIONARDO 89 is as stiflf as metal. The St. Apollonia and St. Michael in the pictures Nos. 1677 a and b are also in this manner, but there is a modification showing a transition between E. II . ■ r, rli-t, Salic VI 1523. The Virgin and Child, — Attributed to Gregorio de Schiavone. Cosimo Tura and his pupil, Lorenzo Costa (1460-1535), the most agreeable artist of the school of Ferrara, who was one of the first to discover the secret beauties of nature. His natural gentleness counterbalanced the severe manner 90 I' \ IN IIXC.S ()!•' THE LOUVRR of his master. He readily assimilated foreign elements and was inspired by the school of Bologna, wliere Francia was his companion, and by that of ISIantua where he came under the strong influence of Mantegna. E. Hautcmnr, Plu.t. Salle VI 1261. The Court of Isabella of Este, — Lorenzo Costa. All this we see in one of Costa's most attractive creations painted at an advanced age, "The Court of Isabella of Este" (No. 1261). Here we have an excellent landscape with a moist atmosphere and dark trees. On the glisten- ing water floats a galley, and there is an expanse of green grass, the different levels of which are skilfully used as ele- ments of composition. Grouped upon it in a semicircle MESSINA TO LIONARDO 91 are persons writing or playing music, a woman armed with a bow, and a slayer of dragons. In the middle distance is Isabella who is being crowned by a cupid. In front are seated two beautiful young girls. Only the colouring and preference for red and strong blues recall the manner of Cosimo Tura. Isabella's inclined and inert attitude is borrowed from Francia, while the slayer of dragons is taken from ^Nlantegna. That which peculiarly be- longs to Costa in this picture is the charming and velvety quality of the landscape, denoting his passionate love for the beautiful in nature. ^^ This is one more example of the richness arising from the association of several influences. A still more remarkable example of this kind is the picture by Domenico Panetti (died 15 12), "The Nativity" (No. 1401), in Salle IX, opening from the Long Gallery. This, by its enamel-like brilliancy of colour and by the hardness of the drawing again shows the manner of the school of Ferrara, but, in its type of face and, above all, in the simple and careful interpretation of the landscape, it shows the influence of the schools of Bologna and of Francia. Francesco Raibolini, called II Francia (1450-1517), be- fore he became a painter, had commenced his career as a jeweller and engraver. But it seems as if the hardness of metal was incompatible with the sweetness of his temper- ament, for he turned to painting, bringing to it the scrupu- lous precision and distinctness of detail which he borrowed from the exercise of his first art. He was inspired by Mantegna, and many of his ideas were similar to those of Costa, but he had a depth of feeling unknown to these two artists. One may call him the master of movement 92 TAINTINGS OF THE LOUVRE and gesture. In his "Christ on the Cross" (No. 1436) there is grief and despair in the incHned position, and in the expression and gesture. The tense position of the hands and body of St. John and the inertness of the arms of the Uraun, Clement ,^ Cie., Phot. Sail.- IX 1401. The Xativiii/. — Panelti. Virgin indicate the same emotion in both. But the figure of Joseph lying at the foot of the cross is distorted and not pleasing. The dark cross, on which the paleness of the body of Christ stands out in relief, is very effective. The colours are, moreover, brilliant, and the shadows strongly marked. The intensity of Perugino and the sentiment of Francia MESSINA TO LIONARDO 93 E. Hautecccur, Phot. Salle VI 1436, Christ on the Cross. — Francia. were too closely allied not to influence each other recipro- cally. Traces of this influence are to be seen in Francia's small picture called "The Nativity" (No. 1435) where the face of the Virgin bears very characteristic traces of the man- ner of Perugino. Francia was not to lose his own pecuhar 94 PAIXTIN'GS OF THE LOUVRE manner, liowevcr. "The Virgin and Child with a Her- mit" (No. 14.S7) is a genuine and good example of his style, but was not painted by him. The colours are brilliant and the action spirited. The expression of gen- ii. 11. li/, . .... I'll.. I. Salle VI 1437. The Virgin and Child. — By a Pupil 0} Francia. tie earnestness on the face of the hermit and the broadly treated landscape are certainly in his manner. To the school of Francia belongs the pleasing picture called "The Virgin and Child Surrounded by Saints" (No. 1436 a). The Virgin is seated on a throne before a curtain stretched between two columns. The Child MESSINA TO LIONARDO 95 is exquisitely natural and leans toward St. John the Baptist, and quite in the foreground is St. Francis. On the other side St. Sebastian, with ecstatically raised eyes, leans against a column, while in front of him is St. George in armour, and at the feet of the Virgin an angel plays on li. lL;L:i-...i;r,FhMt. Salle IX 13S1. Christ carrying the Cross. — Marches!. a musical instrument. Although this work is weak in col- ouring, it is, on the other hand, very sympathetic, owing to its sweetness of expression and its excellent composi- tion. The inclined position of the Child binds the central group most naturally to that on the side. Naturalness and strength in the figures are observable throughout the pic- ture; on one side are the ascetic St. John the Baptist and St. Francis in a more or less careless position ; on the other 96 TAIN TIXGS OF THE LOUVRE are the graceful St. Sebastian and beside him the energetic St. George. We have here a work presenting all the fea- tures of the sixteenth century art. Thus the characteristics of the art of the sixteenth cen- tury also penetrated the schools of Ferrara and Bologna, and in the latter place they were fully developed by Giro- E. Uautecurur, I'lK.t. Salle VI 13S4. The Nativity. — Massone. lamo Marchesi (1480 .'^-1550), a pupil of Francia, and author of " Christ Carrying the Cross " (No. 1381), in Salle IX. We see here an expression of acute grief in the features of the Saviour, and this is a masterly work of perfect tech- nique. Two pictures claim our attention which are somewhat outside the evolution which we have just been studying. One by Giovanni INIassone, a picture in three parts called "The Nativity, with Pope Sixtus and Cardinal Giuliano della Rovera" (No. 1384), was painted towards the end of MESSINA TO LIONARDO 97 the fifteenth century, and shows that, in architecture and in painting, the Piedmontese felt the strong influence of INIantegna. But the predominance of dark tints which makes this picture sombre shows it to be of the school of Lombardy. The other picture, " The Annunciation " (No. 1676), an altar screen the colouring of which is entirely light, seems, by the profusion of its gilded ornamentation as well as by its background consisting of a landscape of Italian fields, to belong to an unknown local school, per- haps that of Genoa. We now reach the greatest epoch in the history of art, and the first master among its exponents was Lionardo da Yinci, LIONARDO TO RAPHAEL IN I^ionardo da Vinci (14.52-1.510) every talent was cora- l)ined in one man. All that humanity had up to that time produced constituted the foundation of his genius. His works are still, to-day, an enigma from the point of view of treatment. His great mind seemed to solve all problems. As a military engineer, he made plans of forti- fications which are still modern. He conceived the pow er of steam and even constructed flying machines. But he produced little because even perfection did not satisfy him. He was born at Vinci in 1452 and was a natural son of the notary Ser Pier. At an early age he was admitted to the studio of Verrocchio, and the angels which, as pupil, he painted into Verrocchio's picture, "The Baptism of Christ," show an incomparable superiority over the work of his master. Lionardo remained in Florence till 148.5 and then en- tered the service of Ludovico il Moro in ^lilan, where he spent fourteen happy years, universally admired as a man, a sculptor, a naturalist and a painter. The downfall of the Sforzas threw him into a changing and agitated existence. He first went to Venice, Avhere he remained till 1503, thence to Romagna under Caesar Borgia, after- wards to Florence in 1506, next to Rome, and from there back again to jNIilan. In 1507 he entered the service of Francis I, but only settled permanently in France in 1516, and here he remained up to the time of his death which took 98 LIONARDO TO RAPHAEL 99 place in the Chateau Cloux at Amboise in the year 1519. Ill health during the last part of his life prevented him from doing any great work for his protector and admirer, Francis I. There is one composition which the name of Lionardo recalls to all minds, a work equalled in renown only by " The Sistine Madonna " of Raphael. This is " The Last E. HauteccLiir, I'liot. Salle VI 1603. The Last Supper. — Copy by Oggiuiw of Lionardo' s painting in Milan. Supper," in INIilan. What we possessed of the original at Milan was at best scarcely more than a ruin, and has, of late, entirely perished. Lionardo's experiments in the mixture of oils, which in this instance proved to be perishable, in addition to damages from the vandalism which transformed into a stable and granary the hall in which the picture was painted, have resulted ultimately in its utter destruction and, for this reason, the value of contemporary copies have become of singular impor- tance. The copy in the Louvre (No. 1603), by Marco Oggiono, in the Long Gallery, is an example of this. 100 I'AIXTIN'GS OF THE LOUVRE The moniciit represented in this picture is tlie one in whicli Christ has just said, "One of you will betray Me," and in the midst of the af^itation which these words provoke, the blaster is the oidy one who remains calm. On either side, without laboured effect, are two groups, each of three Apostles. Christ thus becomes the centre of the picture and stands out in relief against the landscape in the background. Judas and St. John are united in the same group and thus form a striking contrast. The various positions of the heads are very remarkable. Christ is in full face, the figures at the extremities of the table are in profile, while the perpendicular walls allow us to appreciate the attitudes of the figures. The hands are full of character. Christ appears to be saying: "So has My Father decreed: let His Will be done." Judas grasps his purse, St. John gently joins his hands, while St. James, on the contrary, opens his wide, as if saying: "Master, it is not possible." The greatness of this work consists in that we understand the scene without effort. Lionardo's " Last Supper" dif- fers essentially from all preceding creations, and all those who have since attempted this subject have been inspired by it. "The Virgin of the Rocks" (No. 1599) is a composi- tion truly in the style of Lionardo and consists of a trian- gular group in the centre of which is the Virgin. We here see, for the first time, the harmonious blending of figures^ in the midst of an unusual landscape. Under pro- jecting rocks on the edge of a pool, the Virgin and an angel watch the Infant Jesus as he blesses St. John, who raises his hands as if in prayer. The wild and rocky landscape seems to belong to the world of LIONARDO TO RAFMAELi 5 J 3 ^ 101 dreams. The expression of the Virgin shows the first appearance of that mysterious smile to which Lio- E. Hautecceur, Phot. Salle VI 1599. The Viry'tn of the Bocks. — Lionardo. nardo's " Monna Lisa " owes its greatest charm. As is always the case with Lionardo, there is in the treat- ment of the hands an energy of expression absolutely 102 PAINTINGS OF THE LOUVRE unknown till tlion, and they arc a study in themselves. Certain archaic traces still remain in this work; the modcllint; of the bodies of the children is of a metallic clearness and recalls the manner of Verrocchio, as do the angnlar folds of the drapery. The last sij^ns of fif- teenth century influences appear in the bony structure of the heads. Some of these traces are also noticeable in another early work of Lionardo, "La Belle Ferronniere" (So. lOOO), which is now considered by most critics to be the portrait of lAicrezia C'rivelli. The freshness of youth and the thoughtful expression of the eyes exercise an irre- sistil)lc attraction. Here the height of the forehead is accentuated and ornamented by a jewel attached to a nar- row band of silk. (High foreheads were at that time much in fashion, and, to create this effect, women of quality were accustomed to pluck out the hair from the forehead and even from the eyebrows.) The rounded body seems to breathe under the lacing of the red robe which fur- nishes it A\4th a luminous setting. The oval of the face stands out a little too sharply, but this is due to the three-quarters pose. The picture Xo. 1605 is now held to l)e the portrait of La Belle Ferronniere and most certainly belongs to the school of Lionardo. The most perfect work of art ever produced is, perhaps, Lionardo's portrait of Monna Lisa, also called " La Jocon- da " (Xo. 1601 ; see Frontispiece). When Lionardo separat- ed himself from it at the end of four years' work, he de- clared it to be still unfinished. This work has not escaped the consequences of unfortunate technical experiments in the preparation of oils. The light tints of the skin and the brightness have disappeared, and the underlying grey LIONARDO TO RAPHAEL 103 E. Hautecoeur, Phot. Salle VI 1600. Portrait of Lucrezia Crivelli. — Lionardo. coating is visible. "Let him," says Vasari, 'Svho wishes to know to what degree art can imitate nature, contem- plate this picture. It is rather a divine work than the work of a man." That which strikes us is the mobility in this apparently immobile figure. Monna Lisa is seated in a low chair on the left arm of which she leans and lot PAIXTIN'GS OF THE LOUVRE lif^litly rests an arm; licr lonf; narrow eyes seem on the point of lan;ht reflected from the folds of the green gown and the yellow sleeves gently touches the liands. A stone balustrade separates the figure from tlu' landscape and this serves to incline it, as it were, toward the spectator, at the same time leaving it coni>ected with the background. Many and deep are the distances which we see in these blue moun- tains, and it is a landscape of fantastic dreamland far beyond our reach, for the little bridge is to indicate distance and seems to lead to other worlds. Much has alreadv been written concerning the "Monna Lisa," but no one has fathomed all the enigmas of this sphinx- like face. Walter Pater, in "The Renaissance," says of this mystic creation: "The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire^ Hers is the head upon which all 'the ends of the world are come,' and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beauti- ful women of antiquity, and how would they be LIONARDO TO RAPHAEL 105 E. Hautecoeur, Pilot. Salle VI 1597. St. John the Baptist. — Lionardo. troubled by this beauty, into which the soul with all its maladies has passed! A\\ the thouj^hts and experi- ence of the world have etched and moulded there, in that which they have of power to refine and make ex- pressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the middle age with its 10() PAINTINGS OF TllK LOUVRE si)iritual anil)iti(m and ima<:;inativc loves, the return of the Pa<2;an world, the sins of the liorgias. She is older than the rocks amony tlio (•(tlouriu'i; oi' llio throe diircreut reds in tlic garments. Tlie heads are remarkably natural and broadly executed. The type and attitude of the Virgin are almost those of a woman of the ])eoj)le, and the land- scape is treated with the same splendid simplicity. Al- thouirh the drawing; of the hands of the Child and of the person on the left is bad, this work contrasts favourably with the then prevailing mania for prettiness only. Thus, it was to Lionardo that all his successors turned as a source of inspiration. From him Marco da Oggiono learned pure form; Boltraffio, grandeur; and Andrea Solario (14G0 .^-1530 ?), colour and a velvety treatment of the skin. The art of this last is one of the best examples of the evolution in manner which can take place during the lifetime of an artist. At first, Solario was a follower of the old Lombard school of the fifteenth century and con- tinued so up to the time of his painting "The Crucifix- ion" (No. 1532), dated 1503. Here his colours are cold and have the hardness of enamel; the predominating loud red and blue on the sides do not harmonise well, and they are made still more discordant by the intense white of the cross. The faces and bodies are after the realistic school of IMantegna, but they indicate no attempt at beauty. With this compare "The Virgin of the Green Cushion" (No. 1530), a specimen of Solario's later man- ner, in Avhich ^ve see the ideal type of face created by Lionardo, with the look of intense maternal devotion. Here, also, is Lionardo's red-brown hair, expressive atti- tude and soft and living flesh. The Child lies in a na- tural position, the colours are warm, and the play of the lights and shadows is remarkable. LIONARDO TO RAPHAEL 113 The "Head of St. John the Baptist on a Charger" (No. 1533), by the same artist, is beautiful, in spite of E. HautectEur, Phot. 1532. The Cimcifixion. — Solario. Salic \'I its deathhke whiteness. The red beard is carefully exe- cuted, the blood on the neck is \4sible, notwithstanding the deep shadow which covers it, and the whole work is Ill PAINTINGS OF THE LOUVRE E. Hautecitur, Pli. t Salle VI 1530. The Virgin of the green cushion. — Solario. remarkably treated. The " Portrait of Charles of Am- boise" (No. 1531), on the other hand, with its min- ute execution, is hard and lifeless. A keen sense of beauty and of something deep and mysterious principally distinguishes Bernardino Luini (1475 P-1533 ?). Only a few of these characteristics are LIONARDO TO RAPHAEL 115 to be found in one of his first works, a fresco represent- ing the " Forge of Vulcan " (No. 1356) painted for the Villa Felucca. The god, who is forging a wing for Eros, is seated, and is lacking in character, Venus is full of E. HautectEur, Phot. Salle \'l 1533. The head of John the Baptist on a charger. — Solaria. mannerism in pose and expression, and the colours are hard and indistinct. The two frescoes (Nos. 1357 and 1358) are also from the Villa Felucca. The true Luini, with qualities reflected from Lionardo, first asserts himself in the frescoes of the Villa Litta. But Luini never had vigour in composition. The "Adoration of the Magi" (No. 1360), in Salle V, is di^^ded into two groups by means of a large wall, and the figures thus seem too cramped in the small space. This also is to be seen in the 11»^> PAINTINGS OK THE LOUVRE treatment of the hackjrround wliitli is shallow and only allows a fflinipse into the distance. Neither was I.uini a great innovator, for the attitudes of his fiposed. How is this effected? The archangel has been flying through space, and his garments still flutter in the wind. His wings are spread, the body is l^ent forward, and everything indicates a light and easy flight. In contrast to this lightness the dragon writhes under the left foot of St. Michael. By an ingenious artifice, this leg is covered with an iron armour which in itself suggests weight. But it becomes a striking reality when we see the flattening of the body of the dragon. To give us a sense of the size of the dragon another similar monster crouches and approaches. While the leg of the archangel remains immovable in the grasp of the dragon's tail, the upper part of his body is full of movement, and it is this contrast which gives the composition all its strength. The large Avings and the white shield lend amplitude to the figure of the archangel who might otherwise appear too small. Al- though the composition thus shows great originality, the face still suggests the manner of Perugino. It is the type of Perugino's INIadonnas, though here inflamed with a holy wrath. RAPHAEL TO THE VENETIAN SCHOOL 125 E. Hautecceur, Phot. Salle VI 1503. Saint George. — Raphael. The pendant of the " St. Michael" is the picture of "St. George and the Dragon" (No. 1503). Mounted on a thick-set charger which then represented the ideal of a horse, St. George, in bronze armour, is in mortal combat. The attitude is full of movement and animation, but the horse seems a Httle unnatural owing to its hea%y form. The landscape is simple, yet pleasing. 12G PAINTIXOS OF THE LOT'VRE AVe notice the Uniljrian influences on these works of Rapliael's youtli if we compare them witli his "St. Sebas- tian " (No. 1008 a), said on the frame to be of the Umbrian school. The landscape, with l)rown and litli, as in the <:,ar- ments of the Vir<;in, and is sometimes <)larino;, as in the blue of the cushion; the body of St. John, far from beini; that of a child, has all the vi2), has treated "The Portrait of a Sculptor" (Xo. 1184) with much more delicacy. The young artist stands holding a small statue of Venus. The colouring is transparent, and the features are handsome and severe without any exaggeration. The work shows great care, as is seen in the beautiful contrast of the white collar with the black garments, and in the general details of the room. The new picture, "The Holy Family" (Xo. 1183a), in the lonir irallcrv on the left, shows that Bronzino could paint religious pictures equally well. In the middle, with exquisite golden hair and clothed in a red garment and blue cloak, is the Mrgin with the Infant Jesus, to whom St. John offers a piece of fruit. Behind appears St. Joseph as a still vigorous old man, with St. Ivlizabeth on the other side to give balance to the composition. Although the colouring and atmosphere are excellent, the drawing and grouping are poor. " The Coronation of the Virgin" (Xo. 1324), by Ridolfo Ghirlandajo (1483-1561), is a work of his youth, painted in 1.503 and, although it has some merit, it is as a whole very insignificant. The colouring is somewhat cold and streaky, and the movements are angular and almost con- vulsive. Florence had perfected construction and grouping; and Rome, drawing, outline and proportion. It was left to RAPHAEL TO THE VENETIAN SCHOOL 157 E. Hautecceur, Pliot. Salle VI 1184' Portrait of a sculptor. — Hmnzino. Venice to perfect colouring. The dawn of this element we have seen in the first two great Venetian painters, Giovanni (1428-1518) and Gentile Belhni (1426-1507). It may be said that the more colour, or rather the love of colour, predominated with a painter, the more he was likely to be a Venetian; and the love of colour is always the love of life. THE VENETIAN SCHOOL AND CORREGGIO A T tlic very l)cotto (1480?- 1.55.5). His first work, "St. Jerome in the Desert" (No. l.'}.)0), ])ainte(l in 1500, shows liiiii to have been entirely influenced by Giovanni Bellini and by the art of the fifteenth century. He had no sense of proportion as between fiotto raised himself well above the then existing Venetian manner. Giovanni Bellini had taught the Venetian .school how to put a certain charm into the arrangement of figures on the same plane, and a l)eautiful treatment in the movement of heads is found everywhere in this school. A great sen.se of joy .seems to dwell in these works, such as, for instance, tho.se of Palma Vecchio (1480-1528). In his "Annunciation to the Shepherds" (No. 1399), the Virgin holds the Child to her side, and leans toward the shepherd who reverently kneels in a charming attitude of adoration, while St. Joseph looks at him attentively. Behind the Mrgin, l^efore a ruin, kneels the donor of the picture. The arrangement of the grouj) is simple, but imposing. The eye rests first on the praying woman, travels by the head of the Virgin to St. Joseph and falls to the shepherd on the right. The faces have no very profound expression of life, and the figures are half ideal creations of a genial fancy. The attitudes are full of re- finement, as, for instance, those of St. Joseph and the beautiful Venetian. The Virgin herself is a Avoman of this world and hardly the mother of God. The Avhole is bathed in the warm and golden light of tlie southern sun, and the landscape is rich and varied. Giovanni Bellini had three great pupils — Palma, VENETIAN SCHOOL AND CORREGGIO 161 Titian and Giorgione. His contemporaries considered Giorgione (1478-1510) the greatest. They surnamed him the great Giorgio, or the "divine young man." There are only three authentic works of his hand in exist- ence, but these allow us to appreciate fully his genius. 1399. The Annunciation to the shepherds. — Palma Vecchio. His quiet power is revealed to us in " A Pastoral Con- cert" (No. 1136), one of the works in question and to be found in the Salon Carre. This is not a landscape of dreamland as were Lionardo's, but a country that w^e have all seen without being able to preserve the image of it in our memories. A warm and soft atmosphere hovers about it. Under the spreading trees in the distance walks a shepherd with his flock, the horizon fades into blue tones and golden shades, and these illumine the tops of the trees and the uneven ground. In the midst of this 162 PATXTIN'GS OF THE LOUVRE landscape tliore is a group of musicians consisting of two men, a woman holding a flute, and, to the left, another woman whose position is full of movement. We are afraid H||HHiiviHiHM| ^^^^^_ \^^^^^K ^k ^ . !!l '^KSm^^B* *S^BI ?^^^m 9M ^^^B^^^^ ifl^BPV^^^^^^I^^ "^ ^3^^B E. Hautecceur, Phot. Salrtn Carr^ 1136. A paMural concert. — Giorgione. of destroying the charm of this creation by attempting to analyse the richness of action in this last figure with the body turned directly toward us, and the left arm stretched across the bosom, while the face is in full profile. The body is soft and lifelike, and the skin is of a brilliant VENETIAN SCHOOL AND CORREGGIO 163 lustre. The treatment of the colouring is masterly. The landscape is painted in almost neutral tints and is relieved by the delicate red of the flute player's cloak and by a general velvety tone. The bodies of the women, suf- fused with a golden lustre, absorb all the light and appear still more brilliant owing to the neighbouring dark tints. E. Haute^o-ur. I'li.jt. Salle VI 1135. The Holy Family. — By n pupil »/ Giorgione. The mellow light fades away like an echo upon the bright and luminous slopes and fields in the background. "The Holy Family" (Xo. 1135), in the Long Gallery, must be considered the work of a pupil or talented imitator who made use of Giorgione's types, as, for in- stance, in the head of the Virgin. He must have been a Venetian, a pupil of Giovanni Bellini, and his grouping shows him to have been a contemporary of Palma Vecchio. He also knew how to render character, as is shown in the countenance of the donor, but he lacks the joyousness of Giorgione. The Virgin is almost sullen, and St. Catherine, whose gesture is conventional, lacks expression. 1(51 TAINTINGS OF THK LOUVRE Giorf^ionc was like a passinfi^ meteor. Ills contem- porary, Tiziano Vecelli (1 477-1570), a pupil of the Belliiiis, was destined to enjoy a continuous life of fame for nearly a century and to exercise a ^reat influence upon followin*; generations. In presence of the works of Titian, we lose sihacl seems confused and crowded. In Titian's picture, Xicodcmus and St. Joseph of Arimathica support the body of the Saviour; St. John hoUls His right arm, and, on tiie left of the pic- ture, are the Virgin and St. Mary Magdalene weeping. The central group presses round the body of Christ. The principal bearer, Nicodemus, turns his back to us, and Joseph of Arimathfea kneels upon a stone. The type of St. John still vividly, though superficially, recalls Giorgione. The grief here represented is pro- found. The women are most im})rcssive, and Titian has taken them from life. In the attitude of St. Mary ^Magdalene, dread and terror at the sight of death are expressed. She is unable to turn away her eyes, and, though she wishes to tear herself away, she looks back as she endeavours to draw the Virgin with her. The expression of despair on the face of the latter, and the convulsive contraction of the fingers, real- istically express her grief and her irreparable loss. The modelling of the Saviour's body is admirable. The image of death is not suggested by the face, for Titian has placed it in shadow, but rather by the inertness of the limbs. The left arm falls lifeless, while the right is held up by St. John, and the inanimate hand drops at an acute angle. The livid colour of the body is rendered still paler by the deep and rich tones which surround it, while, at the sides of the picture, the colouring becomes lighter. The oblong shape of the picture helps to give a sensation of a forward movement and thus lends to the whole a certain appearance of lightness. "Christ Being Crowned with Thorns" (No. 1583), in 169 170 i'AINTIX(.S OK THK LOUVRE the Salon Carre, was painted when Titian was advanced in years. The executioners press the crown of thorns upon E. HauteccEur. rhot. Salon Carr6 1583. Christ being crotcned with thorns. — T^Uian. the Saviour's head by means of long staves. This is a magnificent work of art, for realism has been boldly carried to the greatest perfection. There is no grouping VENETIAN SCHOOL AND CORREGGIO 171 here, but simply a mingling of figures. Christ is a hu- man being whose expression and attitude are touchingly real. His foot is stretched out with a convulsive move- ment of physical pain, and the colouring of the body is such that one seems to see the coursing of the blood be- neath the skin. The whole is broken up by the handling of the light, and yet the details are bound together by it. This light falls in a flood upon the figure of Christ, then on the arms of the executioners and the heads of the Pharisees. There is, in this work, an overwhelming breadth and truth. For a long time the world remained incapable of appreciating such creations, for it did not understand their greatness and considered truth but gross realism. By the side of this great work, the picture called " Christ on the Way to Calvary" (No. 1582), representing Christ between a soldier and an executioner, appears of less value, although Titian still tried to attain to a complete realism. The body in its white nudity stands out on a dark back- ground, and, in strong contrast, the executioner is placed near the emaciated face. "The Council of Trent" (Xo. 1586) is valuable only as a spirited sketch, and its authenticity is questionable. The beautiful picture of "Jupiter and Antiope" (No. 1587) is no more than a ruin, but, in spite of all the re- touching, we still feel the charm of the landscape which is one of the most beautiful that Titian painted. We also admire the effect of intense light which the artist, then eighty years old, was able to give to the body of the woman at rest. No painter, either before or after him, has known 172 r.\iN'i'i\Gs nv THK louvre E. IIniitto.-iir. I'h.rt. 5al,jn Carr^ 15D0. ^ilpliunso of Ferrara and Laura iJianti. — Titian. how to interpret the beauty of woman as v>ell as Titian. What he represents is very different from the severe Vir- gin of Botticelli, from the Sphinx of Lionardo, or the sweet- ness and vapidity of Raphael's women, and is warm and full of life and its pleasures. These characteristics appeal to us in "Alphonso of Ferrara and Laura Dianti" (No. VENETIAN SCHOOL AND CORREGGIO 173 1590), in the Salon Carre. Alphonso of Ferrara, who plays the part of an attendant presenting Laura Dianti with a mirror, is in the deepest shadow and the light falls only on his forehead. The beautiful woman turns to- Avard the mirror, and, by this movement, her bodice is slightly disarranged. The manner in which she gathers up her hair is full of exquisite grace and it is in presence of these wonderful tresses that we realize what is meant by Titian red. The lines of the garment stand out on the dark background, producing a very pleasing effect. The arm is charmingly placed in the dim light caused by the folds of the sleeve. In the face, with its dazzling forehead, we feel the blood coursing under the velvety skin and colouring the cheeks. The small, half-closed mouth and brilliant eyes suggest no enigmas ; they speak of the joy of living, of happiness and pleasure. In view of so much beauty, it is difficult to take this picture for a portrait. It is an idealized rendering such as the art of the sixteenth century alone could produce, and in it remains a little of that golden age when happiness was a simpler thing than it has become to-day. In " The Allegory in Honour of Alphonso of Avalos " (No. 1589), the man in armour is a strikingly realistic portrait. A woman is seated with a ball of glass, the sym- bol of fragile happiness, on her knees. Before her stands Hymen and a cupid crowned with myrtle presents her with his arrows. It is not necessary to know the exact meaning of this allegory. What we admire is the group- ing and economy of space, notwithstanding the crowding together of so many figures. This picture shows how great was the mastery of Titian in portrait painting. 174. rAINTINGS OF THE LOUVRE We are inclined to think that his " Portrait of Francis I " (No. 1588) was not painted from hfc. The full profile reminds us of a bas-relief or a medal. It is difficult to become reconciled to the artificial smile on the face. But the dark pinks of the velvet jerkin are magnificently E. Hauteiuiir. I'lmt. Snlle VI 15S9. Allegory in honour of Alphonso of Avalos. — Titian. reproduced. "The Man with a Glove" (No. 1592), in the Salon Carre, is a very living portrait. One might be tempted to say that this picture offers more than was to be found in the subject of it at any particular moment, for here Titian gives us all the past and a little of the future. There is a vague and thoughtful look in the eyes which are of one who dreams and sees VENETIAN SCHOOL AND CORREGGIO 175 E. Hautecreur, Phot. Salon Cari6 1588. Francis I. — Titian. visions. To this face a strong will is lacking, a lack further indicated by the way in which the body is made to lean and seek support. The contrast of light and shade on the face, as well as the fine modelling, is admirable. It is probable that the beautiful picture called " The Man 176 PAINTINGS OF THE LOUVRE with a Hand on his Hip" (So. 1591) was painted at about the same time as " The Man with a Glove." There is some- thing noble and aristocratic here; the eyes with their look of assurance are full of meaning. The light is beautifully concentrated on a single portion of the face, and the colour- ■ ■■1 H| p ^1 '^K ^ tt^^^m ' ^^^H ^ ^^^1 ■^l/u ^^^^^■' ^^^^H Bk^ ^^^H ^^^^^^ft % 9 E. Haiitccuiur. I'h-t. Salun Carr6 1593. The man xoith a glove. — Titian. ing is made more striking by the deep shadows contrast- ing with the white linen. We are tempted to doubt the authenticity of the " Por- trait of a Man" (No. 1593) attributed to Titian. Not- withstanding the fine modelling of the hand, this picture is marred by something strange in the expression. The man does not look us in the eyes. The dark beard, more- VENETIAN SCHOOL AND CORREGGIO 177 over, loses itself in the sombre clothes, and, even if we consider that the hues have blackened with time, Titian, the colourist, could never have painted them even as they must have been originally. The very fine "Portrait of a Young Man" (No. 1185) in the Long Gallery, must have been inspired by Titian, but executed by his pupil and companion, Giovanni Stefano de Calcar (1510.^-1546). If we combine the grandeur of Titian and Palma Vecchio, allowing only the sensuality and richness to predominate, we obtain the manner of Paris Bordone (1500-1570). His colouring and action are admirable, and he paints luxuriant Venetian hair in the Titian manner, but there is " much flesh and little sentiment " in his pictures. In his " Yertumnius and Pomona " (No. 1178), we see two beautiful but insignificant persons. Pomona seems only conscious of her beauty ; it is, how- ever, a pleasure to contemplate the warm life animating these productions. What has just been said applies still more to the new picture by the same artist, " The Portrait of a Woman " (No. 1180a), in the Long Gallery. This is a beautiful rendering of a woman with brilliant colouring and charm- ingly posed. Her fair hair contrasts vividly with her deep blue eyes, and the rich tones of her velvet costume throw a delicate reflection over the composition. These quali- ties exclude all idea of an actual portrait, for they tend to soften and idealize character, as is likewise true of his "Portrait of Jerome Crofft" (No. 1179). This latter is the likeness of a carefully adorned person, but has little life. "Philip II and his Tutor" (No. 1180) also lacks 178 PAINTINGS OF THE LOUVRE E. HaiJtcccirur, Plii.t. Sal.n Carrti 1179. Portrait of Jerome Crofft. — Paris Bordone. strength and modelling, in spite of the well-executed, wrinkled face of the old man. There is nothing life- like about it except the treatment of the old man's hands and of those of the child. The "Herodias" (No. 1674 a), though quite in the manner of Bordone, is, probably, by one of his pupils. VENETIAN SCHOOL AND CORREGGIO 179 Herodias has almost the same face as Pomona in No. 1178, but the expression of the executioner in shining armour is brutal and he is badly placed on his legs. Bordone was not a great artist, but, nevertheless, had de- cided and definite characteristics. The same cannot be said of the Bonifazio family. The three masters of this name, though skilful, were only £. HauteiLLur, I'lut. Sail..' VI 1172. The, Virgin and Child. — Bonifazio, Veronese IT. imitators. " The Virgin and Child with St. Agnes and St. Catherine" (No. 1172) is disfigured by archaic attributes. The attitude of the Child even recalls the old school of the Bellinis (see No. 1158), and the composition is in- coherent. This work may be attributed to a pupil of Palma Vecchio, owing to the type of the faces. But "The Virgin and Child with Saints" (No. 1171) brings us back to the great art of Venice. Here is the rectilineal grouping of the figures, and undulating and varied lines formed by their heads. The persons are bound together artistically, yet the faces, though beautiful, are insipid. ISO PAIN riNdS OF TlIK LOUVllE This is the work of an imitator of the Venetian sehool, ])rohal)ly Hoiiifazio II Veronese (1494-1555). In a seeond "Holy Family" (No, 1G74 d), which is quite Venetian in composition, a new element is added, namely, the influ- ence of Raphael, which is clearly to be seen in the men's features. The picture full of fif^ures, called " The Resur- rection of Lazarus" (No. 1170), is but a variation of Raphael's cartoon called " Feed INIy Sheep." Before imitation and the academic manner took root, Venice produced one of the greatest painters of all time, Jacopo Robusti Tintoretto (1519-1594). His contempo- raries, though they often praised him, did not entirely un- derstand him. Posterity, owing to the judgment passed upon him by Vasari, was blind to his merits. It was John Ruskiu who first recognized his real greatness. The aim of Tintoretto was to combine the colouring of Titian with the drawing of ]\lichael Angelo, and his talent was so great that these two cjualities are united in him in such a manner that we do noi* notice them sepa- rately. Though time has dealt unkindly with his work and so dimmed it that the blues have become black, and it is often only by means of the imagination that we can restore the full splendour of the colouring, enough is left to make us recognize the wonderful power of the master in this respect. Rude restorations have not done less harm than the ravages of time. The charm of light and landscape, the power of move- ment and the truth of action and expression are all united in his work, as may be seen in the " Susanna after the Bath" (No. 1464). This beautiful woman is seated in the foreground and is being attended by two servants. VENETIAN SCHOOL AND CORREGGIO 181 The body, still glistening with moisture, stands out in relief against the shadow of the trees. This scene is separated by a wall from the landscape beyond. On the undulating surface of the water some birds float gently, and we perceive two old men near a table in the back- ground. The genius of Tintoretto knew how to avoid Sail in Carre llfSJf. Susanna after the bath. — Tintoretto. the danger of the affectation with which this subject was so often treated. Susanna is arranging her hair and this obliges her to turn her head to one side. There is something about her that reminds us of Titian's women. Her occupation and that of her servants cause all the artic- ulations to appear, and her whole body is full of movement. The action of the two attendants is natural and graceful. The two inquisitive old men are half concealed by the table 182 PAINTINGS OF THE LOUVRE ill tlio distance and are subordinated so as not to disturb the poetry of the scene. And yet they are far from beinfj accessories, for they are drawn into the picture by means of the handhn"^ of the h«fht, which iUumines the work with a sinfj^le hirf f -A i - Braun, Clement 6c Cie., I'lint 1424- The smiting of the rock. — Bassano. this limitation, subordinated it by representing Biblical scenes; hence, "The Entrance of the Animals into the Ark" (No. 1423), "The Smiting of the Rock" (No. 1424), and "The Carrying of the Cross" (No. 1426), where the horses are the most important element. In " The Wed- ding of Cana" (No. 1425) the personalities are relegated to the background, while the foreground is principally VENETIAN SCHOOL AND CORREGGIO 187 occupied by a cat and a dog. As this scene is very un- pleasing, we are grateful to the artist for this arrangement. There is something of the Dutch school apparent in this Venetian, for "The Grape Gathering" (No. 1428) is quite in the Dutch manner. His " Descent from the Cross " (No. 14i'27), even if not original, is full of remarkable characteristics from his manner of treating light effects and grouping. This same may be said of Bassano's son, Leandro (1558-1623). His "Adoration of the Magi" (No. 1430) served as a pretext for painting animals in landscapes similar to those painted by his father. A contemporary of Tintoretto was Paolo Caliari, sur- named Veronese (1528-1588). Though jjorn and educated in Verona, he held up the mirror to Venetian life. The zenith of the glory of the republic had been reached and even passed. Innumerable treasures were accumulated in Venice, and in this great mart, where the East and West mingled, the politics of the half of Europe were concen- trated. The daring navigator, the shrewd merchant, the astute diplomat became voluptuous in these magic sur- roundings, and pleasure was raised to the level of an art. Circumstances made greater expansion impossible, for the Turkish peril closed the East to Venice. The " Queen of the Adriatic " now abandoned herself to the enjoyment of her previously amassed riches. Existence became a continual vertigo, an unending feast and revelry, and Paul Veronese was the great interpreter of this life. He had neither the mystic colouring of Titian nor the grandeur of Tintoretto, nor did he pretend to much sentiment. Veronese narrated only, but he narrated with epic breadth. He represented the Venice of his time and painted hand- 188 rAINTIX(;S OF THK LOUVUE some men satisfied and content with their sensuous life, beautiful women adorned with jewels and clothed in rustlin<; silks, and bancjuets held in the vast and su])erb halls of the Rcnahnance. In "The lUirning of Sodom" (No. 1187) are depicted HHI i^^^^H^^^^k* ■ ■ ^^1 ^S I Bfc'^ i^ v ^H 1 ^^ ^B" x^ ■■Mhwf (1 If^^H k^^^ ■ V^^' ^^^^^^ ' ^sBfl 1^ ^ ^^l«<*^ji E. }iautecc£ur, Phoi. Salle VI 11S7. The burning of Sodom. — I'erotiete. beautiful women in graceful attitudes. In the fore- ground are the t^o daughters of Lot guided by an angel; behind them, I^ot himself accompanied by a second angel ; and, against the dark sky of night, stand out groups of trees and the white column of salt. In the background we see the flames of the city on fire. Here there is no attempt to express sentiment. The flight VENETIAN SCHOOL AND CORREGGIO 189 is a pretext for showing the fluttering of robes in the wind and the movement of beautiful arms. One of the fleeing women is tying up her sandal and is thus given a plastic position full of movement and a charming outline. Paul Veronese, son of a sculptor, had learned art of his father and all his life retained something of the E. Hautecoeur, Phot. Salle VI 1188. Susanna and the Elders. — Veronese. sculptor in his work. When he painted "Susanna and the Elders" (No. 1188), he merely reproduced a beauti- ful woman of pleasure in a plastic attitude, partially draped in yellow silk. Veronese limited himself to inter- preting a gallant adventure in warm colours w'ithout appearing to be scandalised, and we can easily under- stand w^hy all Venice appreciated his work. The "Es- I!M) l-AINIINdS OF T HI', IA)L"VUK tlior before Aliasiiorus" (No. 1180) represents a Venetian eourt of law. History was doubtless little known to the majority of \ fnetians, l)ut what ^'eronese painted they understood. Here is a throne, an ideali.sed l)o<^e sur- rounded by his eouncil and before him a beautiful woman wlio falls fainting' into the arms of her attendants. The artist did not give himself much trouble in this composi- tion. There are two separate groups, each forming a dazzling and magnificent whole, (xuided by his fault- less taste, Veronese placed Esther in the l)ack of the principal group. She .stands out in relief by reason of her exfjuisite ivory-pink tints and the brilliant gown. What Veronese created was more dazzlintj than niov- ing, and tliis is why he w^as unable to deal with reli- gious subjects. In " The Saviour Succumbing under the Weight of the Cross" (Xo. 11J)4'), the assistant execu- tioner is a fine and })oldlv treated figure. The Sav- iour is ])ainted in those soft tones and warm colours in which \'eronese was a pa.st master. But the faces of Christ and of the two women in the l)ack'J rAINTINGS OF TllK LOL \"UK placiMl the scene in n magnificent ]ialace, with heavy curtains falHiif^ in I lie hackj^round. The \'irt,Mii, who presents the Chihl fo the adoration of tiie nuns, is a Venetian type. She has not the ca])tivatinro(hicinoldness of the foreshortening, the grace of the outlines and the artistic grouping of the three figures. A glowing warmth emanates from the body of the woman, and the colours seem borrowed from the sun itself. Her bosom appears to gently rise and fall under the effort of breathing, and there is all the appearance of sleep in the limbs, in the head thrown back, in the raised arm and in the half-opened hand. One feels, rather than sees, the rich undulations of the golden hair. Behind Antiope appears Jupiter in the form of a faun. The spirit of Greece animates this picture, and it is antiquity ignorant of sin which lives again in this work. Strange to say, this great master was unappreciated in his time and died poor and unhappy. When the following generation at- tempted to imitate him, his mystic light became arti- ficial and the attitudes affected. DEC TJXE OF THE ITALIAN RENAISSANCE A l"rER Corrcfij^io. witli a few notable exceptions, that ■*■ ^ noble art in Italy wliich had its first beginniniijs with Cimabue faded into utter insignificance at the end of the sixteenth century. Francesco Mazzola, called II Parniigianino (1.504-1.540), was born in Palma. His early pictures show a careful study of Correggio's works, but afterwards, in Rome, his manner was profoundly affected by the great masters he studied there, especially Raphael. Of his two "Holy Families," the one (No. 1.S8.5) is the development of an idea of Raphael (see Raphael's "Holy Family"); the other (No. 138G) shows decided mannerism. The pose of the Virgin's head is exaggerated, the necks are too long, the })ink of the faces has become yellow, there is no life in the body of the woman in adoration, and there is a glaring red on the face of the angel. Federigo Barocci (1528-1602) is still more unpleasant. His large picture, "The Circumcision" (No. 1149) is so confused in compo- sition that it is impossible to understand the subject. A vain attempt to imitate the colouring of Correggio gives green and blue shades to the faces, and the red of the gar- ments produces the hard effect of painted porcelain. In "The Virgin in Glory with St. Lucia and St. Anthony" (No. 1150), in the Salon Carre, elements of Raphael, Titian, and Correggio are to be found, but the exaggerated ecstasy and the studied effects do not appeal to us. 206 DECLINE OF ITALIAN RENAISSANCE 207 None of the imitators of Correggio could reproduce Lis mysterious charm. 1 -.*^*^ :•«! "1 .^mA:Jt ^S^i^f 1 n^ Ryw^ pwi "^ '1^^^^^ If^Rj^ iMtffcCf ^-1^. . V ' . ^^^■^Ifcv.^^^Bi MittMiini Braun. Clement t!v Ci.., I'l Salle VI 1149. The Circumcision. — Barocci. And so the great art of Italy began to perish. Michael Angelo had bewildered and stunned his contemporaries and successors. Those who now came were but man- 2()» PAINTINGS OF THE LOUVRE ticrists and only imitalrd over and over again the sanu" effects. The taste for theatrical action and exagger IB^ i^f^' «!^H 5^^^^,*^=^(j>v ■ ■ ^^■**^^C E. Haiitcc.i ur, i'h.-t. Saluii Carre 1150. The Virgin in glory. — Barocci. ated pathos prevailed everywhere. The ideas of the world had also changed, and to the storm of the Refor- mation succeeded the Counter-Reformation. The sim- DECLINE OF ITALIAN RENAISSANCE 209 plicity of the old masters could no longer be appreci- ated. Extravagant ecstasy, hideous pain, supernatural rapture and daring colour alone appealed to the masses. The picture by Cesari (loGO-lG^O), called "Diana and Actaeon" (No. 1257), in Salle IX, is no more than a caricature. Diana is an exaggerated repetition of the Eve of ^Michael Angelo. Actaeon, in a fury, seems to wish to destroy everjihing about him. INIannerism having become unbearable, eclecticism^* took its place, and this was an improvement. Ludovico, Agostino, and Annibale Carracci formed an associa- tion and founded the first academy of painting, called the Academia dei Incamminati, whose main object Avas the study of the art of the sixteenth century, and the practice of drawing from models in plaster, from life, or from still life. Courses in the theory of art and the study of nature completed the instruction of this system, which, in its essential features, has been continued by academies up to the present day, and which we venture to think is detrimental to originality. The three Carracci themselves were men of considerable talent, and the best work of their school was what they themselves did. They made up a remarkably complete whole. Ludovico found the subject, Agostino arranged the compositions, and Annibale did the painting. The best of their combined works are to be found in Rome and Bologna. Those which show Annibale's (1560- 1609) own peculiar individuality are quite captivating. He combined various artistic elements with realism in such a manner that he produced something apparently new. His "Virgin Appearing to St. Luke and St. Catherine" (No. 210 PAINTINGS OF THE LOUVRE 1219), in the Salon Carre, w as inspired by Correggio. The Virgin, with the Child in her arms, is enthroned on clouds E. Hauteccxur, hhot. Salon Carr^ 1221. The dead Christ on the knees of the Virgin. — Annibale Carracd. and is surrounded by angels and saints. Her features are borrowed from Correggio's women, and, in accordance with Annibale's treatment, all the light emanates from the Child. Df:CLINE OF ITALIAN RENAISSANCE 211 The angels are in the manner of Raphael. In the lower part we see St. Luke with his eyes raised in ecstasy, in contrast to those of St, Catherine who looks down and, at the same time, points to heaven. The construction is strictly pyramidal, an outcome of the Florentine teaching. " The Dead Christ on the Knees of the Virgin " (No. 1221) shows the influence of Michael Angelo, particularly in v*^^^! ^^^H ^H^ Q& /^ ■ Ml^^^^ b> ^^ E. Hautc^M-L;r. I'h'A. Salle IX 1218. The sleeping Infant Jesus. — Annibale Canacci. the body of the Saviour. Though the action is full of mannerism, as may be seen in St. Francis, and is conven- tional, as in the Virgin and Mary Magdalene, the faces are full of expression. The treatment of the nude shows careful study, and the arrangement of the numerous bowed figures reveals artistic feeling. "The Virgin of the Cherries" (So. 1217) is absolutely empty and without expression. AVe are quite unable to understand the popu- larity of the little picture, " The Sleeping Infant Jesus," in Salle IX, or "The Silence of Carracci" (So. 1218). 212 PAINTINGS OF THE LOUVRE The Virgin, with her raised finger, makes a sign to St. John not to touch the sleeping Infant Jesus. The face of the Child is out of drawing, and the expressions are poor. Nevertheless, Annibale Carracci acquired a lasting and well-earned reputation as the father of Italian landscape painting. He, however, did not place himself frankly be- fore nature herself, but only painted parts of what he saw. •* .>v'^. ^t; w^ m '^ ** ♦ ■■ *« ?i^»W^^'W^^-— "MM^ t-^- 4 ,J^-^iji*^"-'^ &MitaniitgaliAgLlBSi >,' ^fH^-^-^^' ■ . u^ - t - '^ -.30 Jlf^ s» J^- ■ ' K 4 ". -^ '-^ppiyji ^ "^ ' '^-^^-^ ^m E. HautecuuLir, Phot, Salle VI 1233. The hunt. — Annihale Carracci. modified according to a certain formula. He composed his landscape, grouped some isolated elements connected with the subject and then skilfully placed his figures. An instance of this we see in his picture called " The Hunt " (No. 1233) in the Long Gallery. Here we see two char- acteristic and lifelike figures on horseback coming into sight out of a hollow way, and similar qualities are to be found in his other picture, "The Fishing" (No. 1232). The nephew of Annibale, Antonio (1583-1618), also folowed the traditions of the Academy. " The Deluge " DECLINE OF ITALIAN RENAISSANCE 213 (No. 1235) with its elongated, contorted nude figures, is a variation of the same subject by Michael Angelo. The man climbing on the left is borrowed from Michael Angelo's famous cartoon the "Soldiers Bathing." In view of this fidelity to its methods, we can well under- stand that the Academy deplored his death as an irrep- arable loss. This feeling we cannot share, for a purely E. Hautecoeur, Phot. Salle VI 1232. The fishing. — Annibale Carracci. technical element prevents us from appreciating the works of this period. The preparation of red ochre makes all the dark tints black and likewise renders the light tints hard and glaring. Guido Reni (1575-1642) is, to-day, the best known of the masters of the school of Bologna. This celebrity he owes to the two half-length pictures called " The Penitent Mary Magdalene" (No. 1448), in Salle IX, and "Ecce Homo" (No. 1447), also in Salle IX. Vulgarised by innumerable chromo-lithographs, they continue to poison 214 PAINTINGS OF THE LOUVRE taste and kill appreciation for the really beautiful. He himself painted some dozen replicas of them in order to make sufficient money to satisfy his passion for play. The mawkish expression of exaggerated repentance on the face of St. Mary ^Magdalene and the effeminate Christ, E. Haiitecixur, Plmt. Salle IX 1448. The penitent Mary Magdalene. — Guido Rem. both with the uplifted eyes then in vogue, made them easily saleable. The masses took, and still take, the worst kind of affectation for the expression of deep feeling. And yet Guido Reni was an artist of real talent, gifted with rich imagination, an unusual facility for work and great firmness of touch. The pictures representing the DECLINE OF ITALIAN RENAISSANCE 215 legend of "Hercules and Achelaus" (No. 1455), "Her- cules and the Serpent" (No. 1457), and "Hercules on the ^S^I^^B '~ 11 J 1 ■V , M ^ ^ ^J^^^ ^-^ ' m f^' < ^ w %f^ r 0^ / E. Hautecoeur, Phot. Salon CarrtS 1454. The ) ape of Dejanira. — Guido Reni. Funeral Pile" (No. 1453), all in the Salon Carre, are unfortunately particularly noticeable for passionate ges- tures, limbs outstretched, eyes raised to heaven, swollen muscles and distorted features. 210 PAINTINGS OF THE LOUVRE The " Rape of Dejanira by the Centaur Nessus " (No. 1454), in the Salon Carre, shows us Guido Reni in a better manner. The movement of the body of the Centaur is free and hght, antl there is also freedom of treatment in the outline of the flowing robes. The motion toward the left is well carried out, notwithstanding the movement of Dejanira who turns affectedly on the back of the horse like a circus rider. At times Guido Reni was subject to the influence of his illustrious contemporary, Caravaggio, the powerful natu- ralist painter. This influence is noticeable in the "St. Sebastian" (No. 1450), Avhere there are crude lights on the nude torso of the figure, which distinctly luring out the muscles and bones, while deep shadows play on the neck and chest. The face however has again that affected sweetness and the same uplifted eyes. Guido Reni could never free liimself from this convention, and David in the "David with the Head of Goliath" (No. 1439) is likewise posed after an entirely conventional method. Domenico Zampieri, surnamed II Dominichino (1581- 1641), was also a pupil of the Carracci. At the end of the eighteenth and the beginning of the nineteenth centuries, he was considered a demi-god of art in Europe, as the novels of the time bear witness. He is not so affected as Guido Reni and is, therefore, more pleasing. His "St. Cecilia" (No. 1613), notwithstanding the uplifted eyes, has a certain fervour which makes us overlook the expres- sionless face. Though a friend of Dominichino, Francesco Albani (1578-1660) leaned rather to the vapid manner of Guido Reni who persecuted him, owing to artistic jealousy. DECLINE OF ITALIAN RENAISSANCE 217 Albani painted small angels and cupids. His power does not go much farther than this, and, from his paintings, ■ H 1 H ^^^^^^ H ^^^^1 H| 1 r^'^H ^^ Ir'f /< r ^1 1 ^^^^^B^^ ^^^^^^B^ ■ f , i^t j |] ^) 1 B ^^ B ^ E. Hautecceur. Phot. Salle VI iei5. Iiupiisition if this idea were compatible with the sj)irit of the times. "St. Basil, with a l)ook on his knees and in a ))lack cloak, is a hitter fanatic, and tlic Holy (Ihost, who hovers above him, looks like some cruel monster." St. Domenico, on the right, in a white robe, with l)lack lines under his eyes, is the type of a zealot, with ugly and repulsive features from which all human feeling is absent. The whole picture is boldly painted in a vigorous chiaroscuro (the art of judiciously distri])uting lights and shadows), but, in this case, this is sometimes miecjual. It seems as though the flames of an auto-da-jc of the Inquisition ])lay upon this picture with their sinister light. IJke Ilerrera, Francisco Zurbaran (1.'>08-I()f)''2) Avas born in Seville. Tie was, par excellence, the painter of monks. Tliese he always knew how to present under a new light, witliout ever repeating himself, because the subject appealed to him, anfl the models were always before his eyes. His two large pictures of monks, Nos. 1738 and 1739, of which the latter is "The Funeral of a Bishop," are scenes from the life of St. Buenaventura. There are in them types which Zurbaran constantly saw in the streets of Seville. He could represent the monk of .slender intelligence, but ingenuous heart, as well as the ascetic zealot. The draping of the habit always interested him. His colours are well distributed in simple and quiet tones, but he sometimes put in some vigorous THE SPANISH SCHOOL 243 E. Hautecceur. Phot. Salle VI 1739. The funeral of a Bishop. — Zurharan. and effective touches, such as, for instance, the red Car- dinal's hat on the dead body clothed in white. It was a peculiarity of Spanish art that its representa- tives were rather developed individually than under the influence of schools. Jose de Ribera (1588-1656) is an individualist in the strictest sense of the word. Born at 244 r A I N T I N ( ; S ( ) I" T 111-: I A) I \ K 1', Jativa. a pupil of Rihalta, lie found a second home in Naples during the Spanish doniiiiation and an artistic model in Carava<];en air. 'I'h(>y look upon tiio Cliihl with nieUiiieh(jly astonishment. riu'V eamiot h<'lieve in a salvation meant for them also — for thcMu whom happiness seemed to have forifotten in their humhle condition. In the hack- ground, a young shepherd raising his caj) advances tim- idly, scarcely daring to apj)roach the " Prince of Heaven," and there is (juite a study of costumes and manners in these three figures. The Virgin kneels hefore the Child. She is a beautiful woman of this world, with an expression of earnest devotion, and it is this which makes her superior to her surroundings and which seems to lend her celestial attributes without the assistance of halo or suj)ernatural beauty. The monotonous landscape is bathed in warm sunlight and represents, indeed, "the hard and cruel world which the Saviour came to redeem." " The Virgin and Child" (No. 17''24) is hardly more than a copy of the central group in the preceding picture. In "The Club Foot" (No. 1725), in the La Caze Gallery, Ribera is a true painter of his time. Here is a mischievous little beg- gar boy making use of his infirmity to earn his living from day to day, unmindful of the morrow. The close-crop])ed hair and pointed ears are those of a beggar of the South. To-day, as then, he laughs when he receives charity at our hands, and three centuries have not changed him. The four philosophers, Nos. 1726, 1727, 1728, and 1729, in the La Caze Gallery, attributed to Ribera, cannot be by him, for the workmanship is too crude. They might, perhaps, be ascribed to the rapid painter Giordana. The works of Ribera are full of truth and reality, but E. Hautecoeur, Phot. Salle VI 1721. The adoration of the shepherds. — Ribera. 247 248 PAINTINGS OF THE LOUVRE the absolutely unrivalled master in these qualities and therefore one of the greatest portrait painters of all time E. Hautecteur, Phot. Salle I 1725. The club-foot. — Ribera. was Don Diego Rodriguez de Silva Velasquez (1599-1680). "With the grasp of external attributes, he combined a su- perior knowledge of character and a remarkable capacity for discovering the innermost workings of the mind and the most intimate characteristics of his models. He but THE SPANISH SCHOOL 249 too often applied this talent to uncongenial subjects such as little princesses in the shapeless Spanish costumes of the times. These works he was obliged to execute for Philip IV, at whose court he was employed as Master of the Palace. He treated these insignificant fair dolls, however, with incomparable skill. In the charming rendering of the little "Infanta Marguerita Maria" (Xo. 1731), in the Salon Carre, we have a child five years of age in a pale grey dress trimmed with black lace. The right hand demurely rests on a chair, while the left hangs down and holds some flowers. In this child's rosy round face, surmounted with tresses of fair hair, glitter two bright eyes, but there is no look of childish merriment. Velasquez gave gravity and dignity to this face, and, from her at- titude, "this child, with her self-conscious expression and small closed mouth, is evidently the daughter of a king." The glistening grey silk dress is stiff, but full of refinement. Velasquez relieved the dull gold colour of the hair by the delicate shade of the knot which binds it. Still more ungrateful was the task of painting the " In- fanta Dona Maria-Theresa (No. 1735), in the La Caze Gallerv, heretofore always supposed to be the wife of Louis XIV (see foot-note, page 300). The shapeless dress with the hoopskirt obliges the princess of about twelve years of age to hold her arms far from the body. She wears an ugly structure of fair curls. We understand the repulsion which Louis XIV would have felt on seeing for the first time, his fiancee in this apparel. But, notwith- standing all this disfigurement, the manner of treating the character of this insignificant little person is masterly, and Velasquez represents her with such truth as to even make 250 PAINTINGS OK THE LOUVRE ..iNFANTt,, MARGVEHllI M ^jkujm^ .-) m BV^K' . 1 "> '^ ^^L— *i«9ds^^9^^^^^H flF4ii^«A H. Hautectfur, I'hi.it Sal '11 Carre i75i. T/te Infanta Marguerita Maria. — Velasquez. her interesting. The genuineness of the " Portrait of a Young Woman" (No. 1736) has been much called in question in recent times. Probably it is not an intentional forgery, but a copy of one of Velasquez' works. Pliny says that Alexander the Great issued an edict THE SPANISH SCHOOL 251 which forbade any other than Apellcs to paint his por- trait. Perhaps Phihp IV remembered this when he prom- E. HauteccEur, Ph..t. Snllc \-I 1732. PhUip IV in hunting costiimf . — Vflasquez. ised Velasquez not to allow any other artist to immortalise him. The king, being the most renowned sportsman of his time, was often represented by Velasquez in hunting 252 PAINTINGS OF THE LOUVRE costume, one example of which may he seen in No. 1732. Ilis expression, in every way insignificant, is not improved hy his extraordinarily developed chin, nor by the famous under lip of the Ilapsburgs. The position is easy, with the foot sli<^htly advanced; one hand rests on the hip, and a lonfi; gun is in the other as he stands in an attitude of expectancy. At his side is his large, intelligent dog. In j^resence of this picture we can realize how easy it was for IMiilip IV to become a tool in tiie hands of his minister, Olivarez. The weakness of the king's nature is but too visible, notwithstanding the eyes with tlieir steady gaze. The treatment of iiglit is most skilful and it illuminates the entire face, models each little detail and plays on his gloves, his clothes and his y)()lishe(l gun. We see the king again in another portrait (No. 1733) in the La Caze Gallery, where he is older and his face is fuller. His age is also noticeable in the looser skin. The eyes look calmly into distance, and are a little more tired and weary, and the mouth is narrower and seems drawn with pain. As with his other models, Velasquez drew from this subject all that was to be found there. Don Pedro Moscoso de Altamira (No. 1737) is clearly the astute prelate who is better skilled in the things of this world than in those of the next. The manner in which he holds his breviary indicates tenacity of purpose. His well-kept, white and soft hand seems to show his weak- ness for pleasures. Here is the calm and confident ex- pression of a man who has a goal before him, who pursues it indefatigably and will certainly attain it. Strong shad- ows give the head a very plastic modelling. It is a splendid representation of a remarkable character admirably ren- dered. THE SPANISH SCHOOL 253 The picture, probably wrongly called " An Assembly of Artists" (No. 1734), is a meeting of thirteen animated persons standing in easy and graceful positions. They are Spanish gentlemen, among whom, on the left, clothed in E. HauteciEur, Phot. Salle VI 1737. Don Pedro Moscoso de Altamira. — Vflnsquez. black, is Velasquez himself and also Murillo. They talk with ^^vacity and gesticulate, without forgetting their natural Spanish dignity of manner. Here, as elsewhere, the artist has composed his picture so naturally and with so little effort that the difficulty of representing and group- ing thirteen figures standing in varied positions is in no e 254, THE SPANISH SCHOOL 255 way apparent. The delicate light colouring of the differ- ent costumes is harmoniously and beautifully treated. This wonderful artist, who lived in the enervating atmosphere of a court, never lost his energy and main- tained always the same high level. Jealousy was foreign to his nature. This is why Carrefio de Miranda (lOl-t- 1G85), his successor as court painter, had the good fortune to be protected and encouraged by him. Carreno's "St. Ambrose Distributing Alms" (No. 1702) is agreeable in colouring and careful in execution and clearly shows that he had learned much from ^'an Dyck and Rubens. One of Velasquez' greatest titles to admiration as a man was the lively interest Avhich he took in the poor young Bartolomes Esteban ^Slurillo (1()17-1C82). Born at Seville on the 31st of December, 1617, of very poor pa- rents, jVIurillo had learned painting with a local celebrity named Juan de Castillo and had learned it badly. One of his comrades who had travelled much, Ijrought back to Seville marvellous tales concerning the art of the Nether- lands, and, from that moment, the young Murillo deter- mined to travel. His means only allowed him to go as far as Madrid. Then it Mas that the great Velasquez, with the most absolute disinterestedness, came to his assistance. At the end of two years, in 1645, Murillo returned to his own city. His first large order, namely, eleven scenes from the lives of St. Francis and St. Diego, destined for the Convent of the Franciscans, firmly estab- lished his fame. To this series belongs " The Kitchen of the Angels" (No. 1716). This picture represents the miracle of St. Diego in a charming and simple manner. The saint, a poor lay brother in an ecstasy of prayer, i gj. 3^ j.'WL wm^ 1 wi 1 ^' ^.1 1 _ ....^ ; \^^Vv / V ^H 1 ..- ■IS ^^^H L fl ■ 1 i m laM ■3 » m ^ - ^ ii ^ — -J i H I---: ^ F ^ m _.e' lb i;:^ — . i^_^ _ ^ Uraun, Clement ^S: Cie.. Vhnt. Salle VI 1704. Guillemardet , French Embassador to Spain. — Goya. The two pictures Nos. 1714 and 1715 suffer from the coldness of the marble on which they were painted. As compared with Velasquez and Murillo, the remaining THE SPANISH SCHOOL 265 representatives of Spanish art are of relatively small im- portance. The "Burning Bush" (No. 1703), by Fran- cisco Collantes (1599-1656), is a landscape of ideal com- position, but without any personal character. The brown E. HauteciBur. Ph^t -•11- VI llOIf A. A young Spatiish woman. — Goya. tones are after the manner of the Italian school. In a still life picture of " Fruits and Musical Instruments " (No. 17!20), Antonio Pereda (1599-1669) shows himself to be a careful but insignificant artist. Juan de Arellano (1614- 1676) in his picture of " Flowers" (No. 1701), the colours of which are confused, does not offer us much of interest. However, almost a hundred years later, Spain produced 2G() rAINlINGS OF THE LOUVUE another painter of importance to all art, Francisco Goya (1740-1828), who, at a period when classic convention- E. Hautecaur, Phot. Salle VI 1705. A young Spanish woman with a fan. — Goya. ality and affectation of attitudes had invaded central Europe, created works full of life and satire. They are masterpieces executed in a vein of caricature. He has THE SPANISH SCHOOL 267 put something of his sarcasm into the picture called " F. Guillemardet, Ambassador of the French Republic to Spain" (So. 1704). Here is a man who owes his eleva- tion to the Revolution, and who, even as an Excellency, feels himself superior to his rank. The position of the body gives a picturesque and very rich effect. As a true Spaniard, Goya loved warm hues and enlivens the dark clothes with tricoloured plumes and a scarf. The portrait of a" Young Spanish ^Yoman " (No. ITO-t a) is a truthful rendering of a southern girl. The grey tones in the folds of the dress and in the fan are remarkable. It is a speaking work of art. Efjually spirited is the treatment of a " Young Spanish Woman with a Fan" (No. 1705), in a black mantilla, and with a })ink knot in her hair as an adornment. The erect pose, almost inclined backward, and the crossed arms are full of Spanish grace. The soft pearl grey background of the picture not only gives brilliancy to the colouring. l)ut blends the whole into harmony. A recent acquisition is the portrait of Don Evaristo Perez de Castro (Xo. 1705 a). Much has been said concerning the true aim of art, and many have thought that its object was to give pleasure only; but as Mr. Pater says, "Art comes to you profes- sing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake." NOTES Page 27 (1) The very fine picture "St. John the Baptist" (No. 1274) was originally ascribed to Uccello, but this is undoubtedly incorrect. Signor Ventieri attributes it to Bianchi Ferrari and Mr. Berenson to Piero di Cositno. So this work, we must confess, represents a still unsolved problem. Page 29 (2) It is difficult to recognize in this picture the manner of Fra Filippo, but, in view of Vasari's statement that the head of the Madonna is a portrait of Lucrezia Buti, one feels inclined to think that Lippi must have been the author of it. Page 33 (3) This picture has been ascribed, and very justly, to the School of Pesellino. Page 39 (4) Attributed to Jacopo da Sellajo by Makowsky, Page 44 (5) Attriljuted to Amico di Sandro, that is to say, to the School of Botticelli by Mr. Berenson. Page 64 (6) Attributed to Raflfaelino dei Carli by Mr. Berenson. Page 66 (7) These pictures, as well as Nos. 1571 and 1572, were attributed by Crowe and Cavalcaselle to Pinturicchio. Page 75 (8) This picture is, perhaps, not entirely from the brush of Giovanni. It was attributed to Rondanelli by Crowe and Cavalcaselle. Page 85 (9) Herr Thove attributes it to Correggio in his prime. 269 270 rAINTIXCS OK TllK LorVHF, Pagf HH (10) This picliirc vvius attributed to the School of Cosla hy Crowe and Cavalcaselle. Pagr 91 (11) Sii^'iior Vi'iitiiri asfrilx's the very fine fcinalo portrait, No. 1G73, to Costa, but we must feci that its authorsiiip is still a proljlcm. Tage 143 (I'J) "Tlic Circumcision" (No. li.'iS), wroni^ly attrihufed on the frame to liagnoc-avalio, is undoubtedly by Giulio Romano, according to Morelli. Page 1,>4 (1.3) This work is not from the l)rusli of Sarto, but is a work of his school. Page 209 (14) Eclecticism, in this sense, was a term applied to a school of artists who endeavored to select and imitate only the l)est cliaract eristics and most salient features of all the schools which had gone before. INDEX OF PAINTINGS INDEX OF PAINTINGS PAGE Albaxi (Francesco). 1578-lGGO. Bolognese . . . 216 1107. The Toilet of Venus. S. \T. 1109. Disarmed Cupids. Salles des Dessins. 1110. Venus and Adonis. Salles des Dessins. 1111. Diana and Actaeon. S. IX. Albertinelli (Mariotto). 1474-1.51.5. Florentine . 150 1114. The Virgin and Child between St. Jerome and St. Zenobius. S. VI. 1115. Christ appearing to Mary Magdalene. S. VI. CoRREGGio (AxTONio Allegri). 1494-15;}4. Of Parma . 201 1117. The Mystic Marriage of St. Catherine. S. IV. 1118. The Sleeping Antiope. S. IV. Alunxo (NicoLO DA FoLiGxo). 1430( .^)-1492( ?). Fo- ligno 57 1120. Predella in three parts. S. VI. Caravaggio (Michelaxgelo Amerighi). 1569-1G09. Lombard . 222 1121. Death of the Virgin. S. VI. 1122. A woman fortune-teller. S. VI. 1123. A concert. S. VI. 1124. Portrait of Alof of Wignacourt, Grand Mas- ter of Malta. S. VI. Axgeli (Filippo). 1600-1660. Roman. 1126. A satyr and peasant. S. IX. Axgeli (Giuseppe). 1715(?)-1795(.'). Venetian. '■ 1127. The little drummer boy. S. VI. 273 274 PAINTINGS OF THE LOUVRE I'AdE Sano 1)1 PiiCTUO. 1405-1481. Sienese 18 11^28. Dream of St. Jerome. S. VII. ll'ii). St. Jerome kneeling in the desert. S. VII. ll.'U). Legend of St. Jerome. S. VII. ll.'H. Death of St. Jerome. S. VII. \V,V2. Apparition of St. Jerome to two persons. S. VII. Anselmi (Michelangelo). 14i)l-l.j.54. Of Parma. 1133. The Virgin between St. John and St. Stephen. S. VI. Ansi^ino (Attributed to). 1133a. The Adoration of the Magi. S. VI. Messixa (Antonello da). 1444(?)-1493. Venetian . 70 1 134. The portrait of a man called the Condottiere. S. VI. GioRGioNE (Giorgio Barbarelli). 1478-1510. Vene- tian 1(51 113.5. The Holy Family. S. VI. 1136. A pastoral concert. S. IV. GuERCHiNO (Giovanni Fr.^ncesco Barbieri). 1590-1660. Bolognese 219 1139. The resurrection of Lazarus. S. VI. 1142. St. Benedict and St. Francis of Assisi. S. VI. 1143. The protecting Saints of the city of Modena. S. IV. 1147. Circe. S. VI. 1148. Portrait of himself. S. XV. Barocci (Federigo). 1528-1602. Of Parma ... 206 1149. The circumcision. S. VI. 1150. The Virgin in glory with St. Lucia and St. An- thony. S. IV. INDEX OF PAINTINGS 275 PAGE Fredi (Bartolo di Maestro). 1330-1410. Sienese . 16 1151. The Presentation in the Temple. S. VII. Bartolo (Taddeo di). 1363-14^2^2. Sienese ... 18 1152. St. Peter. S. VII. Bartolommeo (Fra), called Baccio della Porta. 1475- 1517. Florentine 147 1153. The annunciation. S. VI. 1154. The Mystic Marriage of St. Catherine. S. VI. Bellini (Gentile). 1426-1507. Venetian .... 72 1156. Portrait of two men. S. VI. School of Gentile 73 1157. The Reception of a Venetian Ambassador at Cairo. S. VI. Bellini (Giovanni). 1428-1516. Venetian .... 73 1158. The Virgin and Child between St. Peter and St. Sebastian. S. VI. 1158a. Portrait of a man. S. VI. School of Giovanni 75 1159. The Virgin and Child with St. Sebastian. S. VI. Berrettini, called Pietro da Cortona. 1596-1669. Florentine 231 1160. Alliance of Jacob and Laban. Escalier Henri IV, I®'" etage. 1163. The Virgin and Child. S. VI. 1164. The Holy Family. Salles des Dessins. Bl^nchi (Francesco). 1447-1510. Of Ferrara . . 201 1167. The Virgin and Child with St. Quentin and St. Benedict. S. VI. BoccAccixo (Boccaccio). 1460-1518. Of Cremona . 200 1168. The Holy Family. S. VI. 'JTci rAINTINCJS OF TIIK LOIVKK l'Acr. The Vir. St. Bonaventure and St. Anthony of Pachia. S. VI. BoRDONE (Paris). 1500-1570. Venetian .... 177 117S. Vertumnius and Pomona. S. VI. 117!). Portrait of Jerome Crofft. S. IV. IISO. Phihp II and his tutor. S. VI. 1180a. Portrait of a woman. S. VI. BoRGOGNONE (Ambrogio). 1450-1523. Lombard . . 85 1181. Presentation in the Temple. S. VI. 118'2. St. Peter of Verona and an unknown woman. S. VI. 1182a. St. Augustine and a donor. S. VI. INDEX OF PAINTINGS 277 PAGE Bronzing (Agnolo di Cosimo). 1502-1572. Florentine 156 1183a. The Holy Family. S. VI. 1184. Portrait of a sculptor. S. VI. Calcar (Giovanni Stefano). 1510(?)-1546. Venetian 177 1185. Portrait of a young man. S. VI. Veronese (Paolo Caliari). 1528-1588. Venetian . 187 1187. The burning of Sodom. S. VI. 1188. Susanna and the Elders. S. VI. 1189. Esther before Ahasuerus. S. VI. 1190. The Holy Family. S. IV. 1191. The Holy Family. S. VI. 1191a. Jesus healing Peter's wife's mother. S. VI. 1192. The wedding feast of Cana. S. IV. 1193. The Repast at the house of Simon. S. IV. 1194. The Saviour succumbing under the weight of the cross. S. VI. 1195. Calvary. S. VI. 1196. Pilgrims of Emmaus. S. VI. 1197. St. j\Iark crowning the Theological Virtues. S. VI. 1198. Jupiter hurling a thunderbolt at Crime. S. IV. 1199. Portrait of a young woman and child. S. VI. Attriblted to Veronese .198 1200. Christ holding the globe of the world. S. I. School of Veronese 198 1201. Portrait of a young woman. S. VI. Campi (Bernardino). 1522-1592. Of Cremona . . 200 1202. Mater Dolorosa. S. VI. Canaletto (Antonio Canale). 1697-1768. Venetian 235 1203. View of the church of the Madonna della Salute. S. VI. 278 TAIXTINGS OF THE LOUVRE PAOE Cantarim (Simone), called II Pesarese. 1612-1G48. Bolognese 220 1207. The Holy Family. S. IX. 120S. The Holy Family. S. IX. CARni (LiDOVico), called CiGOLi. 1.").39-1()1.'5. Florentine 2;50 1209. Flight into Egypt. S. IX. Cahpaccio (Vittore). (?)-1.518(?). Venetian . 7.5 1211. The preaching of St. Stephen at Jerusalem. S. VI. CARRArn (Axxirai.k). 1.300-1 (iOi). Bolognese . . . 209 1217. The Virgin of the cherries. S. \l. 1218. The sleeping Infant Jesus, or the Silence of Car- racci. S. IX. 1219. The Virgin appearing to St. Luke and St. Cath- erine. S. IV. 1221. The dead Christ on the knees of the Virgin. S. IV. 1222. The Entombment. S. IX. 12;52. The fishing. S. VI. 1233. The hunt. S. VI. C.\RRACCi (AxTOXio, nephew of Annibale). 1.583-1018. Bolognese 212 12.35. The Deluge. S. VI. C.A.RRUCCI (Jacopo), called II Poxtormo. 1493-1.5.57. Florentine 1.54 1240. The Holy Family. S. VI. 1241. Portrait of an engraver of precious stones. S. VI. School of Carrxcci 155 1242. "The Visitation." S. IV. Castelli (Vai.erio). 1025-1059. Genoese. . . . 232 1249. The smiting of the rock by Moses. S. I. INDEX OF PAINTINGS 279 PAGE Castiglione (Giovanni Benedetto). 1G16-1670. Gen- oese 232 1250. Melchisedec and Abraham. S. IX. 1251. Expulsion of the Money-C hangers from the Temple. S. IX. 1252. Animals and utensils. S. IX. Catena (Vincenzo di Biggio). 1475-1531. Venetian. 1252a. Portrait of a man. S. VI. Cerquozzi (Michelangelo). 1602-l(!(i(». Roman . . 228 1254. Fruit on a table. S. I. 1255. Fruit on a table. S. I. Cesari (GirsEPPE). 1560-1G40. Neapolitan ... 209 1257. Diana and Acta^on. S. IX. CiMA DA CONEGLIANO (GlOVANXI BaTI ISTa) . ( ?)- 1517(.='). Venetian 76 1259. The Virgin and Infant Jesus. S. VI. CiMABUE (Giovanni). 1240-1302( ?). Florentine . . 3 1260. The Virgin and Child. S. VII. Costa (Lorenzo). 1460-1535. Of Ferrara .... 89 1261. The court of Isabella of Este. S. VI. Credi (Lorenzo di). 1459-1537. Florentine ... 39 1263. The Virgin and Child with St. Julian and St. Nicholas. S. VII. 1264. Noli me tangere. S. VI. Crespi (Giuseppe ]VL\ria). 1665-1747. Bolognese . 220 1266. A school. S. IX. Crivelli (Carlo). 1430-1493. Venetian .... 69 1268. St. Bernard. S. VI. DoNDUcci (Giovanni Andrea). 1575-1655. Bolognese 220 1271. Christ and the Virgin appearing to St. Francis. S. IX. 280 TAINTINGS OF THE LOUVRE PAGE UccELLO (Paoix) di Dono). 1397-1475. Florentine 26 127'-2. Portraits of Giotto, Uccello, Donatello, Brunel- leschi and Manetti. S. VII. 1273. A battle. S. VII. Atthibuted to Uccello 269 127i. St. John the Baptist. S. VI. Fabuiano (Gentile da). 137()(?)-14o0. Of Fabriano 135 1278. The presentation in the Temple. S. VII. 127!). Pandolfo Malatesta praying to the Virgin. S. VII. School of Fabriano 57 1280. The eircuinoision. The marriage of the Virgin. The presentation of the Virgin in the Temple. S. VII. 1281. The flight into Egypt. The visitation. The presentation of the Virgin in the Temple. S. VII. 1282. The angel appearing to St. Joachim. Christ disputing with the Elders. The birth of the Virgin. S. VII. 1283. The nativity. St. Joseph and the High Priest. The circumcision. S. VII. Pictures in three parts. Fasoli, called Lorenzo di Pavia. (?)-1520(?). Lombard 86 1284. The family of the Holy Virgin. S. VI. Ferrari (Gaudenzio). 1471(.')-1546. Milanese . , 121 1285. St. Paul. S. VI. Feti (Domenico). 1589-1624. Roman . . . . .228 1286. Nero. S. VI. 1287. Life in the country. S. IX. 1288. Melancholy. S. VI. 1289. The guardian angel. S. VI. INDEX OF PAINTINGS 281 PAGE Angelico (Fra), Giovanni da Fiesole. 1387-1455. Sienese 20 1^290. The Coronation of the Virgin. S. VII. 1291. The beheading of St. John the Baptist. S. VII. 1293. The martyrdom of St. Cosmo and St. Damian. S. VII. 1294a. The resurrection. S. VII. Botticelli (Sandro Filipepi). 144G-1510. Florentine 40 1295. The Virgin writing the Magnificat. S. VII. 129G. The Virgin, the Infant Jesus and St. John. S. VII. 1297. Giovanna Albizzi and the Three Graces. Frescos from the Villa Lemmi near Florence. Escalier Daru. School of Botticelli 44 1298. Lorenzo Tornabuoni and the Liberal Arts. Es- calier Daru. 1299. The reposing Venus. S. VII. 1300. A fragment of a predella. S. VII. 1300a. The Virgin and Child. S. VII. Francesca (Piero della). 1423-1492. Umbro-Floren- tine 36 1300b. The Virgin and Child. S. VII. Gaddi (Agnolo m Taddeo). 1343-1396. Florentine . 11 1301. The annunciation. S. VII. Gaddi (Taddeo). 1300-1366(.5). Florentine ... 10 1302. The banquet of Herod. The crucifixion. The Martyrdom of a Saint. A predella. S. VII. Garbo (Raffaellino del). 1466-1524. Florentine . 145 1303. The coronation of the Virgin. S. VI. 282 PAINTINGS OF THE LOUVRE PAGE Giordano (Luca). 1632-1705. Neapolitan .... 229 1;H)5. Mars and Venus. S. IX. 1. '{()(). The (lance of the cupids. S. I. i;{()7. The hunting Diana. S. I. i;i08. The marriage of the Virgin. S. I. i;{0!). The adoration of the .she})herds. S. I. l.'HO. Tarquin and Lucretia. S. I. 1311. The death of Seneca. S. I. Giotto di Bondone. 1 270-1 3.'57. Florentine ... 6 1312. St. Francis of Assisi receiving the stigmata. S. VII. School of Giotto 9 1313. The funeral of St. Bernard. S. VII. 13U. The Virgin and Child and Saints. S. VII. 131.5. The Virgin and Child. S. MI. 131(). The Virgin and Child. S. VII. 1317. The birth of St. John the Baptist. S. VII. LiuHi (GiROLAMO DAi). 1474-1550. Of Verona . . 84 1318. The Mrgin and Child. S. VI. GozzoLi (Benozzo) di Lese di Sandro. 1424-after 1490. Florentine . 32 1319. The triumph of St. Thomas Aquinas. S. VII. Attributed to Gozzoli 32 1320. The Virgin surrounded by Saints. Predella and side pictures. S. VII. Ghirlandajo (Domenico Grillandajo). 1449-1494. Florentine 45 1321. The visitation. S. VII. 1322. Portrait of an old man and child. S. VII. Ghirlandajo (Benedetto Grillandajo). 1458-1497. Florentine . 49 1323. Christ on the way to Calvary. S. VII. INDEX OF PAINTINGS 283 PAGE Grillandajo (Ridolfo). 1483-1561. Florentine . . 156 1324. The coronation of the Virgin. S. VI. Grimaldi (Giov.vxni Fraxcesco) called II Bolognese. 1606-1680. Bolognese 220 1327. The washerwomen. S. IX. GuARDi (Francesco). 1712-1793. Venetian ... 236 1328. Embarking of the Doge on the Bucentaur. s. ^^. 1329. Church of Santa Maria della Salute at Venice. S. VI. 1330. A feast day on the Piazzetta. S. VI. 1331. The feast day of Corpus Christi. S. VI. 1332. Procession of the Doge to the Church of St. Zacharias. S. VI. 1333. Hall of the college at the Ducal Palace in Venice. S. VI. 1334. The coronation of the Doge of Venice. S. VI. 1335. View of the Church della Salute. S. I. Laxfraxco (Giovaxxi). 1581-1647. Lombard. 1336. Hagar in the desert. S. IX. Lauri (Filippo). 1623-1694. Roman. 1340. Ecstasy of St. Francis of Assisi. S. IX. LiPPi (Fra Filippo). 1406P-1469. Florentine ... 27 1343. The nativity. S. VII. 1344. The Virgin and Infant Jesus. S. YU. ... 184 Lorexzo Moxaco (Dox) di Giovaxxi. 1370-1 425(?). Florentine 19 1348. Picture in three parts. S. VII. 1348a. The Prayer in the Garden of Olives. Picture in two parts. S. VII. iiSl rAINTINGS OF THE LOl VUK PAGE LoiTO (LoHENZo). 1180(?)-1555. Venetian ... 158 l.Tl!). Christ and the woman taken in adultery. S. VI. l;{.">(). St. Jerome in the desert. S. VI. l3o\. The Holy Family. S. VI. LuciA.NO, called SEn.vsTiANO del Piombo. llH.j-l.'iiT 1 l.'J 1.S52. The visitation. S. VI. LuiNi (BEKVARniNo). 1475( .>)-15'5.'J( .>). Milanese . . Ill 1:5.5:5. The Holy Family. S. VI. i:5.54. The .sleeping Infant Jesus. S. IV. I'.ioo. Salome receiving the head of John the Haptist. S. VI. i:5.5fi. The forge of Vulcan. S. VI. l:5."»7. Child seated under a trellis. S. V. 1358. Child on his knees under a trellis. S. V. l.'}5{). The nativity. S. V. i:5(i(). The adoration of the Magi. S. V. l;5()l. Christ in the act of giving His blessing. S. V. i:5()2. Head of a young girl personifying silence. S. VI. . School of Liini . . . 11(> i;5():5. The annunciation. S. V. i:5()l. A dead Christ surrounded with instruments of the Passion. S. V. i:5(i5. Curius Dentatus refusing the gifts of the Sam- nites. S. V. Mainardi (Bastl\no). 1470-1513(?). Florentine . . 49 1367. The Virgin and Child. S. VII. Attributed to Mainardi 49 13G7A. The Virgin and Infant Jesus. S. VII. Manfredi (Bartolommeo). 1580-1617. Lombard . 227 1368. A woman fortune-teller. S. VI. INDEX OF PAINTINGS 285 I'AGK Manni (Giannicola in Paolo). (?)-1544. Of Perugia 67 13G9. The baptism of Christ. S. VI. 1370. The assumption. S. VI. 1371. The adoration of the Magi. S. VII. 137'2. The Virgin in glory. S. VI. Mantegna (Andrea). 1431-IjOG. Of Mantua. . . 77 1373. Calvary. S. VI. 1371. The Virgin of the victory. S. VI. 1375. Parnassus. S. VI. 1376. The victory of Virtue over Vice. S. VI. Maratta (Carlo). 16'-25-1713. Roman 2'-20 1379. Mary Magdalene Rospigliosi. S. IX. 1380. Portrait of himself. S. XV. Marchesi (Girolamo da Cotignola). 1480(?)-1550. Bolognese 96 1381. Christ carrving the cross. S. IX. Oggioxo (Marco da). 1470-1530. Milanese . . . 110 1382. The Holy Family. S. VI. 1382a. The Virgin and Child. S. VI. Memmi (Simone di Martini). 128.3-1.344. Sienese . 14 1383. The march to Calvary. S. VII. Massone (Giovanni). End of XV Century. Piedmon- tese 96 1384. The Nativity, with Pope Sixtus and Cardinal Giuliano della Rovera. An altar screen in three parts. S. VI. ]VL\zzoL.\ (Francesco), called II Parmigianino. 1504- 1540. Of Parma 206 1385. The Holy Family. S. IX. 1386. The Holy Family with saints. S. IX. 286 TAIXTINGS OK THK LOUVRE PACE Mazzolini (Litdovico). 1480-1528(?). OfForrara. 1388. Christ prcachiiipj to the iimllitude. S. \l. MONTAGXA (BaRTOLOMMEo). ( ?)-1.52.'5( ?) Of Vicenza 8'5 l.'l!)3. Ecce Homo. S. VI. l.'$!)l. Three young musicians. S. VI. Moroni (Giovanni B.\ttista). 1.V2.5-1.578. Of Brescia 200 \3d5. Portrait of an old man. S. \'I. MuziANO (GiHOLA.M!)'-2. Roman. l.'JOG. Christ and St. Thomas. S. VI. Neri ni Bicci. 1419-1491. Fh^rentine 24 l.'i97. The Virgin and Chihi. S. MI. Palma Vecchio (J.\copo). 14S0-1528. Venetian . . 160 1399. The annunciation to the shepherds. S. VI. Palmeggiani or Palmezzaxo (Marco). 14.36-after ].yA7. Umbro-Florentine .50 1400. The dead Christ. S. VII. Panetti (Domexico). (?)-l.>12. Of Ferrara . . 91 1401. The nativity. S. IX. Panini (Giovanni Paolo). 1091-1704. Roman . . 2.33 1403. A feast. S. IX. 1404. A concert. S. IX. 1408. The interior of St. Peter's at Rome. S. VI. 1409. A concert in Rome. S. VI. 1411. Antique ruins. S. I. 1412. Ruins. S. I. Pellegrini (Antonio). 1675-1741. Venetian . . . 235 1413. Allegory. S. VI. INDEX OF PAINTINGS 287 PAGE Pesellino (Francesco Pesello di Stefano). 1422- 1457. Florentine 31 1414. The stigmatisation of St. Francis. A picture in two parts. S. VII. 1415. The dead Christ. A picture in three parts. S. VII. CosiMO (PiERO Di). 1402-1521 (.^). Florentine ... 145 141(>. The coronation of the Virgin. S. VI. 141(>A. The triumph of Venus. S. VI. 1416b. The wedding of Thetis and Peleus. S. VI. PiNTURiccHio (Bernardino DI Betti di Biagio). 1454- irAii. Of Perugia (>4 1417. The Virgin and Child, St. Gregory and another saint. S. VI. Romano (Giulio Pippi). 1492-154(5. Boman . . . 140 1418. The nativity. S. VI. 1420. The triumph of Titus and Vespasian. S. VI. 1421. Venus and Vulcan. S. IX. 1422. The portrait of a man. S. VI. PiSANELLo(ViTroREPisANo). 1380( ?)-1451 . Of Vcroua. 53 1422a. The portrait of a Princess of Este. Salle VII. Bassano (Jacopo da Ponte). 1510-1592. Venetian. 186 1423. The entrance of the animals into the ark. S. VI. 1424. The smiting of the Rock. S. VI. 1425. The wedding of Cana. S. VI. 1426. The carrying of the cross. S. VI. 1427. The descent from the cross. S. IV. 1428. The grape gathering. S. VI. 1429. The portrait of the sculptor, John of Bologna. S. VI. 288 PAINTINGS OF THE LOUVRE I'AGK Hassaxo (Lkanduo da Ponte). 1558-1(!2.'?. Venetian. 187 1 l.'U). The adoration of the Magi. S. I. 1431. Rural labour. S. I. Phimaticcio. 1490-1."»70. Bolognese. U.'W. A concert. S. XI. FitANCiA(FRANCE.sco Raibolim). 14.50-1.>17. Bolognese. 91 1435. 'I^hc nativity. S. VI. 1436. Christ on the cross. S. VI. School of Fuancia 9t 1436a. The Virgin and Child surrounded hy saints. S. VII. 1437. The Virgin and Child with a hermit. S. VI. Bagnacavallo (Bautolommeo Ramenghi). 1 484-1. Vl-i. Of Ferrara. 1438. The circumcision. S. VI. Rem (Guido). 1.57o-164^2. Bolognese 213 1439. David with the head of Goliath. S. VI. 1447. Ecce Homo. S. IX. 1448. The penitent Mary Magdalene. S. IX. 1450. St. Sebastian. S. VI. 1453. Hercules on the funeral pile. S. IV. 1454. Rape of Dejanira by the centaur Xessus. S. IV. 1455. Hercules and Achelaus. S. IV. 1457. Hercules and the serpent. S. IV. RicciorRizzi (Sebastiano). 1660-1734. Venetian . 235 1458. Allegory. S. \T. 1459. Christ giving the keys to St. Peter. S. VI. 1460. Polyxena sacrificing to the shades of Achilles. S. IX. 1461. The continence of Scipio. S. IX. INDEX OF PAINTINGS 289 PAGE VoLTERRA (Daniele da). 1509-156G. Roman . . . 143 1462. David and Goliath. Painted on a marble tablet. S. VI. Tintoretto (Jacopo Robisti). 1519-1594. Venetian 180 1464. Susanna after the bath. S. IV. 1464a. The dead Christ with two angels. S. VI. 1465. Paradise. S. VI. 1466. Portrait of himself. S. XV. 1467. Portrait of a man with a handkerchief. S. VI. 1468. Susanna in the bath. S. I. 1469. The Virgin and Child between St. Francis and St. Sebastian. S. I. 1470. Portrait of Pietro Mocenigo. S. I. 1471. Portrait of a Venetian senator. S. I. 1472. Portrait of a man. S. I. RoMANELLi (Giovanni Francesco). 1610-1662. Floren- tine 231 1476. Venus and Adonis. S. I. Rosa (Salvator). 1615-167.S. Neapolitan .... 227 1477. The angel and Tobias. S. IX. 1478. The a])parition of Samuel's Ghost to Saul. S. VI. 1479. A battle. S. VI. 1480. A landscape. S. VI. RosELLi (CosiMo) Di LoRKxzo FiLipPO. Attributed by Mahler to Verrocchio. 14,39-1507. Florentine. 38 1482. The Virgin in glory. S. VII. RosELLi (Matteo). 1578-1650. Florentine .... 230 1483. The triumph of David. S. IX. Rosso (Giovanni Battista). 1496( ?)-1541. Florentine. 1485. Pieta. S. XI. 1486. The challenge of the Pierides. S. IX. 2!)() PAINTINGS OF TIIK LOUVHK yxc.K SacCMI (I'lKHO FUANCESCO) 1)1 P.W I.V. AflcF 1.V27. LolU- hani 88 118S. Four fathers of tin- Church. S. VI. Sassoferuato (Giovanni Haitista Salvi). 1 (50.5-1685. Iloman (?) 221 1493. The Holy Fainik. (Copy of Raphael.) S. IX. 149.3. The annunciation. (Copy of le Broche.) S. VI. llAi'iiAKL Sanzio. U8:5-1.V>(». lloiuau 122 1490. La Belle Jardiniere. S. IV. 1497. The Virgin of the blue diadem. S. VI. 1498. The Holy Family of Francis I. S. IV. 1499. The little Holy Family. S. VI. 1000. St. John the Baptist in the desert. S. VI. 1001. St. Margaret. S. VI. l')0-l. St. Michael and the dragon. S. VI. 1.")0.'5. St. George and the dragon. S. VI. l.)04. St. ^Michael overthrowing Satan. S. IV. 1.50,5. Portrait of Baltliazar Castiglione. S. IV. 1.50(5. Portrait of a young man. S. VI. 1507. Portrait of Jeanne of Aragon. S. VI. 1508. Portrait of two men. S. VI. Attributed to Raphael 126 1509. Apollo and Marsyas. S. VI. 1509a. Head of St. Elizabeth. S. VI. School of Raphael • 1^7 1510. Abundance. S. VI. 1511. St. Catherine of Alexandria. S. VI. 1512. The Magliana. A fresco. S. VII. Copy of Raphael 1^^ 1513a. The vision of Ezekiel. S. VI. 1513b. The Madonna and Child. S. VI. \ INDEX OF PAINTINGS 291 PAGE Sarto (Axdkea del). 1480-1531. Florentine . . . 153 15 U. Charity. S. VI. 1515. The Holy Family. S. VI. 1516. The Holv Family. S. VI. 1516a. Portrait of the advocate Fausti. S. VT. 1517. The Annunciation. S. VI. Savoldo (Giovanni GiKOL.oio). -(?)-after 1548. Of Brescia 200 1518. Portrait of Gaston of Foix. S. VI. 1519. Portrait of a man. S. VI. ScHiAVONE (Gregorio). 1440-147(). Venetian ... 86 1523. The Virgin and Child. Attributed to him. S. VI. ScHiAVONE (Andrea Meldola). 1522-1582. Venetian. 1524. St. John the Baptist. S. VI. SiGNORELLi (Luca). 1441-1523. Florentine .... 51 1525. The birth of the Virgin. S. VII. 1526. The adoration of the Magi. S. VI. 1527. Fragments of a composition called "Seven per- sons standing." S. VII. 1528. The Virgin and Child. S. VII. SoLARio (Andrea). 1460( ?)-1530( ?). Milanese . . 112 1530. The Virgin of the green cushion. S. VI. 1531. Portrait of Charles of Amboise. S. VI. 1532. The crucifixion. S. VI. 1533. The head of St. John the Baptist on a charger. S. VI. Spada (Lionello). 1576-1622. Bolognese .... 220 1537. -Eneas and Anchises. Palier Henri II, I*^' etage. 1538. The concert. S. R^ 2f)2 I'AINIINdS OF TlIK LOUVUE PAiiK SrACJNA (CiiovAwi Di Piirruo). ( ?)-l.'5S0( ?). Of I'lTii^ia (Hi \:>W. Tlic \ir^'iii aii.l Cliil.l. S. \"I. Stki'hano Venkziano. Fourteenth ("entiiry. 1541. The Vir<,'iii and Clnl.l. S. VII. Bramantino (Bautolommeo Si audi). (?)-15.'?0. Loinbanl H(i 1545. The circumcision. S. VI. TiEPOLO (Giambattista). 1096-1770. Venetian . . 2.'}7 1547. The la.st supper. S. W. 1548. The Holy \ irfjjin appeariiifi; to St. Jerome. S. I. 154!). A banner, on one side of which are the Virn;in and Child with St. John, and. on the other, St. INIartin saying mass. S. VI. Ko miiiiiier. Sketch for a ceiling. S. VI. Tisi (Benvenuto) called II Garoialo. 1481-1550. Of Ferrara '201 1553. The sleeping Infant Jesus. S. IX. Trevisani (Francesco). 1050-1740. Venetian . . . 2.35 1555. The sleeping Infant Jesus. S. VI. TuRA (Cosmo), called II Cosme. 1432-1495. Of Fer- rara 87 1556. Pieta. S. VI. 1557. Portrait of a .saint. S. VI. TuRCHi (Ale.ssandro), called II Orbetto. 1582-1648. Venetian 234 1558. Sam.son and Delilah. S. VI. 1559. The atlulterous woman. S. IX. 1500. The death of Cleopatra. S. IX. Vaxni (Francf^sco). End of XIV Century. Sienese. 1502. The martyrdom of St. Irene. S. IX. INDEX OF PAINTINGS 293 PAGE Vanni (Turing). End of XlVth Century. Sienese . . 16 lo(J3. The Virgin and Child. S. VII. 'O Perugixo (PiETRO Vaxxucci). 144G-15;24. Of Terugia oS loGi. The Virgin and Child. S. VI. 1J6.3. The Holy Family. S. VI. 1566. St. Paul. S. VII. 1o66a. St. Sebastian. S. VI. 15G7. The Combat between Love and Chastity. S. VI. School of Perugixo 64 1J68. The dead Christ. S. VI. lo6!). The stigmatisation of St. Francis of Assisi. S. VI. Io70. St. Jerome in the desert. S. VI. 1j71. .Judgment of Solomon. S. VI. 1.57-2. Judgment of Daniel. S. ^ I. 1.j7;5. The Virgin and Child. S. VI. 1j73a. The Mrgin and Child. S. VII. Varotari (Alkssaxdro), called II Padovaxixo. l.rM- 16.50. Venetian 235 1574. Venus and Cupid. S. VI. Vecchia (Pietro della). 1605-1678. Venetian. 1576. Portrait of a man. S. VI. Titian (Tiziaxo Vecelli). 1477-1576. Venetian . . 164 1577. The Virgin and Child, adored by saints. S. VI. 1575. The Virgin of the rabbit. S. VI. 1579. The Holy Family. S. VI. 1580. The Holy Family, or The repast during the flight. S. VI. 1581. The Pilgrims of Emmaus. S. VI. 1582. Christ on the way to Calvary. S. VI. 1583. Christ crowned with thorns. S. IV. 1584. The entombment. S. IV. 294. PAINTINGS OF THE LOUVRE I'ACiE Titian (Continued). 1585. St. Jerome. S. IV. l.>S(i. The coiuu-il of Trent. S. VI. 1.5S7. Jupiter and Antiope. S. VI. 1.5SS. Portrait of Franeis I. S. IV.' I.jS!). Alle<;jorv in honour of Alphonse of Avalos. S. VI. ].■>!)(). Alphonso of Ferrara and Laura Diaiili. S. IV. I.jOL The man with a hand on his hip. S. VI. 1.5!)'2. Tlie man wifli a glove. S. IV. 1.31).'5. Portrait of a man. S. VI. School of Titian. 1.5!)(». The Holy Family. S.I. LlONAUDO DA ViNfT. li.5'-2-l.')l!). Florentine ... 98 1597. St. John the Baptist. S. VI. 1598. The ^'irgin, the Infant Jesus and St. Anne. S. IV. 1599. The Virgin of the rocks. S. \\. IGOO. La belle Ferroimiere, now considered a portrait of Lucrezia Crivelli. S. VI. KiOl. La Joconda, a portrait of Monua Li.sa. S. 1\'. laO'-l. Bacchus. S. VI. Attributed to Lioxardo 99 160'-2a. The annunciation. S. VI. 1603. A copy by Oggiono of Lionardo's "Last Sup- per," in ^Nlilan. S. VI. 1G03a. The Virgin and Infant Jesus. A Flemish copy of a picture by an imitator of Lionardo. S. VI. School of Lionardo 108 1604. The Virgin of the scales, now known to be by Cesare da Sesto. 1481-15^21. S. VI. 1605. Portrait of a woman. S. VI. 1606. The Holy Family. S. VI. INDEX OF PAINTINGS 295 PAGE ViVARiNi (Bartolommeo). (?)-1500(?). Venetian 69 1()07. St. John of Capistran. S. VI. Zacchia, Paolo, called II Vecchio. Commencement of XVIth Century. Florentine 156 1608. Portrait of a musician. S. VI. DoMiNiCHiNO (Zampieri Domenico). 1581-1641. Bolo- gnese 216 1618. St. Cecilia. S. VI. 1614. Combat of Hercules and Achelaus. Escalier Henri IV, 1*^'" etage. 1619. Landscape. Escalier de la Direction. UNKNOWN MASTERS OF THE ITALIAN SCHOOL Fourteenth Century. 1620. The Virgin and Child. S. VII. 1621. The Virgin surrounded by angels and saints. S. VII. 1622. The crucifixion. S. VII. 1623. The coronation of the Virgin. S. ^TI. End of Fourteenth Century 1624. St. Jerome. S. VII. 1625. St. Peter and St. Paul. S. VII. Fifteenth Century. 1628. Vittorino di Feltre. S. VII. 1629. Pietro Apponio. Salles des Dessins. 1630. Dante. S. VII. 1631. St. Jerome. S. VI. 1632. St. Augustine. S. VII. 1633. St. Thomas Aquinas. S. VII. 296 rAINTINGS Ol' THK LOIVKE I'AGK FiprEEXTH Century (Continued). Um. Virgil. S. VII. 1G;Jj. Solon. Sallcs dos Dessins. ir»S7. Plato. Sallcs des l)f.s.sins. 1(!;}S. Aristotle. Sallcs des Dessins. UitVJ. Ptolemy. S. VII. 1(540. St. Louis, Bishop of Toulouse. S. VII. 1«4()A. The rape of Europa. S. VI. Commencement of Sixteenth Centiuy 13t 1641. Christ carrying the cross. S. IX. 1643. The Virgin and Child. S. VII. 164:5a. Esther before Ahasuerus. S. VII . . . . 89 1644. Portrait of a young man. Now attributed to Francia Bigio. S. IV l-J^' 1645. Portrait of a man in arms. S. VI. 1649. Portrait of Michael Angelo. S. XV. 1651a. Portrait of Fausti (physician of the Medi<-i family). S. VI 154 Seventeenth Century. 1654. Fruits and flowers. S. I. Florentine School of the Fourteenth Century. 1655. Crucifix. Form of the cross. S. VII. Florentine School of the Fifteenth Century. 1656. The annunciation. S. VII. 1656a. Adoration of the Magi. S. VII. 1657. The Virgin and Child. S. VII. No number. The Virgin and Child. (A fresco.) S. ^^I. 1658. St. Jerome. S. VII. 1659. Miracle of St. Nicholas of Bari. S. VII. 1659a. The entrance of Pope Martin V into the castle of St. Angelo. S. VII 25 INDEX OF PAINTINGS PAGE Florentine School of the Fifteenth Century (Con.). 1G60. The birth of the Virgin. S. VII. 1()()1. The Virgin, Infant Jesus, and four saints. S. VII. 16(nA. The Virgin and Infant Jesus. S. VII ... 31 IGG^A. Scenes in the history of Virginia. S. VII. 16(53. Portrait of a man. S. VII 44 1663a. Portrait of a man. S. VII. SiENESE School of the Fourteenth Centitry . . 13 1664. The mystic marriage of St. Catherine. S. VII. 1665. The crucifixion. S. VII. 1665a. The crucifixion. S. VII. 1666. The Virgin and Child. S. VII. 1667. The Virgin and ChiUL The nativity. The cru- cifixion. A trvpticli. S. VII. Bologne.se School at End of Fij^eenth Century. 1668. The judgment of Paris. S. MI. Umbrian School, about 1500. 1668a. St. Sebastian. S. VI. Venetian School of the Sixteenth Century. 1670. Portrait of a young woman. 1672. Portrait of a man. S. VI. 1673. Portrait of a woman. S. VI. 1674. Portrait of a man. S. I. 1674a. Herodias. S. VI. 1674b. Portrait of a woman. S. \I. 1674d. Holy Family and saints. S. VI. 1674e. The Virgin in glory. S. VI. Milanese School of the Sixteenth Century. 1675. A nude woman. S. I. Q9H r.\IN"II\GS OK THK LOUVUK I'AOE NoHTii OF Italy School. 167(!. 'I'he amuHU'iation. St. Benedict and St. Augus- tine. St. Stephen, a deaeon, and St. Angelo, a eannclitc. An altar screen. S. VI. 1G7U.V. The Virgin and Child adored by angels. S. VI 69 School ok Signohklli o'-2 1C77. Four j)ersons before a j)ortic(). School of Fehhaka at Commionckmknt of Sixteknth Century SI) 1677a. St. Apollonia. S. VI. 1677b. St. Michael. S. VI. SPANISH SCHOOL Arellano (Juan de). lGU-1676. Of Madrid ... 265 1701. Flowers. S. VI. Carreno de Miranda (Juan). 1614-1685. Of Madrid '■255 1702. St. Ambrose distributing alms. S. I. Collantes (Francisco). 1599-1656. Of Madrid . . 265 1703. The burning bush. S. VI. Goya yLucientes (Francisco). 1746-1828. Of Madrid 266 1704. F. Guillemardet, Ambassador of the French Re- public to Spain in 1798. S. VI. 1704a. a young Spanish woman. S. VI. 1705. A young Spanish woman. S. VI. 1705a. Portrait of Don Evaristo Perez de Castro. S. VI. Herrera (Francisco de), called el Viejo. 1576-1656. Of Seville 241 1706. St. Basil dictating his doctrine. S. VI. INDEX OF PAINTINGS 299 PAGE Morales (Luis), called el Divino. 1j09-1o86. Of Toledo 239 1707. Christ carrying his cross. S. VI. MuRiLLO (Bartolome Esteban). 1G17-1682. Of Se- ville 255 1708. The immaculate conception. S. VI. 1709. The immaculate conception. S. VI. 1710. The birth of the Virgin. S. VI. 1711. The Virgin in glory. S. VI. 1712. The Virgin of the rosary. S. VI. 171:5. The Holy Family. S. VI. 1714. Christ in the Garden of Olives. S. VI. 171.5. Christ bound to the pillar, and St. Peter. S. VI. 1710. The miracle of St. Diego, or " The kitchen of the angels." S. VI. 1717. A little beggar boy. S. VI. 1718. Portrait of the poet Quevedo. S. I. 1719. Portrait of the Duke of Ossuna. S. I. Pereda (Antonio). 1599-1669. Of Madrid ... 265 1720. Fruits and musical instruments. S. I. Ribera (Jose de), called el Espagnoletto. 1588-1656. Of Valencia and Naples 243 1721. Adoration of the Shepherds. S. VI. 1722. The entombment. S. VI. 1723. St. Paul as a hermit. S. VI. 1724. The Virgin and Child. S. I. 1725. The club foot. S. I. Attributed to Ribera , . . . 245 1725a. The entombment. S. VI. 1726. A philosopher. S. I. 1727. A philosopher. S. I. 1728. A philosopher. S. I. 1729. A philosopher. S. I. 300 TAINTINGS OF THK LOUVRE VACE Gheco (el). Theotocopuli (Domenico). 1.548-1G':2.3, Of Toledo 239 IV^Da. St. Francis and a novice. S. VI. No iiiiiiilier. Portrait of King Kerdinaiul of Aragon. S. VI. TinsTAN (Li'is). I.WG-IOK). Of Toledo .... 240 17.'}(). St. Francis of Assisi. S. VI. Velasquez (Don Diego Rodriguez de Silva). l."»!)i)- 1(>()0. Of Seville 248 17;?1. Portrait of tlie Infanta Margarita Maria. S. IV. 17;52. Portrait of Philip IV in shooting costnnie. S. VI. 1733. Portrait of Philip IV. S. I. 1734. Assembly of artists with Velascjuez and ^Nlurillo on the left. S. VI. 1735. Portrait of the Infanta Dona ^Nlaria Theresa (afterwards Queen of France). S. I. " 173(i. Portrait of a young woman. S. I. 1737. Portrait of Don Petlro Moscoso de Altannra. S. VI. Zurbaran (Francisco). 1598-1()()2. Of Seville . . 242 1738. St. Peter Nolasco before St. Raymond of Pena- fort. S. VI. 1739. Funeral of a bishop. S. VI. 1740. St. Apollonia. S. VI. Spanish School of the Seventeenth Cextuuv. 1741. View of the Palace of the Escurial. S. \ I. 1742. Head of Christ on the cross. S. VI. Nomiiiiber. Portrait of a man. * It has been discovered recently that No. 1735 is not a portrait of Dona Maria Theresa, but of Queen Maria Anna. INDEX OF ARTISTS pacp: PAGE PAGE PAGE TEXT INDEX TEXT INDEX AUiaiii . . . . 21() 273 Cantarini . . . 22() 278 Albertiiu-Ui . 1,50 273 Caravaggio . 222 273 Alunno . . . . 57 273 Cardi 230 278 Angeli, Filippo 273 Carpaccio 75 278 Angel i, Giuseppe . 273 Carracci, Annil); de. 209 278 Angelico (Fra) . ^0 281 Carracci, Antoni o . 212 278 Anselnii 274 Carreno . 255 298 Aiisuino 274 Carrucei 154 278 Arellano 26,5 298 Castelli . . 232 278 Bagiiacavallo 274 Castiglione . 232 279 Barocci . . . . 206 274 Catena . 73 279 Bartolo . . . . 18 275 Cerquozzi 228 279 Bartolommeo (Fra) 147 275 Cesari 209 279 Bassano, Jacopo 186 287 Cinia 76 279 Bassano, Leandro . 187 288 Ciniabue 3 279 Bellini. Gentile 7-2 275 CoUantes 265 298 Bellini, Giovanni 73 275 Correggio 201 273 Berrettini . 231 275 Cosiino . 145 287 Bianchi . 201 275 Costa 89 279 Boccaecino . 20!) 275 Cretli 39 279 Boltraffio . . Ill 276 Crespi 220 279 Bonifazio II . 179 276 Crivelli . 69 279 Bonoiii, Bartolom- Dominichino 216 295 meo 86 276 Donducci 220 279 Bonvincino . 2(X) 276 Fabriano 55 280 Bordone, Paris . 177 276 Fasoli 86 280 Borgognone 8o 276 Ferrari . . 121 280 Botticelli . . . -40 281 Feti . . . 228 280 Bramantino . 86 292 Francesca . 36 281 Bronzino . 156 277 Francia . . 91 288 Calcar . 177 277 Fredi 16 275 Campi . . 200 277 Gaddi, Agnolo 11 281 Canaletto . 235 277 Gaddi, Tad( leo 11 281 301 .'{()'2 PAINTINGS OF THE LOUVRE l-A 282 ( )ggioiio 110 2H5 Ghirlandajo, Kidol Palma Vecchio KiO 2S() fo ... 1.56 2H3 I'aiinc'Kijiani 50 286 (iionlano 009 2S2 Panetti . . . . 91 286 Giorfjione Kil 274 I'aiiiai 233 286 Giotto 6 282 Pellegrini 235 286 Goya ^2(56 298 Pereda . . . . 265 299 Gozzoli . 3^2 2H2 Perugiiio 58 293 Gret-o . •iSJt :HH) Peselliiio 31 287 Griinaldi 220 283 Pinturifchio 61. 287 Gautii ... 2.'«i 28.3 Pisanello 53 287 (iiiercliino . 219 274 Priniatricrio . 288 Ilerrcra . 241 298 Raphael 122 290 LanfraiKo . 283 Reni . . . 213 288 I.aiiri 283 Rihera 243 299 Lihri H4 282 liicci 235 288 Lionardo da ^'i^(• I !)S 294 Romano 140 287 Lippi 27 283 Romanelli 231 289 Liircnzo Monaco 19 283 Rosa 227 289 Lotto . . . 158 284 Roselli di Lorenzo 38 289 Luciano US 2S4 Roselli, Matteo 230 289 Luini lU 284 Rosso 289 Mainardi V.) 284 Sacchi 86 290 Manfredi 227 284 Sano 18 274 Manni . 67 285 Sarto 150 290 Mantcgiia . 77 285 Sassoferrato 221 290 Maratta 220 285 Savoldo . 200 291 iSIarchesi 96 285 Schiavone, Andrea 291 Massone 96 285 Schiavone, Gregoric » 88 291 Mazzola 206 2S5 Sesto . 108 294 Mazzolina . 286 Signorelli 51 291 Memmi . 14 2H5 Solano . 112 291 Messina 70 274 Spada . . 220 291 Montagna . m 2S6 Spagna . . 66 292 Morales . . 239 299 Tiepolo . . 237 292 INDEX TO ARTISTS 303 I'AOE I'AGE PAGE PAGE TEXT INDEX TEXT INDEX Tintoretto ISO 289 Varotari ... 235 293 Tisi .... 201 2<»2 Vecchia . 293 Titian . . . 1(J4 293 Velasquez 248 300 Trevisani 235 292 Veronese 187 277 Tristan . . . 240 300 Verrocchio 36 Tura . . . 87 '292 Vivarini . 69 295 Turchi . . . 2.^4 292 Volterra 143 289 Uccello . 26 280 Zacchia . . 156 295 Vanni, Francesco 292 Zurbaran 242 300 Vanni, Turino . 16 293 f' UNIVERSITY OF CALIFORNIA LIBRARY BERKELEY Return to desk from which borrowed. This book is DUE on the last date stamped below. 2lApr525F 18Nov'55'','^.|» APR 1 3 1962 LD 21-95m-ll.'50(2877sl6)476 VB 0944 U /7g. UNIVERSITY OF CALIFORNIA LIBRARY 9 T)w •i *