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 [KUGLEE'S HAND-BOOK OF PAINTING.] 
 
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 TRANSLATED. FEOM THE GEKMAN OF KUGLEE, BY A LADY. 
 
 EDITED. WITH NOTES, 
 
 BY Sm CHARLES L. EASTLAKE, P.R.A., P.R.S. 
 
 WITH UPWARDS OF ONE HUNDRED ILLUSTRATIONS, 
 
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 Art 
 Library 
 
 BookV. INTRODUCTION. |Yü 271 
 
 — _ 
 
 BOOK V. '^,1^ 
 
 PEEIOD OF HIGHEST DEVELOPMENT AKD DECLTXE. 
 
 MASTERS OF THE SIXTEENTH CENTURY. 
 
 INTRODUCTION. 
 
 All the elements which had existed apart from each other 
 and had composed distinct st^des in the periods hitherto con- 
 sidered, all the qualities which had been successively deve- 
 loped, each to the exclusion of the rest, but which in the 
 aggregate fulfilled the conditions of a consummate practice of 
 Art, were united about the beginning of the sixteenth century. 
 This union constituted a most rare and exalted state of human 
 culture — an era wlien the diviner energies of human nature 
 were manifested in all their purity. In the master-works of 
 this new period we find the most elevated subjects, represented 
 in the noblest form, with a depth of feeling never since 
 equalled. It was only for a short period that Art maintained 
 this high degree of perfection — scarcely more than one quarter 
 of a century ! But the great works then produced are eternal, 
 imperishable. They bear, indeed, the stamp of their own 
 age, but are created for all ages ; and as they were the pride 
 and admiration of the time when they were produced, so they 
 will awaken the enthusiasm of the latest posterity. For the 
 truly beautiful depends not on external or local circumstances ; 
 the Madonna di S. Sisto of Raphael, the Heroes of Phidias, 
 Leonardo's Last Supper, and Scopas's group of the Niobe 
 and her Children, belong not exclusively to Catholic Italy, nor 
 to heathen Greece. In all places, in all times, their power 
 must be felt, and must produce its impression on the heart of 
 the spectator. 
 
 At the first glance it seems surpi-ising that in this most 
 flourishing period of modern Art there should appear no single 
 
 94584ii
 
 272 MASTERS OF THE SIXTEENTH CEN'TURY. Book Y. 
 
 supreme representative, as a prouiiuent centre, to which all 
 the others tenil like the radii of a circle ; no highest consum- 
 mation which can be considered as the term — the keystone, as 
 it were, of this wondrous buildin;;. On the contrary, many 
 individuals, many works of Art of various kinds, all equally 
 estimable, are presented to our view. Even artists not espe- 
 cially gifted, have, in this favoured time, produced some 
 works of high perfection ; and although criticism may here 
 and there detect external deficiencies, the same spirit of divine 
 beauty breathes from them all ; they still afford a higher 
 gratification to the mind than the works of any other period, 
 either earlier or later. But such is the essence of beauty, it 
 is confined to no fixed canon, it pervades life in its whole 
 extent, and may still be conceived freely, and represented in 
 a freelj'^ created form, by the gifted artist, according to his 
 individual feeling. Its principle is that of the. sunbeam, which 
 though broken into various colours by the prism, is, in each 
 portion, equally saturated with light. 
 
 Thus, in the period we now approacli, we shall find several 
 prominent groups, each of which, in cultivating peculiar 
 qualities, produced the grandest works. We shall become 
 acquainted with the individual masters who foini the centres 
 of these groups, and whose characteristics hav« been impressed 
 more or less forcibly on their scholars and imitators. 
 
 The general course of history which is coincident with this 
 wonderful epoch of Art, would seem, at first sight, to wan-ant 
 no such high residts. The period was one totally unfavour- 
 able to the political interests of Italy. It was the time of the 
 Leagues, and of the shallowest experimental policy that ever 
 liad been known At that time foreign dominion estal)lished 
 itself once and for ever in the land. But the highest develop- 
 ment of art is not immediately dependent on the position of 
 the State. Besides the conquerors and the politicians, who at 
 that time disordered all its spiings, Italy fortunately possessed 
 princes like Pope Julius II., and magistrates like Pietro 
 Soderini, who were keenly alive to those real and lasting- 
 benefits which a country derives from Art. She possessed 
 also rich corporations who gave form and object to the aspira- 
 tions of a painter, while they guaranteed his daily existence ;
 
 Book V. rs^TRODUCTTOX. 273 
 
 and finally she possessed a people in whom a feeling for all 
 that was great and beautiful had been excited, and who were, 
 at that time, conscious of being the first nation in the world. 
 
 Any endeavour to trace the state of Italian civilization of 
 the fifteenth and sixteenth centuries, in its proper relation as 
 the basis of Art, would lead us too far into historical questions. 
 Some remarks, however, may be permitted. We are much 
 accustomed to reoard only the immoral aspect of the Italv of 
 th^t day, forgetting the infinite freshness and elasticity of the 
 people, that indestructible juvenility from whicli the iipper 
 classes of the nation were constantly receiving new sources of 
 moral life. Though the manners, here and there, were sunk 
 in the deepest depravity, yet civilization might be said to 
 flourish in the truest sense of the word. Then arose among 
 the people not only a common consent, but a positive love for 
 the beautiful and diijnified in life : for that which, since the 
 decline of the ancient world, had appeared to slumber, and 
 which now set its high stamp alike on literature, poetry, and 
 manners, on the artistic enhancement of every accessory of 
 life, as well as on the free urbanity of social intercourse. A 
 style of architecture now appeared, combined from tlie remi- 
 niscences of antiquity and the requirements of the day. which, 
 however it may show the want of that inward principle which 
 accompanies all derived and composite creations (such, for 
 example, as the Italian language itself), developed a new 
 beauty in form and a new harmony of proportion. This was 
 the time, therefore, for sculpture and painting to flourish in 
 their fullest freedom and grandeur. The epoch of ecclesiastic- 
 political strife had passed away, leaving a certain indiflerence 
 behind it, and even the church no longer required art to 
 minister to edification as such, but rather to supply that 
 beautiful and living type of form which is in itself the symbol 
 of the High and the Infinite. In addition to this, profane 
 and classic art had come greatly into vogue. In the province 
 of art, as well as in every other belonging to Italian civiliza- 
 tion, respect for antiquity became an element of the highest 
 importance. Poetry and the plastic art were now enriched 
 by subjects and models of indisputable normal value. It is 
 admirable, too, to observe the freedom and independence with 
 
 N 3
 
 274 MASTERS OF THE SIXTEENTH CENTURY, Book Y. 
 
 which the great men of the day availed themselves of this 
 assistance. We find no traces of laborious copyings— Done 
 were needed by a race who had themselves acquired every 
 detail of plastic form afresh. The period of Raphael was not 
 indebted in the first instance to the antique, but rather felt 
 itself marvellously inspired by its spirit ; and borrowing from 
 it not the merely national and accidental, but the immutable 
 and the infinite, it was itself enabled to reproduce the im- 
 mutable and the infinite likewise. 
 
 CHAPTER I. 
 
 LEONARDO DA VINCI AND HIS FOLLOWERS. 
 
 At the head of this new period stands Leonardo da Vinci.' 
 His works are the first which afford complete satisfaction to 
 the eye and mind, for although contemporary with many of 
 the artists already mentioned, he was not. like them, confined 
 to one direction. Leonardo was born in the year 1452, at 
 Vinci, a castellated village in the Val d'Arno ; he died in 
 France, in 1519. Distinguished alike by gifts of body and 
 mind, he appears to liave possessed an unparalleled versatility, 
 united with indefatigable zeal in extending his inquiries and 
 enlarging the sphere of his attainments. He was handsome, 
 well-formed, and endowed with surprising bodily strength ; he 
 was master of all the knightly exercises of riding, dancing, 
 and fencing ; as an architect he constructed several edifices, 
 particularly in Milan, and left designs for others. He was 
 a sculptor, painter, musician, and poet ; he applied himself 
 zealously to all the sciences necessary to the improvement of 
 Art, particularly anatomy (both of men and horses), mathe- 
 matics, perspective, mechanics, etc. ; he has also left several 
 
 1 0. Amoretti, Memorie .Storiche sii la vita, gli studj e le opere di Lionardo 
 da Vinci, Milano, 1804. — L. da Vinci, by Hugo Count Gallenberg, Leipzig, 
 1834. — A mediocre translation of the last, with some extracts from German 
 authors. — Brown, The Life of L. da Vinci, London, 1828. — Outlines in 
 Landon. — Vies et (Euvres, etc., t. L. da V. The engravings by Fumagalli, — 
 Scuola di Lionardo da Viiui in Lombardia, Milano, 1811 ; areveiy important 
 for Leonardo and his school.
 
 Chap. I. LEONARDO DA VIXCI AXD HIS FOLLOWERS. 275 
 
 works on physics. Descriptions of playful mechanical con- 
 trivances have been preserved, with which he amused himself 
 and others ; he invented all kinds of machines for swimming, 
 diving, and flying ; a compass, an hygrometer, etc. Some of 
 his schemes were grander and more important ; for example, 
 that of cutting a canal to unite Florence with Pisa : the actual 
 completion of similar works occupied much of his time else- 
 where. Another plan — bold, but for him not impossible, was 
 to raise tlie ancient baptistery or church of S. Giovanni at 
 Florence from the ground, by a sub-structure, to do away 
 with the somewhat sunken appearance, which has so unpleasing 
 an effect in this otherwise beautiful building. Finally, we 
 must not omit his exertions and numerous inventions in mili- 
 taiy architecture. 
 
 But the centre of all the various powers of this great man 
 was his prevailing love for the plastic arts — for painting espe- 
 cially, to which he dedicated the greatest and best part of his 
 active life. His anatomical studies have been already men- 
 tioned. The same zeal which he applied to the study of mere 
 form was extended to all its manifestations of life. None 
 could be more eager, more quick, in observing and seizing the 
 expressions of the passions, as they are displayed in counte- 
 nance and gesture. He visited all the most frequented places, 
 the scenes where the active powers of man are most fully 
 developed, and he drew in a sketch-book, which he always 
 carried with him, whatever interested him.' He followed 
 criminals to execution, in order to witness the pangs of the 
 deepest despair ; he invited peasants to his hovise, and related 
 laughable stories to them, that he might learn from their 
 physiognomies the essence of comic expression. Inanimate 
 nature he studied with the same earnestness. Of his various 
 writings on Art, the ' Trattato della Pittura ' has descended 
 to our times, and still forms a very useful compendium. 
 
 If this disposition to careful study shows the sure foundation 
 on which the style of Leonardo is based ; if a just conception 
 and characteristic representation of what was before him are 
 
 ' Single heads and caricatures are still to be seen in different collections. 
 Others are preserved to us by the engravings of W. Hollar and Jac. Sandrart. 
 See the German translation of Vasari, vol. iii. p. 16.
 
 276 ^[ASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 To be considered as the elements of his ])ractice, he tlisplays on 
 the other hand a profound subjective feeling, a refined, enthu- 
 siastic sentimentality, which in some sort may be compared 
 with the characteristics of the Umbrian school. In some of 
 his works one or other of these two tendencies predominates ; 
 in his principal ones, on the other hand, both seem to balance 
 each other in the purest harmony, elevated to so hig-h a degree 
 (jf perfection by this union of the power of thought w ith the 
 feeling for beauty of form, that Leonardo is justly entitled to 
 take one of the first places among the masters of modern Art. 
 He who investigated common life even to its minutest modi- 
 fications and details, could also represent the holy and divine 
 witii a dignity, calmness, and beauty of which the greatest 
 genius only is capable. 
 
 Leonardo was the natural son of a certain Pietro, a notary 
 of the Signoria of Florence, by whom he was placed in the 
 school of Andrea Verocchio. From tiiis master he must have 
 derived his inclination for the double study of sculpture and 
 painting. The Baptism of Clirist, in which an angel done by 
 the scholar is said to have deterred the master from the piac- 
 tice of painting, has been already mentioned (p. 214). Little 
 is known of other early works of Leonardo. It is related that 
 he once painted a fabulous monster, and made studies for it 
 from toads, serpents, lizards, bats, etc., of which he had a 
 wiiole menagerie ; his own fatlier drew back in fear from the 
 horrible picture, but afterwards sold it at a high price. He 
 also painted a head of Medusa, lying on the earth amidst all 
 sorts of reptiles : it is supposed to be the same now in the 
 gallery of the ülfizj at Florence ; it seems, however, more 
 probable that this is a later but very excellent copy of the 
 original.' This picture, which is deficient in marking as 
 compared with Leonardo's usual style, is still very masterly 
 in many respects ; the faded, sallow colour, tlie dark vapour 
 issuing from the muuth, the convulsion of deatii in the glassy, 
 fixed, expiring eyes, are all powerfully expressed. Two car- 
 toons of his early time were particularly famous : one repre- 
 sented Neptune, in a stormy sea, surrounded by nymphs and 
 tritons ; the other, the Fall of Man, in a beautiful and elabo- 
 I Kumohr, Ital, Forsch., ii. 307.
 
 Chap. I. LEOXARDO DA VIXCI AXD HIS FOLLOWERS. 277 
 
 rate landscape to represent Paradise : neither of these exist. 
 It is ditficult to decide with regard to other early productions 
 ascribed to Leonardo da Vinci ; a ciitical investigation of his 
 works has as yet been only partially undertaken ; by far the 
 greater part of those which bear his name in galleries are 
 later imitations or the work of his scholars. Besides a Ma- 
 donna, with a vase of water with flowers, in the Borghese 
 Gallery (which, however, was no longer there in 1846), we 
 must mention two portraits existing in Florence — the one that 
 of a youth in the gallery of the Uflizj ; the other that of 
 Ginevia Beiici, in the Pitti Palace, an unpretending but intel- 
 ligently conceived pictui-e of the greatest decision and purity 
 of drawing and modelling. 
 
 In the year 1482 Leonardo was invited to the court of 
 Lodovico Sforza il Moro, then regent, afterwards Duke, of 
 Milan. This prince, although an usurper, showed the greatest 
 zeal in cherishing learning and Art : in this course he followed 
 alike his own inclination and the example of otlier Italian 
 sovereigns. Learned men, poets and artists were invited to 
 his court, and Leonardo, according to Vasari, recommended 
 himself at first as a musician and improvisatore. The founda- 
 tion of an academy of Art, the earliest establishment of the 
 kind,' was soon entrusted to him : his works on Art * appear 
 to have been composed for it ; and the numerous scholars 
 whom he formed in Milan bear testimony to his great efficiency 
 in this institution. 
 
 Of the various undertakings conducted by Leonardo for 
 Lodovico Sforza, we shall turn our attention to those only 
 which have reference to the formative arts. Two are espe- 
 cially remarkable ; they employed him during the greater part 
 of his stay in Milan (till 1499). One was an equestrian 
 statue, intended to have been cast in bronze, of colossal 
 dimensions, in memory of Francesco Sforza, father of Lodo- 
 
 ' [According to Rieha, Notizie Istoriclie delle Chiese Florentine (Firenze, 
 1754-1762), vol. viii. p. 191, the Florentine Academy is much older, since 
 it dates from the time of Giotto. — Ed.] 
 
 =^ Trattato della Pittura. A great number of edicious. The first appeared 
 in Paris, 1651, with a life of Leonardo, by Raphael Dufresne. The best is 
 that of Rome, 1817; GugL Manzi. There are several French and German 
 translations.
 
 278 MASTERS OF THE SIXTEENTH CENTURY. Bock V. 
 
 vico. Leonardo liad made the profoundest anatomical studies 
 for the horse. When the first model of tlie monument was 
 finished, it was carried in a festal procession, as the most 
 splendid part of the pomp, and was unfortunately broken. 
 With unwearied patience Leonardo began a new one, but 
 from tlie want of means — a want which pressed upon Lodovico 
 in the latter years of his government — it was never cast ; and 
 when Milan was conquered by the French, in 1499, the model 
 was made to serve a^ a target by the Gascon crossbo\\men. 
 
 His second great work was the Last Supper, painted in the 
 refectory of the convent of S. Älaria delle Grazie, on a wall 
 28 feet in length, the figures being larger than life.' The 
 fate of this inimitable picture is not less tragical than that of 
 the statue. Had it been practicable, as Francis I. desired, 
 to break down the wall and carry the painting into France, 
 sixteen years after it was finished, it might have been pre- 
 served perhaps to our day. The determination of Leonardo 
 to execute the woi'k in oil-colours instead of fresco, in order 
 to have the power of finishing the minutest details in so great 
 an undertaking, appears to have been unfortunate. The con- 
 vent, and probably the wall on which the picture is painted, 
 were badly constructed, and the situation of the wall between 
 the kitchen and refectory was far from favourable. An inun- 
 dation, too, happened in Milan in 1500, owing to which the 
 refectory remained for a time partly mider water, and the bad 
 masonry of the hall, already predisposed to damp, was com- 
 pletely ruined. From these and other circumstances the 
 colours had entirely faded, as early as the middle of the six- 
 teenth century. In 1652 a door was broken open, under the 
 figure of the Saviour, which destroyed the feet. Under a false 
 pretext of giving it a coat of varnish, the picture was entirely 
 painted over in 1726 by an unfortunate bungler named Belotti. 
 In 1770 it was retouched a second time by a certain Mazza, 
 from whose miserable work three heads only were sa\ ed. In 
 1796, when Napoleon led the French over the Alps, he gave 
 express orders that the room should be respected. Succeeding 
 generals disregarded these orders : the refectory was turned 
 
 ' Gius. Bossi, Del Cenacolo di Lionai-do da Vinci, Milano, 1810. — Goethe's 
 Works, xsxix. 97.
 
 Chap. I. LEONARDO DA VIXCI AXD HIS FOLLO\MiRS. 279 
 
 into a stable, and afterwards into a magazine for hay, etc. 
 Now, when the ruins of the picture only exist, a custode has 
 been appointed, and a scaftblding erected to admit of closer 
 examination — not of Leonardo's work, for almost all trace of 
 it has disappeared, but of its sad vicissitudes and of the out- 
 rages which have been committed upon it. 
 
 As the original is all but lost to us, the cartoons which 
 Leonardo sketchefl of the single heads, before he executed 
 them in the large size, are of the greatest interest, as are also 
 the copies executed for various other places, partly by his 
 scholars, partly even under his own immediate direction. The 
 cartoons are executed in black chalk, and slightly coloured : 
 the Head of Christ is in the Brera at jMilan ; ten Heads of 
 the Apostles, some of them of enchanting beauty, are in 
 the collection of the King of Holland at the Hague ; three 
 others in private collections in England. Several slight 
 sketches are in the Academy at Venice ; an original drawing, 
 a study for the whole composition, is in the Royal collection of 
 drawings at Paris. Among the numerous more <>r less accu- 
 rate copies, those by Marco d'Oggione, a scholar of Leonardo, 
 are particularly distinguished ; one of these in oil, the size of 
 the original, was formerly in the Certosa at Pavia. and is at 
 present in the Academy in London ; another is in the refectory 
 of the convent at Castellazzo, not far from Milan. There 
 have been many modern attempts, aided by these materials, to 
 restore the composition of Leonardo in a worthy manner ; 
 among these may be mentioned the engraving of Raphael 
 Morghen, and (more especially) the cartoon of the Milanese 
 painter Bossi, the size of the original, now in the Leuchtenberg 
 gallery at Munich. From this cartoon Bossi painted a copy 
 in oil, to be repeated in mosaic. The mosaic is at Vienna, in 
 the Ambras Gallery. By these means a general idea at least 
 of Leonardo da Vinci's Last Supper has been preserved. 
 
 We perceive, in the first place, that the traditional style of 
 composition handed down from an earlier period is adhered 
 to ; the assembled guests sit on the further side of a long 
 narrow table, Christ being seated in the middle — the most 
 dignified of all arrangements, unless we give up the idea of a 
 repast, like, for example, Luca Signorelli and Fiesole, who
 
 280 MASTERS OF THE SIXTEENTH CEXTURY. Buok V. 
 
 rather represented the Sacrament of the Eucharist. The 
 arrangement seems, moreover, particularly suitable to the 
 refectory of a convent, where the monks are seated exactly in 
 the same manner, and where the picture, placed opposite to 
 their tables, connects itself with their circle, but is exalted 
 above them by the higher situation and greater size of the 
 figures. This mode of composition, which betrayed the earlier 
 artists into a disagreeably stiff' and monotonous representation, 
 and seems so unfavourable to the development of an animated 
 action, is here enlivened in the most \'aried manner, while a 
 most naturally imagined connection reduces it to an harmonious 
 whole. The figure of Christ forms the centre ; he sits in a 
 tranquil attitude a little apart from the others ; the Disciples 
 are arranged three and three together, and they form two 
 separate groups on each side of the Saviour. These four 
 groups in their general treatment indicate a certain corre- 
 spondence of emotion, and a harmony in movement, united 
 however with the greatest variety in gesture and in the ex- 
 pression of the heads. The gradations of age, from the tender 
 youth of John to the grey hairs of Simon ; all the varied 
 emotions of mind, from the deepest sorrow and anxiety to the 
 eager desire of revenge, are liere portrayed. The results of 
 Leonardo's careful studies in physiognomy, the power of ex- 
 pressing a definite idea and word by means of the countenance 
 and movements of the hand, are here displayed in highest 
 mastery. 
 
 The well-known words of Christ, " One of you shall betray 
 me," have caused the liveliest emotion in the sorrowing party. 
 Christ himself, his hands extended, inclines his head gently 
 on one side with downcast eyes. A sketch for the head of 
 Christ, on a now torn and soiled piece of paper, preserved in 
 the gallery of the Brera, expresses the most elevated serious- 
 ness, together with divine gentleness, pain on account of the 
 faithless disciple, a full presentiment of his own death, and 
 resignation to the will of the Father ; it gives a faint idea of 
 what the master may have accomplished in the finished picture. 
 The two gi'oups to the left of Christ are full of impassioned 
 excitement, the figures in the first turning to the Saviour, 
 those in the second speaking to each other ; horror, astonish-
 
 Chap. I. LEOXARDO DA VIXCI AND HIS FOLLOWERS. 281 
 
 ment, suspicion, doubt, alternate in tlie various expressions : 
 on the other hand, stilhiess, low whispers, indirect observation, 
 are the prevailing expressions in the groups on the right. In 
 the middle of the first group sits the betrayer, a cunning, 
 sharp profile; he looks up hastily to Christ, as if speaking the 
 words, " Rabbi, is it I ?" while, true to the Scriptural ac- 
 count, his left hand and Christ's right hand approach, as if 
 unconsciously, the disli that stands between them. 
 
 It has already been remarked that great uncertainty jjrevails 
 about many of the works ascribed to Leonardo, and that by 
 far the greater part are the works of his scholars. Leonardo 
 could never satisfy himself: he painted slowly, and left many 
 works unfinished, which is also accounted for by the many 
 interniptions to his artistic life. Those ideas and conceptions, 
 nevertheless, to which his mind gave birth, however slight in 
 form, were sufficient to occupy the labours of a whole school, 
 and to imprint on it the stamp of his genius. The entire series 
 of his original inventions is only known by the works of his 
 scholars. We shall in the following pages mention only the 
 more important of them. Among the smaller pictures executed 
 by Leojiardo in Milan, the portraits of two ladies beloved by 
 Lodovico Sforza, Cecilia Gallerani and Lucrezia Crivelli, are 
 particularly celebrated ; the first is said to be in Milan, the 
 second in Paris. This latter is that earnest and exquisitely 
 beautiful head called " La l)elle P'erroniere." ' Though jjear- 
 ing traces of that severe school which reminds us of the art of 
 the fifteenth century, it is of unusual delicacy of modelling, 
 and at the same time free from that artificial effect of chiaro- 
 scuro which belongs to the less pleasing side of Leonardo's 
 school. In the collection of the Ambrosian Gallery at Milan 
 is a series of very interesting small works. Among them 
 may be distinguished the portraits of Lodovico and his wife 
 painted in oil, in the early and rather severer manner of the 
 artist : also some portraits sketched in crayons ; among these, 
 a Head of a Lady with downcast eyes is in the highest degree 
 charming yet dignified. Also the half-length figure of a 
 youthful John the Baptist (in the Louvre), belonging probably 
 
 ' [Dan, in his Tresor de Fontaineblean, published in 1642, calls this a 
 Duchess of Mantua. See Dr. Waagen, Kunstwerke in Paris, 1839. — Ed.]
 
 282 MASTERS OF THPJ SIXTEENTH CEXTURY. BookV. 
 
 to the earlier period of the master. A very decided effect of 
 chiaroscuro is, however, here aimed at, with an expression of 
 enthusiastic ecstasy, WTOught up to a pitch which borders on 
 the sentimental. 
 
 One of Leonardo's most famous pictures, La Carita — a 
 Mother with several children — also belongs to the period of 
 his residence in Milan ; it was formerly in the old gallery at 
 Cassel, and is now come to light again, as it appears, in the 
 gallery of the Hague. It formerly represented a naked figure 
 of Leda, standing, with the two children — some scruples of 
 decorum have converted it by over-paintings into a Charity.' 
 
 Besides these, there are many excellent originals of Leo- 
 nardo's in Milan and the surrounding country, as well as 
 numerous copies of the same subjects by his scliolars, which 
 attest his full employment in that city. Among these is a 
 Madonna and Child, fonnerly in the possession of the Araciel 
 family. The Madomia holds tiie child with both hands ; he 
 reaches his hand to her chin, as if to kiss her ; his face is still 
 turned to the spectator, towards whom she also looks, as she 
 bends down her head. The expression of the whole is fasci- 
 nating, and the picture beautifully finished. A half-figure of 
 a Mater Dolorosa, too, is grand and noble, \\ ith the most 
 touching expression.* 
 
 ' Rumohr (Drei Reisen iu Italien, p. 70) says of this picture, — " In this 
 work, of which I have a lively recollection, I distinctly recognise the scholar 
 of Verocchio, and the companion of Lorenzo da Credi, whose children these 
 much resemble ; only that there is more intelligence here in every part — 
 more depth of character and expression. In the countenances of the mother 
 and the children, especially of the little one upon her aim, there is an expres- 
 Biou of grief and longing which I cannot describe. The picture was called a 
 Carita. Italian painters of later times have represented similar groups 
 imder the same name, but always m the foi-m of a mother delighting iu the 
 bloomincr oflspiing around her Leonardo, however, seems to have departed 
 from this obvious sentiment. It was his nature to overlook that which lay 
 nearest to him. He either intended, by the mournful and longing expression 
 he has given to the group, to allude to the idea of the lost Paradise, or he had 
 some other mystical thought in view, to which those who afterwards adopted 
 the subject had lost the key. As far as I remember this picture was painted 
 in oil. For this reason, and also because Vasari makes no mention of it, I 
 am inclined to consider it a production of his Jlilanese time. The opaque, 
 violet, local colour of his carnation agrees with the poi-traits of Lodovico 
 Sforza and his wife, which are in the Ambrosiana Galleiy at Jlilan." See 
 also a notice by Passavant, Kunstbl., 1844, p. 118. 
 
 * On both compositions, see Fumagalli, Scuola di Leonardo, &c., before 
 quoted.
 
 Chap. I. LEONARDO DA VIXCI AND HIS FOLLOWERS. 283 
 
 '1 lie composition of a Holy Family by Leonardo (la Vierge 
 au bas relief) is frequently found repeated in this neighbour- 
 hood. The original, it appears, is in England. The Madonna 
 holds the infant Christ on her lap, and embraces the little St. 
 John, who kneels with folded hands to receive the blessing 
 and caresses of Christ. In the background on the right stands 
 Joseph, with folded arms ; his aged head, with a somewhat 
 exaggerated expression of joy, is finished to excess ; on the 
 left is Zacharias.' In the Hermitage at St Peter^burgh there 
 is a similar composition, with the exception of the little St. 
 John ; a figure of St. Catherine is also introduced in the place 
 of Zacharias. This latter picture was executed 1513, during 
 Leonardo's later residence in Rome. 
 
 After the conquest of Milan Leonardo returned to Florence, 
 his native city, and remained there some years : to this period 
 belong some important works. The first, executed directly 
 after his arrival, a cartoon of the Holy Family (called the 
 "Cartoon of St. Anna"), when publicly exhibited, was the 
 admiration of the whole city. The Virgin is holding the 
 child on her lap. who is turning towards the little Baptist. 
 St. Anna, who is sitting by, is looking with ecstasy at the 
 Virgin, and pointing upwards, as if to indicate the divine 
 origin of the infant. The grace of the cliikheu, the blissful 
 expression of the grandmother, and, above all, the lovely 
 modesty and humility on the countenance of the Virgin, are 
 wonderfully given. The original cartoon, executed in black 
 chalk, and in good preservation, is in the lioyal Academy in 
 London.* Pictures by Leonardo's scholars, from this or some 
 similar composition, are frequent. The best of them — gene- 
 
 ' Passavant, Kunstreise, p. Ill ; engraved by Förster, 1835. A copy in 
 the Brera at Milan is ascribed in Fumagalli's work to Cesare da 8esto. — 
 [The picture above mentioned, formerly in the possession of Messrs. Wood- 
 burn, is now the property of the Earl of Wai'wick. One ann of the infant 
 Christ (not of the Virgin) is round the St. John. — Ed.] 
 
 * [Parts of this drawing (for example, the lower portion of the figure of 
 the infant Christ) have either been efl'aced by time, or were originallv un- 
 finished : the cartoon is now kept under a glass. The pictures to which the 
 author alludes — no less than four exist in various collections — -appear to 
 have been done from a difl'erent composition ; at all events Vasari's descrip- 
 tion corresponds only with the drawing in question. Hence the best con- 
 noisseurs have concluded that this is the cartoon which was so celebrated in 
 Florence. !See Dr. Waagen, Kunstwerke in Paris, p. 426. — Ed.]
 
 284: MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 rally, though erroneously, ascribed to Leonardo himself — is in 
 the Louvre. Here the Virgin is seated on the lap of St. 
 Anna — a playful, but at first siglit strange representation of a 
 sacred scene, which would lead to the conclusion that there 
 was an affinity between the minds of Leonardo and Correggio. 
 The well-known refined type of his female lieads, with the 
 small chin and the gracefcd smile, sometimes approaching to 
 a coquettish expression, is rather mannered in this picture, 
 though the original cartoon is free from all such tendency, 
 and is of the highest nobility of sentiment. 
 
 A second larger cartoon, executed by Leonardo in Florence, 
 and described as one of the greatest master-pieces of modern 
 Art, shared the fate of his equestrian statue and Last Supper. 
 It was a commission from the city, and executed in compe- 
 tition witli Michael Angelo in the year 1503.' It was in- 
 tended that paintings should be executed from them in the 
 Palazzo Vecchio. Leonardo took for his subject the victory 
 of the Florentines over Nicolo Picinnino, general of Filippo 
 Maria Visconti, Duke of Milan, in 1440, at Anghiari in 
 Tuscany ; INIichael Angelo, a scene from the Pisan campaigns. 
 The former chose the last yet doubtful moment of victory ; 
 the latter, that in which the battle is just beginning. AVhen 
 these masterly and highly finished cartoons were exhibited, 
 the young artists poured in from all sides to make them their 
 study, and they appear to have exercised a decided influence 
 on the full development of modern Art. Both cartoons have 
 perished : Eubens copied from Leonardo's a group of four 
 horsemen fighting for a standard ; this is engraved by Edelingk, 
 and is just sufficient to make us bitterly deplore the loss of 
 this rich and grand work. 
 
 Among the works which Leonardo executed in Florence is 
 an Adoration of the Kings, of a large size, in the gallery of 
 the Uffizj. It can only be called a cartoon, since the light 
 brown dead-colour intended to indicate the masses of shadow 
 is all that is finished. It is, however, a rich and beautifully 
 arranged composition, in which the general excitement caused 
 
 ' [They were not done precisely at the same time ; Michael Angelo's was 
 not completed and shown till 1506. See Passavant, Rafael von Urbino, 
 i. 114.— Ed.]
 
 ST. ANNA AND THE VIEGIN, hy Leonardo da Vinci. pa^e 2*!.
 
 Chap. I. LEuXARDO DA VINCI AND HIS FOLLOWERS. 285 
 
 by the occasion is brouglit forward as the chief idea, in a new 
 and masterly way. Some female portraits also belong to this 
 time, one of which Vasari characteris;es as " divine," being 
 that of Mona Lisa, wife of Giocondo, a friend of Leonardo's. 
 This is in the Louvre — a picture of extraordinary loveliness; 
 and of exquisite finish. The painter worked at it for four 
 years, and pronounced it still unfinished. Even in its present 
 utterly ruined condition there is something in this wonderful 
 head of the ripest southern beauty, with its airy backgroimd 
 of a rocky landscape, which exercises a peculiar fascination 
 over the mind. The hands of the lady are of the purest form 
 and grace. There are several copies of it in galleries — 
 one, for instance, is at Munich. 'J'o this period is also as- 
 signed a portrait of a celebrated old warrior in the Dresden 
 Galleiy, Giangiacomo Trivulzi, field-marshal of Louis XII. 
 of France ; but according to some authorities this is from the 
 hand of the younger Holbein, and is supposed to represent a 
 goldsmith of the name of INIorett. We sliall dwell further on 
 this strange appearance of Holbein on tlie scene, which is not 
 the only occasion on whicli we shall find him. The portrait 
 of a beautiful woman witli a child, in the Pommersfelden 
 Gallery, belongs also to this period. 
 
 After Leonardo had for a series of years exercised his 
 talents in Upper Italy, principally as an engineer, he pro- 
 ceeded, in 1513, to Rome, where, however, he did not long 
 remain. To this time a Madonna, painted on the wall of the 
 upper corridor of the convent of S. Onofrio, is said to belong. 
 It is on a gold ground : the action of the Madonna is 
 beautiful, displaying the noblest form, and the expression 
 of the countenance is peculiarly sweet ; but the Cliild, not- 
 withstanding its graceful action, is somewhat hard and heavy, 
 so as almost to warrant the conclusion that this picture be- 
 longs to an earlier period, which would suppose a previous 
 visit to Rome. 
 
 One of Leonardo's most beautiful pictures is in Rome, in 
 the Sciarra palace — two female half-figures of Modesty and 
 Vanitv. The former, with a veil over her head, is a parti- 
 cularly pleasing, noble profile, with a clear, open expression ; 
 she beckons to her sister, who stands fronting the spectator,
 
 286 . MASTERS OF TUE SIXTEENTH CENTURY. Book V. 
 
 beautifully arrayed, and with a sweet seducing- smile. This 
 picture is remarkably powerful in colourinif and wonderfully 
 finished, but, unfortunately, has become rather dark in the 
 shadows.' Another half-figxire of Vanity, with uncovered 
 bosom and floweis in her hand, an extremely finished picture, 
 formerly in the collection of the Prince of Orange at Brussels, 
 now probably at the Hag-ue.* 
 
 Another and very beautiful composition of Leonardo's, 
 executed probably by Luini, representing Christ with the 
 Doctors (also half-length figures), has migrated from the 
 Palazzo Aldobrandini in Rome to the National Gallery in 
 London. Christ is here represented as a youth of great 
 beauty, serenity, and depth of expression ; the heads of the 
 Doctors also are full of life and character. Many copies of 
 this picture exist ; one of the finest is in the Spada palace at 
 Rome. 
 
 In 1516 Leonardo was invited to the court of Francis I. 
 It is uncertain whether the following pictures, now in Paris, 
 belong to this or to an earlier period : — for example, the 
 charming portrait called La Belle Ferroniere, the reputed 
 mistress of Francis I., but which, according to another opinion, 
 is that of Lucrezia Crivelli : — the beautiful Holy Family, 
 known by the name of La Vierge aux Rochers ; in this the 
 Virgin kneels in a romantic rocky scene ; the infant Christ 
 is before her, held by an angel ; the little St. John, whom 
 she embraces, is adoring : this picture is of a simple, graceful 
 character, but is unhappily much injured. The !>omew hat weak 
 and hard composition is suflRcient, however, to show that this 
 is not the original picture." Another Holy Family, in which 
 the Archangel Michael is extending the scales to the Infant 
 Saviour (la Vierge aux Balances), was probably executed by 
 Marco d'Oggione. The so-called portrait of Charles VIII. 
 is probably by Antonio BeltraflSo, and a sitting Bacchus in 
 a landscape (originally, perhaps, St. John the Baptist) by 
 
 ' Fumagalli (Scuola di Lionardo) ascribes this picture to Luini. Accord- 
 ing to Rumohr, it was painted by Salai, in conjunction with his master. — 
 Drei Reisen, p. 316. 
 
 * Passavaut, Kunstreise, p. 393. 
 
 3 [Probably painted by some scholar from a design by Leonardo. Several 
 repetitions exist. See Dr. Waagen, Kunstwerke in Paris, p. 426. — Ed.]
 
 Chap. I. LEONAKDO DA VIN^CI AND HIS FOLLOWERS. 287 
 
 some other scholar. Finally, a small Madonna with both the 
 children can in no way be attributed to Leonardo, but is 
 probably entirely by Perino del Vaga. A youthful Christ 
 in tlie act of benediction, of the sweetest expression, is in the 
 Borg'hese palace at Rome : it is a good Milanese school specimen. 
 
 Leonardo died in the year 1519 — according to a story not 
 well authenticated — in the arms of the king, who had come to 
 visit the beloved artist in his last illness.' 
 
 Before we proceed to speak of the scholars formed by Leo- 
 nardo in the Milanese Academy, we must notice some artists 
 who belong properly to a former period, but on whose later 
 education he exercised a decided influence. One of these, 
 Piero di Cosimo, a scholar of Cosiiuo Rosselli, was a rival of 
 Leonardo in his early Florentine time. In Piero's pictures 
 there is an evident desire to measure himself with his great 
 contemporarj^ : he is occasionally successful in chiaroscuro, 
 but is totally deficient in the nobleness of feeling so striking 
 in Leonardo. His principal works are in Florence. An 
 altar-picture, done for the church Agli Innocenti, is now in the 
 small gallery of that institution ; another is in the gallery of 
 the Uffizj. A Coronation of the Virgin also is in the Louvre. 
 The artist is described as a man given up to gloomy fancies, 
 and this character is impressed upon his works, especially in 
 those small pictures in the Uftizj which represent the history 
 of Perseus. His landscape backgrounds are generally very 
 excellent. There is a good picture of his in the Berlin 
 Museum, — a recumbent Venus playing with Love, a sleeping 
 Mars in the background. The same fantastic character is 
 here visible, but united with a soft and occasionally beautiful 
 execution. 
 
 ' [This story having been repeated since it was shown to be unfounded, 
 it may be as well once more to give the grounds on which it has been 
 doubted. Leonardo died at Cloux near Amboise, May 2, 1519. Accordins; 
 to the journal of Francis L, preserved in the Royal Library at Paris, the 
 Court was on that day at St. Gemiain en Laye. Francesco Jlelzi, in a letter 
 written to Leonardo's relations immediately after his death, makes no men- 
 tion of the circumstance in question. Lastly, Lomazzo, who communicated 
 so much respecting the life of the great artist, distinctly says that the king 
 first learned the death of Leonardo from Melzi. See Amoretti, Memorie, 
 etc., Milan, 1804, and the notes to the last Florentine edition (1838) of 
 Vasari. — Ed.]
 
 288 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Lorenzo di Credi was a contemporary of Leonardo in the 
 school of Andrea Verocchio, but followed less the manner of 
 his master than that of his companion. He has copied some 
 of Leonardo's pictures most successfully. His original sub- 
 jects are generally limited to the narrow circle of tranquil 
 Madonnas and Holy Families ; these he painted in a simple, 
 graceful manner, with occasionally something of the style of 
 Perugino. There are some excellent pictures by him in the 
 galleiy of the Uffizj ; — for example, tuo beautiful round pic- 
 tures of the Madonna adoring the Infant ; and more especially 
 three others with smaller figures — the Madonna and St. John, 
 Christ as a gardener with Mary Magdalen, and the Woman 
 of Samaria at the Well ; — all expressive of the deepest feeling, 
 with excellent colouring and exquisite execution. His prin- 
 cipal work is a Nativity, in the Academy at Florence, of 
 larger size, which unites in the happiest manner the style of 
 Perugino with the freer feeling of the Florentines. In the 
 Cathedral of Pistoja is a charming Madonna with two saints ; 
 the background composed of architecture, flowers, and land- 
 scape. Of all the foreign galleries the Berlin Museum possesses 
 the best pictures by this master. 
 
 Giovanni Antonio Sogliani was a scholar and successful 
 imitator of Lorenzo. Some of his Madonnas, of a pleasing, 
 mild character, are in the Florence Academy. An ex- 
 cellent copy, by him, of Lorenzo's Nativity, is in the Berlin 
 Museum. 
 
 To these may be added a less distinguished artist, Giu- 
 liano Bugiardini, who in most of his works appears in like 
 manner as an imitator of Leonardo, but who only atlained a 
 weak resemblance to his milder expressions. There are speci- 
 mens of his works in the Gallery at Bologna and in the Berlin 
 Museum. 
 
 The distinguishing qualities of Leonardo were variously 
 repeated by his scholars, according to their ow'n individual 
 peculiarities. Although none attained to his eminence, a 
 certain amiable and pure spirit, reflected from his noble mind, 
 pervades the whole school. This spirit seems to liave pre- 
 served his followers from falling into an unmeaning style, and 
 a mere academic ostentation, which cliaracterize almost all
 
 Chap. I. LEOJfAKDO DA YIXCI AXD HIS FOLLOWERS. 289 
 
 the schools founded by the other great masters of the time. 
 The principal works of Leonardo's scholars are collected in 
 Milan, particularly in the gallery of the Brera ; among these 
 the frescos taken from suppressed convents are the most 
 interesting.' The most remarkable and the best known of his 
 scholars are the following. 
 
 Foremost among them stands Bernardino Luini (ordi Luvino, 
 a village on the Lago Maggiore), a master whose excellence 
 has been by no means sufficiently acknowledged. It is true 
 he rarely rises to the greatness and freedom of Leonardo; 
 but he has a never-failing tenderness and purity, a cheerfulness 
 and sincerity, a grace and feeling, which give an elevated 
 pleasure to the spectator in contemplating his pictures. That 
 spell of beauty and nobleness which so exclusively characterizes 
 the more important works of the Raphaelesque period has 
 here impelled a painter of comparatively inferior talent to 
 works which may often rank wdth the higliest which we know. 
 The spirit of Leonardo, especially, was so largely imbibed by 
 Luini, that his latest works are generally ascribed to Leonardo. 
 This was the case for a long time with the enchanting half- 
 length figure of the Infant Baptist plapng with the Lamb in 
 the Ambrosian Gallery at Milan, and also flith the delicate 
 picture of Herodias in the Tribune of the Uffizj at Florence. 
 The same may be said of a still more remarkable and ex- 
 tremely beautiful picture — the Madonna between S. Catherine 
 and S. Barbara in the Esterhazy Gallery at Vienna. This 
 still bears Leonardo's name. Excellent judges do not hesitate 
 even to ascribe those compositions which have become so 
 celebrated under Leonardo's name — the Christ disputing with 
 the Doctors, and the pictures of Vanity and Modesty — to 
 Luini, and that not only in the execution, but in the invention 
 also. Otherwise the difference between his hand and that of 
 the great master is seen in the immeasurable inferiority of 
 his execution, especially in his modelling, and also in a greater 
 universality of expression, which, compared with Leonardo's 
 type, displays a close study of the Raphaelesque ideal. Luini's 
 colouring is fresh, even in his frescos, while, on the other 
 
 ' See Passavant, ' Beiträge zur Geschichte der alten Maler Schulen in der 
 Lombardei,' in Kunstbl. 1838, No. 69 and further. 
 
 O
 
 290 MASTERS OF THE SIXTEENTH CENTURY. Book Y. 
 
 hand, he does not seem to have vinderstood the secret of har- 
 monious composition. Milan is rich in the works of Luini — 
 the Ambrosian library, the Brera, and the private collections 
 possess treasures of graceful easel pictures. In the cathedral 
 at Como, besides an excellent altar-piece, there are two dis- 
 temper pictures on canvas — an Adoration of the Shepherds, and 
 an Adoration of the Kings, with single figures of the most 
 exquisite youtliful beauty. But Luini is seen to most advan- 
 tage in his frescos, the greater part of which have accrued to 
 the Brera Gallery from the walls of the suppressed churches 
 of La Pace, and the convent della Pelucca — the fonner repre- 
 senting events from the life of the Virgin, the latter classic 
 subjects, handled in a more decorative manner, but full of 
 nature. Still more excellent are liis frescos from Ovid's 
 Metamorphoses, which are now preserved in the Casa Silva at 
 Milan. In Luini's later works, on the other hand, a noble 
 and mature strength developed itself; among these may be 
 mentioned an excellent altarpiece, dated 1521, representing 
 the Madonna enthroned, surrounded by saints ; it Avas taken 
 from the church of the Brera, and placed in the Gallery. The 
 immerous works in the jMonastero IMaggiore (S. Maurizio), 
 the altar-wall in the inner church (\nth the exception of the 
 old altarpicture), and a chapel, are painted by him. Here we 
 liave the most beautiful figures of female saints, admirable 
 heads of Christ, and lovely infant angels. From the dado, 
 painted in brown chiaroscuro, to the roof, the walls are covered 
 M'ith masterly frescos, and the spectator can scarcely gaze his 
 fill in this lavish display of fancy. On the wall above the 
 entrance to the choir is a large composition representing the 
 Crucifixion, containing about 140 figures ; among which a 
 group around the fainting figure of the Virgin, the fine form 
 of the Centurion, those of the soldiers dividing the garments, 
 and the Magdalen kneeling in ecstasy, are particularly re- 
 markable. The painter, however, has attained the highest 
 perfection in liis figure of St. John, whose action and expres- 
 sion are full of the loftiest inspiration and faith. Single 
 figures also of great beauty are still preserved upon the 
 different piers and walls of the church. There is also a very 
 graceful Madonna in a lunette over the door of the Refectory,
 
 Chap. I. LEONARDO DA \TXCI AND HIS FOLLOWERS. 291 
 
 and a Last Supper in the Refectory itself, much resembling 
 Leonardo's, but not a copy of it (perhaps not even the work 
 of Luini). The frescos executed by Luini in the church at 
 Sarono, about the year 1530,' are not less distinguished ; these 
 represent the history of the Virgin. Life is here painted in its 
 most cheerful splendour, and yet with sincerest feeling ; the 
 Adoration of the Kings is particularly rich in its invention, 
 noble in style, and delicately conceived ; it is also the best 
 preserved. 
 
 Aurelio Luini, son of Bernardino, is considerably inferior 
 to his father ; he is in general an unpleasing mannerist. His 
 MartjTdom of St. Vincenzio, in the Brera, is a sufficient 
 example — a large fresco, interesting only as the result of 
 a successful experiment to transfer a fresco-painting to can- 
 vas. 
 
 Marco d' Oggione. — A clever painter in Leonardo's style, 
 but wanting both the power of the master and the fascinating 
 sweetness and deeper charm of Bernardino Luini ; a cold tone 
 of colour prevails throughout his works. His frescos in the 
 Brera, taken from S. Maria della Pace, are not very im- 
 portant ; they generally want repose in composition, and are 
 trivial in detail. Among his easel-pictures, on the contrary, 
 some possess a beautiful, calm dignity, particularly the Three 
 Archangels in the Brera, in which the drawing of the figures 
 and bland expression of the countenances well deserve at- 
 tention — a good Holy Family in the Louvre, and an altar- 
 piece in S. Eufemia at Milan. His copies of Leonardo's Last 
 Supper have been already mentioned. 
 
 Andrea Salaino (Salai) resembles d'Oggione, with more 
 freedom, more power and warmth of colouring. One of his 
 principal works is in the Brera — a Madonna and Child, to 
 whom St. Peter delivers the keys ; St. Paul stands behind. 
 The picture is not important in composition, but is distinguished 
 by its unconstrained action, after Leonardo's manner. His 
 painting from Leonardo's cartoon of S. Anna deserves particu- 
 lar commendation ; this also is in the Brera. Salaino's car- 
 nations have usually a red, warm, transparent tone. 
 
 ' With respect to the year, see Rumohr, Drei Reisen, etc., p. 309. 
 
 o2
 
 2ü2 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Giovan Antonio Beltraffio. — Gentleness is the characteristic 
 of this artist ; his drawing, however, is somewhat timid and 
 diy, thus indicating an affinity with the old Milanese school. 
 His principal work is an altar-picture, painted for S. Maria 
 della Misericordia at Bologna, and now in the Louvre — a 
 Madonna and Child, between John the Baptist and St. Se- 
 bastian, with the donors kneeling : the latter are very beautiful ; 
 the St. Sebastian is simple and noble ; the Madonna, on the 
 contrary, is rather constrained.' A S. Barbara, by the same 
 artist, is in the Berlin Museimi, — a figure of peculiarly grand, 
 statue-like dignity. 
 
 Francesco Mclzi. — A noble Milanese (as was the artist 
 last-mentioned) and a friend of Leonardo. His pictures are 
 little known ; they are said to bear a strong resemblance to 
 Leonardo's, and to be frequently mistaken for them. In the 
 castle of Vaprio (one of the possessions of the Melzi) is a colossal 
 fresco of a Madonna and Cliild, a very grand work, probably 
 by him. A Pomona and Vertumnus, in the Berlin Museum, 
 formerly ascribed to Leonardo, now bears the name of Fran- 
 cesco. Vertumnus, in the form of an old woman, is rudely 
 overpainted : the figure of Pomona, on the other hand, is well 
 preserved, and is the finest specimen of a motive which re- 
 peatedly occurs in tliis school. 
 
 Cesare da Sesto. — A more important artist, who at a later 
 period is found in the school of Raphael at Rome, and was on 
 friendly terms with that master. His early works are pleasing, 
 and resemble Leonardo's ; in his later we observe some of the 
 peculiarities of the Roman school, which, however, do not 
 combine quite happily with those of the Milanese. Among 
 the former is a youthful Head of Christ, in the Ambrosian 
 library at Milan, of very bland and unaffected expression, 
 simply and beautifully painted ; also a beautiful Bajjtism of 
 Christ, in the house of Duke Scotti at Milan, an excellent 
 picture, ^vith a rich and very elaborate landscape. The latter 
 is by the landscape-painter Bernazzano, who often painted in 
 this manner with Cesare. In the Manfrini gallery at Venice 
 
 ' During the time of the French usurpation this picture was in the central 
 gallery at ^lilan. I am ignorant whether it remains there, or where it is at 
 j)i eaent.
 
 Chap. I. LEOXARDO DA VIXCI AXD HIS FOLLOWERS. 203 
 
 are two Madonnas, and as they are painted in the two styles 
 above alluded to, they afford interesting points of comparison. 
 A large altarpiece, representing the Madonna with St. Roch 
 and other saints, and displaying certain Raphaelesque ten- 
 dencies, is in Duke Melzi's collection at Milan. Other 
 pictui'es are in the Behedere palace at Vienna. One of the 
 largest pictures of Cesare's later time, an Adoration of the 
 Kings, with many figures, is in the Museo Borbonico at Naples. 
 The Madonna and Child are in Leonardo's manner, the other 
 figures in Raphael's ; but it is overladen in the composition, 
 and displays that degenerate mannerism w^hich soon crept in 
 among the scholars of Raphael. 
 
 Gaudenzio Vinci of Novara. — An altar-picture at Arona 
 near Milan, distinguished by nobleness of mien and truth 
 of expression. It leans to the manner of Perugino and 
 Francia.' 
 
 Other school contemporaries, of whom little certain or re- 
 markable is known, were Pietro Riccio (Gianpedrino?) — a 
 St. Catherine between two wheels, in the Berlin Museum, is 
 his ; Girolamo Alibrando of Messina ; Bernardino Fassalo of 
 Pavia ; and finally, Bernardo Zenale, a scholar of the elder 
 Vincenzio Civerchio, who later so devoted himself to Leo- 
 nardo's manner, that a Madonna with Angels, now in the 
 Brera, long passed for a work of the master's. 
 
 Another Milanese of this time is Gaudenzio Ferrari, pro- 
 perly speaking a Piedmontese from Valdugga* (1484-1549). 
 This artist, strictly speaking, is not a scholar of Leonardo ; 
 he appears to have proceeded from the old school of Milan, 
 which maintained itself till the beginning of the sixteenth 
 
 ' Schorn. ia the Tub. Kunstblatt, 1823, p. 2. There is a picture in the 
 JIanfriui palace in Venice attributed to Perugino (formerly, it appears, to 
 Luini) ; the date inscribed on it is 1500 : it is probably a work by Gaudenzio. 
 It represents Christ Washing the Feet of his Disciples. The arrangement is 
 solemn and beautiful ; the apostles are simply ranged next each other ; on the 
 left, Peter sits at the basin, at the right ChJ-ist kneels, behind him John holds 
 the napkin. The folds of the drapery are partly Peruginesque, partly in the 
 manner of the old Venetian schools. In the heads the styles of the Umbrian 
 and Venetian schools are mixed with that of Leonardo, or rather Luini ; one 
 youthful head is painted quite in the graceful manner of the latter. On the 
 school of Leonardo generally, see Passavant in the Tub. Kunstblatt, 1838, 
 No. 69, etc. 
 
 * See ' Le Opere del pittore e plasticatore Gaudenzio Ferrari, dis. ed inc. 
 da Sylvestro Pianazzi, dir. e descr, da G. Bordiga,' Milano, 1835.
 
 294 MASTEES OF THE SIXTEENTH CENTURY. Book V. 
 
 century. For some time also he studied in Perugino's atelier, 
 but the influence of Leonardo is not to be mistaken. Like 
 Cesare da Sesto, he worked at a later period under Raphael 
 at Rome, and imbibed a great deal of the manner of that 
 school. Together mth this union of different influences, he 
 had a peculiarly fantastic style of his own. It distinguishes 
 him from his contemporaries, and, although never quite free 
 from mannerism, it was the source of characteristic beauties. 
 Gaudenzio was one of the most prolific painters of his time, 
 and has bequeathed a quantity of frescos to posterity, which, 
 in point of freshness of colour, are scarcely inferior to those 
 of Luini, and might be studied in various ways with benefit 
 by the present fresco painters. His oil-paintings also are dis- 
 tinguished for depth and clearness (not for harmony) of colour, 
 also for intensity of expression, and for great animation and 
 fulness of composition, although he is deficient in the nobler 
 simplicity of the great masters. An early work of the highest 
 merit, which shows the same afiinity to Leonardo which his 
 countryman Razzi (of Vercelli) displays, is in the Royal 
 Gallery at Turin ; it represents the group lamenting over the 
 Dead Christ. An altarpiece in the new sacristy of the 
 cathedral of Novara, a Martyrdom of St. Catherine in the 
 Brera at Milan (a work of the most masterly freedom), a 
 Visitation in the Solly collection, and a particularly beautiful 
 Madonna with angels and saints, under an orange-tree, in the 
 choir of S. Cristoforo in the cathedral at Vercelli, belong to 
 his best easel pictures. On the other hand two pictures in 
 distemper in the cathedral at Como, \A'ith all their power, are 
 negligent and mannered. In the gallery of the Brera are 
 several frescos by liim, principally taken from Santa Maria 
 della Pace. Of these, three pictures representing the his- 
 tory of Joachim and Anna (the parents of the Virgin)* are 
 well worthy of notice. The side pictures contain the history 
 of the couple after their separation. That on the left is 
 peculiarly beautiful, where St. Anna is seen sitting, enduring 
 the reproaches of her maid : both excellent and nobly drawn 
 figures. The centre picture represents the consolation which 
 
 ' [See the Flos Sanctorum. — Ed.]
 
 Chap. I. LEONARDO DA VIXCI AXD HIS FOLLOWERS. 295 
 
 is granted to them. A rich city (Jerusalem) is in the 
 background ; a stream of water which flows on to the fore- 
 ground divides the picture into two subjects. On the one side 
 stands Anna, on the other Joachim with the shepherds, both 
 looking up at the angels who announce their salvation. In 
 the background, before the gates of the city, the couple meet 
 and embrace. The grand freedom of the conception, com- 
 bined with the dignity of the representation, makes this work 
 particularly attractive. The frescos with which Gaudenzio 
 decorated the celebrated Piedmontese place of pilgrimage, 
 Varallo, are, however, his most comprehensive work. In the 
 chapel of the Sacro IMonte he represented the Crucifixion in a 
 large composition, the principal figures being in relief and 
 coloured like nature. Behind tliis the walls are painted 
 with a number of figures as spectators ; the women in the 
 beautiful Luinesque manner, the warriors on horseback in 
 fantastic knightly costume. Many figures, however, are 
 somewhat extravagant and naturalistic. On the vaulted 
 ceiling' are eighteen angels lamenting, some of them of the 
 finest expression. In the convent of the INIinorites he painted, 
 as early as 1507, a Presentation in the Temple, and a Christ 
 among the Doctors ; and after 1510, the History of Christ in 
 twenty-one pictures. These have all more or less affinity 
 with Leonardo. The same may be said of a Madonna in six 
 compartments, the so-called Ancona di S. Gaudenzio. His 
 later works are more indicative of the school of Kaphael : for 
 example, an Adoration in a lunette of S. Maria di Loreto, not 
 far from Varallo, executed after 1527. The Refectory of 
 S. Paolo at Vercelli contains a Last Supper, which, though 
 so greatly inferior, shows the unavoidable influence of Leo- 
 nardo. Assisted by his scholar Lanini (see further), Gau- 
 denzio painted (1532-1535) the transept of the church of 
 S. Cristoforo. The Birth, Annunciation, and Visitation of 
 the Virgin, the Adoration of the Shepherds and of the Kings, 
 the Crucifixion, and the Assumption of the Virgin, are by his 
 own hand : all of these are pictures full of life and of the 
 greatest decision of character, though here and there coarse 
 and tinged -sWth mannerism. In the church of Saronno, not 
 far from Milan, he decorated (1535) the cupola with a glory
 
 296 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 of angels ; those below large and draped, those above naked 
 winged boys, many of them of the highest beauty, after 
 the style of Leonardo, others very mannered, with indications 
 of Correggio's influence. Gaudenzio's last and larger work, 
 a Scourging of Christ, in S. Maria delle Grazie at Milan 
 (1542), exhibits peculiar power and freedom. 
 
 FOLLOWERS OF GATJDENZIO FERRARI. 
 
 Bernardino Lanini. — Not very important, nor free from a 
 degenerate mannerism, but with some pleasing reminiscences 
 of Leonardo's school. A Last Supper, at S. Nazaro Grande 
 at Milan, is of this kind, and an altar-picture in the Berlin 
 Museum. A Sposalizio, also, in S. Cristoforo at Vercelli, is 
 by him (of more antiquated and Peruginesque conception) ; as 
 are several much injured paintings of scenes from the life of 
 Mary Magdalen, and also the wedding of an aristocratic and 
 elderly pair, distinguished by great nature and animation. 
 Besides these may be mentioned an excellent Madonna with 
 saints, and another in S. Giuliano. 
 
 Andrea Solario combined most gracefully Gaudenzio's mode 
 of conception with Leonardo's expression and more refined 
 feeling for form. A Madonna with the Child, in the Louvre, 
 was, perhaps, executed after a drawing by Leonardo ; a 
 daughter of Herodias is in the same collection. A beautiful 
 and mild Christ, bearing his cross, is in the Berlin Museum ; 
 an Assumption of the Virgin with saints in the new sacristy 
 of the Certosa at Pavia ; a beautiful Madonna with the Child, 
 liitherto called a Leonardo, in the gallery at Pommersfelden. 
 
 Giovanni Battista Cerva. — Unimportant. 
 
 His scholar, Giovanni Paolo Lomazzo, resembles Lanini. 
 He has great merit as a writer on Art (' Trattato della Pit- 
 tura,' 1584. ' Idea del Tempio della Pittura,' 1590). 
 
 Ambrogio Figino, scholar of Lomazzo. — A weak and man- 
 nered imitator of the early styles.
 
 Chap. II. MICHAEL AXGELO Ä^T> HIS FOLLOWEES. 297 
 
 CHAPTER II. 
 
 MICHAEL ANGELO BUÖNAROTTI .\ND HIS FOLLOWERS. 
 
 In the year 1474, twenty-two years later than Leonardo da 
 Vinci, was born Michael Angelo Buonarotti.' Like Leonardo 
 he led the way in accomplishing the perfection of modern 
 Art, and shone as one of its brightest lights ; but Michael 
 Angelo lived to witness its rapid decline, and died at a very 
 advanced age in 1563. Like Leonardo, his talents were 
 universal ; he was at once architect, sculptor, painter, and 
 equally great in each art. He was an excellent poet* and 
 musician, conversant in science, and a profound anatomist. 
 To the study of anatomy alone he devoted twelve years, and 
 produced results evincing the highest possible mastery. A 
 proud, stern spirit gave its peculiar impress alike to the actions 
 and works of Michael Angelo — a spirit which valued its own 
 independence above all, and knew how to embody its profound 
 thoughts in distinct creations without having recourse to the 
 symbolic veil. His figures, if I may so speak, have a certain 
 mysterious architectural grandeur ; they are the expression of 
 primaeval strength, which stamps them, whether in motion or 
 in rest, ^v-ith a character of highest energy, of intensest will. 
 
 Michael Angelo began his career as an artist in the school 
 of Domenico Ghirlandajo, but soon, influenced by inclination 
 and external circumstances, he turned to the study and practice 
 of sculpture. His first important work in the department of 
 
 ' Giorgio Vasari, Vita del gran Michelagnolo Buonarotti, Firenze, 1568 (a 
 separate impression of the Life of M. Angelo in Vasari's great work) ; Later 
 edition, Roma, 1760 (aggiuntevi copiose note). — Ascanio Condivi : Vita di 
 Michel Angelo Buonarroti, Roma, 1.553 ; Seconda edizione acoresciuta, 
 Firenze, 1746 ; New edition, Pisa, 1823. — Quatremere de Qirincy : Hist, de 
 Michel-Angel. Buonarotti, Paris, 1835. — Compare : Beschreibung der h^tadt 
 Rom. bd. ii. abth. 2, p. 254, fF. etc. — Outlines in Landon : Vies et (Euvres, 
 etc. t. Michel Ange Buonarotti. — Catalogue of engravings after Micliael 
 Angelo, in the Nachrichten von Kunstlern und Kimstsachen, Leipzig, 1768, 
 band i. p. 355, &c. [Duppa, the Life of Michel Angelo Buonarroti, with 
 his Poetry and Letters, London, 1807. — Ed.] 
 
 * [The spirit of Michael Angelo's poetry has been lately rendered accessible 
 to the English reader in a translation of select specimens, accompanied by an 
 enlightened introductorv di.ssertation, by Mr. John Edward Taylor. — Ed.] 
 
 o 3
 
 298 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 painting, the cartoon already mentioned, which he executed in 
 emulation of the more practised Leonardo da Vinci, appeared 
 when he had only just attained to manhood (1504). For the 
 history of this competition we refer the reader to our last chapter. 
 Michael Angelo's cartoon is also lost (it is said to have been 
 destroyed by Baccio Bandinelli, one of his rivals), but the 
 greater part of the composition is known to us by some old 
 engravings and copies.' Michael Angelo chose for his subject 
 the commencement of the battle, and, as appears from the 
 existing copies, the moment when a crowd of Florentine 
 soldiers, bathing in the Arno, unexpectedly hear the summons 
 to conflict. This choice enabled the artist to display in full 
 and lively development his knowledge of the human form. 
 All is in movement : the warriors, some already clothed, some 
 half or wholly naked, crowd hastily together ; some clamber 
 up the steep shore from the river, others press their naked 
 limbs into their tight clothing, others again fully armed hasten 
 to join the combat. In the opinion of his contemporaries,* 
 Michael Angelo never again created a work so perfect, but 
 this opinion appears to refer principally to the execution. 
 These cartoons, as already observed, had a considerable in- 
 fluence on the progress of the younger contemporaries of the 
 two great masters. 
 
 In the next succeeding years Michael Angelo was again 
 employed on a great work in sculpture,* having been invited 
 to Rome by Pope Julius II., and entrusted with the execution 
 of a splendid monument, of which, however, only a small 
 portion was ultimately finished. The Pope himself was the 
 principal cause of the interruption, for independently of fre- 
 quent misunderstandings on the subject of the monument 
 which had arisen between him and the artist, he had con- 
 
 1 Single figiu-es and groups of the cai-toon, some known by the title of 
 " The Climbers" (Les Grimpeurs), exist in ditFerent engravings by Marc- 
 Antonio and Agostino da Venezia. An old copy of the principal part of the 
 composition, painted in oil in chiaroscuro, is at Holkham, in the possession of 
 the Earl of Leicester. — See Passavant, Kunstreise, etc., p. 194. Engraved 
 by Schiavonetti : Reveil, 541. 
 
 2 See particularly, Vita di Benvenuto Cellini, i. 2. 
 
 3 [Michael Angelo's principal works in sculpture, prior to the period in 
 question, were the David and the group of the Pieta; by no means such 
 extensive undertakings as the proposed monument. — Ed.J
 
 L^- W
 
 Chap. IL MICHAEL AXGELO A^D HIS FOLLOWERS, 299 
 
 ceived the idea of emplojang him to paint in fresco the ceiling 
 of the Sistine chapel, which had hitherto remained unadorned.^ 
 Michael Angelo at first wished to decline this commission, 
 which would necessarily interrupt the work already in pro- 
 gress, and probably did not feel himself quite equal to the 
 execution of a work in fresco. As the Pope, however, ear- 
 nestly insisted, he began this immense undertaking in 1508, 
 and completed it, without assistance, in the space of three 
 years.* In the commencement he had sent for some former 
 fellow-scholars and friends from Florence to execute some of 
 the paintings from his cartoons, perhaps also to learn from 
 them tlie practice of fresco painting, in which he had had 
 little experience. Their work, however, proved unsatisfactory : 
 he sent them home again, obliterated what they Iiad begun, 
 and finished the work alone. 
 
 The ceiling of the Sistine chapel contains the most perfect 
 works done by Michael Angelo in his long and active life. 
 Here his great spirit appears in its noblest dignity, in its 
 highest purity ; here the attention is not disturbed by that 
 arbitrary display to which his great power not unfrequently 
 seduced him in other works. The ceiling forms a flattened 
 arch in its section ; the central portion, which is a plane 
 surface, contains a series of large and small pictures, repre- 
 senting the most important events recorded in the book of 
 Genesis — the Creation and Fall of Man, with its immediate 
 consequences. In the large triangular compartments at the 
 springing of the vault are sitting figures of the prophets and 
 sibyls as the foretellers of the coming of the Saviour.^ In the 
 
 • Vasari relates that Pope Julius II. wished to have the works of the 
 earlier masters destroyed, but adds that Michael Augelo suffered tlieiu to 
 remain from a desire to show the improvement that had taken place ia 
 the Art since they were done. Among the great artist's reasons, we may 
 fairly include his respect for the feeliiigs of the artists, several of whom were 
 still living. He may also have been influenced (see a subsequent note) by 
 the nature of the subjects, which, in their general order and import, were 
 capable of being combined with the plan he contemplated. — Ed.] 
 
 '^ According to concurrent testimony, M. Angelo was employed but twenty- 
 two months on these paintings ; but it is impossible that the execution of the 
 cartoons can be included in this short period ; hence the above assumption. 
 
 3 The Sibyls, according to the legends of the middle ages, stand next in 
 dignity to the Prophets of the Old Testament. It was their office to foretel 
 the coming of the Saviour to the heathen, as it was that of the Prophets to 
 announce him to the Jews. 
 
 [The
 
 300 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 soffits of the recesses between these compartments, and in the 
 arches underneath, immediately above the windows, are the 
 ancestors of the Vrr^n, the series leading the mind directly 
 to the Sariour. The external connexion of these numerous 
 representations is formed by an architectural framework of 
 peculiar composition which encloses the single subjects, tends 
 to make the principal masses conspicuous, and gives to the 
 whole an appearance ofthat solidity and support so necessary, 
 but so seldom attended to in soffit decorations, which may be 
 considered as if suspended. A great number of figures are 
 also connected with the framework ; those in unimportant 
 situations are executed in the colour of stone or bronze ; in 
 the more important, in natural colours. They serve to support 
 the architectural forms, to fill up and to connect the whole. 
 They may be best described as the living and embodied genii 
 of architecture. It required the united power of an architect, 
 sculptor, and painter to conceive a structural whole of so 
 much grandeur, to design the decorative figures with the sig- 
 nificant repose required by their sculpturesque character, and 
 yet to preserve their subordination to the principal subjects, 
 and to keep the latter in the proportions and relations best 
 adapted to the space to be filled. Many artists at a later 
 period have made the like attempt, particularly Annibal Ca- 
 racci, in the Farne^^e palace, but none have seized and carried 
 out the idea of the whole with the same natural and consistent 
 connexion. 
 
 [The Sibyls are alluded to "by Greek, R«man, and Jewish writers, and by 
 most of the Christian fathers. The latter, on the authority of Van-o, enu- 
 merate ten of these prophetesses. (See Lactantius, De Falsa Religione, i. 6.) 
 The authority of the Sibylline writings with the pagans soon suggested the 
 pious fraud of intei-polating them; the direct allusions to the Messiah which 
 they contain are supposed to have been inserted in the second century. (See 
 Blondel, Des Sibylles Celebres.) But notwithstanding the occasional expres- 
 sion of some suspicion as to their authenticity, these spurious predictions 
 continued to be held in veneration not only during the middle ages, but even 
 to a comparatively modem date, and the Sibyls were represented in con- 
 nexion with Scripture subjects before and after Michael Angelo's time by 
 various painters. The circumstance of their appearing in works of art as 
 equal in rank with the Prophets may have arisen from the manner in which 
 St. Augustine (De Civit. Dei, xviii. 47) speaks of the Erythi-aean Sibyl's 
 testimony, immediately before he advei-ts to that of the Prophets of the Old 
 Testament. The fullest of the numerous dissertations on the Sibyls is, per- 
 haps, that of Clasen (De Oraculis Gentilium, Helmstad. 1673). — Ed.]
 
 Chap. n. MICHAEL AXGELO AND HIS FOLLOWERS. 301 
 
 The scenes from Genesis in the flat space of the roof are the 
 most sublime representations of these subjects ; — the Creating 
 Spirit is unveiled before us. The peculiar type which the 
 painter has here given of the form of the Almighty Father 
 has been frequently imitated by his followers, and even by 
 Raphael, but has been surpassed by none. Michael Angelo 
 has represented him in majestic flight, sweeping through the 
 air, surrounded by genii, partly supporting, partly borne 
 along -ndth him, covered by his floating drapery ; they are the 
 distinct syllables, the separate virtues of his creating word. — 
 In the first [large] compartment we see him with extended 
 hands assigning to the sun and moon their respective paths. — 
 In the second, he awakens the first man to life. Adam lies 
 stretched on the verge of the earth in the act of raising him- 
 self; the Creator touches him with the point of his finger, 
 and appears thus to endow him with feeling and life. This 
 picture displays a wonderful depth of thought in the composi- 
 tion, and the utmost elevation and majesty in the general 
 treatment and execution. — The third subject is not less im- 
 portant, representing the Fall of Man and his Expulsion from 
 Paradise. The tree of knowledge stands in the middle, the 
 serpent (the upper part of the body being that of a woman) ' 
 is twined round the stem ; she bends down toward the guilty 
 pair, who are in the act of plucking the forbidden fruit. The 
 figures are nobly graceful, particularly that of Eve. Close 
 to the serpent hovers the angel with the sword, ready to drive 
 the fallen beings out of Paradise. In this double action, this 
 union of two separate moments, there is something peculiarly 
 
 ' [Michael Angelo's feeling for beauty led him to combine the human and 
 serpentine forms more agreeably than preceding painters had contrived this. 
 His Tempter somewhat resembles the chissic ocean deities, or, more literally, 
 Hesiod's Echidna : but the serpent with a female head occurs in much earlier 
 representations of the Fall ; among others, in that by Pietro d'Orvieto in the 
 Campu Santo at Pisa, and still earlier in illuminated MSS. In the woodcuts 
 imitated from these in the printed copies of the Speculum Salvationis and 
 other compendiums of the kind, the serpent is sometimes winged, and the 
 female head is adorned with a crown. The first chapter of the work just 
 named contains the following passage : — '' Quoddam ergo genus serpentis sibi 
 dyabolus eligebat, qui cum ereotus gradiebatur et oqjut virgineum habebat." 
 This fable is giveu nearly in the same words by Comestor (Historia Scholas- 
 tica), a writer of the twelfth century, with the addition, " ut ait Beda," so 
 that it is at least as old as the eighth. — Ed.J
 
 302 MASTERS OF THE SIXTEENTH CENTUKY. Book V. 
 
 poetic and significant : it is guilt and punishment in one 
 picture. The sudden and lightning-like appearance of the 
 avenging angel behind the demon of darkness has a most 
 impressive effect. — The fourth, a representation of the Deluge, 
 with many figxu-es, is one of the most extensive dramatic com- 
 positions of Michael Angelo. The four small intermediate 
 compartments, representing the Almighty separating Light 
 from Darkness, the Creation of Eve, the Thanksgiving of 
 Noah, and the Inebriation of Noah, all display great and 
 peculiar beauties.' 
 
 The prophets and sibyls in the triangular compartment of 
 the curved portion of the ceiling are the largest figures in 
 the whole work ; these, too, are among the most wonderful 
 forms that modern art has called into life. They are all 
 represented seated, employed wdth books or rolled manuscripts ; 
 genii stand near or behind them. These mighty beings sit 
 before us pensive, meditative, inquiring, or looking upwards 
 with inspired countenances. Their fonns and movements, 
 indicated by the grand lines and masses of tlie drapery, are 
 majestic and dignified. We see in them beings who, while 
 they feel and bear the sorrows of a corrupt and sinful world, 
 
 ' [There are five smaller subjects (see the accompanying engraving) ; the 
 one omitted by the author is the Gathering of the Waters (Gen. i. 9). Al- 
 though these compartments are relatively small, some of them contain figures 
 larger than life : on the other hand, in one of the large subjects — the Deluge 
 — the figures are so small, owing to their number, that the composition can 
 scarcely be distinguished from below (and must always have been indistinct, 
 making every allowance for the injuries of time). The same may be said of 
 the two subjects next it, the Sacrifice of Koah, and the same patriarch deiided 
 by Flam. These three subjects are the last in order at that end of the flat 
 portion of the ceiling which is next the door ; the figures toward the other 
 end are colossal. This diflerence might be partly accounted for by supposing 
 the subjects with small figures to have been the first done, when the painter, 
 finding that they produced no effect from below, changed the dimensions as 
 we see to satisfy the eye. That Michael Angelo really began at this end of 
 the ceiling appears from an incidental statement of Condivi relating to the 
 disgust which the great artist felt from a temporaiy alteration of the colours 
 (and partly, perhaps, fi-om the defect to which we allude). The biographer 
 says, " having commenced the undertaking and completed the painting of the 
 Deluge, the surface of the fresco began to exhibit a mouldy efflorescence, " etc. 
 It is true it would have been difficult to represent such a subject as the 
 Deluge with very few figures, and the greatest number in the compositions of 
 larger treatment is six (the double subject of the Fall and Expulsion from 
 Paradise has no more), but any liberty of this kind would have been prefer- 
 able to the indistinctness resulting from diminutive size. — Ed,]
 
 Chap. n. MICHAEL ANGELO A:s^D HIS FOLLO^^"ERS. 303 
 
 have power to look for consolation into the secrets of the 
 future. Yet the greatest variety prevails in the attitudes and 
 expression — each figure is full of individuality. Zacharias is 
 an aged man, busied in calm and circumspect investigation ; 
 •Jeremiah is bowed down absorbed in thought — the thought of 
 deep and bitter grief; Ezekiel turns ^vith hasty movement to 
 the genius next to him, who points upwards with joyful expec- 
 tation, &c. The sibyls are equally characteristic : the Persian 
 — a lofty, majestic woman, very aged ; the Erythraean — full 
 of power, like the warrior goddess of wisdom ; the Delphic — 
 like Cassandra, youthfully soft and graceful, but with strength 
 to bear the awful seriousness of revelation, &c. 
 
 The Genealogy of the Holy Virgin* is represented in the 
 most varied family groups, which, without delineating par- 
 ticular events (of which, indeed, few are mentioned in the 
 Scriptures), express domestic union and a tranquil expecta- 
 tion and hope in the future. To these simple circumstances 
 the artist has given the most varied motives, and has pro- 
 duced from them a series of groups, which please by a pecu- 
 liar air of seclusion and a dignified and beautiful conception 
 of domestic life. These groups and figures belong again to 
 Michael Angelo's noblest compositions ; they display a depth 
 of feeling and tenderness, which, though still bearing the 
 impress of his elevated mind, is rarely found in his works, 
 and oflfer interesting points of comparison with the Holy 
 Families of Raphael. 
 
 Four historical subjects in the corner sofl^its of the ceiling 
 are still to be mentioned ; they represent instances of the 
 deliverance of the people of Israel : ^ — Judith, after she has 
 slain Holofernes ; Goliath vanquished by David ; the Miracle 
 of the Brazen Serpent ; and the Punishment of Haman. In 
 these works also the great genius of the artist manifests 
 itself: the figure of Haman on the Cross has always been 
 celebrated as a master-work of diflficult foreshortening. 
 
 ' [Some Biblical commentators have explained the difierence between the 
 genealogies recorded by St. Matthew and St. Luke, by supposing that the 
 latter gives the descent of the Virgin ; but even this view (which is not that 
 of the church of Rome) is inapplicable here, since Michael Angelo has given 
 the descent of Joseph as it appears in St. Matthew, the names being inscribed 
 near the figures. — Ed.] 
 
 * [See a note on these four subjects at the end of the chapter. — Ed.]
 
 304 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 After these paintings the artist was occupied chiefly with 
 statues and architectural works, of which the principal were 
 the new sacristy of S. Lorenzo at Florence, and the monu- 
 ments of the Medici family, which are placed there. In his 
 sixtieth year he was invited to undertake his second great 
 work in painting, the Last Judgment, on the end wall of the 
 Sistine chapel, sixty feet high. He began it at the desire of 
 Clement VII., and finished it within seven years, in the pon- 
 tificate of Paul III., in the year 1541. If we consider the 
 countless number of figures, the boldness of the conception, 
 the variety of movement and attitude, the masterly drawing, 
 particularly the extraordinary and difficult foreshortenings, 
 this immense work certainly stands alone in the history of art, 
 but in purity and majesty it does not equal the paintings on 
 the ceiling. 
 
 In the upper half of the picture we see the Judge of the 
 world, surrounded by the apostles and patriarchs : beyond 
 these, on one side, are the martyrs ; on the other, the 
 saints, and a numerous host of the blessed. Above, under 
 the two arches of the vault, two groups of angels bear the 
 instruments of the passion. Below the Saviour another group 
 of angels holding the books of life sound the trumpets to 
 awaken the dead. On the right is represented the resur- 
 rection ; and higher, the ascension of the blessed. On the 
 left, hell, and the fall of the condemned, who audaciously 
 strive to press upwards to heaven. 
 
 The day of wrath ("dies irae") is before us — the day, of 
 which the old liymn says — 
 
 Quantiis tremor est futurus, 
 Quando judex est venturus 
 Cuncta sti'icte discussurus. 
 
 The Judge turns in wrath toward the condemned and 
 raises his right hand, with an expression of rejection and 
 condemnation ; beside him tlie Virgin veils herself with her 
 drapery, and turns, with a countenance full of anguish, toward 
 the blessed.' The martyrs, on the left, hold up the instru- 
 
 1 The motive of both figures is bonowed, as already remarked (p. 148), 
 from the old fresco by Orcagna, in the Campo Santo at Pisa.
 
 Chap. n. MICHAEL ANGELO AKD HIS FOLLOWERS. 305 
 
 ments and proofs of their martyrdom, in accu.sation of those 
 who had occasioned their temporal death : these the aveiigi no- 
 angels drive from the gates of heaven, and fulfil the sentence 
 pronounced against them. Trembling and anxious the dead 
 rise slowly, as if still fettered by the weight of an earthly 
 nature ; the pardoned ascend to the blessed ; a mysterious 
 horror pervades even their hosts — no joy nor peace, nor 
 blessedness are to be found here. 
 
 It must be admitted that the artist has laid a stress on this 
 view of his subject, and this has produced an unfavourable 
 effect upon the upper half of the picture. We look in vain 
 for the glory of heaven, for beings who bear the stamp of 
 divine holiness, and renunciation of human weakness ; every- 
 where we meet with the expression of human passion, of 
 human efforts. We see no choir of solemn tranquil forms, no 
 harmonious unity of clear grand lines, produced by ideal 
 draperies ; instead of these, we find a confused crowd of the 
 most varied movements, naked bodies in violent attitudes, un- 
 accompanied by any of the characteristics made sacred by a 
 holy tradition. Christ, the principal figure of the whole, 
 Avants every attribute but that of the Judge : no expression 
 of divine majesty reminds us that it is the Saviour who exer- 
 cises this office. The upper half of the composition is in 
 many parts heavy, notmtlistanding the masterly boldness of 
 the drawing ; confused, in spite of the separation of the prin- 
 cipal and accessory groups ; capricious, notwithstanding a 
 grand arrangement of the whole. But, granting for a moment 
 that these defects exist, still this upper portion, as a whole, 
 has a very impressive effect, and, at the great distance from 
 which it is seen, some of the defects alluded to are less offensive 
 to the eye. The lower iialf deserves the highest praise. In 
 these groups, from the languid resuscitation and upraising 
 of the pardoned, to the despair of the condemned, every 
 variety of expression, anxiety, anguish, rage, and despair, is 
 powerfully delineated. In the convulsive struggles of the 
 condemned \vith the evil demons, the most passionate energy 
 displays itself, and the extraordinary skill of the artist here 
 finds its most appropriate exercise. A peculiar tragic grandeur 
 pervades alike the beings who are given up to despair and
 
 306 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 their hellish tormentors. Tliis representation of all that is 
 fearful, far from being repulsive, is thus invested with that 
 true moral dig-nity which is so essential a condition in the 
 higher aims of art. 
 
 The nudity of almost all the figures gave offence even 
 during the life of the artist. Pope Paul IV"., \\ho cared 
 little for art, wished to have the painting destroyed ; but it 
 was afterwards arranged that Daniele da Volterra, one of 
 Michael Angelo's scholars, should cover some of the most 
 objectionable figures with drapery, which fixed upon him the 
 nickname of " 11 Bragliettone." At a later period the effect 
 of the picture was again injured by a repetition of the same 
 affectation. 
 
 A very excellent copy, of small dimensions (seven and a 
 half feet high), executed under the direction of Michael 
 Angelo, by Marcello Venusti, is in the Museo Borbonico at 
 Kaples.' 
 
 Two excellent frescos, executed by Michael Angelo on the 
 side walls of the Pauline chapel, in the Vatican, belong to 
 the same period. They are little cared for, and are so much 
 blackened by the smoke of lamps that they are seldom men- 
 tioned. The Crucifixion of St. Peter, under the large window, 
 is in a most unfavourable light, but is distinguished for its 
 grand, severe composition. That on the opposite wall — the 
 Conversion of St. Paul — is still tolerably distinct. The long 
 train of his soldiers is seen ascending in the background. 
 Christ, surrovmded by a host of angels, bursts upon his sight 
 from the storm-flash. Paul lies stretched on the ground — a 
 noble and finely developed form. His followers fly on all 
 sides or are struck motionless by the thunder. The arrange- 
 ment of the groups is excellent, and some of the single figures 
 are very dignified ; the composition has, moreover, a principle 
 of order and repose, which, in comparison with the Last 
 Judgment, places tliis picture in a very favourable light. If 
 there are any traces of old age to be found in these works, 
 they are at most discoverable in the execution of details. 
 
 The pictures ascribed to Michael Angelo in different gal- 
 
 ' [On the general arrangement and connexion of the subjects in the Cap- 
 pella Sistina, see the note at the end of this chapter. — Ed.]
 
 THE CONVEBSION OF ST. PAUL; 
 A fresco by Michael Augelo, in the Cappella Faolina. pa*e 306.
 
 THE HOLY FAMILY ; a tempei3 pamtmg by Micliael Angelo, in the Tribune at Florence. 
 
 pa^e 307.
 
 Chap. IL MICHAEL Al^GELO AND HIS FOLLOWERS. 307 
 
 leries are seldom genuine ; he very rarely exercised his hand 
 in easel-pictures, and probably never painted in oil. In the 
 tribune of the UfRzj, at Florence, is a round picture of a 
 Holy Family, in distemper, vrhich is perhaps his only strictly 
 authenticated easel-picture,' and belongs to his early time. 
 He always dealt in the most difficult positions and motives : 
 here the kneeling Virgin is lifting the child from the lap of 
 Joseph, who is seated behind her ; in the background are five 
 naked male figures. The whole makes by no means an at- 
 tractive picture, and the colouring is mannered. In the Pitti 
 Gallery at Florence a picture of the Three Fates is ascribed 
 to him — severe, keen, characteristic figures : it was executed, 
 however, by Rosso Fiorentino. A Leda, also, in distemper, 
 appears to have been lost ; * an old copy of this grand compo- 
 sition, in the royal palace at Berlin, has been often quoted as 
 the original. 
 
 Although Michael Angelo showed little inclination for 
 easel-pictures himself, he allowed his scholars and other artists 
 to copy from his drawings and cartoons. In this way many 
 of his compositions have been spread abroad ; the grand ma- 
 jestic spirit of the master gives them their character, but their 
 individual value obviously depends on the greater or less 
 ability of the painters employed. One of the best known and 
 most beautiful of these compositions is a Holy Family , \\-here 
 the child sleeps on the lap of the Virgin, with his arm hanging 
 down ; on one side is the little St. John clothed in a panther's 
 skin ; on the other, Joseph looks on in silence. The various 
 copies of this picture are distinguished by trifling variations ; 
 one of the best was, a few years ago, in the possession of 
 Messrs. Woodburn of London ; ^ another is in the Corsini 
 Gallery at Rome. A Christ at the Well, with the Samaritan 
 woman, executed by one of his best scholars, is in the Liver- 
 pool Institution. An Annunciation, also, painted by Mar- 
 
 ' Vasari, Vita di Michelagno. 
 
 * [The cartoon is in England. — Ed.] 
 
 3 [This picture, by Marcello Venusti, is still in their possession ; the ori- 
 ginal drawing by Michael Angelo has lately passed from their hands to the 
 collection of the King of Holland. The same royal amateur obtained from 
 them Michael Angelo's drawing of the Expulsion of the Money-changers. 
 M. Venusti's painting from this still belongs to Messrs. Woodbui-n. — Ed.J
 
 308 MASTERS OF TUE SIXTEENTH CENTURY. Book V. 
 
 cello Venusti, is in the Sacristy of the Lateran at Rome. 
 Michael Angelo's so-called " Dream" is multiplied in several 
 repetitions. The best, probably by Sebastian del Piombo, is 
 in the National Gallery at London. A naked male figure is 
 leaning upon a stone bench, the recess of which is covered 
 with bas-relief masks, as symbols of the deceptiveness of life. 
 He is supporting himself also upon a globe, and looks I'estlessly 
 upwards. Pictures and scenes of various earthly passions sur- 
 round him in cloudy forms, while behind him a genius with 
 the sound of a mighty trumpet is rousing him to consciousness. 
 A Pieta of Michael Angelo's designing is also very grand. 
 The Dead Christ is in the lap of the Virgin, the arms sup- 
 ported by two cherubs. A small copy of this is in the Mmiich 
 Gallery. A Clu-ist on the Mount of Olives occurs frequently 
 (in Berlin, Vienna, Munich, Rome, in the Doria Gallery, 
 etc.) : the original drawing is in the gallery of the Uffizj at 
 Florence. Two moments are represented : on the one side, 
 Christ is at prayer ; on the other, he awakens the sleeping 
 disciples. An Annunciation, in the gallery of the Duke of 
 "Wellington, is a very grand, solemn, and dignified composi- 
 tion ; the original drawing of this also is in the Uffizj at 
 Florence. The Crucifixion is a very frequent subject : an 
 excellent copy by Sebastian del Piombo is in the Museum at 
 Berlin. Sebastian del Piombo's chef-d'ceuvre, the Raising of 
 Lazarus, in the National Gallery at London, contains not 
 only single figures by Michael Angelo, but is indebted to him 
 probably for the original design. 
 
 The same grand feeling which reigns in Michael Angelo's 
 religious subjects pervades his representations from the ancient 
 mythology — representations in which the pleasures of sense 
 form the subject. The Leda, already mentioned, is a fine 
 example of the dignity and purity of his conceptions in subjects 
 of this kind. A Venus kissed by Love is also a picture of 
 wonderful freedom, power, and life. A masterly copy of this 
 composition, by Pontormo, is in the royal palace of Ken- 
 sington, near London ; another, probably also by Pontormo, 
 is in the Berlin Museum. The original cartoon, and a less 
 satisfactory copy by one of Michael Angelo's scholars, are in 
 the Museum at Naples. To this class belongs also a Gany-
 
 DESCENT FBC'Ii TEE CEOSS: by Damfele da Vcla=rra. p&te 309,
 
 Chap. II. MICHAEL AXGELO .VXD HIS FOLLOWERS. 309 
 
 mecle, borne through the air by the Eagle ; of this there are 
 man)' coi)ies : an excellent one is in the gallerj^ of the royal 
 palace at Berlin ; another is at Kensington. 
 
 The work which occupied the last ten years of this great 
 artist's life was the building of St. Peter's. Persevering with 
 iron energy, without any i-emuneration, for the honour of God 
 only, he had nearly brought this undertaking to its comple- 
 tion, according to his own plan, while every previous attempt 
 had miscarried. It must be admitted that this work is not 
 entirely free from the effects of a capricious taste ; but the 
 disposition of the whole is so singularly grand, that had not 
 the general effect of the building been injured by later addi- 
 tions, it would have ranked among the most sublime works of 
 modern architecture. 
 
 Among the scholars of Michael Angelo we will for the 
 present mention only those who either immediately carried 
 out his designs, or were capable of inventing great works in 
 his style. The foremost of these is Marcello Venusti, who 
 executed many works from the master's drawings, and is dis- 
 tinguished by a delicate and neat execution. In the Colonna 
 Gallery at Rome there is a picture by him — Christ appearing 
 to the Souls in Hades — of noble and excellent motives in 
 detail, but too scattered and feeble in composition. Michael 
 Angelo willingly employed the Venetian Fra Sebastiano del 
 Piombo, in a similar way ; by this means he united his own 
 admirable drawing with the beautiful colouring of the Vene- 
 tian .school, and thus hoped to establish a counterpoise to the 
 school of Raphael, to which in many respects he stood opposed. 
 For the account of one of the most important works of this 
 kind see a future chapter. The- best and most independent 
 scholar of Michael Angelo is Daniele Ricciarelli, named Da- 
 niele da Volterra (a former scholar of Razzi's and Peruzzi's), 
 an artist who imbibed the peculiarities of his master, though he 
 by no means reached his sublimity.* His best work, a Descent 
 from the Cross, in the Trinita de' Monti, at Rome, is copious 
 in composition, and altogether a grand, impassioned work, 
 full of powerful action. An excellently composed but some- 
 
 ' Outlines iii Laudon : Vies et (Euvres, etc., t. Daniele Ricciarelli.
 
 310 MASTERS OP THE SIXTEENTH CENTURY. Book V. 
 
 what inexpressive Baptism of Christ is in S. Pietro in Montorio, 
 at Rome. A double picture in the Louvre, representing 
 David and Goliath, in two different points of view, on each 
 side of a tablet of slate, is violent and hard, but of such 
 masterly power of representation as to have long gone by 
 Miciiael Angelo's name. A very celebrated picture, the 
 Massacre of the Innocents, by him, is in the tribune of the 
 Uffizj at Florence ; it contains more than seventy figures, but 
 it is cold and artificial. Daniele is said also to have under- 
 taken some of the paintings on the external walls of the 
 Roman palaces — a mode of decoration which in his time was 
 much in fashion. Some subjects from the history of Judith, 
 painted in grey chiaroscuro, which still embellish the facade 
 of the Massimi palace, are ascribed to him ; they are clever 
 works, but deficient in true inward energy. 
 
 NOTE ON THE SUBJECTS OF THE PAINTINGS IN THE 
 CAPPELLA SISTINA, 
 
 The paintings of the Sistine Chapel have been often described, particularly 
 with reference to their style : a few observations are here added on the con- 
 nexion of the subjects. In the general plan Michael Angelo appears to have 
 followed the ordinary series of Biblical types and antityjies familiar in his 
 time, and indeed for centuries previously, by means of illuminated compen- 
 diums of the Old and New Testament. The spirit of these cycles of Scripture 
 subjects was the same fi-om first to last : an ulterior meaning was always 
 contemplated : everything was typical. This was in accordance with the 
 system of interpretation introduced by the earliest fathers of the church, con- 
 firmed and followed up by its fom- great doctors, and carried to absurd excess 
 by some theologians of the middle ages. At first the incidents of the Old 
 Testament were referred, as we have seen, only to the Redeemer; but in 
 later times the Madonna was also typified in the heroines of the Jewish his- 
 tory. The cycles of subjects referring to both are by some supposed to have 
 existed in MS. illuminations so early as the ninth century (see Heinecken, 
 Idee d'une Collection complete d'Estampes, p. 319). 
 
 The decoration of the Cappella Sistina was begim by various masters (see 
 p. 200 and note), under Sixtus IV., about 1474. How far the original 
 plan was to have extended, and what its general arrangement would have 
 been, it is useless to inquire ; but certainly the additions made at various 
 times by Michael Angelo, and first begun in 1508, however different in style, 
 were contrived by him to correspond sufficiently well in general sequence 
 witli the earlier works. A similar connexion seems to have been intended
 
 Chap. II. MICHAEL ANGELO AND HIS FOLLOWERS. 311 
 
 by Rapliael, in decorating the remaining portion of the walls of the chapel, 
 under these frescos, with the tapestries from the cartoons, the subjects of 
 which, taken from the Acts of the Apostles, thus still followed in chronolo- 
 gical order (see a subsequent note). We proceed briefly to describe the 
 general arrangement of the series treated or contemplated by his great rival. 
 
 On the wall over and on each side of the entrance-door Michael Angelo 
 had intended to paint the Fall of Lucifer, so as to correspond with the Last 
 Judgment on the altar-wall opposite. The sketches and studies which he 
 had prepared for this work were afterwards employed and badly copied in 
 fresco by one of his assistants, in the church of the Trinitä de' Monti at 
 Rome (Vasari, Vita di M. Angelo). This fresco has long ceased to exist ; 
 some of the drawings may, however, yet come to light.' The subject in 
 question, although it would have been the last done, would have fomied the 
 beginning of the cycle : then follow the subjects of the Creation, the Fall of 
 Man, etc., on the ceiling ; the Prophets and Sibyls, the Genealogy of the 
 Redeemer, and four types fi-om Jewish history (see the next note). One of 
 these — perhaps it may be considered the last of the series as to place ^ — 
 representing Moses and the Brazen Serpent, may have been intended as the 
 immediate connecting link between the subjects on the ceiling and the his- 
 tories of Moses and Christ, by the older masters, below. Underneath these 
 last again were the tapestries from Raphael's cartoons. These decorations, 
 though moveable, were always an-anged in the same order. The central 
 subjects in the lower part of the altar-wall were originally the Assumption 
 and Coronation of the Virgin ; the first a fresco by Perugino ; the latter, 
 under it, a tapestry from one of Raphael's cartoons, now lost.^ Both, together 
 with other works, were afterwards cancelled or removed to make room for 
 Michael Angelo's Last Judgment. Perino del Vaga ultimately made some 
 fresh designs for tapestries to fill the naiTow space which remained underneath 
 that fresco, but these latter were never executed. 
 
 If we now compare this cycle with those fi-equently occurring in illumi- 
 nated MSS., Italian and Transalpine, we shall find that the order of the sub- 
 jects generally corresponds. It need not be objected that the designs in these 
 MSS. (which, however, must not be judged by the very inferior inventions 
 and copies in the first attempts at wood-engraving) were unworthy the atten- 
 tion of a great artist ; it is merely intended to show that the same series of 
 Scriptural types, which appears to have been at least tacitly authorized by 
 the Church in the middle ages, was adopted by Michael Angelo. The series 
 here more particularly alluded to is known by the name of the " Speculum 
 Humanas Salvatiom's," a title quite applicable to the general scheme of the 
 Sistine Chapel. MS. copies of the work exist in the British Museum, in the 
 Royal Library at Paris, and elsewhere. In this compendium the first subject 
 
 ' It is possible that some may be in the hands of collectors, but may be 
 erroneously considered to belong to the Last Judgment. 
 
 2 Vasari calls the Jonah which precedes it the last of the single figures. 
 
 * See the Editor's note, p. 200, and a subsequent note on the original 
 situation of the tapestries.
 
 312 MASTERS OF THE SIXTEENTH CENTUKY. Book V. 
 
 is the Fall of Lucifer ; then follow the Creation of Eve, the Disobedience of 
 Man, the Deluge, etc. : in connexion with the Nativity of the Virgin we find 
 the Genealogical " Stem of Jesse ;" and in connexion with the Birth of 
 Christ the Sibyl shows Augustus the vision of the Virgin and Child ; Esther 
 and Judith appear as types of the Madonna; and David Slaying Goliath pre- 
 figures Christ's Victoiy over Satan in the Temptation.' In some of the 
 printed editions the subject of Jonah immediately precedes the Last Judg- 
 ment ; the same connexion is observed in the altar-wall of the Cappella Sis- 
 tina ; and, although there was an interval of many years between the com- 
 pletion of the two frescos, this seems to prove that the entire series was 
 always contemplated. In MS. Gospels, and some editions of the Biblia 
 Pauperum, the subjects of the New Testament are surmounted or surrounded 
 by busts of the Prophets. While remarking these coincidences, we may 
 observe that the story of Heliodorus, so finely treated by Raphael and alluded 
 to by Dante (Purg. c. 20), occurs in the Speculum Salvationis in connexion 
 with Christ's Entiy into Jerusalem (the Expulsion of the Money-changers). 
 
 In considering the whole cycle of the Cappella Sistina, it will be seen that 
 the Bible subjects by Michael Angelo are more abundant than the antitypes 
 by the older masters, who had occupied one wall with incidents from the life 
 of Moses ; but it would have been impossible to destroy these latter without 
 also removing the opposite series from the New Testament, and this would 
 have involved the necessity of repainting the whole, a labour which Michael 
 Angelo, anxious to complete his undertakings in sculpture, probably wished 
 to avoid. If, however, we assume the possibility of his ever having contem- 
 plated the repainting of this lower series, in accordance with the wishes of 
 Julius IL, we may then conclude that some of his designs for New Testament 
 subjects (of which a few were copied in a small size by Marcello Venusti 
 and others) may have been intended for this purpose. 
 
 Even as it is, perhaps no earlier painter followed the order indicated in the 
 cycles that have been quoted more implicitly than Michael Angelo. The 
 reason of this may have been that on other occasions a reference to particular 
 dogmas of the church, and even to the liistory of particular saints, may have 
 been demanded ; but in the sanctuary of the Christian hierarchy the most 
 appropriate subjects were obviously such as had reference to the scheme of 
 revealed religion as a whole. That this scheme should be expressed in 
 accordance with some superstitions of the age was perfectly natural. The 
 painters who preceded Michael Angelo in the decoration of the chapel had 
 conceived, it is true, a grand cycle in the parallel between the Old and New 
 Law, represented by the acts of Moses and Christ ; but their plan seems to 
 have been already exhausted in the space they covered. On the other hand, 
 Michael Angelo's superior learning need not be adduced to account for his 
 adoption of the cycle he selected : the works which may have suggested it 
 were accessible and familiar to all. Heinecken remarks that MSS. of the 
 Speculum Salvationis appear to have existed in every Benedictine convent ; 
 the earliest he saw was, he supposes, of the 12th century. 
 
 * The subject of the Brazen Serpent occurs in the Biblia Pauperum.
 
 Chap. IL MICHAEL ANGELO AND HIS FOLLO\^^ERS. 313 
 
 The general order observed in these peculiar interpretations of Scripture 
 was, as we have seen, closely followed, but in the selection of some subjects, 
 as in the general treatment of all the designs in the chape!,. Michael Angelo 
 was probably influenced by the desire of displaying the human figure. Every 
 subject he has introduced had, however, in the interpretations alluded to, its 
 symbolical meaning, and generally demanded as its antitype a New Testament 
 subject below. In the sources above mentioned the type and antit}TDe are 
 confronted, and in many instances the allusions are carefully explained : this 
 is the case in the Speculum Salvationis, and often in illuminated Bibles ; that 
 of Philip de Rouvre, Duke of Burgundy (14th century), which is preserved 
 in the Royal Library at Paris, is a curious example, and there are several iu 
 the British Museum. — Ed.] 
 
 [NOTE ON THE FOUR SUBJECTS IN THE ANGLES OF THE 
 CEILING. 
 
 These four subjects represent, it is true, remarkable deliverances of the 
 Jewish nation, but it is obvious that such themes could only be selected to 
 adorn a papal chapel, on account of their typical meaning, and in order to 
 explain them it is not sufficient to examine them in a spirit which is the 
 result of our own time and creed ; it is also necessary to consider them with 
 reference to the faith they illustrate, as received at the period when they 
 were done. 
 
 The great argument of the cycles of Scriptural representations, from first 
 to last, was the Fall and the Atonement : to the latter every subject had 
 reference, more or less directly ; but it is to be remembered that certain t)^es 
 in the Old Testament were also considered to relate to the Virgin, and some- 
 times to the Church. 
 
 The three subjects in the centre of the ceiling — the Creation of Adam, the 
 Creation of Eve, and the Fall and Expulsion from Paradise — were not unin- 
 tentionally made so prominent in situation. The Creation of Eve, though 
 occupying one of the smaller compartments, it is to be remarked, forms the 
 central subject of the whole ceiling. It is always made thus important in 
 the cycles of Scriptural types, in allusion to the Messiah being born of the 
 woman alone. The four subjects at the angles — David Beheading Goliath, 
 Judith with the Head of Holofernes, the Punishment of Haman, and the 
 Brazen Serpent — are types of the Redemption ; at the same time they are 
 connected, as intermediate symbols, with the subjects of the ceiling. In the 
 Speculum Salvationis (c. 13), the first of these accompanies Christ's victory 
 over Satan in the Temptation, and is thus explained : — " Golias iste o-ygas 
 superbus figuram tenet Luciferi, David autem Christus est, qui temptationem 
 superbiae viriliter superavit." In the Biblia Pauperum the same subject 
 typifies the Redeemer overcoming the power of Satan by liberating the saints 
 from the Limbus (pi. 28). The inscription, " Signans te Christe Golyam 
 conterit iste," appears, like the subject itself, to allude to the prophecy " ipse
 
 314 MASTERS OF THE SIXTEENTH CEISITURY. Book V. 
 
 conteret caput tuum," — " it shall bruise thy head." '■ This reading, which 
 is strictly true to the original, occurs in the earliest versions of the Bible ; 
 yet in others, also very ancient, the passage is rendered " ipsa conteret caput 
 tuum," according to which the woman herself hruhea her enenny's head. The 
 authorized Vulgate agrees with the latter translation ; but if the subject of 
 David and Goliath was intended to refer to the same passage, the conclusion 
 is that both interpretations were recognized in the typical representations of 
 the middle ages. The allusions in the sense of the Iloman version are of 
 course unequivocal. In the work first quoted, a representation of the Virgin 
 suiTOunded by the instruments of the passion, is the parallel subject to Judith 
 after having beheaded Holofernes, and is thus described : — " Maria per com- 
 passionem vicit adversarium nostrum dyabolum : ipsa enim prsefigurata per 
 Judith quae restitit Holoferni. Tunc impletae sunt in ipsa olim prajraonstratae 
 ficrurae, et quaedam prophetica dicta sacrae scripturae : — ' Et tu Sathane insi- 
 diaberis calcaneo ejus (Mariae) homines impugnando ; ipsa conteret caput 
 tuum per passionem te superando.' " The same prophecy, here distinctly 
 quoted, — " it shall bruise thy head, and thou shalt bruise his heel," — is the 
 key to the subjects in question, for the two opposite types are as evidently 
 intended to illustrate the concluding words of the same verse : they allude to 
 the permitted and limited power of the evil one, and the ultimate redemption ; 
 but still with the same double application to Christ and the Madonna, — the 
 Brazen Sei-pent surrounded by the suffering Israelites alluding to the former, 
 the Retributive Punishment of Haman,*and Triumph of Esther, to the latter. 
 The type of the Brazen Serpent is probably frequent in MS. Bibles ; in the 
 Biblia I'auperum it accompanies the Crucifixion (pi. 25), with the inscrip- 
 tions, " Icti curantur sei-pentem dum speculantur," — " Eruit a tristi baratro 
 nos passio Christi." The intercession of Esther with Ahasuerus is the type 
 of the intercession of the Virgin ; the two subjects appear together in the 
 Speculum Salvationis (c. 39) : the following extract from the description 
 explains their connexion : — " Tunc ilia praecipit populum suum ab iniquo 
 Aman defendi. Hester de gente Judaeorum paupercula puella fuerat, et earn 
 rex Assuerus pro omnibus eligerat et reginam constituerat. Ita Deus pro 
 omnibus virginibus Mariam elegit — Et per ejus interventionem nostrum 
 hostem condemnavit." The above allusions to the Madonna had been long 
 consecrated in the Church of Rome : that others far more recondite and fan- 
 ciful were also common, may be gathered fi-om the examples adduced and 
 condemned by Erasmus in his " Ecclesiastes." — Ed.] 
 
 ' " Ai;d I will put enmity between thee and the woman, and between thy 
 seed and her seed ; it shall bruise thy head, and thou shalt bruise his heel." 
 Gen. iii. 15. 
 
 " The circumstance of Haman being represented crucified agrees with 
 Dante's description of the same subject (Purg., c. 17); and appears to be 
 warranted by the original. Compare with Acts x. 39.
 
 Chap. III. OTHER MASTERS OF FLORENCE. 315 
 
 CHAPTER III. 
 
 OTHER MASTERS OF FLORENCE. 
 
 Besides Leonardo and Michael Angelo, several other artists 
 were formed in Florence, who, without reaching' the depth 
 and sublimity of these two masters, deserve to be ranked near 
 them by great and peculiar qualities. The first of these is 
 Baccio della Porta, who took the name of Fra Bartolommeo 
 when he entered the Dominican convent of S. Marco at 
 Florence (1469-1517). Originally formed in the scliool of 
 Cosimo Rosselli, he afterwards adopted a style more conso- 
 nant to his own taste, under the influence probably of the 
 works of Leonardo. As an artist, Fra Bartolommeo was 
 characterized by a calm seriousness, unaffected dignity and 
 grace. The religious expression of his holy figures proceeds 
 from a conscious elevation, and is no longer the result of a 
 mere sentimentality, as in the older masters. A mild dignity 
 — the attribute of Leonardo and his school — pervades these 
 figures, and in his Madonnas the expression of holiness is 
 happily blended with feminine beauty. But the circle in 
 which he moves is limited. Generally speaking, we feel the 
 want of that inward power so essential to the perfection and 
 even conception of grand and elevated subjects. In these he 
 appears sometimes cold and formal, sometimes impetuous and 
 wanting in repose. As respects his technical qualities, his 
 colouring, especially of the nude, is unusually soft : he ap- 
 pears, also, to have imbibed Leonardo's peculiarly melting 
 execution ; his drapery, too, is excellent. The use of wooden 
 lay-figures was introduced by him, and was the means of con- 
 siderably improving the study of drapery. His compositions 
 are generally simple Madonnas, surrounded by Angels, but 
 he renders them imposing by splendid architecture and a 
 skilful disposition of the groups. In these pictures he de- 
 lights to introduce boy-angels, sometimes seated and playing 
 on instruments, sometimes hovering around the Madonna, 
 bearing her mantle, or the dais of the throne itself. In the 
 gallery of the UflSzj at Florence are two small miniature 
 
 * p 2
 
 316 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 pictures of Fra Bartolomtneo's early time — the Birth and Cir- 
 cumcision of Christ ; the composition is particularly pleasing 
 and dignified, the arrangement of the drapery excellent, and 
 the execution extremely delicate. Already, even in these 
 early works, the fine character of the artist's talent is visible, 
 although it was not emphatically developed till a later period. 
 In the year 1500, wounded to the soul by the execution of 
 Savonarola, his most intimate and venerated friend, he entered 
 into a convent, and during four years never touched a pencil. 
 His love of life and Art was i-eawakeiied principally through 
 the influence of the youthful Raphael, who arrived at Florence 
 in 1504, and stimulated him to fresh exertions. Among the 
 best works of Fra Bartolommeo's pencil, now existing, are 
 some simple compositions of the Madonna and Child, often to 
 be met with in galleries (some of the most beautiful are in 
 the Uffizj and Academy at Florence) or altarpieces, with the 
 Madonna and various Saints. A specimen of this latter kind, 
 representing the patron-saints of Florence, is also in the Uffizj. 
 It is a particularly dignified and animated composition (St. 
 Anna here occupies the highest place ; the Madonna is seated a 
 step lower), but it is only dead-coloured, in chiaroscuro, for, 
 unhappily, the artist died before he could execute it. His best 
 altar-pictures of this kind are in Lucca ; the Madonna della 
 Misericordia, in S. Romano, is especially worthy of notice. 
 In this the Madonna sits with gracious mien among a host of 
 pious votaries (44 heads), whom she protects with her mantle 
 from the Avrath of heaven. Also a beautiful Madonna with 
 Saints in S. Martino. The gallery of the Pitti Palace at 
 Florence is rich in works by Fra Bartolommeo. The most 
 celebrated is the St. Mark ; this picture is highly extolled for 
 its sublimity, but perhaps betrays the deficiency of manly 
 energy before alluded to. Two figures of Prophets, in the 
 tribune of the Uffizj, are similar in style, but not so important. 
 Still more beautiful, from its harmonious, solemn dignity, is 
 a S. Vincenzio, brought from the convent of St. Mark to the 
 gallery of the Academy. Also a representation of Christ 
 after his ascension, surrounded by the Evangelists, and two 
 genii holding a shield, in the Pitti Palace, though not satis- 
 factory in a spiritual sense, is of solemn arrangement and
 
 A Jroiip from Fra Bartolomnoeo'a picture in 3. Romano at Lucca. pa^e 31P.
 
 ST. MAEK ; by Fra Baxtolommeo. page 316.
 
 Chap. III. OTHER MASTERS OF FLOREXCE. 317 
 
 great outward beauty of motive. A large Madonna with 
 Saints, in the same gallery, has greatly darkened with age, 
 but is said to have been one of his principal works. A number 
 of charming heads in fresco, formerly in S. Maria Maddalena, 
 near Florence, are now preserved in the Academy, We do 
 not enumerate all the works of this artist in the galleries of 
 Florence, but we must not omit a very interesting but now 
 much injured fresco which adorns the wall of a chapel in a 
 small court of S. Maria Nuova. It represents the Last 
 Judgment ; and in the Apostles sitting on each side of Christ 
 we are forcibly reminded of Raphael's " Disputa," as well as 
 of the Last Judgment of Oreagua, in the Campo Santo at 
 Pisa. 'I he draperies of the Apostles are particularly excel- 
 lent. The works of Fra Bartolommeo are rare out of Tus- 
 cany. An Assumption of the Virgin, in the Studj Gallery 
 at Kaples, is ascribed to him, and. with the exception of the 
 principal figure, is worthy of the master. Two grand altar- 
 pieces of 1505-1507, and 1515, are in the Louvre. A Ma- 
 donna with Christ and the Baptist, in the collection of Lord 
 Cowper at Panshanger, is distinguished fi'om Fra Barto- 
 lommeo's other smaller works not only in composition and 
 colouring, but in the tender melancholy which pervades the 
 whole. Two standing figures of St. Peter and St. Paul, 
 as large as life, were executed during a short residence in 
 Pome. Tlie first was completed by Raphael after Bartolom- 
 meo's departure. They are now in the Quirinal. An excellent 
 Madonna with Saints is in the cathedral at Besan^on, opposite 
 the south doorway. Finally, his Presentation in the Temple, 
 veil known by the engraving, is in the Imperial Gallery at 
 Vienna ; a neat sketch of it is in the Ufltizj Gallery at Florence. 
 Mariotto Albertinelli was the friend and fellow scholar of 
 Fra Bartolommeo, and an imitator of his style. A very cele- 
 brated picture by him is in the gallery of the Uflfizj at Flo- 
 rence ; tlie subject is the Salutation. It contains the two 
 figures of Mary and Elizabeth only, but the arrangement is 
 simple and noble, the drawing excellent, the colouring power- 
 ful, and the expression earnest and finely intended, but perhaps 
 in a slight degree constrained. In the Academy at Florence 
 there are also several clever pictures, parts of which are very
 
 318 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 graceful, by this master. In the Berlin Museum there is an 
 Assumption of the Virgin, the upper part by Fra Bartolommeo, 
 the lower by Mariotto Albertinelli. An early picture of the 
 year 1506, the Virgin and Child standing upon a pedestal be- 
 tween two kneeling saints, is delicate and graceful, but not 
 comparable with Fra Bartolommeo in energy. It is in the 
 Louvre. 
 
 Among the scholars of Fra Bartolommeo may be mentioned 
 Fra Paolo da Pistoja. In the Royal Gallery of Vienna there 
 is a large altar-picture by him, ^n the style of his master. 
 He inherited Fra Bartolommeo's drawings, and made use of 
 them for his own pictures. After him the drawings fell into 
 the hands of a Dominican nun, Plautilla Nelli, Avho also 
 formed her style from them ; but she appears as a feeble, 
 sentimental imitator. 
 
 The general style of Fra Bartolommeo was followed by a 
 later Florentine artist, Andrea Vanucchi, commonly called 
 Andrea del Sarto,* from his father's trade (1488-1530). In 
 the Avorks of this painter there is, however, less of the reli- 
 gious seriousness of the elder master, less of his sincerity in the 
 treatment of holy subjects. The pictures of Andrea, on the 
 contrary, are generally characterized by a mere amiable cheer- 
 fulness, a childlike innocent gaiety. The easily-known type 
 of his female heads is in no way derived from the ideal, but is 
 merely, as with many a painter of the fifteenth century, a 
 generalising of one single individual. Neither has this artist 
 a rich fancy, as is proved by his historical pictures ; but his 
 numerous Madonnas are always pleasing when in his own pecu- 
 liar style, and so long as his fine execution does not degenerate 
 to empty mannerism. Originally Andrea was of the school of 
 Pietro di Cosimo, and preserved some of the peculiarities of his 
 master, particularly in his small pictures with landscape back- 
 grounds. He soon, however, became independent ; his style, 
 at first youthfully constrained and severe, was at a later period 
 peculiarly soft and delicate in the modelling of the forms. 
 
 Among the earliest of Andrea's works are the frescos which 
 he executed in the court of the Compagnia dello Scalzo at 
 
 ' Biadi, Notizie inedite della Vita d'Andiea del Sarto, raccolte da mano- 
 scritti e documenti autentici ; Firenze, 1830. — Andrea del Sarto, von Alfred 
 Reumont ; Leipzig, 1835.
 
 Chap. III. OTHER MASTERS OF FLORENCE. 319 
 
 Florence.' All the paintings now remaining are in chiaro- 
 scuro, and, with the exception of some allegorical figures, 
 represent the history of St. John the Baptist. Those first 
 painted were the Baptism of Christ, the Preaching of John, 
 and the Baptism of the People. With the dry angular manner 
 of the old school these already imite pleasing, correct drawing 
 and dignity of character. The rest of these pictures belong 
 to a later period of the artist's practice, and are of unequal 
 merit ; the last executed — the Birth of John — is, however, 
 very excellent: it is a simple, effective composition, with veiy 
 beautiful figures. Although these paintings have suffisred, 
 they can yet be tolerably well made out. In consequence of 
 the celebrity of these first-mentioned frescos a similar work 
 was entrusted to Andrea in tlie court of the SS. Annunziata 
 at Florence. Alessio Baldovinetti had already begun the 
 subject of the Nativity, and Cosimo Rosselli had also painted 
 a compartment. Andrea commenced with the history of S. 
 Filippo Benizzi, which he completed in five large coloured 
 pictures. These are among the most beautiful of his produc- 
 tions ; they are in some parts very simple and severe in exe- 
 cution, but have an expression of steiling dignity which is 
 rarely found in his other works. One of their peculiar features 
 is the beautiful landscape backgrounds. The fourth picture 
 is particularly remarkable, both as regards its composition 
 and the lively interest with which the story is told ; it repre- 
 sents the Death of the Saint, and a Boy Restored to Life. 
 The fifth excels in the harmony of its light and shade and 
 colouring ; the subject is Children Healed by touching the 
 garment of the Saint. Some time after Andrea painted in 
 the same court the Birth of the Virgin, also an excellent 
 work, and an Adoration of the Kings, with numerous figures. 
 Another painting by him, in the great court of the same 
 convent (in the lunette over the entrance), is of a considerably 
 later period (1525) ; it is known by the name of the Madonna 
 del Sacco — a simple Holy Family, in which Joseph is repre- 
 sented leaning on a sack. This is one of the artist's most 
 celebrated works : the forms are grand, the composition has 
 an agreeable repose, and the drapeiy is masterly. 
 
 ' Pitture a Fresco di Andrea del Sarto ; Firenze, 1823.
 
 320 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Before we pass to Andrea's easel-pictures another important 
 fresco must be mentioned, in the refectory of the convent of 
 S. Sal vi, near Florence, of the year 1526-7. It represents 
 the Last Supper, with the usual arrangement of the figures ; 
 it resembles, for instance, Leonardo da Vinci's composition, 
 but is not to be compared with that work in the profound 
 conception of the subject. The division of the groups is 
 peculiar ; the single figures are finelj^ characterized. 
 
 The easel-pictures of Andrea are very numerous : their 
 subjects are principally confined to the simple circle of Ma- 
 donnas, Holy Families, and similar alturpieces ; in these his 
 peculiar qualities are most freely developed. Pictures of this 
 kind, belonging to his early time, are very rare. One, which 
 he painted for the convent of S. Gallo, and wiiich is now in 
 the Pitti palace, shows a finer and deeper earnestness than is 
 xisual in his works ; it is an Annunciation, and reminds us in 
 some respects of Francia. In other pictures — in one, for 
 example, of the same subject, in the same place (No. 27), the 
 influence of Michael Angelo is visible — an influence wliich 
 can hardly be said to have operated favourably on the style of 
 Andrea. The most beautiful example of this artist's own 
 manner is the Madonna di S. Francesco, in the tribune of the 
 Uflfizj at Florence. The Madonna with the Child stands on a 
 low altar, supported by two boy-angels ; St. Francis and St. 
 John the Evangelist stand beside her : the expression of both 
 the saints is bland and dignified. Among the altarpieces 
 which are now in the Pitti Palace, the so-called Disputa della 
 SS. Trinita is peculiarly fitted to exhibit Andrea's aflfinity 
 with the Venetian school. This is a " Santa Conversazione" 
 of six Saints. St. Augustin is speaking with the highest in- 
 spiration of manner ; St. Dominic is being convinced with his 
 reason ; St. Francis with his heart ; St. Lawrence is looking 
 earnestly out of the picture ; while St. Sebastian and the 
 IVIagdalen are kneeling in front, listening devoutly. "We here 
 find the most admirable contrast of action and expression, 
 combined with the highest beauty of execution, especially of 
 colouring. A Dead Cluist, with the mourners around him, 
 symmetrically composed, which Andrea was fond of, is rich in 
 fine details. Besides these, there is a considerable number of
 
 Chap. III. OTHER MASTERS OF FLOREXCE. 321 
 
 Andrea's works, all more or less excellent, In the Florentine 
 galleries, especially in that of the Palazzo Pitti. 
 
 In the year 1518 Andrea was invited into France by 
 Francis I., a great lover of Art; for him and the great men 
 of his court the artist executed a number of pictures : many 
 of them still adorn the gallery of the Louvre. He was well 
 received, and his reraimeration was such as he could never 
 have expected in Florence. Yet he was induced to leave 
 France in the following year, under some pretext, by the im- 
 portunities of his capricious and tyrannical wife ; and even to 
 embezzle the sums entrusted to him by the king for the pur- 
 chase of works of Art in Italy. lie afterwards deeply repented 
 his folly, but never regained the favour of the king. His 
 conduct drew upon him many reproaches even in his native 
 place, and the consciousness of disgrace certainly had a re- 
 pressing influence on the free exercise of his talent. Of those 
 pictures which he executed at Fontainebleau, only his principal 
 one, a Carita, is preserved in the Louvre. This is the well- 
 known group of a Mother with three Children, and (in spite 
 of various injuries, and also of the destruction to which, in 
 common with all the other pictures in the long gallery at the 
 Louvre,' it is rapidly hastening) it is still of powerful effect 
 of colouring : the forms, however, are neither noble nor well 
 chosen. Andrea's pictures are frequent in other galleries 
 besides those of Florence and Paris : a whole collection of 
 Madonnas and Holy Families, by himself and his scholars, is 
 in the Borghese Palace at Rome. Some very excellent speci- 
 mens are in Munich, Vienna, Berlin, and Dresden. But it is 
 by no means to be supposed that all the works which bear his 
 name are genuine. One of his last and most celebrated pictures 
 is in Dresden — the Sacrifice of Abraham — done in 1529. 
 
 Marc' Antonio Franciabigio, the friend and companion of 
 
 ' The wretched condition of the pictures in the Dresden Gallery, which is 
 so much deplored, is not to be compared with the systematic ruin of those iu 
 this part of the Louvre. For further informatinn oii this head we refer our 
 readers to the perpetual complaints of certain French journals, and to Waa- 
 gen's ' Paris,' p. 679. Those which survive the daily dust during the Exhi- 
 bition, and the damp exhalations of the neighbouring Seine, are sure to be 
 destroyed by the periodical " Restorations." Whoever wishes to see the.se 
 pictures must lose no time. 
 
 r 3
 
 322 MASTERS OF THE SESTEENTH CENTURY. Book V. 
 
 Andrea, resembles him in manner, although he never reached 
 his naivete and freedom. He painted two pictures in the court 
 of the Scalzo, next to Andrea's — John receiving the Blessing 
 of his Parents before he goes into the Wilderness, and his 
 First Meeting with the youthful Christ. In the court of the 
 SS. Annunziata he painted the Marriage of the Virgin. In 
 all these works he appears a successful iuiitator of his friend. 
 The monks uncovered this last work before it w-as finished, 
 which so enraged the artist that he gave the head of the 
 Virgin some blows with a hammer, and w-as with difficulty 
 prevented from destroying the whole. The traces of these 
 blows remain, for neither Franciabigio nor any other artist 
 would repair the injury. In his easel-pictures he is seldom 
 important. 
 
 Jacopo Carucci, commonly called Pontormo, from his native 
 city, was a scholar of Andrea : his talents strongly excited 
 the jealousy of his master, who forced him by injurious treat- 
 ment to leave his studio. In the court of the SS. Annunziata, 
 Jacopo painted the Salutation, or Visit of Mary to Elizabetli ; 
 it has great grandeur in the forms. In the Uffizj there is an 
 excellent portrait by him of Cosmo de' Medici, vivid and 
 warm in colour. Tliere are excellent portraits by this artist 
 elsewhere — for example, in the Berlin Museum. Two other 
 scholars of Andrea are not to be forgotten, Jacone and Do- 
 raenico Puligo, who frequently took a part in the works of 
 their master. The pictures of Domenico, particularly his 
 numerous Holy Families (in the Borghese and Colonna Gal- 
 leries at Rome, the Pitti Palace at Florence, &c.) are so 
 much in the manner of Andrea as to be frequently mistaken 
 for that painter's works, only that the natural grace of Andrea 
 is here lost in vagueness and uncertainty. 
 
 The Florentine, 11 Rosso, was also employed in the court 
 of the SS. Annunziata with Andrea and the above-named 
 artists. He painted in it an Assumption of the Virgin, an 
 animated and solemn picture, less noble and less clear in 
 composition, however, than the other frescos of this place, 
 and not without some indication of mannerism. A certain 
 fantastic manner, peculiar to this artist, distinguishes him 
 from the rest of the Florentines. In the galleries of Florence
 
 Chap. III. OTHER BLISTERS OF FLORENCE. 323 
 
 and in other part*; of Italy we find many pictures by his hand ; 
 upon the whole, Jiowever, they are scarce even there. A 
 large Aladomia with saints, in the manner of Andrea del 
 Sarto, is in the Pitti Palace. II Rosso spent the most active 
 period of his life in France, in the service of Francis I. 
 (under the name of Maitre Roux), superintending the em- 
 bellishments of the palace at Fontainebleau. A Salutation 
 of the Virgin, of Ids best time, now in the Louvre, shows 
 equally the influence of Fra Bartolommeo as of Andrea del 
 Sarto. An Entombment in the same gallery is coldly antique 
 and very mannered. 
 
 Ridolfo Ghirlandajo, the son of Domenico Ghirlandajo, 
 was an artist of extraordinary talent ; he passed from the 
 school of his father and uncle (David Ghirlandajo) into that 
 of Fra Bai'tolommeo, and there formed a beautiful manner of 
 his own. When Raphael arrived in Florence, in 1504, 
 Ridolfo cultivated a close friendship with him. At a later 
 pericid Raphael urged him to take a part in his great works 
 in the Vatican, but Ridolfo did not accede to this request. 
 Two of his paintin<rs in the Uffizj at Florence show how 
 nearly at this time he kept pace with the aspiring talents of 
 Raphael. In one, St. Zenobius raises a dead boy to life ; in 
 the other, the corpse of the Saint is borne to tlie Duomo of 
 Florence; they are extremely well painted, the heads espe- 
 cially are worthy of all praise. These pictures show, perhaps, 
 the highest state of perfection which the realistic school of 
 Florence attained. An admirably executed Coronation of 
 the Viriiin, with several saints, of the year 1504, is now in 
 the Louvre. A female head, in the Pitti Palace, with the 
 date 1509, may be compared to some of Francia's best 
 portraits. A Christ bearing the Cross, in S. Spirito at 
 Florence, though somewhat superficial in execution, displays 
 a very original motive : the crowd are all looking round 
 at the sorrowing Virgin who is following. Ridolfo, un- 
 fortunately, afterwards deserted this honourable path, and 
 from an artist became a mere mechanical painter. With 
 Raffaellino del Garbo (1476-1524), a scholar of Filippino 
 Lippi, we close the series of the Florentine artists of this 
 period. In this painter's earlier works there is a peculiar
 
 324 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 amiableness ; he has a tenderness of feeling which nearly 
 resembles Lorenzo di Credi, but it is expressed still more ele- 
 gantly. The Berlin Museum possesses five paintings of Raffael- 
 lino, among which, two large altar-pictures (Part I. No. 179 
 and No. 199),' and above all, a Madonna and Child with two 
 angels (Part I. No. 194), are very remarkable for these qua- 
 lities. That dramatic power also, which is peculiar in so high 
 a manner to Lippi and the Ghirlandaj, displays itself in Rafael- 
 lino's "Resurrection" in the Florentine Academy, especially 
 in the figures of the four guards. This painter at a later 
 period followed the modern direction, in which M. Angelo 
 and Raphael had led the way ; but his attempts in it were 
 not successful. Some of his later works are to be seen on 
 the ceiling of the chapel of St. Thomas Aquinas, in S. Maria 
 sopra Minerva at Rome. The walls are painted by his master 
 Filippiao Lippi. 
 
 CHAPTER IV. 
 
 KAPHAEL- 
 
 We now come to an artist who again belongs to the greatest 
 of modern times — to Raphael Sanzio, more properly Santi 
 of Urbino.* According to Vasari he was born on Good 
 Friday, March 28th, 1483, and died on Good Friday, April 
 
 ^ Waagen, Verzeichniss der Gemälde-Sammlung des Königl. Museums zu 
 Berlin, 1834. 
 
 * Veiy copious literary materials. The most important original works, 
 beside the articles in Vasari's Biography, are — Angelo Comolli, Vita inedita 
 di Raffaello da Urbino, iUustr. con note, Roma, 1790; 2nd edit., 1791. — 
 Carlo Fea, Notizie intorno Kaff. Sanzio da Ur. ed alcune di lui opere, etc., 
 Roma, 1822. — L. Pungileone, Elogio storico di Raif°- Santi da Urbino, Urb. 
 1829. — Quatremere de Quincy, Hist, de la Vie et des Ouvrages de Raph^-, 
 Paris, 1824; 2nd edition, 1833; translated into Italian, with important 
 notes : Istoria della \'ita e delle Opere di Kafaello Sanzio da urbino, del S. 
 Quatremere, etc. ; voltata in Ilaliano, c«rretta, illustrata ed ampliata per 
 curadi Francesco Longhena, Milano, 1829. — Rafael als Mensch und Künstler, 
 von G. K. Kagler, München, 1836; — a compilation. Others by Braun, 
 Eehberg, &c. Beyond all these ranks J. D. Passavant, Rafael von Urbino u. 
 sein Vater Giovanni Santi, Leipzig, 1839, 2 vols, with 14 plates; a work 
 which embraces, with critical selection, the previous researches, explains in 
 detail the works of the gi-eat painter, and till new facts come to light, may 
 be considered as liaving exhausted the subject. 
 
 Fuither: Italienische Forschungen von C. F. von Rumohr, vol. üi. —
 
 Chap. rV. RAPHAEL. 325 
 
 6th, 1520. His epitaph, however, states that he died on his 
 birthday, which, according to other accounts, also was April 
 6th, 1483. It would be difficult to describe Raphael's cha- 
 racter in more appropriate words than those with which Yasari 
 concludes his biography : " O happy and blessed spirit ! every 
 one speaks with interest of thee ; celebrates thy deeds ; 
 admires thee in thy works ! Well might painting die when 
 this noble artist ceased to live ; for when his eyes were closed 
 she remained in darkness. For us who survive him it remains 
 to imitate the good, nay excellent method, which he has left 
 us for our guidance ; and as his great qualities deserve, and 
 our duty bids us, to cherish his memory in our hearts, and 
 keep it alive in our discourse by speaking of him with the 
 high respect which is his due. For in fact through him we 
 have the art in all its extent, colouring and invention, carried 
 to a perfection which could hardly have been looked for ; 
 and in this universality let no human being ever hope to 
 surpass him. And, beside this benefit which he conferred on 
 Art as her true friend, he neglected not to show vis how every 
 man should conduct himself in all the relations of life. Amonsr 
 his rare gifts there was one which especially excites my 
 wonder ; I mean, that heaven should have granted him to 
 infuse a spirit among those who lived around him so contrary 
 to that which is prevalent among professional men. The 
 painters — I do not allude to the humble-minded only, but to 
 those of an ambitious turn, and many of this sort there are — 
 the painters who worked in company \nth Raphael lived in 
 perfect harmony, as if all bad feelings were extinguished in 
 his presence, and every base, unworthy thought had passed 
 from their minds. This friendly state of things was never so 
 remarkable as in Raphael's time ; it was because the artists 
 
 Beschreibung der Stadt Rom, etc. — Passavant, Kunstreise durch England und 
 Belgien : — etc. 
 
 Outlines in Landon's Vies et (Euvres, etc. : — a great number, but unfortu- 
 nately not chosen with sufficient discrimination. — Bonnemaison, Suite d'etudes 
 calque'es et dessiuees d'apres cinq tableaux de Raphael ; Pans, 1818. Very 
 useful as studies : — etc. 
 
 Catalogues of the Engravings after Raphael's works : — Nachrichten von 
 Künstlern und Künstsachen; vol. ii., Leipzig, 1769, p. 315, etc. — Catalogue 
 des Estampes gravees d'aprfes Rafael ; par Tauriscus Euboeus (the Arcadian 
 designation of Count Lepel) ; Francfort sur le M., 1819 — etc.
 
 326 MASTERS OF THK SIXTEENTH CENTURY. Book V. 
 
 were at once subdued by his obliging manners and by his sur- 
 passing merit, but more than all by the spell of his natural 
 character, which was so benevolent, so full of affectionate 
 kindness, that not only men, but even the very brutes re- 
 spected him. It is said that if any painter of his acquaint- 
 ance, or even any stranger, asked him for a drawing which 
 could be of use to him, Raphael would leave his work to 
 assist him. He always had a great number of artists em- 
 ployed for him, helping them and teaching them with the 
 kindness of a father to his children rather than as a master 
 directing his scholars. For which reason it was observed he 
 never went to court without being accompanied from ids very 
 door by perhaps fifty painters, all clever in their way, who 
 had a pleasure in thus attending him to do him honour. In 
 short he lived as a sovereign rather than as a painter. And 
 thus, O Art of Painting ! thou too couldst then account tliy- 
 self most happy, since an artist was thine, who, by his skill and 
 by his moral excellence, exalted thee to the highest heaven !" 
 Altliough we cannot here enter into the consideration of 
 the extravagant and partial appreciation of Raphael,' implied 
 in this passage, so evidently to the disadvantage of all other 
 artists, but which is quite in accordance with the spirit of the 
 present age, we must acknowledge that in this description we 
 find the essential points which form the groundwork of 
 Raphael's art. Vasari paints him as a magician, whose pre- 
 sence diff"uses joy and happiness, makes the marvellous pos- 
 sible, and effects the closest miion between the most opposite 
 minds. This magic power is the spirit of beauty, which 
 filled his whole being and shines through all his creations. 
 A beautiful and harmonious development of form is his first 
 aim, but not in the restrictive sense in which it was studied 
 by the masters of the fifteenth century. In Raphael, beauty 
 of form is the expression of elevation of mind, of utmost 
 purity of soul. In Leonardo da Vinci, the chief aim appears 
 
 J The greatness of Raphael, compared with other artists, is not so much in 
 kind as in degree. No master has left so many really excellent works as he 
 whose days were so early numbered ; in none has there been observed so little 
 that is unpleasing. His pure and noble character again places him in the first 
 rank among artists. But this should not prevent us from admitting the suc- 
 cessful efforts and high original qualities of other masters.
 
 Chap. IV. RAPHAEL. 327 
 
 to have been a characteristic and thorough expression of the 
 theme he had to treat ; in Michael Angelo, we remark a 
 peculiar, grand, subjective mode of conception : in both, 
 beauty of form is to be considered as a secondary element : — 
 it is the reverse in Raphael. This tendency may be distinctly 
 observed in some of his works, where the subjects prescribed 
 to him were perhaps less suited to the tendency of his mind ; 
 in these, detached parts are often more attractive than the 
 whole, and the accessory figures, represented with all the 
 truth of nature, excite a stronger interest than the principal 
 subject of the picture. 
 
 Like most of the great artists of the time, Raphael's activity 
 was not confined to a single department : in the history of 
 art, he also fills an important place as an architect, and had 
 begun important researches into the architectural remains of 
 Roman antiquity. One of the finest statues of modern Rome' 
 is ascribed to him, not only in design or model, but in the 
 execution in marble. But all his other qualities were eclipsed 
 by his predominant talent for painting, and it is more espe- 
 cially in this art, that we find the development of his powers 
 aided in the happiest manner by the circumstances in which 
 he was placed. We shall trace this •peculiar progress in its 
 most important steps. 
 
 Raphael was the son of Giovanni Sanzio, or De' Santi, of 
 Urbino (who has been mentioned among the painters allied to 
 the Umbrian school). He received his first education as an 
 artist from his father, wliom, however, he lost in his eleventh 
 year. For the history of this part of his life there are only 
 conjectures. As early as 1495 Raphael probably entered the 
 school of Pietro Perugino, at Perugia, where he remained till 
 about his twentieth year. Of the works painted by him before 
 he entered this school we know nothing with certainty. At 
 Urbino a Madonna is ascribed to him, said to have been 
 
 * The Jonah in the Cappella Chigi, in S. M. del Popwlo. Passavant's 
 reasons (i. 249) for ascribing the execution to Raphael appear tolerably con- 
 vincing. As regards also the Boy upon a Dolphin, of which a plaster cast is 
 in the Mengs Gallery at Dresden, see Passavant, i. 250, and Kunst bl., 1837, 
 No. 62. [The original statue of the Boy borne by a Dolphin is now in 
 Ireland. See the Penny Magazine, July 17, 1841, where a woodcut of it is 
 given. On the statues in the Chigi chapel, see Eastlake's Contributions to 
 the Literature of the Fine Aits, p. 257, note.- — Ed.J
 
 328 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 painted on the court-wall of his father's dwelling ; it is now 
 preserved in a room of the same house. It has been recog- 
 nized, however, as the work of his father. A circular picture 
 of a Holy Family, in the sacristy of S. Andrea' at Urbino, 
 appears to be an imitation from one of his latest works. A 
 Madonna in distemper, in S. Chiara at Urbino, is by Ingegno, 
 so that nothing certain remains of his earliest time. The 
 first traces of Raphael's exertions in the school of Perugino 
 are supposed to be observable in several pictures by this 
 master, who availed himself of the help of his gifted scholar 
 in the execution of his works. The Eesiirrection, in the 
 Vatican, may, as we have observed before, be almost entirely 
 by the hand of Raphael. Another work of this kind is a 
 beautiful altarpiece, formerly in the Certosa at Pavia, now in 
 the palace of the Duca Melzi at Milan ; one of the side 
 panels in particular, representing an angel with Tobias, is of 
 surpassing beauty. In the Adoration of the new born Infant, 
 in the Vatican, a work of Perugino's school, executed by 
 several hands, the figure of Joseph is at all events by Raphael, 
 perhaps also one of the front group. On the otlier hand his 
 participation in the frescos of the Sala del Cambio at Perugia, 
 and in the Adoration of the Kings in Citta della Pieve, is 
 more than doubtful. 
 
 The first independent works by Raphael (about 1500) which 
 can be identified as such are the two sides (now separated) of 
 a church flag in S. Trinitä zu Citta di Castello, representing 
 the Trinity with two saints praying, and the Creation of Eve ; 
 also an altarpiece executed for the same town — a Crucifixion 
 with four saints, formerly in Cardinal Fesch's gallery at 
 Rome, now in that of Lord Ward in London. Both works 
 are entirely in Perugino's style, though already surpassing 
 him in intelligence of expression. In the last-named picture, 
 the childlike beauty of the St. John, and the deep, sacred 
 
 ' [The first of the above-named pictures, representing a Madonna and 
 Sleeping Child, is a work by Giovanni Santi, much repainted. It is, however, 
 interesting, from the great probability that the composition was taken 
 directly from nature, and that the arti>t's wife, Magia Ciarla, and their only 
 surviving son, Raphael, were the originals. The circular picture in S. Andrea 
 is partly copied, by an unknown hand, from one of Raphael's latest woiks — 
 the Holy Family, now in the Louvre, painted for Francis I. See Passavant, 
 Rafael von Urbino, i. 41, 42.— Ed.]
 
 THt l.Uiuu^L,AS OF RAPHAEL. 
 
 REFERENCES. 
 
 T.. LiNDON, Vies et CEuvres des Peintxep. Paris, 4to, 1S05-9. (Raphafcl.) 
 P. PAS8AV4NT, Raphael von Urbino. Leipzig, 1839, vol. 2. 
 p. Page of the present work. 
 
 1. Berlin, P. J3, p. 329. 5. Del Gran Duca, Florence, P. 35, p. 334. 
 
 S. With SS. Francis and Jerome, Berlin, P. 19, 50. St. Luke painting the Madonna, Raphael looking 
 
 p. 329. on, Rome, L. 132, P. 41G, p. 386. 
 1. In Casa Connestabile, Perugia, P. 34, p. 330.
 
 THE MADONNAS OF JlAPnAEL. 
 
 8. Naples (from St. Antonio convent, Perugia), 14. Orleems, L. 146, P. 59, p. 339. 
 
 P. 39, p. 335. 15. Cani^iam, Munich, L. 424, P. 68, p. 339. 
 
 9. Blenheim (1505), P. 43, p. 336. 16. Pink, P. 79, p. 339. 
 
 10. CardeUino, Florence, P. 4S, p. 333. 17. Tempi, Munich, L. 426, P. 81, p. 333. 
 
 11. Vienna (1606), P. 49, p. 337. 18. Madonna and Sleeping Child, P. 82, p. 372, note. 
 
 12. With the Palm-tree, London, L.3-27, P. SI, p. 337. 19. Panshangor, P. S3, p, 339. 
 
 13. Beardless Joseph, St Petersburg, P. 56, p. 340. 20. Colonna, Berlin, P. 31, p. 339.
 
 Chap. IV. EAPHAEL. 329 
 
 grief of the Madonna, are given with indescribable intensity. 
 Various easel-pictures are also attributed, with more or less 
 certainty, to Raphael alone during this time. They bear 
 the general stamp of the Umbrian school, but in its highest 
 beauty. The tender, enthusiastic sentimentality which is the 
 general characteristic of this scliool, may be said to harmonize 
 well with the character of generous youth. So long as works 
 of art done under such an influence seem to breathe the fresh 
 aspirations of the youthful mind, they must of necessity appear 
 true and pure ; but when, at an advanced period of life, this 
 sentiment and aspiration are not ripened into depth of cha- 
 racter and energetic decision, then does this youthful tender- 
 ness, as we have before remarked in the instance of the 
 Umbrian masters, necessarily degenerate into constraint, and 
 become mere manner and mechanism. The foundation of a 
 noble manhood, undeveloped as it is in the early works of 
 Raphael, is nevertheless apparent in his pure and clear con- 
 ceptions ; his youthful efforts are essentially youthful, and 
 seem to contain the earnest of a high development. This it 
 is which invests his early productions with so peculiar and 
 great an interest. A few may be mentioned which are tole- 
 rably well authenticated. First, some Madonnas ; two are 
 in the Berlin Museum. In the one, the Madonna reads in a 
 book ; the Child on her lap holds a goldfinch in his hand (I)'. 
 The attitude of the mother is unaffected and simple ; the per- 
 fectly oval countenance has an expression of peace and repose 
 — not free, however, from constraint ; the Child is not beau- 
 tiful ; the forms are as yet awkwardly rendered ; the attitude 
 is affected.^ A second picture of perhaps two years earlier 
 date, with heads of St. Francis and St. Jerome introduced 
 below the Virgin (3), is better. Here, the countenance of 
 the Madonna, who turns affectionately to the Child with an 
 expression of the deepest, most fervent feeling, is equally 
 
 [' In order to enable the reader to identify each Madonna picture, we add 
 the number corresponding with that in the illustration. — Ed.] 
 
 * Between these two pictures Passarant places (ii. 14) the small pictures of 
 various Predellas : a Baptism of Christ, and a Resurrection, in the Munich 
 Gallery — an Adoration of the Kings, in th« castle of Christiansburg, near 
 Copenhagen — the Sacrifices of Cain and Abel, in Mr. Emerson's possession in 
 London— and others.
 
 330 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 tender and gentle as in the other picture, and is free from its 
 defects ; the figure of the Child is better drawn : the heads of 
 the two saints are very excellent, with a character of gentle- 
 ness and piety. The geneial arrangement is agreeably and 
 judiciously contrived, and the picture is executed with great 
 softness and warmth. Similar to it, but mucli more finished, 
 is a small round picture of the Madonna in the Casa Con- 
 nestabile (4) at Perugia. The Virgin (a Ijalf-figure) stands 
 in a landscape, reading, while the C'liild in her arms also 
 looks into the book. Tlie head of the Virgin indicates a pro- 
 gressive development of the freest, finest kind ; the Child, 
 too, is lovely. It is a miniature painting of inexpres>ibly 
 delicate and beautiful execution. Of scmiewhat earlier date, 
 probably, was the Madonna of the Countess Anna Alfani (2) 
 at Perugia, also one of the loveliest pictures of this style. 
 The Virgin, witli her eyes cast down in humility, is hokling 
 the Child, who is standing upon lier lap : above are two 
 cherub heads. 
 
 Next to these may be mentioned a large altarpiece — an 
 Adoration of the Kings (not painted later tiian 1503), which 
 has passed from the Ancajani family of Spoleto to the Berlin 
 Museum. The general motives of this rich composition re- 
 semble the Umbrian school, in the treatment of similar sub- 
 jects ; the same resemblance is observable in the attitudes of 
 the figures, and in the management of the drapery ; but the 
 heads are remarkable for a peculiar refinement, and the forms 
 have great purity and delicacy. The Child lies on a coverlet 
 on the ground, in the middle of the picture. Infantine love- 
 liness is pleasingly developed in its form. On one side, where 
 the stall is, tiie mother reverentially kneels, and ne.\t to her, 
 two beautiful angels, like attendants, kneel likewise ; St. 
 «loseph stands behind her. On the other side the kings ap- 
 proach with a numerous retinue ; the first, dignified and serious, 
 is already kneeling down : the vivacity of youth expressed in 
 the head of the youngest king is very interesting : three 
 graceful angels, borne on clouds, are singing above these 
 groups. A rich arabesque frame encloses the whole : in the 
 upper corners are represented two sibyls ; in the lower, two 
 saints. This picture is painted in distemper {a guazzo), on
 
 Chap. IV. RAPHAEL. 331 
 
 canvas, and has, alas ! suffered so much from damp that the 
 colours are not only faded, but in some parts have fallen 
 off, leaving the well-felt preparatory outline visible.' A 
 picture very similar to this in composition is in the gallery of 
 the Vatican. The Virgin kneels on one side of the Infant, 
 Joseph on the other ; in the middle distance are the shepherds ; 
 in the background the kings advance to worship. The picture 
 appears, however, to have come from the studio of Perugino, 
 for though we recognize the hand of Raphael in some parts, 
 in others that of Lo Spagna and other less important artists is 
 visible.* Another important picture of this time, which shows 
 the progress of the young painter, is the Coronation of the 
 Virgin, painted for the church of S. Francesco at Perugia, in 
 1503, but now in the Vatican. In the upper part, Christ 
 and the Madonna are throned on clouds and surrounded by 
 angels with musical instruments ; underneath, the disciples 
 stand around the empty tomb. In this lower part of the 
 picture there is a very evident attempt to give the figures 
 more life, motion, and enthusiastic expression than was before 
 attempted in the school (for instance in the beautiful heads of 
 three youths looking upwards), an effort which, owing to the 
 want of complete practical mastery, has occasioned several 
 failures and not a little mannerism, though unquestionably 
 with some beautiful exceptions. The Christ, in expression at 
 least, is unsuccessful ; but the head, figure, and mien of the 
 Vii-gin are modest and beautiful. The predella was adorned 
 with elegant miniature-like pictures of the Annunciation, the 
 Adoration of the Kings, and the Presentation in the Temple : 
 they are in the same gallery.* 
 
 ' See Dr. Waagen, 'über das Gemälde Raphaels aus dem Hause Ancajani,' 
 in the Museum ''Blätter für bildende Kunst," 1834, No. 18, viz., Doubts 
 have been raised as to whether this picture is entiiely by Raphael. In point 
 of composition it belongs unquestionably to the school, which is proved by 
 the picture in the Vatican, and also by other school pictures of the same 
 subject, only that it is finer and better understood here than in the repeti- 
 tions. Setting this aside, however, and granting that the very conventional 
 character of the drapery tells agamst our argument, yet there is no question 
 that the exquisitely beautiful and intellectual heads are the work of Raphael, 
 since neither his master nor his fellow-pupils could have created such. 
 
 * [The head of Joseph is probably by Raphael. — Ed.] 
 
 ä For other smaller works of this description, see Passavant, i. 69 ; and 
 ii. 25.
 
 332 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 The works of Raphael, in conjunction v. ith Pinturicchio, in 
 the Libreria of the Duomo at Siena, also belong to this period. 
 But his participation in this undertaking appears to have been 
 limited to some designs : two beautiful drawings by him for 
 these subjects are still preserved ; one is in the Uffizj at 
 Florence ; the other in the Casa Baldeschi at Perugia. They 
 are greatly superior in delicacy of feeling, grace, and freedom 
 to the paintings in the Libreria ; thus proving tliat Raphael 
 could have had no share in the execution of the latter. 
 
 After these works Raphael appears to have quitted the 
 school of Perugino and to have commenced an independent 
 career: he executed at this time some pictures in the neigh- 
 bouring town of Citta di Castello. With all the features of 
 the Umbrian school, thev already show the freer impulse of 
 his own mind, — a decided effort to individualize. The most 
 excellent of these, and the most interesting example of this 
 first period of Raphael's development, is the Marriage of the 
 Virgin (Lo Sposalizio), inscribed with his name, and the date 
 1504, and at present in the Brera at Milan. The arrange- 
 ment is simple and beautiful ; — Mary and Joseph stand oppo- 
 site to each other in the centre ; the high priest, between them, 
 joins their hands ; Joseph is in the act of placing the ring on 
 the tinger of the bride : beside Mary is a group of tlie virgins 
 of tlie Temple ; near Joseph are the suitors, who break their 
 barren wands, — that which Joseph holds iii his hand has blos- 
 somed into a lily, which, according to the legend, was the 
 sign that he was the chosen one.' In the background is the 
 lofty Temple, adorned with a peristyle.* With much of the 
 stiffness and constraint of the old school, the figures are noble 
 and dignified ; the countenances, of the sweetest style of 
 beauty, are expressive of a tender, enthusiastic melancholy, 
 which lends a peculiar charm to this subject, inappropriate as 
 it is in more animated representations. 
 
 • [See the Flos Sanctorum and Evang. Mariae. — Ed.] 
 
 * [This beautiful architectural design, it appears, was copied (but very 
 much improved) from a picture of the same subject by Perugino, now in the 
 Museum of Caen in Noimandy. The general form and proportions were pro- 
 bably sug2;ested in the first instance by Brunelleschi's design for the octagon 
 (externally sixteen-sided) chapel of the Scolari annexed to the church Degl' 
 Ano-eli at Florence; the building itself remained unfinished. — Ed.]
 
 THE MARRIAGE OF THE VIRGIN j by Raphael, now in the Brera at Milan. 
 
 page 332.
 
 Chap. IV. RAPHAEL. 333 
 
 In the year 1504, Raphael painted a Christ on the Mount 
 of Olives, at Urbino, a picture of noble composition and of 
 the most delicate execution, now in the possession of Piince 
 Gabrielli at Rome.' It is remarkable here to observe how 
 obviously Raphael was constrained by the limits prescribed 
 by his school. Judas and his myrmidons are here sweet and 
 dignified forms, who seem to harbour anything but violence 
 and treachery in their hearts. The two graceful little pictures 
 also, in the Louvre, St, George and St. Michael, appear to 
 have been painted at tliis time for the Duke of Urbino : St. 
 George, a noble and slender figure on a white horse, is 
 attacking the dragon with his sword, having already trans- 
 fixed him with his lance. In the landscape in the back- 
 ground is the figure of the liberated princess. The beautiful 
 and youthful figure of the Archangel Michael, clad in 
 armour, is represented treading on the neck of the dragon 
 and striking at him with his sword. In the dark landscape 
 we see monsters of every kind, condemned souls plagued by 
 demons, and a burning town according to the 8th and 23rd 
 books of Dante's Inferno. The execution of both these little 
 pictures is very careful, but at the same time light and bold. 
 The St. George has been much injured and is much over- 
 painted. The Knight dreaming, a small picture, formerly in 
 the possession of Lady Sykes, and now in the National Gallery 
 at London, is supposed to have been painted a year earlier. 
 It represents a youth in armour lying sleeping under a laurel, 
 with a female form on each side. The one in a crimson robe 
 is offering him a book and a sword ; the other, richly dressed, 
 is presenting flowers as symbols of the pleasures of life. This 
 is one of the finest allegories in the manner of Giorgione. 
 
 In the autumn of the year 1504 Raphael went to Flo- 
 rence.^ Tuscan art had at this period attained its highest per- 
 fection, and the most celebrated artists were there contending 
 for the palm. New examples were offered to the aspiring spirit 
 of youth, and pointed out the path to excellence. A new gera 
 
 * [Now in England, in the possession of Mr. Coningham. — Ed.] 
 
 * A record quoted by Gaye, Cartegg. 2, p. 68, proves that Perugino also 
 spent part of the summer of 1505 at Florence. According to a note of 
 certain expenses, ib. p. 89, it would seem that Leonardo da Vinci at all events 
 visited Florence in the summer of 1505, and Michael Angelo the same.
 
 334 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 now commences in Raphael's development : from this period 
 begins his emancipation from the confined manner of Peru- 
 gino's school ; the youth now ripened into independent man- 
 hood, and acquired the free mastery of form. If the earlier 
 works of Raphael are the expression of his own mild spirit, 
 the greater part of those which immediately follow are charac- 
 terized by an unconstrained and cheerful conception of life.' 
 
 At this time the celebrated Madonna del Granduca (5) is 
 said to have been executed. This, though generally displayed in 
 the Pitti gallery, is the private possession of the Grand Ducal 
 family of Tuscany. Here the Madonna holds the infant tran- 
 quilly in her arms, and looks down in deep thought. Although 
 slightly and very simply painted, especially in the nude, this 
 picture excels all Raphael's previous Madonnas in that wonder- 
 ful charm which only the realisation of a profound thought 
 could produce. We feel that no earlier painter had ever 
 understood to combine such free and transcendent beauty with 
 an expression of such deep foreboding. This picture is the 
 last and liighest condition of which Perugmo's type was 
 capable. 
 
 The Madonna also belonging to the Duke of Terra Nuova (6) 
 at Naples, appears to have been the creation of this time. The 
 Virgin is represented sitting in a rocky landscape, Avith the 
 child on her lap, who, together with the little Baptist, is hold- 
 ing a scroll. A third child is leaning at the Virgin's knee, 
 gazing tenderly up at the infant Saviour. 
 
 Raphael's visit to Florence must, however, have been but 
 of short duration,* for in the succeeding year we find him 
 
 I The influence of the cartoons by Leonardo and Jlichael Angelo is alluded 
 to at p. 284. On Raphael's relation to Fra Bartolommeo, seep. 316; to 
 Ridolfo Ghirlandajo, p. 323. 
 
 * Here it will be right to mention that fresco of the Last Supper, disco- 
 vered in October, 1845, in what was formerly the convent of S. Onofrio at 
 Florence (Via Faenza, No. 4771), although we have not yet been able to 
 decide in our own mind whether it be really a work of Raphael's. The 
 question of its genuineness has brought forward many estimable authorities 
 for and against, to whom we should much prefer merely to refer the reader, 
 were it not that the view of Raphael's whole course of development depends 
 too much on this at all events veiy interesting fresco, for us to withhold 
 such opinions as we have formed. 
 
 The first general impression caused by this picture is, that it is a work of 
 Pinturicchio — or one of not purely Florentine origin, but combined of mixed
 
 Chap. IV. RAPHAEL. 335 
 
 employed on several large works in Perugia ; these show for 
 the first time the influence of the Florentine art in the purity, 
 fulness, and intelligent treatment of form ; at the same time 
 many of the motives of the Peruginesque school are still 
 apparent. The first of these works which claims our notice 
 was that executed for the convent of S. Antonio of Padua, at 
 Perugia, once in the possession of the Colonna family at 
 Rome, now in the royal palace at Naples.' It represents the 
 Madonna and Child on a throne, in a heavy style of archi- 
 tecture, adorned with a canopy. On the steps of the throne 
 the little St. John worships the infant Christ, who blesses him, 
 while the Virgin gently draws him nearer. The infant Christ, 
 
 Peruginesque and Florentine influences. An unprepared spectator would 
 scarcely suppose it to be the production of Raphael. Not only do the some- 
 what broad heads differ materially fiom the type of his Coronation of the 
 Virgin, of his Sposalizio, and his fresco at S. Severo — not only is the firm and 
 well-practised handling utterly opposed to Raphael's early timid touch (see, 
 for example, the fresco at S. Severo), but the composition is in itself an argu- 
 ment against the supposition. It is psychologically improbable that Raphael, 
 impressed as he was with the most powerful works of Leonardo da Vinci, 
 and also perhaps with those of Michael Angelo, should, at the moment when 
 his artistic tendencies were most, strongly excited in a new direction, have 
 resigned himself passively to the old traditional mode of representing this sub- 
 ject — a mode which the Ghirlandaj had practised — and that at a time when 
 the fame of Leonardo's Last .Supper had spread far and wide, and sketches or 
 descriptions must, at all events, have reached him. Granting even the read- 
 ing of the very doubtful inscription on the upper border of the robe of the 
 St; Thomas, viz. " R(a)PH(ael) UR(binus) MD et V," it proves nothing for 
 the whole picture, but can only be taken as evidence in favour of that .'■epa- 
 rate and certainly extremely beautiful head. In other cases, for instance in 
 the church flag of Citta di Castello, in la belle Jardiniere, &c., Raphael has 
 not hesitated to inscribe his name upon the robe of the principal figure, even 
 though it were that of the First Person of the Trinity. External evidence also 
 makes the idea of Raphael's being the author of this work almost incredible. 
 Florence, in the year 1505, overflowed with native talent, and, in part, of the 
 first order — with professors who were very tenacious of the mtioision even of 
 distinguished foreign artists, to say nothing of one who, in that circle at least, 
 was an unknown youth. Besides this, the short period of Raphael's first 
 visit to Florence must have been employed with other things, and not with 
 an extensive work, which would have engrossed him exclusively. A new 
 world of works of art, from Masaccio's frescos to the latest and finest pro- 
 ductions of his contemporaries, lay suddenly open before him; and if there 
 was one period of his life in which we may be sure that new impressions 
 were working actively in his mind, it was this. 
 
 Meanwhile the history of art can only gain by investigations of this kind : 
 a truly conclusive argument, whatever it may be, will be willingly admitted 
 by every one. 
 
 ' Rumohr assigns a somewhat earlier date to this picture. Ital. Forsch. 
 iii. 32.
 
 336 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 at the request of the sisterhood, is clothed in a little shirt. On 
 the sides are St. Peter, St. Catherine, St. Paul, and St. Doro- 
 thea.' In the lunette over the picture is God the Father — a 
 half-figure, with two adoring angels, one on each side. The 
 draperies in this picture, particularlj' in the powerful figures 
 of the apostles, are already more free and broad : the heads of 
 the men are dignified, those of the women tender and earnest, 
 particularly that of St. Catherine, which is full of grace : the 
 two children are beautifully artless. The small subjects of the 
 predella are now dispersed. The Christ on the Mount of Olives 
 is in the collection of Mr. Samuel Rogers, in London ; The 
 Christ bearing his Cross, at Mr. Miles's of Leigh Court ; and 
 the Dead Christ lamented by the Women and the Disciples, 
 in the possession of Mr. "Whyte, of Barron-hill, Derbyshire.* 
 
 Two other pictures are inscribed with the date 1505: one 
 an altarpiece for the church of the Serviti at Perugia, now at 
 Blenheim Castle, the seat of the Duke of Marlborough. It 
 represents the Madonna and Child on a throne, with St. John 
 the Baptist and St. Nicholas of Bari (9) — a picture of sur- 
 passing beauty and dignity. Besides the dreamy intensity of 
 feeling of the school of Perugia, we perceive here the aim at 
 a greater freedom and truth of nature, founded on thorough 
 study. The centre picture of the predella — the Preaching of 
 St.^ John the Baptist — is at Bo wood, the seat of the Marquis 
 of Lansdowne. (The small, so-called Pieta, belonging to 
 Count Tosi at Brescia, representing the risen Saviour with the 
 crown of thorns, and in the act of benediction, appears also to 
 belong to the year 1505. The picture is charmingly executed 
 and in good preservation.) 
 
 The second is a fresco of some size m the lunette of a 
 chapel in S. Severo at Perugia. Christ is in the centre, with 
 the dove of the Holy Spirit above and two youthful angels 
 beside him. Over the group is God the Father, with two 
 
 1 [According to Passavant, St. Rosalia. Both are generally crowned with 
 roses, but St. Dorothea has sometimes a sword, and St. Rosalia is usually 
 dressed as a nun. — Ed.] 
 
 2 [The Dead Christ passed from the possession of Count Rechberg to that 
 of Sir Thomas Lawrence, and then became the property of Mr. Whyte, of 
 Barron Hill. Two single figures in the predella, St. Francis and St. An- 
 thony of Padua, are in the Dulwich Gallery. — Ed.]
 
 Raphael's first fresco ; painted in 8. Severe at Perugia.
 
 Chap. IV. KAPHAEL, 337 
 
 angels : this part of the picture is much injured. On each 
 side of the middle group, and somewhat lower, are three saints, 
 seated. It is a very grand composition, and reminds us, on 
 the one hand, of Fra Bartolommeo's now ruined fresco in S. 
 Maria Nuova at Florence, as well as of older paintings, and 
 on the other it may be considered as the original of the upper 
 portion of Raphael's own celebrated ' Disputa ' in the Vatican.' 
 The figures of the saints are very dignified : the Christ is 
 beautiful, and with a mild expression ; and the angels — at 
 least the one on the left of the Saviour, folding his hands on 
 his breast — most interesting and graceful. The drapery, 
 although still severe, is well executed in grand lines and 
 masses. The painting has unfortunately suffered materially, 
 and the upper group is almost entirely destroyed. Under it is 
 a niche, on each side of which are three saints, painted by 
 Perugino in 1521, and painfully shoAnng the weakness of the 
 surviving master. 
 
 After finishing these works Raphael appears to have re- 
 turned to Florence, where he remained (with the exception of 
 some visits to Urbino and Perugia*) until tiie middle of the 
 year 1508. The early paintings executed during this period 
 betray, as might be expected, many reminiscences of the 
 Peruginesque school, both in conception and execution ; the 
 later ones follow in all essential respects the general style of 
 the Florentines of this time. 
 
 One of the earliest of these is the Holy Family with the 
 Palm-tree (12), formerly in the Orleans collection, and now 
 in the gallery of the Earl of Ellesmere, in London. It is a 
 round picture : the Madonna sits under a fan palm, holding 
 the infant Christ on her lap ; Joseph kneeling presents flowers 
 to him. This last figure is either by an inferior hand or has 
 been entirely painted over. 
 
 To tliis picture may be added the Virgin in the Meadow 
 (11), in the Belvedere gallery at Vienna. The Madonna is 
 here represented in a beautiful landscape, and with both hands 
 supports the infant Christ, who stands before her : she turns 
 
 ' [The subject of Theology, painted by Raphael in the Vatican, and gene- 
 rally called the 'Disputa (del t^aciameuto)'. — Ed.] 
 ^ [And perhaps Bologna : see Passavant, i. 95. — Ed.] 
 
 Q
 
 338 MASTEES OF THE SIXTEENTH CENTURY. Book V. 
 
 with looks of love to the little St. John, wlio kneeling at the 
 side offers a reed cross to his companion : — a picture of tender 
 grace and sweetness, which shows the influence of Leonardo 
 more than that of any other master in the expression of the 
 lieads, in the forms of the children, and even in the drapery, 
 and in the deep brownish tones of the landscape. Two other 
 pictures show a close afiinity with this composition — the one is 
 the Madonna del Cardellino (10), in the tribune of the Uffizj 
 at Florence : here the little St. John presents a goldfinch to 
 the infant Christ ; hence the name of the picture. The form 
 and countenance of the Madonna are of the purest beauty ; 
 her whole soul seems to breathe holiness and peace. John 
 also is extremely sweet ; but the figure of the infant Christ 
 does not fulfil the artist's intention, which appears to have 
 been to represent the seriousness and dignity of a divine being 
 in a childlike form ; both the figure and expression are rather 
 stiflf and affected. The third of these pictures is the so-named 
 Belle Jardiniere (21), inscribed 1507, in the gallery of the 
 Louvre. It belongs to the latter part of Raphael's residence 
 in Florence. In composition it certainly resembles the two 
 last mentioned, but all that was unsatisfactory and incomplete 
 in them has here disappeared. Tlie sweetest cheerfulness, 
 grace, and innocence breathe from tliis picture. The Madonna 
 sits among flowering shrubs, as in a gai'den (whence, perhaps, 
 the name of the picture) ; Christ stands at her knee, while 
 St. John kneels in childlike devotion. Unfortunately, the 
 picture has been much injured, and is much overpainted. An 
 old copy, which in later times has passed through many hands, 
 is falsely given out as the original, and is probably the work 
 of a Flemish artist. 
 
 It is interesting to observe Raphael's progress in the small 
 pictures which he painted in Florence — half- figures of the 
 Madonna with the Child in her arms. In this instance, again, 
 the earliest of the series are characterized by the deepest, 
 tenderest feeling, while a freer and more cheerful enjoyment 
 of life is apparent in the later ones. The Madonna della 
 Casa Tempi, in Florence (17), now in the Munich Gallery, is 
 the first of this series. Here the Virgin is tenderly pressing 
 the Child, who nestles closely to her, and appears to whisper
 
 MADONNA DEL CAEDELLINO ; by Raphael, now in the 
 Tribune of the Uffizj at Florence. page 338.
 
 Chap. IV. RAPHAEL. 339 
 
 words of endearment. In this picture the Madonna is repre- 
 sented standing: in the tliree following she is sitting. In 
 one, the infant Christ looks out of the picture ; he sits on 
 the Madonna's lap and holds by the bosom of her dress. The 
 most simple of these is a small picture originally in the Orleans 
 Gallery, and which was some years ago in the possession of 
 M. Neuwenhuys, of London. In the highly executed but 
 very spirited picture from the Colonna palace (20) at Rome, 
 and now in the Berlin Museum, the same childlike sportive- 
 ness, the same maternal tenderness, are developed with more 
 harmonious refinement. The third, in the possession of Earl 
 Cowper, at Panshanger (19), and inscribed with the year 
 1508, borders on mannerism in the forward boyish expression 
 of tlie Child ; the countenance of the Madonna is, however, 
 extremely sweet.' The fine composition of the Madonna with 
 the Pink (16), the original of which is not known, belongs 
 also, doubtless, to this Florentine time. The Virgin is holding 
 the Child upon her lap, who is in lively action, and reaches 
 gaily towards the pink, which she is giving to him. In the 
 background is a window through which we see into the open 
 air. A school picture of this subject was in the possession of 
 the Cav. Camuccini — an excellent, but apparently free repe- 
 tition, probably by Sassoferrato, is in the collection of Herr 
 Mäglin at Basle. 
 
 A larger representation of a Holy Family (15), belonging 
 to the middle time of Raphael's Florentine period, is in the 
 Munich Gallery. In the composition of this picture we 
 observe a particular study of artificial grouping. On one side 
 of the picture the Madonna, half kneeling, half sitting, leans 
 over toward the other figures ; before her is the infant Christ : 
 on the other side is Elizabeth in a similar attitude, and before 
 her the little St. John : behind the women stands Joseph ; 
 thus completing the group in a strictly pyramidal shape.* 
 
 ' [Another Madonna and Child, of an earlier date (perhaps 1505), is in 
 the same collection. See Passavant, Rafael von Urbino, ii. 37. — Ed.] 
 
 '^ This extreme regularity may have been less perceptible before two groups 
 of infant angels' heads in the upper part of the picture were removed, after 
 having been spoilt by a so-called restoration in the Düsseldorf Gallery. In 
 the Corsini Palace at Rome there is a Holy Family attributed to Fra Barto- 
 lommeo, of almost the same composition, only without the St. Anna, so that 
 the group, which is well united in the Munich picture, here seems to fall 
 
 q2
 
 340 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Although tliis disposition appears somewhat formal, and al- 
 though the picture in other respects betrays an imperfect 
 practice, yet even here there are many beautiful parts, and 
 the playful affection of the children, on whom the parents look 
 down, not without variety of action, at least accounts for a 
 unity of feeling corresponding with the regularity of the 
 arrangement. 
 
 Another Holy Family, half-figures, in the Gallery of the 
 Hermitage of St. Petersburg (13) — to judge from the en- 
 graving — also appears to belong to this period. There is an 
 evident leaning toward the direct imitation which characterized 
 the naturalisti ' in the head of St. Joseph looking down on 
 the Cliild, which is no longer observable hi the later works of 
 Raphael, and may probably be ascribed to the influence of his 
 friend Fra Bartolommeo, In the Oratory of the Escurial 
 there is a Madomia, with the Child seated upon a Lamb (23), 
 after a motive of Leonardo's, while Joseph, leaning upon a 
 staff, is looking on. The picture is only underpainted, and is 
 probably one of those which Raphael at his departure from 
 Rome left unfinished. 
 
 One of the best pictures of the latter part of this Florentme 
 period is the St. Catherine in the possession of Mr. Beckford,* 
 formerly in the Aldobrandini Gallery at Rome. The saint, a 
 half-figure, stands leaning on the wheel, and looks up with 
 heavenly enthusiasm to the ray of light descending upon her. 
 Few even of the great masters have succeeded in giving this 
 expression with so much truth, life, and interest. 
 
 Beside these pictures, intended more for the purpose of 
 domestic devotion, Raphael executed two large altar-pictures 
 at Florence. One is the Madonna di Pescia (22), or, del Bal- 
 dacchino, in the Palazzo Pitti at Florence. The Madonna 
 and CMld are on a tin-one ; on one side stand St. Peter and 
 
 asunder. The priority of composition belongs unquestionably to Raphael 
 and I am tempted to think that the picture in the Corsini Palace, on account 
 of its mannered execution, is not by Bartolommeo, but imitated from Raphael 
 by one of his scholars. 
 
 • [The tei-m naturalisti is applied by Italian, and nnturalistas by Spanish 
 writers on Art, to painters of various schools, who imitated nature without 
 sufficient selection. — Ed.] 
 
 * [Now in the National Gallery. — Ed,]
 
 ^(2 ^^ ~Ä^ 
 
 »^■fc^ ,-<iZTw\ 
 
 
 T7TE ENTOMBMENT ; by Eapbael, now in the Borgbese Gallery at Home. 
 
 page 311.
 
 Chap. IV. RAPHAEL. 341 
 
 St. Bruno, on the other, St. Anthony and St. Augustine ; at 
 the foot of the throne two boy-angels hold a strip of parchment 
 with musical notes inscribed on it ; over the throne is a canopy 
 {baldacchino), the curtains of which are held by two Hying 
 angels. The picture is not deficient in the solemn majesty 
 suited to a church subject ; the drapery of the saints, parti- 
 cularly that of St. Bruno, is very grand ; in other respects, 
 however, the taste of the noturalisti prevails, and the heads 
 are in general devoid of nobleness and real dignity. In the 
 colour of the flesh the picture forcibly reminds us of Fra Bar- 
 tolorameo. Raphael left it unfinished in Florence ; and in this 
 form, with an appearance of finish which is attributable to 
 restorations, it has descended to us. 
 
 The second altar-picture, the Entombment of Christ, painted 
 for the church of S. Francesco at Perugia, is now in the 
 Borghese gallery at Rome. The picture is divided into two 
 groups : on the left, the body of the Saviour is borne to the 
 grave by two men, with great energy of action. Next to the 
 body are Mary Magdalene, Peter, and John, variously ex- 
 pressing the deepest sympathy. On the right, supported by 
 women, the Madonna sinks down fainting. This is the first 
 of Raphael's compositions in which an historical subject is 
 dramatically developed ; but as regards this aim, the task ex- 
 ceeded the powers of the youthful master. The composition 
 wants repose and imity of effect ; the movements are frequently 
 exaggerated and mannered. The e\'idence of emotion, which 
 in single heads is powerfully expressed, does not in all appear 
 to be the immediate ebullition of feeling.' But the body of 
 the Saviour is extremely beautiful ; the noble and harmonious 
 forms, the expression of a sublime sorroAv in the head falling 
 back, place this figure among the greatest master-works. 
 The execution of the picture is beautiful but severe. The 
 lunette, containing the First Person of the Trinity with up- 
 raised hands, among angels, is now placed above an altar-piece 
 
 ' [Rumohr (Ital. Forsch, iii. 70) also appears dissatisfied with this pic- 
 ture. Its imperfections, if any must be admitted, are to be attributed partly 
 to the subject, which, as the author observes, was new to the great artist, 
 and cost him unusual efforts, as is apparent from the great number of draw- 
 ings and studies for the picture still remaining. Raphael was twenty-four 
 years of age when it was done.— Ed.]
 
 342 MASTEES OF THE SIXTEENTH CENTURY. Book V. 
 
 by Orazio Alfani, in the church of S. Francesco at Perugia. 
 The subjects of the predella are in the gallery of the Vati- 
 can. They are small chiaroscuro pictures of Faith, Hope, 
 and Charity, in circular medallions, with geyiii at their 
 side — graceful, pleasing compositions, light and spirited in 
 execution. 
 
 A third large altar-piece, from the Cathedral of Pisa, ex- 
 isted a few years ago in Mr. Solly's collection at London.' 
 It contains the Assumption of the Virgin, with St. John, St. 
 Philip, St. Paul, and St. Francis standing and kneeling round the 
 grave below. The composition belongs decidedly to Raphael's 
 Florentine period, though his execution is probably limited to 
 vSt. John and St. Francis, and the heads of the cherubim. 
 The rest may have been finished by Ridolfo Ghirlandajo. 
 
 As early as 1506, Raphael painted for the Duke of Urbino 
 another St. George, which recalls in many ways the first little 
 picture ; only here the Dragon is killed by the spear alone, 
 and the Princess, instead of fleeing, is on her knees. At 
 this time the picture is hanging with an ever-burning lamp 
 before the large portrait of the Emperor Alexander, in the 
 Hermitage at St. Petersburg.* 
 
 Raphael's earliest mythological piece, to which he was 
 probably incited by the celebrated antique group in the Libreria 
 of the Cathedral of Siena, belongs to this time : this is the 
 picture of the Three Graces in the late Lord Dudley and 
 Ward's gallery.^ The sweet gracefulness of the still Peru- 
 ginesque expression is here united charmingly with a rich and 
 noble treatment of the nude, and with the finest simplicity of 
 grouping. The three figures are standing in a landscape, each 
 with one hand on her neighbour's shoulder, and a golden ball 
 in the other. 
 
 We close the series belonging to this period with a few 
 portraits. — Raphael's own likeness, in the collection of the 
 
 * See Waagen, England, vol. ii. p. 3. 
 
 * [This picture was sent as a present from Guidubaldo, Duke of Urbino, to 
 Henry VII. of England. It probably left this country when the collection 
 of Charles I. was dispersed, and aftei^wards passed through various hands. — 
 Passavant, Rafael von Urbino, ii. 57. — Ed.] 
 
 8 lu the year 1835 this pictui-e was no longer there. See Waagen, Eng- 
 land, vol. ii. p. 204.
 
 Chap. IV. RAPHAEL. 343 
 
 portraits of artists painted by themselves, in the Uffizj at Flo- 
 rence, is beautiful, simple, and mild — the mirror of the pure 
 mind from which emanated his earlier works.^ — -The portraits 
 of Angelo Doni, a Florentine amateur, and his wife, in the 
 Pitti Palace at Florence, are natural in conception, but rather 
 hard and cold in execution. These two pictures, long lost 
 and sought for, have but lately come to light. — An excellent 
 portrait in the tribune of the Uffizj, at all events worthy of 
 Raphael, bore the name of Maddalena Doni before these were 
 found. — Two profile-heads of monks, in the Florentine Aca- 
 demy, are admirably painted ; and, though severe, are full of 
 feeling. — ^The portrait of a young man of the house of Riecio, 
 now in the Munich Gallery (No. 577), is also attributed to 
 Raphael, and an account of its more Peruginesque mode of 
 treatment to a period anterior to his visit to Florence. The 
 background consists of an architectural view. 
 
 THE STANZE OF THE VATICAN. 
 
 About the middle of the year 1508 Raphael, then in his twenty- 
 fifth year, was invited to the court of Pope Julius II., in order to 
 decorate the state apartments of the Papal residence in the Vati- 
 can with the works of liis pencil. Those already begun by 
 earlier masters were destroyed, to give sufficient space to the 
 greater artist.' A few only of the works of Razzi, of whom we 
 shall speak hereafter, and of Perugino, were allowed to remain. 
 With these works commences the third period of Raphael's 
 development. In these he reached the highest perfection. The 
 subjects, more important than any in which he had hitherto 
 been occupied, gave him the full consciousness of his powers ; 
 the proximity of Michael Angelo, who at this time began the 
 paintings of the Sistine Chapel, animated him with noble emu- 
 lation ; the world of classical antiquity, which in Rome more 
 than in any place invites observation, gave the noblest direc- 
 tion to his mind. The extensive and numerous works in which 
 he was engaged obliged him at once to collect a great number 
 of artists to take part in these labours under his direction, and it 
 was their endeavour to make the style of their master their own. 
 
 ' [They were destroyed in consequence of the impression produced on the 
 Pope by Raphael's first frescos. See Vasari, Vita di KaS'. — Ed.]
 
 344 IMASTERS OF THE SIXTEEXTH CEXTURY. Book V. 
 
 At the period in question, shortly before the struggle of the 
 German Reformation, the papal power had reached its proudest 
 elevation : it had gained an extension of territorj' and an in- 
 crease of warlike resources more considerable than at anj"- 
 former period ; while its spiritual influence over the nations of 
 Christendom was incalculable. To glorify this power — to re- 
 present Rome as the centre of spiritual culture — were the ob- 
 jects of the paintings in the Vatican. Tliey cover the ceilings 
 and walls of three chambers and a large saloon, which now 
 bear the name of the " Stanze of Raphael." He received in 
 payment for each of the large wall pictures the sura of 1200 
 gold scudi. They are all executed in fresco ;' those on the 
 arched ceilings of the three chambers are A^ariously arranged ; 
 but each Avail in these rooms is cohered with one large picture, 
 the vipper part of which is semicircular, corresponding with the 
 form of the ceiling : the dado throughout is painted in chiaro- 
 scuro, the subjects alluding to those of the principal frescos, 
 which again refer to the immediately corresponding ones 
 on the ceiling. The space on two walls of each chamber is 
 broken by a window, which compelled the artist to a peculiar 
 arrangement. In the larger saloon he pursued a different 
 plan. At a later period, when tlie Popes had taken up 
 their residence in the Quirinal palace, the Stanze Avere neg- 
 lected : in the beginning of the last century the paintings Avere 
 coA'ered Avith dirt, and the chiaroscuro subjects of the dado 
 almost destroyed. Carlo Maratti, a meritorious artist of his 
 time, cleaned the frescos with great care, and restored the 
 smaller compositions underneath as well as he could. There 
 is, consequently, so much of Maratti 's OAvn work, and cA'en of 
 his composition, in these latter, Avhich are besides less impor- 
 tant Avorks, that we shall not again refer to them in the follow- 
 ing descriptions. 
 
 The execution of the paintings in the Stanze occupied Ra- 
 phael during the whole of his residence in Rome, up to the 
 time of his death, and Avere only completed by his scliolars. 
 The order in which they Avere painted does not correspond 
 
 ' [With the exception of two allegorical figui-es in the Sala di Costan- 
 lino. — Ed.]
 
 Chap. IV. RAPHAEL. 345 
 
 with their relative local position. We shall describe them 
 according- to the order of time.' 
 
 I. CAMERA DELI^A SEGNATURA. 
 
 The paintings of this apartment, the first in the Vatican 
 which Raphael embellished, were finished in 1511. The sub- 
 jects comprehend Theology, Poetrj^, Philosophy, and Juris- 
 prudence, i. e. the representation of those high pursuits which 
 belong to the more elevated tendencies of human nature. They 
 consist of the following works. 
 
 T7ie Paintirigs on the Ceilmg. 
 
 Four round pictures are in the centre of the triangular com- 
 partments of the groined ceiling ; between them are four others 
 of an oblong shape.* In the round pictures the above-men- 
 tioned moral tendencies are personified by allegorical female 
 figures of noble air, throned in the clouds in divine serenity 
 and repose ; each is characterized, not only by symbols, but by 
 her individual qualities of form, movement, and expression. 
 At the side of each the space is filled with beautiful genii^ who 
 hold tablets with inscriptions referring to each personification. 
 The figure of Poetry is distinguished above all by its beauty ; 
 her countenance expresses a sweet complacency and a serene 
 inspiration. Of the square side-pictures, that next to Theology 
 represents the Fall of Man, a picture of simple and most har- 
 monious composition, perhaps the most beautiful treatment of 
 this subject ; next to Poetry is the Punishment of Marsyas ; 
 next to Philosophy, a female figure, who examines a terrestrial 
 globe ; next to Jurisprudence, the Judgment of Solomon.^ All 
 
 • [More detailed descriptions of these frescos will be found in the Be- 
 schreibung der Stadt Rom, before quoted, and in Passavant. Bellori, Fuseli, 
 Duppa, and Quatremfere de Quincy may also be consulted. Of the fanciful 
 and erudite essays of D'HankeiTille, one only, relating to the ' Parnassus' 
 (Poetry), appears to have been published. See Longhena's Italian translation 
 of Quat. de Quincy's Histoire de la Vie de Raphael, p. 85. — Ed.] 
 
 * These last extend across the edges of the vaulting, and consequentlv 
 appear as if bent round them. Raphael was not answerable for this, since 
 he was obliged to preserve the compartments of the roof, as arranged by his 
 predecessor Razzi, of whose works there still exist some small accessories and 
 arabesques. 
 
 ä According to an ingenious intei-pretation by Passavant (vol. i. p. 139), 
 these side pictures are intended to convey allusions to the circular pictures 
 
 q3
 
 346 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 these eight pictures are on a golden ground like mosaic ; they 
 remind us occasionally, particularly in the greenish middle tints 
 of the flesh colour, of the earlier stages of Raphael's progress. 
 
 The Paintings on the Walls. 
 
 The allegorical figures on the ceiling form, as it were, the 
 title of the large pictures on the walls. These are arranged 
 in the following order. 
 
 1. Theology (erroneously called " La Disputa del Sacra- 
 mento"). — It is divided into two principal parts : the upper 
 half represents the glory of Heaven, in the solemn manner 
 of the early painters. In the centre is the Saviour, wiih. 
 outstretched arms, throned on the clouds ; on his right, the 
 Virgin, sweet and affectionate in expression and mien, bows 
 before her divine son in heartfelt adoration ; on the left 
 is St. John the Baptist. Over the Saviour appears a half- 
 figure of the Almighty, and below him hovers the dove of 
 the Holy Spirit. Around this group, in a half circle, sit 
 the Patriarchs, the Apostles, and Saints — sublime, dignified 
 figures, with the noblest solemnity and repose in their move- 
 ments. Over them hover on each side three very beautiful 
 angel-youths ; below them, as if supporting the clouds, are 
 a multitude of angel-heads, and four boy-angels hold the 
 books of the Evangelists beside the dove. In the lower 
 half of the picture we see an assembly of the most celebrated 
 theologians of the church. In the centre, raised on steps, 
 is an altar with the host (as the mystical type of the bodily 
 presence of the Saviour on earth). Next to the altar, on each 
 side, sit the four fathers of the Latin church ; next to and 
 behind them stand other celebrated teachers of the church. At 
 the extreme ends, on each side, are various groups of youths and 
 men, who press forward to hear the revelation of the holy mys- 
 tery, some in attitudes of enthusiastic devotion, some yet doubt- 
 
 on each side of them. For example, the Fall of Man, between Jurispnidence 
 and Theology, alludes both to Judgment and to Salvation. The punishment 
 of ilarsyas is at once the triumph of art, and (in reference to Dante's Para- 
 diso, i. Vs. 19) the symbol of the higher birth. The figure examining a 
 globe points no less to Philosophy than to Poetry ; and, finally, the Judgment 
 of Solonjon combines admirably Wisdom and Justice.
 
 

 
 Chap. IV. RAPHAEL. ' 347 
 
 ing, and apparently in dispute. All these figures, especially 
 as regards the expression of the heads, are completed with 
 most striking and characteristic individuality, and are enlivened 
 by a conscientious study of detail. It is this careful, almost 
 laborious treatment of separate parts, which marks this fresco 
 as one of the earlier works ; in the later ones we observe an 
 increasing attention to general effect. The solemn and severe 
 style of the upper part of the picture, as well as the gold lights, 
 is not to be considered as a blind imitation of the older manner, 
 as some have asserted, but rather as conformable to the mysti- 
 cal meaning of the subject, and on this ground intentionally 
 retained by the artist. 
 
 2. Poetry (over and on each side of the window). — In the 
 upper part is seen Apollo with the Muses under laurel-trees, 
 on the heights of Parnassus. The poets of antiquity and of 
 modern Italy are ranged on each side ; among them Homer 
 recites inspired verses, which a youth eagerly writes down : 
 behind him are Virgil and Dante. Below, on each side of the 
 window, are two separate groups : on one side Petrarch, 
 Sappho, Corinna, and others, are engaged in conversation ; on 
 the other Pindar, a very aged figure, speaks with an air of 
 enthusiasm : Horace and another poet listen to him with reve- 
 rential admiration. These lower groups appear to represent 
 Lyric Poetry in its various branches, whilst in the upper we 
 recognise the poets of the Epos. The picture is admirably 
 arranged ; the single groups of which it is composed harmonise 
 with one another, and unite, without the appearance of art, in 
 a grand whole. A cheerful, graceful character, corresponding 
 with the poetic life of Italy in Raphael's time, pervades this 
 work, which abounds in refined and noble motives. Yet some 
 of the figures are less excellent : the Apollo himself is not 
 very beautiful ; the two Muses seated next to him are, per- 
 haps, placed too symmetrically. In style this work conse- 
 quently forms the transition to what are called the grander 
 compositions. The painting on the next wall is considered the 
 first of these. 
 
 3. Philosophy (better known as the " School of Athens"). 
 — It represents a large atrium in the noble style of Bramante ; 
 in it are assembled many teachers of philosophy with their scho-
 
 348 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 lars. A flight of several steps raises the more distant figures 
 above the nearer groups. The former represent the school of 
 the liigher philosophy : Plato and Aristotle stand together in 
 the centre, as if disputing on their doctrines. Plato, the re- 
 presentative of Speculative Philosophy, points upwards with 
 uplifted arm ; Aristotle stretches his outspread hand to- 
 ward the earth, as the source of his Practical Philosophy. At 
 each side, extending deeper into the picture, a double row of 
 attentive hearers is seen : next to them, on one side, stands 
 Socrates ; some listeners have collected around him, to whom 
 he explains in order (counting on his fingers) his principles 
 and their conclusions. Opposite are placed several persons 
 engaged in different ways, in conversation and study. In the 
 foreground, on both sides, the sciences of Arithmetic and Geo- 
 metry, with their subordinate studies, occupy separate groups. 
 On the left, as the head of Arithmetic, we observe Pythagoras, 
 who writes upon his knee ; several scholars and followers (one 
 with a tablet inscribed with a musical scale), as well as other 
 philosophers, are around him. On the right, Archimedes con- 
 structs a geometrical figure on a tablet lying on the ground. 
 Several scholars watch its progress ; the different degrees of 
 their intelligence are represented most strikingly. Next to 
 them are Zoroaster and Ptolemy, as representatives of Astro- 
 nomy and Geography, with celestial and terrestrial globes. 
 On the steps, between the two groups, and apart from all, 
 reclines Diogenes the Cynic ; a youth, directed by an old man, 
 turns from him to the teachers of a higher philosophy. Near 
 the group of Archimedes, close to the edge of the picture, 
 Raphael himself enters the hall, accompanying his master 
 Perugino ; Archimedes is the portrait of Raphael's uncle Bra- 
 riante.* The general arrangement of this painting is most 
 masterly. Plato and Aristotle, with the group of their scho- 
 lars, are placed together in dignified regularity, without any 
 appearance of stiffness or constraint ; on each side and around 
 them greater freedom prevails, with the utmost variety in the 
 attitudes of the figures which compose the groups ; while again 
 
 ' [Bramante wSs froin Urbania (formerly called Castel Durante), near 
 Urbino, but not related to Raphael. See Pungileone, Elogio Storico di RafF., 
 p. 114.— Ed.]
 
 Chap. TV. EAPHAEL. 349 
 
 the leading masses are still balanced most satisfactorily. The 
 style is grand and free ; a picturesque unity of effect seems to 
 have been the artist's aim throughout, and this aim he has at- 
 tained most perfectly. The taste of design, both in the nude 
 and in drapery, is excellent, and is everywhere guided by the 
 purest sentiment of beauty ; the group of youths in particular, 
 collected round Archimedes, is among the most interesting 
 and natural of Raphael's creations.' 
 
 4. Jurisprudence (above and on each side of the win- 
 dow). — The subjects of this wall are divided into three sepa- 
 rate pictures. Over the window, enclosed by the arch, are 
 three sitting female figures — personifications of Prudence, For- 
 titude, and Temperance, as the virtues without whose aid the 
 science of law cannot be applied to daily life. Prudence is 
 raised above the others, in the centre ; in front her countenance 
 is youthful ; at the back aged, in allusion to her power of 
 looking into the future and the past.^ One genius holds a mirror 
 to'the former, a second a torch to the latter. Fortitude is per- 
 sonified as an armed woman in a bold attitude, with an oak- 
 branch in her hand and a lion at her side.' Temperance holds 
 a bridle. Beautiful genii are introduced beside these figures 
 also, to fill up the space. The two last-mentioned have more 
 animation, which, perhaps, disturbs in some degree the repose 
 that allegorical creations require. At the sides of the window 
 is represented the science of Jurisprudence, in its two divisions 
 of ecclesiastical and civil law. On the larger side, underneath 
 the figure of Temperance, is Gregory XI., seated on the papal 
 throne ; he delivers the Decretals to a consistorial advocate. 
 The features of the Pope are those of Julius II. ; the figures 
 who surround him are also portraits of individuals composing 
 his court at the time : the heads are full of life and charac- 
 ter. On the smaller side, under the figure of Fortitude, is the 
 Emperor Justinian, who delivers the Pandects to Tribonianus. 
 This is a less important picture. 
 
 ' The cartoon for the figures of this composition, with some variations, is 
 in the Ambrosian Library at Milan. 
 
 * [The aged face is contrived to look like a mask, and, to avoid all imcer- 
 tainty as> to this point, it is bearded. — Ed.] 
 
 3 It appears to be copied from the allegorical figure of Fortitude in the 
 frescos of the Cambio at Perugia.
 
 350 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 The entire cycle of these paintings thus belongs essentially 
 to the domain of thought. The task allotted to the artist was 
 to conceive pictorially a series of abstract ideas — to embody 
 the immaterial in material forms. Similar attempts had been 
 made at an eaidier period, in the time of Giotto and his fol- 
 lowers. It will be interesting to review the means employed 
 by a painter like Raphael, at the summit of the art, in the exe- 
 cution of this difficult undertaking, and to consider the success 
 he attained. 
 
 In the three first pictures we at once observe a very happy 
 conception in the solemn union of characters celebrated in 
 one or other of the intellectual pursuits represented : they are 
 brought together, as in the " Triumphs of Petrarch," without 
 regard to the time in which they lived, but solely with refer- 
 ence to their spiritual relation, their common efforts toward a 
 high aim. They are thus easily separated into subordinate 
 groups, according to their greater or less efficiency and influ- 
 ence. But it was necessary to form one central point to define 
 the object of their exertions. 
 
 In the " Theology " this point is, properly speaking, the 
 Altar with the Sacrament, as the unchanging symbol of re- 
 demption, according to the ritual of the Church. The sacra- 
 ment in itself explains to the Christian spectator the point to 
 which the meditations of the assembled theologians were 
 directed ; but after all it is merely a symbol, and presents 
 nothing tangible to the mind or feelings. Hence the glory of 
 Heaven, which represents the Saviour himself, and the Pro- 
 phets and witnesses of his mission, is introduced above. By 
 this means the picture produces its effect directly upon the 
 mind of the spectator ; and so far as he understands the figures 
 of the Christian mythology' there is no further difficulty to be 
 explained. "With regard to unity of effect, the picture might, 
 however, be criticised ; not so much because it is divided into 
 tw^o separate parts, as that neither of these predominates by its 
 mass — that neither, properly speaking, is the principal. 
 
 In the "Poetiy" the figures of Apollo and the Muses at 
 once explain the subject ; they are perfectly intelligible, as 
 
 ' [The term " Christian mythology " is sometimes employed by Protestant 
 writers in alluding to monastic legends. — Ed.]
 
 Chap. IV. RAPHAEL. 351 
 
 they belong to a well-known fable. Although the poets are 
 assembled round them in familiar intercourse, the Muses and 
 the god still appear, so to speak, as the hosts — the poets as the 
 guests — of Parnassus. Thus is formed a well-connected whole, 
 as agreeable to thought as to feeling, and the mind of the be- 
 holder is attuned to corresponding serenity. The picture is 
 like a refined and pleasing poem : the eye and mind easily 
 comprehend it, while by degrees it unfolds a deeper meaning. 
 
 In the " Philosophy," on the contrary, there is no definite 
 explanation of its meaning, no allegorical, no poetical figures 
 (for the statues of Apollo and Minerva, placed in niches at the 
 sides, cannot be considered as such), to explain to us what spe- 
 cial interest moves the assembly, at least the upper portion of 
 it.' The subject does not present its deeper meaning imme- 
 diately to our feelings, and prosaic understanding must under- 
 take the task of explanation. The master has displayed his 
 art in this instance not so much in the poetical effect of the 
 whole, as in the grand arrangement of the mass and space — 
 in the surpassing beauty of the single groups and figures, which 
 in themselves undoubtedly give complete satisfaction to the 
 eye. It has been asserted that Raphael was embarrassed by 
 the subject, devoid as it would seem to be of dramatic interest. 
 But among the paintings in the Spanish chapel at Florence we 
 have had occasion to notice a subject of a very similar kind, 
 which, notwithstanding all the defects and constraint it betrays 
 in the means of representation, produces a much more direct 
 and powerful eflfect on the mind and feelings, at least so far as 
 such an effect can be produced by allegory. 
 
 In the " Jurisprudence " the unfavourable position of the 
 window, which leaves but a very small space on one side, ap- 
 pears to have occasioned the division of the space into three 
 separate pictures. In consequence of this the master found it 
 necessary in the upper picture to return to an allegorical mode 
 of representation, which allows the expression of several ideas 
 by means of veiy few figures. 
 
 ' That this remark is not altogether fanciful, is proved by the many- 
 erroneous interpretations given of the subject in engravings and descriptions 
 immediately after Raphael's death. The authors of these descriptions, it 
 seems, thought they recognized allusions to the Christian religion. See the 
 Beschreibung der Stadt Rom, bd. ii. bu. 1, s. 336.
 
 352 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 II. STANZA OF THE HELIODORUS. 
 
 The works in this chamber, so called after its principal pic- 
 ture, appear to have directly followed (from the year 1512) 
 the foregoing'. The four divisions of the ceiling correspond to 
 the triangular compartments of the groining, and are formed 
 by a decoration intended to represent figured tapestry. The 
 subjects are from the Old Testament, and include the promises 
 of the Lord to the Patriarchs : in allusion, no doubt, to the power 
 of the Church, and analogous to the ancient Christian symbols — 
 
 The promise of God to Abraham of a numerous posterity ; ' 
 
 The Sacrifice of Isaac ; 
 
 Jacob's Dream ; 
 
 Moses and the Burning Bush. 
 
 These are simple, grand compositions, but unfortunately much 
 injured, the colour, and consequently the effect, having suf- 
 fered materially, probably from damp. The four large paint- 
 ings on the wall refer to the Divine assistance granted to the 
 Church against her foes, and the miraculous corroboration of 
 her doctrines ; with a special reference to her relations, eccle- 
 siastical and political, at the period of her foundation. 
 
 1. The Expulsion of Heliodorus from the Temple 
 AT Jerusalem : when, as treasurer to the Syrian king Se- 
 leucus, he attempted, by his master's command, to plunder 
 the Temple (2 Maccabees, iii.). This representation com- 
 memorates the deliverance of the ecclesiastical states from 
 the foes of the apostolic authority, under Julius II., and his 
 preservation of the possessions of the Church. In a larger 
 sense it is the symbol of the Divine protection. We look into 
 the nave of the Temple ; in the background is the altar, before 
 which the high-priest kneels in prayer, to avert the threatened 
 danger ; a crowd of people surround him ; agile youths climb 
 on the pedestal of a column in order to see the ceremony. In 
 the foreground, on the right of the spectator, Heliodorus with 
 his servants appears to have been in the act of dragging away 
 the treasures. Heliodorus lies prostrate under the hoofs of a 
 
 ' [Sometimes called, God appearing to Noah. (See Passavant, Rafael von 
 Urbino, ii. 153.) These four subjects are about to be engraved by Ludwig 
 Grüner. — Ed.]
 
 Chap. IV. RAPHAEL, 353 
 
 horse, on which sits a figure in golden armour : near him two 
 youths sweep forwards to scourge ^vith rods the despoilers of 
 the Temple. This is a group of extraordinary poetic power ; 
 it is like the flash of Divine anger, which strikes the criminal 
 to the earth. Opposite is a dense group of women and chil- 
 dren, beautifully varied in action, their countenances express- 
 ing astonishment and alarm. Next to them is Pope Julius II., 
 borne to the Temple under a canopy. His presence is intended 
 to indicate the relation of the miraculous event to the circum- 
 stances of his time. The picture is a spirited development of 
 an extended action, including within itself both beginning and 
 end ; it admirably represents an animated fleeting moment : 
 the apparent absence of interest and emotion in the group 
 around the Pope alone disturbs this effect ; it were to be wished 
 that these figures could have exhibited a direct sympathy, a 
 more than extrinsic allusion to the event. This picture exhi- 
 bits an inimitable reality and grace in the form and action of 
 the figures ; as a whole it is executed with a grand freedom, 
 dictated by an attention to the general effect, although it is 
 asserted that many parts are not by the master's own hand, 
 
 2. The Mass of Bolsena (above and on each side of the 
 window), a representation of a miracle wrought in the year 
 1263. A priest who doubted the doctrine of transubstantiation 
 was convinced by the blood which flowed from the host he was 
 consecrating. In the last-mentioned picture we see the pro- 
 tection afforded to the Church in her external relations ; in this, 
 her internal security against sceptics and heretics, and the in- 
 fallibility of the Eomish doctrines. It no doubt also contains 
 a reference to the times, to the ferment of mind which pre- 
 ceded the outbreak of the Eeformation. The connection of 
 the miraculous event with the existing persons is contrived in 
 a simple, but very masterly and satisfactory manner. Over 
 the window is an altar in the choir of a church : the priest 
 kneels before it, and regards the bleeding wafer with an ex- 
 pression of embarrassment, astonishment, and shame : behind 
 him are choir-boys with tapers in their hands. On the other 
 side of the altar kneels .Julius II. before his fald-stool, in prayer, 
 his eyes fixed upon the miracle ^\^th a solemn and earnest ex- 
 pression of conviction. At each side of the window is a flight
 
 354 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 of steps : on the left, where the officiating priest is, a great 
 number of people press forwards with varied expressions of 
 wonder: before the steps is a group of women and children, 
 whose attention is thus directed to what is passing. On the 
 other side, behind the Pope, some kneeling cardinals and other 
 prelates express different degrees of sympathy : in front of the 
 steps is a part of the Papal Swiss-guard. This picture is re- 
 markable not only for its excellent, well-connected composition, 
 but for its highly characteristic figures, the courtly submissive- 
 ness of the priests, the rude hardy figures of the Swiss, the 
 various ways in which the people manifest their sympathy, but 
 above all the beautiful naivete of the choir-boys, and of the 
 youths who look over the enclosure of the choir ; all this is 
 connected satisfactorily and naturally with the two principal 
 personages. The colouring of this picture has been greatly 
 extolled, and many have, in this instance, placed Raphael on 
 a level with the masters of the Venetian school ; this opinion, 
 however, is the result of an extreme partiality : ' the colouring 
 is warm, but the execution is frequently coarse, so as almost 
 to look like tapestry, thus already evincing an indifference to 
 higher finish, which from this period becomes more and more 
 visible in the frescos of the Vatican Stanze. 
 
 Granting that this broader execution may have been the 
 result of the greater freedom to which Raphael had attained 
 in an artistic conception of nature, and that this freedom may, 
 as usual, easily lead to an abuse of acquired powers, yet acci- 
 dental circumstances had also a share in producing the change 
 in question. The attention which Raphael had bestowed on 
 the Stanze during the first years of his residence in Rome was 
 now distributed over various other undertakings. The Mass 
 of Bolsena was finished in 1512 ; in 1513 Julius II. died, and 
 was succeeded in the papal chair by Leo X., a prince who, 
 notwithstanding his finely cultivated taste, appears to have 
 been more inclined to show and splendour on a large scale than 
 to an energetic completion of any single work. Commissions 
 
 ' [In this judgment the author probably stands alone. High authorities at 
 least are agi-eed in considering this, and indeed all the large paintings in the 
 same Stanza, the finest examples of fresco the art can boast. Titian's frescos 
 at Padua are less richly and effectively coloured than the Mass of Bolsena 
 and the Heliodorus. — Ed."]
 
 Chap. IV. RAPHAEL. 355 
 
 of various kinds from this time occupied the youthful master ; 
 the works in the Stanze by degrees fell into the backgroiuid ; 
 much was of necessity left to his scholars, much also in composi- 
 tion was treated even in the beginning with singular negligence. 
 Nevertheless the first three pictures which Raphael executed 
 in these apartments mider Leo X. are among the most impor- 
 tant works of his pencil. Two of them cover the remaining 
 walls of the Stanza of the Heliodorus. 
 
 3. Attila, at the head of his army, induced by the warn- 
 ings of Pope Leo I., and the threatening apparition of the 
 apostles Peter and Paul, to desist from his hostile enterprise 
 against Rome. — The subject appears to allude to the expulsion 
 of the French from Italy, which Leo X. had effected by the 
 assistance of the Swiss in the year 1513. The Pope and his 
 train occupy one side of the picture. The Pope's features are 
 those of Leo X., and he as well as his retinue are in the cos- 
 tume of the sixteenth century. Above them appear the two 
 apostles with sAvords in their hands, Attila looks up affrighted 
 at the apparition, while his army, thrown into wild confusion, 
 begins to retreat. In the host of the Hunnish horsemen the 
 movements are powerful, bold, and animated : the papal group 
 is tranquil and unembarrassed ; this tranquillity, it must be 
 confessed, is carried so far that the figures have almost the air 
 of simple portraits. There are great beauties in the exe- 
 cution of this picture, but it is not free from mannerism and 
 weakness. 
 
 4. The DELIVERA^'CE of Peter from Prison (above and 
 on each side of a window). — This subject is divided into three 
 parts, each of which contains different moments of the event. 
 Above the window, we see through a grating into the interior 
 of the prison : the angel awakens Peter, who sleeps between 
 his guards. At the right of the window, the angel leads him 
 througli the guards sleeping on the steps. In both these re- 
 presentations, the arrangement of which is extremely beautiful, 
 the figures are illuminated by the beams of light which pro- 
 ceed from the angel. On the left, the guards are awakened : 
 this group receives its light from the moon and from torches. 
 The painting is particularly celebrated for the picturesque effect 
 of these lights. The subject is supposed to contain an allusion
 
 356 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 to the captivity of Leo X., who had been liberated only the 
 year preceding his elevation to the pontificate. 
 
 III. STANZA DEL INCEXDIO. 
 
 On the ceiling of this chamber are four round pictures, in 
 which are represented the Almighty and Christ, in different 
 glories. These are the remains of the works of Perugino. 
 The pictures on the walls, executed about 1515, contain events 
 from the lives of Leo III. and IV. They have probably been 
 chosen with reference to the relation by name to Leo X , and 
 correspond to the general plan of the cycle of the Stanze, 
 Avhich, as before mentioned, is dedicated to the glorification of 
 the papal power. The most important are : — 
 
 L The Fire in the Borgo' (a suburb added to Eome by 
 Leo IV.). — The conflagration was miraculously extinguished 
 by the Pope making the sign of the cross. In the background, 
 we see the portico of the old church of St. Peter's : above it are 
 assembled the Pope and the clergv' ; on the steps of the church, 
 the people who have fled thither for assistance. On each side 
 of the foreground are burning houses. On the left the inha- 
 bitants are flying almost naked, variously intent on securing 
 their own safety, and still more anxious to save those dear to 
 them. On the right men are busied in extinguishing the 
 flames ; women bear vessels of water to them. In the centre 
 a group of women and children crowd anxiously together, and 
 pray to the Pope for succour. A great number of beautiful 
 and noble figures are brought together in this picture, uniting, 
 through one exciting cause, the greatest variety of agitating 
 passions. In this instance the artist was perfectly free, and 
 could give free scope to his feeling for the grand and graceful 
 in form, Anthout any prejudice to the interest of the subject, 
 although, from the manner in which he has conceived it, the 
 chief action is thrown into the distance, and its most prominent 
 meaning is thus lost to the mind. The figures of the two young 
 women who carry vessels of water, with their drapery- tossed 
 in grand folds by the storm,* are verj^ beautiful. In the naked 
 
 ' [Better known by its Italian denomination, the 'Incendio del Borgo.' — 
 Ed.] 
 
 * [That no storm is represented appears by the quiet draperies of the
 
 AUeAorical personification of CHASITY, in the Sala di Cosumtioo 
 in the Vatican. pa^e 357
 
 Chap. IV. RAPHAEL. 357 
 
 fig-ui'es, on the contrary, however beautiful in the principal 
 group, there is a manifest endeavour to display a knowledge of 
 form, perhaps from a wish to rival the powerful figures of 
 Michael Angelo. This eflfort in some degree weakens the 
 spectator's interest ; and it must also be admitted that tiie 
 colouring of this part of the picture is very defective, the sha- 
 dows of the flesh being disagreeably black : the assistance of 
 scholars is very apparent throughout the whole work. The 
 other paintings in this apartment are less important as regards 
 their composition. 
 
 2. The Victory at Ostia over the Saracens, who 
 had made a descent on Italy in the time of Leo IV. — This 
 fresco is not executed by Raphael. 
 
 3. The Oath of Leo III. ; by which he purified himself 
 of the crimes of which his enemies accused him before Charle- 
 magne : (as Pope he could not be judged by any earthly tri- 
 bunal). 
 
 4. Charlemagne crowned by Leo III. (temporal 
 power flowing from the spiritual). — This picture contains a 
 great number of excellent portraits, in which we recognise the 
 master's own hand. 
 
 IV. SALA DI COSTANTINO. 
 
 The principal paintings in this large flat-roofed apartment 
 are arranged as hanging tapestries ; between them are intro- 
 duced some figures of canonised popes and allegorical female 
 personifications. The large works represent scenes from the 
 life of the Emperor Constantine, in which he figures as the 
 champion of the church and the founder of its temporal power. 
 These works were not executed till after Raphael's death, 
 from his drawings, and under the direction of Giulio Romano. 
 It is said that Raphael intended to use oil colours instead of 
 fresco in this instance, which would have enabled him more 
 easily to correct the work of his scholars. Two of the allego- 
 rical figures, Justice and Benignity, are actually painted in 
 oil ; ' — probably immediately after his death, and from his car- 
 distant figiu-es near the Pope. Raphael probably intended to express the 
 rush of air always observable in the vicinity of a conflagration. — Ed.] 
 ' [See Vasari, Vita di Giulio liomano. — Ed.]
 
 368 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 toons, as we recognise much of his own noble manner, particu- 
 larly in the heads. It does not appear that his drawings were 
 used for any other of the allegorical personifications or figures 
 of popes. At a subsequent period, fresco, which is better 
 adapted for paintings on walls, was again resorted to in the 
 completion of these designs. 
 
 The principal work of this apartment is the Battle between 
 Constantino and Maxentius at the Ponte Molle near Rome. 
 It was executed by Giulio Komano, after a drawing of Ra- 
 phael's, without any alteration except a few unimportant omis- 
 sions. The design is, therefore, Raphael's own, and it is cer- 
 tainly one of his most important compositions. The moment 
 represented is the crisis of victory : the Aanquished are driven 
 to the banks of the Tiber: the Emperor on horseback, at the 
 head of his army, springs over the bodies of his prostrate foes. 
 Figures of Victory hover over his head. He raises his spear 
 against Maxentius — now driven into the river, and contending 
 ■with the waves in desperation. More distant on the right is 
 seen the last struggle on the shore, and Mith those who endea- 
 vour to save themselves in boats. Still deeper in the picture 
 the fugitives are pursued over the bridge. On the left the 
 battle still rages : here the fury of the victors, the desperate 
 resistance of the last who oppose them, are displayed in various 
 groups. Yet this wild chaos of figures easily resolves itself 
 into separate masses ; the various well-expressed moments of 
 the action guide the eye insensibly to the bright central point. 
 The battle, the victory, the defeat, form a dramatic whole, 
 admirably developed, and calculated to produce the grandest 
 impression when the eye has learned to take in the rich variety 
 of figures. And not less striking is the life, the energj^ of the 
 single forms, and the varied and spirited manner in which they 
 are interwoven with the tragic whole. Älany later artists have 
 made this work their model for representations of the same kind, 
 but none have ever equalled its poetic effect. The execution is 
 bold and clever ; the sharp hard manner of Giulio Romano can 
 hardly be said to injure the effect of this wildly animated scene. 
 
 The other representations in this apartment are of much less 
 interest, partly because the compositions themselves appear to 
 have been originally less excellent ; partly because ill-advised,
 
 Chap. IV. RAPHAEL. 359 
 
 and even unseemly changes were afterwards made which essen- 
 tially lessened the dignity of the subjects. The first and most 
 important — the Vision of the Holy Cross before the battle (pro- 
 perly the first of the series) — was executed by G. Romano. 
 Tlie second and least successful — the Baptism of Constantine — 
 is ascribed to Francesco Penni. The third — the Gift of Rome 
 to the Pope — is ascribed to RaflPaellino dal Colle. The ceiling 
 is decorated with unimportant paintings of a later date. 
 
 THE LOGGIE OF THE VATICAX. 
 
 While the later works in the Stanze were in progress 
 Raphael was employed by Leo X. on two other great under- 
 takings in the department of painting. One was the decora- 
 tion of the Loggie of the Vatican ; the other the designs for 
 the tapestries of the Sistine Chapel. 
 
 The Loggie are open galleries built round three sides of the 
 court of St. Damasus (tlie older portion of the Vatican 
 Palace). They were begun by Bramante under Julius II., 
 and completed by Raphael under Leo X. They consist of 
 three stories ; the two lower formed by vaulted arcades, the 
 upper by an elegant colonnade. The first arcade of the middle 
 story was decorated with paintings and stuccos under Raphael's 
 direction : it leads to the Stanze, so that one master- work here 
 succeeds to another. If we consider the harmonious combi- 
 nation of architecture, modelling, and painting displayed in 
 these Loggie — all the production of one mind — there is no 
 place in Rome wliich gives so high an idea of the cultivated 
 taste and feeling for beauty which existed in the age of 
 Leo X. 
 
 The walls round the windows on the inner side of the Loggie 
 are ornamented with festoons of flowers and fruits of great 
 beauty and delicate style. The other paintings, which adorn 
 the walls alternately with small stuccos, represent animals of 
 various kinds, but consist principally in the so-called arabesque 
 or grotesque ornaments. The lightest and most agreeable 
 play of fancy guides the eye, by graceful changes, from one 
 subject to another. It is the embodying of fabulous poetrj^, 
 which connects the strangest forms of fancy -vrith those of 
 vivid reality. The stuccos consist of various architectural
 
 360 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 ornaments and an almost innumerable multitude of reliefs, of 
 small busts, single figures, and groups, which principally re- 
 present mythological subjects (Leo X. was the zealous friend 
 and patron of classical antiquity) : they exhibit a spirited imi- 
 tation of the antique style and in some cases of actually exist- 
 ing monuments. 
 
 A distinguished scholar of Raphael, in this department of 
 decorative art, Giovanni da Udine, directed the execution of 
 the stuccos and ornaments. Perino del Vaga was the principal 
 assistant of the master in the figures. This kind of decoration 
 was afterwards frequently imitated by several of Raphael's 
 scholars in other places, and has been adopted by modern 
 artists ; wliilst the yet unrivalled originals, less from the 
 effect of time than from barbarism and wantonness, are ma- 
 terially injured, and retain but a faint shadow of their original 
 beauty. 
 
 The paintings of the vaulted ceiling are on the whole in 
 better preservation ; they are the chief ornaments of the arcade, 
 and the subjects just described form only a graceful frame and 
 accompaniment to them. They represent an extensive cycle 
 of events from Scripture, particularly from the Old Testament, 
 and are known by the name of " Raphael's Bible." There is 
 little by his own hand in these works : the superintendence of 
 them was entrusted to Giulio Romano, and they were painted 
 by him and other scholars from drawings by the master. If 
 they do not exhibit the perfection which is apparent in the 
 works of Raphael's own hand, the greater number belong to 
 his happiest compositions, to those of his productions in which 
 his peculiar talent is most happily displayed. The patriarchal 
 simplicity of tlie histories of the Old Testament, a simplicity 
 so nearly allied to that of classical antiquity, affords materials 
 well adapted to representations of life in its primaeval serenity 
 and circumscribed relations ; to the development of expres- 
 sion, undisturbed by vague and unsatisfied longings ; to the 
 creation of noble forms animated by harmonious feelings. The 
 contemplation of these figures, like pure harmony in music, 
 fully satisfies the mind by excluding every thought of an 
 ulterior change. A few only of the series are of inferior merit 
 in composition.
 
 Chap. IV. RAPHAEL. 361 
 
 The roof of this Loggia is formed by thirteen small cupolas, 
 each containing four pictures in a different frame- work ; there 
 are fifty-two in the whole : the single cupolas always embrace 
 a series of connected subjects. The following is a list of those 
 in the cupolas, with the names of the scholars of Eaphael to 
 whom the execution is ascribed : 
 
 1. The Creation. — Giulio Romano. — The figures of the 
 Almighty are after the type defined by Michael Angelo in 
 the roof of the Sistine Chapel, but they do not attain the 
 grandeur of the original. 
 
 2. History of Adam and Eve. — Giulio Romano. — The figure 
 of Eve in the subject of the Fall is probably painted by 
 Raphael himself. The Expulsion is an imitation and im- 
 provement of Masaccio's, in the Brancacei Chapel at Florence. 
 
 3. Subjects from the History of Noah. — Giulio Romano. 
 
 4. Subjects from the History of Abraham and Lot. — Fran- 
 cesco Penni. 
 
 5. from the History of Isaac. — Francesco Penni. 
 
 6. of Jacob. — Pellegrino da Modena. 
 
 7. of Joseph. — Giulio Romano. 
 
 8. of Moses. — Perino del Vaga, or G. Romano. 
 
 9. of Moses. — Raffaellino dal Colle. 
 
 10. of Joshua. — Perino del Vaga. 
 
 1 1 . ■ of David. — Perino del Vaga. 
 
 12. of Solomon. ^ — Pellegrino da Modena. 
 
 1 3. from the New 'J'estament. — Perino del Vaga, or 
 
 Giulio Romano.' 
 
 For the second and third arcades of the same story the New 
 
 ' [Thus, one cupola alone contains subjects from the New Testament, 
 originally concluding the series. The subjects of this cupola are, the Adoration 
 of the Shepherds and the Adoration of the Kings (the Gospel preached to 
 rich and poor), and the two essential Sacraments of Baptism and the Lord's 
 Supper. The author has well explained the general purport of the frescos of 
 the Stanze, beginning with the establishment of the Church under Constan- 
 tine, and gradually exhibiting its powers and privileges according to the faith 
 of Rome. The third room, containing the subjects of Theology, Poetry, 
 Philosophy, and Jurisprudence, does not so directly belong to this general 
 scheme, and this is explained by the fact of its having been the first planned, 
 when the remaining rooms had been already in part decorated by Pietro 
 della Francesca, Signorelli, and other painters : it was therefore intended to 
 be complete in itself. The works of these painters having been removed, 
 and a fuller scope thus offered to Raphael, he then for the first time appears 
 to have conceived the comiected cycle which has been described. — Ed.] 
 
 R
 
 362 MASTEKS OF THE SIXTEENTH CEXTURY. Book V. 
 
 Testament subjects are continued and completed by unimportant 
 artists of a later periotl. 
 
 THE TAPESTRIES.' 
 
 In the years 1513 and 1514* Raphael executed designs for 
 the ten tapestries which were intended to adorn the Sistine 
 Chapel. They represent events from the lives of the Apostles, 
 and are some of Raphael's most important producticjns. They 
 display not only great dignity and grandeur of form, a most 
 intelligible and harmonious arrangement of the groups, but 
 also such depth and power of thought, such a surprising dra- 
 matic development of each event, that historical representation 
 here appears to have attained its highest triumph. A parti- 
 cular attention appears to have been given to the material to 
 be employed, and many decorations are happily introduced 
 which are calculated to produce a beautiful effect in tapestry. 
 Raphael furnished large cartoons in distemper colours, which 
 were either executed by himself or under his immediate direc- 
 tion, chiefly by Francesco Penni.^ Seven of these cartoons 
 are preserved in the Palace of Hampton Court, in England. 
 The tapestries themselves are kept in some I'ooms of the 
 Vatican. They were worked from the cartoons, at Arras in 
 Flanders, and hence were called " Arazzi." It is said that 
 the execution was superintended by Bernhard van Orley, a 
 Flemish artist formed in the school of Raphael. They are 
 very masterly in execution, particularly in the flowing, elastic 
 treatment of the forms, and must excite greater admiration 
 when we consider the difficulties of the execution. Alas ! 
 they are not only injured in manj^ parts and badly restored, 
 but they have faded so much that the general effect of the 
 colouring is destroyed. According to their original destina- 
 tion they form two series ; the first comprehending the earlier 
 
 ' See W. Gunn, ' Cartonensia, or an Historical and Critical Account of the 
 Tapestries in the Palace of the Vatican/ London, 1831. See also Waagen, 
 England, vol. i. p. 361-382. ■> 
 
 ^ According to common belief these were not completed till 1516. Waagen, 
 however, for many reasons, supposes them to have been completed at the 
 date we have given above. According to Gaye's calculation, C'artegg. 2, 
 222, the tapestries themselves were partially completed, and arrived in Kome 
 as early as 1518. 
 
 3 [See Vasari, Vita di Francesco il Fattore. — Ed.]
 
 Cliap. IV. RAPHAEL. 363 
 
 history of the Christian church, in which St. Peter is the 
 principal personage ; the second consisting of events from the 
 ministry of St. Paul. The following are the different sub- 
 jects : — 
 
 First Series. 
 
 1. The Miraculous Draught of Fishes. — A composi- 
 tion of remarkable serenity and repose. The scene represents 
 the sea of Gennesaret, with a view of the distant shore : in 
 front are two boats Avith three figures in each ; in one boat 
 they are employed in hauling in a net with great eifort ; in the 
 other, which seems sinking with the weight of the fish, Peter 
 kneels before Christ. The two boats are placed in one line 
 and close to one another, which produces a singular effect, as 
 if the figures were slowly passing before the eye of the spec- 
 tator. Three herons, standing at the water's edge, stretch up 
 their long necks. This cartoon appears to have been painted 
 almost entirely by Raphael's own hand, as a model perhaps 
 for the others ; the keeping is remarkably well observed, the 
 drawing excellent, the colouring clear and deep in tone. It 
 is supposed that the fish and the herons are by Giovanni da 
 Udine. 
 
 2. The Delivery of the Keys to Peter. — The Dis- 
 ciples, to whom our Lord appears at the sea of Tiberias after 
 his resurrection, are here assembled. Peter kneels before 
 Christ with the keys in his hand ; Christ points with one hand 
 to the keys, Avith the other to a flock of sheep, in the middle 
 distance, as emblematic of his own words, " Feed my sheep." 
 The Saviour is a dignified figure, the expression and move- 
 ments of the apostles excellent : .John is represented in an 
 attitude of adoring reverence ; the others express astonishment 
 in various ways. 
 
 3. The Healing of the Lame Man. — The scene is the 
 portico of the Temple, with several rows of richly-ornamented 
 tNvisted columns, by which the picture is divided into three 
 groups. In the centre the miracle is performed by Peter and 
 John. Among the surrounding people are several verj^ grace- 
 ful women and beautiful children. The whole gives an im- 
 pression of festive splendour. 
 
 4. The Death of Ananias. — A composition exhibiting 
 
 b2
 
 364 MASTERS OF THE SIXTEENTH CEXTURY. Book V. 
 
 a masterly development of the event. In the centre is a 
 tribune on which the apostles are assembled : on one side 
 several people deliver in their property (according to the 
 established community of goods) ; among them a woman care- 
 fully counts over her money, instead of giving it in with con- 
 fidence — undoubtedly the wife of Ananias. On the other 
 side, several poor people receive assistance from tlie common 
 fund. In the foreground Ananias has fallen in convulsions to 
 the ground, as a punishment for his falsehood : those who are 
 beside him start back affrighted. Peter and James (who in- 
 voke the wrath of Heaven on Ananias) are figures of grand 
 apostolic majesty. 
 
 5. The Stoning of Stephen, — The figure of tlie saint is 
 particularly excellent. Kneeling, he raises his eyes to heaven 
 (where the Saviour appears with the Eternal Father and 
 angels), and prays to God for forgiveness for his murderers. 
 In the foregrovind Saul holds the clothes of the witnesses. 
 This cartoon has disappeared. 
 
 Second Series. 
 
 1. The Conversion of St. Paul. — Paul lies on the 
 ground, thrown from his horse ; above him appears the threat- 
 ening figure of the Saviour : Paul alone sees it ; his armed 
 followers witness the awfulness of the Divine presence only in 
 its effects. The expression of fear and consternation is admi- 
 rably portrayed. The cartoon is lost. 
 
 2. The Punishment of the Sorcerer Elymas. — The 
 proconsul, Sergius, is seated on his throne, in the centre of the 
 picture, with lictors, etc., at his side. In front and on the 
 right of the spectator, Paul stretches his aim toward tlie 
 sorcerer with calm dignity ; the latter stands on the left : a 
 sudden darkness has come upon liim ; he moves with uncertain 
 steps and open mouth, feeling his way with outstretched arms. 
 The sudden fate of the impostor is expressed in this instance 
 with the game mastery as in that of the Ananias. Consterna- 
 tion and wonder are visible in the bystanders : the proconsul 
 turns angi'ily toward his learned men, who stand embarrassed 
 behind the sorcerer. (Only the upper half of the tapestry 
 from this cartoon exists.)
 
 
 
 THE STONING OF ST. STEPHEN ; a tapestry of the Sistine series, 
 in the Vat-.can. pa^e 3Ö4.
 
 Chap. IV. RAPHAEL. 365 
 
 3. Paul and Barnabas at Lystra, — A festal proces- 
 sion, with a victim (the whole imitated from an antique bas- 
 relief), approaches, to offer sacrifice to Paul before the steps 
 of a temple. On one side, at the head of the procession, a 
 man cured of lameness has thrown down his crutches and turns 
 gratefully to Paul, who, standing on the opposite side, rends 
 his garment in indignation at the error of the heathen. A 
 youth, who observes the gestures of the apostle, endeavours to 
 stop the sacrificer. In the festal pomp of this representation 
 tlie cause and the result of the incident are admirably united. 
 
 4. The Preaching of Paul at Athens. — Paul stands 
 on the steps of a building and addresses the people, who stand 
 before him in a half-circle. His figure is very dignified : both 
 arms are raised to heaven with an expression of earnest elo- 
 quence. (We here recognise the same figure of St. Paul in 
 Masaccio's picture of Peter in Prison.') The effect on the 
 auditors is very varied. The different philosophical sects, of 
 stoics, epicureans, and others, are easily distinguished. The 
 sophists dispute ; others stand in doubt, or easy indifference, 
 looking on, or lost in thought ; others, full of faith, are pene- 
 trated with the truth. 
 
 5. Paul in the Prison of Philifpi, at the time of the 
 earthquake. — The earthquake is personified by a giant, who 
 has torn an opening in the earth. Behind the grate of the 
 prison the apostle is seen in prayer ; in front are the guards. 
 (A very small tapestry : the cartoon does not exist.) 
 
 The borders round these works are enriched with ornaments 
 corresponding in style with those in the Loggie. The lateral 
 divisions or pilasters are ornamented with graceful figures in 
 the arabesque taste, generally mythological in their allusions, 
 and in the natural colours. Under the large subjects are 
 small compositions in the style of friezes, painted in bronze 
 colour. Those under the second series are scenes from the 
 liistory of the apostles, so connected with the subjects of the 
 chief pictures, as to carry on and unite the separate events. 
 Those vmder the first series represent incidents from the early 
 history of Leo, in the style of antique reliefs ; and although 
 
 [' The subject referred to, according to the author himself, is by Filippino 
 Lippi ; seep. 194. — Ed.]
 
 366 MASTERS OF THE SIXTEEN^TH CENTURY. Book V. 
 
 the costume of the time is retained in the principal portraits, 
 it is so manag-ed as to liarmonize with this classic treatment. 
 Both series give an additional proof of Raphael's all-pervading 
 taste and feeling for beauty, M'hich enabled him to give even 
 to the least important subjects the impress of his own noble 
 mind.' 
 
 In the same apartments of the Vatican there is another 
 series of tapestries, also designed by Raphael. They are 
 twelve in number,* higher in shape, and without the orna- 
 mental accessories. They represent scenes from the life of 
 Christ, and were certainly executed after the others. The 
 circumstance of their being called by the keepers of the 
 Vatican, " Arazzi della scuola nuova," as distinguished from 
 the first described, called " Arazzi della scuola vecchia," 
 seems to confirm this. It does not appear probable that the 
 cartoons for these last-mentioned tapestries were executed 
 under Raphael's immediate direction, since, in the greater 
 number, the drawing is much less satisfactory than in the 
 other series. We observe also some elements foreign to his 
 school, of a Flemish character, which makes it probable that 
 a part at least were executed by Flemish artists, such as Bern- 
 hard van Orley and others. Nevertheless, the general inven- 
 tion, composition, and style of these works announce, for the 
 most part, the unquestionable genius of Raphael, — the same 
 grace and dignity which we recognize in all his pi'oductions ; 
 though occasional compositions bear a very conventional cha- 
 racter, and show decided marks of change of purpose. Acces- 
 sories and landscape appear throughout to be of Netherlandish 
 invention. It is believed that Francis I., on the occasion of 
 the canonization of S. Francesco di Paolo, in 1519, promised 
 the Pope these tapestries, and commissioned Raphael to make 
 the designs for them. It is not probable, however, that they 
 were executed before 1523. 
 
 Among the finest works of the second series may be parti- 
 cularly mentioned, first, the Adoration of the Kings, a large 
 
 • [See the note at the end of this cliapter, on the original situation of the 
 tapestries. — IiId.] 
 
 ^ [A thirteenth, with allegorical figures alluding to the papal power, com- 
 pletes the series. See Passavant, Rafael von Urbino, ii. 260. — Ed.]
 
 
 THE ASCENSION ; a tapestry of the later series, in the Vatican. pa^e 366.
 
 ^-"--.,, 
 
 
 APOSTLES, designed by Raphael and engraved by Marc Antonio. page 367.
 
 ^fi)'yu»,^,,_ 
 
 ^^^W:,,,,^ 
 
 
 APOSTLES, designed by Raphael and engraved by Hare Antonio. page 367.
 
 \ -v C^.^ ^ ■ Ja ^^ 
 
 
 t^^ü£=:-frÄ>:' 

 
 Chap. IV. RAPHAEL. 367 
 
 composition, full of figures. The numerous and splendid 
 retinue of the Kings is assembled with joyous awe and adora- 
 tion around the principal group. And secondly, the Resur- 
 rection of Christ, of similar size and richness of character. 
 The figure of the triumphant Saviour forms the chief centre, 
 while the utmost life and variety of agitation are seen in the 
 ranks of the guards who flee in terror, or fling themselves on 
 the earth. Thirdly, three narrow tapestries containing the 
 Murder of the Innocents, each in itself an independent and 
 finely-conceived picture of this rich and varied subject — all 
 alike characterized by that pure spirit of beauty which so 
 treated the most painful incidents as to excite the profound 
 sympathy of the spectator, instead of appalling him with 
 scenes of terror, as usual with all previous conceptions of 
 these scenes. (A fourth and larger composition of the Murder 
 of the Innocents, where Raphael has imparted the same moral 
 tenderness, the same exquisite charm to the figures of the 
 despairing and fleeing mothers, was engraved from a drawing 
 of the master by his scholar Marc Antonio.) 
 
 After the completion of the tapestries for Leo X., owing to 
 the great applause which these splendid articles of luxury met 
 with, repetitions were executed for many other places, and 
 thus various copies are to be seen in Dresden, Mantua, 
 P2ngland, France, and elsewhere.' 
 
 We conclude with the figures of the twelve Apostles, exe- 
 cuted in chiaroscuro after Raphael's designs, in an apartment 
 of the Vatican, since altered. These are probably the com- 
 positions engraved by Älarc Antonio, and painted by Raphael's 
 scholars on the pilasters of St. Vincenzo alle Tre Fontane 
 (near Rome), where they are now to be seen. They are dig- 
 nified, well-draped figures, but deficient in real grandeur. 
 
 Finally, in the last years of his life (1518-1520), Raphael 
 completed the decorations of the chapel of the little castle of 
 La Magliana — a favourite residence of Leo X., five miles 
 
 ' See Passavant, vol. ii. p. 273, for an account of these frequent, and in 
 part contemporary, repetitions. Nine pieces of the first series, of which only 
 " Paul in the Prison at Philippi " was wanting, were long in England, and 
 have only been recently purchased for the Berlin Museum. They are said to 
 have been in the possession of Henry VIII., and to have come to England at 
 that time from Italy.
 
 368 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 from Rome, near Porta Portese. Here, under Julius II., a 
 scholar of Perugino's, probably Spagna, had painted the 
 Annunciation and the Visitation^ — Raphael now added, either 
 by his own hand, or by that of one of his best scholars, the 
 Martyrdom of St. Felicitas, a composition, the excellence of 
 which is now only fully preserved in Marc Antonio's engraving, 
 the centre and principal scene having been destroyed not long 
 ago by the barbarous introduction of a window. On the left, 
 still preserved, is a group of men surrounding the tyrant, who 
 are eagerly watching the scene, and on the right the figure of 
 an idol with three terrified women with a naked boy, who is 
 clinging fearfully to them. Tlie heads are all of the finest 
 expression. In a Glory of the First Person of the Trinity, 
 probably by one of Raphael's scholars, one of the angels 
 strewing flowers is closely imitated * from the celebrated Ma- 
 donna of Francis I., 1518, which is described further on. 
 
 Beside all these important commissions, executed by Raphael 
 for the Papal Court, during twelve years, many claims were 
 made on him by private persons. Among the works of this 
 kind may be mentioned two frescos executed for Roman 
 churches. One in S'" Maria della Pace, over the arch of the 
 first side-chapel, on the right of the entrance ; it represents 
 four Sibyls surrounded by angels. It is one of Raphael's 
 most perfect works : great mastery is shown in the mode of 
 filling and taking advantage of the apparently unfavourable 
 space. The angels who hold the tablets to be written on, or 
 read by the sibyls, create a spirited variety in the severe sym- 
 metrical arrangement of the whole. Grace in the attitudes 
 and movements, with a peculiar harmony of form and colour, 
 pervade the whole picture ; but important restorations have 
 unfortunately become necessary in several parts. An inte- 
 resting comparison may be instituted between this work and 
 the Sibyls of Michael Angelo. In each we find the peculiar 
 excellence of the two great masters ; for while Michael 
 Angelo's figures are grand, sublime, profound, the fresco of 
 
 ' See Passavant, vol. i. p. 290, and vol. ii. p. 340; also an article by 
 Herrn H. Hase, in the 'Blätter für literarische Unterhaltung,' Leipzig, 
 Brockhaus, 1841, Nos. 235 and 236. [Engraved by L. Gniner, "I Freschi 
 della Villa Magliana di Pvafl'aelle d' ürbino, &c., Loiidra, 1847.— Ed.]
 
 Chap. IV. RAPHAEL, 369 
 
 the Pace bears the impress of Raphael's serene and ingenuous 
 grace. The four Prophets on the wall over the Sibyls were 
 executed by Timoteo della Vite, after drawings by Raphael. 
 
 In a second fresco, representing the prophet Isaiah and two 
 angels, who hold a tablet, painted on a pilaster in the church 
 of S. Agostino at Rome, the comparison is unfavourable to 
 Rapliael. An effort to rival the powerful style of Michael 
 Angelo is very visible in this picture ; an effort wliicli, not- 
 withstanding the excellence of the execution in parts, has 
 produced only an exaggerated and affected figure.' 
 
 While drawing these comparisons between Michael Angelo 
 and Raphael, we may mention a small oil picture, supposed to 
 have been executed by Raphael as early as lolO, but which, 
 to judge from its affinity with the earlier pictures of the Loggie, 
 can only liave been produced in 1513 : it represents the Vision 
 of Ezekiel, and is now in the Pitti Palace at Florence; it 
 contains the First Person of the Trinity, in a glory of brightly 
 illuminated cherubs' heads, his outstretched arms supported 
 by two genii, and resting on the mystical forms of the ox, 
 eagle, and lion ; the angel is introduced adoring beside tliem. 
 Dignity, majesty, and sublimity are here blended ynXh. inex- 
 pressible beauty : the contrast between the figure of the Al- 
 mighty and the two youthful genii is admirably portrayed, 
 and the whole composition so clearly de-\'eloped, that it is un- 
 doubtedly one of the master- works of the artist. Michael 
 Angelo, who had also given a type of the Almighty, represents 
 him borne upon the storm ; Raphael represents him as if 
 irradiated by the splendour of the sun :- — here again both 
 masters are supremely great, similar yet different, and neither 
 greater than the other. A copy of this work, formerly iu the 
 
 ' Sebastian del Piombo's accouut of his remarkable audience of Julius I J., 
 published in Gaye's Cartegg., ii. p. 477, proves that Jlichael Angelo's in- 
 fluence over Piaphael was well known at that time, 1512. If Sebastian is to 
 be believed, the Pope expressed liimself thus : — " Look at the works of 
 Raphael ! As soon as he saw those of Michael Angelo, he instantly (subito'') 
 quitted the style of Perugino. and adapted himself (nccostava) as nearly as 
 possible to that of Michael Angelo." Gaye connects this change with 
 Michael Angelo's cartoon at Florence ; but the Florentine works of Kaphael 
 testify so little of that master's influence, that we should far rather attribute 
 it to the ceiling of the Sistine Chapel, of which at least a portion was open to 
 the public in 1509. 
 
 R 3
 
 370 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Orleans Gallery, and at one time considered the original, is 
 now at Stratton, in England. 
 
 A somewhat later work of Raphael also proves that in the 
 very same subjects in which Michael Angelo's whole greatness 
 was displayed he infused that free and peculiar beauty which 
 places them in the noblest contrast to the gigantic power of 
 his rival. We allude to the decorations of the Chigi chapel 
 at S. Maria del Popolo at Rome. Here it was intended that 
 the cupola should contain the history of the Creation up to 
 the Fall, tliat four statues of the prophets should represent 
 the Promise, and three large wall pictures the fulfilment of 
 the New Covenant. With the exception of tlie statue of the 
 prophet Jonah, which Raphael appears to have executed him- 
 self, he only lived to see the completion of the mosaics in the 
 cupola after his designs, by Luigi da Pace (Maestro Luisaccio) 
 in 1516.' In the centre circle is the Almighty, with up- 
 lifted arms, in the act of creation, surrounded by seraphim. 
 Around, in eight compartments, are the mythological half- 
 length figures of seven planets, and a cherub as head of the 
 planetary system. Furtlier below are the signs of the zodiac, 
 and, leaning or sitting upon them, figures of angels of such 
 wonderful and simple beauty as we can only compare to the 
 sibyls in S. Maria della Pace. Unfortunately the whole has 
 been much injured. 
 
 Like all other artists, Raphael is always greatest when, 
 undisturbed by foreign influence, he follows tlie free, original 
 impulse of his own mind. His peculiar element was grace 
 and beauty of form, in as far as these are the expression of 
 high moral purity. Hence, notwithstanding the grand works 
 in which he was employed by the Popes, his peculiar powers 
 are most fully developed in the Madonnas and Holy Families, 
 of which he has left so great a number. In his youth he 
 seems to have been fondest of this class of subjects, and if his 
 earliest works of this kmd bear the impress of a dreamy, 
 sentimental fancy, and the later ones of a cheerful conception 
 of life, the works of his third period form the happiest medium 
 
 ' See ' I Musaici della Cupola nella Cappella Chigiana di S. M. del Popolo 
 in Roma, inv. da Rafucle Sauzio, inc. ed ed. da L. Gruaer, illustr. da Ant. 
 Grifi,' Roma, 1839.
 
 Chap. IV. RAPHAEL. 371 
 
 between cheerfulness and dignity, — between innocent play- 
 fulness and a deep penetration of the spirit of his subject. 
 They are conceived with a graceful freedom^ so delicately 
 controlled, that it appears always guided by the finest feeling 
 for the laws of art. They place before us tliose dearest rela- 
 tions of life which form the foundation of morality, the 
 closest ties of family love ; yet they seem to breathe a feeling 
 still higher and holier. Mary is not only the affectionate 
 mother ; she appears, at the same time, with an expression of 
 almost virgin timidity, and yet as the blessed one of whom 
 the Lord was born. The infant Christ is not only the cheerful 
 innocent child, but a prophetic seriousness rests on his features, 
 which tells of his future sacred destiny. In the numerous 
 representations of these subjects, varying in the number, 
 attitude, and grouping of the figures, there prevails some- 
 times a more simply natural, sometimes a more profound 
 conception ; they thus offer many interesting points of com- 
 parison. They are not all, however, from Raphael's own 
 hand ; many, though painted from liis designs and in his 
 studio, have only been retouched and completed by himself: 
 many also which bear his name are but the works of his 
 scholars, who endeavoured to seize and appropriate some 
 portion of the master-spirit. 
 
 Among these works we may particularly distinguish those 
 of the earlier part of Kaphael's residence in Rome. These, 
 as might be expected from his more severe employments, are 
 simple compositions, of not very considerable size. The exe- 
 cution, however, sliows that they are done quite con amove, 
 and they more or less retain the traces of that deep earnestness 
 which, we have observed, characterized his youthful works. 
 The following are especially deserving of mention. 
 
 The Aldobrandini Madonna (27), now in the possession of 
 Lord Garvagh. — The Madonna, sitting on a bench, bends 
 tenderly towards the little St. John, her left arm round him ; 
 he reaches up playfully for a flower, gracefully offered to him 
 by the infant Christ, who sits on his mother's lap. Behind 
 the Madonna is the pilaster of an arcade, and on each side a 
 view into the landscape beyond : the whole forms a composi- 
 tion of the greatest beauty and sweetness. The picture is in
 
 372 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 good preservation. An old repetition of the same subject is 
 at Signor Camuccini's in Rome.' 
 
 The Madonna of the Duke of Alba (26), formerly in the 
 possession of Mr. Coesvelt, in London, now in the Hermitage 
 at St. Petersburg. — The INIadonna, a full-length figure, is 
 seated in a quiet landscape-scene ; the child on her lap ; she 
 holds a book in her hand, which she has been just reading ; 
 the little St. John kneels before his divine companion with 
 infantine grace and offers him a cross, which he receives with 
 looks of unutterable love : the Madonna's eyes are directed to 
 the prophetic play of the children with a deep, earnest expres- 
 sion. It is a beautiful picture, executed in the best and most 
 delicate style by the master's own hand, and very well pre- 
 served. 
 
 La Vierge an Diademe (28), also called La Vierge au 
 Linge, in the Louvre. — The Madonna is seated in a kneeling 
 position, lifting the veil from the sleeping Child, in order to 
 show it to the little St. John, who is kneeling in joyful 
 adoration. In the background a rich landscape. The execu- 
 tion decidedly does not belong entirely to Raphael. The 
 picture also, like so many in the Louvre, has been much 
 injured. Similar compositions, with a more or less free imita- 
 tion of this moment, are frequent.^ 
 
 The Madonna and Child (31), in the possession of Mr. 
 Rogers in London (from the Orleans gallery). — The Madonna, 
 a half-length figure, youthful and noble, is seen behind a 
 balustrade or low wall, on which stands the Child, who, 
 smiling, nestles close to her, holding her round the neck. 
 The picture has now lost its surface, and is interesting in a 
 technical point of view, on account of the bright reddish 
 undertint which is apparent. 
 
 The Madonna (half-figure) and Cliild (30), in the pos- 
 session of Lord Ellesmere, and forming part of the Bridge- 
 water gallery at London (from the Orleans gallery, and 
 not in a good state). — The Child is stretched on her lap ; she 
 
 ' [The picture here alluded to is small; it contains but two figures, and is 
 quite different in composition : see p. 339. — Ed.] 
 
 * Representations of this kind, with the child sleeping, are generally called 
 ' Silentium,' ' Vierge au Silence,' &ic.
 
 r-E MADONNAS OF RAPHAEL. 
 
 
 -V, 
 
 
 C- 
 
 \ "iC: 
 
 -"■ y 
 
 t>/; 
 
 ^! 
 
 ^-JsÄ/ 
 
 V 
 
 ^UI 
 
 21. l,a Belle Jenrliniere, Louvre, L. 106, P. 86, 
 
 p. 338. 
 
 22. Del Baldacctuno, Florence, L. 110, P. 99, p. 340. 
 53. With the Lamb, Escurial, P. 91, p. 340. 
 
 ■M. Wendelstadt, P. 92. 
 
 25. Loreto, L. 148, P. 126, p. 373. 
 
 26. Casa d'Alba, St. Petersburg, P. 12S, p. 372. 
 
 27. Garva^h. London, P. 131, p. 371. 
 
 28. Diademe, Louvre, L. lOS, P. 133, p. 372. 
 
 29. Madormadi Fuli^no, Rome, L. 443, P. 134, p. 3T 
 
 30. Bridgewater, Loudon, L. 145, P. 144, p. 373. 
 
 31. Bogers, London, L. 325, P. 146, p. 372. 
 
 32. Diriu' Amore, Naples, L. 294, P. 147, p. 37.'i. 
 
 33. Del Pesce, Escurial, L. 295, P. ISO, p. 378. 
 31. DelLi Sedia, Florence, L. 109, P. 294, p. 373. 
 35. DeUa Tenda, Monicb, P. 297, p. 373.
 
 THB MADONNAS OF RAPHAEL. 
 
 ^ 
 
 
 i 
 
 
 39. Under the Oak, Madrid, P. 301, p. 375. 43. Madonna del Passe^gio, London, L. lOJ, P. 397. 
 
 37. The Pearl, Madrid, L. 143, P. 306, p. 375 p. 374. 
 
 33. Of Francis I., Louvre, L. 105, P. 312, p. 376. 44. Candelabra, London, P. 399, p. 374. 
 
 39. Small Holy Family, Louvre, L. 107, P. 375, p. 375. 45. Madonna among Ruins, L. 425, P. 401. 
 
 40. Di San Sisto, Dresden, P. 338, p. 379. 46. "Ecce Agnus Dei," London, P. 403. p. 376, eee L. 147. 
 
 41. Dell' Impannata, Florence, L. 436, P. 391, p. 374. 47. Delia Gatta, Naples, P. 3C8, p. 375. 
 
 12. Ripoao, Vienna, L. 328, P. 395, p. 376. 49. » Raphael, in the Tribune at Florence, P. 407.
 
 Chap. IV. RAPHAEL. 373 
 
 looks at him with maternal joy. The infant, in gracefnl and 
 lively action, turns his little head upwards, and looks at her as 
 if in deep thought, yet tenderly (painted 1512). Several old 
 repetitions are in the JMuseums of Berlin, Naples, &c. 
 
 Madonna di Loreto (25). — The original is lost, but the 
 subject is known from numerous old copies ; for instance, in 
 the Louvre, in the Studj gallery at Naples, in the collection 
 of the Prince of Salerno also at Naples, in Mr. Miles's col- 
 lection at Leigh-court, in Mr. Wigram's, &c. The Virgin 
 is lifting the veil from the just awakening Child. Joseph 
 stands at her side, devoutly looking on. Half-length figures 
 the size of life ; generally a green curtain in the background.' 
 
 The Madonna della Sedia (34), in the Pitti Palace at 
 Florence (painted about 1516), a circular picture. — Tlie 
 Madonna, seen in a side view, sits on a low chair holding the 
 Child on her knee ; he leans on her bosom in a listless, child- 
 like attitude : at her side John folds his little hands in prayer. 
 The Madonna wears a many-coloured handkerchief on her 
 shoulders, and another on her head, in the manner of the 
 Italian women. She appears as a beautiful and blooming 
 woman, looking out of the picture in the tranquil enjoyment 
 of maternal love ; the Child, full and strong in form, has a 
 serious, ingenuous, and grand expression. The colouring is 
 uncommonly warm and beautiful. 
 
 The Madonna della Tenda (35), in the possession of the 
 King of Bavaria. (There is a repetition of the picture in 
 the Royal gallery of Turin, also said to be an original.) — A 
 composition similar to the last, except that the Child is repre- 
 sented in more lively action, and looking upwards. In the 
 background is a curtain, hence the name of the Italian picture. 
 
 A series of similar, but in some instances more copious 
 compositions, belong to a later period ; they are in a great 
 measure the work of his scholars, painted after his draw- 
 ings, and only partially touched upon by Eaphael himself. 
 Indeed many pictures of this class should, perhaps, be con- 
 sidered altogether as the productions of his scliool, at a time 
 
 ' Passavant, vol. ii. p. 126, assigns this composition to Raphae/s earlier 
 Roman time — on which account we place it here, though it appears to us to 
 belong to his latest and freest time.
 
 374 MASTERS OF THE SIXTEENTH CENTURY. Book V, 
 
 when that school was under his direct superintendence, and 
 when it wa.« enabled to imitate his finer cliaracteristics in a 
 remarkable degree. 
 
 In this class we must include the Vierge aux Candelabres 
 (44), where the Madonna is seated, with au angel bearing a 
 torch on each side. This circular j)icture was sold in England 
 by the Duke of Lucca, with other treasures of art, in 1840.' 
 
 The Madonna dell' Impannata (41), in the Pitti palace at 
 Florence, shows only the technical stamp of his scliool. The 
 two holy women who pay homage to the Child are very beau- 
 tiful ; the little St. John, on the contrary, who sits in the 
 foreground, and points to Christ, wants the easy naivete of 
 Raphael. The Child is, however, softly and delicately painted ; 
 and here, it is probable, the master himself assisted. This 
 picture, which is armnged more as an altarpiece than Raphael's 
 other Holy Families, takes its name from the oiled-paper 
 window in the background. 
 
 The Madonna del Passeggio (43), in the Bridgewater 
 gallery, formerly in the Orleans gallery, and yet earlier in 
 that of Christina of Sweden, appears to have been painted by 
 Francesco Penni. It represents the Madonna and Child walk- 
 ino" in a landscape, and the little St. John about to kiss his 
 playfellow. The children are peculiarly graceful, almost in 
 Raphael's Florentine manner ; but the draper}^ of the Madonna 
 is heav)', and resembles the works of later artists. There are 
 several repetitions in the Museum of Naples and elsewhere. 
 
 In all these Holy Families of Raphael's later period, Avhat- 
 ever part he may or may not have taken in their execution, 
 there appears a pervading character of grand ideal beauty, 
 which, as before remarked, is common to the other works of 
 art of tills age. We no longer perceive the tender enthusiasm, 
 the earnestness and fervour of youth ; but, in their stead, a 
 cheerful, tranquil enjoyment of life, ennobled by the purest 
 feeling. They are not, however, glorified, holy forms, which 
 impel us to adore ; they rather show us the most interesting 
 moments of domestic life, the accidental re-unions in a family, 
 when the sports of graceful children attract the delighted 
 
 ' [Now in the possession of Mr. Munro. — Ed.]
 
 Chap. IV. RAPHAEL. 375 
 
 observation of parents. The greater number of these pictures 
 consist of four figures — the Madonna, the two Children, and 
 either Elizabeth or Joseph. Among those pictures in which 
 Elizabeth shares the motlier's joy, are the following. 
 
 The Holy Family, known by the name of " the Pearl " 
 (37), in the gallery at Madrid : the most important, and, in 
 composition, unquestionably the finest of Raphael's Holy 
 Families. The figures, arranged in perfect harmony, form a 
 beautiful group : — the infant Christ sits on the Madonna's 
 knee, resting one foot on a cradle, in the foreground ; John 
 brings fruits in his panther's skin. Pliilip lY. of Spain, who 
 had purchased the picture from the gallery of Charles I., is 
 said to have exclaimed on seeing it, " This is mj^ pearl !" — 
 hence its name. Giulio Romano probably assisted much in 
 the execution. 
 
 A small Holy Family in the Louvre (39). The infant 
 Christ stands on a cradle caressing St. John. The execu- 
 tion is attributed sometimes to Giulio Romano, sometimes to 
 Garofalo. 
 
 The so-called Madonna col divino amore (32), in the 
 Museum of Naples.' The Child, seated on the Virgin's lap, 
 is blessing the Baptist, while Elizabeth supports his little arm. 
 The execution is attributed by some to Giulio Romano, but it 
 betrays more of Raphael's own hand than most of his later works. 
 
 The Madonna della Gatta (47), in the Museum at Naples, 
 may also be mentioned here. It was executed by Giulio 
 liomano after Raphael's " Perla." It is a beautiful domestic 
 scene, and excellently composed ; but the scholar's different 
 mind shows itself in the prominence of the accessories, in the 
 more violent action of the Child, in the incomparably less 
 depth and purity of expression, and in the heavy, dark 
 shadows. 
 
 Among the pictures in which Joseph completes the group, 
 are several in the Museum at Madrid, particularly La Äladonna 
 della Lucertola (36), so called because a lizard- is introduced 
 
 ' According to Passavant, vol. i. p. 187, painted as early as 1512, which 
 we are much inclined to doubt. 
 
 * [No lizard appears in the original picture at IMadrid, though one is intro- 
 duced in the copy in the Pitti Palace : hence the " Holy Family under the 
 oak " is the better appellation. — Ed.]
 
 376 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 in the picture ; also " the Holy Family under the oak," painted 
 about 1517. Joseph leans on an antique architectural ruin ; 
 the young Christ turns to John, who holds up to him a strip 
 of parchment with the words " Ecce agnus Dei !" The exe- 
 cution is attributed to Giulio Romano, A repetition, marked 
 as a copy by Giulio Romano, is in the Pitti Palace at 
 Florence. It is hard and cold. A composition, in which 
 the children hold a similar piece of parchment with upraised 
 hands, appears to have been frequently repeated by Raphael's 
 scholars. One of them is at Stratton, the seat of Sir Thomas 
 Earing ; another is in the possession of Mr. Munro, in London 
 (46), formerly in that of M. Nieuwenhuys ; a third in the 
 sacristy of the Escurial. 
 
 A Repose in Egypt (42) is in the Imperial gallery at 
 Vienna. The Madonna kneeling, holds the Child in her 
 arms ; John also kneels, and presents fruits : Joseph, leading 
 an ass by the bridle, is in the act of raising John. The 
 picture is freely and boldly painted. The Child is extremely 
 beautiful, as is also the head of John. 
 
 Lastly, the large picture of a Holy Family (38), in the 
 Louvre, painted by Raphael in 1518 for Francis I., is pecu- 
 liarly excellent. The Madonna kneels to take up the Child, 
 who springs joyfully out of the cradle ; Elizabeth kneels also 
 and folds the hands of the little St. John ; Joseph, in the 
 background, is in calm contemplation. At the side are two 
 angels : one strews floAvers over the Child, the other crosses 
 his hands on his breast. The whole has a character of cheer- 
 fulness and joy : an ea.sy and delicate play of graceful lines 
 and the noblest forms, w^hich unite in an intelligible and 
 harmonious whole. Giulio Romano assisted in the execu- 
 tion. 
 
 To this cycle of Holy Families may be added the Visitation 
 (of Mary to Elizabeth), now in Spain. The heads are very 
 beautiful — Mary's full of the most graceful innocence and 
 humility. On the other hand, the drawing of the draperies 
 and figures appears to be less excellent. Chiefly executed by 
 Giulio Romano. 
 
 A similar character pervades the larger compositions of 
 this later period, which represent the Madonna as queen
 
 Chap. IV. RAPHAEL. 
 
 of heaven, thougli their destination as altarpieces naturally 
 causes the religious character to predominate. AVith regard 
 to these compositions, in whicli several Saints are assembled 
 round the Madonna, it is to be observed, that although these 
 holy person;) ges were brouglit together arbitrarily (for various 
 accidental reasons), yet Raphael has contrived to place them 
 in reciprocal relation to each other, and to establish a con- 
 nexion between them ; while the earlier masters either ranged 
 them next to one another, in simple synmietrical repose, or 
 with equal caprice disposed them in all kinds of attitudes, 
 with a view to picturesque effect. Raphael has left three 
 large altar-pictures of this kind, which are interesting examples 
 of his various conceptions of the Madonna. 
 
 Of these the Madonna di Fuligno (29) (also called La 
 Vierge au Donataire), in the Vatican, is the earliest, and of 
 about the same date as the Stanza della Segnatura, namely, 
 about 1511. It was originally ordered for the church of Ara 
 Coeli in Rome, by one of the court of Julius II., Gismondo 
 Conti, but was afterwards transferred to Fuligno : hence its 
 name. In the upper part of the picture is the Madonna with 
 the Child, enthroned on the clouds in a glory, surrounded by 
 angels. Underneath, on one side, kneels the donor, raising 
 his folded hands to the Virgin ; behind him stands St. Jerome, 
 who recommends him to her care. On the other side is St. 
 Francis, also kneeling and looking upward, while he points 
 with one hand out of the picture to the people, for whom he 
 entreats the protection of the Mother of Grace ; behind liim 
 is John the Baptist, who points to the Madonna, while he 
 looks at tlie spectator as if inviting the latter to pay her 
 homage. The relation between the picture and the com- 
 munity of believers, expressed by the last two figures, appears 
 from this time variously modified in the altarpieces of the 
 Catholic church. Between the two groups stands an angel 
 holding a tablet, intended for an inscription. In the distance 
 is a city, on which falls a meteor, or perhaps a bomb-shell ; 
 above it is a rainbow, no doubt in allusion to some danger 
 and miraculous preservation, in remembrance of which the 
 picture was dedicated.' 
 
 ' [Providential escapes, victories, and successes were among the most
 
 378 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 This work, however beautiful in the whole arrangement, 
 however excellent in the execution of separate parts, appears 
 to belong only to a transition-state of development. There is 
 something of the ecstatic enthusiasm which has produced such 
 peculiar conceptions and treatment of religious subjects in 
 other artists — Correggio, for example — and which, so far from 
 harmonizing with the unaffected, serene grace of Raphael, has 
 in this instance led to some serious defects. This remark is 
 particularly applicable to the figures of St. John and St. 
 Francis : the former looks out of the picture with a fantastic 
 action, and the drawing of his arm is even considerably man- 
 nered. St. Francis has an expression of fanatical ecstasy, and 
 his countenance is strikingly weak in the painting (composed 
 of reddish, yellowish and grey tones, which cannot be wholly 
 ascribed to the restorer). Again, St. Jerome looks up with a 
 sort of fretful expression, in which it is difficult to recognize, 
 as some do, a mournful resignation ; there is also an exagge- 
 rated style of drawing in the eyes, which sometimes gives a 
 .sharpness to the expression of Raphael's figures, and appears 
 very marked in some of his other pictures. Lastly, the 
 Madonna and the Child, who turn to the donor, are in atti- 
 tudes which, however graceful, are not perhaps sufficiently 
 tranquil for the majesty of the queen of heaven.' The expres- 
 .sion of the Madonna's countenance is extremely sweet, but 
 with more of the character of a mere woman than of a glorified 
 being. The figure of the donor, on the other hand, is excel- 
 lent, with an expression of sincerity and truth ; the angel with 
 the tablet is of unspeakable intensity and exquisite beauty — 
 one of the most marvellous figures that Raphael has created. 
 
 The second of these pictures, the Madonna del Pesce (33), 
 
 frequent occasions of what are called votive pictures. In these compositions 
 the Madonna and Child are generally i-epresented suiTounded by Saints, the 
 latter being selected for various reasons, according to the taste or devotion 
 of the proprietor of the picture. The donor is frequently introduced kneel- 
 ing, sometimes alone, sometimes with his family, and in many cases a patron 
 saint recommends the votaries. The ultimate intercession of the Madonna 
 is, however, distinctly intimated by her appearing in the character of the 
 ' Mater Dei.' When she is represented alone, her action is more directly that 
 of a suppliant. — Ed.] 
 
 ' [This is one of the instances in which the severity of the author's criti- 
 cism is unsupported by high authorities. — Ed.]
 
 Chap. IV. RAPHAEL. 379 
 
 has much more repose and grandeur as a whole, and unites the 
 sublime and abstract character of sacred beings with the 
 individuality of nature in the happiest manner. It is now in 
 the Escurial, but was originally painted for S. Domenico, at 
 Naples,' about 1513. It represents the Madonna and Child 
 on a throne ; on one side is St. Jerome ; on the other tlie 
 guardian angel with the young Tobias, who carries a fish 
 (whence the name of the picture). The artist has imparted 
 a wonderfully poetic character to the subject. St. Jerome, 
 kneeling on the steps of the throne, has been reading from a 
 book to the Virgin and Child, and appears to have been inter- 
 rupted by the entrance of Tobias and the Angel. The infant 
 Christ turns towards them, but at tlie same time lays his hand 
 on the open book, as if to mark the place. The Virgin turns 
 towards the Angel, who introduces Tobias ; while the latter, 
 dropping on his knees, looks up meekly to the Di\'ine infant. 
 St. Jerome looks over the book to the new comers, as if ready 
 to proceed with his occupation after the intei-ruption. All the 
 figures are graceful and dignified. The majesty and sweetness 
 of the Virgin, the interesting sympathy of the Child, the 
 thoughtful gravity of St. Jerome, the easy, bending figure of 
 the Angel, the inexpressible naivete of Tobias, all combine in 
 beautiful harmony, and leave a refined impression on the feel- 
 ings of the spectator. 
 
 The most important of this class is the Madonna di San 
 Sisto (40), in the Dresden Gallerj\ Here the Madonna 
 appears as the queen of the heavenly host, in a brilliant glory 
 of countless angel-heads, standing on the clouds, with the 
 eternal Son in her arms ; St. Sixtus and St. Barbara kneel at 
 the sides. Both of them seem to connect the picture with the 
 real spectators. A curtain, drawn back, encloses the picture 
 on each side : underneath is a light parapet, on which two 
 beautiful boy-angels lean. The Madonna is one of the most 
 wonderful creations of Raphael's pencil : she is at once the 
 exalted and blessed woman of whom the Saviour was born, 
 and the tender earthly Virgin whose pure and humble nature 
 
 ' For that chapel where prayers for the recovery from all diseases of the 
 eye were especially oft'ered up. This accounts for the introdiictiou of Tobit 
 with the fish, which has puzzled so many.
 
 380 MASTERS OF THE SIXTEENTH CEiSTTURY. Book V. 
 
 was esteemed worthy of so great a destiny. There is some- 
 thing scarcely describable in her countenance ; it expresses a 
 timid astonishment at the miracle of her own elevation, and at 
 the same time, the freedom and dignity resulting from the 
 consciousness of her divine situation. The Child rests natu- 
 rally, but not listlessly, in her arms, and looks down upon the 
 world with a serious expression. Never has the loveliness of 
 childhood been blended so touchingly with a deep felt solemn 
 consciousness of the holiest calling, as in the features and 
 countenance of this Child. The eye is with difficulty disen- 
 chanted from the deep impressions produced by these two 
 figures, so as to rest upon the grandeur and dignity of the 
 Pope, the lowly devotion of St. Barbara, and the cheerful 
 innocence of the two angel-children. This is a rare example 
 of a picture of Kaphael's later time executed entirely by his 
 own hand. No design, no study of the subject for the guidance 
 of a scholar, no old engraving, after such a study, has ever 
 come to light. The execution itself evidently shows that the 
 picture was painted without any such preparation. Proofs 
 are not wanting even of alterations in the original design — 
 the t\vo angels in the lower part are very evidently a later 
 addition by the master's hand. Accordmg to Vasari, Raphael 
 painted this picture for the principal altar of St. Sixtus, at 
 Piacenza — at least it was there in his time, and was only 
 removed to Dresden in the last century. It has been supposed, 
 with great probability, that it had been intended for a proces- 
 sion-picture.' Though this supposition has not been actually 
 substantiated, yet both the composition and condition of the 
 picture argue for it, and we can conceive the elevating im- 
 pression that this glorified appeai'ance must have produced as 
 it was borne slowly along over the heads of adoring multitudes, 
 accompanied by the lights, the incense, and the sacred songs 
 of the different orders. 
 
 To this class belongs also the Saint Cecilia, executed in the 
 earlier years* of Raphael's residence in Rome, and now in the 
 
 1 For the grounds of this supposition, see Von Kuniohr, Italienische 
 Forschungen, iii. 129, etc.; and Drei Reisen nach Italien, p. 74, etc. 
 
 • [It appears to have been completed in 1516. The inscription in the 
 chapel is comparatively modern, and hence no authority. See Passavant, ii. 
 181, note. — Ed.]
 
 Chap. IV. RAPHAEL. 381 
 
 Gallery of Bologna. It was originally in San Giovanni a 
 Monte, and adorned the altar of the Bentivoglj, for whom it 
 was painted. St. Cecilia is placed in the centre, svirrounded 
 by four Saints ; St. John and St. Augustine behind her ; St. 
 Paul and Mar}' Magdalene in front, at the sides of the picture. 
 Above, in the clouds, is a glorj^ of angels singing hymns. At 
 the feet of Mary Magdalene lie some musical instruments 
 partly broken ; St. Cecilia raises her eyes to the Angels, and 
 appears to listen to their songs. She holds a small organ 
 reversed, wdth its tubes beginning to fall out, indicating, like 
 the other scattered and broken instruments, the relation of 
 earthly to heavenly music. St, John, an extremely beautiful 
 head, regards the inspired coimtenance of the Saint with holy 
 rapture : St. Augustine is more tranquil. St. Paul, a noble 
 figure in very grand drapery, looks thoughtfully down on the 
 instruments, whose sounds have ceased. Mary Magdalene, 
 whose mild expression reminds us of Raphael's youthful 
 pictures, turns to the spectator, directing his attention to the 
 holy scene. There appears in the expression throughout this 
 simply arranged group a progressive sympathy, of which the 
 revelation made to St, Cecilia forms the central point. Still 
 that noble and beautiful countenance does not express all the 
 sublimity and holiness which might be expected from the 
 subject ; and it can scarcely be supposed that this defect is 
 entirely owing to the restorations, although they are said to 
 be considerable. 
 
 Two more altar-pictures close this series : they represent 
 single figures of Saints ; two pictures with St. Margaret as 
 the Conqueror of the Dragon.' One is in the Gallery of 
 Vienna. It represents the Saint at the moment when the 
 fearful monster winds himself round her ; she raises the cru- 
 cifix against him. The picture has something in attitude and 
 gesture which shows Michael Angelo's influence, and is pro- 
 bably by the hand of Giulio Romano. The second is in Paris, 
 and is said to have been originally painted for Francis I. It 
 is of Raphael's later time, and the greater part is by Giulio 
 
 ' [The legend (from Simeon Metaphrastes) will be found in Lippomanus 
 De Vitis t>anctorum, ii. 165 : see also Mrs. Jameson's Poetry of Sacred and 
 Legendaiy Ait, vol. ii. p, 130. — Ed.]
 
 382 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Romano. Here, Margaret stands on the wing of the dragon, 
 and holds in her right hand the palm of victory. Pier coun- 
 tenance expresses maidenly innocence and grace. Alas ! this 
 picture has been almost wholly destroyed by transferring it 
 from wood to canvas. 
 
 The Archangel Michael, in the gallery of the Louvre, is a 
 very remarkable picture, also painted by Raphael for Francis 
 I, in 1517. Like a flash of lightning the heavenly champion 
 darts upon Satan, who, in desperation, writhes at his feet. 
 The angel is clad in scaly armour, and bears a lance in his 
 hands, with which he aims a deathblow at his antagonist. The 
 air of grandeur, beauty, and calm majesty in the winged 
 youth, the rapidity of the movement, the bold foreshortening 
 of Satan, hurled on the lava rocks, have a most impressive 
 effect. 
 
 In various galleries we find representations of John the 
 Baptist in the wilderness, as a youth, seated fronting to the 
 spectator, and pointing with enthusiasm to a cross which is 
 erected beside him. 'J'lie greater number, if not all, must 
 have been executed by scholars from drawings after the model, 
 by the master (such as the one in the Uffizj at Florence, which 
 is of remarkable beauty). An excellent one in the Gallery 
 at Darmstadt is painted somewhat in the style of Bronzino ; 
 others are at Florence, Bologna, Paris, in England, etc. A 
 o-ood and somewhat later copy, ascribed to Francesco Salviati, 
 is in the Berlin Museum.' 
 
 Two large historical altar-pictures still claim our attention ; 
 they belong also to Raphael's later period. The earliest is 
 the picture of Christ bearing the Cross, in the Museum of 
 Madrid, known by the name of " LoSpasimodi Sicilia," from 
 the convent of Santa Maria dello Spasimo at Palermo, for 
 which it was painted. Here, as in the tapestries, we again 
 find a finely conceived development of the event, and an excel- 
 lent composition. The procession which conducts the Saviour 
 to Mount Calvaiy has just reached a turn in the road. He 
 sinks under the weight of the cross ; an executioner, who 
 stands at the edge of the picture (a figure of athletic form 
 
 1 Compare V. Rumohr, Ital. Forsch, iii. 135.
 
 ST. MICHAEL ; by Raphael, in the Louvre. 
 
 page 382
 
 ^ä0^ <:» 
 
 LO SPASIMO ; by Raphael, now at Madrid.
 
 Cliap. IV. RAPHAEL. 383 
 
 somewhat ostentatiously displayed), endeavours to pull him up 
 by the rope which is passed round his body. Simon of Cyrene, 
 who met the procession, a powerful figure, turns angrily 
 towards the executioner, and stoops to free Christ from his 
 burden, while another, standing behind him, again presses it 
 down on the holy martyr. The latter, regardless of his own 
 grief, turns his face consolingly to the group of women who 
 press near to him on the opposite side. The Madonna, her 
 hands extended in despair towards her son, sinks on her knees, 
 supported by John and Mary Magdalene. Behind them 
 follows a procession of soldiers, from the gates of the city ; a 
 standard-bearer, who rides before the executioners, already 
 turns in the direction of the mountain seen in the background. 
 Amidst this combination of varied forms, the figure of Christ 
 is kept distinct with consummate art, so that, though placed 
 in a position so unfavourable, it displays a peculiar nobleness. 
 The head, with an expression of the holiest patience and divine 
 sorrow, forms the central point of the picture : the heads of the 
 executioners, of Simon, and of the women, surround it as in 
 a half-circle.' Among the friends of the Saviour the various 
 degrees of sympathy are admirably expressed ; yet (if it is 
 allocable to judge from the engraving) we observe in some 
 of the single lieads, particularly the Magdalene's, something 
 of the exaggerated sharpness of outline already noticed in the 
 Madonna di Fuligno. 
 
 The later of these two pictures is the Transfiguration on Mount 
 Tabor, now in the Vatican, formerly in S. Pietro at Montorio. 
 This was the last work of the master (not finished till after 
 his death) ; the one which was suspended over his corpse, a 
 trophy of his fame, for public homage. 
 
 If the picture last described is distinguished, like the com- 
 positions for the Tapestries, by the dramatic development of 
 an historical event, by the important prominence given to the 
 principal incident, and by grandeur of style, the work now 
 under consideration unites with these qualities a profounder 
 symbolical treatment, which, in the representation of a par- 
 
 ' [The composition of this picture is evidentlj imitated from Albert 
 Dürer. JIarc Antonio had copied the German artist's designs for the ' Pas- 
 sion.' — Ed.]
 
 384 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 ticular event, expresses a general idea. In this instance it is 
 the depth and power of thought which move the spectator and 
 which address themselves to him at once, so that he needs no 
 key to explain the meaning of the subject. This picture is 
 divided into two parts, the undermost of which, on account of 
 its mass, is the more important and predominant. On one 
 side are nine of the Disciples ; on the other a crowd of people 
 pressing towards them, bearing along a boy possessed with 
 a devil. His limbs are fearfully convulsed by demoniac 
 power ; he is supported by his father, who appears strenuously 
 to implore assistance by words and looks ; two women beside 
 him point to the sufferer, the one with earnest entreaties ; the 
 other in the front, on her knees,' with an expression of pas- 
 sionate energy. All are crying aloud, beseeching, and stretch- 
 ing out their arms for aid. Among the disciples, who are 
 disposed in different groups, astonishment, horror, and sym- 
 pathy alternate in various degrees. One, whose youthful 
 countenance expresses the deepest sympathy, turns to the 
 unhappy father, plainly intimating his inability to assist him ; 
 another points upwards ; a third repeats this gesture. The 
 upper part of the picture is formed by an elevation to repre- 
 sent Mount Tabor. There lie prostrate the three disciples 
 who went up with Christ, dazzled by the Divine light ; above 
 them, surrounded by a miraculous glory, the Saviour floats in 
 air, in serene beatitude, accompanied by Moses and Elias. 
 The twofold action contained in this picture, to which shallow 
 critics have taken exception, is explained historically and 
 satisfactorily merely by the fact that the incident of the pos- 
 sessed boy occurred in the absence of Christ ; but it explains 
 itself in a still higher sense, when we consider the deeper, 
 universal meaning of the picture. For this purpose it is not 
 even necessary to consult the books of the New Testament for 
 the explanation of the particular incidents : the lower portion 
 represents the calamities and miseries of human life^ — the rule 
 of demoniac power, the weakness even of the faithful when 
 unassisted — and points to a superior Power. Above, in the 
 brightness of Divine bliss, undisturbed by the suffering of the 
 lower world, we behold the source of consolation and redemp- 
 ' [Both the women are kneeling. — Ed.]
 
 Chap. IV. RAPHAEL. 385 
 
 tion from evil. Even the judicious liberties dictated by the 
 nature of the art, which displease the confined views of many 
 critics — such as the want of elevation in the mountain, the 
 perspective alteration of the horizon and points of sight for 
 the upper group (in which the figures do not appear fore- 
 shortened, as seen from beneath, but perfectly developed, as 
 if in a vision), give occasion for new and peculiar beauties. 
 In one respect, however, the picture appears to fail : it wants 
 the freer, purer beauty, the simplicity and flow of line (in the 
 (h'apery especially), which address themselves so directly to 
 the feeling of the spectator ; the work pleases tlie eye, the 
 understanding, but does not entirely satisfy the soul : in 
 this respect the picture already marks the transition to the 
 later periods of Art. But this pa.ssing censure should be con- 
 sidered as only hinted at. AVhere such grandeur and depth of 
 thought, such unexampled excellence, have been accomplished 
 (and we have given but a very general outline), it becomes us 
 to öfter any approach to criticism with all humility. 
 
 We may not pass over a picture which Raphael had under- 
 taken in his youth (1505), but which was not painted till 
 after his death by his heirs, Giulio Romano and Francesco 
 Penni : it is the Coronation of the Virgin, painted for the 
 convent of Santa Maria di Monte Luce at Perugia, and now 
 in the Vatican. If any drawing of Raphael's was made use 
 of, it could only have been for the upper portion of the picture, 
 representing Christ and the Virgin enthroned on the clouds : 
 this part, which is powerfully painted, representing two charm- 
 ing figures of angels strewing flowers, and the figure of the 
 Madonna, is attributed to Giulio Romano. The lower part, 
 executed by Francesco Penni, in which the Apostles are 
 assembled around the empty tomb of the Virgin, is as weak 
 and ineffective in composition as in execution. 
 
 Of the picture of St. Luke painting the Madonna (50), 
 the head of the Saint only is attributable to Raphael. The 
 Madonna and other parts are unequally executed. 
 
 We now proceed to the Portraits, of which Raphael executed 
 a great number in his best time. Their chief excellence, and 
 the same may be said of those done in his earlier days, resides 
 in their unaffected conception and characteristic expression ; 
 
 s
 
 386 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 but later portraits display also the purest, most admirable 
 execution, the more so as in the essential parts no assistance 
 could be given by his scholars. The most interesting are — 
 
 The portrait of Bindo Altoviti (erroneously held to be 
 Raphael's own portrait),' now in the Gallery at Munich, 
 formerly in the Casa Altoviti at Rome. The head is that of 
 a youth of about 22 years of age, with a black cap and long, 
 fair hair, looking over his shoulder at the spectator ; his hand 
 on his breast. It is a glowing Italian countenance, full of 
 sensibility ; a slight melancholy pervades it, blended with a 
 certain acuteness of expression. The execution is soft, with 
 dark shadows. 
 
 The Fornarina (i. e. the Baker), a name which, as applied 
 to Raphael's mistress, does not occur before the middle of the 
 last century. The history of this person, to whom Raphael was 
 attached even to his death, is obscure, nor are we very clear 
 with regard to her likenesses. In the Tribune at Florence 
 there is a ]x>rtrait, inscribed with the date 1512, of a very 
 beautiful woman, holding the fur trimming of her mantle with 
 her right hand, which is said to represent her.* The forms 
 are noble and pure ; the painting extremely fine, resembling 
 the Venetian manner ; the hand and arm beautiful. 'Ihe 
 ornaments heightened with gold, and the gold lights in the 
 hair, are peculiar. This picture is decidedly by Rapliael, but 
 can hardly represent the Fornarina ; at least it bears no resem- 
 blance to the second picture of the Fornarina in the Barberini 
 Palace in Rome, wliich bears the name of Raphael on the 
 armlet, and of the authenticity of which (particularly with 
 respect to the subject) there can hardly be a doubt. In this 
 the figure is seated, and is uncovered to the waist ; she draws 
 a light drapery around her ; a shawl is twisted round the 
 head. The execution is beautiful and delicate, although the 
 lines are sufficiently defined ; the forms are fine and not with- 
 out beauty, but at the same time not free from an expression 
 
 I Rumohr considers ft a portrait of Raphael. See Ital. Forsch., vol. iii. 
 p. 109, and further. This is, however, sufficiently disproved by Passavant, 
 vol. i. p. 185, and vol. ii. p. 143. 
 
 « According to an hypothesis of Missirini (Longhena, p. 390), the picture 
 was painted by Sebast. del Piombo,. after Michael Angelo, and represents 
 Vittoria Colonna, Marchesa di Pescara, the friend of Michael Angelo.
 
 Chap. IV. RAPHAEL. 387 
 
 of coarseness and common life. The eyes are large, dark, and 
 full of fire, and seem to speak of brighter days. There are 
 some repetitions of this picture, from the school of Raphael, 
 in Roman galleries. A draped female portrait of Raphael's 
 later time, in the Pitti Palace, which appears to represent the 
 same individual, though at a younger period, is of higher 
 beauty and most enchanting grace, and of true Roman charac- 
 ter also. This figure may possibly have served as Raphael's 
 model for the Sistine Madonna. The head alone, however, 
 and the light damask sleeve, appear to be by the master's 
 hand. Other portraits which bear the name of the Fornarina 
 may be passed over.' 
 
 Pope Julius II., in the Pitti Palace at Florence. — The 
 high-minded old man is here represented seated in an arm- 
 chair, in deep meditation. The small, piercing eyes are deeply 
 set under the open, projecting forehead ; they are quiet, 
 but full of unextinguished power. The nose is proud and 
 Roman, the lips firmly compressed ; all the features are still 
 in lively, elastic tension ; the execution of the whole picture is 
 masterly. There are several repetitions ; one is in the Gal- 
 lery of the Uffizj, representing the Pope in a red dress.'^ A 
 good copy is also in the Berlin Museum ; another at Mr. 
 Miles's, of Leigh Court. 
 
 Pope Leo X., with Cardinals de' Medici and de' Rossi, in 
 the Pitti Palace, Florence. — The Pope sits at a table, the 
 breviary open before him ; the Cardinals are behind, on each 
 side. The principal merits of this work are, the wonderfully 
 characteristic expression of the three different heads, the truth 
 of imitation in the accessories, and the mastery displayed in 
 the management of the general tone. There is an excellent 
 copy by Andrea del Sarto in the Museum of Naples. 
 
 The Violin Player, in the Sciarra Palace, Rome. — A youth 
 holding the bow of a violin and a laurel-wreath in his hand, 
 and looking at the spectator over his shoulder. The expres- 
 sion of the countenance is sensible and decided, and betokens 
 a character alive to the impressions of sense, yet severe. The 
 execution is excellent — inscribed with the date 1518. 
 
 ' [Passavant (Kunstreise, i. 225) prefers the portrait in the Palazzo 
 Pitti.— Ed.] 
 
 ^ [Another repetition is in the National Gallery. — Ed.] 
 
 s 2
 
 388 MASTERS OF THE SIXTEENTH CEXTURY. Book V. 
 
 Joanna of Arragon. — Numerous repetitions of this portrait 
 exist : that in the collection of Baron Speck, of Sternburg-, 
 Leipzig" (formerly in the gallery of Count Fries, at Vienna), 
 is much esteemed ; another is in Warwick Castle ; a third in 
 the gallery of the Louvre. Tliis last, with the exception of 
 the head, is attributed to Giulio Romano. A copy, by a 
 scholar of Leonardo da Vinci (falsely ascribed to the master), 
 is in the Doria gallery, Rome. Several repetitions are in 
 other places. These pictures represent a lady in the bloom of 
 beauty ; she sits fronting the spectator in a splendid red cos- 
 tume ; the outline of the face and features is inexpressibly 
 pure and soft ; the hair, fair and rich, falls on the shoulders ; 
 the large, dark eyes, of velvet softness, are turned to the 
 spectator. Joanna was the daughter of Ferdinand of Arra- 
 gon, Duke of Montalto, and wife of Ascanio Colonna, Prince 
 of Tagliacozzo. She was surnamed " divine," from her 
 beauty. Three hundred poets employed their pens to hand 
 down her fame to posterity.' 
 
 The following also belong to Raphael's most intellectual 
 }X)rtraits : — Cardinal Giulio de' Medici — the same head and 
 attitude as that in the above-mentioned portrait of Leo X., 
 and without doubt the study for it. Count Castiglione — noble, 
 chivalrous, dignified, full of fire and life. A Youth, resting 
 his head on his hand with a pleasing carelessness.* All three 
 in the gallery of the Louvre. Cardinal Bibiena writing, 
 looking upwards with a serious, thoughtful expression. Fedra 
 Inghirami, Seci'etary to the Conclave : both in the Pitti 
 Palace. This last is very remarkable for the skill and manner 
 in which Raphael has converted a fat, squinting man, into a 
 subject of great character and attraction. Francesco Penni, 
 Raphael's scholar, in the collection of the Prince of Orange, 
 Brussels.^ But many of the portraits which bear Raphael's 
 
 ' See the essay of W. Gerhard in the Tub. Kunstblatt, ' Johanna von 
 Arragonien,' 1833, Nos. 15 and 16. To judge from the not very attractive 
 treatment of the head in the Louvre specimen, and from the somewliat liarsh 
 individuality impai ted to it, Raphael would seem not to have belonged to the 
 ardent adorers of this celebrated beauty. 
 
 * Passavant, vol. ii. p. 88, assigns this picture to Raphael's Florentine 
 epoch, which, however, we cannot reconcile with the finished freedom of the 
 execution. 
 
 8 [This gallery was removed to the Hague, after the accession of the late 
 King of Holland.— Ed.]
 
 Chap. IV. RAPHAEL. 389 
 
 name are entitled to this distinction only in a very subordinate 
 degree ; many even belong to an essentially different school. 
 Among this class may be mentioned the portrait of the poet 
 Tibaldeo, in the possession of Professor Scarpa, at La Motta 
 (between Treviso and Udine) ; Fed. Caroiidelet, Archdeacon 
 of Bitunto, in the possession of the Duke of Grafton in Lon- 
 don ; that known in the Paris Museum by the name of 
 " Raphael and his Fencing Master," by some attributed to 
 Pontormo ; the Two Lawj^ers, Bartolo and Baldo, in the 
 Doria gallery at Rome, excellent heads, but more in the 
 Venetian style, are decidedly in some parts the work of 
 Raphael. A very interesting portrait, said to be that of 
 Caisar Borgia, in the Borghese gallery at Rome, is ascribed 
 to Raphael. It is, however, neither the portrait ofthat Prince 
 nor the work of Raphael. 
 
 With the exception of the portraits just enumerated, the 
 works of Raphael hitherto described are for the most part 
 representations from sacred history. Some subjects still remain 
 to be mentioned, taken from the classic fictions of antiquity. 
 Raphael did not employ these materials, as is now the prac- 
 tice, in an unprofitable, learned manner ; he did not desire to 
 reproduce tlie modes of thinking and feeling peculiar to the 
 ancients, and which must be foreign to our modern concep- 
 tions : he regarded them merely as a bright play of fancy, 
 which afforded an opportunity for the introduction of graceful 
 forms as a pleasing embellishment for apartments devoted to 
 festal purposes. In these productions, therefore, we again 
 perceive the artist's peculiar feeling for beauty, which could 
 here freely expatiate. 
 
 This style liad been already aimed at in the subordinate 
 decorations of the Vatican Loggie. It appears in a much 
 more important form in some larger works, especially in the 
 frescos in the Roman villa of Agostino Chigi (a rich friend of 
 the arts, for whom Raphael also executed the Sibyls in the 
 Church of Santa Maria della Pace). This villa is in Traste- 
 vere, and now bears the name of the Farnesina, from its later 
 possessors of the house of Farnese. On the ceiling of a large 
 hall facing the garden, Raphael represented scenes from the 
 story of Psyche ; on the flat part of the ceiling are two large
 
 390 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 compositions, with numerous figures, — the Judgment of the 
 Gods, who decide tlie dispute between Venus and Cupid, and 
 the Marriage of Cupid and Psyche in the festal assembly of 
 the gods. In the lunettes of the ceiling are amorini, with the 
 attributes of those gods who have done homage to the power 
 of Love. In the triangular compartments between the lunettes 
 are different groups, illustrative of the incidents in the fable. 
 They are of great beauty, and are examples of the most taste- 
 ful disposition in a given space. The picture of the three 
 Graces, that in which Cupid stands in an imploring attitude 
 before Jupiter, a third, where Psyche is borne away by Loves, 
 are extremely graceful.' Peevish critics have designated these 
 representations as common and sensual, but the noble spirit 
 visible in all Raphael's works prevails also in these : religious 
 feeling could naturally find no place in them ; but they are 
 conceived in a spirit of the purest artlessness, always a proof 
 of true moral feeling, and to which a naiTow taste alone could 
 object. In the execution, indeed, we recognise little of 
 Raphael's fine feeling ; the greatest part is by his scholars, 
 after his cartoons, particularly by G. Romano. The nearest 
 of the three Graces, in the group before alluded to, appears 
 to be by Raphael's own hand.^ 
 
 In the same villa, in an adjoining saloon, is a fresco known 
 by the name of the 'Galatea;' painted 1514. The greater 
 part of this is Raphael's own work, and the execution is con- 
 sequently much superior to that of the others. It represents 
 the goddess of the sea borne over the waves in her shell ; 
 tritons and nymphs sport joyously around her ; amorini, dis- 
 charging their arrows, appear in the air like an angel-glory. 
 The utmost sweetness, the most ardent sense of pleasure 
 breathe from this work ; everything lives, feels, vibrates with 
 enjoyment. And here again the spectator recognizes that 
 
 ' Two chaiining drawings, nearly six feet long, still exist of the two large 
 ceiling representations, called the Feast of the Gods, and the JIarriage of 
 Cupid and Psyche. They are slightly coloured, and only partially finished ; 
 nevertheless they so far surpass the frescos in beauty, that we are inclined to 
 take them for Raphael's own designs. They were for sale in the year 1846. 
 
 ^ [The heaviness of the forms, the chief defect of these frescos, may be 
 generally attributed to Giulio Komano : the colour, again, is not even that 
 of Raphael's scholars, as the whole work was restored and much repainted 
 by Carlo Maratti. — Ed.]
 
 Chap. IV. RAPHAEL. 391 
 
 perfect purity which is so true an element of beauty ; the 
 more so, since, with the exception of the group to the right 
 of the goddess, the pencil has been guided by the master's 
 own hand. 
 
 There is a series of engravings by scholars of Marc Antonio, 
 which represent the history of Psyche, differing from these 
 frescos, but also ascribed to Raphael. Vasari names as their 
 autlior the Flemish artist Michael Coxcie, who worked some 
 time in Raphael's school. If these designs are not in general 
 worthy of Raphael, there are some, and even the greater num- 
 ber of the separate groups, of sufficient beauty to warrant the 
 conclusion that the scholar must occasionally have made use 
 of the drawings of the master. 
 
 There are other very charming representations of mytholo- 
 gical subjects, though much injured, in the bath-room of Car- 
 dinal Bibiena, in the Vatican, above Raphael's Loggie, falsely 
 called " il Ritiro di Giulio II." Seven small pictures are here 
 still seen upon the walls, surrounded with charming decora- 
 tions, which, together with the small remnants on the ceiling, 
 represent the dominion and power of love among the gods. 
 These were for the most part designed by Raphael and ex- 
 ecuted by his best scholars. The Birth of Venus, for example, 
 is of the highest grace ; also A'^enus and Cupid on dolphins, 
 and Cupid complaining to Venus of his wound. The rest are 
 chiefly designed by Giulio Romano. On the ceiling is seen 
 Cupid triumpliing over Pan in mock combat ; and six conquer- 
 ing amorini in various festive attitudes, painted on a black 
 ground, are on the walls beneath the chief pictures. There 
 are repetitions of these designs in the frescos of a villa erected 
 on the ruins of the palace of the Caesars, known as the Villa 
 Spada (also known as the Villa Santini, Magnani, Mills, «fcc, 
 according to its successive owners). Other mythological 
 frescos were formerly in the so-called Villa of Raphael ' (also 
 Villa Olgiati and Nelli) in the gardens of the Borghese 
 palace. The three cliief pictures have, however, been recently 
 detached from the walls and removed to the Borghese palace. 
 
 ' [No early authority speaks of this house as Raphael's villa : the decora- 
 tions it contained were copied not only from Raphael, but from various 
 masters : the building itself now no longer exists. — Ed.]
 
 392 MASTEES OF THE SIXTEENTH CENTURY. Book V. 
 
 Tlie piece representing tlie Nuptials of Alexander and Eoxana 
 is from an excellent design of Raphael's, executed probably 
 by Perino del Vaga ; while the Marriage of Vertumnus 
 and Pomona is the composition of one of his scholars. The 
 third piece is an imitation of ä masterly composition by 
 Michael Angelo — naked figures darting impetuously through 
 the air are aiming their arrows at a statue of Hermes, while 
 Cupid lies slumbering by. 
 
 In once more reviewing the immense number of Raphael's 
 creations in painting, we must not omit, in addition to them, 
 to mention, that he directed the works of St. Peter's, from 
 his own plan, from the middle of the year 1514 ; that he had 
 executed several other architectural works ; that in the latter 
 j^ears of his life he was zealously occupied in superintending . 
 the exhumation of the monuments of antiquity, and in design- 
 ing a restoration of ancient Rome ; that he did not even omit 
 to undertake works in sculpture ; and that he died in his 
 tliirty-seventh year. When we consider these facts, we shall 
 be filled with astonishment at the inexhaustible creative power 
 of this master — a power never equalled in its perfection. 
 Other masters, in their single works, perhaps in a great part 
 of them, may claim a place beside him, but in general they 
 had not the energy to maintain such unvarying excellence. 
 In this respect Raphael, without any exception, is the most 
 distinguished of modern artists. And if, even in his case, we 
 find some less pei'fect productions, some occasional tendency 
 toward a more superficial manner, this only proves that, great 
 as he was, he shared the lot of all that is human. 
 
 Raphael died of a short and violent fever ; his delicate 
 constitution, wrought to the highest degree of susceptibility 
 by the unceasing activity of his mind and body, otfered no 
 resistance to the violence of the disease. Unutterable was 
 the sorrow which filled all classes in Rome, high and low — 
 the Pope, the court, the friends and scholars of the artist. 
 •' I cannot believe myself in Rome," writes Count Castiglione, 
 " now that my poor Raphael is no longer here." Men re- 
 garded his \\orks with religious veneration, as if God had 
 revealed himself through Raphael as in former days through 
 the prophets. His lifeless remains were publicly laid out on
 
 Chap. IV. EAPHAEL, 393 
 
 a splendid catafalque, while his last work, the Transfigura- 
 tion, was suspended over his head. He was buried in the 
 Pantheon, under an altar adorned by a statue of the Holy 
 Virgin, a consecration -offering from Raphael himself. Doubts 
 having been raised as to the precise spot, a search was made 
 in the Pantheon in 1833, and Raphael's bones were found ; 
 the situation agreeing exactly with Vasari's description of the 
 place of interment. On the 18th of October, in the same 
 year, the relics were reinterred in the same spot with great 
 solemnities. 
 
 [NOTE ON THE ORIGINAL SITUATION OF THE TAPESTRIES. 
 
 It was unnecessary to divide the tapestries of the Cappella Sistina into 
 two series ; they form in fact but one, and it is of importance to consider 
 them in this light, as there is a second series (of which, indeed, the author 
 speaks, p. 366), done chiefly from designs by Raphael's scholars. The 
 remarks that follow relate to the iirst entire series alone. 
 
 The general plan of the Sistine Chapel has been already described (p. 200, 
 note). The whole area, it was observed, is divided into two unequal parts 
 by a white marble balustrade ; the larger of these divisions, as in the 
 old Basilicas, was appropriated to the presbytery. The frescos by Peru- 
 gino and others, on the walls below the windows, but still at a con- 
 siderable height from the inlaid pavement, extended entirely round the 
 chapel ; the space underneath them was decorated with imitations of em- 
 broidered hangings, to represent the costly ornaments of this kind used 
 in the ancient Byzantine and Roman churches. These decorations were 
 separated at regular intervals by painted pilasters adorned with arabesques. 
 Leo the Tenth, soon after his accession, appears to have conceived the plan 
 of ornamenting the Presbyterium, or portion of the chapel within the balus- 
 trade, with real hangings. Eleven tapestries were accordingly executed under 
 his auspices from cartoons by Raphael, and thus restored, in a far more 
 perfect form, the ancient splendour of the Christian temples. The tapestries 
 were separated, like the painted hangings, by pilasters in the same material, 
 adorned with arabesques, and underneath the large subjects were narrower 
 compositions in bronze colour, forming an apparent dado or socle. The new 
 decorations were confined, as before observed, to the Presbyterium, thus 
 giving it a more sacred character than the rest of the chapel. 
 
 At the altar was a tapestry representing the Coronation of the Virgin 
 (Passavant, ii. 258) ; above it still remained a fresco by Perugino, repre- 
 senting the Assumption. On the right (of the spectator, facing the altar), 
 and on a line with the former subject, was the tapestry of the Conversion of 
 St. Paul, and on the left that of the Calling of St. Peter (Miraculous Draught 
 
 S3
 
 - 394 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 of Fishes) ; the first was under the fresco of tlie Birth of Christ, the latter 
 under the fresco of the Finding of Moses (p. 200, note). These six subjects 
 filled the lower part of the altar wall before Michael Angelo's Last Judgment 
 occasioned their removal, in the time of Paul III. On the right wall, next, 
 and at right angles with, the Conversion of St. Paul, the order of the tapes- 
 tries was as follows : — the Punishment of Elymas, Paul and Barnabas at 
 Lystra, Paul preaching at Athens, and the same apostle in prison during the 
 earthquake. The last tapestry was much narrower than the rest, owing to 
 the occupation of part of the space by the gallery of the choristers. On the 
 opposite wall, beginning at right angles from the Calling of Peter, were 
 Christ's Chai-ge to Peter, the Martyrdom of Stephen, Peter and John Healing 
 the Lame Man, and the Death of Ananias. The circumstance of the Pope's 
 throne being on this side, again compelled a variety in the dimensions of tlie 
 tapestries, and tlie Martyrdom of Stephen is thus of a much narrower form 
 than the rest. These tapestries were copied in the colours of the Cartoons, 
 but were more ornamented, the accessories being enriched with gold. The 
 bronze-coloured designs underneath partly represented scenes from the life of 
 Leo the Tenth. (For the account of the original situation of the tapestries, 
 as above described, with the exception of the Coronation of the Virgin, see 
 the interesting Essay by the Chevalier Bunsen in the Beschreibung der Stadt 
 Rom, vol. ii. book 2, p. 408.) 
 
 It was before observed, that works of art done under the auspices of the 
 Church of Rome, for the decoration of her temples, may be generally assumed 
 to have reference either to Christ, the Madonna, or the Church. With the 
 Acts of the Apostles the history of the Church strictly begins, and Raphael 
 selected the Acts of St. Peter, those of the Apostle of the Gentiles, and the 
 death of the first martyr, to illustrate the commencement of her power and 
 of her sufferings ; the Coronation of the Virgin might be con.<idered the tj-pe 
 of her triumph. The same conditions must be remembered with regard to 
 the smaller subjects from the life of Leo, for to a Romanist they represented 
 the history of the reigning successor of St. Peter, and as such were strictly 
 analogous. The associations connected with the original destination of works 
 of art often add to their interest, or at least explain their intention ; and it 
 must be admitted that the associations in this case are peculiarly important 
 and striking : it is indeed but doing justice to the painter to be alive to 
 them. The subject of the Calling of Peter, as we have seen, was imme- 
 diately next the altar: whoever recollects, in the Cartoon, the deep humility 
 and devotion in the expression and attitude of Peter kneeling in the boat 
 before Christ, may now also call to mind that, at the distance of a few paces, 
 the ' Head of the Church ' contemplated this scene from the highest of earthly 
 thrones. These associations may be easily pursued by comparing the situa- 
 tion and import of the various subjects. The authority, the miraculous 
 powers, the duties, and the sacrifices of the Church, the propagation of the 
 faith, persecution, martyrdom — such were the warning and inspiring themes 
 which Raphael selected as objects of contemplation for the " successor of 
 St. Peter." 
 
 These associations and allusions would of course only be strikingly .nppa-
 
 Chap. rv. RAPHAEL. 395 
 
 rent when the woi-ks were in their original situations ; yet, among the 
 merits or recommendations of the Cartoons, may be reckoned their being 
 interesting in all places, and to all classes of Christians. But for this cir- 
 cumstance, perhaps we should not now' possess them, for when the treasures 
 of art collected by Charles the First were sold, and such pictures as were 
 deemed " superstitious " even ordered to be " forthwith burnt " (Journal of 
 the Commons, July 23, 1645), the Cartoons would hardly have been repur- 
 chased by Cromwell, to whom we are indebted for preserving them to the 
 nation, if they could have been considered to come within the proscribed 
 class. 
 
 With regard to the execution of these works, we have seen that Francesco 
 Penni was Raphael's chief assistant. The co-operation of other scholars is 
 also to be recognized, yet in almost all the Cartoons the hand of the master 
 is apparent ; most perhaps in the Calling of Peter (the tapestry from which 
 was to occupy so important a place), and least in the Paul Preaching at 
 Athens, and Christ's Charge to Peter. As designs, they are universally con- 
 sidered the finest inventions of Raphael : at the time he was commissioned to 
 prepare them, the fame of Michael Augelo's ceiling, in the same chapel they 
 were destined to adorn, was at its height ; and Raphael, inspired with a noble 
 emulation, his practice matured by the execution of several frescos in the 
 Vatican, treated these new subjects with an elevation of style not perhaps 
 equalled in his former efibrts. The highest qualities of these works are 
 undoubtedly addressed to the mind as vivid interpretations of the spirit and 
 letter of Scripture ; but, as examples of Art, they are the most perfect 
 expression of that general grandeur of treatment in form, composition, and 
 drapery which the Italian masters contemplated from the first, as suited to 
 the purposes of religion and the size of the temjjles destined to receive such 
 works. In the Cartoons this greatness of style, not without a due regard to 
 variety of character, pervades every figure, and is so strikmg in some of the 
 apostles, as to place them on a level with the prophets of Michael Angelo. — 
 Ed.]
 
 396 MASTERS OF THE SIXTEENTH CEXTÜRY. Book V. 
 
 CHAPTER V. 
 
 THE SCHOLARS AND FOLLOWERS OF RAPHAEL. 
 
 We have already remarked, that Raphael employed a great 
 number of scholars and assistants ; these endeavoured to 
 acquire his style, and after his death transplanted it into all 
 the various parts of Italy from whence they had poured into 
 his school. The conquest and pillage of Rome by the French 
 in 1527 also contributed to disperse them. But this appro- 
 priation of Raphael's qualities by his scholars was a very 
 questionable advantage ; for as the style itself was founded 
 essentially on his own peculiar feeling for the beautiful, on 
 his own peculiar grace, it led to a mere imitation of his 
 external forms ; as if the spirit, the pure feeling, of which 
 these forms are the expression, would necessarily be trans- 
 ferred into the imitation. The works of Raphael's scholars 
 are consequently often cold, formal, and insipid ; it is only in 
 a few exceptions that an original creative spirit displays itself. 
 On the whole, they do not possess the pleasing character of 
 Leonardo's school, nor that of the followers of the Venetian 
 masters, of whom we shall soon have occasion to speak. 
 
 The most celebrated of Raphael's scholars is Giulio Pippi, 
 surnamed Romano (1492-1546). He was an artist of a 
 vigorous, daring spirit, gifted with a freedom of hand which 
 gave life and animation to the bold and restless creations of 
 his fancy. As long as he painted under Raphael, he not only 
 imitated the master's touch so closely as to deceive many, but 
 adopted, as far as his own individuality allowed, something of 
 Raphael's grace and mode of thought in invention. Among 
 the paths of art, however, opened by Raphael, it was espe- 
 cially that of the antique to which Giulio turned with the 
 fondest delight, not only for the choice of his subjects, but 
 with a view to make its forms and general style his own. 
 But he altogether wanted the grace and purity of his master ; 
 and when the death of the latter freed him from restraint, his 
 impetuous impulses began by degrees to awaken. At a later 
 period, when he left the precincts and salutary influence of
 
 Chap. V. SCHOLARS AXD FOLLOWERS OF RAPHAEL. 397 
 
 Rome, where the presence of the classic genius seemed to 
 control his taste, he soon displayed a wildness and even 
 coarseness in which we recognize no trace of the scholar of 
 Raphael, except in the most general features of external form. 
 His co-operation in Raphael's works has already been fre- 
 quently alluded to. 
 
 About the period of the paintings in the Sala di Costantino, 
 Giulio also executed some other frescos of mythical subjects 
 in Rome ; those in the Villa Lanti/ which was built from his 
 design ; also scenes from the history of Rome, referring to 
 Janus, in small, humorous pictures, and a large frieze^ in an 
 upper saloon of the Farnesina (the latter is at least, with 
 great probability, ascribed to him) ; both are clever, sterling 
 works, distinguished more by power and life than grace and 
 delicacy. Some paintings also of a cheerful character, still 
 preserved in the Villa iNIadama, belong to this class. An 
 altarpiece by Giulio, painted immediately after Raphael's 
 death for S. Stefano in Genoa, and still there, is a more im- 
 portant work ; ^ it represents the martyrdom of the saint. He 
 is placed very prominently in the centre of the picture — 
 young and beautiful, and victorious over physical suffering — 
 illuminated by the celestial light which streams down upon 
 him alone. Near him sits the captain of the guard ; Roman 
 soldiers, somewhat more distant, are taking aim, and seem to 
 follow each missile with their eyes ; they thus give life and 
 truth to this part of the action, without making it the prin- 
 cipal point of interest ; this naturally centres in the figure 
 and admirable expression of the saint. In tlie Dresden gallery 
 there is a Holy Family, of equal merit, belonging to the 
 period when Giulio's independence commenced : the Virgin 
 holds the Child, standing in a vase, to wash him ; the little 
 St. John playfully pours in the water : the picture has thus a 
 character of forward sportiveness ; it is beautifully drawn and 
 cleverly painted. The composition has been ascribed to 
 Raphael ; but, with all its excellence, it does not correspond 
 
 ' Peintures de la Villa Lante de I'invention de Jules Romain, rec. par les 
 frferes Piranesi, dess. par Th Piroli. 
 
 * II Fregio di Giulio Romano dip. nella Farnesina, dis. ed inc. da B. 
 Pinelli. Roma, 1813. 
 
 3 Compare Rumohr, Drei Reisen, etc., p. 304.
 
 398 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 with the blander feeling of this master. The splendid picture 
 above the high altar in S. Maria dell' Anima at Rome — the 
 Madonna entiironed with angels and saints, surrounded with 
 rich architecture, belongs also to this latter period. This 
 was originally painted for the Fug<rer family at Augsburg. 
 
 Four years after Raphael's death, Giulio was invited to 
 Mantua, where he exerted himself greatly as a painter and 
 architect. He erected a great number of palaces and churches, 
 directed their rich decorations in the style of Raphael's 
 Loggie, and adorned them with large frescos ; he assembled 
 a great number of scholars around him, who took a share in 
 the execution of his works. To his earliest labours belong, as 
 it appears, the paintings in the old Ducal Palace in the city ; 
 these works unfortunately suffered much in later storms of 
 war. In an apartment on the ground-floor in the Uflüzio 
 della Scalcheria, are some very beautiful works ; in the 
 lunettes is represented Diana at the Chase, with very graceful 
 and beautiful figures ; in these we still perceive some remi- 
 niscence of Raphael's engaging naivete: an upper saloon of 
 the palace was filled by Giulio with frescos from the history 
 of the Trojan war ; they are very inferior to those just men- 
 tioned, and already betray a marked insipidity of mind and 
 manner. The artist still further departed from the noble 
 spirit of his great master in the numerous frescos in the 
 Palazzo del Te, near Mantua : two saloons are especially re- 
 mai'kable for the number of paintings they contain ; in one 
 he represented the Overthrow of the Giants,' a performance 
 in which he has been unadvisedly compared to Michael 
 Angelo ; the apartment is coved and oven-shaj^ed, so that all 
 sharp corners and angles are avoided : on the arched ceiling 
 we look up into the temple of the gods who are assembled 
 around ; the gods of the winds are introduced iu the pen- 
 dentives ; the giants are represented on the walls, crushed by 
 the weight of rocks and buildings ; they are indeed of an 
 imconth size, but destitute of real power. The second chamber 
 
 1 " Giove che fulmine li Giganti, rappresenüito in pitture da Giulio Ro- 
 mano, ecc. dis. ed int. da Pietro Santi liaitolo, Roma." The execution of 
 this apartment was consigned to Rinaldo Mautovano ; but tiiat he was not 
 the designer, as was foimerly maintained, is jjroved by Gaye, in the Kunstbl. 
 1838, No, 71, and fiu-ther. See also Gaye, Cartegg. 2, p. 257.
 
 Chap. V. SCHOLARS AXD FOLLOWERS OF RAPHAEL. 399 
 
 represents the history of Psyche and other love stories of the 
 gods ; here, with very few graceful groups, we find an almost 
 total indifference to beautiful and noble forms, as well as to 
 pure colouring ; and these faults cannot be altogether laid to 
 the charge of assistants : a coarseness of conception is visible 
 tliroughout, which, in some of the pictures (that of Olympia, 
 for example !), can hardly be carried further. 
 
 Few easel-pictures by Giulio exist. Besides the works of 
 his early days already mentioned, there are some beautiful 
 large pictures of mythical subjects in the Manfrini Gallery at 
 Venice, which contain many graceful features, though the 
 general conception is somewhat insipid. In the sacristy of 
 St. Peter's at Rome there is a Madonna, half-length figure, 
 with the two Children, which belongs to his earlier and more 
 careful period. A Scourging of Christ, in the sacristy of 
 S. Prassede at Eome, is more mannered ; and a group of 
 three almost naked figures is distinguished by an unpleasant 
 brick-red colour in the flesh tints. In the gallery of the 
 Louvre, Giulio is represented by several verj' characteristic 
 works ; an excellently painted Madonna with both the 
 Children, the highly spirited portrait of himself, an admi- 
 rable representation of Vespasian and Titus, and a large 
 Circumcision of Christ, of many figures, in which the decided 
 execution of the painter already degenerates into mannerism. 
 Two Madonnas, after a somewhat robust model, witii the 
 infant Christ in a petulant action, are in the Borghese gallerj' ; 
 a similar picture is in the Colonna palace ; all tliree are pro- 
 bably of his early time. Several pictures of no very great 
 merit are in different English collections ; the best is in Lord 
 Northwick's gallery in London ; it represents the education 
 of Jupiter by Nymphs and Corybantes ; a bold and poetically 
 conceived scene, in rich river-side landscape of careful execu- 
 tion and powerful colouring. 
 
 The numerous scholars formed in Mantua by Giulio fol- 
 lowed the unpleasing manner of their master, in some instances 
 exaggerating it ; in others, softening it by greater simplicity 
 and truth of nature. The most important are, the Mantuans 
 Rinaldo and Fermo Guisoni (a clever Crucifixion by the 
 latter is in S. Andrea in Mantua) ; and the miuiature-pamter
 
 400 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Giulio Clovio : a very neatly illuminated missal, painted by 
 him for Cardinal Farnese, is in the library at Naples ; the 
 beautiful broiize-work on the cover is by Benvenuto Cellini. 
 The later miniatures also in an Urbino manuscript of Dante, 
 now in the library of the Vatican, are the work of Clovio. 
 The paltry conceits of the allegories disturb the other- 
 wise excellent execution. But among Giulio's scholars, the 
 Bolognese Francesco Primaticcio (1490-1570), formerly the 
 scholar of Innocenzo da Iniola and Bagnacavallo, deserves 
 especial mention. He executed the numerous stuccos in the 
 Palazzo del Te, and was afterwards invited by Francis I. 
 into France, where he directed some decorations in the palace 
 of Fontainebleau,' similar to those of Giulio at Mantua, and 
 in general in a similar style : the king, as a reward, created 
 him Abbot of St. Martin. The figures have generally some- 
 thing over slender and affected. Among his few existing 
 easel pictures is his " Ulysses returned to Penelope," a work 
 of noble character, careful execution, but weak colouring, 
 now in tlie collection at Castle Howard. Francesco's assistant 
 and follower in these works was Niccolo dell' Abate, who also 
 adopted the style of the Raphael school. In his native city, 
 Modena, in the Palazzo della Connnune, there is a series of 
 paintings by him, in a simple, noble style, free from man- 
 nerism. A beautiful Adoration of the Shepherds is in the 
 Portico de' Leoni at Bologna. The pictures he executed on 
 the walls of the Castle of Scandiano, from the ^neid,* have 
 less merit. In the gallery of Dresden there is a large altar- 
 picture by him, representing the Beheading of St. Paul ; it 
 is, however, more mannered than the works before referred 
 to, and contains besides reminiscences of Correggio, conse- 
 quently of the school from which Kiccolo had originally pro- 
 ceeded. An excellent Rape of Proserpine, in a rich, fan- 
 tastically lighted landscape, is in the Stafford House Gallery. 
 
 ' The principal work of Primaticcio at Fontainebleau, the Gallery of 
 Ulysses, no longer exists. The historical representations are known to us 
 by a work, ' Les Travaux d'Ulisse peints ä Fontainebleau par le Primatice, 
 par Theodore van Thulden, 1633.' (58 plates, lightly and spiritedly 
 etched.) 
 
 * L' Eneide di Virgilio dip, in Scandiano dal celebre pitt. Niccolo Abati, 
 dis. dal Gius. Guizzardi, inc. dal. Ant. Gajani ecc. Modena, 1821,
 
 Chap. V. SCHOLARS AXD FOLLOWERS OF RAPHAEL. 401 
 
 Another of Raphael's scholars was the Florentine Pierino 
 Buonaccorsi, called Perino del Vaga (1500-1547). In 
 various collections we find his Madonnas and other subjects 
 more or less successful in their imitation of Rapliael, but 
 witliout his depth or beauty. He was endowed, however, 
 with a peculiar lightness and facility of production. The 
 rapid degeneration of his style is still more striking than in 
 (riulio Romano. Beside the above-mentioned works, Perino 
 executed, under Rapliael 's superintendence, or at all events 
 from his drawings, the figures of the planets in the great hall 
 of the Appartamento Borgia, in the Vatican. After the sack- 
 ing of Rome, Perino went to Genoa, and th*^re decorated the 
 Doria Palace in a style similar to that adopted by Giulio 
 Romano at Mantua ; lie embellished it with the richest orna- 
 ments, stuccos, and frescos, the subjects of the latter being 
 taken from classic fables and histories. At a later period 
 Perino returned to Rome, where he opened a great studio, in 
 which, however, nothing but mechanical works were produced. 
 A charming little picture, the rival songs of the Muses and 
 the Pierides on Mount Parnassus, is in the Louvre. A 
 Nativity, with four saints, of the year 1534, formerly in 
 Cardinal Fesch's gallery at Rome, combines with powerful 
 and light treatment a great intrinsic emptiness and feebleness. 
 A portrait of Cardinal Pole, in the collection of Lord Spencer 
 at Althorp, belongs, on the other hand, like most of the 
 portraits of this school, to the best specimens of the master. 
 Among the numerovis scholars whom he formed at Genoa, 
 Lazzaro and Pantaleo Calvi are favourably mentioned. 
 
 Gianfrancesco Penni, surnamed " II Fattore," the brother- 
 in-law of Perino, was, with the exception of Giulio, Raphael's 
 most confidential scholar. His paintings are rare, as he died 
 in early life, eight years after Raphael. In ISTajdes, where 
 he resided in his latter years, are some in which we recognize 
 an unaffected, but not profound, master of the Roman school. 
 The lower half of the Coronation of the Virgin, for Monte 
 Luce, which he is said to have executed after Raphael's death, 
 is scarcely above mediocrity ; the features are expressionless, 
 the actions violent, and the colouring cold and muddy. A 
 Charity and a Hope, pretty, but unmeaning pictures, have
 
 402 MASTERS OF THE SIXTEENTH CENTURY. Book V, 
 
 migrated from the Borghese palace to England. Penni left 
 one scholar in Naples, Lionardo, surnamed " II Pistoja," a 
 Tuscan by birth. This artist, in the early part of his life, 
 appears to have formed a style from the influence of Leonardo 
 da Vinci's works, and to have afterwards united it with the 
 Roman manner ; a Madonna and Child, in the Berlin Museum 
 ■ — a picture not destitute of merit — may serve as an example. 
 One of Raphael's most distinguished scholars, Andrea Sab- 
 batini, of Salerno (Andrea da Salerno), an artist but little 
 known, received his first education in the old school of 
 Naples — the school of the Donzelli, Silvestro de' Buoni, &c. 
 — ^and afterwards remained some time in Rome with Raphael. 
 Family affairs soon recalled him to Naples, in 1513, and 
 Raphael unwillingly parted with a scholar of so much talent. 
 It is probable tliat this artist's short residence in Rome pre- 
 served him from the insipidity of manner so common to all 
 Raphael's other scholars ; it is only in the later works of 
 Andrea that the degenerate Roman manner is perceptible, 
 when other Roman influences (that of Penni among the rest) 
 had given a new direction to Neapolitan Art. Andrea's 
 works are almost unknown out of Naples : the Museo Borbo- 
 nico and the churches of that city contain a great number. 
 His earlier works are of the old Neapolitan school ; in others 
 the artist strikingly resembles Raphael in his youthful Floren- 
 tine period. Among these are two extremely beautiful little 
 pictures in the Museum of Naples, from the history of S. 
 Placido. There exist also several highly finished works, 
 evincing a noble, refined feeling, and whicli are distinguished 
 by their beautiful drawing, and light but warm colouring. 
 The best is an Adoration of the Kings, also in the Museo 
 Borbonico. His later works, as before observed, are more 
 superficial ; but they too are excellent in some portions, par- 
 ticularly in the heads. These works, however, seem to have 
 formed the style of his scholars and followers, amongst whom 
 Francesco Santafede, and Iiis son Fabrizio, are favourably 
 distinguished. There are many works by them in Naples 
 not altogether without merit. Giambernardo Lama, a con- 
 temporary of Andrea, and also from the old Neapolitan 
 school, belongs to the same class. These last-mentioned
 
 Chap. V. SCHOLARS AND FOLLOWERS OF RAPHAEL, 403 
 
 painters, whose style may be chiefly examined in the Studj 
 gallery, combine with a mannered but careful execution, an 
 inward simplicity and unpretending beauty surprising to find 
 in the middle of the sixteentli century. 
 
 Besides Penni and Andrea da Salerno, a third scliolar of 
 Raphael exercised an important influence on Neapolitan Art 
 • — Polidoro Caldara (Polidoro da Caravaggio), originally a 
 mason employ^ed in the works of the Vatican. His pre- 
 dominant talent for painting was developed only at a late 
 period ; it is said that he and Maturino of Florence embel- 
 lished the exterior of several palaces in Home with paintings 
 in chiaroscuro ; ' these are chiefly friezes with subjects from 
 ancient history^ and mythology. The little that has been 
 preserved of them, as well as the still existing copies and 
 designs (for instance a beautiful drawing in brown of the 
 history of the Niobe in the Corsmi palace), displays a most 
 decided tendency to the later Eaphaelesque style. The study 
 of the antique is here united to picturesqueness of effect with 
 masterly freedom, while the mannerism which undermined the 
 school of Raphael is still subdued by a great freshness of 
 power. In Polidoro's few easel pictures also of this time, 
 for instance, in a scene from the history of Psyche, in the 
 Louvre, we still trace beautiful reminiscences of Raphael's 
 elevation of character. His later works executed in Naples 
 and Messina show a totally difl'erent style. The mannered 
 idealism of his Roman contemporaries is here replaced by a 
 gaudy and somewhat unpleasant naturalism, which, though 
 hitherto kept down by the noble examples around him, may 
 be considered as the original tendency of this painter. At 
 the same time, even in this representation of common nature 
 he evinces much power, life, and passion, being the first to 
 suggest that style which afterwards became the basis of the 
 Neapolitan school. His principal work — Christ bearing his 
 Cross, painted in Messina, is now, with a number of smaller 
 
 ' See engravings, ' Opere di Polidoro da Caravaggio dis. ed int. da Gio. 
 Bapt. Galestruzzi,' Roma, 1653. The frieze of the Casa Gaddi is engraved 
 by Santi Bartoli. The technical process of this chiaroscuro is well known. 
 The wall is painted with a dark colour, and a lighter one laid over it ; and 
 then the design scratched into it with a pointed instrument, so that the dark 
 lower colom- is seen through the lines.
 
 404 MASTERS OF THE SIXTEENTH CENTURY, Book V. 
 
 pictures of sacred subjects, in the Studj Gallery at Naples. 
 It is a highly animated, and, despite the meanness of the 
 forms, imposing? composition, of gloomy, brown colouring, 
 like most of Polidoro's later works. A similarly treated 
 Adoration of the Shepherds, of his late time, is in the pos- 
 session of Dr. Carove at Frankfoi-t, also a portrait of the 
 master. 
 
 Many artists from the Bolognese school of Francia entered 
 into that of Raphael, as Andrea da Salerno had entered it 
 from an older Neapolitan school ; they generally acquired a 
 pleasing manner, but always retained, in a greater or less 
 degree, the direction of their earlier teacher. Of these may 
 be named Timoteo della Vite, or Viti (1470-1523). Like 
 Raphael, he was born at Urbino, and returned there after a 
 comparatively short residence in Rome. There is an extremely 
 pleasing picture of his earlier time, before he joined Raphael, 
 in the Gallery of the Brera at Milan ; it represents a 
 Madonna with an angel and two saints, in a landscape. The 
 heads recall Francia and Perugino. A S. Appollonia, in the 
 church of S. Trinita at Urbino, is cold and dry. Two bishops 
 with donors, in the sacristy of the cathedral (1504), and 
 a Holy Family in the oratory of S. Giuseppe in the same 
 town, are not much more attractive. Later, under Raphael's 
 influence, he partook slightly of his grace, without entirely 
 abandoning the Umbrian manner. To this period belongs 
 an excessively attractive picture in the Gallery at Bologna : 
 it represents a Magdalen ; she stands in a cave, clothed in a 
 red mantle ; her liair flows to her feet, as she leans her head 
 gracefully towards her left shoulder. The picture, though in 
 the old manner, is extremely well executed ; the drapery falls 
 in large and beautiful folds ; the painting is soft and warm, 
 and the expression of the countenance full of feeling. Another 
 early picture, in the Brera at Milan, representing the Con- 
 ception of the Virgin, with several figures of saints, though 
 beautifully drawn, has a certain affectation, and that cold, 
 silver-grey colouring which occurs often in his works. The 
 same may be said of the altarpiece in S. Angelo at Cagli, 
 representing the risen Saviour with the Marys, and several 
 saints. Some fresco paintings in the little church of S. Gate-
 
 Chap. y. SCHOLARS AND FOLLOWERS OF RAPHAEL. 405 
 
 rina di Siena at Rome are ascribed to him, but these are 
 much injured, and only show the general type of the Roman 
 school ; otherwise, Timoteo's works are very rare. In the 
 Berlin Museum there is a JVIadonna enthroned, with several 
 children and two saints, now assigned to him, though formerly, 
 from a false inscription, ascribed to Giovanni Santi ; also a 
 little St. .Jerome in the Wilderness. Timoteo was also dis- 
 tinguished as a miniature painter. 
 
 A second artist from Francia's school was Bartolommeo 
 Ramenghi, called Bagnacavallo from his birthplace. He 
 afterwards returned to Bologna, and transplanted the style 
 of the Roman school to that city ; his pictures also are rare 
 in galleries. Bagnacavallo displays a steady aim at grandeur 
 and freedom of conception, while the foundation of simplicity 
 of representation which he laid in Francia's school preserved 
 him from the scattered and aft'ected manner of Raphael's other 
 scholars. He was deficient, however, in that inward power 
 which was necessary to animate the grand forms he preferred, 
 and his works convey the impression of something con- 
 ventional and borrowed, gleanings apparently from Francia 
 and Raphael. In S. Maria della Pace at Rome there are the 
 colossal figures of a prophet and a saint in armour in fresco 
 by his hand : there is something studied, liowever, in the large 
 treatment of the forms. In the Gallery of Bologna there is a 
 Holy Family surrounded by sahits, not powerfully painted, 
 but pleasing in expression. In the Gallery of Dresden a 
 Bladonna, in a glory with four male saints, bears his name — 
 a picture of great and energetic expression. In another large 
 picture of several saints, in the Berlin Museum, the former 
 pupil of Francia is easily to be recognized, particularly in the 
 expression of the heads. There is also a mannered though 
 animated sketch of a troop of warriors before a city, ascribed 
 to him, in the Colonna Palace at Rome ; and in the Solly 
 collection a INIadonna with angels and saints of noble character 
 and excellent execution. Biagio Pupini was an assistant of 
 Bagnacavallo in Rome, and in his later works in Bologna.' 
 
 A third scholar of Francia, Innocenzo Francucci da Imola, 
 
 ' P. Gioidani, sulle Pitture d' Innoceuzo Francucci da Imola. Milano, 
 1819.
 
 406 MASTERS OF THE SIXTEENTH CENTUEY. Book V. 
 
 did not indeed reside in Rome, and remained but a short time 
 iu Florence (with Mariotto Albertinelli) after he had left his 
 master's school, yet he became one of Raphael's most zealous 
 followers ; he has even repeated whole figures from that 
 master's works into his own compositions. In the Gallery of 
 Bologna, for example, there is a large altar-pictvire, formerly 
 in S. Michele in Bosco, into Avhich he has copied the Archangel 
 Michael from Raphael in an indifferent style, and he has in- 
 judiciously placed close to this figure, which descends in 
 impetuous flight, two saints, standing in tranquil attitudes. 
 Hovering beside the Madonna are angels, also copied from 
 Raphael's " Disputa." An extremely well painted Holy 
 Family, transferred to the Gallery of Bologna from the 
 church of Corpus Domini, is more important than this cele- 
 brated picture ; the composition is full of life, and sufficiently 
 resembles Raphael's style. One of his best pictures is in the 
 Cathedral of Faenza. A pleasing Madonna with saints, of 
 the year 1527, is also in the Solly collection in London. 
 The Berlin Museum also contains a graceful picture by In- 
 nocenzo, but in this instance again the Madonna enthroned 
 on clouds is an imitation of Raphael's Madonna di Fidigno : 
 the expression of the saints below is thoughtful and noble. 
 His small Madonnas and Holy Families are not unfrequent in 
 galleries ; they are in general easily recognized by the com- 
 position, in the style of the Roman school, and by the Francia- 
 like expression of the heads. Two are in the Borghese 
 Palace at Rome. 
 
 To these artists may be added Girolamo Marchesi da 
 Cotignola, who was formed in Francia's school, and painted 
 for a long time in the old style. To this portion of his life 
 belongs a Coronation of the Virgin, with angels, and two saints 
 in front, in the Berlin Museum ; a picture of constrained 
 arrangement, but of great sweetness in the heads. Later in life 
 this painter came to Rome and adopted the style there pre- 
 valent. A Madonna with kneeling monks, excellently painted, 
 and with admirable heads, is in the Berlin Museum. A 
 Madonna in the clouds, with a Conversation of Saints below, 
 animated and of powerful effect, is in the Solly collection. 
 
 Primaticcio and Pellegrino Tibaldi (Pellegriuo Pellegiini)
 
 Chap. V. SCHOLARS AXD FOLLOWERS OF RAPHAEL. 407 
 
 were scholars of Bagnacavallo and Innocenzo da Iniola : the 
 former we have seen employed in France, and with Giulio 
 Romano ; the latter went to Spain, and transplanted the 
 Roman manner into that country. His paintings, which 
 occur but rarely in Italy, are distinguished by an unaffected 
 grace and the expression of earnest feeling: the Marriage of 
 St. Catherine, in the Gallery of Bologna, is an example ; and 
 in the same style is a St. Cecilia with two angels playing on 
 musical instruments, half-figures, in the Belvedere Gallery at 
 Vienna.' The frescos of the Remigius chapel in S. Luigi de' 
 Francesi at Rome are more mannered. 
 
 From the old school of Ferrara, Benvenuto Tisio (sur- 
 named Garofalo from his native city) passed into that of 
 Raphael ; he was for some time a scholar of Lorenzo Costa, 
 but appears to have imbibed little of that master's manner ; 
 his style is more that of the Ferrarese school, as we see it in 
 the works of Lodovico Mazzolini in its highest perfection : in 
 Garofalo it is to be traced in a rather fantastic mode of con- 
 ception, and in a peculiarly abrupt and vivid colouring never 
 wholly laid aside even after he had adopted the Roman 
 manner and somewhat modified his colouring. The most con- 
 siderable works of his later time are not always the most 
 attractive. There is an empty ideality of expression and a 
 deficiency of making out in his large figures which the most 
 brilliant execution cannot conceal : with his numerous works 
 also there is a certain monotony. Smaller easel-pictures, 
 which are the best specimens of Garofalo^s powers, occur 
 frequently in galleries, especially in Rome, in the Borghese 
 Palace and other collections. Of his large compositions the 
 most celebrated are the Entombment in the Borghese Palace, 
 executed carefully and with a good understanding of effect. 
 Another of similar arrangement, but with more repose and 
 intensity, is in the Studj Gallery at Naples. A Salutation of 
 the Virgin is in the Doria Gallery at Rome ; an Adora- 
 tion of the Child, who is lying on the earth, is in the same 
 
 ' [Tibaldi might rather be classed with the followers of Blichael Angelo j 
 for if he was at first a scholar of Bagnacavallo (which is not certain), he 
 never ceased to aim at the manner of AJichael Angelo after having studied in 
 the Cappella Sistina at Rome. The Caracci called him "il Michelagnolo 
 riformato." — Ed.]
 
 408 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 collection. A Madonna in clouds, with a Santa Conversazione 
 below beautifully painted, but, excepting- the principal figure, 
 unmeaning in expression, is in the Academy at Venice; 
 and another admirable Madonna with saints is in the National 
 Gallery in London. In his works at Ferrara, painted after 
 his return, the Roman style predondnates. In S. Francesco 
 at Ferrara there are several of his large altar-pictures, some 
 of gi'eat merit, and, among others, a fresco representing 
 "Christ Betrayed." In S. Andrea also, at Ferrara, there is 
 a large work by Garofalo o\'er the high altar. A large 
 fresco belonging to the refectory of the same church has 
 been lately taken down and removed to the public gallery ; 
 it represents the triumph of the New Testament over the Old 
 in a strange allegory. Some school pictures by the master 
 are also there. 
 
 Contemporary with Garofalo, the brothers Giovan Battista 
 Dossi, and the more celebrated Dosso Dossi (died 1560), 
 flourished at Ferrara. They also passed some time in Rome, 
 but not till after Raphael's death. Their works display a 
 Venetian influence in the style of Giorgione, as well as the 
 fundamental style of the Ferrara school. The distinctive 
 peculiarities of Dosso Dossi are not fully shown in his altar- 
 pieces ; these are stately representations of great decision and 
 richness, in the style of Garofalo : for instance, several pictures 
 in the Dresden Gallery, among which the Four Fathers of 
 the Church, with the Glory of the Virgin, and the First 
 Person of the Trinity, are of the highest merit. The picture 
 of the Four Fathers of the Church, in the Berlin Gallery, is 
 of weaker character. The attainments of Dosso Dossi are 
 seen in another aspect in his favourite mythological and 
 fantastic subjects. A somewhat stiff and probably early pic- 
 ture of this kind is the so-called Bacchanal in the Pitti palace 
 at Florence — a motley carnival group of ladies and gentlemen ; 
 some of tlieni half-naked are pressing round a table on vviiich 
 lie masks, musical instruments, &c. If the composition appear 
 to be studied and overcrowded here, we see him, on the other 
 hand, in his " Circe " (in the Borghese Gallery) indulging- 
 in the freest naivete of expression. The Enchantress, a form 
 of pleasing individuality, and clad in a purple and gold
 
 Chap. V. SCHOLARS AND FOLLOWERS OF RAPHAEL. 409 
 
 robe of state, with a rich turban, is seated in a beautiful 
 forest landscape. The successful exertion of her magic art 
 is expressed in her confident and triumphant action : she 
 holds in her riglit hand a tablet with necromantic signs ; at her 
 feet is a magic circle, a coat of mail, a dog, and two birds ; 
 near her are several little hags bound to a tree ; at a distance 
 are three knights bivouacking on the grass. A wild and 
 night-like fancy is shown in that picture in the Dresden 
 Gallery, called " the Dream," In his later years (after 1554) 
 Dosso Dossi, assisted by his brother, painted several apart- 
 ments of the ducal palace at Ferrara. In the Aurora Saloon 
 several of the mythological ceiling subjects are still preserved 
 — Aurora on her Car, Apollo on liis, &c. In the long saloon 
 there is a ceiling, also an excellent frieze with bacchanals 
 and other antique scenes ; similar subjects are in the saloon 
 " del gran Consiglio." In a small room is a bacchanalian 
 scene, treated more as a landscaj)e, in which Titian assisted ; 
 it is now much ruined. Many features in these works recall 
 the tendency of Giulio Romano, nor do we fail to trace with 
 much that is excellent a certain conventionality and hardness.' 
 
 Two fantastic landscapes by the hand of Giainbattista 
 Dossi, in the style of his Netherlandish contemporaries, are 
 in the Borghese palace at Rome ; the one repi-esents a dis- 
 tinguished company encamped upon the shore, the other, 
 demons in a wilderness, probably after the example of Jerome 
 Bosch, or some such kindred mind, 
 
 A similar tendency to the style of Garofalo is displayed by 
 other Ferrarese masters of the time — Giambattista Benvenuti, 
 called L' Ortolano (or market-gardener, after his father's way 
 of life), and Caligarino (so called because he was originally a 
 shoemaker, and, as it is said, became a painter from a remark 
 of Dosso Dossi's, that the boots he had made him fitted as if 
 painted). Some good pictures by the first of these two 
 painters are in the Berlin Museum.'^ 
 
 We now return to Raphael's own school, where we still 
 
 ' See KunstbL 18-H, Xo. 7-i. 
 
 - Here we must again mention Lodovico IMazzoliuo, whose artistic activity 
 held a parallel course to that pursued by the Ferrarese followers of h'aphael ; 
 and who perhaps, in his later pictures, adopted something of Garofalo's 
 manner.
 
 410 MASTERS OF THE SIXTEENTH CEXTURY. Book V. 
 
 find some artists who deserve attention, especially Giovanni 
 da Udine, who assisted Raphael in the arabesques of the 
 Loggie, and in other decorative works. Giovanni was par- 
 ticularly distinguished in representations of fruit, animals, 
 birds, and still life of all kinds ; he painted them so naturally, 
 that a stable-boy, who sought in haste for a carpet to spread 
 for the Pope, ran to the Loggie to take a painted one from 
 the wall. The beautiful decorative paintings in the first 
 arcade in the first story of the Loggie of the Vatican, and 
 the pleasing frieze with children playing, in an apartment of 
 the Villa Madama at Rome, are among Giovanni's more 
 independent works. After the sacking of Rome, Giovanni 
 was employed in many other parts of Italy. In his old age 
 he returned to UiUne.' We must mention here an excellent 
 picture in the Academy at Venice, ascribed to his youth, 
 which tends to prove that he was already a distinguished 
 scholar of the Venetian school when he came to Raphael : 
 it represents Christ among the Doctors, with the Four 
 Fathers of the Church in front ; a quiet and beautiful com- 
 position, with the deepest expression of surprise, conviction, 
 and inspiration. 
 
 Other scholars of Raphael were Pellegiino da Modena, of 
 whom little certain is preserved ; Tommaso Vincidore of 
 Bologna (the Thomas Polonius of Albert Dürer's Journal) ; 
 Vincenzio di S. Gimignano, who, assisted by a painter of 
 the name of Schizzone, painted facades of palaces in the 
 style of Polidoro ; and Jacomone di Faenza, an artist of no 
 repute. The two Milanese, Gaudenzio Ferrari and Cesare 
 da Sesto, have been already mentioned. The companions of 
 Raphael in Perugino's school, Alfani and Adone Doni, after- 
 wards adopted the Roman style. Some northern artists also 
 formed themselves under Raphael, such as the Flemish 
 painter Michael Coxcie, who endeavoured to imbibe the style 
 of the great artist, and afterwards practised it in his native 
 country ; Georg Pens, originally a scholar of Albert Dürer, 
 &c. To conclude, we must not omit the influence which 
 
 > [There is a ceiling in the Archbishop's palace at Udine painted by 
 Giovanni in t'lie style of the Loggie of the Vatican: the ai list's house, deco- 
 rated with stucco ornaments and figures in relief, also exists. — Ed.]
 
 Chap. VI. MASTEES OF SIEXA AXD VEROXA, 411 
 
 Raphael exercised on the art of engraving. In this depart- 
 ment, Mareantonio Raimondi, or Marco del Francia, of 
 Bologna, is particularly distinguished : he received his first 
 instructions in the art of niello from Francesco Francia, then 
 turned his attention to engraving, and began by copying his 
 master's works ; he then imitated Mantegna, afterwards Albert 
 Dürer, and perfected himself in drawing under Raphael, who 
 distinguished him with his favour, and allowed him to engrave 
 his drawings. Mareantonio also engraved after Michael 
 Angelo, Giulio Romano, &c., in like manner from their own 
 drawings. Two of his scholars assisted him in engraving 
 after Raphael — Agostino Veneziano and Marco Ravignano: 
 thus the art of engraving reached a high degree of perfection 
 soon after its commencement in the studio of Raphael, tln-ough 
 Mareantonio and his followers. In all that regards dra^ving 
 and precision of outline, the engravings of this time have 
 never been surpassed by later productions, though inferior in 
 delicacy of modelling, gradation of tones, and other picturesque 
 effects which are now required. The highest importance of 
 this engraving school consisted in its having been so im- 
 mediately under Raphael's influence, and so acted upon by his 
 spirit, that it was able to render his style, even where, as in 
 many cases, only a slight drawing served as a model and the 
 accessories were left to them to complete in the spirit of the 
 great master. Thus it happened that in the hands of such 
 artists even the works of other painters acquired a Raphael- 
 esque stamp. The spread of Raphael's fame, and the supre- 
 macy of his style, is o^\'ing in no slight measure to their 
 engravings. 
 
 CHAPTER VI. 
 
 MASTERS OF SIENA AND VERONA. 
 
 We have already mentioned how the school of Siena, deeply 
 as it had declined in the fifteenth century, sought to renew its 
 powers at the congenial source of the Umbrian school. This 
 attempt was successfully made by several painters in the 
 
 T 2
 
 412 MASTERS OF TUE SIXTEENTH CEXTURY. Book V. 
 
 beginning of tlie sixteenth century, and especially by Jacopo 
 Paccliiorotto (see p. 267). It required, however, the influ- 
 ence of a master in whom every artistic quality belonging 
 to the time should be united, to raise Sienese art to the high 
 standard of the sixteenth century ; and such a master ap- 
 peared in the person of the Londjard Gianantunio Razzi — 
 born about 1480, died 1549 — who was one of the most 
 attractive painters of his time. Razzi was a native of Ver- 
 celli, and appears to have been formed under Leonardo da 
 Vinci ; he afterwards settled in Siena, of which place he 
 became a citizen. In his figures, particularly of women, 
 he resembles Leonardo ; they unite grace, tenderness, and 
 sweetness with an earnestness and fervour not to be found 
 perhaps in any other artist. Had the sentiment of beauty 
 been more fixed in his mind, had his drawing and grouping 
 been more coiTect, he would have been one of the first artists 
 of any time. The earliest known works of Razzi (about 
 1502) are the twenty-six well-preserved frescoes representing 
 the history of St. Benedict, in tiie convent of S. Cliveto 
 Maggiore (not far from the high road between Siena and 
 Rome), where Luca Signorelli had already executed some 
 works.' Here he appears severe, and evidently aims at indi- 
 viduality of character. Soon after this he pahited the Miracle 
 of tiie Loaves and Fishes, in the refectory of the neighbouring 
 convent of S. Anna, a work which is also in a good state of 
 preservation. At a later period he was employed by Julius II. 
 in Rome. His works in the Vatican, with the exception of 
 some arabesques and ornaments on the ceilings, were soon 
 eftaced, to make way for Rapiiael. A few of his pictures are 
 preserved in the Farnesina, where he painted the Marriage 
 of Alexander with Roxana, and Alexander in the Tent 
 of Darius, in an apartment uf the upper story. Here we 
 see tlie most attractive and gracefid female forms, although 
 many of the details betray a want of practical skill and 
 experience. 
 
 Razzi appears more important in his later works ; his best 
 work is at Siena, in S. Domenico, in the chapel of S. Caterina 
 da Siena. On the altar-wall he has represented, on one side, 
 [' Kumuhr Ital. Forsch, vol. ii., p. 387, — Ed.]
 
 Chap. VI. MASTERS OF STEXA AXT) YEROXA. 413 
 
 St. Catherine in ecstasy ; God the Father, -with the Madonna 
 and the infant Christ, appear to her, with several inexpressibly 
 beautiful angels ; on the other side of the altar the saint is 
 represented fainting-, supported by nuns, while Christ appears 
 above. This is a very masterly picture ; the pathetic expres- 
 sion of the figure and countenance is wonderfully beautiful. 
 A third picture on a side wall is not remarkable as a com- 
 position, but excellent in the single figures. 
 
 Razzi executed another work of great merit in conjunction 
 with Pacchiarotto (see p. 267) and another Sienese, Becca- 
 fumi, in the oratory of the brotherhood of St. Bernardino : 
 here the history of the Virgin is represented in figures larger 
 than life in several pictures, divided by light pilasters ; the 
 greater part is Razzi's ; his spirit pervades the whole, and 
 even raises the works of his fellow-labourers to its own 
 peculiar sphere. The best of these works are the Visit of 
 Mary to Elizabeth, and the Assumption. There are also 
 frescos by Razzi in the public palace, and altarpieces in 
 different churches of Siena : for example, a Deposition from 
 tlie Cross, of the year 1513, in S. Francesco ; some frescos in 
 S. Spirito ; an Adoration of the Kings in S. Agostino ; with 
 other works on private houses and on the town gates of 
 S. Viene. Otherwise his works are not frequently met with 
 in collections, and for this reason he is far less known than 
 he deserves. In Florence there are excellent works by him ; 
 for example, a St. Sebastian, in the Uffizj, a figure drawn in 
 the noblest proportions, though very severe in colouring : in 
 this last respect it is an exception to his general style, for a 
 soft and warm tone is one of the characteristic beauties of his 
 works ; the expression of grief in the countenance is of the 
 most touching beauty. A Resurrection in the Studj gallery 
 at Naples is distinguished by the beautiful forms of the 
 angels, and by a highly animated expression. A portrait of 
 Lucretia, painted for Agostino Chigi, of very beautiful form, 
 worthy even of Raphael, is now in the possession of the 
 Hanoverian minister at Rome, M. Comthur v. Kestner. A 
 Scourging of Clu'ist, transposed from the wall to canvas, is in 
 the Academy at Siena. An excellent Sacrifice of Abraham 
 is in the chapel of the Canipo Santo at Pisa. A Dead Christ,
 
 414 MASTERS OF THE SIXTEENTH CEXTÜRY. Book V. 
 
 surrounded by his disciples, somewhat coarsely executed, but 
 of a grand character, in the Berlin Museum, and a charming 
 and excellently painted Madonna in the Borghese Palace at 
 Rome, are both ascribed to Razzi. 
 
 Michael Anselmi (surnamed Michelangelo da Siena) and 
 Bartolommeo Neroni, who commonly bore the name of 
 Maestro Riccio, were scholars of Razzi. Two large paint- 
 ings by the latter, in the Sienese Academy, already show the 
 influence of the Florentine manner, and remind us but little 
 of his first instructor. Domenico Beccafumi (surnamed Mec- 
 cherino) has been mentioned as having been employed with 
 Razzi in the oratory of S. Bernardino : in those works he 
 approaches to the noble, simjjle grace of his master : in the 
 Sienese Academy there is a grand and beautiful altar-picture 
 by him. In his latter works, however, he is more mechanical, 
 and only retains the beautiful external forms he had learned 
 in Florence ; but as his colours are always clear and lasting, 
 his pictures (some of which are preserved in the public palace 
 in Siena) produce at least an agreeable effect on the eye. 
 One of the most interesting of his later works is the pavement 
 of the choir of the Duomo at Siena, which is formed of a 
 mosaic of briglit and dark marbles, with lines of sliading in 
 the style of niello. Older works of this kind, which are quite 
 peculiar to this cathedral, are merely drawn, in a manner re- 
 sembling niello. 
 
 This series of the Sienese artists closes Avith Baldassare 
 Peruzzi (1481-1536), one of the best modern architects, and 
 who, as such, fills an important place in the history of archi- 
 tecture ; he also deserves honourable mention as a painter. 
 His progress is similar in development to that of his Sienese 
 contemporaries ; for example, there are paintings by him on 
 the ceiling of the saloon of the Farnesina (in which Raphael 
 painted his " Galatea''), which rather lean to the early style 
 of the fifteenth century, but contain some graceful and in- 
 teresting details. The paintings which he executed on the 
 walls of the tribune in S. Onofrio in Rome, below the paint- 
 ings of Piuturicchio in the semi-dome, are more important, 
 yet still in the old style ; they represent a Madonna enthroned 
 with saints — on one side the Adoration of the Kings, on the
 
 Chap, VI. MASTEKS OF SIENA AND VERONA. 415 
 
 other the Flight into Egypt — and contain very graceful heads. 
 A standing figure of Charity, with three children, of severe 
 beauty, is in the Berlin Museum. At a later period Peruzzi 
 adopted the Roman style, but sacrificed, in his efforts after 
 external beauty of form, the artless grace which distinguished 
 his early works. His principal work at this time is a picture 
 in the little church Fonte Giusta at Siena — a Sibyl announcing 
 the birth of Christ to Augustus. The figure of the sibyl *is 
 not without grandeur, but the eflfect of the whole is cold. 
 An altarpiece in S. Maria della Pace at Rome (the first chapel 
 on the left), and a Presentation of the Virgin (in the same 
 church), in which the architectural portions are the chief 
 features in the picture, are of inferior value. An Adoration 
 of the Kings, in the Bridgewater Gallery in London, is of in- 
 different merit in the heads, and, as in Peruzzi's later manner, 
 fantastic in the costumes.* Peruzzi was also distinguished in 
 arcldtectural decorative painting ; the Farnesina (in Rome), 
 which was built by him, contained beautiful examples of this 
 style, but the decorations of an apartment in the second story 
 are all that remain. Tlie beautiful ornaments of the exterior, 
 executed in green, have disappeared ; and this graceful 
 building, once so much admired, now makes but a poor 
 appearance. 
 
 The Veronese Gianfrancesco Carotto (about 1470-1546) 
 may be compared to Razzi in the general tendency of his 
 style, and the success with which he followed it up ; like tlie 
 Sienese painter, too, he is less known than he deserves. Out 
 of Verona his works are very rare ; but in the churches of 
 that city, as well as in the Palazzo del Consiglio, there are 
 ample materials from which an idea may be formed of his 
 merit. He was educated in the school of Andrea Mantegna, 
 but has little in common with him ; he inclines much more to 
 the manner of Leonardo, and must have derived his peculiar 
 taste from the influence of that master : in his later works, 
 however, there is an evident approach to Raphael's style ; 
 and in this instance, fortunately, it has not produced the in- 
 
 ^ [Another picture of this subject, ascribed to Peruzzi, as well as a corre- 
 sponding drawing, is in the N;itional üallery. Respecting a painting of the 
 same composition by Girolamo du Trevigi, see Vasari, Life of Peruzzi. — Ed.]
 
 416 MASTERS OF THE SIXTEEXTII CENTURY. Book V. 
 
 jurious effects of which we have already given so many 
 examples. 
 
 In his early works Carotto appears constrained, and leans 
 to the older manner, particularly that of Girolamo dai Libri ; 
 his best and niatarest characteristics are seen in his works in 
 the Cappella deg^li Spolverini, in S. Eufeniia at Verona. In 
 the middle picture of the altar are represented the three arch- 
 aligels, in the side panels two female saints ; the expression 
 in tlie heads of the angels Ls extremely mild and noble — that 
 of St. Michael especially has an almost celestial purity : the 
 upper portions of the figures are very beautiful, the lower 
 limbs are less perfect. The two female saints have more of 
 a statue-like severity, and are cold in expression. On the 
 side wall Carotto painted the History of Tobias : of these 
 excellent pictures the lower one is especially graceful ; the 
 mother of Tobias embraces her daughter-in-law, while Tobias 
 himself heals the eyes of his blind father. These frescoes are, 
 alas ! in some parts painted over and much injured. 
 
 The warm and well-blended colouring of Carotto forms a 
 peculiar contrast to the severe style of his drawing. 
 
 CHAPTER VII. 
 
 CORREGGIO AND HIS SCHOLARS. 
 
 Antonio Allegri,' surnamed " Correggio " from his birth- 
 place, was born in 1494 and died in 1534 : he probably 
 received his first instructions in the school of Mantegna, that 
 is, from Francesco Mantegna, for Andrea died in 1506. It 
 is also ascertained that Francesco Bianchi Ferrari, belonging 
 to the old Lombard school (see j). 231), was his teacher.* 
 
 ' See Gius. Ratti, Xotizie storiche sincere intorno la vita ed opera di An- 
 tonio Allegri da Correggio, Finale 1781. Pungileoni, Jlemorie istoriche di 
 Ant. Allegri, detto il Correggio : Parma, 1817. Outlines in Landen, Vies 
 et Qiuvres, etc. ; Corre'ge. See also the Gemian translation of Vasari, 
 vol. iii. part ii. p. 60. Correggio's poverty is probably much exaggerated : 
 the well-known anecdote of his death is a fable. Vasari i», however, pro- 
 bably correct in saying that Correggio was never in Rome, 
 
 2 See Waagen's Paris, p. 420.
 
 Chap. VII. CORREGGIO AXD HIS SCHOLARS. 417 
 
 The works of Leonardo da Vinci, however, and Iiis school 
 appear to have exercised a more important influence on him, 
 though only as a preparation for that manner which he after- 
 wards formed for himself. 
 
 Correggio is distinguished by a subjective mode of con- 
 ception, of that kind which may perhaps be best defined by 
 the word sensibility, but which is not to be confounded with 
 the false, lachrymose sensibility which has become so much 
 the fashion in modern times : it is rather susceptibility, the 
 higlily- wrought capacity to feel, the liveliness of the affections, 
 which are the pervading characteristics of Correggio's works. 
 These qualities lead to a peculiar treatment and choice of 
 subjects. In his compositions all is life and motion, even in 
 subjects that seem to prescribe a solemn repose, such as 
 simple altar-pictures. All his figures express the overflowing 
 consciousness of life, the impidse of love and pleasure ; he 
 delights to represent the buoyant glee of cliildhood — the 
 bliss of earthly, the fervour of heavenly love ; seldom does 
 sorrow intrude into his world of joy, but it is so much 
 the deeper from the artist's vivid capacity for the opposite 
 feeling. 
 
 In the works of Correggio there is, on the whole, little 
 display of beautiful forms ; the movements of his figures, 
 which unceasingly produce the most varied foreshortening, 
 are obviously opposed to it. So decided is his taste for these 
 perspective appearances, that even a Madonna, seated in 
 divine tranquillity on her throne, is represented by him as if 
 seen from underneath, so that in the drawing her knees 
 appear almost to touch her breast. But, instead of form, 
 another element of beauty predominates in Correggio — that 
 of chiaroscuro, that peculiar play of light and shade which 
 spreads such an harmonious repose over his works. His com- 
 mand over this element is founded on that delicacy of per- 
 ception, that quickness of feeling, which is alive to every 
 lighter play of form, and is thus enabled to reproduce it in 
 exquisite modelling. Correggio knew how to anatomize light 
 and shade in endless gradation ; to give the greatest brilliancy 
 without dazzling, the deepest shade without offending the eye 
 
 T 3'
 
 418 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 by dull blackness. The relation of colours is observed with 
 the same masterly skill, so that each appears in itself subdued, 
 yet powerful in relation to others. But while Correofgio at- 
 tained one of tlie hi<j;-hest simimits of modern art, it is to be 
 observed, that this his peculiar excellence (as in the instance 
 of Michael Angelo) leads him into many an exaggeration, 
 and exposes him to criticism for many an error in drawing ; 
 and, what is far worse, that his expression of the passions 
 borders not unfrequently on affectation.' 
 
 At the same time Correggio may be justly admitted as a 
 worthy competitor with the three great masters of the Flo- 
 rentine and Roman schools. Not so, however, if we declare 
 the higher elements of beautj^ and dignity, of ideal grandeur 
 of form and of intensity of e" pression, to be not only the 
 principal, but the exclusive objects of art, for in these respects, 
 especially when compared with Raphael, Correggio was often 
 deficient or mannered ; but granting him to be thus far im- 
 measurably inferior to these masters, it must still be re- 
 membered that in his own peculiar sphere he attained such 
 g-reatness and freedom, that no position short of the highest 
 can be assigned to him. He completed what was deficient, 
 even in that redundantly rich period of art, by venturing to 
 depict, a^i it were, the very pulses of life in every variety of 
 emotion and excitement, till, in the luxuriance of his ardent 
 representations, the beauties and the faults, the high poetry 
 and the low earthliness of his productions are indissolubly 
 united. 
 
 Of the early works of Correggio few can be named with 
 precision, except the large altarpiece, now in the Dresden 
 Gallery, which he painted about 1512 for the Franciscan 
 convent at Carpi : it represents a INIadonna enthroned ; on 
 the left are St. Francis and St. Anthony of Padua ; on the 
 right, St. John the Baptist and St. Catherine. There is 
 more repose and simplicity in this picture than in his later 
 works : in the heads, particularly that of St. John, there are 
 reminiscences, not to be mistaken, of the forms peculiar to 
 
 ' There is an excellent and characteristic account of Correggio by Herr v. 
 Quandt, in his translation of Lanzi's History of Painting in Italy, ii. 319, 
 note 36.
 
 MADONNA ADORING THE CHILD; by Coneggio, 
 
 in the U£5zj at Flonaice. page 419.
 
 Chap, VII. CORREGGIO AXD HIS SCHOLARS. 419 
 
 Leonardo and his school. At the same time a certain con- 
 straint is apparent, especially in the expressions ; while the 
 execution is remarkable for great softness and a peculiar 
 fusion of the tints, which afford sufficient evidence that con- 
 siderable but now unknown works had been done at a still 
 earlier period. As an example of these we may mention a 
 picture with the figures of four saints — St. Peter, St. Mar- 
 garet, the Magdalen, and St. Anthony of Padua — as large as 
 life, now in the collection of Lord Ashburton at London,' 
 which in severity of composition, in depth of colour, and in 
 style of expression, much corresponds with the above-mentioned 
 picture. At all events it is evident that in earliness of ex- 
 cellence Correggio surpassed even Raphael himself, who, in 
 his twentieth year, appears much the most constrained in 
 manner. 
 
 Two pictures in the tribune of the Uffizj at Florence are of 
 little importance, except as proofs of a somewhat advanced 
 development : one is a Riposo (the Holy Family resting 
 during the flight into Egypt), in which Joseph breaks off a 
 palm-branch for the infant Christ, while St. Francis kneels 
 on one side in adoration ; the other is a JNIadonna adoring the 
 divine Infant. In the last-named picture both gesture and 
 expression are anything but noble, but the true poetry of 
 light and chiaroscuro is developed with the highest skill. To 
 this time belongs also a large Crucifixion at Parma, which, 
 though not a very grand composition, indicates, in some of 
 the expressions, the peculiar tendency of the artist : the 
 beautiftd figure of Christ, and the head of the Madonna, who 
 sinks down fainting, are touching representations of sorrow. 
 
 About the year 1518, Correggio was invited to Parma to 
 paint a saloon in the convent of S. Paolo,^ for the abbess. 
 The subjects from ancient mythology, which he executed 
 here, are among his most beautiful works : on the principal 
 wall is Diana returning from the Chase, in a car drawn by 
 white stags ; the light drapery of the goddess conceals but 
 
 ' See Waagen's England, vol. ii. p. 80. 
 
 ' Pittiire di Ant. Allegri detto il Correggio esistenti in Parma nel monis- 
 tero di S. Paolo. Panna, 18u0. [Recently engraved in an admirable man- 
 ner by Toschi. — Ed.]
 
 420 MASTEES OF THE SIXTEENTH CENTURY. Book V. 
 
 little of her perfect and youtliful form. On the ceiling is 
 painted a vine-arbour, with sixteen oval openings, in which 
 are charming groups of genii, some with the attributes of 
 the chase — horns, hounds, the head of a stag, «fee. ; some 
 caress each other ; some pluck fruits from the borders of the 
 arbour. It is impossible to conceive more graceful, attractive 
 gaiety than in the figures of these genii. Underneath are 
 sixteen lunettes in chiaroscuro, filled also with mythical sub- 
 jects — the Graces, Fortune, the Fates, Satyrs, «fee. The 
 choice of these subjects for a convent appears strange ; but 
 in the beginning of the sixteenth century the nuns of Italy 
 enjoyed the greatest freedom, without being shut up, while 
 the abbess lived in princely splendour and luxury. In 1524, 
 however, the nuns of S. Paolo were again forced to keep 
 within their convent, and these works of Correggio were with- 
 drawn from the eyes of the public till modern times. 
 
 In the year 1520 the painting of the cupola of S. Giovanni 
 in Parma was entrusted to Correggio, and aflTorded an oppor- 
 tunity for the formation of a grander style. In the centre of 
 the cupola he represented Christ in glory, suspended in air ; 
 the twelve Apostles, wrapt in adoring wonder, are seated on 
 the clouds below ; in the four pendentives are the four Evan- 
 gelists and the four Fathers of the Church. This work 
 exhibits great grandeur in the general arrangement and in 
 detail ; it is. moreover, the first remarkalile display of fore- 
 shortened figures. The tribune behind the altar was also 
 painted by him ; this part, however, was pulled down in 1584, 
 to enlarge the church : but the most essential part of the 
 composition, a Coronation of the Virgin, with saints and 
 other figures, is known to us from copies by Annibal Caracci 
 now in the Museum of Naples ; some fragments of the 
 original also exist.' These works were finished by Correggio 
 in 1524. 
 
 The peculiar style of Correggio was carried to perfection in 
 the large frescoes in the cupola of the Duomo at Parma, 
 executed between the years 1526 and 1530; the subject is 
 
 ' [CoiToggio's design wns repainted in tlie new Trihnne of S. Giovanni by 
 Cesare Aretusi, probably from A. Carracci's copies. The principal group of 
 the original is preserved in the Library at Parma. — Ed,]
 
 Chap. YII. COEREGCxIO AXD HIS SCHOLARS. 421 
 
 the Assumption of the Virgin.' In the highest part of the 
 cupola, on which the strongest light falls, Christ, a violently 
 foreshortened figure, precipitates himself to meet the Madonna ; 
 lower down are several saints, male and female ; these are 
 also wonderfully foreshortened ; still lower appears the prin- 
 cipal group — the Virgin borne by angels in triumph. All 
 this occupies but tlie upper half of the cupola. In the under 
 part, between the oblong windows, stand the Apostles, some 
 singly, some together, gazing on the ascending Madonna ; 
 over the windows are genii, some of whom bear lighted can- 
 delabra, others censers in their hands. In the four pendentives 
 under the cupola are the four patron-saints of Parma, seated 
 on clouds and accompanied by angels. The whole forms an 
 innumerable host of saints, angels, &c., in full jubilee and 
 pious joy ; one tone of heavenly rapture is diffused over all, 
 yet there is nothing wanting in the characteristic completion 
 of the single parts. The effect is, however, almost too rich 
 and boundless ; all the figures are foreshortened, and as more 
 limbs than bodies are visible from below, the artist, even in 
 his lifetime, was jestingly told that he had painted a " hash 
 of frogs" [guazzetto di rane]. 
 
 Beside tliese great works, Correggio executed a number of 
 easel-pictures, large and small, of which the following are 
 the most important and best known. 
 
 One of his most beautiful and often-repeated small works 
 is the IMarriage of St. Catherine ; it is one of the subjects in 
 which the peculiar powers of the artist could unfold them- 
 selves in the happiest manner. The youthful saint (according 
 to her vision) is betrothed to the divine Infant in presence of 
 St. Sebastian and the Virgin, who carefully superintends the 
 holy rite.^ The scene is expressed with such tender grace 
 that nothing more charming can be conceived : a sense of 
 blissful life is diffused over the figures of the Virgin and St. 
 Catherine, and the whole composition is united by the most 
 
 • Engraved in a series of plates by Ct. B. Vanni, 1642. [The fine en- 
 gravings by Toschi, now in the course of publicatien, will supersede all that 
 has hitherto been copied in this way from Correggio. — Ed.] 
 
 * [This subject was comparatively late ; St. Catherine of Siena died in the 
 fourteenth century, and was not canonized till 1461. The painters appear to 
 have improved on the legend. See the Acta Sanctorum, April 30, — Ed.]
 
 422 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 wonderful harmony of colour. Not that Correggio here hn- 
 presses on the spectator that high and edifying feeling which 
 the purity and nobility of form, the depth of expression, and 
 the poetry of composition of Leonardo and Raphael impart, 
 but he touches us, though with an earthly pencil, by his 
 glowing representations of the spiritual excitements of this 
 life. Another small picture of this subject, somewhat dif- 
 ferently arranged, is in the Studj Gallery at Naples : here 
 the Child, astonished at the strange ceremony, is looking up 
 laughing at the Virgin, Other repetitions (some of them 
 probably old copies) are at Petersburgh, in the gallery of 
 the Capitol at Rome, and in other places. 
 
 An equally beautiful composition is the Virgin resting 
 with the Child during the Flight into Egypt, called La Zin- 
 garella (the Gipsy), from the turban the Madonna wears 
 round her head. The best repetition of this subject is at 
 Naples. Here the Madonna is of the highest beaut}^ and 
 intensity of expression. Above her, in obscurity, are hover- 
 ing charming figures of angels. Some repetitions and copies 
 are in the same city. 
 
 Other important paintings are in the Gallery of Parma ; 
 among these may be mentioned the fresco of a Madonna and 
 Child, taken from S. Maria della Scala, executed at the same 
 time as the cupola of S. Giovanni : the IMadonna holds the 
 Child in her lap, regarding him with fervent tenderness ; his 
 arms are clasped round her neck ; he looks to\\'ard the spec- 
 tator : majesty and gentle grace, sublimity and tenderness, 
 are most intimately blended in this picture. — The Madonna 
 della Scodella, a Holy Family resting on the Flight into 
 Egypt : the picture takes its name from the cup which the 
 Virgin holds in her hand ; Joseph plucks dates from the tree. 
 The composition resembles the first-mentioned picture in 
 Florence, but is more highly finished and beautiful. — The 
 St. Jerome (or "The Day") is one of Correggio's most cele- 
 brated pictures. The Madonna with the Cliild are near the 
 centre ; on the left is St. Jerome ; an angel next him points 
 out to the infant a part of the open book held by the saint ; 
 on the right kneels Mary Magdalene ; she kisses the foot of 
 the Child ; an angel is near her. The pure light of day is
 
 Chap. VII. CORREGGIO AISTD HIS SCHOLARS. 423 
 
 diffused over the picture ; the figures seem surrounded, as it 
 were, by a radiant atmosphere. The angel next to St. Jerome 
 is extremely beautiful ; other portions are, however, not quite 
 free from affectation. — The Deposition from the Cross (the 
 body of Christ mourned by the three Marys and St. John) ; 
 the arrangement is simple and grand, and the harmony of 
 light and colour most beautiful : grief is not here depicted in 
 its first overwhelming power, as in other pictures of this sub- 
 ject, but in that deep weariness and lassitude of spirit when 
 tears have ceased to flow : here, as in other instances, one 
 absorbing feeling prevails, and in tins consists the highly 
 impressive effect of the picture. The Martyrdom of S. Placido 
 and S. Flavia is its companion, and, like it, is distinguished 
 by its simple arrangement and fine expression. 
 
 In the Gallery at Dresden there is an excellent series of 
 altar-pictures by Correggio.' The St. Francis has already 
 been mentioned ; the others belong to the period when the 
 artist's power was best displayed. "We begin with the St. 
 Sebastian : the Madonna with the Child is enthroned on 
 clouds, surrounded by a circle of infant angels ; underneath 
 are St. Sebastian, St. Geminianus, and St. Roch : the angels 
 are extremely graceful. The St. Sebastian is perhaps the 
 most beautiful of Correggio's figures. — The Notte, the Holy 
 Night (the Adoration of the Shepherds), is celebrated for the 
 striking effect of the light, wliich, in accordance with tlie old 
 legend,^ proceeds from the new-born babe : the radiant infant, 
 and the mother who holds him, are lost in the splendour, 
 which has guided the distant shepherds. A maiden on one 
 side, and a beautiful youth on the other, who serve as a 
 contrast to an old shepherd, receive the full light, which 
 seems to dazzle their eyes ; while angels, hovering above, 
 appear in a softened radiance. A little further back Joseph 
 is employed with his ass, and in the background are more 
 shepherds with tlieir flocks. Morning breaks in the liorizon : 
 an ethereal light flows tlirough the whole picture, and leaves 
 only so much of the outline and substance of the forms ap- 
 
 ' Compare Hirt, Kunstbemerknngen auf einer Reise nach Dresden, p. 45, 
 etc. 
 
 * [See the apocryphal Evangelium Infantise. — Eo.j
 
 424 MASTERS OF THE SIXTEENTH CEXTURY. Book V. 
 
 parent as is necessary to enable the eye to distingiiish the 
 objects.' — The St. George: a Madonna enthroned, with open 
 architecture ; St. George and St. Peter Martyr, St. John the 
 Baptist and St. Geminianus at the sides ; boy-angels play 
 with the armour of St. George in the foreground. Through- 
 out this picture, as in the St. Jerome at Parma, the clearest 
 daylight is diffused. The details are less important— the 
 angels, for example ; they are perhaps unfinished, but the 
 countenance of the Madonna is expressive of the sweetest and 
 most gracious mildness ; that of St. Peter Martyr is full of 
 enthusiastic fervour and devotion. Besides the large pictures, 
 the Dresden Gallery contains the universally-admired " Read- 
 ing Magdalen," and an excellent portrait, said to be the 
 physician of the artist. 
 
 A significant, but somewhat severe picture, perhaps of 
 Correggio's earlier time, is in the Munich Gallery. The sub- 
 ject is the Madonna in glory appearing to the Donor in a 
 form of the most finished grace. Below are the seated figures 
 of St. James and St. Jerome in a state of the highest ecstasy. 
 Such devotion as is here expressed does not partake of that 
 beautiful and peaceful self-resignation which elevates the 
 mind of the beholder, but is rather a violent representation of 
 natural life, thrown by the higher emotions of the soul into a 
 state of over agitation. 
 
 Some of the most beautiful of Correggio's pictures were 
 formerly in Spain, but in consequence of the war with France, 
 they have now made their way to London.^ The most im- 
 portant of these are, Christ on the Mount of Olives, in the 
 gallery of the Duke of Wellington. Here, as in the Notte, 
 the light proceeds from the Saviour, who kneels at the left of 
 the picture. Thus Christ and the angel above him appear in 
 a bright light, while the sleeping disciples, and the soldiers 
 who approach Avith Judas, are thrown into dark shadow ; but 
 
 ' Smaller representations of this subject, with similar motives, and treated 
 in like manner as the Dresden picture, exist in various places. An excellent 
 little picture of the kind is in the Berlin Museum, No. 223, and is there 
 ascribed to the School of Correggio. It is the same picture described in the 
 Kunstblatt, 1838, No, 58. 
 
 ^ See Passavaut, Kunstreise durch England und Belgien ; also Waagen, 
 Kuustw. and Künstler in England.
 
 Chap. VII. CORREGGIO AND HIS SCHOLARS. 425 
 
 it is the " clear obscure " of the coming dawn, and exquisite 
 in colour. The expression of heavenly grief and resignation 
 in the countenance of Christ is indescribably beautiful and 
 touching ; it is impossible to conceive an expression more 
 deep and fervent. — The Ecce Homo, half-figures as large as 
 life, now in the National Gallery at London ; Christ crowned 
 with Thorns, and being shown to the people. The expression 
 and attitude of Christ are extremely grand ; even the deepest 
 grief does not disfigure his features. The manner in which 
 he holds forward his hands, which are tied together, is in 
 itself sufficient to express the depth of suffering. On the 
 left is a Roman soldier, of rude but not otherwise than noble 
 aspect, and evidently touched by pity : on the right, Pilate 
 looking with indifference over a parapet. The Virgin, in 
 front, is fainting, overpowered by her grief, in the arms of 
 the Älagdalen : her head is of the highest beauty. The 
 drawing in this picture is more severe than is usual with 
 Correggio. The Holy Family, called La Yierge au Panier, 
 is another small picture in the National Gallery : the Ma- 
 donna sits in a landscape ; the infant Christ, on her knee, 
 looks up with an expression of joy ; in the background Joseph 
 is seen working as a carpenter : a beautiful and delicately 
 executed little picture, full of fresh and joyful emotion, only 
 somewhat mannered in the expression of the Madonna. The 
 Education of Cupid, in the National Gallery also, we shall 
 mention further on. In the Stafford House Gallery there is 
 a picture by Correggio of a totally different character to the 
 foregoing ; the subject is a horse and mule, both laden, with 
 their drivers, in a glowing landscape, executed in a masterly 
 manner : it is said to have been painted as a sign for an inn 
 where Correggio had no other means of discharging his 
 reckoning. 
 
 Among the pictures still in Spain, Christ in the Garden 
 with the Magdalen is one of the most excellent : it is in the 
 Madrid Gallery.' 
 
 ' The "Christ enthroned upon a rainbow, with angels around," which, in 
 the Gallery of the Vatican, bears the name of Correggio, is too dead in 
 colouring, and too destitute of the finer feeling for life in detail, to be con- 
 sidered an original picture.
 
 426 PIASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 These works belong to the department of religious painting : 
 another series represents scenes of ancient mythology ; here 
 the softness of female forms and the joys of earth are dis- 
 played with mirivalled skill. Among the first in this class 
 are two pictures in the Berlin Museum : Leda with the Swan, 
 sitting on the bank of a shady lake ; on the left, amorini 
 play on musical instruments ; on the right, maidens bathe : — 
 and lo embraced by Jupiter, veiled in a cloud. In these, as 
 in the sacred subjects, every feeling is resolved into one per- 
 vading idea. It is the triumph of earthly love, indeed, wiiich 
 is celebrated in these pictures, but it is the joy of a nobler, 
 freer race of beings, unacquainted with vice or falsehood. 
 Both these pictures, as well as the Danae (to which we shall 
 presently come), were formerly in the collection of Queen 
 Christina of Sweden ; at a later period they passed into the 
 celebrated Orleans gallery in Paris. The son of the Duke of 
 Orleans, shocked at the voluptuous expression in the head of 
 lo, had it cut out and burned ! Another was afterwards sub- 
 stituted. Both pictures were bought by Frederick II. for his 
 gallery at Sans Souci. When taken again to Paris, under 
 Napoleon, the present excellent head of lo was painted by 
 Prudhon.' An excellent repetition of the lo, universally con- 
 sidered genuine, is in the Gallerj' of Vienna. — The Danae is 
 in the Borghese Gallerj' in Rome : she lies half raised on a 
 splendid couch ; Love, a beautiful youth, sits beside her and 
 catches the golden rain-drops in her drapery. In front of 
 her couch, two amorini are employed with graceful naicete in 
 sharpening an arrow.^ The form of Danae is modelled with 
 exquisite softness, but the countenance has a less engaging 
 expression. — Jupiter and Antiope, m the Paris Museum : 
 Antiope sleeps in a gracefully fascinating attitude ; Love 
 sleeps near her ; Jupiter steals upon them in tlie form of a 
 beautiful young faun. In the melting softness of the execu- 
 tion this picture is perhaps the most perfect that Correggio 
 ever finished, though somewhat too full in the forms. — The 
 Education of Cupid by Venus and Mercury, in the ^National 
 
 ' The head of the Leda also is new. 
 
 * [One is trying the gold on a touch-stone. See Mengs's description of 
 the picture, Opere, ii. 148. — Ed.]
 
 Chap. VII. CORREGGIO AND HIS SCHOLARS. 427 
 
 Gallery in London : Venus is here standing erect, her noble 
 and beautiful form fully developed ; while Cupid, a lovely, 
 artless-looking child, is intently deciphering a scroll, which 
 Mercury, seated on the ground, is holding to him. — Gany- 
 mede borne through the air by the Eagle, in the Gallery of 
 Vienna, is also distinguished by a beautiful child-like grace. 
 
 Correggio had various scholars and followers, who endea- 
 voured, with more or less success, to ac(|uire his style ; 
 among them are the following : — his son, Pomponio Allegri, 
 distinguished by his somewhat simple drawing ; Francesco 
 Maria Rondani, censured for superfluous and trifling acces- 
 sories ; Michael Angelo Anselmi, already mentioned among 
 the scholars of Razzi (a very mannered Madonna with saints, 
 by him, is in the Louvre) ; Bernardino Gatti, distinguished 
 for peculiar sweetness of colouring ; Giorgio Gandini ; Lelio 
 Orsi, of Novellara ; the last is considered as the best imitator 
 of Correggio. 
 
 A much Iiigher reputation was gained by Francesco Maz- 
 zuoli (1503-1040), surnained "II Parmigianino," ' son of 
 Filippo Mazzuoli (already mentioned among the earlier 
 masters as a clever painter of Parma) ; but his rej^utation 
 dates from a period when the feeling for true artless beauty 
 was nearly extinct. The dangerous tendency of Correggio's 
 style has been already pointed out — a danger which even he 
 has not always escaped : but in Parmigianino action and 
 feeling almost always degenerate into insufferable affectation 
 and insipid coquetry. He is the more displeasing from en- 
 deavouring to unite with these peculiai'ities the noble forms 
 of the Roman school, and the unnaturally lengthened pro- 
 portions of his own figures. In spite of this, however, certain 
 indestructible beauties belonging to the master under whom 
 he studied may be perceived clinging to him, such as a 
 frequently clear and warm tone of colour, a great decision in 
 execution, and, when the subject admitted of it, an excellent 
 conception of life. That Mhich, at the period we are de- 
 scribing, misled the descendants of the great masters, was, as 
 we shall have reason to observe, rather a false influence 
 
 ' P. J. Aflfb, Vita del pittore Francesco Mazzolo, detto il Parmigianino, 
 Parma, 1784. Outlines in Landon, Vies et CEuvres, etc. ; t. Parmigianino.
 
 428 MASTERS OF THE STXTEEXTE CEXTTRY. Book V. 
 
 working upon them from without, than any absence of real 
 capacity, so that in certain departments of art where this out- 
 ward influence did not come into operation, their success was 
 of the highest kind. This was the ca.se with Parmigianino, 
 as with many others, in portraits. A splendid portrait of a 
 knight, said to be Columbus, and another said to be Par- 
 migianino's mistress, are in the IVIuseum at Naples ; others 
 are in various places. Here and there also we find a more 
 simple Holy Family. Among his most celebrated yet most 
 disagreeable pictures is the so-called Madonna with the " long 
 neck," in the Pitti palace in Florence, and a St. Margaret 
 (a Madonna with saints, with St. Margaret kneeling in front) 
 in the Gallery at Bologna. On the other hand, a large altar- 
 piece in the National Gallery at London, the Madonna in 
 clouds and John the Baptist appearing to St. Jerome, is an 
 excellent youthful work of the maiiter. The beautiful head 
 of the infant Christ is not unworthy even of Correggio. It is 
 said that, engrossed in the completion of tliis picture in 1527, 
 Parmigianino took no note of the siege of Pome tlien going 
 on, and that the soldiers, intent on pillage, who surprised 
 him at his work, were so overawed with admiration that they 
 protected him against their comrades. Important frescoes by 
 Parmigianino are in the churches of S. Giovanni and Delia 
 Steccata in Parma : his cousin, Girolamo di Micchele Maz- 
 zuoli, was one of his scholars, and was, if possible, more 
 mannered than Parmigianino himself. A most unpleasing 
 Madonna, with St. Catherine and St. Paul, by this master, is 
 in the Berlin Museum. 
 
 CHAPTER VII I. 
 
 SCHOOLS OF VENICE. 
 
 We now approach the last prominent group of great painters, 
 who, in the beginning of the sixteenth century, opened up a 
 distinct mine of peculiar excellence in Italian Art — namely, 
 the Venetians. We find in them, as in Correggio, a remark- 
 able technical pre-eminence. The Roman school was disr
 
 MOSES ; painted by Parmifeianino in the Steccata at Paxma. 
 
 pa^ 428.
 
 Chap. VIII. SCHOOLS OF VENICE. 429 
 
 tinguished by beauty of form ; Correggio, by chiaroscuro ; the 
 Venetians of this period, like their predecessors who have 
 already occupied our attention, were great in colour; it is 
 chiefly this quality which gives the stamp of perfection to 
 their productions : with admirable mastery they give the 
 warmth of life to the colour of flesh, imitate the splendour 
 and brilliancy of different materials, and, if we may venture 
 to say so, relieve light on light ;' but this technical skill is in 
 them the expression of a characteristic and elevated con- 
 ception ; it is the enjoyment of life and of its splendour which 
 speaks in all the nobler productions of this school. And 
 althougi] this general aim would appear to restrict imitation 
 to familiar objects and circumstances, yet they knew how to 
 penetrate life in all its aspects and in all its depths ; and, on 
 the other hand, to treat the grandest themes. For the rest, 
 it is to be remarked that the Venetians, on the whole, painted 
 very little in fresco, but chiefly in oil, in which method they 
 executed pictures of the largest dimensions. The reason is 
 evident, as the nature of oil-painting is much more favourable 
 to their peculiar object than tlie severer methods of fresco. 
 
 A great number of Venetian artists were active in this 
 general style, with more or less originality ; two, however, 
 stand at the head of the list — Giorgioue and Titian, both 
 scholars of Giovanni Bellini. 
 
 ' The expression used above is no hyperbole : it describes, in point of fact, 
 the mode of laying on the colours peculiar to the masters of the Venetian 
 school, which was the result of a close observation of the effect of colour and 
 light upon the eye itself. " Every part of a healthy human form, on which 
 the light of the sun directly falls, is of that glowing reddish yellowish colour 
 which most delights the eye, and which it most eagerly seeks in a picture. 
 Thus it is that the portions thus lighted, and thus coloured, are also the most 
 conspicuous. Other parts which, lying obliquely, do not receive the rays of 
 the sun upon them, are lighted by the retiection from other objects at a 
 greater or lesser distance from them, or by the light with which the 
 atmosphere itself is pervaded. These reflections cast upon the object on 
 which they fall something of the colour of the objects from which they are 
 derived. Being therefore of a bluish tiijt when derived merely from the 
 open air, they impart this same bluish tint to the object they light, and 
 when this happens to be the tender surface of the human body, itself of a 
 reddish yellow colour, a light greyish green tint results. This colour, being 
 duller, is less conspicuous to the eye, and thus the portions thus lighted 
 recede apparently from sight, and take the effect of half shadows, thouo-h 
 really almost as light as the lightest parts." (.See \'on Quandt's translation 
 of Lanzi's History of Painting in Italy, vol. ii. p. 146.)
 
 430 MASTERS OF THE SIXTEEXTH CENTURY. Book V. 
 
 Gioro-io Barbarelli of C^astelfranco, commonly called 
 " Giorgione" (born 1477, died 1511), was the first Venetian 
 who cast aside the antiquated constraint of the Bellini school, 
 treated art with freedom, and handled his colours in a bold, 
 decided manner : his paintings generally have a luminous 
 power and subdued internal glow, the sternness of which 
 forms a singidar contrast to the repose which prevails with- 
 out ; they may be said to represent an elevated race of beings, 
 capable of the noblest and grandest efforts : this is more espe- 
 cially observable in Giorgione's portraits and characteristic 
 ideal heads. Some of his most beautiful portraits are in the 
 Manfrini Gallery in Venice : one, for example, representing 
 a lady with a lute ; ' and a second, in which a Venetian 
 cavalier turns to a lady ; on the other side is a beautiful page. 
 Gioro-ione's own portrait, in the Munich Gallery, is also 
 excellent; it is full of impassioned feeling, with a peculiar 
 melancholy in the dark glowing eyes. Ideal heads, such as 
 Saul and David, in the Borghese Gallery in Eome ; David 
 with the head of Goliath, in the Imperial Gallery of Vienna, 
 &c., are frequently to be met with.^ It is difficult, indeed, 
 sometimes to decide whether Giorgione meant to represent a 
 real portrait, or an ideal head, or a genre subject, so well did 
 he understand to give his figures that which especially ap- 
 pealed to the comprehension and sympathies of his spectators. 
 We see this in his " Concert," in the Pitti palace, represent- 
 ino- two priests playing the piano and the violoncello, with a 
 youth — in his Maestro di Cappella giving a music -lesson, in 
 the National Gallery at London^ — in his picture of a warrior, 
 with another figure, in the gallery of the Uffizj, Florence — 
 in the picture of a beautiful girl laying her hand upon her 
 lover's shoulder, in Lord Ashburton's collection in London — 
 in the Daughter of Herodias with the head of John the 
 Baptist, in the Louvre (another repetition of the subject is in 
 
 ' [The picture, fine as it is, has not the extreme glow of colour for which 
 Giorgione was celebrated ; this quality, however, is very remarkable in the 
 specimen next mentioned. — Ed.] 
 
 2 [Several pictures of the kind, that bear the name of Giorgione in galleries, 
 are by his comparatively modern imitator Pietro Yecchia. — Ed.] 
 
 3 [Commonly attributed to Titian and described as his in ^'anderdoort's 
 Catalogue of the pictures of Charles I. — Ed.]
 
 Chap. YIII. SCHOOLS OF VENICE. 431 
 
 the collection at Stratton) — in two exquisite female heads at 
 Castle Howard, and in many others. In the portrait of 
 Gaston de Foix, now in the Louvre, Giorgione contrived to 
 show the fig-ure on all sides by the inti'oduction of several 
 mirrors, a joking allusion to the dispute then going on regard- 
 ing the arts of painting and sculpture. 
 
 Of Giorgione's devotional pictures the largest and best is 
 in Mr. Solly's collection in London : it represents the Virgin 
 enthroned, under a canopy, in a landscape ; at her side four 
 saints, each standing sepai'ate, as in the old manner, and three 
 angels playing on musical instruments below. In character 
 and expression of this picture we see that grand, melancholy 
 seriousness which is sometimes peculiar to Giorgione ; the 
 treatment is broad and full, the colouring deep and glowing. 
 A Holy Family with St. Sebastian and St. Catherine, with a 
 highly poetical landscape, in the Louvre, is also excellent, 
 but somewhat hard in the outlines. In a Madonna picture in 
 the Leuchtenberg Gallery at Munich (she is seated with, the 
 Child under a laurel-tree), a more glowing life appears, 
 though tempered with a certain severity. 
 
 Giorgione's works are, on the whole, rare, and the frescoes 
 which he painted in Venice have disappeared. His historical 
 pictures are the rarest of all. To these belong the Death of 
 St. Peter Mart}T, in the National Gallery in London, an 
 unimportant pictvire, and one scarcely to be considered genuine ; 
 also a picture in the Dresden Gallery of a graceful, pastoral 
 character — Jacob greeting Rachel. An Adoration of the 
 Shepherds, in the Fitzwilliam Museum at Cambridge, re- 
 sembles the last-mentioned picture in treatment. In this class 
 also may be included a picture of large dimensions, removed 
 from the school of St. Mark to the Venetian Academy. The 
 subject is a sea-storm raised by demons, and which threatened 
 destruction to Venice (1340), till its fury was assuaged by 
 means of three saints : the picture represents a wildly agitated 
 sea, and a ship driving before the tempest filled with figures 
 of demons in the form of satyrs ; St. Mark, St. Nicholas, and 
 St. George embark in a small boat to oppose them. The 
 demons, astonished, precipitate themselves into the sea to 
 avoid them ; some sit in the cordage of the vessel, others on
 
 432 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 the caps of the masts, which contain fire, the fumes from 
 which spread over the sky and sea. In front is a bark with 
 four naked satyr-like figures — glowingly coloured splendid 
 forms, particularly the two sitting rowers, which are painted 
 in a free and most masterly style. Fabulous sea-monsters 
 emerge from the waves ; on one rides a horned satyr ; on 
 the shore, in the distance, is a city ; on the left, several 
 spectators. 
 
 The conception of this picture is very singular, and in 
 many of Giorgione's other works we find a peculiar poetic 
 manner of treating his subject, wliich sometimes displays 
 itself in allegorical allusions (not always easily understood), 
 at [others, in scenes which bear a close relation to what is 
 called the " romantic genre." The allegorical pictures bear 
 the stamp of his earlier })eriod, and of the Bellini style. One 
 of the earliest works, apparently, of this class, the so-called 
 " Astrologer," is in the Manfrini Gallery at Venice. The 
 old mat), clothed in fantastic garments, is seated at a marble 
 table in front of a ruined building, in one niche of which is a 
 broken statue of Venus. Compass and brass disc are in his 
 hand. On the left is a young man in armour, and a female 
 figure seated on the ground playing with a naked child, who 
 is lying before her : further in the landscape are warriors 
 resting under a tree.' A very attractive picture, of more 
 romantic meaning but of less powerful making out, is in the 
 Louvre. The scene is a landscape, in which are two young 
 men and two women with musical instruments ; one of the 
 women is drawing water from a spring. This picture has 
 also -the same character of glowing life and refined volup- 
 tuousness." Another mythological picture — a Nymph pursued 
 by a Satyr, half-length figures, in the Pitti palace, is ascribed 
 to Giorgione. 
 
 A picture in the Brera in Milan, xery deserving of notice, 
 is perhaps one of Giorgione's most beautiful works : it is his- 
 
 ■ V. Quandt, in his translation of Lauzi, ii. 66, note, recognizes in this 
 picture also a scene from a novel. 
 
 * See Waagen's Paris, p. 461, where he ascribes this picture to Palma 
 Vecchio. The Kunitblatt of 1846, No. 2, also imputes to Giorgione nine 
 beautiful lemale heads rej)resenting the Muses, which are in the Barbarigo 
 palace at Venice.
 
 THE ENTOMBMENT; 
 By Giorgione, in the Monte di Pieta at Tteviso 
 
 pa^e 43;^.
 
 Chap. VIII. SCHOOLS OF VENICE, 433 
 
 torical in subject, but romantic in conception. The subject 
 is the Finding of Moses : all the figures are in the rich 
 Venetian costume of Giorgione's time. In the centre the 
 princess sits under a tree, and looks with surprise at the child, 
 who is brought to her by a servant. The seneschal of the 
 princess, with knights and ladies, stand around. On one side 
 two lovers are seated on the grass ; on the other are musicians 
 and singers, pages with dogs, a dwarf with an ape, &c. It is 
 a picture in whicli the highest earthly splendour and enjoyment 
 are brouglit together, and the incident from Scripture only gives 
 it a more pleasing interest. The costume, however inappropriate 
 to the story, disturbs the effect as little as in other Venetian 
 pictures of the same period, since it refers more to a poetic than 
 to mere historic truth, and the period itself was rich in poetry ; 
 its costume, too, assisted the display of a romantic splendour. 
 This picture, with all its glow of colour, is softer in the exe- 
 cution than earlier works of the master, and reminds us of 
 Titian, the more successful rival of Giorgione — not, like him, 
 to be cut off by death in the very midst of his greatest 
 efforts.' A similar small picture, in the form of a frieze, is 
 in the Pitti palace. Several small Biblical :^ubjects, probably 
 of his early time, and not without many harsh features, are in 
 the gallery of the Uffizj at Florence — a Judgment of Solomon 
 — an Adoration of the Shepherds, &c. One of these pictures 
 is particularly remarkable for the manner in which Giorgione 
 has converted the " Santa Conversazione" into a romantic 
 scene. It represents a terrace overlooking the steep shores 
 of a mountainous lake : the Virgin is seated upon a throne, 
 with several saints ; St. Paul and St. Catherine are walkinsr 
 together conversing ; St. Sebastian is not bound ; St. Peter is 
 leaning thoughtfully against a balustrade, and little genii are 
 playing on the ground. The landscape here, as in most pic- 
 tures by the master, is of great clearness and warmth of colour- 
 ing. In this respect he excelled most of the other Venetians. 
 Of Giorgione's scholars the most important was Fra Se- 
 
 • [Among the undoubted works of Giorgione maybe mentioned the once 
 celebrated Entombment of Christ in the Monte di Pieta at Treviso ; it is now 
 nearly etlhced in parts. The composition is shown in the annexed wood cut. 
 —Ed.]
 
 434 MASTEES OF THE SIXTEENTH CE.nTURY. Book V. 
 
 bastian del Piombo (1485-1547), already mentioned with 
 Michael Angelo, p. 309. Of his Venetian time, to his 
 twenty-sixth year, we know one only principal picture — an 
 altarpiece in S Giovanni Chiisostomo at Venice, wliich is 
 not far removed from the fulness and richness of Titian ; 
 and this gives us some idea of what the personal influence of 
 Michael Angelo must have been which could subsequently 
 compel a Venetian painter of this excellence to adopt a line 
 of art so totally opposed to his original tendency. The picture 
 represents the mild and dignified St. Chrysostom seated read- 
 ing aloud at a desk in an open hall ; St. John the Baptist, 
 leaning on his cross, is looking affectionately and attentively 
 at him ; behind him are two male saints, and on the left two 
 female saints, listening devoutly ; quite in front is the Mag- 
 dalen, looking majestically out of the picture at the spectator, 
 a splendid type of the full and grand Venetian ideal of 
 female beauty at that lime. The true expression of a Santa 
 Conversazione cannot be more worthily given than in the 
 relation in which the hearers stand to the principal figure. 
 In glow of colour also this work is not inferior to the 
 best of Giorgione's. A Madonna enthroned, with six saints, 
 in S. Niccolo, is also a youthful work of the master. Sebastian 
 del Piombo is particularly eminent in his portraits ; a very 
 beautiful one of Cardinal Pole, in the Hermitage at St. Peters- 
 burg, is now ascribed to him, though formerly attributed to 
 Raphael. The picture also in the Louvre, which goes by the 
 name of " Raphael and his Fencing-master," we have already 
 mentioned as the probable work of Sebastian del Piombo. In 
 Rome he entered into a close intimacy with Michael Angelo, 
 painted much from his cartoons, and departing, even in his 
 independent works, from the Venetian manner, adopted much 
 of Michael Angelo's mode of composition. In this way was 
 produced the celebrated picture of the Raising of Lazarus, 
 in the National Gallery at London, painted in rivalry of 
 Raphael's Transfiguration, Michael Angelo supplying parts 
 of the drawing, namely, the group of Lazarus and those 
 busied around him.' It is a copious composition, not very 
 
 * According to Waagen, England, vol. i. p. 185, Michael Angelo designed 
 the whole composition.
 
 Chap. VIII. SCHOOLS OF TEXICE. 435 
 
 remarkable for general keeping, but with great beauty in 
 parts. In the figure of Lazarus, who is gazing upwards at 
 Christ, while at the same time he endeavours to disengage 
 himself from the bandages, the expression of returning life is 
 w'onderfullv given. The Christ himself, a noble form, is jDoint- 
 ing with his right hand to heaven, while the miracle just 
 performed is told in the grandest way in the various expres- 
 sions of the bystanders. The execution is of the greatest 
 solidity, and the colouring still deep, and full. An excellent 
 Holy Family, in the Stratton collection, is of the same time.' 
 One of the noblest works of Sebastian's earlier Roman period 
 is a Dead Christ, supported by Joseph of Arimathea, with a 
 weeping Magdalen : it is painted on slate, and is now in the 
 Berlin Museum. The figures are half-length and colossal ; 
 the body of Christ is of the finest character. In the Pitti 
 palace in Florence is a Martyrdom of St. Agatlia, which, in 
 the same manner, combines the composition of Michael Angelo 
 with a trace of Venetian colouring, but which, besides the 
 unpleasantness of the subject, is unattractive to the spectator 
 by the obvious sacrifice of all freshness of life for a style of 
 art which, after all, Sebastian never entirely acquired. It is 
 true that his later works combine considerable merit of colour 
 with a grand style of form, but we remark a certain care- 
 lessness as regards details, especially in the draperies ; the 
 habit also of designing on a colossal scale is often a^Dplied 
 where it is not suitable — as, for instance, in portraits. The^ 
 frescoes in S. Pietro in Montorio at Rome (the first chapel on 
 the right), executed from drawings by Michael Angelo, are 
 of his better time. The Scourging of Christ, in point of 
 dignity and animation of composition, as well as in beauty of 
 execution, appears to be the best. (An original repetition, 
 on a small scale, is in the Borghese palace.) The paintings, 
 on the other hand, in the Cappella Chigi, in S. Maria del 
 Popolo, are later in date and of unpleasant effect. Among 
 his later colossal portraits we may mention that of a cardinal 
 
 ' [See Dr. Waagen's Kunstwerke in England, ii. 244. The fine altai-piece 
 in S. Niccolo at Treviso is by Fra ÄFarco Pensabene. Federici (Memorie 
 Trevigiane) endeavours to show that Sebastian del Fiombo may have been 
 the painter ; but the documents and other circumstances which he himself 
 adduces disprove this. — Ed.] 
 
 ü2
 
 436 MASTERS OF THE SIXTEENTH CENTURY. Book V . 
 
 (apparently Pope Alexander VI.), in the Studj Gallery at 
 Naple*, and a female portrait in the National Gallery at 
 London. The excellent portrait of Andrea Doria, in the 
 possession of Prince Doria at Rome, is unfortunately no 
 longer to be seen. 
 
 Another scholar of Giorgione was Giovanni da Udine, who 
 afterwards went to Rome and entered the school of Raphael, 
 witli which he has been alreadj^ mentioned. He found in the 
 numerous decorative subjects of the Loggie, &c., constant 
 opportunity to display his Venetian dexterity. — Another 
 scholar was the Veronese Francesco Torbido, surnamed "II 
 Moro :" his paintings are principally at Verona, and remind 
 us a little of the earlier direction of the Veronese. In the 
 Duomo of Verona he painted scenes from the life of the 
 Virgin, after the cartoons of Giulio Romano. An immediate 
 scholar of Giovanni Bellini who also adopted much of 
 Giorgione's manner may be here mentioned, Sebastiano Flo- 
 rigerio of Udine. Two Madonnas with saints, in the Academy 
 at Venice, are by him ; they are of antique arrangement, and 
 of fine fulness of forms, but of a pale, cold colouring. 
 
 The influence of Giorgione was felt, however, beyond his 
 own school, which was not considerable, and by his example 
 several other artists were induced to adopt the new freer style 
 of painting. Of these, Jacopo Palma (Vecchio) followed 
 originally the style of Bellini, but at a later period adopted 
 that of the masters of the sixteenth century ; these, and more 
 particularly Giorgione, he successfully imitated. And though 
 he never equalled the latter in thorough rendering of nature, 
 yet he possesses a no less intense feeling for life, with a mild 
 sweetness which often recalls Titian's enchanting forms. In 
 his earlier works the heads have often an antiquated 
 severity, which later gave way to a mild repose, while the 
 severe, emphatic power of Giorgione remained ever foreign 
 to him. A St. Peter, surrounded by saints, a picture of his 
 earlier times, but fine and dignified, is in the Academy at 
 Venice A large altarpiece in S. Zaccaria — the Madonna 
 with six saints, and an angel of great beauty playing on the 
 violoncello — belongs to his earlier works. Next in succession 
 may be mentioned an attractive Assumption of the Virgin,
 
 Chap. VIII. SCHOOLS OF VEXICE. 437 
 
 which belongs to liis transition period. His principal work, 
 however, is an altarpiece in seven divisions — St. Barbara with 
 the palm-branch being- in the centre — a figure of such devotion 
 and grandeur of repose as Venetian art has seldom produced. 
 The miracle performed on the son of the widow of Nain, in 
 tlie Academy, is also of the best time of the master : the 
 mother and son, and the eager, agitated disciples, are excellent 
 in expression : the Christ, however, is inferior, although ap- 
 proaching the type of Giovanni Bellini : the colour is of the 
 greatest glow and beauty. His Holy Families, with saints, 
 half-length figures, are frequent ; one of the best of these is 
 in the Manfrini palace. Nor are Palma's works very rare 
 out of Venice : a Madoinia with saints of great beauty is in 
 the Borghese palace at Rome ; another in the Colonna palace ; 
 a large and very fine one in the gallery at Turin. Excellent 
 pictures of his later time are in the Imperial collection at 
 Vienna. A Madonna with saints is in the gallery at Stutt- 
 gardt. A beautiful Holy Family, with a young shephertl 
 adoring the Child, is in the Louvre. 
 
 Rocco Marconi, a somewhat older painter than Palma 
 Veccliio, formed his style in a similar manner. Some very 
 pleasing pictures of his are to be seen in Venice. His colour- 
 ing has a transparency and glow wliicli is rare even in the 
 pictures of Giorgione ; at the same time he often degenerates 
 into gaudiness, and is unimportant in arrangement and ex- 
 pression. An altarpiece in S. Giovanni e Paolo — Christ 
 between two Saints — still inclines to the old manner. Two 
 representations of the Woman taken in Adultery, in the 
 Academy and in the Manfrini palace, are overfilled with 
 figures and weak in expression. A Christ also between two 
 Apostles, in the Academy, is only valuable for its colouring ; 
 while, on the other hand, the painter has developed all his 
 powers, with a fulness of the finest and most touching ex- 
 pression, in a great Descent fi'om the Cross, in the same 
 gallery. 
 
 Reminiscences of the earlier manner of the school, of ex- 
 cellent execution, though without the Venetian glow of 
 colour, are apparent in the works of some other masters ; for 
 example, Lorenzo Luzzo da Feltre and Giovanni Paolo
 
 438 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 rOlmo, by whom there are two good pictures in the Berlin 
 Museum. 
 
 In this list may be included another artist, Lorenzo Lotto, 
 who, originally a scholar of Bellini, endeavoured to imitate 
 Giorgione, but afterwards became known as a follower of 
 Leonardo da Vinci. These different influences appear in 
 different pictures of the artist. Thus, one in the Museum at 
 Naples, inscribed with his name, is in the style of the Bellini 
 school ; another in the Pitti palace inclines to the Milanese, 
 and others to the later Venetian manner. Several pictures in 
 Venice are examples of this last style ; for instance, a St. 
 Augustine with two angels and other figures, in S. Giovanni 
 e Paolo. The Solly collection in London contained also an 
 excellent picture representing the painter with his family. 
 His works in his native city (Bergamo) are less important. 
 The credit of having painted the beautiful picture of the 
 Death of S. Pietro Martire, in the church of Alzano, near 
 Bergamo, has been lately denied him.' 
 
 Giorgione's influence extended even to his contemporary 
 and successful rival, Tiziano Vecellio, whose genius, however, 
 was soon developed in all its originality.* Titian was born at 
 Cadore, on the borders of Friuli, about the year 1477, and at 
 first received a learned education. lie lived in habits of 
 intimacy with the philosophers and poets of his time — with 
 Ariosto at Ferrara, Pietro Aretino at Venice, &c. Princes 
 and nobles honoured him as the first of portrait-painters. 
 Pope Paul III. invited him to Rome ; but it was the Emperor 
 Charles V. who most frequently employed him, and whom he 
 was obliged to attend twice at Augsburg. It is very doubtful 
 if he ever visited Spain. He died of the plague in the year 
 1576, in his 99th year. 
 
 In the multifariousness of his powers Titian takes pre- 
 
 » Rumohr, Drei Reisen, etc., p. 320. 
 
 * Breve compendio della Vita del famoso Tiziano Vecellio di Cadore, cav. 
 6 pitt., con r arbore della sua vera consanguineita. Venezia, 1622. New 
 edition : Vita dell' insigne pitt. Tizian Vecellio giä scritta da anonimo autore, 
 riprod. con lettere di Tiziano per cura dell' Ab. Franc. Accordini. Venezia, 
 1809. — Stefano Ticozzi, Vite de' pittori Vecellj di Cadore. Milano, 1817. 
 — Northcote, The Life of Titian. London, 1830. — Outlines in Landen, Vies 
 et (Euvres, etc., t. Titian. [Notices of the Life and Works of Titian, by Sir 
 Abraham Hume. London, 1829. Dello amore ai Veneziani di Tiziano 
 Vecellio, &c., Notizie dell' Ab. Giuseppe Cadorin, Venezia, 1833. — Ed.]
 
 Chap. VIII. TITIAN, 439 
 
 cedeuce of all other painters of his school ; indeed, there is 
 scarcely a line of art which, in his long and very active life, 
 he did not enrich. But, as we have already remarked, those 
 tendencies which influenced art and life in Venice were 
 materially different from those which governed the Florentine- 
 Roman school. Titian's greatness, therefore, is not to be 
 found in the same department with that of INIichael Angelo 
 and Raphael. Large symbolical compositions, full of mean- 
 ing allusions, the arrangement of which in itself represented 
 a high moral fact, were not his object ; he aimed neither at 
 strictness of expression, nor at forcible development of form, 
 nor even, directly, at ideal beauty, though all these qualities 
 were Mithin his grasp : nevertheless, those excellences wliich, 
 from his first to his last picture, he sought to attain and often 
 did attain in the highest perfection, were not less high and 
 infinite in nature than those of the other great masters. The 
 austeile and glowing force of Giorgione resolves itself in 
 Titian into a free, open, and serene beauty — a pleasing and 
 noble idea of nature. All that has been said of the Venetian 
 tendency applies with peculiar force to Titian. The beings 
 he creates seem to have the liigh consciousness and enjoyment 
 of existence; the bliss of satisfaction, so like yet so different 
 from the marble idealizations of Grecian antiquity — the air of 
 an harmonious, unruffled existence seems to characterize them 
 all. Plence they produce so grateful an impression on the 
 mind of the spectator ; hence they impart so refined and 
 exalted a feeling, although generally but a transcript of 
 familiar and well-known objects — representations of beautiful 
 forms, without reference to spiritual or unearthly conceptions. 
 It is life in its fullest power— the glorification of earthly 
 existence, the liberation of art from the bonds of ecclesiastical 
 dogmas.' 
 
 That which distinguishes Titian from Correggio, with whom 
 in other respects he stood in ob\'ious congeniality, is the totally 
 different aim which actuated each. Correggio seeks anima- 
 
 ' [The elevated style of Titian's colour, which may be said to be on a 
 level with the generalized forms of the antique, perhaps harmonizes best with 
 subjects of beauty ; but when united with the simplicity of composition and 
 sedateness of expression for which he is remarkable, it often confers a cha- 
 racter of grandeur even on religious subjects. — Ed.J
 
 440 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 tion and excitement, Titian reposes in quiet dignity. Correggio 
 appears to call his figures into life only to make them the 
 organs of particular emotions : Titian gives them, first and 
 foremost, the grandeur of mere conscious existence ; Correggio, 
 in the warmth of his passion, has hardly patience to proceed to 
 the development of fine forms, and therefore carries with him 
 a modern air : Titian always builds on the unmoveable founda- 
 tion of necessary and general beauty ; finally, Correggio's 
 chiaroscuro is something conditional and accidental — a phe- 
 nomenon on the surface of objects : Titian's colouring is the 
 expression of life itself. 
 
 In his early works Titian appears as a follower of the style 
 of Bellini, but he treats it from the first with a peculiar power 
 of his own. An Adoration of the Kings, in the Manfrini 
 palace in Venice, is certainly one of his earliest works: it is 
 a small picture, copious in composition, with many defects in 
 drawing, but with an extensive and clever landscape. A 
 Madonna with Angels in the gallerj' of the Uflfizj in Florence, 
 and a pleasing little Madonna in the Sciarra palace in Rome, 
 evince a further development. To this period also belong a 
 beautiful and simple picture in the Venetian Academy, repre- 
 senting the Visit of Mary to Elizabeth ; and a very graceful 
 Madonna and Child in the gallery of Vienna. Also the 
 strictly naturalistic Vierge au lapin, and a very noble Madonna 
 with tliree Saints, in a landscape, in the Louvre, belong to 
 this class. 
 
 The most finished and beautiful of Titian's early works, or 
 rather one of his most beautiful of any period, is Christ with 
 the Tribute Money (Cristo della Moneta), painted for the 
 Duke of Ferrara, and now in Dresden. In the head of Christ 
 everything combines to produce the noblest effect — the union 
 of the flesh tints, the delicate handling of the beard and hair, 
 the graceful lip, the liquid lustre of the eye, the mildness of 
 the reproving glance. The contrast of tlie crafty Pharisee is 
 admirable. 
 
 Of Titian's more developed period the following are the 
 most important and celebrated : — and first of the Sacred class. 
 One of the most excellent is the great Assumption of the 
 Virgin, removed to the Academy of Venice from the Church
 
 Chap. VIII. TITIAN. 441 
 
 of Santa Maria Gloriosa de' Frari. The Madonna is a power- 
 ful figure, borne rapidly upwards as if divinely impelled. 
 Head, figure, attitude, drapery, and colour are all beautiful. 
 Fascinating groups of infant angels surround her : beneath 
 stand the Apostles, luoking up with solemn gestures. The 
 expression of these figures is not, however, quite free from 
 constraint. There is another Assumption, but not so import- 
 ant, in the Duomo of Verona. The way in which the single 
 figure of the Virgin is borne up on the clouds without any 
 attendant angels is here very beautiful. 
 
 But of all the pictures of this kind, by far the most excel- 
 lent is an Entombment of Christ, in the Manfrini palace in 
 Venice. It is a highly finished masterwork, perhaps the most 
 important of Titian's pictures, and the noblest representation 
 of this subject. The ari'angement of the figures who carry 
 the body is excellent, but the chief interest lies in the general 
 expression of sorrow. One of the bearers is at the head, 
 another at the feet of Christ ; John, who stands behind, holds 
 up the arm. On the left is the Virgin, sinking back fainting; 
 Mary Magdalene supports her, but without turning her eyes 
 from the Saviour. In this picture the highest beauty of form 
 and the most dignified expression in gesture are united with 
 the liveliest emotion and the deepest and most earnest feeling. 
 If ever a Venetian picture exercised any influence upon later 
 art, this is the one. The noblest inspirations of Van Dyck 
 may be traced to this wonderful picture. A repetition, of 
 almost equal beauty of execution, is in the Louvre. 
 
 The great picture, the Presentation of the Virgin in the 
 Temple, now in the Academy at Venice, is of a cheerful, 
 worldly character. A crowd of figures, among whom are the 
 senators and procurators of St. Mark, are looking on in astonish- 
 ment and excitement while the lovely Cliild, holding its little 
 blue garment daintily in its right hand, is ascending the steps 
 of the Temple, where the astonished high priest, surrounded 
 by his Levites, is receiving her with a benediction. Windows 
 and balconies are full of spectators ; while, next the steps, sits 
 an old woman selling eggs, looking on at the tumult with 
 curiosity. The scene is rendered with great naivete, and with 
 an incomparable glow of colour. The Supper at Emmaus is 
 
 u 3
 
 442 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 a picture of Titian's which often recurs : a specimen of it is in 
 the Louvre, also a good school reiJetition in the Studj gallery 
 at Naples. 
 
 There are also excellent altar pieces by Titian : enthroned 
 Madonnas, surrounded with Saints, with the faitliful in adora- 
 tion at their feet. A large picture of this class, the Madonna 
 with several Saints, and the Pesaro family as donors, a work 
 of the finest truth and life, is in S. Maria dei Frari at Venice. 
 Others of great excellence are in the Dresden gallery. 
 
 In other not very frequent pictures by Titian of this class, 
 the so-called santa conver.sazio?ie is more freely arranged. 
 The saints are represented sitting or standing unrestrainedly 
 together, conversing with each other. The Madonna's throne, 
 whicli, in the pictures of the Vivarini and of Bellini, always 
 divided the groups of saints, is here introduced on one side, 
 or is entirely omitted. In the latter instances the Virgin is 
 seen above in a glory of light, while the conversation is carried 
 on below in easy groups. In these works the object of edifi- 
 cation is naturally lost sight of, and they present only an 
 assemblage of fine and powerful human beings, who appear 
 not always to be brought together by religious interests alone. 
 A splendid altarpiece of Titian's later time may be quoted as 
 a specimen of his pictures of this class. St. Nicholas, in full 
 episcopal costume, is gazing upwards with an air of inspiration, 
 St. Peter is looking over his shoulder at a book, and a beau- 
 tiful St. Catlierine is on the other side. Farther behind, in 
 ecstasy, are St. Francis and St. Anthony of Padua ; on the 
 left, St. Sebastian, whose figure recurs in almost all these 
 pictures. Above, in the clouds, with angels, is the Madonna, 
 who looks cheerfully on, while the lovely Child throws a gar- 
 land of flowers down below. ^ Excellent pictures of this kind 
 are in Munich, especially in the Leuclitenberg Gallery. The 
 figure of John the Baptist, as large as life, with all its beauty 
 is not of a decided character, and is imbued rather with the 
 expression of gentle sorrow than of high presentiment. The 
 large St. Jerome, in a grandly wooded rocky landscape (the 
 best specimen of this picture is in the Louvre), is an imposing 
 
 ' [Or rather holds a wreath as if ready to crown a votary ; two infant 
 angels also hold wreaths. — Ed.]
 
 ST. PETER MAB.TTR; by Titian, in SS. Giovanni e Paolo at Venice. pa§e 443.
 
 Chap. VIII. TITIAX. 443 
 
 representation of overwhelming repentance, and may be con- 
 sidered one of those subjects of Titian which most impressed 
 the minds of the painters of tlie seventeenth century. One of 
 the best specimens of the often repeated representation of the 
 Magdalen is in the Barberigo palace ; others are in the Escu- 
 rial, in the Pitti palace, in the Studj Gallery at Naples, in 
 the Doria Palace at Rome, &c. Tliese pictures represent 
 grief of no profound or moral character, but rather a beauti- 
 ful woman, whose repentance will not be of any great duration. 
 A grand altarpiece, Tobit with the Angel, is in the church of 
 St. Catherine at Venice : the assistance of Titian's scholar, 
 Santo Zago, is thought to be discernible in it. ^ Titian excels 
 in those subjects in which the external repose of the figures 
 affords an opportunity for the development of his peculiar 
 excellence. Even in the Assumption and Entombment above 
 mentioned this is observable, but it is less so in those more 
 rare works in which an animated action is necessary. Such 
 subjects are foreign to his nature, and the constraint is evident. 
 This is tlie case, for instance, in the Christ crowned with 
 Thorns, in the Louvre, where the painter hardly seems at 
 home in the representation of tlie rude and the violent. Even 
 in his two most celebrated historical pictures, great as were 
 his powers of life and animation, we observe that his sphere 
 lay more in the representation of existence than in that of 
 action. One of these two great pictures, the St. Peter Mar- 
 tyr, in S. Giovanni e Paolo at Venice, is hardly a happy con- 
 ception for a colossal altarpiece. The Saint is looking up to 
 heaven, in expectation of death. His sufferings are seen most 
 in the furious spring of the murderer, and in the terrified 
 action of the disciple. The landscape — the border of a dark 
 wood, with fine clouds, and the mountains seen behind in 
 bright twilight — is one of Titian's invariably masterly scenes.* 
 
 ' [Another picture of this suLject, unquestionably by Titian, is or was in 
 S. Marziale. See Zanetti, DeUa Pittura Veneziana, pp. 107, 108 — Ed.] 
 
 * [It has not been thought necessary to notice eveiy instance where the 
 judgments of the author differ from received opinions, but it is impossible to 
 suffer the above remarks on the Pietro Martire to pass without at least 
 observing that the majority of critics have long placed this picture in the 
 highest rank of excellence. The Christ crowned with Thorns is unsurpassed 
 in colour, but the Pietro Martire has been always considered as excellent in 
 invention as in the great qualities which are peculiar to the painter. Having
 
 444 MASTERS OF TUE SIXTEENTH CENTURY. Book V, 
 
 The Martyrdom of S. Lorenzo, an altarpiece of equally colos- 
 sal dimensions, in the .Tesnit>' Church at Venice, is a picture 
 of incomparably more importance (like the Peter Martyr it 
 has suffered considerably). The fine, nobly foreshortened 
 figure of the Saint, lighted above by a beam of Iieavenly 
 glory, and below by the fire, exhibits far less the physical 
 suffering than the sacred foi-titude of the Martyr — to the 
 astonishment of tlie rude tormentors around him, some of 
 whom show their feelings in increased malignity, others in 
 admiration or in flight ; only^ a hardened veteran remains 
 untouclied, and continues looking at the Saint without any 
 change of emotion. To this is added an effect of light such 
 as is perhaps unique in painting — the fire, the ray from above, 
 the light from two pans of burning pitch, altogether producing 
 a combination of liglit and reflection in the nocturnal scene 
 Avhicl), in themselves, would have given the highest value to 
 the commonest composition. 
 
 Titian executed important pictures, principally of historical 
 subjects, in the Palace of the Doge : they were destroyed by a 
 fire which consumed almost the whole interior of the edifice, 
 about the middle of the sixteenth century. A fresco of St. 
 Christoplier, painted over a small staircase next to the chapel, 
 is preserved. The head is fine ; the rest of the figure very 
 mediocre. In the Palazzo del Consiglio at Verona, an histori- 
 cal picture of very large size is ascribed to him. In this the 
 Doge of Venice is represented on a throne, on each side of which 
 are the senators in red costume ; on the right, the Sclavonian 
 
 said thus much, it maybe granted that the author's general remark respecting 
 Titian's superior treatment of grave subjects appears to be well founded, and 
 instances of exaggerated action might undoubtedly be quoted. A certain 
 imitation of Michael Angelo is to be recognized in some of Titian's works in 
 the most vigorous period of his career; but this imitation seems to have been 
 confined to qualities (such as contrast in action and grandeur of line) which 
 were analogous to his own characteristic excellences. The Friar escaping 
 from the Assassin, in the Pietro Martire, is as fine an example of the imion of 
 these finalities in foiin as is to be found in the works of any painter : other 
 instances were perhaps less successful. For the rest, the taste was not per- 
 manent in Titian : he returned to that " senatorial dignity " which Reynolds 
 has pointed out as one of his prominent qualities, and in this view the remark 
 of the author must be alloweil its due weight. The description which follows 
 of the i)icture representing the martyrdom of S. Lorenzo must be understood 
 to refer to the original appearance of that work ; at present, parts of it are 
 so much darkened as to be scarcely visible. — Ed.J
 
 Chap. Vlir. TITIAN-, 445 
 
 guard ; on the left, in white silk habiliments, the councillors 
 of Verona, delivering up the banner and keys of their city 
 to the Doge. Above, in the clouds, is the Virgin, with St. 
 Mark and S. Zeno, the patron saints of Venice and Verona. 
 The composition of this picture is not remarkably grand. In 
 some parts (the figures of the saints for instance) the hand of 
 an inferior artist is easily to be recognized. The portrait- 
 heads are, however, very excellent, and full of life. 
 
 In the representation of the naked female form, Titian dis- 
 plays peculiar mastery ; the magic of his colouring is here 
 developed in its fullest power. It must be remarked, how- 
 ever, that this very mastery over his materials not unfrequently 
 betrays him into an ostentatious exhibition of it, so that where 
 we look for artlessness, for example in the freedom of domestic 
 retirement, we find sometimes a studied display of beautiful 
 limbs. This is very strikiug in a comparison between the two 
 famous Venuses in the tribune of the Uffizj in Florence. The 
 artlessness of one (she holds flowers iu her hand — in an ad- 
 joining apartment women are taking garments out of a chest) 
 powerfully fascinates the beholder ; the other (with Love 
 standing behind), although displaying equal mastery in the 
 execution, leaves the spectator cold. For the rest, the first- 
 mentioned is wonderfully true to nature : the figure appears 
 quite surrounded by light, for slie reclines on a white drapery 
 before a light background, yet the forms are exquisitely 
 rounded, and are very powerful in colour. Similar pictures 
 are frequent — for example, at Dresden ; in the gallery at 
 Naples thei'e is a beautiful Danae ; another is at Vienna ; 
 other specimens of the kind are in England : a celebrated 
 picture is in the gallery at Cambridge; in this instance Venus 
 is personated by the Princess of Eboli, and Philip II. playing 
 the lute sits beside her. Other excellent pictures of a similar 
 class are also in England : two large ones of Diana and her 
 Nymphs in the Bath are in the Stafford Gallery ; in one the 
 subject of Actaeon is introduced — in the other the Disgrace of 
 Calisto. Both these pictures belong to the later period of the 
 master, and are greater in general effect than in execution. 
 A repetition by his own hand of the picture of Calisto, painted 
 for Philip IL, is in the Madrid Gallery ; another in the Bel-
 
 446 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 vedere at Vienna. A charming picture of Venus rising from 
 the sea and drjäng her liair is in the Stafford Gallery also — 
 near her is a floating shell. Another, of Venus trying to 
 keep Adonis from the Chase, is in the Madrid Gallery ; a 
 second original repetition is in the Barberigo palace at 
 Venice ; another is in the English National Gallery. In 
 the Barberigo palace there is a picture of Venus (a half- 
 length figure), with Cupid holding a mirror before her ; also 
 a picture of a Nymph embraced by a Satyr. An Equipment 
 of Cupid is in the Borghese palace : Venus is binding his 
 eyes, whilst another amorino leans whispering over her 
 shoulder, and two Graces bring the bow and quiver. Although 
 somewhat mannered, and assimilating to the style of Paul 
 Veronese, this picture is remarkable for the cheerful life and 
 naivete wiiich pervades it. Three splendid pictures painted 
 by Titian in 1514, for Alphonso Duke of Ferrara, represent 
 larger mythological scenes in a rich landscape : two of them, 
 the Arrival of Bacchus in the island of Naxos, and a Sacrifice 
 to the Goddess of Fertility, are in the gallery at Madrid ; 
 the third, Bacchus and Ariadne, is in the National Gallery at 
 London. This is the most poetic and charming conception of 
 the ancient myth, full of beauty and fancy, with severer and 
 nobler forms than Titian's later works usually exhibit. Gio- 
 vanni Bellini's already mentioned Bacchanalian scene with 
 Titian's landscape is supposed to have been the fourth picture 
 of this class. Another Bacchanalian scene, in the Madrid 
 Gallery, is also of the highest beauty. It represents a party of 
 youths and maidens, chiefly undraped, revelling in the open air 
 — some drinking and singing, and others dancing in sjjortive 
 groups. The only studied figure is a bacchantin sleeping 
 in the foreground.' The celebrated Venus del Pardo, in the 
 Louvre — properly speaking Jupiter (transformed into a Satyr) 
 and Antiope — has been much injured, and is now chiefly dis- 
 tinguished for its grand and beautiful landscape. A picture 
 of the greatest power of this class is in the Munich Gallery ; 
 
 1 [This picture is one of the three painted for the Duke of Ferrara : con- 
 sequently, the subject called by the author ' The An-ival of Bacchus in the 
 Island of Naxos ' is either identical with it or with the ' Bacchus and 
 Ariadne ' in the National Gallery. See Ridolfi, Le Meraviglie dell' Arte, 
 p. 142.— Ed.]
 
 Chap. YIII. TITIAN. 447 
 
 ii represents Venus initiating- a young maiden into the mys- 
 teries of Bacchus. The principal figures of this piece are 
 repeated in several other pictures — for instance, in a picture 
 in the Imperial Gallery at Vienna, representing the Marchese 
 del Vasto with his mistress and other figures. 
 
 Titian composed also many charming pictures in that 
 romantic symbolical style which Giorgione had developed : 
 one of them, called " The Three Ages," represents a young 
 shepherd and a fair girl seated together on the grass, his hand 
 resting on her shoulder, while she looks at him with an ex- 
 pression of innocence and sweetness ; on one side are three 
 winged children, two of them sleeping, the other just awakened ; 
 in the distance an old man, surrounded with the bones of the 
 dead. This is one of the most beautiful idyllic groups of 
 modern creation, and the spectator involuntarily partakes of 
 the dream-like feeling which it suggests. There are two 
 original pictures of tliis scene : the one in the Bridgewater 
 Gallery in London ; the other in the Manfrini palace at 
 Venice. An excellent copy by Sassoferrato, but conceived in 
 a very different spirit, is in the Borghese palace at Rome. 
 The beautiful picture called "Sacred and Profane Love" is 
 also in the Borghese Palace. Two female forms are seated 
 on the edge of a sarcophagus-shaped fountain, the one in a 
 rich Venetian costume, with gloves, flowers in her hands, and 
 a plucked rose beside lier, is in deep meditation, as if resolving 
 some difficult question. Tlie other is unclothed ; a red drapery 
 is falling behind her, while she exhibits a form of the utmost 
 beauty and delicacy ; she is turning towards tlie other figure 
 with the sweetest persuasiveness of expression. A Cupid is 
 playing in the fountain ; in the distance is a rich, glowing 
 landscape. 
 
 Finally, Titian may be considered as the finest portrait 
 painter of all times. He was not content with giving his 
 subjects all that was grand and characteristic in style : he also 
 gave them the appearance of dignified ease. He seems to 
 have taken them at the happiest moment, and thus has left us 
 the true conception of the old Venetian, by the side of whom 
 all modern gentlemen look poor and small. For however 
 rich and gay the costume may be, it is the noble consciousness
 
 448 MASTERS OF TUE SIXTEENTH CENTURY. Book V. 
 
 of existence which engrosses our attention in such pictures. 
 But it is his female portraits, above all, which are to be 
 admired, especially those few which go by the name of 
 " Titian's Mistress." That portrait known by this appella- 
 tion in the Louvre is a specimen of the fullest and most lavish 
 beauty. The same head is repeated with equal beauty in the 
 so-called " Flora," in the Gallery of the Uffizj at Florence, 
 who is represented with her golden tresses flowing loosely 
 over her naked shoulders and bust, holding flowers in her 
 right hand, and a piece of violet-coloured drapery in her left. 
 His more proper portraits are '' La Bella di Tiziano," in the 
 Pitti palace, a ripe beauty in a blue gold-embroidered dress, 
 with violet and wliite padded sleeves and gold chain. Also 
 another splendid serious beauty, known by the same name, in 
 red and blue silk dress, in the Sciarra Gallery at Rome. The 
 so-called Slave (a totally mnneaning name), in the Barberini 
 palace at Rome, probably a mere school picture, of grand 
 beauty, but with too clumsy a style of drajiery, too cold an 
 expression, and too brown a carnation for Titian. We pass 
 over numerous other female portraits. Of his family portraits 
 the first in value is that of the family Cornaro kneeling before 
 the Host, in the possession of the Duke of Nortlmmberland 
 in London. His male portraits are so numerous in every 
 gallery in Europe that it is difficult to name the most impor- 
 tant. Li the Louvre we find the Marchese del Guasto with 
 his mistress, to whom Cupid, Flora, and Zephyr are bringing 
 gifts ; also King Francis I. (probably not from life, but from 
 a medallion), and several others of the highest value. In the 
 Manfrini palace at Venice, the portrait of Ariosto ; in the 
 Barberigo Palace, Pope Paul III. ; in the gallery of the 
 Uffizj at Florence, Cliarles Y. in armour, and a young warrior 
 with others ; in the Pitti palace, Pietro Aretino (a repetition 
 of the same is at Munich), Cardinal Ippolito di Medici, in a 
 gorgeous Hungarian costume, and Philip II., a full-length 
 figure; in the Corsini Palace at Rome, Philip IL, a half- 
 length fig-ure, admirably conceived ; in the Colonna palace at 
 Rome, Onofrius Panvinius ; in the Berlin Museum, the Ad- 
 miral Moro, and others. Finally, we may mention the often 
 repeated picture of Titian's daughter Lavinia. One of the
 
 Chap. VIII. TITIAN. 449 
 
 finest specimens is in the Berlin Museum. Here the beautiful 
 and splendidly attired girl is holding up a plate of fruit. 
 Other repetitions exist — one probably in Petersburg, another 
 in the possession of Lord De Grey in London, where, instead 
 of fruit, she is holding up a jewel casket ; a fourth is in the 
 Madrid Gallery,' but Iiere it becomes an historical rep. r^'^nta- 
 tion ; it is the daughter of Ilerodias, who carries the head n>i 
 John the Baptist in a charger : the costume is treated with 
 more freedom, the action is more impassioned, and the whole 
 is strikingly poetical. In his " Nymph and Satyr," in the 
 Barberigo palace, we recognize the same head. In his later 
 works Titian is somewhat mannered ; he persevered in paint- 
 ing even to extreme old age — slow to believe that his eye or 
 mind had become weak. Even the frescoes from the life of 
 St. Anthony, executed by himself and his pupils, in the so- 
 called Scuola del Santo in Padua, bear the impress of his 
 declining years. At the same time, even in his very latest 
 productions, there is plenty that is admirable and little that is 
 objectionable ; the diminution of his powers being less appa- 
 rent in the mannerism of his forms than in the indecision of 
 his composition. There is great animation in his Annuncia- 
 tion, in S. Salvatore at Venice : the head of tlie angel — in 
 character like that of a bold and beautiful youth — and the 
 mirth of the cherubs in the heavenly glory, are all sufficient 
 to make us overlook the very mediocre representation of the 
 Virgin. The Transfiguration, in the same church, evinces 
 also no want of power, nor even of strong emotion ; the forms 
 only are more undecided. His latest work, not quite com- 
 pleted by himself— a Descent from the Cross, in the Academy 
 at Venice — shows certainly that his hand trembled beneath 
 the weight of ninety and nine years ; but the conception of 
 the subject is still animated and striking, the colours still 
 glowing, while, Titian-like, the light still flows around the 
 mighty group in every gradation of tone. 
 
 It only belongs to us to point to that peculiar treatment of 
 landscape by which Titian became the founder of a new 
 
 ' See the author's Essay on these diftereiit represeutitions in the Museum, 
 Blätter für bildende Kunst, 1833. No. 30.
 
 450 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 school in this line.' A native of the Alps as he was, the 
 mountains, villages, and trees of his own Friuli were often 
 introduced into his glowing- pictures ; not that he aimed at the 
 fantastic in style, like the old Netherlanders, but at the 
 legitimately beautiful ; not at the quantitj^ of subject, like the 
 early Florentines, but at the grand and the simple ; in his 
 hands groups and colours became harmonious. His influence in 
 this department probably informed the school of the Carracci, 
 so that Poussin and Claude Lorraine may be considered as 
 directly derived from him. Whether he ever treated land- 
 scape as the principal subject we must leave undecided, but it 
 is certain that in many of his pictures the figures are secondary 
 in importance. A Preaching of John the Baptist, in Devon- 
 shire House, in London, serves only as the basis on which he 
 raises a richly poetical landscape with grand hilly forms. 
 
 This great artist formed very fevv scholars, but had many 
 imitators. They endeavoured to adopt his style, and if they 
 have left no work of the highest rank, they were at least pre- 
 served from the errors of mannerism by following nature in 
 the path to which they were guided by him. Among these 
 are many artists of his own family — his brother Francesco 
 Vecellio, by whom is a clever altar-picture in Berlin ; his son 
 Orazio Vecellio, a distinguished portrait-painter ; his nephew, 
 the faithful companion of his journeys, Mai'co Vecellio, by 
 whom are some tolerably good works in the palace of the 
 Doge in Venice, and in S. Giovanni Elemosinario. Santo 
 Zago also, and Girolamo di Tiziano, properly speaking Giro- 
 lamo Dante, are good copyists of the master. 
 
 Bonifazio Veneziano (1494-1563) is a dignified and able, 
 tliough occasionally a somewhat mechanical painter of the 
 Venetian school, and a good imitator of Titian. He is a proof 
 
 ' [Landscape-painting in Italy, however independent in its perfection, 
 appears in its origin to have been indebted, in more than one instance, to a 
 German influence. Vasari distinctly says that Titian kept some German 
 landscape-painters in his house, and studied with them for some months. In 
 Bologna it is probable that Denys Calvart, a Flemish artist, first excited the 
 emulation of the Carracci, Domenichino, and others, who, in the end, formed 
 so distinguished a school of landscape-painters. In both these instances a 
 certain i-esemblance to the German manner, however differently modified by 
 the character of the schools, is to be recognized, especially in the umbellated 
 treatment of the foliage. — Ed.]
 
 Chap. VIII. SCHOOLS OF VENICE. 451 
 
 of how much may be done with time and opportunity even 
 with second rate talents. Venice is rich in his pictures. 
 Among them, the most attractive, by their ability and un- 
 affected treatment, are those of Saints simply arranged, 
 and Holy Families. In larger compositions he does not suc- 
 ceed ; they want both the truth and energy of Titian, and the 
 permanent force of his colours. Still, his sacred subjects, of 
 which a great number exist, please us by the multitude of their 
 animated and agreeable forms, and here and there by their 
 charming and romantic mode of treatment. As a specimen 
 we may especiallj'^ mention " The Rich Man's Supper," in the 
 Academy at Venice. Tlie time is the afternoon, the place 
 an open hall, with a table, at which the rich man is seated 
 between two female figures ; tlie one with her hand on her 
 heart seems to be assuring him of her fidelity ; the other is 
 listening thoughtfully to a lute player, and to a half-kneeling 
 violoncellist, whose music is held by a Moorish boy ; while a 
 bearded young noble overlooks the group. On the left are 
 two pages drinking wine ; on the right Lazarus the beggar 
 being turned away by a servant with a dog ; in the background 
 is a stately garden, with falconers, pages, and grooms. Boni- 
 fazio's latest pictures are one and all insipid and very man- 
 nered. 
 
 Andrea Schiavone is another good imitator of Titian. A 
 beautiful Adoration of the Shepherds by him is in the Impe- 
 rial Gallery at Vienna; also an excellent Madonna with 
 Angels (whole length figures), in the Academy at Venice ; 
 the Murder of Abel, a piece of fine foreshortening, with a 
 beautiful wooded landscape, in the Pitti palace, and many 
 others. His colouring is fine, but his heads are generally 
 insipid, and his forms careless and undecided. A Christ before 
 Pilate, in the Studj Gallery at Naples, is ascribed to Schia- 
 vone ; it Is full of the defects we have mentioned ; the head 
 of Pilate is, however, admirable — with his large glassy eyes 
 he seems to ask " what is truth ?" 
 
 Domenico Campagnola is also another good imitator of 
 Titian ; his great talents excited the jealousy of the master. 
 Four Prophets, half figures, by this artist, are in the Academy 
 of Venice, and more important works are at Padua. Giovanni
 
 452 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Cariani of Bergamo, originally a follower of Giorgione, de- 
 serves honourable mention ; graceful pictures by him are to 
 be seen in his native city. The most excellent is a Madonna, 
 removed from S. Gottardo, in Bergamo, to the Milan Gallery 
 during the French domination; we are uncertain if it still 
 remains there. The Madonna sits in a landscape, with a rich 
 tapestry, supported by two angels behind her ; a number of 
 saints are on each side : simplicity of arrangement, and a 
 pleasing clieerful character, distinguish this picture. Gero- 
 nirao Savoldo of Brescia is a not less clever imitator of Titian. 
 A beautiful Ailoration of the Shepherds, by him, is in the 
 Manfrini Gallery in Venice ; also a finely painted, but other- 
 wise unimportant Transfiguration in the Uffizj at Florence, — 
 two holy hermits in the Manfrini Gallery; and a pleasing 
 female figure in the Museum at Berlin. Still more important 
 than all these, is Calisto Piazza of Lodi (see p. 231) ; a number 
 of his works, representing the life of John the Baptist, are in 
 the church " dell' Incoronata " at Lodi : in i^urity of senti- 
 ment and depth of character they may vie with tlie finest works 
 of the school. Some earlier paintings by him are at Brescia, 
 in S. Maria di Calchera (in the sacristy of S. Clemente), 
 which partake more of the Lombard style. His first principal 
 picture in the Venetian style (in which the influence of Gior- 
 gione is visible) is an excellent Assumption of the Virgin — 
 1533 — in the parish church at Codoguo. He afterwards 
 resided some time in Spain. 
 
 Alessandro Bonvicino of Brescia, commonly called II 
 Moretto di Brescia (1500-1547), has a style of his own. He 
 adhered at first closely to Titian's manner, but afterwards 
 adopted much of the Eoman school, and by this means formed 
 a mode of representation distinguished for a simple dignity, 
 and tranquil grace and stateliness, which occasionally deve- 
 loped itself in compositions of the very highest character. In 
 such cases he evinces so much beauty and purity in his 
 motives, and so much nobility and sentiment in his characters, 
 that it is unaccountable how this master should, till within the 
 last few years, have obtained little more than a local celebrity. 
 His colouring is colder than that of most Venetian painters, 
 but not less harmonious. He is most successful in tranquil
 
 Chap. Viri. SCHOOLS OF VENICE. 453 
 
 altar-pieces ; his talents not being adapted to the animation 
 requisite for historical painting. He has left excellent works 
 in his native city — an Assumption of the Virgin is in S. 
 demente, a St. Joseph in S. Maria delle Grazie, and a beau- 
 tiful Coronation of the Virgin in S. Nazario. Other works 
 by him have also recently found their way to foreign coun- 
 tries : a Madonna worshipped by two Saints was in the collec- 
 tion of Mr. Solly in London -a Judith in the Hermitage at 
 St. Petersburg, there unaccountably denominated a Raphael, is 
 now ascribed to Moretto —a picture of the Virgin, as she is 
 supposed to have appeared in Brescia, is in the possession of 
 M. von Qnandt at Dresden. Far more remarkable, however, 
 is the large altar-piece, now in the Stadel Institution at 
 Frankfort, representing the tender and dignified figure of the 
 Madonna enthroned between St. Antliony and an admirable 
 St. Sebastian. In the Imperial gallery at Vienna is a St. 
 Justina (there called a Pordenone), with the kneeling figure 
 of Duke Hercules of Ferrara beside her. The countenance of 
 the Saint is sweet, mild, and thoughtful, and the head of the 
 Duke very fine. Two excellent pictures of Saints are also in 
 the Louvre. Finally, the Berlin Museum possesses, besides a 
 few smaller works by Moretto, a colossal Adoration of the 
 Shepherds of great excellence ; also a large votive picture, 
 which is one of the finest works of the master. The Virgin 
 is seated above in the clouds, with the two children and St. 
 Anna, surrounded with beautiful infant angels : this is perhaps 
 the noblest representation of a Holy Family that the Venetian 
 school produced. Two priests are kneeling below in profound 
 devotion ; the one an amiable looking old man, the otlier a 
 truly lofty figure, full of the intensest self- resignation ; a rich 
 landscape forms tJie background. Moretto was distinguished 
 by a childlike piety ; when painting the Holy Virgin he is 
 said to have prepared himself by prayer and fasting. 
 
 The celebrated portrait-painter Giovanni Battista Moroni 
 was tlie scholar of this Moretto ; he flourished in the second 
 half of the sixteenth century. His jiortraits are full of life, 
 and are painted with great individual truth, but they are 
 never conceived in an elevated feeling ; hence his figures are 
 limited in their attitudes — just, in fact, as they sat to the
 
 454 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 painter. Titian's portraits, on the contrary, are distinguished 
 by the grandest picturesque roundness of composition and 
 complete filling up of the space.' In his carnation Moroni 
 has a certain tendency to violet tints, but is excellent in re- 
 presenting all tlie various materials of dress, etc. His paint- 
 ings are to be found in many galleries, the Venetian Academy, 
 the Manfrini gallery in Venice, the Uffizj in Florence, etc. 
 His own animated and interesting portrait is in the Berlin 
 Museum. His portrait of a Jesuit in the Duke of Sutherland's 
 gallery in Stafford House is a master-piece of art. In histo- 
 rical pictures Moroni is unimportant. Contemporary with 
 Moretto, in Brescia, flourished Girolamo, called II Romanino, 
 an artist who likewise confined himself principally to the style 
 of the Venetian school, but who modified it in a peculiar man- 
 ner. While Moretto distinguished himself by simplicity and 
 repose, Girolamo displays in his compositions a fantastic and 
 lively imagination ; occasionally also a certain grandeur of 
 pathos, the more striking from the simple and almost slight 
 treatment of his details. Considerable works by this master 
 occur in various places. The Sacristy of S. Justina at Padua 
 contains a stately JNIadonna enthroned. A dead Christ with 
 the group of mourners around (1510) is in the Manfrini palace 
 at Venice. This is a truly grand work, conveying a touching 
 expression of grief. In the Museum at Berlin there is an 
 altar picture, with several saints and a great variety of acces- 
 sories ; also a Descent from the Cross, from the Casa Brug- 
 noli at Brescia, considered Romanino's chef-d' (xuvre ; a some- 
 what coarse picture, but of striking power in conception and 
 colour. 
 
 Girolamo Muziano, a scholar of Romanino, was employed 
 at a later period in Rome, where he became one of Michael 
 Angelo's best imitators. At all events his chief picture, the 
 Preaching of S. Jerome to his Monks in the Desert, in S. 
 
 ' [The superiority of Titian to Moroni may be readily admitted, but in 
 choice of attitude and the absence of constraint the latter must be allowed a 
 high degree of merit. It would be difficult to select a more remarkable 
 example of this kind of excellence than the portrait miscalled ' Titian's 
 Schoolmaster,' in the gallery of the Duke of Sutherland. Ridolfi tells us 
 that Titian was in the habit of recommending the distinguished inhabitants 
 of Bergamo to sit to Moroni for their portraits. — Ed.]
 
 Chap. VIII. SCHOOLS OF VENICE. 455 
 
 Maria degli Angeli at Rome, is a work of excellent arrange- 
 ment and admirable expression. Other productions of this 
 painter are mannered in style. Another scholar of Romanino's, 
 Lattanzio Gambara, is honourably distinguished by historians 
 of art. His scholar, Giovita Bresciano, surnamed II Brescia- 
 nino, was a clever painter in the later Venetian manner. 
 
 Giovanni Antonio Licinio Regillo da Pordenone (1484- 
 1539), so called from his birth place, formed a manner in- 
 dependent in a great degree of Giorgione and Titian, and was 
 a decided rival of the latter. He rarely rises to an animated 
 style of composition,' but generally confines himself, even 
 where such a treatment is least appropriate, to a simple ar- 
 rangement of figures. His heads seldom exhibit any impas- 
 sioned expression. His particular excellence is the wonderful 
 softness and tenderness (^morbidezza) with which he painted 
 flesh : in this he is not surpassed even by Titian himself. He 
 is distinguished in portrait-painting, and frequently introduces 
 several heads into one picture ; that of his own family is in 
 the Borghese palace in Rome. Another of Himself, with 
 his Scholars, is in the Manfrini Palace in Venice. There are 
 many excellent altar-pictures by Pordenone in Venice, particu- 
 larly one in the Academy, a Madonna with Saints, very grace- 
 ful and dignified. His celebrated S. Lorenzo Giustiniani 
 attended by Saints, a much less important work, was formerly 
 in S. Maria dell' Orto ; larger compositions by him are to be 
 met with, for example, in S. Rocco in Venice — saints, with 
 groups of indigent persons around them ; these, though exhi- 
 biting more life and action, are somewhat mannered in parts : 
 many more are in Venice and other parts of Lombardy. ' The 
 Woman taken in Adultery,' in the Museum of Berlin, is a 
 very celebrated picture of his ; not so much from its action or 
 expression of emotion, as from the great truth of character in 
 the heads. Two large pictures by Pordenone — the Finding of 
 Moses and the Adoration of the Kings — are in Burleigh House, 
 
 ' [This is hardly correct. In the town of Pordenone there are, or were a 
 few years since, some veiy animated compositions by this artist, and he more 
 than once painted the subject of Curtius leaping into the gulf on the outside 
 of houses in and near his native place (see jManiago, .Storia delle Belle Arti 
 Friulane). The picture which the author proceeds to mention, in the 
 Borghese collection, is by Bernardo Licinio: the name is inscribed. — Ed.]
 
 456 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 there erroneously imputed to Titian and to Bassano : they are 
 rich compositions and noble in execution. A Christ washing 
 the Feet of his Disciples, in the Berlin Museum, ap2)ears, on 
 the other hand, to have been the Avork of his latest time. The 
 incident is very superficially conceived, and the execution very 
 slight. 
 
 Bernardino Licinio was the scholar and relation of Por- 
 denone : he was similar in style, but generally less noble in his 
 heads. A good altar-piece by him is in S. Maria de' Frari in 
 Venice ; admirable portraits are in the Berlin Museum. 
 Other scholars are Calderari, an excellent imitator of Porde- 
 none, and Pomponio Amalteo, his son-in-law. An excellent 
 fresco picture by this latter, representing the apocryphal story 
 of Trajan and the Widow, is at Ceneda, near Belluno. Other 
 works of the kind by him are in the neighbourhood. 
 
 A second painter, equally distinguished in his portraits, is 
 Paris Bordone (1500-1570): he also took a peculiar path. 
 He formed himself on Giorgione's works, but avoided his 
 severity ; adopting afterwards so much of Titian's manner that 
 his works might often bear that master's name. He is remark- 
 able for a delicate rosy colouring, wliich indeed sometimes 
 borders on effeminacy. His female portraits, of which there 
 are many in the galleries of Munich, in the Belvedere and 
 Esterhazy galleries in Vienna, the Manfrini collection in 
 Venice, the Uffizj in Florence, &c., are sweet and graceful, 
 althou'^h not very intellectual in conception. Like Porde- 
 none, he is unimportant in large compositions ; his altar pieces, 
 chiefly Madonnas with Saints, have something of the spirited 
 excitement of Correggio, only without his naivete ; his heads 
 are excellent. Two pictures of this description are in the 
 Berlin Museum. His most celebrated picture is in the Aca- 
 demy of Venice, and alludes to the Tempest, by Giorgione, 
 already described. Here the fisherman, who was present when 
 the saints stilled the tempest, presents a ring to the Doge, 
 which he had received from S Mark as a pledge of the patron 
 saint's gracious disposition towards Venice. The picture is 
 rich in figures, simple, but of no great power ; the splendid 
 execution, however, gives it the most attractive air of truth, to 
 which the view of the grand Venetian buildinsrs much contri-
 
 Chap. VIII. SCHOOLS OF VEXICE. 457 
 
 bates. The most significant picture of Bordone's is perhaps 
 the Tibiirtine Sibyl. An altar is still burning on which Au- 
 gustus has offered up his fruitless sacrifices, while tlie sibyl, a 
 female of the most beautiful Titian type, stands before him 
 and his followers, pointing in the distance to the new-born 
 Saviour. In colouring also, this picture is one of the master's 
 chef-d'ceuvres. His celebrated Paradise, also in the Academy, 
 formerly in the churcli of Ognissanti, at Treviso, is very feeble. 
 His small pictures, sucli as a Madonna with the Child and 
 Mary Magdalene, in the Manfrini palace, and a Riposo durino- 
 tiie Flight into Egypt, in the Pitti palace, are more pleasing. 
 Another representation of this subject is in the Bridgewater 
 Gallery. 
 
 We conclude this account of the Venetian artists who 
 flourished toward the middle of the sixteenth century with 
 Battista Franco, il Semolei, who studied in Rome, and is 
 classed among the imitators of Michael Angelo. In the 
 small number of his works existing in Venice, he appears as a 
 moderate follower of the Florentine or Roman style, which he 
 combines well with that of Venice. He is particularly pleasin"- 
 in small decorations in the compartments of ceilings, as in the 
 Scala d'Oro of the Palace of the Doge, and in a chapel of S. 
 Francesco della Vigna, at Venice. In larger works (the 
 most important are in this same chapel) he is more maimered. 
 An excellent portrait of Sansovino, by him, is in the Berlin 
 Museum. 
 
 The school of Venice continued to flourish, and to retain a 
 real and vital originality, for a much longer period than anv 
 other school in Italy. This superiority is to be attributed on 
 the one hand to certain favourable external circumstances, 
 and on the other to the healthful principle of the school, viz., 
 the study and imitation of nature. It cannot be said that the 
 artists of the second half of the century, wdiom we now pro- 
 ceed to consider, equalled in their collective excellence the 
 great masters of the first, but in single instances they are fre- 
 quently entitled to rank beside tliem. 
 
 At the head of these is .Jacopo Robusti, surnamed, from his 
 father's trade, Tintoretto (the dyer), (1512—1594). He was 
 one of the most vigorous painters that the history of art 
 
 X
 
 459 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 exhibits ; one who sought rather than avoided the greatest 
 difficulties, and who possessed a true feeling for animation 
 and grandeur. If his works do not always please, it must 
 be imputed to the foreign and non- Venetian element which 
 he adopted, but never completely mastered, and to the times 
 in which he lived. In our next chapter we shall say more on 
 this head : here it is sufficient to remark that Venetian art had 
 fallen into the mistaken path of colossal and rapid productive- 
 ness, and that Tintoretto was the painter who paid tlie greatest 
 penalty for this taste. His off-hand style, as we may call it, 
 is, it is true, always full of grand and meaning detail : with a 
 few patches of colour he expresses sometimes tlie liveliest 
 forms and expressions ; but he fails in that artistic arrange- 
 ment of the whole, and in that nobility of motives in parts, 
 which are necessary exponents of a high idea. His composi- 
 tions are not expressed by finely studied degrees of participa- 
 tion in the principal action, but by great masses of liglit and 
 shade. Attitudes and movement are taken immediately from 
 common life, not chosen from the best models. With Titian 
 the highest idea of earthly happiness in existence is expressed 
 by beauty ; with Tintoretto in mere animal strength, some- 
 times of a very rude character. 
 
 The manner in which Tintoretto formed his peculiar style, 
 resulted from the reproach at that time cast upon the 
 Venetian school. He was for a short time in the school of 
 Titian, but not continuing on good terms with his master, 
 he soon quitted him, in order to follow a path of study of 
 his own. In the painting-room which he occupied in his 
 youth he had inscribed, as a definition of the style lie 
 professed, " The drawing of Michael Angelo, the colouring 
 of Titian." Pie copied the works of the latter, designed 
 from casts of the Florentine and from antique sculpture, par- 
 ticularly by lamplight, to exercise himself in a more forcible 
 style of relief ; he made models for his works, which he 
 ligiited artificially, or hung up in his room, in order to 
 make himself master of perspective appearances, so little 
 attended to by the Venetians. By these means he united 
 great strength of shadow with the Venetian colouring, which 
 gives a peculiar character to his pictures, and is very success-
 
 Chap. YIII. SCHOOLS OF VENICE. 459 
 
 fill when limited to the direct imitation of nature. But setting- 
 aside the impossibility of combining- two such totally diflerent 
 excellences as the colouring of Titian and the drawing of 
 Michael Angelo, it appeal's that Tintoretto's acquaintance 
 with the works of the last-named master only develojied his 
 tendency to a naturalistic style. That which with Michael 
 Angelo was the symbol of a higher power in Nature, was 
 adopted by Tintoretto in its literal form. Michael Angelo 
 made use of naked figures in his Last Judgment to express 
 the artistic and poetic thought with abstract largeness. Tin- 
 toretto introduces them as mere idle accompaniments, for the 
 sake of their fine muscular drawing or foreshortening. The 
 works, even of his better time, are generali}^ slight in treat- 
 ment ; later they became unmeaning in invention, and coarse 
 and mechanical in execution. Added to this, a premature 
 darkening of the colours has lowered most of his pictures. 
 
 Under tiiese circumstances it is not surprising that Tinto- 
 retto's portraits should be found invariably belonging to the 
 better class of his works. Here his conception is free, and even 
 grand, and generally combined with a purer and more careful 
 execution. Three admirable portraits are in the Berlin Mu- 
 seum, and that of a bald-headed man with a beard is in the 
 Louvre. Several are in English galleries, and among them 
 two Dukes of Ferrara, with servants and pages, offering up 
 their devotions in a church, in the collection at Castle Howard. 
 Next to these in interest are those of his historical pictures 
 (chiefly dating from his earlier time) in which he has intro- 
 duced a rich poetical landscape. A Sacrifice of Isaac, and a 
 Temptation of Christ, are in Castle Howard ; a party of 
 Musicians, in the Gallery of the Duke of Sutherland, in Lon- 
 don. Altogether the earlier pictures by Tintoretto are not 
 only more glowing in colour, but of a finer and more naive 
 composition ; for instance the subject of Vulcan, Venus, and 
 Cupid, in the Pitti Palace. The same remarks apply to his 
 sacred subjects: the Birth of the Virgin, with a glory of 
 angels above, in the sacristy of S. Zaccaria at Venice. An 
 altaipiece in S. Giovamii e Paolo, the Madonna with saints, 
 and kneeling senators ; another in the Venetian Academy ; and 
 others elsewhere. AUo a .spiritedly conceived Adoration of 
 
 X 2
 
 4f)0 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 the Shepherds, at Castle Howard, and a fine Entombment of 
 Christ, in the Bridgewater Gallery. Among his most cele- 
 brated but, notwithstanding the excellence of colour and 
 animation of composition, not his most pleasing pictures, is the 
 Miracle of St. Mark, who rescues a tortured slave from the 
 hands of the heathen, in the Academy at Venice: and a large 
 Crucifixion, painted 1565, in the school of S. Roceo. This 
 building, as well as the palace of the Doge, possesses a large 
 number of his works.' In the latter there is also a remarkable 
 representation of Paradise, seventy-four feet long, and thirty 
 feet high, painted in oil, like almost all Tintoretto's works. ^ 
 It is in the greater council chamber, now the library, and 
 contains an innumerable and unplea.sant throng of liuman 
 figui'es ; each group apparently alike distant from tlie eye. 
 and therefore in no way standing out from the re.st. ]\Iany of 
 the figures, however, display much skill ; and those of Christ 
 and the Virgin are fine and dignified. (A small and admir- 
 able sketch of this picture by Tintoi-etto's own hand is in the 
 Louvre.) Four good mythological pictures are also in the 
 saloon of the Anti-collegio, in the Doge's palace. On the 
 other hand specimens of Tintoretto's most corrupt style may 
 be seen in two enormous pictures — a Last Judgment, and the 
 Adoration of the Golden Calf, in S. Älaria dell' Orto ; and 
 in a Last Supper in S. Trovaso. Nothing more utterly dero- 
 gatory both to the dignity of art and to the nature of the 
 subject can be imagined than the treatment of the Last 
 Supper. St. John is seen, with folded arms, fast asleep, 
 whilst others of the Apostles, with the most burlesque ges- 
 tures, are asking " Lord! is it I?" Another Apostle is 
 uncovering a dish which stands on the floor, without re- 
 marking that a cat has stolen in and is eating from it. A 
 
 ' [Reckoning the pictiu'es in the ceilings (but without reckoning some 
 heads in the angles), there are ßfii/scrm works by this astonishing painter 
 in the .Scuola di S. liocco alone ; the greater part are very large, and the 
 figures throughout are the size of life. The Crucifixion is a most extensive 
 work, and, all things considered, perhaps the most peifect by the master. — 
 Ed.] 
 
 - [Boschini (Rieche Minere, &c., ed. 1674) mentions some frescoes bv 
 Tintoret of considerable extent at the Campo de' Gesuiti ; others at the 
 Serviti ; others on a house in the Sestier del Castello. Those on the exterior 
 of the Pallazzo Gussoni are engraved by Zanetti (Varie Pitture a fresco de' 
 principali maestri Veneziani. A^en. 1760.) — Ed.]
 
 Chap. VIII. SCHOOLS OF VEXICE. 401 
 
 second is reaching towards a flask ; a beggar sits by, eating. 
 Attendants, with page and maid-servant, fill up the picture. 
 To judge from an overthrown chair, the revel seems to have 
 been of the lowest description. It is strange that a painter 
 should venture on such a representation of this subject scarcely 
 a hundred years after the creation of Leonardo da Vinci's 
 Last Supper. 
 
 Among the scholars and imitators of Tintoretto, his son 
 Domenico Tintoretto, and Jacob Kotteiihanmier, a German, 
 may be honourably mentioned. Another scholar, Antonio 
 Vascibracci, called 1' Aliense, transplanted the style of this 
 master to the quiet city of Perugia, having executed ten large 
 wall pictures for the church of S. Pietro there. 
 
 Several contemporaries of Tintoretto flovirished in Verona ; 
 they stand in close relation to the school of Venice. Their 
 principal pictures are to be seen in the churches, and in the 
 gallery of the Palazzo del Consiglio, in Verona. To these 
 belong Niccolo Giolfino, whose figures unite a peculiar grandeur 
 with an expression of engaging gentleness. — Giambattista dal 
 Moro, a scholar of Torbido, called II Moro (already men- 
 tioned among the followers of Giorgione) : his pictures are 
 impassioned, but somewhat exaggerated. — Domenico Kicci, 
 called Brusasorci, more celebrated in Verona than the last 
 named, but a mediocre artist, though generally clever in 
 execution. — Paolo Farinato, sometimes grand, and the wor- 
 thiest predecessor of Paolo Veronese, of whom we are about 
 to speak. Farinato, though not always free from exaggera- 
 tion, is clever and powerful, and is pleasing from his truth of 
 imitation. 
 
 All these artists, and Tintoretto himself, are excelled by 
 Paolo Cagliari of Verona, surnamed Veronese (1528 — 1588).^ 
 He lived chiefly in Venice, and formed himself, particularly 
 in colouring, after Titian. It is true he did not equal that 
 master in the perfection of his flesh tones, but by splendour of 
 colour, a-ssisted by rich draperies and other materials, by a 
 very clear and transparent treatment of the shadows, by com- 
 prehensive keeping and harmony, Paolo infused a magic into 
 his pictures which surpasses almost all tlie other masters of 
 ' Outlines in Landon, Vies et Qiuvres, etc., t. Paolo Veronese.
 
 462 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 the Venetian school. Never had the pomp of colour been 
 so exalted, so glorified, as in his works ; his paintings are 
 like full concerts of enchanting music. This, his peculiar 
 quality, is most decidedly and grandly developed in scenes of 
 worldly splendour ; he loved to paint festive subjects for the 
 refectories of rich convents, suggested of course from par- 
 ticular passages in the Scriptures, but treated with the gi-eatest 
 freedom, especially as regards the costume, which is always 
 that of the artist's time. In these and similar examples Ave 
 have the most beautiful display of grand architecture, the 
 splendour of the precious metals in vases and so forth, the 
 most brilliant and gorgeous costume ; abo^e all, a powerful 
 and noble race of Imman beings, elate witli the consciousness 
 of existence, and in full enjoyment of all that reuders earth 
 attractive. Instead of any religious interest, we are pre- 
 sented with a display of the most cheerful human scenes and 
 the richest worldly splendour. That which distinguishes 
 Paul Veronese from Tintoretto, and which, in his later 
 period, after the death of Titian and Michael Angelo, earned 
 for him the rank of the first living master, was that beautiful 
 vitality, that poetic feeling which, as far as it was possible, he 
 infused into a sunken period of art. At the same time he 
 adopted in many respects the naturalistic tendencies with 
 wliich he was surrounded, so that his compositions may be 
 occasionally said to run wild. The beauty of his figures is 
 more addressed to the senses than to the soul, though even 
 the most superficial of his innumerable works have a breath 
 of gi'ace and a plenitude of life which at that time had 
 entirely departed from the other schools. In his later works, 
 however, his colouring is sallow and negative, and is rendered 
 even inharmonious by the introduction of a fiery red. 
 
 Of the earlier pictures of this master not many are known. 
 An excellent picture in the Berlin Museum, by an unknown 
 hand, is painted in what we may conceive to have been Paul 
 Veronese's youthful style. It represents the Madonna and 
 Child enthroned, with angels and saints before her, and 
 others hastening to her ; with St. Sebastian on the left, 
 fastened to a tree. This last, with the infant Christ, and one 
 angel, are the finest figures in the picture, many single portions
 
 Chap. VIIT. SCHOOLS OF VENICE. 463 
 
 of which, as well as the excellent harmony of colouring-, un- 
 doubtedly indicate Paul Veronese, while other parts remind 
 us of Giorgione, and the St. Sebastian of Pordenone. Other 
 altarpieces occur in Venice and elsewhere ; one of the best, 
 in S. Francesco della Vig-na, is further interesting, as being 
 a specimen of that latest style of composition for altarpieces 
 which subsequently was adopted by the Netherlandish school. 
 The Holy Family is above upon a terrace; St. Anthony is 
 seen below, turning towards the spectator, his pig at his side ; 
 a female martyred saint seated by him is gazing upwards. A 
 Resurrection of Christ, in the same chiu'ch, is of later and 
 slig liter execution ; the perplexity of the guards is, however, 
 excellent ; one of them is aiming blindly at Christ with his 
 halberd. A Marriage of St. Catherine in the church of the 
 same name is of tiie finest and most animated composition, 
 and excellent in execution. A large Coronation of the 
 Virgin, with a whole crowded paradise full of saints, in the 
 Academy, is one of his late off-hand pictures. A very 
 pleasing picture by Paul Veronese was in the collection of 
 Signor Craglietto in Venice ; it represents the Madonna and 
 Child, with Venice, characterized as a beautiful young 
 Dogaressa, kneeling before them. Many of this master's 
 pictures are in the Brera at Milan, and in the Louvre. 
 
 The church of S. Sebastiano at Venice, where Paul Vero- 
 nese lies buried, contains the best specimens of his historical 
 pictures, in the closer sense of the word. Of the innumerable 
 works of his hand with which the walls and altars of this 
 church are decorated we can only mention the most sig- 
 nificant ; and, first of all, the three very large pictures, 
 representing the Death of St. Sebastian, executed (1560- 
 1565) with the greatest care and with all the splendour of 
 his colouring. The finest of these, representing the Saint 
 going to the place of his maityrdom, belongs to the year 
 1565. The scene is upon a flight of steps before a house: 
 St. Sebastian, a fine, powerful figure, is hastening down them, 
 while at the same time he turns to his fellow suflferers Marcus 
 and Marcellinus, who follow him, bound, and points towards 
 heaven with an inspired look. One of them is gazing on him 
 with the profoundest faith, the other is looking round at his
 
 464: MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 sorrowing mother, who seeks to turn him from his purpose 
 with her entreaties and reproaches. On the right a grey- 
 headed father is ascending the steps, led by youtlis ; women 
 and children also endeavour to intercept the martyrs, but 
 these continue the path that leads to death with the noblest 
 tranquillity. Innumerable figures are seen on balustrades 
 and roofs, clinging to pillars, and crowded on the stairs, 
 looking on in the greatest excitement. This picture displays 
 a beauty of composition, a richness without an overcrowding 
 of subject, and a power of expression and colour which in 
 some respects entitles it to be considered the noblest of Paul 
 Veronese's works. The two other pictures represent St. 
 Sebastian pierced with arrows, and stretched upon the rack. 
 The first is of the finest invention and execution. Tiie saint, 
 bound to a column, is looking longingly towards heaven, 
 where the Madonna appears accompanied by beautiful angels ; 
 next the saint are two splendid female figures, also praying 
 to the heavenly vision ; further below are three kneeling 
 saints who regard the martyr with looks of astonishment. ]n 
 the last picture it was not possible for the painter to idealize 
 the horror of the scene, so that, in spite of its masterly con- 
 ception, it does not stand comparison with the other two. 
 The large wings of the organ, paintetl about 1560, contain, 
 on the outer side, a beautiful reprejentatiou of the Temple ; 
 on the inner side the miracle of the pool of Bethesda ; the 
 last again one of the most admirable of the master's pro- 
 ductions. The lame and sick, seated along an arcade, are 
 connected with the utmost skill in one group. An old 
 man upon crutches is pointing with eager gestures to Christ, 
 who has just healed a cripple by the power of his word ; 
 behind, the Apostles are helping others of the healed out 
 of the water. Among the ceiling pictures of this churcli 
 the Crowning of Esther by Ahasuerus is the best. In other 
 historical pictures his romantic tendency is here and there 
 happily displayed : for instance, in a Baptism of Christ, and 
 the Adoration of the Wise Men, in the Brera at Milan ; in 
 the Finding of Moses, and in the Centurion of Capernaum, in 
 the Dresden Gallery ; and in many others, especially in the 
 Turin Gallery. In many of these compositions we miss that
 
 Chap. Vnr. SCHOOLS OF VENICE. 465 
 
 which most Venetian masters are deficient in, namely, the 
 strict relation of the subordinate allusions to the principal 
 subject, and the careful arrangement of the groups ; but this 
 quality was at that time departing even from the Roman 
 school. Here we must also mention the almost innumerable 
 mythological and allegorical pictures with which Paul Vero- 
 nese, in his latter years, adorned the walls and ceilings of the 
 Doge's palace and of other buildings. If, with many beauties 
 to rivet the eye, we here miss the purity of form and the noble 
 conception which Titian bestowed even on the most earthly 
 subjects, we must lay the blame in great measure on the 
 patron, who, according to the taste of the day, was insatiable 
 in allegory of every description, and tlms compelled the painter 
 to the adoption of that naturalistic style wliich was necessary 
 to infuse freshness into such subjects. At the same time Ave 
 have the well-known Rape of Proserpine, in the Anti-collegio, 
 and also Venice crowned by Fame, on the ceiling of the Hall 
 del Maggior Consiglio, both represented in a manner which 
 touches the heart of the spectator like heroic music. 
 
 Paul Veronese's great reputation rests, however, principally 
 on his generally colossal representations of festive meetings. 
 The most celebrated of these pictures is the Marriage of Cana, 
 in the Louvre, thirty feet wide, by twenty feet high, formerly 
 in the refectijry of S. Giorgio Maggiore, at Venice. The 
 scene is a brilliant atrium, surrounded by majestic pillars. 
 The tables at which the guests are seated form three sides of 
 a parallelogram : the guests are supposed to be almost entirely 
 contemporary portraits, so that the figures of Christ and the 
 Virgin, of themselves sufficiently insignificant, entirely sink 
 in comparison. Servants with splendid vases are seen in the 
 foreground, with people looking on from raised balustrades, 
 and from the loggie and roofs of distant houses. The most 
 remarkable feature is a group of musicians in the centre in 
 front, round a table ; also portraits — Paul Veronese himself 
 is playing the violoncello, Tintoretto a similar instrument, the 
 grey-haired Titian, in a red damask robe, the contra-bass. 
 Another somewhat smaller representation of the same subject, 
 full of new and spirited motives, is in the Brera at Milan ; a 
 third in the Dresden Gallery. Comparable in size and rich- 
 
 X 3
 
 4GG MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 ness, but not in excellence, with the picture in the Louvre, 
 we may mention the Feast of the Levite, in the Academy at 
 Venice (formerly in the refectory of S. Giovanni e Paolo). 
 Tliis is also a gigantic composition, beneatli an airy arcade, 
 which divides the whole into three groups, with a town view 
 behind. The chief incident is also made subordinate here, 
 while on the other hand we have a number of the most ciiarm- 
 ing episodes : the halberdiers hastily swallowing down their 
 portion of the feast upon the stairs ; the majordomo speaking 
 with a Moorish servant, &c. Christ at tlie table of Simon 
 the Publican, with the Magdalen washing his feet — another 
 scarcely less gigantic picture in the Louvre — is much simpler 
 in arrangement than other works of this order, and is distin- 
 guished by fine heads, and especially by a very noble Christ. 
 Another representation of this subject is in the Brera at Milan ; 
 a tliird, in the Marcello Durazzo palace, at Genoa, The 
 Supper at Emmaus also often occurs ; for instance, in the 
 Louvre and in the Dresden Gallery. After the master's 
 death his heirs finished several festive pictures of this kind 
 after his designs, though of course they are deficient in that 
 fulness of life which forms the pervading character of his 
 original works. A somewhat empty " Pharisee's Feast," of 
 this kind, is in the Academy at Venice.' 
 
 Finally, we may observe that Paul Veronese's portraits, 
 which occur bvit seldom, are of high merit. 
 
 His scholars, and the emulators of Iiis manner, are veiy 
 inferior to him. Among them are Carlo Cagliari, his son, 
 and Battista Zelotti. A large Presentation in the Temple, by 
 the latter, whicli does not fall far short of similar pictures by 
 Paul Veronese himself, is in the Berlin Museum. 
 
 While the application of the Venetian principle — the imita- 
 tion of nature — had given so peculiar a direction to Paolo 
 Veronese's style, it was to be expected that some would seek 
 to render Nature even in her commonest aspects, and that thus 
 genre, as it is called, would also be cultivated. This accord- 
 ingly took place in the school of the Bassani : its founder and 
 
 • It is not in oiu- power to give any account of the historical frescoes wJiich 
 Paul Veronese and his scholars executed in the Castle of Cattajo near Padua.
 
 Chap. YIII. SCHOOLS OF VEXICE. 467 
 
 chief master was Jacopo da Ponte (1510 — 1592), surnamed 
 Bassano, from his native town ; he studied the works of Titian 
 and Bonifazio in Venice, and at first practised in the manner 
 of these masters. He afterwards returned to his native place,. 
 a small country town, whose environs appear to have first 
 suggested his particular st\'le of composition. He selected 
 those subjects in which he could most extensively introduce 
 landscape and cottages, peasants and tlie lower classes of 
 people. Tiiese he connected with events either from sacred 
 history or mythology,' or often, without any particular refer- 
 ence to history, represented simple scenes of country life — 
 cattle, marlcets, etc. Sometimes he omitted figures altogether, 
 and introduced buildings, with animals, instruments of agri- 
 culture, kitchen utensils, and still life. These works show 
 little variety of invention ; when we have seen a few, we may 
 be said to be acquainted with all that are in the various 
 galleries : the countenances, too, are all alike ; one of his 
 daugliters is at one time the queen of Sheba, at another a 
 Magdalene, or again a peasant-girl wdth poultry. 
 
 A peculiar feature by which Bassano and his school may be 
 known is the invariable and intentional hiding of the feet, for 
 which purpose cattle and household utensils (old pots and 
 pans, «fee.) are introduced. For the rest, the humorous rather 
 than sentimental treatment which gives its charm to the lower 
 genre is almost wanting in the works of Bassano : for instance, 
 the otherwise excellent Family Concert, in the Gallery of the 
 Uffizj, is far too serious in conception as compared with the 
 character of the forms. Bassano confines himself to a bold, 
 straightforward imitation of familiar objects, united, however, 
 with pleasing grouping and an attractive play of light and 
 colour. The chief interest of his pictures consists in the last- 
 named quality. His colours sparkle like gems, particularly 
 the greens, in which he displays a brilliancy quite peculiar to 
 himself. His lights are boldly impinged on the objects, and 
 are seldom introduced except on prominent parts of figures, 
 
 1 [The figures in some of Giacomo Eassano's subjects are treated with 
 sufficient dignity : the Good Samaritan, in the collection of Mr. Rogers, is an 
 example. Among his finest works may be mentioned St. Martin dividing 
 his Cloak with the Beggar, and the Baptism of Sta. Lucilla, the fonner in 
 the Municipalitä, the latter in the church of S. Valentino at Bassano. — Ed.]
 
 468 MASTERS OF THE SIXTEENTH CEXTUKY. Bof.k V. 
 
 on the shoulders, knees, elbows, etc. In accordance with this 
 treatment, his handling is spirited and peculiar, somewhat in 
 the manner of Rembrandt ; and what, on close inspection, 
 appears confused, forms at a distance the very strength and 
 magic of his colouring. 
 
 That Bassano also should, generally speaking, most excel 
 in portraits, will not surprise the reader. An old man in the 
 Berlin Museum, and a richly dressed female in the Studj 
 Gallery at Naples, would do honour to Tintoretto. There are 
 also several sacred subjects existing in which Bassano deve- 
 loped a greater dignity, and finer and more noble forms : for 
 instance, the Mourning Marys, at Chiswick ; a Christ bearing 
 his Cross, at Holkham ; a Crucifixion in the Berlin Museum. 
 But his cabinet pictures are the most numerous. These are 
 works of various dimensions, whicli are rarely wanting, at 
 least not in Italian galleries ; but they are not all genuine. 
 He had a regular manufactory for such works, in which he 
 was assisted by his four sous, who had acquired his manner. 
 Two of them, Francesco and Leandro, also painted church 
 subjects, but not with much success. One of Francesco's best 
 works is among the ceiling paintings of the Doge's palace at 
 Venice (Sala dello Scrutinio), and represents the taking of 
 Padua by night. An Ascension, over the high altar, in S. 
 Luigi de' Francesi at Rome, is also not without merit. A 
 good picture by Leandro, representing the Trinity, is in S. 
 Giovanni e Paolo, in Venice ; also a Raising of Lazarus, in 
 the Academy, and a repetition in the Studj Gallery at Naples, 
 in which the figures, though somewhat mechanically arranged, 
 are upon the whole finely painted and full of expression. It 
 is true the astonishment of the bystanders is directed more to 
 Lazarus than to Christ — a remark which we are the more 
 tempted to make because it applies to many pictures of this 
 later Venetian school. In their great manual skill, and in 
 their reliance on a close imitation of Nature, they gradually 
 omitted to give due prominence to those higher allusions which 
 belong to subjects of this class.
 
 Chap. IX. DECLINE OF AET — THE MANNERISTS. 469 
 
 CHAPTER IX. 
 
 DECLIiSE OF ART. THE MANNERISTS. 
 
 The most brillianl period of Italian art, that whicli embraces 
 the life of Raphael, resulted from a combination of numerous 
 influences, from within and without, of the most varied kind. 
 To describe the rapid decline and dispersion of the same in all 
 its bearings, would be an historical task of no small extent. 
 We must therefore content ourselves with merely giving- the 
 necessary heads. 
 
 As regards the middle of the sixteenth century, no imme- 
 diate influence from the great historical events of the time — • 
 the Reformation, the great supremacy of Spain, &c. — can be 
 admitted ; or if so, only in a very limited degree. It was not 
 till a later period, about the beginning of the seventeenth 
 century, that these and similar causes began to operate on art. 
 The means of education which existed about the year 1550 
 differed doubtless in many respects from those of Raphael's 
 time ; but the subjects of art, and the demand for her produc- 
 tions, continued essentially the same ; the latter only increasing 
 in amount. Let us rather seek for the causes of change in 
 that necessary condition of all things in this world, to rise, 
 flourish, and to decline, from which no period of art is exempt. 
 In that of which we are treating, the decline may be traced in 
 increasing rapidity from about the year 1530; so that most 
 of the scholars of the great masters, indeed some of tlieir own 
 later works, are not exempt from its influence. The following 
 is a resume, of the features indicative of this decline, which were 
 common to the schools of all the great masters ; and if we here 
 introduce a number of painters who are known as especial 
 mannerists, it does not at all follow that their works are in- 
 ferior to many by Giulio Romano, and the nearest scholars of 
 Michael Angelo. 
 
 The decline of art stands in immediate connexion with the 
 unrivalled glories of the Raphaelesque period. A climax of 
 excellence was felt to have been attained ; and it was now the
 
 470 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 general aim to hold fast, if not to surpass, that effect in the 
 great works of art which appeared to have earned for their 
 authors their universal reputation. No one remembered that 
 the foundation of all artistic greatness depended on the myste- 
 rious harmony between the personality of the painter and his 
 subject. The external signs of the great masters, their effect 
 and manner were the objects of imitation, first with due 
 modesty, and then with gradually increasing boldness, till they 
 led to the greatest exaggerations. That which was overlooked 
 was certainly tliat which was least susceptible of imitation, 
 viz., the deep poetic intention, the noble and harmonious con- 
 ception, and that arrangement which was dictated by the 
 highest laws. Many of the painters in question would, fifty 
 years earlier, have done great things ; now they fell into re- 
 pulsive mannerism, because no longer supported by those 
 principles of harmony and beauty which, at the beginning of 
 the sixteenth century, had inspired even mediocre talent to 
 truly great works. AVhere immediate truth of nature Avas 
 required, as, for instance, in portraits, great excellence was 
 however displayed. 
 
 A considerable share of the blame must be imputed to the 
 altered tastes of the patron, and to the consequent change in 
 the external position of the painter. Tempted by the splendid 
 productions of Raphael's time, princes and corporations now 
 tliirsted for the possession of vast works of an elevated kind, 
 which thus soon became objects of luxury wliich every one 
 sought to obtain according to his rank and means. That such 
 luxuries should be sought for also at the least possible expen- 
 diture of time or money was also natural, and as in point of 
 allegorical or historical representation a lower order of con- 
 ception was preferred to the really high and infinite in art, it 
 followed that the superficial and ready handed painter invari- 
 ably took precedence of him who possessed deeper and more 
 lasting qualities. It is melancholy to observe how from this 
 time painters and patrons contributed more and more to de- 
 moralize each other ; the one playing the part of a courtier 
 and an intriguant, the other that of a capricious master. 
 The most enormous undertakings were now executed with the 
 greatest rapidity. " We paint," as Vasari says, " six pictures
 
 Chap. IX. DECLINE OF ART — THE MANNERISTS. 471 
 
 in a year, while the earlier masters took six years to one 
 picture ;" and how colossal these pictures are we see in the 
 Sala Regia in the Vatican, and in the great saloon in the 
 Ducal Palace at Florence ; while he naively adds, " And yet 
 these pictures are much more perfectly executed than those of 
 the early school by the most distinguished masters." (Preface 
 to the Third Part of his Biographies.) According to his 
 letters Vasari seems to have used his hands as actively in his 
 picture of the Sea-fight at Lepanto. as if he had been himself 
 engaged in the contest, and the greater the speed at which he 
 painted the more does he seem convinced of the superiority of 
 his powers. Thus thought also most of the popular painters 
 of that time, and if we here and there find cause to admire 
 their works, in spite of the false conditions under which they 
 were produced, it is only a further proof of the greatness of 
 that period which preceded them. That the same corrupt 
 taste which governed the larger and monumental department 
 of art should also extend to the class of easel pictures was in- 
 evitable ; nay, the miion of intrinsic nothingness with the more 
 careful outAvard execution is still more displeasing in effect, 
 except where a happy turn for natural imitation gave such 
 works a conditional value. 
 
 In this part of the history of art a certain general flatness 
 of style, chiefly proceeding from reminiscences of a Michael 
 Angelesque and Eaphaelesque character, makes it difficult to 
 enter into a classification of schools. The venerable Michael 
 Angelo himself lived deep into the degenerate period ; how 
 far he countenanced it was perhaps unknown to Vasari. 
 
 In order now to do justice to the painters we are about to 
 review, we must give a short summary of the fate of those 
 schools we have already des^cribed. Those which fared the 
 worst were the descendants of the ancient and less developed 
 schools where the influence of the old masters had been im- 
 perfectly transplanted, such as the latest Peruginese painters, 
 the Alfani, Adone Doni, and others, whose Avorks, by the 
 union of ancient and modern faults, are sometimes peculiarly 
 unsatisfactory. Parallel Avith these are certain Netherlandish
 
 472 MASTERS OF TUE SIXTEEN"TH CENTURY. Book V. 
 
 artists of the Roman school, though these, upon the whole, 
 are not so deficient in external means of representation. Then 
 follow the last Leonardists in Milan, Lanini, Loniazzo, Figino, 
 and others, who certainlj^ confine themselves within modester 
 bounds than the followers of Michael Angelo, but are not the 
 more grateful to the eye. Next come the schools of the 
 scholars of Raphael, that of Giulio Romano, and particularly 
 the Genoese school of Perin del Vaga, with the offset of the 
 former at the French court. These ran utterly wild ; Poli- 
 doro, on the other hand, took refuge in an empty natu- 
 ralism, though, as regards Naples, this may be said to have 
 contained a germ of future life. The scholars of Correggio, 
 not to mention the last dregs of the school of Ferrara, are 
 proverbially known as mannei'ists. As a relief to all this the 
 school of Venice, with the works of Paul Veronese and the 
 better productions of his contemporaries, may be seen enjoying 
 a second yoiith. During and after this period the following 
 painters were prominent. 
 
 The imitation of Michael Angelo became the first oljiject of 
 the Florentines. His grandeur was imposing, but it required 
 much more than a mere habit of copying to comprehend his 
 powerful spirit. Moreover, Florence possesses little of Michael 
 Angelo if we except his works in sculpture ; the greater jmrt 
 of these ai'e not free from affectation, but these were the works 
 from which the Florentines chiefly studied : they sought to 
 imitate the muscular markings displayed by violent move- 
 ments, without being sufficiently grounded in the necessary 
 theoretical knowledge. Thus they were betrayed into nume- 
 rous errors : sometimes marking the muscles with equal force 
 in repose and in action, in delicate and in powerful forms. 
 Satisfied with this supposed grandeur of style, they troubled 
 themselves little for the rest. Many of their pictures consist 
 of a multitude of figures, one over the other, so that it is im- 
 possible to say what part of the ground-plan they occupy ; 
 fio-ures which tell nothing — half-naked models in academic 
 positions. Heavy colours thinly applied, and defective mo- 
 delling, supersede the early energetic execution. The more 
 important of these artists are : 
 
 Giorgio Vasari, of Arezzo (1512-1574), an artist of versa-
 
 Chap. IX. DECLINE OF ART— THE MANXERIST.S. 473 
 
 tile talent — historical painter and architect : he superintended 
 several buildings, and directed their embellishments : Florence, 
 Arezzo, Rome, Naples, are rich in the works of his rapid 
 hand. In Rome he took chief part in the decoration of the 
 already mentioned Sala Regia in the Vatican, where the 
 Popes formerly gave audience to foreign ambassadors. Here, 
 as once before in tlie apartments of this same palace, the 
 triumphs of the Church were the subjects ; no longer, how- 
 ever, by means of lofty and moral symbols and allusions, but 
 by direct heavy matter-of-fact representations in large over- 
 laden pictures of battles and ceremonies. Instead, therefore, 
 of enumerating the many other unsatisfactory colossal pictures 
 by Vasari, we may mention his excellent portrait of liOrenzo 
 de' Medici in the gallery of the Uftizj at Florence, and the 
 frecpiently repeated one of Cosimo I. in the Berlin Museum 
 and other galleries. Vasari's greatest merit consists in his 
 literary labours : his biographical account of the artists (Vite 
 de' piü eccellenti Pittori, Scultori ed Architetli), which he 
 published in 1550, and in a second improved edition in 1568, 
 was the first important work on the history of modern art, 
 without which our whole knowledge of single masters and of 
 the development of schools would be poor and fragmentary. 
 Numerous omissions and chronological mistakes demand a very 
 accurate criticism, but, upon the whole, considered as the first 
 comprehensive \\ork of this kind, compiled chiefly from verbal 
 tradition, it is singularly worthy of confidence. Added to this 
 we remark a great fairness of tone, which, in a painter living 
 in the midst of various pursuits and contending interests, and in 
 a scholar of the most exclusive of all masters, is no slight merit. 
 Finally, the style in which he wi'ites has made the history of 
 art agreeable to all readers, and given an incalculable interest 
 to the subject. Vasari's descriptions are often of the greatest 
 beauty and liveliness, and his anecdotes invaluable in the 
 history of men and manners. 
 
 Francesco de' Rossi, surnamed ' de' Salviati ' after his 
 patrons, a friend of Vasari, and allied to him in style. 
 
 Angiolo Bronzino, another intimate friend of Vasari, an 
 imitator of Pontormo, whom he resembles in portraits, but his 
 colouring is often inferior — sometimes leaden, sometimes
 
 474 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 clialkj'-, with a red that looks like rouge. A Descent of 
 Christ into Hell, tliough cold, is carefully painted and not 
 o\er mannered. In the Berlin Museum there is a good family 
 portrait, a portrait of Bianca Capella, and several others. 
 
 Alessandro Allori, nephew and scholar of Bronzino : with 
 exception of a few delicate and careful portraits, he is suffi- 
 ciently mediocre. 
 
 Santi Titi or di Tito, also a scholar of Bronzino, occasionally 
 less mannered. 
 
 Battista Naldini, Bernardino Barbacelli, called Poccetti, 
 and others. 
 
 The second period of Florentine art attached itself later 
 to the better productions of this school. 
 
 The general corruption of the mannerists did not extend to 
 the Sienese in an equal degree ; Arcangiolo Salimbeni, Fran- 
 cesco Yanni, Domenico Manetti, and others, often display 
 some cleverness in this degenerate period, with an ingenuous 
 adlierence to nature, although they never rise to the simplicity 
 of the earlier masters. 
 
 One of the most spirited adherents and imitators of Michael 
 Angelo is Marco di Pino, or Marco da Siena ; he practised 
 the art in Kaples, where many of his paintings are to be met 
 with : thej' contain clever and spirited parts, with much that 
 is affected and insipid. 
 
 But the completest degeneracy is to be fomid in Rome, the 
 very' place in which the greatest number of the most perfect 
 models exist. Little deserving of record was produced here 
 up to the last thirty years of the sixteenth century ; and from 
 1570 till 1600, every variety of manner contributed by turns 
 to reduce the art to the very verge of ruin. Pope Gregory 
 XIII. and his successors erected many buildings, ordered 
 many paintings, but rapidity of hand alone had value in their 
 eyes ; art was degraded to the lowest mechanical labour. 
 
 The best among the artists of this time is Girolamo Siciolante 
 da Sermoneta, who endeavoured to adhere to the style of 
 the Raphael school : there is an excellent Pieta by him in the 
 gallery of Count A. Raczynski at Berlin. An Adoration of the 
 Shepherds in S. Maria della Pace, at Rome, is, in expression, 
 colouring, and descriptiveuess of the scene, a very jjleasing
 
 Chap. IX. DECLIXE OF ART THE MAXXEEISTS, 475 
 
 picture. On the other hand, his frescoes in the Remigius 
 cliapel of S. Liiigi de' Francesi are already much mannered. 
 
 Pasquale Cati da Jesi painted in fresco the Martyrdom of 
 St. Lawrence above the High Altar in S. Lorenzo in Panis- 
 perna at Rome. The excellence of the drawing shows one of 
 tlie best scholars of Micliael Angelo. 
 
 Taddeo and Federigo Zuccaro, both generally insipid and 
 trivial, with a disagreeable smooth manner ; yet we find in 
 both the elements of considerable talent, particularly in works 
 where portraits are introduced, which compelled them to ad- 
 here more closely to nature. This is evident in their histori- 
 cal paintings in the Castle of Caprarola.' Also in the admi- 
 rable portrait of a Man with two Dogs in the Pitti Palace. 
 Among other works, Federigo painted the cupola of the Duomo 
 of Florence; it contains a multitude of figures, some of most 
 colossal dimensions. A satire of the day concludes with these 
 lines : — ■ 
 
 " Poor Florence, alas ! will ne'er cease to complain 
 Till she sees her fine cupola whitewash'd again." 
 
 But this has never happened. Federigo was also an author, 
 and evidently wished to rival Vasari : he wrote a theoretical 
 work on art,^ filled with "■ intellectual and formative ideas, 
 substantial substances, formal forms," &c. : he calls philosophy 
 and philosophising '•' a metaphorical, allegorical drawing." 
 Just as empty and inflated as these words are the greater 
 number of his pictures. Here and there, however, his original 
 gifts got the better of his false principles — as, for instance, in 
 the Dead Christ surrounded by Angels, in the Borghese palace 
 at Rome, which is a picture of great effect. 
 
 Agostino Ciampelli, by birth a Florentine, and a scholar of 
 Santi di Tito, deserves notice here for his graceful row of angels 
 with votive offerings on the walls of the apsis of S. Maria in 
 Trastevere ; also for two pictures in S. Pudenziana at Rome, 
 representing pious females interring the bodies of martyrs. 
 
 ' lUustri fatti Farnesiani coloriti nel Real Palazzo di Caprarola dai fratelli 
 Taddeo, Federigo e Ottaviano Zuccari, dis. et inc. da G. G. de Pi-enner. 
 Roma, 1748. 
 
 * L' idea de' Scultori, Pittori e Architetti, Torino, 1607. There are also 
 other short writings by Zuccaro.
 
 476 MASTERS OF THE SIXTEENTH CENTURY. Book V. 
 
 Witli much maniieiisni he still displays a feeling for expi-essiuii 
 a!id .simple beautj'. 
 
 Giuseppe Cesare, il Cavaliere d'Arpino, is a better artist: 
 he flourished, however, morq towards the beginning of the 
 seventeenth century. We find in his works less of the deplo- 
 rable manner just described, and a reasonable clear colouring. 
 Among his better works are tiie ceiling frescoes in the choir 
 uf S. »Silvestro a Monte Cavallo at Home. lie formed a great 
 school by means of which he directed the Roman practice, and 
 formed a decided opposition to other masters, particularly the 
 school of the Carracci, to whom we shall presently come. 
 
 A certain reaction to this decline of art was opposed by 
 Federigo Baroccio of Urbiuo — 1528-1612 — originally a scholar 
 of Battista Franco. He attached himself somewhat less super- 
 ficially to the study of the great masters, especially of Correg- 
 gio, so that he may take about the same rank as Parmegianino. 
 His merit did not lie in any depth of intention or power — his con- 
 ception is sometimes highly att'ected — his expression sentimen- 
 tal, and his colouring, though often of an agreeable harmony 
 and depth, yet rouge-like in the carnations. His better attri- 
 butes are a very animated and decided emotion, and also a ten- 
 der idyllic character, to which his dexterously-treated light and 
 chiaroscuro gives a higher charm. When employed in the 
 Vatican, at Rome, some of his rivals sought to take his life by 
 poison ; this determined him to return to his home, and tliere 
 to execute his numerous commissions, while his pictures, being 
 dispersed to various parts of Italy, excited great interest. 
 One of his principal works, a colossal Descent from the Cross, 
 in the cathedral at Perugia, is not without grandeur in the 
 agitated group surrounding the fainting- Virgin. A Madonna 
 upon clouds, with St. Lucy tmd St. Antliony, in the Lonvre, 
 has more technical merit. Christ with the Magdalen, in the 
 Corsini Gallery at Rome, is, for truth and naivete, one of the 
 best of his works. A large Madonna interceding for tlie poor, 
 in the gallery of the Uffizj, is well painted. I'he pictures by 
 him in the Vatican and in the Borghese palace are less 
 remarkable. 
 
 Among Baroccio's followers is Cristoforo Roncalli (ii Cava- 
 liere delle Pomarance), by whom many, chiefly mediocre, works
 
 Chap. IX. DECLINE OF ART — THE :\rAXXERISTS. 477 
 
 exist ; the best, perliaps. are in the Cupola of S. Pudenziana ; 
 also Giovanni Baglione ; several artists in Genoa, and others. 
 
 Equal degeneracy appears in Bologna, where, as we have 
 seen, the style of the Roman school had been transplanted by 
 Raphael's scholars and imitators. 
 
 Prospero Fontana, Lorenzo Sabbatini, Orazio Sanunachini, 
 Bartolonimeo Passerotti, are the most celebrated masters of 
 this period, but are seldom more than mere mannerists. An 
 admirable Madonna, by Sabbatini, however, is in the Berlin 
 Museum. 
 
 Lavinia Fontana, the daughter of Prospero, has more merit ; 
 her painting is clever and bold : in portraits especially slie has 
 left some excellent works. 
 
 Dionisio Fiammingo, properly Denys Cahart, from Ant- 
 werp, who received his education in the school of Prospero 
 Fontana, is among the better artists: he is certainly not free 
 from mannerism, but is distinguished by a warmer colouring, 
 which he probably brought from his native country. Barto- 
 lommeo Cesi also deserves to be favourably mentioned, as his 
 pictures, like those of Lavinia Fontana, show a closer attention 
 to nature. 
 
 Lastly, Luca Longhi may be mentioned : he inclined to tlie 
 old manner of Francia's school ; but instead of the deep feel- 
 ing of that master, we find in his pictures only an expression 
 of an affected devotion. His chief Mork is a Marriage at Cana, 
 in the refectory of the Camaldolese at Ravenna, with sinarle 
 fine heads. 
 
 In other places we find similar works and workmen : these 
 may be passed over, with the exception of some artists of 
 Genoa, where Perino del Yaga had spread the Roman stvle. 
 The brothers Andrea and Otta\io Semini may be mentioned, 
 but more particularly Luca Cambiaso (Luchetto da Genova), 
 who, notwithstanding much mannerism, occasionally pleases 
 by a clever and sound conception of nature. From amongst 
 the Neapolitan mannerists of this time we must except Simone 
 Papa the younger, who retained an agreeable simplicity, and 
 distinguished himself by correctness of form : his most impor- 
 tant works are the frescoes in the church of JMonte Oliveto at 
 Naples.
 
 478 MASTERS OF THE SEYENTEE^'TH CENTURY. Book VI. 
 
 BOOK VI. 
 
 RESTORATION AND SECOND DECLINE. 
 
 MASTERS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES. 
 
 CHAPTER I. 
 
 ECLECTIC SCHOOLS. 
 
 The immediate effect upon art of the renewed activity of the 
 Roman Catholic Church, consequent on the Reformation, was 
 very apparent in Italy, and as early as the latter part of tlie 
 sixteenth century we trace the fresh development of Italian 
 painting from many central localities. 
 
 The greater number of artists of this time (that is the end 
 of the sixteenth and first half of the seventeenth century) are 
 known by the name of Eclectics, from their having endea- 
 voured to select and unite the best qualities of each of the great 
 masters, without however excluding the study of nature. This 
 eclectic aim, when carried to an extreme, necessarily involves 
 a great misapprehension with regard to the conception and 
 practice of art, for the greatness of the earlier masters con- 
 sisted precisely in their individual and peculiar qualities ; and 
 to endeavour to unite characteristics essentially different at 
 once implies a conti'adiction. 
 
 In opposition to these eclectics arose another school, which 
 endeavoured to form an independent style, distinct from those 
 of the earlier masters. This freedom was to be based on an 
 indiscriminate imitation of common nature, conceived in a bold 
 and lively manner. The artists of this direction are distin- 
 guished by the name of Naturalisli : each class exercised in 
 its development a reciprocal influence on the other, particularly 
 the Naturalisli on the Eclectics ; and it is frequently impos- 
 sible to distinguish, with perfect precision, the artists of one 
 class from those of the other.
 
 Chap. I. ECLECTIC SCHOOLS. 479 
 
 The most important of the Eclectic schools was that of the 
 Carracci at Bologna ; its founder, properly speaking, was Lo- 
 dovico Caracci (1Ö55-1619), a scholar, first of Prospero P^on- 
 tano, and afterwards of Tintoretto, in Venice. He passed 
 his youth in constant and close attention to studies wliich had 
 become a dead letter among the artists of the time, and which 
 thus exposed liim to much ridicule and contem23t ; but this only 
 made it the more evident to him that reform Avas desirable, and 
 that it had become necessary to introduce rules and well-under- 
 stood principles into art, to counteract the lawless caprice of 
 the mainierists. But since, in such an undertaking, it was 
 necessary to declare war against the superior strength of this 
 undisciplined sect, he began by lookinij round for more power- 
 ful assistance : he found it in the persons of his two nephews, 
 Agostino and Annibale Carracci (Agost. 1558-1601, Annib. 
 1560-1609). They were sons of a tailor : Agostino bad been 
 intended for a goldsmith, Annibale for his father's trade. Lo- 
 dovico observed the predominant talent for painting in both, 
 and took ujion himself to educate them as artists. 
 
 In concert with them he opened an academy at Bologna, 
 which bore the name of the Incamminati : this the Carracci fur- 
 nished with all the necessarj»^ means of study — casts, drawings, 
 and engravings ; sujiplied living models for drawing and paint- 
 ing, and provided instruction in the theoi-etic departments of 
 perspective, anatomy, &c. ; they superintended and directed 
 the studies of their scholars (many of whom had had reason to 
 complain of the superciliousness of the older masters) witli 
 judgment and kindness. In spite of the opposition of the esta- 
 blished painters, the school of the Carracci was more and more 
 sought from day to day, and it Avas not long before all the 
 other school« of art in Bologna were closed. 
 
 The study of nature, and the imitation of the great masters, 
 were the fundamental principles of this school. In aiming at 
 tlie latter, they sought either to luiite the separate excellences 
 of those masters in one style, or, in a somewhat ruder way, to 
 treat single figures in their own pictures in the manner of this 
 or that master, according to the character they wished to re- 
 present. There is a sonnet by Agostino Carracci, in Mhich he 
 defines the principles of the school agreeably to this system.
 
 480 JIASTERS OF THE SEYEXTEEXTII CENTURY. Book VI. 
 
 He says : — " Let him who wishes to be a good painter acquire 
 the design of Rome, Venetian action and Venetian manage- 
 ment of shade, the dignified colour of Lombardy (that is, of 
 Leonardo da Vinci), the terrible manner of Michael Angelo, 
 Titian's truth and nature, the sovereign purity of Correggio's 
 style and the just symmetry of a Eaphael, the decorinn and 
 well-grounded study of Tibaldi, the invention of the learned 
 Primaticcio, and a little of Parmigianino's grace ; but without 
 So much study and weary laboin*, let him apply himself to 
 imitate the works which our Kiccolo (dell' Abliate) left us 
 here." ' This patchwork ideal, the impossibility of which we 
 have already alluded to, constituted only one transition step in 
 the history of tlie Carracci and their school. In the prime of 
 their artistic activity they greatly threw off their eclectic pre- 
 tensions — tliey neither needed tlie decorum of Tibaldi nor the 
 invention of I'rimaticcio — they had attained an independence 
 of their o\\n. The imitation of the great masters, where it is 
 
 ■ " Chi farsi un buoii pittor cerca. c desia, 
 II disegno di Roma abbia alia mano, 
 La mossa coll' ombrar Veneziano, 
 E il degno colorir di Lombardia. 
 
 Di Jlichel Angiol la terribil via, 
 II vero natural di Tiziano, 
 Del Correggio lo stil pnro e sovrano, 
 E di un Rafel la giusta simmetria. 
 
 Del Tibaldi il decoro, e il foudamento, 
 Del dotto Primaticcio 1' inventare, 
 E un po di grazia del PaiiBigianino. 
 Ma senza tanti studj, e tanto stento, 
 Si ponga 1' opre solo ad imitare 
 Che qui lasciocci il nostro Isiccolino." 
 
 [The above translation differs a little from that given by the author. The 
 passage "la mossa coU' ombrar Veneziano," has been supposed to refer 
 chiefly to Tintoret. (See Malvasia, quoted by Fuseli, Lectures, 1. ii.) It is to 
 be observed that the word "mossa" is a technical term still applied in Italv 
 to attitude or action: thus the expression " una bella mossa" is commonly 
 applied to an academy figure. " Venetian shade" was no doubt intended to 
 be understood less exclusively. The management of shade in this school 
 generally corresponds with the effects we see in the open air : the intensest 
 darks are confined to hollows ; all other shades are considered as lesser 
 degrees of light : thus the mutable accidents of light seldom interfere with 
 the permanent qualities of colour and form. The expression "the just sym- 
 metrv of Raphael," was perhaps intended to relate to the balance of his 
 composition and the shape of his masses — not merely to the proportions of 
 the human form. — Ed.]]
 
 Chap. I. ECLECTIC SCHOOLS. 481 
 
 apparent, is no longer of a soulless, superficial character, the 
 mere plagiarism of single features, but is rather a thoroughly- 
 understood and artistic appropriation of their highest qualities, 
 bearing the character rather of rivalry than of imitation. It is 
 true that the eclecticism they originally professed often left 
 its traces in a coldness, stiffness, and academical consciousness, 
 which offends the spectator ; but we are inclined to moderate 
 even this criticism when we consider the difficulty of opposing 
 fresh ideas to the exaggerated mannerisms then existing, and 
 when we consider also that it was the individual energy of these 
 painters which forced them a way througli the trammels of 
 imitation. They possessed a true and a great feeling for the 
 representation of the higher subjects of life, and it w as by their 
 own incredible zeal that they attained a considerable, though 
 not a perfect, harmony of corresponding style. In some re- 
 spects they adopted the bold naturalism of their times, but 
 moderated and refined by an acquaintance with the great 
 models of antiquity, and with those of the Raphael period. 
 
 The merit of Lodovico Carracci is more that of a teacher 
 than of an independent and productive artist. The greater 
 number of his works are at Bologna, particularly in the gal- 
 lery : in general composition they are seldom attractive or 
 dignified ; the ability they evince is rather to be sought in 
 single parts. Among the finest of those in the gallery is a 
 Madonna, in a glory of Angels, standing on the Moon, with 
 St. Francis and St. Jerome beside her (the picture was taken 
 from S. Maria degli Scalzi) : the Madonna and Child are 
 painted with peculiar grace, and with a happy imitation of the 
 chiaroscuro of Correggio. In the same collection there is a 
 Birth of St. John the Baptist, with much that is attractive in 
 the truth and artlessness of certain portions. In the convent 
 of S. Michele in Bosco, at Bologna,' he painted (with his 
 scholars) scenes from the liistory of St. Benedict and St. Cecilia ; 
 these, in like maimer, are occasionally beautiful, and even 
 maje>tically graceful. The miracle of the Loaves and Fishes, 
 in the Berlin Museum, is insignificant in conception. We 
 
 ' II Claustro di S. Michele in Bosco di Bologii,i, dip. dal tamoso Lodovico 
 Carracci e da altri maestri usciti della sua Scuola; deser. dal Sig. Malvasia. 
 Bologna, 1694. 
 
 r
 
 482 MASTERS OF THE SEVEXTEEXTH CENTURY. Book VI. 
 
 remark that it was Lodovico Carracci who first dwelt, in his 
 pictures, on the ])athos of" sorrow, whence resulted the many 
 Ecce Homos and sorrowing Virgins of the Bolognese school. 
 A large Pieta, of terrible but truly natural grief in expression, 
 is in the Corsini Gallery at Rome. A colossal Ecce Homo, of 
 beautiful and mild expression, though not of sufficient power, 
 is in the Doria Gallery. Several pictures in the Louvre — a 
 Madonna, an Adoration, and others, betray, in character and 
 mode of light and shade, the study of Correggio. 
 
 Agostino Carracci, on the whole, painted less ; he was a 
 man of learned education, and superintended the theoretical 
 instruction of the academy. He is particularly celebrated 
 as an engi'aver. Among his paintings, which are rare, and 
 remarkable for delicacy of treatment, the St. Jerome receiving 
 the Sacrament before his Death (taken from the Carthusian 
 church at Bologna) is the most important picture in the 
 Bolognese gallery. The composition, like that of all tiie 
 great works of the time, has the appearance of contrivance, 
 but the picture has great truth of character, and contains much 
 that is good in detail. The infant Hercules stranoling the 
 Serpents, in the Louvre, of very energetic character, is by 
 Agostino, though imputed to Annibale Carracci. 
 
 Annibale Carracci is by far the most distinguished of this 
 family. In consequence of his studies in Upper Italy, we find 
 an imitation of Correggio, and afterwards of Paul Veronese, 
 in his earlier works ; but after his residence in Rome, his own 
 powerful style, formed under the influence of the works of 
 Raphael and Michael Angelo, and of the antique, as he under- 
 stood it, developed itself in a new form. Annibale does not 
 always please ; his forms have often something general and 
 unindividual, and are deficient in the true enthusiasm for the 
 subject : fettered by the sense of the naturalism against which 
 he had to contend, he seems to have been afraid of trusting to 
 his own inspiration. For all this, if the spectator be just, he 
 may always recognise the greatness of the painter in the 
 powerful life which pervades his w^orks, and, in cases where 
 his feeling for nature is allowed to have scope, in his freshness 
 and vigour. In the Gallery of Bologna there is a picture of 
 his from the church of S. Giorgio, in which the Madonna is
 
 Chap. I. ECLECTIC SCHOOLS. 483 
 
 in the manner of Paul Veronese ; the Infant and the little 
 St. John in that of Correggio ; St. John the Evangelist in 
 that of Titian, while the St. Catherine resembles Parmeo-ia- 
 nino. We find similar motices in a large picture of St, Roch 
 distributing alms, in the Dresden Gallery-, one of his most 
 celebrated works. Annibale is most happ)- in small composi- 
 tions, such as Madonnas and Holy Families. A very grace- 
 ful picture of the kind is in the Tribune at Florence ; another 
 is in the Museum at Berlin. One similar to the last men- 
 tioned is in the Louvre, where tliere are also a large number 
 of his pictures of the most various periods, A Pieta, often 
 repeated, is very excellent. A Dead Christ in the lap of the 
 Madonna, with two weeping boy-angels ; the picture is ex- 
 tremely well composed, and the Virgin particularly has some- 
 thing of the free dignity of the masters of the beginning of the 
 century. A very beautiful repetition of this picture is in the 
 Borghese Gallery at Rome, another is in the Museum of 
 Naples. Also the celebrated picture of the Three Marvs, — a 
 Dead Christ, the Madonna and two women, — at Castle Howard, 
 is of deep and noble pathos in the expression of grief. The 
 series of frescoes of mythological designs in the Farnese palace 
 at Rome,' and particularly in the so-called gallery of the palace, 
 is generally considered his best performance. Indeed these 
 works may be considered the fairest criterion of the school. 
 Artistically speaking, they claim the iiighest admiration : for 
 the technical process of fresco we know no more finished spe- 
 cimen. The arrangement on the arched ceiling of the great 
 saloon is only surpassed (and that, it is true, in a diflferent 
 way) by the Sistine chapel. The drawing is altogether mas- 
 terly both in the nude and in the draperies, and, as far as 
 fresco permits, modelling, colouring, and chiaroscuro may be 
 termed perfect. But independently of the ostentatious study 
 of Raphael and Michael Angelo, which is everywhere appa- 
 rent, we especially feel the want of the appropriate life, the 
 real capacity for enjoyment, which after all, in subjects of this 
 kind, is absolutely essential. Thus, from the composition and 
 
 ' These have been freqnently engraved : the best work is — Galerife Far- 
 nesianae Icones, etc., ab Annibale Carraiio coloribus exjiressse, a Petro Aquila 
 del. inc. Romae. 
 
 y 2
 
 484 MASTERS OF THE SEVENTEENTH CENTURY. Bo^^k YI. 
 
 gestures of the "Galatea" — one of the many suljjects re- 
 ])resented — it is evident tlie picture was intended to express the 
 fullest enjoyment of the senses; but its general expression is, 
 on the contrary, cold and heavy, and tiie same may be said of 
 other mythical subjects by Annibale ; in many of them, how- 
 ever (for example, in the famous Bacchante in the Tribune of 
 Florence, and in the Museum at Naples), the colouring is very 
 masterly. The piintings in the Farnese palace were his last 
 important works. The parsimony of Ids employers provoked 
 his anger, and had an unfavourable effect on his health, which 
 was utterly destroyed by a journey to Naples and the perse- 
 cutions he encountered fiom the Neapolitan artists. He died 
 soon after his return to Rome. 
 
 Besides his historical works, Annibale \»as one of the first 
 who practised landscape jjainting as a separate department of 
 art. In him and his contemporaries the influence of the Ne- 
 therlanders and the Yeneti.ins, of Paul Brill and of Tiian was 
 united, and they, in their turn, laid the foundation for Poussin 
 and Claude Lorraine. In many of Annibale's historical pic- 
 tures, as, for example, in several in the Louvre, the landscape 
 divides the interest with the figures. It is true his landscape 
 is wanting: in the charm whicli later landscape painters attained, 
 and also in the glow of colour which belongs to Titian. With 
 ali his lively feeling for grand and beautiful lines, and for a 
 corresponding arrangement of architecture, Annibale's land- 
 scapes still bear the stamp of spirited scene-paintings. Many 
 of this description are in the Doria palace at Eome, and a very 
 admirable picture of energetic effect and poetical composition 
 is in the Museum at Bei lin. Two beautiful landscapes are in 
 the National Gallery at London. Two others, one of which 
 directly recalls Paul Brill, are at Castle Howard. Genre pic- 
 tures by Annibale also exist. The "Greedy Eater" in the 
 Colonna palace at Rome, and another in the Uffizj gallery at 
 Naples, are interesting proofs of the humorous vigour of 
 which this painter was capable. 
 
 A number of important artists sprang from the school of 
 the Carracci, with various peculiarities of style, and in some 
 respects they surpassed their masters. The most celebrated 
 are the follo-wing.
 
 Chap. I. ECLECTIC SCHOOLS. 485 
 
 Domenico Zampieri, surnamed Domenichino ' (1581-1641), 
 a painter in whose works, more than in those of any other 
 artist of the time, we occasionally observe the pure artlessness, 
 the free conception of nature, which were peculiar to the con- 
 temporaries of Raphael. Even Domenichino, on the whole, 
 and in essentials, could never cast aside the trammels of his 
 school ; this indeed was to be the less expected, as he does not 
 appear to have been gifted with a particularly rich fancy. 
 He frequently made use of the compositions of other artists, — 
 as in his celebrated picture of the Connnunion of St. Jerome, 
 now in the Vatican — in which we finJ, a close imitation of the 
 same subject by Ag-ostino Carracci. The imitation is not, 
 however, servile, and there is an interesting individuality in 
 several of the heads. It was seldom that he succeeded per- 
 fectly in the higher subjects of inspiration. Among his best 
 specimens are the Four Evangelists, in the pendentives of the 
 cupola of S. Andrea della Valle at Kome — nonderful com- 
 positions, in wiiicli the group of the St. John, surrounded with 
 angels, constitutes one of the finest efforts we know of this 
 kind. In other liistorical pictures Domenicliino is often cold 
 and studied, especially in the principal subject, while, on the 
 other hand, the subordinate persons have much grace, and 
 a noble character of beauty. Of this the two frescoes in S. 
 Luigi at Rome, from the life of St. Cecilia, are striking 
 examples. It is not the Saint herself, bestowing her goods 
 from a balcony, who constitutes the chief subject, but the 
 masterly group of poor people struggling for them below. 
 The same may be said of the Death of tlie Saint, where the 
 admiration and grief of the bystanders are inimitable. Also 
 of the Scourging of St. Andrew, in the chapel of that saint, 
 next S. Gregorio, on Monte Celio at Rome ; liere a group of 
 women, thrust back by the executioners, is of the highest 
 beauty. The most beautiful works are at Fano, in a chapel 
 of the Duomo ; they represent scenes from the life of the 
 Virghi, painted in fresco. They have surtiared from the smoke, 
 when part of the church was burnt ; but we can perceive, in 
 the Visit of Mary to Elizabeth — the best-preserved picture — a 
 feeling for beauty, a purity, candour, and mildness of expres- 
 ^ Outlines iu Laudou, Vies et (Euvres, etc., t. Domeiiichino.
 
 486 MASTERS OF THE SEVENTEENTH CENTURY, Book VI, 
 
 sion, such as are perhaps not to be met with in any of his 
 other works. There are many beautiful parts in the frescoes, 
 from the history of St. Nilus, which Domeiiichino painted at 
 Grottaferrata,' near Rome, and likewise in those of S. Andrea 
 della Valle, at Rome, particularly the historical scenes on the 
 ceiling of the tribune: they are not, however, free from the 
 faults aljove mentioned. His great altar-pictures, selected 
 and brought together in the Gallery of Bologna, contain little 
 more than theatrical attitudes. The Martyrdom of St. Sebas- 
 tian in S. M. degli Angeli, at Rome, is deficient in conception, 
 and altogether in subject lies beyond the sphere of this master. 
 At this time pictures of martyrdom, in which Raphael and his 
 times were so sparing, came greatly into vogue ; painters and 
 patrons sought for passionate emotion, and these subjects sup- 
 plied them with plentiful food. 
 
 Another of Domenichino's best works, an oil-painting in 
 the Boighese Gallery in Rome, represents Diana and her 
 Nymphs, some of whom are shooting at a mark with arrows, 
 others are bathing — a very pleasing composition, peculiarly 
 fine in its lines, and full of characteristic movement ; but even 
 here the expression of the faces is not equally natural through- 
 out. A beautiful and nai've picture by tliis master, a gviardian 
 Angel defending his charge, a fine, splendid boy, from Satan, 
 is ill the Studj Gallery at Naples. The half length figure of 
 St. John, looking upwards in inspiration, well known by 
 Müller's engraving, though tliis is not qiute true to the 
 original, is in Prince Narischkin's collection at Petersburg. 
 Another, not less admirable, is at Castle liowaid. A fine 
 St. Sebastian, with pious women dressing his wounds, some- 
 what recalling the Venetian manner, is in the Stadel Insti- 
 tution at Frankfort. 
 
 Like Annibale Carracci, Domenichino was invited to Naples ; 
 like him too he w'as persecuted by the Neapolitan painters, 
 who would tolerate no strangers. Of his works in Naples the 
 most important are in the chapel of the Tesoro in the Duomo. 
 He died before their completion — it is suspected, by poison. 
 Domenichino was also an excellent landscape-painter. The 
 
 ' Picturae Domenici Zampierii quae extant in Sacello sacra; a;-(li Clirypto- 
 feiratensi adjuncto. Roma?, 1762.
 
 Chap. I. ECLECTIC SCHOOLS. 487 
 
 character of his landscapes, like that of Aniiibale Carracci's, 
 is decorative; but it is united in a happy manner witli warmth 
 of colour, and a cheerful, lively feeling. Excellent works 
 of the kind are in the Villa Lndovisi and in the Doria Gallery 
 in Rome, in the Louvre, and in the National Gallery and 
 Bridgewater Galler}- in London. 
 
 Domenichino formed but few scholars ; one of them, Giam- 
 battista Passeri, is one of the most esteemed writers on the 
 history of Italian painting. 
 
 Francesco Albaui (1578-1660).' Elegance is in one Avord 
 the characteristic of this painter. He deliglits in cheerful 
 subjects, in w hich a playful fancy can expatiate, such as scenes 
 and figures from ancient mythology — above all, Venus and her 
 companions, smiling landscapes, and hosts of charming amorini, 
 wl)0 surround the principal groups, or even form the subject 
 of the picture. But his works, both landscape and figures, 
 have throughout a merely decorative character ; their eleg-ance 
 seldom rises to grace of mind ; their playfulness rarely be- 
 speaks real enjoyment. Pictures of the class alluded to are 
 not uncommon in galleries ; in the Louvre, especially, there 
 is a number of them. In the Borghese Gallery are the Four 
 Seasons, which miglit just as w'ell be called the four elements 
 (only one of them by liis own hand), with others in the Colonna 
 palace. In the Verospi palace (now the Torlonia palace) 
 are some very pleasing frescoes of an allegorical-mythological 
 nature, still preser\ ed on the ceilings of the Loggia, on the 
 first story. Religious subjects occur less frequently ; but in 
 these (some are in the Gallery of Bologna), if not more pro- 
 found, he appears more skilful, and is tolerably free from 
 exaggeration and aflfectation. One of his most graceful and 
 frequently repeated compositions is the Infant Christ sleepin»- 
 on the Cross. 
 
 Albani formed various scholars at Bologna and at Rome. 
 The best of these are : — Giovanni Battista Mola, a French- 
 man, an unaffected painter, by whom there are some good 
 portraits ; Pier Francesco Mola, from the vicinity of Como, 
 excellent in historical pictures, and in single figures, especially 
 as respects colour : his landscapes, of a Biblical and mvtlio- 
 ' Outlines in Landon, Vies et CEuvres, etc., t. Albani.
 
 488 MASTERS OF THE SEVENTEENTH CEVTURY. Book VI. 
 
 logical import, are grandly composed, and are admirable in 
 effect of light and atmosphere, and especially in glowing even- 
 ing scenes. Carlo Cignani, an artist of no great importance, 
 characterized by a graceful but superficial style : one of his 
 pictures, Joseph and Potiphar's Wife, is in the Dresden Gal- 
 lery ; an enormous Assumption of the Virgin is also in the 
 Munich Gallery. Andrea Sacchi, tlie cleverest of the school : 
 a picture by him (an excellent work of its kind), representing 
 S. Romualdo among the Friars of his Order, is in the Vatican : 
 it hardly deserves the epithet grand, but contains some noble 
 •figures in well-managed white drapery ; a Miracle by St. 
 Gregory, in the same gallery, is trivial in invention, but of a 
 luminous effect of colour : other \vorks of his are very inferior. 
 Carlo Maratti, a scholar of Sacchi, flourished about the end 
 of the seventeenth century — an artist of limited ability, whose 
 works exhibit an insipid striving after ideal l)eauty — he may 
 be called an inferior Guido. The absence of expression and 
 meaning, which is the characteristic of his contemporaries of 
 the end of the seventeenth cen+ury, is at all events replaced 
 in his pictures by great study of composition. His real repu- 
 tation in the history of Art is founded on the care with Avhich 
 he watched over Eaphael's frescoes in Rome and superintended 
 their restoration. 
 
 Guido Reni (1575-1642).' This artist was gifted with a 
 refined feeling for beauty, both in form and grouping. In a 
 freer period of Art he Mould probably liave attained the 
 highest excellence, but it is precisely in his works that the 
 restraint of his age is most apparent. His ideal consisted not 
 so much in an exalted and purified conception of beautiful 
 nature, as in an unmeaning, empty abstraction, devoid of in- 
 dividual life and personal interest. In the beauty of his 
 forms, of the heads particularly (which are mostly copied from 
 celebrated antiques, for example, the Niobes), and in his 
 grouping, we perceive the cold calculation of the vuiderstand- 
 ing, and it is but seldom that a spontaneous feeling makes its 
 way. The progressive development of Guido was singular in 
 its kind, for its period was marked by works very dissimilar 
 in style. Those of his early time have an imposing, almost 
 • Outlines in Landoa, Vies et Qüuvres, etc., t. Guido.
 
 Chap. I. ECLECTIC SCHOOLS. 489 
 
 violent character : iLrrand, jjowerful figures, majestically ar- 
 ranged, and dark shadows, resembling the manner of the 
 Naturalistic j^artieularly of Carava'j:gio, of whom we shall 
 presently speak. Among these the Crucifixion of St. Peter, 
 now in the Vatican, is quoted as having been painted in imita- 
 tion of Caravaggio ; it has the heavy, powerful forms of that 
 master, but wants the passionate feeling which sustains such 
 subjects — it is a martyrdom and nothing more — it might pass 
 for an enormous and horrible genre picture. Some of the 
 best pictures in the gallery at Bologna belong to this class. 
 A large picture called the Madonna della Pieta may be first 
 mentioned : in the upper part is the body of Christ, laid on a 
 tapestry, the Mater Dolorosa and two weeping angels at the 
 sides ; underneath are the patron saints of Bologna : the.se 
 have less merit. Still more grand is the Crucifixion : the 
 Madonna and St. John are beside the Cross : the Virgin is a 
 figure of solemn beauty — one of Guido's finest and most 
 dignified creations. A third very celebrated picture at Bo- 
 logna is the Massacre of the Innocents : the female figures 
 are beautiful, and the composition is very animated, but the 
 feeling for mere abstract beauty is hei"e very apparent. We 
 pass over other works of this kind, some of them very cele- 
 brated, but really of less excellence, and mei-ely mention in 
 addition a picture in the Berlin Museum representing the two 
 hermits, St. Paul and St. Anthony ; they are powerful figures, 
 and might be called true heroes of the desert. 
 
 At a subsequent time this fondness for the powerful became 
 moderated, and a more simple and natural style of imitation 
 succeeded, but there are few examples extant of this happy 
 period of transition. Guido'.s best picture — unfortunately an 
 unfinished one — belongs to this time ; it is in the choir of S. 
 Martino at Naples, whither the painter was invited ; but like 
 other artists, he was driven away by the jealousy of the Nea- 
 politans. The subject is the Nativity : in tlie figures of the 
 shepherds and women, who come to worship, there is a beauty 
 and artlessness such as are not to be found in any other of his 
 works. A second excellent specimen is the large painting on 
 the ceiling of the garden pavilion of the Kospigliosi palace at 
 Rome : Aurora precedes Phoebus, whose chariot is drawn by 
 
 Y 3
 
 490 MASTERS OF THE SEVENfTEENTH CENTURY. Book VI. 
 
 white [and piebald] horses, while the Hours advance in 
 rapid flight. Among the latter are some graceful figures 
 in beautiful action ; the whole is brilliantly coloured. A 
 third, and highly pleasing work, apparently of this, his best 
 time, is the fresco in the apsis of the Cappella S. Silvia, 
 near S. Gregorio, at Rome ; it represents a concert of 
 angels above a balustrade adorned with drapery, on which 
 lie the music books. In the centre are three naked children 
 singing, and on each side the charming figures of full grown 
 angels with trumpets, violoncellos, flutes, and tambourines. 
 Some of them are whispering playfully together ; others are 
 looking curiously down : above is the First Person of the 
 Trinity, in the act of benediction. The whole picture is 
 imbued witli a glow of youtiiful animation and beauty, which 
 reminds us of the best times of Italian art. Also another 
 fresco, in the neighbouring Cappella S. Andrea, is of high 
 merit — St. Andrew, on his way to execution, sees the cross 
 awaiting him in the distance, and falls upon his knees in 
 adoration ; the executioners and spectators regard him with 
 astonishment. The artist's transition to a less pleasing manner 
 is seen in a picture of which there are luimerous repetitions 
 (at Rome in the Gallery of the Capitol, at Schleissheim. in 
 the Museum of Berlin, etc.) : it represents P'ortune as a naked 
 female figure, sweeping over the globe, while a genius endea- 
 vours to hold her back by her veil and hair. Here we may 
 also mention the decoration of the sacramental chapel in the 
 cathedral at Ravenna. There is an excellent Glory in the 
 cupola, and the Gathering of Manna, over the altar. 
 
 Guido's works, during this transition, are distinguished by 
 an agreeable warmth of colour. Tliose of a later period are 
 of a pale silvery grey ; in these the insipid ideality, before 
 alluded to, exhibits itself more and more, and approaches its 
 greatest degeneracy, viz., a vapid generalization without 
 character — an empty, ordinary kind of gracf. Perhaps the 
 best of this class is tlie famous Assumption of the Virgin, in 
 the gallery at Municli ; one of the angels, for examjile, who 
 supports the Madonna, is remarkable for its delicacy and 
 grace. A more celebrated picture in the Gallery of Bologna 
 has, in reality, less merit ; it represents a Madonna in a glory
 
 Chnp. I. ECLECTIC SCHOOLS. 401 
 
 of angels, with the patron-saints of Bologna underneath ; the 
 picture is called '• II Pallione " (the Church Standard), from 
 having been originally used in processions. In the latter part 
 of his life Guido often painted with careless haste ; he had 
 given himself up to play, and sought to retrieve his immense 
 losses by raising money as rapidly and easily as he could. At 
 this time cliiefly were painted the numerous Madonnas, Cleo- 
 patras, Sibyls, etc., which are to be found in every gallery.' 
 Better specimens of this kind are in the Spada Gallery, at 
 Rome ; the best is perhaps the Andromeda, in the Rospigliosi 
 Summer-house. A large number of his works, of various 
 periods, are in the Louvre. A very beautiful Madonna, with 
 the Sleeping Child, executed with greater care and severity 
 than usual, is in the palace of the Quirinal. In the same 
 palace, serving for the altar-piece of the Pope's private 
 chapel, is a Madonna with a glory of angels. 
 
 Guido formed a great number of scholars, part of whom 
 imitated his later manner. Among these are Semenza, Gessi, 
 Domenico Canuti, Guido Cagnacci. The best are Simone 
 Cantarini and Gio. Andrea Sirani, whose daughter and 
 scholar, Elisabetta Sirani, also distinguished herself in this 
 style. 
 
 Gio. Francesco Barbieri, surnamed Guercino da Cento 
 (1590-1666),^ although not immediately belonging to the 
 school of the Carracci, or having remained in it but a short 
 time, nevertheless decidedly followed the same general style. 
 The progress of his development may be compared to that of 
 Guido Reni ; but lie is distinguished from that master by the 
 expression of a livelier feeling, while Guido rather follows his 
 own ideal beauty. In the early works of Guercino we find 
 the same power and solidity, the same depth of shadow, but 
 already tempered by a certain sweetness, and by an admirable 
 chiaroscuro. There are two excellent pictures of this class 
 in the Gallery of Bologna — St. William of Aquitaine assuming 
 the garb of a monk, and the Virgin appearing to St. Bruno. 
 
 ' [This must be understood of the inferior repetitions of these subjects, 
 for some of this class are among Guide's most careful and pleasing pro- 
 ductions. — Ed.] 
 
 .^ Jac. Aless. Calvi, Notizia della Vita e delle Opera di Gio. Franc. Bar- 
 bieri detto il Guercino da Cento. Bologna, 1808.
 
 492 MASTERS OF THE SEVENTEENTH CENTURY, Book VI. 
 
 Also, in the Sparia Gallery at Rome, Dido's Last Moments — 
 a large picture, full of figures. The expression of sorrow and 
 passion in Dido and iier attendants is of the utmost power, the 
 colouring glowing and deep. St. Petronilla, in the Gallery 
 of the Capitol, is of a more superficial character, but painted 
 in a masterly manner. St. Peter raising Tabitha, in the Pitti 
 Palace, though of smaller dimensions, is a chef-d'oeuvre. A 
 Madonna in the clouds, adored by several saints, is in the 
 Louvre. The Incredulity of Thomas, in the gallery of the 
 Vatican, is also a distinguished work ; the profile of the 
 Saviour especially is very noble in expression. Among other 
 good paintings of this kind may be mentioned the Prophets 
 and Sibyls in the cupola of the Cathedral of Piacenza, and 
 the Aurora, in a small garden pavilion of the Villa Ludovisi, 
 at Rome. The last named vs^orks, with their glowing colour- 
 ing, combined with broad and dark masses of shadow, almost 
 attain the effect of oil paintings. 
 
 At a later period Guercino, like Guido, adopted a softer 
 style, in which he produced a fascinating effect by a delicate 
 combination of colours. His works of this time have a certain 
 sentimental character, which in some instances is developed 
 with peculiar grace. Among the best are the Dismissal of 
 Hagar, in the gallery at Milan, and a Sibyl in the Tribune at 
 Florence ; also several pictures in the Louvre and in English 
 galleries. A splendid Cleopatra is in the Brignole Palace at 
 Genoa. But in his later works the same insipidity observable 
 in Guido frequently appears ; a repulsive mannerism takes the 
 place of sentiment, and the colouring is pale and indistinctly 
 washy. Guercino also practised landscape-painting, and ac- 
 quired in this department a beautiful and rich style of 
 colouring. 
 
 Several painters of the Gennari family, among whom Bene- 
 detto was the most remarkable, were scholars and imitators of 
 Guercino. 
 
 Giovanni Lanfi'anco (1581-1647). Li the hands of this 
 painter tlie art again degenerates to a mere mechanism, an 
 effort to produce effect by dexterity and superficial means : 
 abrupt contrasts of light and shade ; grouping according to 
 school precepts rather than according to the nature of the
 
 Chap. I. ECLECTIC SCHOOLS. 493 
 
 subject ; fore-shortenings without necessity, merely to make 
 a display of drawing ; countenances which, notwithstanding 
 the tension of every feature, express nothing : tliese are the 
 elements of Lanfranco's art. Even the study of nature is 
 neglected, and the severity and solidity of the Carracci begin 
 to disappear — the sole merit of a facile and cheerful colour 
 nmst be excepted. Yet Lanfranco succeeded better than 
 perhaps any other artist of the school : many considerable 
 cupola-paintings were executed by him ; for example, those 
 of S. Andrea della Valle in Rome, and those in the Tesoro 
 at Naples, where he alone successfully maintained his position 
 against the Neapolitan artists. Where the subject permitted 
 of a naturalistic conception he is generally the most successful. 
 His St. Louis feeding the Poor, in the Academy at Venice, 
 is a good picture of this kind ; also the Liberation of St. 
 Peter, in the Colonna palace at Rome. On the other hand, 
 his St. Cecilia, in the Barberini palace, with her bold expres- 
 sion and vulgar action, may serve as a specimen of this 
 artist's worst style. 
 
 The following are among the less celebrated scholars of 
 the Carracci. Alessandro Tiarini, chiefly distinguished by 
 clever execution : many of his best pictures are in the gallery 
 of Bologna. — Lionello Spada, a powerful painter, who happily 
 combined the more dignified conception of the Carracci with 
 the vigour and trutli of Caravaggio. Giacomo Cavedone, 
 also a very able painter : there is an excellent picture by him 
 ill the same galleiy. — In addition to these may be mentioned 
 the landscape-painter Francesco Grimaldi, who imitated the 
 decorative style already spoken of as characterizing the land- 
 scapes of Annibale. There is a series of pictures by him in 
 the Borghese gallery at Rome : a good specimen is also to be 
 seen in the Berlin Musemn. — The fruit-painter, II Gobbo 
 da' Frutti (the Hunchback of Cortona), properly speaking 
 Pietro Paolo Bonzi : large and excellent fruit pictures by him 
 are at Alton Towers. 
 
 Bartolommeo Schedone of Modeua, who died at an earlv 
 age in 1615, is also said to have formed his style under the 
 influence of this school. In his earlier works the study of 
 Correggio is chiefly apparent, but the sharpness and severity
 
 494 MASTERS OF THE SEYEXTEEXTII CEXTURY. Book VT. 
 
 of Schedone form an unfavourable contrast to the refined style 
 of that master. He is more pleasing in other works which 
 are independent of this influence, and which are characterized 
 by a straightforward imitation of nature in the manner of 
 the Naturulisti. Several interesting pictures by Schedone 
 are in the Museum at Naples, where indeed most of his works 
 are collected : two, representing the distribution of alms to 
 the poor, are especially worthy of notice. 
 
 Gio. Battista Salvi, surnamed Sassoferrato from his birth- 
 place (1605-1685), is also said to have been formed by 
 scholars of the Carracci, and chiefly, it is supposed, by Dome- 
 nichino. He is, however, a tolerably independent artist, free 
 from the ideal feebleness and emptiness of the later followers 
 of the Carracci. He rather imitated, and not without success, 
 the older masters of the beginning of the sixteenth century, 
 and has indeed a certain affinity with them in his peculiar, 
 but not always unaffected, gentleness of mien. "We have 
 already mentioned his free copies after Raphael's Madonna 
 with the Pink (p. 339), and Titian's picture of the Three 
 Ages. He copied also from Pietro Perugino, a master who, 
 in those times, was somewhat looked down upon. Pictures of 
 this kind, with an excellent copy of Raphael's Entombment, 
 are in S. Pietro at Perugia. His own original pictures have 
 no particular depth, but are smooth, pleasing, and often of 
 great sweetness of expression, which occasionally degenerates 
 into sentimentality. The INIadonna and Child were his con- 
 stant subject ; in some of these" pictures he appears to great 
 advantage ; every large gallery possesses one or more of them. 
 The Holy Family also, in their domestic character, was a 
 favourite subject of his, in his treatment of which he appears 
 to have been the forerunner of the modern romantic school ; 
 for example, in a picture of this kind, in the Studj Gallery at 
 Naples, the Madonna is represented sewing, Joseph planing 
 wood, and the youthful Christ cleaning the room. His most 
 celebrated picture is the Madonna del Rosario, in S. Sabina 
 at Rome. The expression of St. Domenick is of a high order 
 of pathos. Sassoferrato finished his pictures, as his tendency 
 would lead us to expect, with great care and minuteness. 
 
 Other Eclectic schools appeared in Italy simultaneously
 
 Chap. I. ECLECTIC SCHOOLS. 495 
 
 with the school of the Carracci, That of the Campi, for 
 example, at Cremona, which flourished in the middle and 
 toward the end of the sixteenth century. The head of this 
 school is Giulio Campi (1500-1572) : he was originally 
 taught by Giulio Romano, but afterwards followed the manner 
 of several of the great masters. Giulio educated liis brother 
 Antonio, a more mannered artist, and Bernardino Campi, 
 another relative, who is the most important master of this 
 school. His works are principally to be found in Cremona. 
 A Pieta, in the Louvre, shows the study of Raphael in the 
 noble form of the Virgin, and of Correggio in the warmth of 
 the colouring, though it is tasteless in composition. Sofonisba 
 Anguisciola was his scholar : Count Raczynski of Berlin 
 possesses an excellent family picture by her. 
 
 A third Eclectic school is that of the Procaccini at Milan ; 
 it rose to greater importance than that of the Campi, owing 
 to the patronage of the Borromeo family. Its founder, Ercole 
 Procaccini (1520-1590), was born and educated at Bologna, 
 and flourished in the second half of the sixteenth century. 
 His works are not very extraordinary, but they evince a 
 carefuhiess and industry which perhaps preserved him from 
 the degenerate mannerism of the time, and well fitted him for 
 the office of a teacher. His best scholar was his son Camillo, 
 who flourished about the beginning of the seventeentii century. 
 In the works of this artist we find, together w^ith the study of 
 the older masters, a particular and sometimes successful imi- 
 tation of Correggio and Parmigianino, united with a clever 
 conception of nature. He is, however, very unequal : a great 
 facility in conception and execution led him into frequent 
 abuse of his talents, particularly in the works which he exe- 
 cuted out of Milan. His better pictures are in the churches 
 and galleries of that city ; in these a peculiar gentleness occa- 
 sionally reminds us of the maimer of Sassoferrato. A Madonna 
 aail Child, in S. Maria del Carmine, and an Adoration of the 
 Kings, in the Brera, both deserve notice. Giulio Cesare 
 Procaccini, the brother of Camillo, applied himself also to 
 the imitation of Correggio, and in small cabinet pictures not 
 without success. There is a good specimen in the Berlin 
 Museum — the Angel appearing to Joseph in a Dream ; other
 
 496 MASTERS OF THE SEVENTEENTH CENTURY. Book VI. 
 
 works by him are at Milan. This artist too is very unequal, 
 and is frequently mannered. 
 
 Of the numerous descendants of the school of Procaccini 
 the most disting'uished is Giovanni Battista Crespi, surnamed 
 II Cerano from his birth-place (1557-1653). This artist, 
 though not free from mannerism, is powerful and grand. 
 There are excellent pictures by him in the Brera at Milan, 
 and a very clever one in the Musemn of Berlin. — His son and 
 scholar, Daniel Crespi, is a less distinguished artist, but there 
 is a series of clever portraits by him in S. Maria della Pas- 
 sione at Milan. — Enea Salmeggia, surnamed II Talpino, also 
 belongs to the school of the Procaccini, having first studied 
 with the Campi. He deserves notice from his peculiarly 
 simple dignity and beautiful reminiscences of Correggio and 
 Leonardo da Yinci. Several of his pictures are in the Milan 
 gallery. The school afterwards degenerated into a superficial 
 manner, with a total want of character. To this period 
 belongs Ercole Procaccini the younger. 
 
 Tlie efforts of Baroccio at Rome to get up a certain 
 eclectic opposition to the mannerism of the day we have 
 already noticed (p. 476) ; but he and his Roman scholars 
 became mannerists themselves in turn. Some Florentines 
 who joined his school towards the end of the sixteenth century 
 were, however, more successful, and finally developed an 
 eclectic style of their own. This late Florentine school is 
 distinguished by great richness of colouring, and by a suc- 
 cessful representation of earthly beauty. But its merits are 
 confined to single figures ; in composition it rarely attains any 
 excellence. 
 
 The most important follower of Baroccio is the Florentine 
 Ludovico Cardi da Cigoli (1559-1613); he is distinguished 
 by a beautiful, warm colouring, but in expression frequently 
 degenerates into extreme sentimentality or exaggerated passion. 
 The gallery of the Uffizj at Florence possesses many of his 
 works. One of the most important, the Martyrdom of St. 
 Stephen, is as excellent in colouring as it is violent and con- 
 fused in action and expression. He frequently painted the 
 subject of St. Francis : tlie best is in the Pitti palace, where 
 there is also a Christ walking on the sea with Peter, and a
 
 Cliap. I. ECLECTIC SCHOOLS. 497 
 
 good Ecce Hoino.' A beautiful little picture of the Flig-ht 
 into Egypt is in the Louvre. Among- his scholars are Gre- 
 gorio Pagani. Domenico da Passignano, Antonio Biliverti 
 (properly speaking Bilevelt of Maestricht), by whom there is 
 a charming picture of tlie young and old Tobit with the 
 angel, in the Pitti palace, and many others. Domenico Feti, 
 the Roman, who inclines to the maimer of the Naturalisti, 
 has left a number of good, small, genre pictures, of Biblical 
 subjects ; also a mourning figure of the most excellent expres- 
 sion — in the Louvre it is designated as a JNIagdalen — in the 
 Academy at Venice as " Melancholy." A most animated 
 and effective specimen of this painter is at Castle Howard ; - 
 several are in the Dresden Gallery. 
 
 Cristofano Allori, a Florentine, son of Alessandro Allori, 
 already mentioned, belongs to the same general school (1577- 
 1621). He is one of the best artists of his time, and in some 
 works rises far above the confined aim of his contemporaries, 
 displaying a noble originality. His most finished picture is 
 in the Pitti palace, and represents Judith with the head of 
 Holofernes ; she is a beautiful and splendidly attired woman, 
 with a grand, enthusiastic expression. The countenance is 
 wonderfully fine and Medusa-like, and conveys all that the 
 loftiest poetry can express in the character of Judith. In the 
 head of Holofernes it is said that the artist has represented 
 his own portrait, and that of his proud mistress in the Judith. 
 There are several repetitions of this picture : one, of the same 
 size, is in the Imperial gallery at Vienna : a second, of small 
 dimensions, very delicately executed, is in the Ulfizj at 
 Florence. Other works by the same artist, some of them of 
 great merit, are to be met with in Florence, for example in 
 the Uffiz). In the Louvre there is an animated and truthful 
 historical picture — Isabella of Milan pleatiing with Charles 
 VIII. for peace for her father. Mr. Wells's collection also 
 contained a noble and grandly-conceived St. Cecilia, little 
 inferior to his Judith, there attributed to Domenichino. Good 
 portraits by this master often occur. 
 
 ' [The Ecce Homo in the Pitti Gallery is a pioductiou of such excellence, 
 that it might have warranted a higher general eulogy on the artist. — Ed.] 
 
 ^ [A portrait, probably that of the painter. .See Waagen, Kunstwerke, 
 &c., in England, vol. ii. p. 414. — Ed.]
 
 498 MASTERS OF THE SEVENTEENTH CENTURY. Book YI. 
 
 A large picture by Jacobo (Chinienti) da Empoli (1554- 
 1640) is in the Uffizj Gallery; in noble conception and truth 
 and glow of colour it reminds us of the best old Florentine 
 masters. A saint, in magisterial costume, is seated on a Ihrone, 
 on each side the donor's family. In the same gallery is a repre- 
 sentation of the First Person of the Trinity creating Adam. A 
 picture by Matteo Rosselli (1578-1650) is in the Pitti palace ; 
 it represents the Triumph of David, and is distinguished by a 
 freshness of life and beauty which entitle it to be classed with 
 the happiest of Domenichino's creations. Matteo formed a 
 numerous school. Giovanni di S. Giovanni (called Manozzi), 
 Baldassare Francesohini (Volterranno giovane), and Fiancesco 
 Furini, are among the best of his followers. These artists, if 
 unequal to their master, have left very pleasing works, in one 
 department at least, viz., portrait-painting. There is an ex- 
 cellent Hunting-jmrty by Giovanni in the Pitti palace ; but 
 there is also a tasteless picture by the same artist in the Uffizj, 
 representing Venus arranging Cupid's hair with a comb. 
 Five good frescoes of a naturalistic, character are in the 
 cloister near Ognissanti at Florence. 
 
 Carlo Dolce (1616-1686), also from the school of Matteo 
 Ivosselli, is about equal in merit to his contemporary Sasso- 
 ferrato. He also limited himself to the confined circle of 
 Madonnas and saints, and in these subjects has displayed a 
 peculiar gentleness, grace, and delicacy. He is distinguished 
 from Sassoferrato by a greater degree of sentimentality, which 
 is sometimes pleasing, but it frequently degenerates into in- 
 sipidity and affectation. Plis works are not rare in galleries : 
 among tlie best are a Madonna and Child in the Pitti palace ; 
 a St. Cecilia in the Dresden Gallery (several repetitions are 
 in other places) ; a St. .John the Evangelist is in the Berlin 
 Museum. Carlo Dolce repeats himself often, and introduces 
 the same motive in various forms — as a Madonna,' as a Mag- 
 dalen, as St. ApoUonia, &c. Of his historical pictures we 
 know only one of importance — St. Andrew praying by the 
 Cross before his Execution, inscribed 1646, in the Pitti palace.' 
 The deep devotion of the saint is finely contrasted with tlie 
 
 ' [A similar picture by Carlo Dolce is iu the collection of the Earl of Ash- 
 burnham. — Ed.]
 
 Chap. II. THE XATURALISTI. 499 
 
 gestures of the executioners. The painting is solid, and the 
 hands, as in all Carlo Dolce's pictures, of the most admirable 
 form. On the other hand, Diogenes with his Lantern, in the 
 same gallery, shows how little the painter had a turn for 
 humorous subjects. 
 
 In the course of the seventeenth centurj' a new mannerism 
 hastened the decay of the now nearly extinct influence of the 
 Eclectic school. The principal founder of this pernicious 
 style, which chiefly aimed at filling space with the least cost 
 of labour, was Pietro Berettini da Cortona (1596-1669). 
 Tlie intrinsic meaning of his subjects he altogether disre- 
 garded : even his thorough knowledge of nature he turned to no 
 purpose, but contented himself with dazzling and superficial 
 effects, with contrasts of masses, florid colouring and violent 
 lights. In spite of this he scarcely succeeds in concealing 
 his own great natural talents, and even in his most mannered 
 works we recognize a great inventive power. He lived and 
 worked at Florence and Rome : the allegorical paintings on 
 the ceiling of a large saloon of the Palazzo Barberini in 
 Rome are his chief works.' In both cities he left a great 
 number of scholars, who faithfully adhered to Ids style, and 
 thus dictated the taste of the eighteenth century. We shall 
 return to them. 
 
 Contemporary with this corruption of art, we remark a 
 general decline of Italian power in every department — 
 politics, church, and literature. 
 
 CHAPTER II. 
 
 THE NATURALISTI. 
 
 The hostility of the NoturaUsti to the Eclectics, particularly 
 to the school of the Carracci, has already been alluded to. It 
 manifested itself not only by means of the pencil, but, as we 
 have seen, had recourse to poison and the dagger. The 
 Naturalisti were so called from their predilection for common 
 
 ' Baiberinije anise fornix Romje eq. Petri Berettini Cortonensis picturis 
 admii-andus. J. J. de Rubels ed.
 
 OOO MASTERS OF THE SEVENTEENTH CENTURY. Book VI. 
 
 nature — for direct imitatiun. But this taste does not ai)pear 
 to have been merely accidental with them, as a consequence of 
 any particular mania for originality ; on the contrary, it is 
 founded on a peculiar feeling, which displayed itself in full 
 force (and it must be confessed too exclusively) for the first 
 time in their vv<n'ks. Passion is the predominant inspiring 
 })rinciple in their representations. The forms which they 
 bring before us are not those of nature in a refined state, like 
 those of the great masters in the beginning of the sixteenth 
 century — a nature in which beauty is the evidence of moral 
 harmony, and the feelings of love or hatred seem the indica- 
 tions of a godlike energy. Their figures want alike this phy- 
 sical elevation and this divine impulse — they are given up to 
 demons of earth ; and even when no animated scene is repre- 
 sented, the spectator feels that they are capable of the wildest 
 excitement. But in thus entirely devoting themselves to this 
 one aim, and in rejecting the tame rational ideal of their con- 
 temporaries, the Naturalisti carried their peculiar style of 
 Art to a perfection, which in its effect on the feelings of the 
 spectator far surpasses most of the works of the Eclectics. 
 Their style of imitation, when displayed in all its exclusive- 
 ness, might be called the poetry of the repulsive. Hence their 
 imitation of common nature as connected with the desires of 
 sense ; hence the sharp, abrupt lights and dark shadows (particu- 
 larly the dark backgrounds) which are employed in their works. 
 The cliief master of tliis style is Michelangelo Amerighi da 
 Caiavaggio (1569-1609), an artist whose wild passions and 
 tempestuous life were the counterpart of his pictures. He 
 resided principally in Rome, but at a later period went to 
 Naples, Malta, and Sicily. Notwithstanding his vulgarity of 
 conception. Ids works display a peculiar breadth, and, to a 
 certain extent, even a tragic pathos, \\hich is ei^pecially assisted 
 by the grand lines of his draperies. It is not only his vividly 
 falling and confined lights, or the tints of his carnations, bor- 
 rowed, as is supposed, from Giorgione, or the coarse superfi- 
 cialities of the Naturalistic school, which account for the great 
 effect Avhich his pictures produce, but it is a characteristic and 
 original poetry of feeling of which all this is the expression, 
 indicating a powerful nature, and one which, in spite of all
 
 Chap. II. THE XATURALISTI. 501 
 
 impurity, claims a certain kindred with tlitit of the great 
 Michael Angelo himself. Still it is true tliat his manner of 
 transforming sacred subjects into scenes of earthly passion 
 was carried too far, even for tliose times, so that several of his 
 pictures were obliged to be expelled from the altars thev 
 occupied. The paintings on the walls of a chapel in S. Luigi 
 de' Francesi at Rome belong to his most comprehensive works. 
 The Martyrdom of St. Matthew, with the angel with a palm 
 branch squatting upon a cloud, and a boy running awav 
 screaming, though highly animated, is an offensive production: 
 on the other hand, the Calling of the Apostle may be con- 
 sidered as a genre-Tpiciure of grand characteristic figures ; for 
 instance, those of the money-changers and publican at the 
 table ; some of them counting money, others looking up 
 astonished at the entrance of the Saviour. The most cele- 
 brated work of this painter is an Entombment of Christ in the 
 Vatican ; a picture certainly wanting in all the characteristics 
 of holy sublimity, but nevertheless full of solemnity, onlv 
 perhaps too like tiie funeral ceremony of a gipsv chief. 
 There is, however, room, even within these limits, for the 
 highest mastery of representation, and for the most striking 
 expression. A figure of such natural sorrow as the Virgin, 
 who is represented exhausted with weeping, with her trembling, 
 out-stretched hands, has seldom been painted. Even as mother 
 of a gipsy chief she is dignified and touching. The Holy 
 Family, remarkable for its gigantic style, in the Borghese 
 gallery in Rome, is also a grand picture, but it again has only 
 the air of a wild gipsy menage. This want of harmony 
 between the theme and its treatment is of course no lono-er 
 striking where the subject is not of a sacred character. 
 Caravaggio succeeds best in scenes of sorceiy, murder, mid- 
 night treachery, etc. One of his best pictures of this kind is 
 the Cheating Gamester, of which there are many repetitions; 
 the best is in the Sciarra palace in Rome. Another chef- 
 d'oeuvre of this kind is in the gallery of the Capitol ; it re- 
 presents a female sootlu-ayer, telling the fortune of a youth 
 from his hand, and looking at him at the same time with a 
 sensual expression. Both tliese motives are united in a picture 
 in the Manfrini gallery at Venice. Single figures of his also
 
 502 MASTERS OF THE SEVENTEEXTH CEXTURY. Book VT. 
 
 have a great charm of a genre kind ; for instance, Geometry 
 (a ragged girl, smiling, as she plays with a pair of compasses), 
 in the Spada palace at Eome. To this class also belongs a 
 masterly picture in the Berlin Museum, representing Earthly 
 Love : a boy with eagle's wings, daring and reckless in cha- 
 racter and action, rising from his conch, tramples books, 
 musical instruments, a laurel-wreath, and other attributes of 
 the kind, under his feet. An old woman winding thread, with 
 a young woman sewing at her side, have, by the nimbus round 
 their heads (though it is a question if it be not subsequently 
 added), assumed tlie appearance of a St. Anna and the Virgin. 
 In similar manner a pretty girl sitting sorrowfully next a 
 casket of jewels (in the Doria palace) is made to represent a 
 Magdalen. Among his portraits there is one in tlie Beilin 
 Museum, and another, Vignacourt, the Grand Master of Malta, 
 in the Louvre, both of the finest warmth of colouring, and of 
 striking effect.' 
 
 Caravaggio had several scholars and followers : of these 
 two Frenchmen are particularly distinguished — Moses Valentin 
 and Simon Vouet. The Martyrdom of St. Processus and 8t. 
 Martinianus in the Vatican (also executed in St. Peter's in 
 mosaic) is by the former ; an unimportant and bad picture. 
 On the other hand, a large Beheading of St. John, in the Sciarra 
 gallery, is an excellent historical picture of striking truth. 
 Joseph interpreting Dreams, in the Borghese gallery, is parti- 
 cularly distinguished for fine colouring in the manner of 
 Guei'cino. Carlo Saraceno, a Venetian, was also a follower 
 of Caravaggio, without entirely throwing off the influence of 
 his native school. Among his pictures in S. Maria dell' 
 Anima at Rome, that representing the miracle of S. Bruno is 
 remarkable for a beautiful effect of colour and a mild grace, 
 otherwise rare in the school of Caravaggio. Another picture 
 of great beauty (in the Manf'rini gallery at Venice) is a 
 Judith looking thoughtfully out of the picture, as she lowers 
 the head of Holofernes into a cloth which her old servant, in 
 the greatest astonishment, holds extended with her teeth and 
 her right hand. 
 
 ' [The Beheading of St. Jolin, in the Cathedral at jMalta, is one of Cara- 
 vaggio's masterworks. — Ed.]
 
 Chap. II. THE XATURALI3TI. 603 
 
 The Katuralisti appeared in their greatest strength in 
 Naples, where they perseveringly opposed the followers of the 
 Carracci. This appears to have been volcanic ground, for it 
 was in this very locality predestined to be the scene of the 
 triumphs of this school that Polidoro da Caravaggio (see p. 
 471) first broke out into the wildest naturalism. At their 
 head was Giuseppe Ribera, a Spaniard, hence called Lo 
 Spagnoletto (1593-1656). He formed his style chiefly after 
 Caravaggio ; but in his earlier works we find, with many re- 
 miniscences of the Spanish school, a successful study of 
 Correggio and the great Venetian masters : to these studies he 
 is indebted for his peculiar vivacity of colour, even in his 
 later works. His Deposition from the Cross (the body of 
 Christ mourned by the Marys and disciples), in the sacristy of 
 S. IMartino at Naples, is a most masterly production, and 
 rivals the best specimens of Italian Art. The Madonna, who 
 kneels behind the body of her Son, is strikingly beautiful. In 
 the choir of the same church there is a Last Supper by Spag- 
 noletto, much in the manner of Paul Veronese, and containing 
 many excellent parts ; tlie figure of Christ is especially suc- 
 cessful. A few other w^orks of this, his best period, are also 
 preserved at Naples. His great Adoration of the Shepherds, 
 though a late picture (1650), may, for its noble conception, 
 be mentioned here. In general, however, his pictures exiiibit 
 a wild, extravagant fancy ; this is apparent in his numerous 
 half-figures of anchorites, prophets, philosophers — all angular, 
 bony figures — and still more in his large historical pictures. 
 In these he delights in the most horrible subjects — executions, 
 tortures, martyrdoms of all kinds. A very masterly picture of 
 this kind, representing the preparation for the martyrdom of 
 St. Bartholomew, is in the Berlin Museum ; in this instance 
 the spectator feels a shuddering interest, while pictures by the 
 master elsewhere, which represent the Saint half flayed, excite 
 nothing but repugnance and disgust. Particularly unpleasant 
 also, one and all, in spite of the greatest mastery of lepre- 
 sentation, are Ribera's mythological scenes ; for instance, his 
 Silenus in the Studj gallery at Naples ; and his Venus 
 lamenting over the body of Adonis in the Corsini g^allery 
 at Rome. In subjects of this kind, where either grandeur
 
 504 MASTERS OF TUE SEVENTEENTH CENTURY. Book VI. 
 
 and beauty, or cheerful humour, are indispensable, he was 
 least likely to please. Many works, however, which bear the 
 name of Spagnoletto in galleries, are by his scholars, who 
 imitated his manner an«! repeatedly copied liis productions. 
 
 Contemporary with Spagiioletto in Naples were a few artists 
 who rather followed the manner of the Carracci, but were con- 
 siderably influenced at the same time by the Naturalisli. To 
 tliese belong Belisario Corenzio, a Greek, originally formed 
 in Venice in the sdnjol of Tintoretto — and Giainhattista 
 Caracciolo : their works are frequent in Naples. 
 
 Massimo Stanzioni (1585-1656), a scholar of Caracciolo, 
 appears to have formed his style from the works of Caravaggio 
 and Spagnoletto, of whom we are reminded in the greater 
 part of his pictures. But in some works he manifested a much 
 nobler feeling than any of the masters of this style, particularly 
 in his paintings in the chapel of St. Bruno in S. Martino ' at 
 Naples. In these we find an elevated beauty and repose, a 
 noble simplicity and distinctness of line, imited with such ex- 
 cellent colour, as are rarely to be met with in this period. 
 Stanzioni was persecuted by the passionate Spagnoletto with 
 not less bitterness than the foreign artists. He had painted, 
 over the principal entrance of S. Martino, a Dead Christ 
 between the Marys ; the picture having become rather dark, 
 Spagnoletto persuaded the monks to allow him to wash it, but 
 injured it so seriously with a corrosive liquid, that Stanzioni 
 refused to restore it, in order that this scandalous piece of 
 treachery might be known to all. Stanzioni formed many 
 scholars; but the best of them, Domenico Finoglia, Giuseppe 
 Marullo, and otheis, rather inclined to the manner of Spagno- 
 letto. There are numerous small wall-pictures by Finoglia in 
 the lesser spaces of the Certosa of S. Martino at Naples. 
 This splendid monastery, towering Iiigh above Naples, on the 
 steep rock of S. Elmo, combines the greatest treasures of 
 Neapolitan Art. 
 
 Among the less important Naturalisti of tliis time are 
 Maria Preti (II Cavaliere Calabrese), originally a scholar of 
 
 ' The Carthusian convent of S. Martino (on St. Elmo at Naples), which 
 we have already had frequent occasion to mention, contains the most valuable 
 specimens of the Neapolitan school of the seventeenth century.
 
 Chap. II. THE XATURALISTI. 505 
 
 Guercino ; and the Genoese Bernardo Strozzi, surnamed II 
 Prete Genovese. The Neapolitan Andrea Vaccaro, a follower 
 of Caravaggio's, sometimes attains, in his single figures of 
 Saints, a simple grandeur and a beautiful expression. The 
 Studj gallery at Naples contains a number of these. 
 
 From the school of Spagnoletto arose two artists, who in- 
 troduced a peculiar style. These were Aniello Falcone and 
 Salvator Rosa : the latter soon left his master and studied 
 under Aniello, who was the first considerable painter of 
 battle-pieces, and the founder of a large school. This school 
 distinguished itself also in political history, for it took part in 
 the insurrection of Masaniello against the Spaniards, as an 
 organized band under the name of " La Compagnia della 
 Morte." After the death of Masaniello it was dissolved. 
 Aniello went to France, Salvator to Rome. 
 
 Salvator Rosa (1615-1673) displayed a remarkable versa- 
 tility : he painted history, genre, and landscape, and was 
 besides a poet and musician. Many of his works are in the 
 Pitti palace at Florence, and in English galleries. In history 
 he followed tiie style of the Naturalisti, and often treated it 
 successfully. Some of his pictures of this class, it is true, 
 want interest and importance, as, for instance, several in the 
 Studj Gallery, and in the collection of the Prince of Salerno, at 
 Naples ; some are indeed merely academy figures, as the Pro- 
 metheus in the Corsini palace, at Rome. Others, again, are 
 impassioned and characteristic. The best of this kind is the 
 Conspiracy of Catiline, in the Pitti palace, with figures taken 
 immediately from the excitable Neapolitan life, dressed in old 
 Roman costume. Among his single characteristic figures two 
 pictures in the Grosvenor Gallery, Diogenes and Democritus, 
 are distinguished : the last is placed in a scene of deep and 
 dark solitude, surrounded with skeletons, statues, «fee, of 
 fantastic grandeur of effect. Salvator is very great in por- 
 trait ; in this department also he followed the Naturalisti. 
 The wild, gloomy portrait of a man in armour, in the Pitti 
 palace, is almost comparable to Rembrandt. In battle pieces 
 he improved on the manner of Aniello, and occasionally pro- 
 duced excellent works of this kind. An admirable battle
 
 506 MASTERS OF THE SEVENTEENTH CENTURY. Book VI. 
 
 piece, with an angry yellow light, is in tlie Louvre : an inferior 
 one in the Pitti palace. 
 
 In landscape Salvator Rosa appears to have formed his 
 style with tolerable independence. It was not till his later 
 Florentine period that we fancy we trace the influence of 
 Claude Lorraine. In some of his works appear the same ideal 
 treatment, the same serenity of atmosphere and simple purity 
 of line which are observable in Claude's pictures. A large 
 and splendid coast scene of tliis kind is in the Colonna Gallery 
 at Rome. In other pictures of this description, however (for 
 instance, in two large, scene-like marine pictures, in the 
 Pitti Palace), we observe a certain air of constraint and in- 
 sipidity : he displays more beauty and originality in wild 
 mountain scenes, lonely defiles, and deep forests ; but most of 
 all in landscapes of smaller dimensions, where this fantastic 
 conception of nature is more concentrated, and the whole 
 seems to express as it were a single chord, a hint for the mind, 
 a momentary feeling rather than the complete expression of a 
 comprehensive idea. In these he usually introduces hermits, 
 robbers, or wandering soldiers, who assist the general effect of 
 the picture, and add to the impression of loneliness, desolation, 
 and fear. (It is well known that Salvator himself in his 
 youth was associated with bandits in the wildest part of Lower 
 Italy.) There are excellent pictures of this kind in the public 
 gallery of Augsburg. In other works again the landscape 
 becomes subordinate, and the figures form the principal sub- 
 ject of the picture : in these the fantastic, poetic conception 
 of the artist appears in all its originality. A Warrior doing 
 Penance is one of his favourite subjects. A very beautiful 
 specimen, of small size and excellent execution, was for sale 
 at Carlsruhe in 1832. The scene was a desolate country : in 
 the branches of a tree a wooden cross was erected ; under it 
 lay a warrior, extended on the ground, partly naked, but 
 wearing his helmet and some detached plates of armour; his 
 feet and hands bound so that the latter are raised towards the 
 cross. Another excellent repetition, with several variations 
 and somewhat larger, is in the gallery at Vienna. The so- 
 called Selva de' Filosofi, in the Pitti palace, belongs to this 
 class. A small sea-piece, in the Berlin Museum, is also
 
 Chap. II. THE XATURALISTI. 507 
 
 unique of its kind, as a representation of the wildest powers 
 of nature : a fearful storm is raging on a steep rocky coast ; 
 a vessel is being carried by the waves upon the rocks, directly 
 opposite the spectator. 
 
 Salvator Rosa formed two landscape-painters : Bartolommei) 
 Torregiani, a Roman, who, like his master, sometimes reminds 
 us of Claude ; and the Neapolitan, Domenico Gargiuoli 
 (Micco Spadaro), who also attempted small figures; many 
 paintings by this artist are to be met with in Naples, namely, 
 in the Studj Gallery. They are historically interesting as 
 representations of contemporary events. The whole tragedy 
 of Masaniello, and the plague of 1656, have found a true deli- 
 neator in Spadaro. 
 
 A good Sicilian master of this time, Pietro Novelli, called 
 Monreale.«e. may also be named here : he appears to fill up 
 the space between the Spanish painters and Caravaggio. 
 The Marriage at Cana, in the refectory of the Benedictines 
 at Monreale, is considered his best picture. There are manv 
 good portraits by him in Rome. 
 
 The style o^ genre and battle painting was al.'^o followed by 
 some other artists of the time. Michael Angelo Cerquozzi 
 (Michael Angelo delle Battaglie) (1602-1660) is highly 
 distinguished in battle-pieces, and more particularly in scenes 
 from low life, in tlie style of Peter van Laar (then enjoying 
 great popularity in Rome). Not only in general naivete a.nd 
 humour, but also in careful completeness, and in masterly 
 treatment of colour, may he occasionally be put on a par with 
 the best Netherlandish painters. It was not the beauties and 
 prettinesses of Italian life, the ^ay costume, &c., whicli 
 attracted him, but the tattered Lazzaroni, in their picturesque 
 and harmless character — for the artist then little knew that 
 painting could be used as a means of social incitement to 
 sedition. An excellent picture by him, representing the 
 entry of one of the popes into Rome, is in the Berlin 
 Museum. Another, in the Spada palace at Rome, viz., the 
 touching picture of the Dead Ass : a man is carrying away 
 the saddle and turning once more to look at the faithful 
 animal : an old woman has just wiped her eyes with her apron, 
 a girl is kneeling with a sorrowful mien. The Frenchman, 
 
 z 2
 
 508 MASTERS OF THE SEVEx\TEENTH CENTURY, Book VI. 
 
 Jacques Courtois, or Bourguignon (Jacopo Cortese, Bor- 
 gognone) (1621-1671), one of the most celebrated of the 
 battle-painters, was a scholar of Cerquozzi. His battle-pieces 
 are often clever and animated, but very slight in execution. 
 It must be remembered, however, tliat pictures by a number 
 of his imitators bear his name. Two of his original battle- 
 pieces are in the Borghese palace. 
 
 The energy of tiie Neapolitan artists of this period was not 
 imitated by their successors, who chiefly followed tlie manner 
 of Pietro da Cortona, and introduced a similar vicious style 
 into Neapolitan Art. To these belongs one of the greatest 
 geniuses of modern Art, the rapid painter Luca Giordano, 
 surnamed Fa Presto (1632-1705). No painter ever made a 
 worse use of extraordinary gifts. Beauty, character, dramatic 
 lite, glow of colouring, all occur from time to time in the most 
 striking way in his pictures, but a slight and rapid mode of 
 finish was all he cared for, and he sacrificed every other quality 
 to it. In burlesquely treated subjects this perverse kind of 
 self-injustice is less objectionable. For instance, we can look 
 with delight at that colossal fresco in the church de' Geroli- 
 mini, at Naples, where Christ is driving the Lazzaroni-like 
 buyers and sellers down the double steps ; on the other hand, 
 it is with a certain melancholy that we trace his higli gifts in 
 the ceiling-frescoes of S. Marti no, and in the Judgment of 
 Paris, in the Berlin Museum, and compare such specimens 
 with those pictures which he executed by the dozen. 
 
 Among the Venetians of the seventeenth century we find 
 much mannerism, together with the influence of foreign Art, 
 yet the peculiar tendency of their school (generally modified 
 by the style of the Naturalisti of the time) still predomi- 
 nated, and was the means of producing some meritorious 
 works. 
 
 Jacopo Palma giovane (1544-1628), of whose works Venice 
 is full, notwithstanding his mechanical manner, evinces much 
 talent, and is sometimes beautiful in details, particularly in his 
 heads. Some of his best pictures are in the palace of the Doge 
 and in the Academj'^ ; many more are in the churches ; a good 
 Madonna with Saints is in S. Francesco della Vigtia ; a St, 
 Catherine Rescued from the Wheel, in S. M. de' Frari.
 
 Chap. II. THE NATÜRALISTI. 509 
 
 Giovanni Contarini, a later artist, appears to be an imitator 
 of Michael Angelo. His contemporary. Carlo Ridolfi, whose 
 works are less mannered, distingiiislied himself as an historian 
 of the Venetian school. 
 
 The most important artist of this school in the seventeenth 
 century was Alessandro Varotari of Padua, surnamed II Pado- 
 vanino (1590-1650). Far from falling into the extravagance 
 of Tintoretto's followers, Padovanino was attracted by his 
 own innate feeling for beauty to the study of Titian. The 
 spectator, liowever, feels, as in the instance of Cigoli and his 
 fellow -artists, that this sense of beauty was something man- 
 nered and conscious, not perfectly artless, though far also from 
 being merely coldly academic. In this respect a comparison 
 between the female half-length figures of Padovanino, in the 
 Academy at Venice, with Titian's pictures, is highly inte- 
 resting. This collection contains also his principal work, the 
 Marriage of Cana — partly in the manner of Paul Veronese, 
 only that the prominence of beautiful single figures is here 
 preferred to the sound, as it were, of one powerful common 
 chord, as with Paul Veronese. The same beauty, witli a noble 
 expression of unearthly longing, is presented to us in the pic- 
 ture of a Saint in Deacon's Orders, in the moment of ecstasy, 
 in the same gallery. Pietro Liberi, another Paduan, is a less 
 pleasing artist. Alessandro Turchi, a Veronese, surnamed 
 L'Orbetto, by the finish and grace of his pictures occupies a 
 not unimportant place among the artists of this period. In the 
 same way as Padovanino reminds us of Cigoli and Allori, does 
 L'Orbetto recall Matteo Rosselli : for instance, in his picture 
 of the Fine Arts, in the Colonna palace at Home. Other 
 pictures by liim are at Dresden. 
 
 We can only slightly touch upon the later fate of Italian 
 art. "With the close of the seventeenth century all indepen- 
 dence of feeling had vanished from almost everj- school. One 
 general level of style, partaking mostly of that of Pietro da 
 Cortona, embraced, with few exceptions, the numerous and 
 much-employed Italian artists of this period. To these we 
 may, without injustice, apply the term " scene-painters," not
 
 510 SEVEXTEEXTU AND EIGHTEENTH CENTÜKIES. Book Y I. 
 
 only because it was their chief aim in art to fill large spaces in 
 the shortest possible time with the most striking and attractive 
 effects, and that without reference either to their own gifts or 
 to tlie true forms of nature, but also because they regarded the 
 varieties of f/e^/r, still-life, and flower-painting, from a merely 
 decorative point of view, in contradistinction to the Nether- 
 landish painters who studied the nature of such things. These 
 classes of art, therefore, scarcely ever attained their real deve- 
 lopment in Italy, and have to tliis day the appearance of a 
 spurious kind of historical painting. 
 
 Not that this period, bad as it might be, was devoid of con- 
 siderable talents and surprising technical pow er : we may cite 
 among the scholars of Pietro da Cortona the sometimes truly 
 pleasing Gianfranco Romanelli (died 1662) and Giro Ferri 
 (died 1689), as well as his imitator, Benedetto Luti (died 
 1724); amongthe scholars of SacchijFilippoLauri (died 1694); 
 among the Venetians, the mannered but not ungifted man- 
 nerist Pietro Vecchio, Carlo Lotti (properly Loth of Munich), 
 scholar of Liberi (died 1698), Pietro Eotari of Verona (died 
 1762), with the occasionally happy imitator of Paul Vero- 
 nese, Marco Ricci (died 1729) ; Gio. Batt. Tiepolo, an artist 
 of fantastic imagination (died 1770), and Pietro Longhi, a 
 genre painter (died 1762): finally, among the followers of 
 Luca Giordano, Paolo de Matteis (died 1729), Seb. Conca 
 (died 1764), and Francesco Solimena (died 1747). 
 
 As regards the otlier departments of painting, neither Gio. 
 Benedetto Castiglione (died 1670) for still life and animal 
 painting, nor Mario de' Fiori (died 1673) for flower painting, 
 nor G. Paolo Panini (died 1764) for architectural painting, 
 can be in any way compared with the contemporary Nether- 
 landish masters in their walks of art. The most successful 
 were the two architectural painters, Antonio Canale and his 
 nephew Bernardo Belletto, known by the name of Canaletto. 
 Their views of cities, particularly of Venice and her canals, 
 are skilfully painted, and interest the spectator in various ways. 
 Pictures of this kind are common.
 
 Chap. III. RECENT EFFOllTS. 511 
 
 CHAPTER III. 
 
 KECENT EFFORTS. 
 
 After the middle of the eighteenth century a desire for 
 severer study again appeared amid the confusion of styles that 
 divided Italian art. This desire was especially awakened by 
 foreigners ; by Winckelmann, wlio first felt and communi- 
 cated the spirit of the antique in all its depth ; and by Raphael 
 Mengs, whose works exhibit a new form of eclecticism. This 
 aim is most api)arent in the works of Pompeo Batoni/ among 
 which an altar-picture, representing the fall of Simon Magus, 
 in S. Maria degli Aiigeli in Rome, deserves to be mentioned 
 with honour. 
 
 But no important consequences followed tliis new impulse. 
 Toward the close of tlie century, the French painter David 
 was considered the first master of modern art, and the painters 
 of Italy followed in the path he had opened. Numerous 
 works appeared in the beginning of the nineteenth century, 
 which evince the same predilection for the antique, and the same 
 influence of the French stage — the circle in wliich the genius 
 of David moved. Pietro Benvenuti, of Perugia, is the best 
 of these artists : his Judith displaying the head of Holofernes 
 to the assembled people (in the Duomo of Arezzo), his Pyrrhus 
 killing Priam after the taking of Troy (in the Palazzo Corsini 
 at Florence), are among the more meritorious works which 
 may be said to have emanated from David's school. Single 
 works also, by Andrea Appiani, exhibit a simple grandeur de- 
 void of the theatrical character of the French school (frescoes 
 in the imperial palace at Milan). Vincenzio Cammuccini was 
 also one of the most celebrated masters of this style. But this 
 taste, too, has passed away, and appears to have left no per- 
 manent result which can promote a new restoration of Italian 
 art. In tiie exhibitions of modern productions, the traveller 
 finds little to arrest his attention. Copies from the great works 
 of former ages, views of the most celebrated classic landscapes, 
 
 ' Cav. 0. Boni, Elogio del Cav. Pompeo Batoui. Koma, 1787.
 
 512 NINETEENTH CENTURY. Book VI. 
 
 or now and then scenes illustrating the manners of the people, 
 which the traveller carries to liis home as remembrances of 
 costume, form the far greater proportion of modern Italian 
 productions, and are rather objects of commercial speculation 
 than indications of a vital impulse in art. The few w^orks 
 which are skilfully painted, or informed with mind, are as ex- 
 ceptions in the ma.>äs. Italy, once blessed witli the noblest crea- 
 tive power, once gifted with the liveliest perception of the 
 beautiful, now only dreams of past renown. The arts have 
 quitted her, to seek a new home in other lands.
 
 LIST OF PLACES REFERRED TO. 
 
 Page 
 Amalfi. 
 Duomo : 
 
 Agemina 82 
 
 g'o= : ; : : IS}-- 
 
 Aquileja. 
 
 Church : 
 Mosaics 
 
 70 
 
 Arezzo. 
 
 Duomo: 
 
 Berna 160 
 
 Pietro Benvenuti . . . 511 
 
 S. Francesco: 
 
 Pietro della Fraiicesca . 138 note, 
 215 
 
 S. Maria dcgli Angeli : 
 
 Spinello 152 
 
 Arona (near Milan). 
 Gaudenzio Vinci 293 
 
 Assisi. 
 
 Church degli Angeli (Stanza di S. 
 Francesco) : 
 
 Lo Spagna 259 
 
 Convent of S. Andrea : 
 
 Ingegno ....... 258 
 
 S. Damiano : 
 
 Eusebio di S. Giorgio . . 260 
 
 Duomo: 
 
 Niccolo Alunno .... 251 
 
 S. Francesco: 
 
 (Upper Church) : 
 
 Giunto da Pisa .... 106 
 
 Cimabue ...... 110 
 
 Giotto 131 
 
 (Under Church) : 
 
 Giotto 124 
 
 Giottino ..,.>. 138 
 
 Giovanni da Melano . . . 139 
 
 Page 
 
 (Chapel of S. Stefano) : 
 
 Lo Spagna 259 
 
 Bassano. 
 
 Municipalita : 
 
 Bassano 467 note 
 
 S. Valentino : 
 
 Bassano 467 note 
 
 La Basti a. 
 
 S. Angela: 
 
 Niccolo Alunno . , . » 251 
 
 Bergamo. 
 
 S. Spirito : 
 
 Andr. Previtali . . 
 
 Bologna^ 
 
 Academy : 
 Giotto . 
 Beat. Cat. Vigri 
 Jacobo Paulus 
 Simone di Bologna 
 Francesco Cossa 
 Perugino 
 Francia . 
 Guido Aspevtini 
 Lorenzo Costa 
 Bugiardini . . 
 Raphael . . 
 Tim. della Vite 
 Bagnacavallo . 
 Inn. da Imola . 
 Pellegrino Tibald 
 Parmigianlno . 
 Lod. Carracci . 
 Agos. Carracci. 
 Ann. Carracci . 
 Albani . 
 Guido Reni 
 Guercino . 
 
 243 
 
 132 
 169 
 170 
 170 
 
 225 
 255 
 263 
 266 
 266 
 288 
 381 
 404 
 405 
 406 
 407 
 428 
 481 
 482 
 482 
 487 
 489 
 491 
 
 S. Cecilia : 
 
 Francia ........ 264 
 
 Lorenzo Costa .... 266 
 
 z3
 
 514 
 
 LIST OF I'LACES KEFERRED TO. 
 
 Page 
 
 Convent of S. Domenico : 
 
 Petrus Johaimis . . . . 170 
 Ercolani Palace : 
 
 Franco Bologuese . . . 169 
 6'. Giacotno (Bentivoglio Chapel) : 
 
 Lorenzo Costa .... 225 
 
 Cefalu. 
 
 Duomo : 
 Mosaics 
 
 Page 
 76 
 
 Francia 
 
 263 
 
 Madonna della Mezzaratta : 
 
 
 Simone di Bologna . . . 
 Jacobo Paulus . . . . 
 Lorenzo di Bologua . 
 
 169 
 169 
 170 
 
 <S'. Maria deyli Aiigcli : 
 
 Giotto 
 
 132 
 
 Convent of S. Michek in Bosco 
 
 
 Lod. C.arracci and Scholars 
 
 481 
 
 Portico de' Leoai : 
 
 
 Niccolo dell' Abate . . . 
 
 400 
 
 Palazzo della Viola : 
 
 
 Aniico Aspertiui . . . . 
 
 266 
 
 BUESCIA. 
 
 
 S. Alessandro : 
 
 
 Vincenzo Civerchio, giov. . 
 
 230 
 
 &'. demente : 
 
 
 11 Moretto 
 
 453 
 
 8. Maria di Calchera : 
 
 
 Callisto Piazza . . . . 
 
 452 
 
 S. Maria delle Grazie : 
 
 
 11 Moretto 
 
 453 
 
 S. Nazario : 
 
 
 11 Moretto 
 
 453 
 
 Count Tosi's house : 
 
 
 Raphael 
 
 336 
 
 Cagli. 
 
 S. Angelo: 
 
 Timoteo della Vite . . . 
 
 404 
 
 Chwch of t/m Dominicans : 
 pella Tiranni) : 
 Giovanni Santi . . . . 
 
 (Cap- 
 262 
 
 Caprarola. 
 Castle : 
 
 
 Taddeo Zuccaro . . . . 
 Federigo Zuccaro . . . 
 
 475 
 
 475 
 
 Capua. 
 Duomo: 
 
 
 Mosaics 
 
 70 
 
 Ceneda (near Belluuu). 
 Pomponio Amalteo . . . 456 
 
 Cerreto (not far from Certaldo). 
 Abbey : 
 
 II Monaco 163 
 
 ClTTÄ Dl CaSTELLO. 
 
 S. Trinita : 
 
 Raphael 328 
 
 CiTTÄ DELI.A PiEVE. 
 
 S. Maria de" Bianchi: 
 
 Perugino 255 
 
 Codck;no. 
 Parish Church : 
 
 Callisto Piazza .... 452 
 
 COMO. 
 
 Duomo : 
 
 Bernardino Luini 
 Gaudenzio Ferrari 
 
 S. Fidele: 
 
 Sculptui'es 45 
 
 Constantinople. 
 S. Sophia : 
 
 Mosaics 
 
 290 
 294 
 
 40 
 
 CORTOXA. 
 
 Dußmo : 
 
 Luca Signorelli . . . . 216 
 Chiesa di Gesii: 
 
 Luca Signorelli . . . . 217 
 
 Crema. 
 
 Duomo : 
 
 Vincenzo Civerchio, giov. . 230 
 
 DiRUTA (near Perugia). 
 Franciscan Church : 
 
 Niccolo Alvmno . . . . 2Ö1 
 
 Fabbiano. 
 
 Casa Bufera : 
 
 Gentile da Fabriano . . . 187 
 S. Lucia : 
 
 Lorenzo di S. Severino . . 188
 
 LIST OF PLACES REFERRED TO. 
 
 615 
 
 Faenza. 
 
 Duiomo : 
 
 Innocenzo da Imola 
 
 Page 
 406 
 
 Ferrara. 
 /S'. Andrea : 
 
 Garotalo 408 
 
 S. Francesco : 
 Garofalo 
 
 Ducal Palace : 
 Dosso Dossi 
 Giambatt. Dossi 
 
 Public Gallery: 
 Garofalo 
 
 408 
 
 409 
 409 
 
 408 
 
 Florence. 
 
 Acade/iiy : 
 
 Fiesole .... 165, 
 Gentile da Fabriano 
 Masaccio . . 
 Fra Filippo Lippi . 
 Pesellino . . . 
 Ghirlandajo 
 Francesco Granacci 
 Andrea del Castagno 
 Andrea Verocchio . 
 Perugino ... 
 Lorenzo di Credi . 
 Giov. Aut. Sogliani 
 Fra Bartolommeo . 
 Mariotto Albeilinelli 
 Raffaellino del Garbo 
 Raphael . . 
 
 S. Ambrogio: 
 Cosimo Rosselli 
 
 166, 167 
 
 . 186 
 
 . 196 
 
 . 198 
 
 . 199 
 
 . 210 
 
 . 211 
 
 . 212 
 
 . 214 
 
 . 254 
 
 . 288 
 
 . 288 
 
 316, 317 
 
 . 317 
 
 . 324 
 
 . 343 
 
 205 
 
 S8. Annumiata : 
 
 Andrea del Sarto .... 319 
 
 Marc' Aut. Franciabigio . 322 
 
 PontoiTuo 322 
 
 II Rosso 322 
 
 Badia : 
 
 Filippiuo Lippi .... 204 
 
 Church of La Calza : 
 
 Perugino 252 
 
 CarmeliteChurch (Brancacci Chapel) : 
 
 Masaccio 193 
 
 Corsini Palace : 
 Pietro Benvenuti 
 
 511 
 
 . Croce: 
 Orcagna 
 Giotto . 
 Taddeo Gaddi 
 Angiolo Gaddi . 
 Niccola di Pietro 
 ÜETolino da Siena 
 
 Page 
 
 . 149 
 
 130, 132 
 
 136, 137 
 
 . 137 
 
 . 154 
 
 156 note 
 
 (Bardi Chapel) : 
 
 Giottino 138 
 
 Dmmo : 
 
 Gaddo Gaddi 114 
 
 Federigo Zuccaro .... 475 
 
 S. Giovanni: 
 
 Mosaics .... 
 
 107 
 
 A(jli Innoceati (Foundling Hospital) : 
 
 Ghirlandajo 210 
 
 S. Lorenzo : 
 
 Michael Augelo .... 304 
 S. LxKia (beyond the Arno) : 
 
 Domenico Veneziano . . . 213 
 Monastery of St. Mark's : 
 
 Benedetto da Mugello . . 165 
 
 Fiesole 167 
 
 S. Maria Macldulena de' Pazzi: 
 
 Cosimo Rosselli .... 205 
 
 Perugino 254 
 
 S. Maria Novella: 
 
 Cimabue 110 
 
 Ghirlandajo 210 
 
 Fiesole 166 
 
 (Chapel of Spaniards) : 
 
 Giotto 140 
 
 Taddeo Gaddi 144 
 
 Simone di Martino . . . 144 
 
 (Strozzi Chapel) : 
 
 Orcagna 149 
 
 Bernardo Clone .... 149 
 
 Filippino f.ippi .... 203 
 
 Monastery of S. Maria Novella : 
 
 Paolo Uccello 192 
 
 S. Maria Ntiova : 
 
 Lorenzo di Bicci . . . . 154 
 
 Fra Bartolommeo . . . . 317 
 
 Palazzo Medici (now Riccardi) : 
 
 Benozzo Gozzoli .... 206
 
 516 
 
 LIST OF PLACES REFERRED TO. 
 
 Mercanzia Vccchia : 
 Taddeo Gaddi . . 
 
 S. Miniato al Monte : 
 Mosaics .... 
 Spinello .... 
 Pietro Pollajuolo . 
 
 Ognissanti : 
 
 (S. Giacomo Chapel) : 
 Giovanni da Melano 
 Dom. Ghirlandajo 
 Sandro Botticelli . 
 
 (Cloister, near) : 
 Gio. di S. Giovanni 
 
 Pitti Palace : 
 
 Francesco Granacci 
 Perugino 
 
 Leonardo da Vinci 
 Michael Angelo . 
 II Rosso Fiorentino 
 Fra Bartolommeo . 
 Andrea del Sarto . 
 Domenico Puligo 
 Rid. Ghirlandajo . 
 Raphael, 334, 340, 343, 
 
 Page 
 136 
 
 114 
 151 
 214 
 
 139 
 209 
 209 
 
 498 
 
 Dosso Dossi 
 Parmigianino . 
 Giorgione . 
 Seb. del Piombo 
 Lorenzo Lotto . 
 Titian . . . 
 Schiavone . . 
 Paris Bordone 
 Tintoretto . . 
 Taddeo Zuccaro 
 Federigo Zuccaro 
 Guercino 
 Cigoli . 
 Cristofano Allori 
 Matteo KosselLi 
 Gio. di S. Giovanni 
 Carlo Dolce 
 Salvator Rosa 
 
 30 
 
 . 211 
 . 254 
 . 277 
 . 307 
 
 307, 323 
 . 316 
 
 320, 321 
 . 322 
 . 323 
 
 369, 373, 
 
 387 
 
 . 408 
 
 . 428 
 
 432, 433 
 . 435 
 . 438 
 . 448 
 . 451 
 . 457 
 . 459 
 . 475 
 . 475 
 . 492 
 . 496 
 . 497 
 . 498 
 . 498 
 . 498 
 
 505, 506 
 
 Hall of the Podesta 
 
 Giotto 126, 134 
 
 Bihlioteca Riccardiana : 
 
 Illuminated MS 207 
 
 Convent of S. Salvi (near Florence) : 
 Andrea del Sarto ... .320 
 
 Pag« 
 Compagnia dello Scalzo : 
 
 Andrea del Sarto . . .318, 319 
 Marc' Ant. Franciabigio . . 322 
 
 iS*. Simone : 
 
 Cimabue 110 
 
 S. Spirito : 
 
 Simone di Martino . . . 158 
 
 Ghirlandajo school . . . 211 
 
 Ingegno 259 
 
 Rid. Ghirlandajo .... 323 
 
 SS. Trinita: 
 
 II Monaco 163 
 
 (Sassetti Chapel) : 
 
 Ghirlandajo 209 
 
 FüI,lG>0. 
 
 S. Maria fmri la Porta : 
 
 Niccolo Alunno .... 251 
 S. Niccolo : 
 
 Niccolö Alunno .... 251 
 
 S. Gemignano. 
 
 S. Agostino: 
 
 Benozzo Gozzoli .... 206 
 S. Andrea (near Gemignano) : 
 
 Benozzo Gozzoli .... 207 
 Duomo : 
 
 Ant. Pollajuolo . . . . 214 
 
 Bema 160 
 
 Genoa. 
 Brignole Palace : 
 
 Guercino 492 
 
 Doria Palace : 
 
 Perino del Vaga .... 401 
 Palace of Marcello Durazzo : 
 
 Paul Veronese .... 466 
 S. Stefano : 
 
 Giulio Romano .... 397 
 
 LoDi. 
 
 S. Agnese: 
 
 Albertino Piazza .... 231 
 Martino Piazza . . . . 231 
 
 Church dell' Tncoronata (Chapel of 
 
 St. Anthony) : 
 
 Albertino Piazza . . . . 231 
 
 Martino Piazza .... 231 
 
 Callisto Piazza .... 452
 
 LIST OF PLACES KEFERRED TO. 
 
 517 
 
 Page 
 LOVERE. 
 
 Art Institution of Count Tadini ; 
 Giacomo Bellini .... 220 
 
 Lucca. 
 
 S. Frediano: 
 
 Amico Aspertini . . 
 S. Martina : 
 
 Fra Bartolommeo . 
 S. Romano : 
 
 Fra Bartolommeo 
 
 Macerata. 
 Dmmo: 
 
 Alegrretto di Nuzio 
 
 266 
 316 
 316 
 
 185 
 
 Mantua. 
 S. Andrea : 
 
 Lorenzo Costa 266 
 
 Fenno Guisoni .... 399 
 
 Castello di Corte (Stanza di 
 
 Mantegna) 221 
 
 Ducal Palace : 
 
 Giulio Romano .... 398 
 
 Palace near the Monastery of S. Se- 
 bastian : 
 Mantegna 221 
 
 Palazzo del Te : 
 
 Giulio Romano .... 398 
 Primaticcio 400 
 
 Matelica (near Fabriano). 
 
 Franciscan Church: 
 
 Eusebio di S. Giorgio . . 260 
 
 Milan. 
 
 St. Ambrose : 
 
 Mosaics 71 note. 
 
 Ambrogio Borgognone . . 230 
 
 Amhrosian Library (or Gallery) : 
 
 MS. Virgil illuminated by Simone 
 
 di Martino 158 
 
 Leonardo da Vinci . . . 281 
 
 Bernardino Luini .... 289 
 
 Cesare da Sesto .... 292 
 Brera : 
 
 Giotto 132 
 
 Gentile da Fabriano 
 Stefano da Ferrara 
 Vincenzio Foppa . 
 Bramantino, giov. 
 Carlo Crivelli . . 
 Gentile Bellini 
 Cima da Conegliano 
 Vittore Cai-paccio . 
 Giovanni Santi 
 Marco Palmezzano 
 Leonardo da Vinci 
 Bernardino Luini . 
 Aurelio Luini . . 
 Marco d'Oggione . 
 Andrea Salaino 
 Bernardo Zenale . 
 Gaudenzio Ferrari 
 Raphael . . 
 Timoteo della Vite 
 Giorgione . 
 Giovanni Cariani . 
 Paul Veronese 463, 
 Guercino 
 Procaccini . 
 Salmeggia . 
 
 464, 
 
 Page 
 
 . 188 
 
 . 225 
 
 . 228 
 
 . 229 
 
 . 233 
 
 . 240 
 
 . 243 
 
 . 245 
 
 . 262 
 
 . 263 
 
 . 279 
 
 . 290 
 
 . 291 
 
 . 291 
 
 . 291 
 
 . 293 
 
 . 294 
 
 . 332 
 
 . 404 
 
 . 432 
 452 
 465, 466 
 
 . 492 
 
 . 495 
 
 . 496 
 
 Convent of Castellazzo (near Milan) : 
 Marco d' Oggione .... 279 
 
 Imperial Palace : 
 Andrea Appiani . 
 
 S. Maria del Carmine : 
 Procaccini . 
 
 511 
 
 495 
 
 8. Maria delle Grazie : 
 
 Gaudenzio Ferrari (Refectory) 296 
 Leonardo da Vinci . . . 278 
 
 8. Maria della Passione : 
 
 Daniele Crespi 496 
 
 Duke Melzi's Gallery : 
 
 Bramantino, giov. . . . 229 
 
 Cesare da Sesto .... 293 
 
 Raphael 328 
 
 Monastero Maygiore (S. Maurizio) : 
 Bernardino Luini .... 290 
 Bernardino Luini (Refectory) 291 
 
 S. Nazaro Grande: 
 
 Bernardino Lanini . . . 296
 
 518 
 
 LIST OF PLACES REFEERED TO. 
 
 Page 
 
 S. Pietro in Gessate (Chapel of 
 St. Anthony) : 
 
 Vincenzio Civerchio vecch. 228 
 (Ambrose Chapel) : 
 
 Bernardino Buttinoue . . 228 
 
 DiiÄe Scotti's Collection : 
 
 Cesare da Sesto .... 292 
 S. Simpliciano : 
 
 Ambrogio Borgognoue . . 230 
 S. Sepolcro : 
 
 Bramantino, giov. . . . 229 
 Casa Silva : 
 
 Bernardino Luini .... 290 
 
 MOD£NA. 
 
 Palazzo della Commune : 
 
 Niccolö dell' Abate ... 400 
 MoNTEFALCo (neat Fuligno). 
 S, Fortunato : 
 
 Benozzo Gozzoli .... 206 
 S. Francesco : 
 
 Benozzo Gozzoli .... 206 
 
 MoNTEFioRE (Papal States). 
 Hospital Oratory: 
 
 Giovanni Santi .... 262 
 MoNTEFiORENTixo (near Urbino). 
 
 Giovanni Santi .... 262 
 
 La Motta (between Treviso and 
 
 Udine). 
 Professor Scarpa's Collection: 
 
 Raphael 389 
 
 Monte Uliveto Maggiore (be- 
 tween Siena and Rome). 
 Monastery : 
 
 Luca Signorelli . . . . 217 
 Eazzi 412 
 
 Convent of S. Anna : 
 
 Razzi 412 
 
 Naples. 
 
 Cutaconihs 17 
 
 S. Chiara : 
 
 Francesco di Maestro Simone 190 
 Duomo : 
 (Cappella Minutoli) : 
 
 Tommaso degli Stefani . . 118 
 
 Page 
 
 (Cappella Tesoro) : 
 
 Domenichino 486 
 
 Lanfranco 493 
 
 S. Domenico Maggiore : 
 (Cappella S. Maitino) : 
 
 Stefanoue di Maestro Simone 
 
 Church de" Gerolindni: 
 Luca Giordano 
 
 189 
 
 508 
 
 Church dell' Tncoronata : 
 
 
 Giotto 
 
 127, 134 
 
 S. Giovanni a Carbonara : 
 
 
 Leonardo di Bissuccio 
 
 . . 181 
 
 S. Lorenzo Maggiore : 
 Maestro Simone . 
 Antonio Solario . . 
 
 . . 189 
 . . 269 
 
 S. Martino: 
 
 
 Guido Reni .... 
 Finoglia . . . . 
 Luca Giordano . . 
 
 . . 489 
 . . 504 
 . . 508 
 
 (In Sacristy) : 
 
 Lo Spaguoletto . . 
 
 . . 50o 
 
 (Cappella S. Bruno) : 
 Stanzioni .... 
 
 . . 504 
 
 Monte Oliveto : 
 
 
 Silvestro de' Buoni . 
 Simone Papa, giov. . 
 
 . . 270 
 . . 477 
 
 S, Severino : 
 
 
 Zingaro .... 
 
 . . 269 
 
 Museum (called the Studj Gallery, or 
 Museo Borbonico) 
 
 Matteo di Giovanni . . 
 
 162 
 
 Andr. Mantegna . 
 
 224 
 
 Filippo Jlazzuolo . . . 
 
 231 
 
 Baitolonimeo Vivarini . 
 
 232 
 
 Giovanni Bellini . 
 
 240 
 
 Girol. di Santa Croce 
 
 242 
 
 Pinturicchio .... 
 
 257 
 
 Antonio Solario . . . 
 
 269 
 
 Simone Papa, vecch. 
 
 270 
 
 Pietro Donzelli 
 
 270 
 
 Silvestro de' Buoni . . 
 
 270 
 
 Cesare da Sesto 
 
 293 
 
 Marcello Yenusti . 
 
 306 
 
 Michael Angelo . . . 
 
 308
 
 LIST OF PLACES REFERRED TO. 
 
 519 
 
 Page 
 
 Fra Bartolommeo . , . . 317 
 
 Raphael 375 
 
 Gianfrancesco Peiini . . . 401 
 
 Andrea da Salerno . . . 402 
 
 Polidoro da Caravaggio . . 404 
 
 Garofalo 407 
 
 Razzi 413 
 
 Annibale Carracci 420, 483, 484 
 
 Correggio 422 
 
 Parmigianino 428 
 
 Sebastian del Piombo . . 436 
 
 Lorenzo Lotto 438 
 
 Titian 443, 445 
 
 Schiavone 451 
 
 Bassano 468 
 
 Leandro Bassano .... 468 
 
 Domenichino 486 
 
 Schedone 494 
 
 Sassoferrato 494 
 
 Lo Spagnoletto .... 503 
 
 Andrea Vaccaro .... 505 
 
 Salvator Rosa .... 505 
 
 Spadaro 507 
 
 (Library of Museum) : 
 
 Giulio Clovio 400 
 
 Benvenuto Cellini . . . 400 
 
 Pri'iice of Salerno's Collection : 
 
 Salvator Rosa 505 
 
 Iloyal Palace : 
 
 Raphael 335 
 
 S. Severino : 
 
 (Monastery) : 
 
 Zingaro 269 
 
 Antonio d' Amato il vecchio 270 
 
 Gallery of Duke of Terra Nuova : 
 Raphael 334 
 
 NOCERA. 
 
 Principal Church : 
 
 Niccolo Alunno .... 251 
 
 NoVARA. 
 
 Duomo : 
 
 Gaudenzio Ferrari . . . 294 
 
 Orvieto. 
 
 Duomo : 
 
 Ugolino Vieri ... 156 note 
 Ugolino di Preto Ilario 156 note 
 Gentile da Fabriano . . . 186 
 
 (Madonna di S. Brizio) : 
 
 Fiesole 168 
 
 Page 
 
 Benozzo Gozzoli .... 206 
 
 Luca Signorelli . . . . 215 
 Marchese Gualtieri's House : 
 
 Ingegno 258 
 
 Otranto. 
 
 School of ... . 103 note 
 
 Padua. 
 
 S. Anthony : 
 (Chapter House) : 
 
 Giotto 133 note 
 
 (Chapel of S. Luke) ; 
 
 Antonio of Padua . . . . 172 
 Giovanni of Padua . . . 172 
 (Cappella S. Felice) : 
 
 D'Avanzo Veronese . . . 173 
 Aldighiero da Zevio . . . 173 
 
 (Cappella S. Giorgio) : 
 
 D'Avanzo Veronese . . . 175 
 Aldighiero da Zevio . . 175 
 
 Chapel of Madonna dell' Arena : 
 Giotto 12g 
 
 Certosa : 
 
 (Chapel of S. Bruno) : 
 
 Bramantino, giov. . . . 229 
 
 Church deyli Eremitani : 
 
 Giunto Padovano .... 173 
 
 (Chapel of SS. Jacobo e Cristoforo) : 
 
 Mantegna 222 
 
 Bono Ferrarese .... 222 
 
 Ansuino 222 
 
 Niccold Pizzolo .... 222 
 
 »S". Francesco: 
 
 Gir. di Santa Croce . , . 242 
 
 S. Justina: 
 
 (Sacristy) : 
 
 II Romanino 454 
 
 Sala delta Ragione : 
 
 Frescoes 179 
 
 Scuola del Santo : 
 
 Titian and pupils .... 449 
 
 Parma. 
 
 Baptistc7-y : 
 
 Wall paintings .... 103
 
 520 
 
 LIST OF PLACES REFERRED TO. 
 
 Page 
 Dm/mo: 
 
 Correggio 420 
 
 S. Giovanni: 
 
 Correggio 420 
 
 Parmigianino 428 
 
 Public Gallery : 
 
 Con-eggio 422 
 
 Convent of S. Paolo ; 
 
 Correggio 419 
 
 Church delta Stcccata : 
 
 Parmigianino 428 
 
 Pavia. 
 
 La Certosa: 
 
 Ambrogio Borgognone . . 230 
 Andrea Solario .... 296 
 
 Perugia. 
 
 Academy : 
 
 Taddeo di Bartolo . . . 160 
 
 Benedetto Bonfigli ... 250 
 
 Pinturicchio 257 
 
 Giannicola 260 
 
 iS'. Agostino : 
 
 Taddeo di Bartolo . . . 161 
 
 Fiorenzo di Lorenzo . . . 250 
 
 Perugino 256 
 
 Eusebio di S. Giorgio . . 260 
 
 House of Countess Anna Alf ant : 
 Raphael 330 
 
 Casa Baldeschi: 
 
 Raphael (drawing) . . . 332 
 
 Chapel of S. Bernardino Monastery : 
 Benedetto Bonfigli ... 250 
 
 S. Caterina (or S. Antonio di Via 
 Superba) : 
 
 Martinellus 249 
 
 Matteo di Gualdo ... 249 
 
 Pietro Ant. di Fuligno . . 249 
 
 Casa Connestabile : 
 
 Raphael 330 
 
 Collegia del Cambio : 
 
 Perugino 254 
 
 S. Domenico: 
 
 Fiesole 166 
 
 Fra Bartolommeo da Penigia 249 
 Benedetto Bonfigli ... 249 
 
 Page 
 Dimno (Cappella S. Onofrio) : 
 
 Luca Signorelli .... 217 
 Federigo Baroccio . . . 476 
 
 S. Francesco de' Conventuali : 
 
 Fiorenzo di Lorenzo . 218, 250 
 
 Pisanello (?) 218 
 
 Perugino 256 
 
 Raphael 342 
 
 Orazio Alfani 342 
 
 S. Francesco del Monte : 
 Perugino . . . . 
 
 Palazzo del Consiglio : 
 Benedetto Bonfigli 
 Fioi-enzo di Lorenzo . 
 
 255 
 
 250 
 250 
 
 S. Pietro : 
 
 Benedetto Bonfigli . . . 250 
 
 Adone Doni 260 
 
 L'Aliense 461 
 
 Sassoferrato 494 
 
 Convent ofSeroiti (now Gymnasium) : 
 Giovanni da Faenza . . . 261 
 
 S. Severe : 
 
 Raphael 336 
 
 Pesaro. 
 
 S. Francesco : 
 
 Giovanni Bellini . 
 
 Piacenza. 
 
 Duomo : 
 Guercino 
 
 Pisa. 
 
 Campo Santo: 
 
 Giovanni Pisano . 
 Orcagna .... 
 Pietro Laurentii . . 
 Antonio Veneziano . 
 Spinello of Arezzo 
 Francesco da Volterra 
 Pietro di Puccio . . 
 Benozzo Gozzoli . 
 
 (Chapel) : 
 
 Razzi 
 
 Duomo : 
 
 Cimabue .... 
 S. Francesco : 
 
 Niccola di Pietro • . 
 
 240 
 492 
 
 145 
 145 
 150 
 151 
 151 
 152 
 153 
 206 
 
 413 
 
 110 
 
 153
 
 LIST OF PLACES EEFERRED TO. 
 
 521 
 
 Page 
 
 S. Pietro (or S. Bero) in Grado (be- 
 tween Pisa and Leghorn) : 
 Wall paintings . . . . 105 
 
 PiSTOJA. 
 
 Dmmo : 
 
 Lorenzo di Credi .... 288 
 
 Prato. 
 
 Duomo (Chapel of the Holy Girdle) : 
 Angiolo Gaddi .... 137 
 Fra Filippo Lippi . , 197, 198 
 
 House of Chancellor : 
 
 Fra Filippo Lippi . . . 198 
 
 Franciscan Monastery : 
 
 Niccola di I'ietro . . . . 154 
 Tabernacle near S. Margherita : 
 
 Filippino Lippi .... 204 
 
 Ravenna. 
 
 S. Apollinare in Classe : 
 
 Mosaics 61 
 
 S. Apollinare Nuovo : 
 
 Mosaics 38 
 
 Archiepiscopal Palace (chapel) : 
 
 Mosaics 40 
 
 Camaldolese Monastery (refectory) : 
 
 Luca Longhi 477 
 
 Duomo (Baptistery) : 
 
 Mosaics 25 
 
 Guide Keni 490 
 
 Chapel of Empress Galla Placidia : 
 Mosaics 28 
 
 S. Giovanni Evangelista : 
 
 Mosaics 28 
 
 S. Maria in Cosmedin (Baptistery of 
 the Arians) : 
 
 Mosaics 35 
 
 S. Michele in Affricisco : 
 
 Mosaics 35 
 
 S. Vitale : 
 
 Mosaics 35 
 
 Rimini. 
 
 S. Francesco: 
 
 Piero della Francesca . . 215 
 
 Page 
 Rome. 
 
 ;S'. Aijnese fuori le mura : 
 
 Mosaics 59 
 
 S. Agostino: 
 
 Raphael 369 
 
 Alhano Palace : 
 
 Perugino 254 
 
 S. Andrea della Valle : 
 
 Domenichino ..... 485 
 
 Lanfranco 493 
 
 SS. Apostoli : (See Quirinal Palace, 
 and S. Pietro.) 
 
 Melozzo da Forli .... 227 
 
 Barherini Palace : 
 
 Illuminated MS 94 
 
 Raphael 386 
 
 After Titian 448 
 
 Lanfranco 493 
 
 Pietro da Cortona . . . 499 
 
 Borghese Palace : 
 
 Leonardo da Vinci . . 277, 287 
 
 Andrea del Sarto .... 321 
 
 Domenico Puligo .... 322 
 
 Raphael 341 
 
 Raphael (ascribed to) . . 389 
 
 Giulio Romano .... 399 
 
 Innocenzo da Imola . . . 406 
 
 Garofalo 407 
 
 Dosso Dossi 408 
 
 Giambatt. Dossi .... 409 
 
 Razzi 414 
 
 Correggio ...... 426 
 
 Giorgione 430 
 
 Sebastian del Piombo . . 435 
 
 Palma, vecchio .... 437 
 
 Titian 446, 447 
 
 Sassoferrato 447 
 
 Pordenone 455 
 
 Federigo Zuccaro .... 475 
 
 Annibale Carracci . . . 483 
 
 Domenichino 486 
 
 Albani 487 
 
 Borgognone 508 
 
 Gallery of the Capitol : 
 
 Mazzolino di Ferrara . . 226 
 
 Bernardino de' Conti . . 228 
 
 Correggio 422 
 
 Guido Keni 490
 
 522 
 
 LIST OF PLACES REFERRED TO. 
 
 Pasje 
 
 Guercino 4-92 
 
 Mich. Aug. da Cai-avaggio . 501 
 
 (Chapel of Palazzo de' Conser- 
 vator], in Capitol) : 
 
 Piiituricchio 257 
 
 Catacombs 13 
 
 Catacomb of S. Calixtus . 13, 14 
 
 Pontian Catacombs ... 16 
 
 S. Caterina di Siena : 
 
 Timoteo della Vite . . . 405 
 
 S. Cecilia in Trastevere : 
 
 Mosaics 68 
 
 Pinturicchio (?) .... 257 
 
 Colonna Palace : 
 
 Marcello Veuusti .... 309 
 
 Domenico Puligo .... 322 
 
 Bagnacavallo 405 
 
 Palma, vecchio .... 437 
 
 Titian 448 
 
 Aunibale Carracci . . . 484 
 
 Lanfranco 493 
 
 Salvator Rosa 506 
 
 Alessandro Turclii . . . 509 
 
 Corsini Palace : 
 
 Fiesole 166 
 
 Michael Angelo .... 307 
 
 Polidoro da Caravaggio . . 403 
 
 Lo Spagnoletto .... 503 
 
 Salvator Rosa 505 
 
 S. Costanza (near Rome) : 
 
 Mosaics 21, 98 
 
 SS. Cosmo e Damiano : 
 
 Mosaics 31 
 
 S. Croce in Gerusalemme : 
 
 Pinturicchio 257 
 
 SS. Quattro Coronati (S. Silvestro 
 Chapel) : 
 
 Wall paintings .... 98 
 
 S. demente : 
 
 Mosaics 96 
 
 (Cappella S. Caterina) : 
 
 Masaccio 193 
 
 Doria Palace : 
 
 Mazzolino da Ferrara . . 226 
 
 Garofalo 407 
 
 Titian 443 
 
 Page 
 
 Lodovico Carracci . . . 482 
 Annibale Carracci . . . 484 
 Domenichino 487 
 
 Farnesina : 
 
 Raphael 389, 390 
 
 Giulio Romano . . 390, 397 
 
 Baldassare Peruzzi . 414, 415 
 
 Grottaf errata (near Rome) : 
 
 Domenichino 486 
 
 jS'. Francesca Romana : 
 
 Mosaics 70 
 
 Palazzo Farnese : 
 
 Annibale Carracci . . . 483 
 Prince Gabrielli's Collection : 
 
 Raphael 333 
 
 *S'. Giorgio on Velahro : 
 
 Fresco CI 
 
 S. Gregorio on Monte Celio : 
 (Andrea Cappella, near) : 
 
 Domenichino 485 
 
 Guido Reni 490 
 
 (S. Silvia Cappella, near) : 
 
 Guido Reni 490 
 
 S. Giovanni in Laterano : 
 
 Mosaics 29, 113 
 
 Giotto 134 
 
 Pisanello 217 
 
 (Tabernacle) : 
 
 Berna 160 
 
 (Sacristy) : 
 
 Marcello Venusti .... 308 
 (S. Venanzio) : 
 
 Mosaics 60 
 
 Villa Lanti : 
 
 Giulio Romano .... 397 
 S. Lorenzo fuori le mura : 
 
 Wall paintings .... 98 
 S. Lorenzo in Panisperna : 
 
 Cati da Jesi 475 
 
 Villa Ludovisi : 
 
 Domenichino 487 
 
 Guercino 492 
 
 »S". Liiiiji de' Francesi: 
 
 Francesco Bassano . . . 468 
 
 Domenichino 485
 
 LIST OF PLACES REFERRED TO. 
 
 523 
 
 Page 
 (Kemigius Chapel) : 
 
 Pellegriiio Tibaldi ... 407 
 
 Sermoneta 475 
 
 Mich. Ang. da Caravaggio . 501 
 
 Villa Madama : 
 Giulio Romano .... 397 
 Giovanni da Udiue . . . 410 
 
 Castle of La Magliana : 
 
 Raphael 367 
 
 S. Marco : 
 
 Mosaics 69 
 
 Cai-lo Crivelli 233 
 
 S. Maria dell' Anima : 
 
 Giulio Romano .... 398 
 Carlo Saraceno .... 502 
 
 S. Maria Araceli : 
 
 Pinturicchio 257 
 
 S. Maria dcgli Amjch : 
 
 Gir. Muziano 454 
 
 Domenichino 486 
 
 Pompeo Batoni . . . . 511 
 
 S. Maria Magyiore : 
 
 Mosaics .... 27, 113, 114 
 S. Maria in Cosiiiediii (Sacx-isty) : 
 
 Mosaics 65 
 
 S. Maria sopra Minerva : 
 
 Mosaics 114 
 
 (Cappella Carafa) : 
 
 Filippino Lippi .... 203 
 (Chapel of St. Thomas Aquinas) : 
 
 Raffaellino del Garbo . . 324 
 
 S. Maria del la Navicella : 
 
 Mosaics 69 
 
 S. Maria della Pace: 
 
 Raphael 368 
 
 •Timoteo della Vite . . . 369 
 
 Bagnacavallo 405 
 
 Baldassare Peruzzi . , 415 
 
 Sermoneta 474 
 
 S. Maria del Popolo : 
 
 Pinturicchio 257 
 
 (Chigi Chapel) : 
 
 Raphael 370 
 
 Sebastian del Piombo . . 435 
 
 Page 
 
 <S^. Maria in Trastevere : 
 
 Mosaics 94 
 
 Pietro Cavallini .... 139 
 Agostino Ciampelli . . . 475 
 
 Palazzo Massimi : 
 
 Daniele da Volterra . . . 310 
 
 SS. Nereo e Achilleo : 
 
 Mosaics 66 
 
 S. Onofrio: 
 
 Pinturicchio 257 
 
 Leonardo da Vinci . . . 285 
 
 Baldassare Peruzzi . . . 414 
 
 »S'. Paolo fuori le mura : 
 
 Mosaics 29, 97 
 
 (Oratorio di S. Giuliano) : 
 
 Frescoes 97 
 
 S. Pietro : 
 
 Embroideries 81 
 
 Giotto 127 
 
 Melozzo da Forli .... 227 
 
 (Sacristy) : 
 
 Giotto 132 
 
 Giulio Romano .... 399 
 
 (Crypt) : 
 
 Simone di Slartino . . 157 note 
 
 S. Pietro in Mont or io : 
 
 Daniele da Volteria . . . 310 
 Sebastian del Piombo . . 435 
 
 S. Pietro hi Vincoli: 
 
 Mosaic 61 
 
 S. Prassede: 
 
 Mosaics 67 
 
 Giulio Romano .... 399 
 
 S. Pudenziami: 
 
 Mosaics 41 
 
 Agostino Ciampelli . . . 475 
 II Cavaliere delle Pomarance 477 
 
 The Quirinal: 
 
 Melozz.0 da Forli .... 227 
 
 Fra Bartolommeo . . . 317 
 
 Guido Reni 491 
 
 Villa of Raphael : 
 
 Raphael 391 
 
 Palazzo Rospigliosi : 
 
 Guido Reni (Pavilion) : 489, 491
 
 524 
 
 LIST OF PLACES REFERRED TO. 
 
 Page 
 S, Sabina (on the Aventine Hill) : 
 
 Carved doors 96 
 
 Sassoferrato 494 
 
 Palazzo Sciarra : 
 
 Leonardo da Vinci . . . 285 
 
 Raphael 387 
 
 Titian 440, 448 
 
 Mich. Ang. da Caravaggio . 501 
 
 Moses Valentin .... 502 
 
 S. Silvestro a Monte Cuvallo : 
 
 Giuseppe Cesare d'Arpino . 476 
 
 Paltzzo Spada : 
 
 Guido Reni 491 
 
 Guercino 492 
 
 Mich. Ang. da Caravaggio . 502 
 
 Mich. Ang. delle Battaglie . 507 
 
 Villa Spada : 
 
 Raphael 391 
 
 S. Stefano Rotondo : 
 
 Mosaics 60 
 
 S. Teodora: 
 
 Mosaics 41 
 
 SS. Trinita de' Monti: 
 
 Daniele da Volteita . . . 309 
 
 S. Urbano (II Tempio della Caffa- 
 rella) : 
 Wall painting 94 
 
 Vatican : 
 
 (Bath-room of Cardinal Bibiena) : 
 
 Raphael 391 
 
 Giulio Romano . . . . 391 
 
 (Gallery) : 
 
 Fiesole 166 
 
 Benozzo Gozzoli .... 207 
 
 Mantegna 223 
 
 Melozzo da Forli .... 227 
 
 Perugino 254 
 
 Raphael 328, 331, 377, 383, 385 
 After Correggio . . . 425 tuite 
 
 Andrea Sacchi 488 
 
 Guido Reni 489 
 
 Guercino 492 
 
 Moses Valentin .... 502 
 
 (Library) : 
 
 Illuminated MSS. 43, 78, 93, 99, 
 212, 400 
 (Leonine Triclinium) : 
 
 Mosaics 65 
 
 Page 
 
 (Museo Cristiano) : 
 
 Mosaic 11 note 2 
 
 (Nicholas V.'s Chapel) : 
 
 Fiesole 168 
 
 (Pauline Chapel) : 
 
 ]Michael Angelo .... 306 
 
 (Sistine Chapel) : 
 
 Sandro Botticelli .... 201 
 Perugino . . . 201 mte ; 252 
 Luca Signorelli . . . 201 note 
 Cosimo Rosselli . . . 201 note 
 Domenico Ghirlandajo . 201 note 
 Michael Angelo . . 299, 306 
 Daniele da VolteiTa . . . 306 
 
 (Loggie) : 
 
 Raphael 359 
 
 Giovanni da Udine . . 360, 410 
 
 Giulio Romano . . . . 361 
 
 Fiancesco Penni .... 361 
 
 Pellegrino da Modeiia . . 361 
 
 Raflaellino dal CoUe ... 361 
 
 (Stanze) . 
 
 Raphael 343 
 
 (Appartamento Borgia) : 
 
 Pinturicchio 257 
 
 Perino del Vaga .... 401 
 
 (Sala Regia) : 
 
 Vasari 473 
 
 Palazzo Verospi (now Torlonia) : 
 
 Albani 487 
 
 B. Vincenzo alk Tre Fontane : 
 
 After Raphael 367 
 
 Salerno. 
 Duomo : 
 
 Agemina 82 
 
 Saronno. 
 Bernardino Luini . . . 291 
 
 SCANDIANO. 
 
 Castle : 
 Niccolo deir Abate . . . 40u 
 
 S. Severing. 
 Castle : 
 
 Niccolö Alunno .... 251 
 S. Agostino: 
 
 Pinturicchio 258
 
 LIST OF PLACES REFERRED TO. 
 
 525 
 
 Page 
 SlEXA. 
 
 Academy : 
 
 Duccio 117 
 
 Taddeo di Bartolo . 160, 161 
 
 Pacchiorotto 267 
 
 Andrea del Bresciauino . . 267 
 
 Razzi 413 
 
 Maestro Riccio .... 414 
 
 Beccaf'umi 414 
 
 S. Agostino : 
 
 Matteo da Siena . . . . 162 
 
 Kazzi 413 
 
 Sala delle Bidestre: 
 Andrea di Lorenzo 
 
 159 
 
 S. BeniarJhio : 
 
 Pacchiorotto 267 
 
 (Oratory of) : 
 
 Razzi 413 
 
 Pacchiorotto 413 
 
 Beccaf'umi 413 
 
 5. Caterina : 
 
 Jacopo Pacchiorotto . 
 
 S. Domenico : 
 
 Guido da Siena . . 
 Matteo da Siena . . 
 
 (Chapel of S. Caterina di Siena) : 
 Razzi 
 
 Duomo : 
 
 Duccio 
 
 Pietro di Lorenzo 
 
 Liberale — illuminated missal 
 
 Beccafumi 
 
 S. Francesco : 
 
 Razzi 
 
 267 
 
 106 
 162 
 
 412 
 
 115 
 
 159 
 246 
 414 
 
 413 
 
 Church of Forde Giiista : 
 Bernardino Fungai . 
 Baldassare Peruzzi . 
 
 Libreria : 
 Pinturicchio 
 Raphael .... 
 
 Puhlic Palace : 
 Spinello di Arezzo 
 Simone di Martino 
 Andrea di Lorenzo 
 Razzi .... 
 Beccafumi . 
 
 267 
 415 
 
 258 
 332 
 
 151 
 157 
 159 
 413 
 414 
 
 Page 
 
 Palazzo della Signoria : 
 
 Taddeo di Bartolo , . . 161 
 Hospital della Scala : 
 
 Domenico di Bartolo . . 161 
 S. Spirito : 
 
 Razzi 413 
 
 Spello. 
 
 Duomo : 
 
 Pinturicchio 258 
 
 Spoleto. 
 Duomo : 
 
 Mosaics 99 
 
 PVa Filippo Lippi . . . 198 
 
 Palazzo del Consiglio : 
 
 Lo Spagna 259 
 
 S. Jacopo (between Spoleto and 
 Fuligno) : 
 Lo Spagna 260 
 
 TOLENTINO. 
 
 S. Niccola : 
 
 Lorenzo di S. Seveiino , . 183 
 Jacopo di S. Severino . . 188 
 
 ToRCELLO (island neax Venice). 
 Duomo : 
 
 Mosaics 100 
 
 Trevi. 
 
 Madonna delle Lagrime : 
 
 Lo Spagna 259 
 
 Convent of S. Martino : 
 
 Lo Spagna 259 
 
 Trevi so. 
 Chaj)ter House of Dominicans : 
 Frescoes by Thomas de Mutina 
 
 171 note 1 
 
 Turin. 
 
 Rojal Gallery: 
 
 Gaudenzio Ferrari . . . 294 
 
 Raphael 373 
 
 Palma, vecchio .... 437 
 Paul Veronese .... 464 
 Urbiso. 
 
 S. Atulrea (Sacristy) : 
 
 After Raphael 328 
 
 Duomo : 
 
 Timoteo della Vite . . . 404
 
 526 
 
 LIST OF PLACES REFERRED TO. 
 
 S. Giovanni Battista : 
 Lorenzo di S. Severino 
 Jacopo di S. Severino 
 
 S. Giuseppe: 
 
 Page 
 
 . 188 
 . 188 
 
 Timoteo dell a Vite . 
 
 . . 404 
 
 Giovanni Santfs honse : 
 
 
 Giovanni Santi 
 
 . . 262 
 
 S. Sebastiane: 
 
 
 Giovanni Santi 
 
 . . 262 
 
 S. Ttinita: 
 
 
 Timoteo della Vite . 
 
 . . 404 
 
 Varallo. 
 
 
 S. Maria di Loreto : 
 
 
 Gaudenzio Fen-ari 
 
 . . 295 
 
 Convent of the Minorites : 
 
 
 Gaudenzio Ferrari 
 
 . . 295 
 
 Sctcro Monte: 
 
 
 Gaudenzio Ferrari 
 
 . . 295 
 
 Yemce. 
 
 
 Academy : 
 
 
 Niccolo Semitecolo . 
 
 . . 182 
 
 Lorenzo Veneziano 
 
 . . 182 
 
 Mich. Mattei da Bologn.i 
 
 . 182 
 
 Michiel Giambono 
 
 . 183 
 
 Giovanni da JIurano . 
 
 . 183 
 
 Antonio da ilurano 
 
 . 183 
 
 Bartolommeo Vivarini 
 
 . 232 
 
 Luigi Vivarini . . 
 
 . 233 
 
 Antonello da ^^lessina 
 
 . 237 
 
 Giovanni Bellini . 
 
 . 238 
 
 • Gentile Bellini . . 
 
 . 240 
 
 Pier Francesco Bissolo 
 
 . . 241 
 
 Martino da Udino 
 
 . 242 
 
 Girolamo di S. Croce 
 
 . . 242 
 
 Vincenzo Catena . . 
 
 . 242 
 
 Cima da Conegliano . 
 
 . 243 
 
 Marco Marziale . . 
 
 . 244 
 
 Marco Ba.saiti . . . 
 
 . 244 
 
 Vittore Carpaccio 
 
 . 245 
 
 Giovanni Mansueti . 
 
 . 246 
 
 Lazzaro Sebastiani . 
 
 . 246 
 
 Bartolommeo Montagna 
 
 . 246 
 
 Leonardo da Vinci . 
 
 . 279 
 
 Garofalo .... 
 
 . 408 
 
 Giovanni da Udine . 
 
 . 410 
 
 Giorgione .... 
 
 . 431 
 
 Florigerio .... 
 
 . 436 
 
 Palma, vecchio , . 
 
 436, 437 
 
 Rocco Marconi . . . 
 
 . 437 
 
 Titian .... 440, 
 
 441. 449 
 
 Bonifazio .... 
 
 . 451 
 
 Schiavone 
 Campagnola . 
 Moroni .... 
 Pordenone . 
 Paris Bordone 
 Tintoretto . . . 
 Paul Veronese 
 Leandro Bassano . 
 Lanfranco . 
 Domenico Feti 
 Jacopo Palma, giov. , 
 II Padovanino . . 
 
 463. 
 
 Page 
 451 
 451 
 454 
 455 
 456 
 459 
 466 
 468 
 493 
 497 
 508 
 509 
 
 Barherigo Palace . 
 Titian 
 
 443, 446, 448, 449 
 
 Chiesa del Carmine : 
 
 24.'^ 
 
 Cima da Conegliano . 
 S. Caterina : 
 
 Titian 44: 
 
 Doge''s Palace : 
 
 Marco Vecellio . . 
 Battista Franco 
 Tintoretto .... 
 Paul Veronese . . 
 Jacopo Palma, giov. . 
 
 (Sala dello .Scrutinio) : 
 Francesco Bassano 
 
 (Staircase next to chapel) 
 Titian 
 
 450 
 457 
 460 
 465 
 50S 
 
 468 
 
 444 
 
 233 
 241 
 242 
 457 
 463 
 508 
 
 .... 444 
 S. Giorgio de' Greci : 
 
 Mosaics 87 note 
 
 S, Giorgio de' Schiavoni: 
 
 Carpaccio 246 
 
 iS". Giovanni Chrisostomo : 
 
 Giovanni Bellini . 
 
 Sebastian del Piombo 
 
 S. Giovanni Elemosiaario : 
 
 Marco Vecellio . . 
 SS. Giovanni e Paolo : 
 
 Giovanni Bellini .... 238 
 
 S. Francesco della Vigna : 
 Fra Antonio da Negroponte 
 Pier Maria Pennacchi 
 Francesco da S. Croce 
 Battista Franco 
 Paul Veronese 
 Jacopo Palma, giov. 
 
 Chiesa dei Gesuiti: 
 Titian 
 
 239 
 434 
 
 45Q
 
 LIST OF PLACES REFERRED TO. 
 
 
 Page 
 
 
 Page 
 
 Bartolommeo Yivarini . 
 
 . 232 
 
 S. Niccolo: 
 
 
 Rocco Mai'coni 
 
 . 437 
 
 Sebastian del Piombo 
 
 . 434 
 
 Lorenzo Lotto 
 
 . 438 
 
 
 
 Titian 
 
 . 443 
 
 Church del Redentore : 
 
 
 Tintoretto 
 
 . 459 
 
 Giovanni Bellini . . 
 
 . 239 
 
 Leandro Bassano . . . 
 
 . 468 
 
 S. Eocco : 
 
 
 S. Maria de' Frori : 
 
 
 Pordenone .... 
 
 . 455 
 
 Bartolommeo Yivarini . 
 
 . 232 
 
 Scnola di S. Rocco : 
 
 
 Luigi Vivarini 
 
 . 233 
 
 Tintoretto .... 
 
 . 460 
 
 Giovanni Bellini . 
 
 . 238 
 
 
 
 Marco Basaiti .... 
 
 . 244 
 
 iS". Siilvatore : 
 
 
 Titian 
 
 . 442 
 
 Giovanni Bellini . 
 
 . 238 
 
 Bernardino Licinio . . 
 
 . 456 
 
 Titian 
 
 . 449 
 
 Jacopo Palma, giov. . . 
 
 . 508 
 
 S. Sehastiano: 
 
 
 S!. Blaria deW Orto : 
 
 
 Paul Veronese . . . 
 
 . 463 
 
 Tintoretto 
 
 . 460 
 
 S. Trovaso: 
 
 
 S. Maria della Sahde : 
 
 
 Tintoretto .... 
 
 . 460 
 
 Pier Maria Pennacclii . 
 
 . 241 
 
 S. Vitale: 
 
 
 S. Marco: 
 
 
 Carpaccio .... 
 
 . 245 
 
 Mosaics . . 71, 72, 7 
 
 \ 74, 75 
 
 S. Zaccaria : 
 
 
 Enamels 
 
 80 
 
 Giovanni da Murano . 
 
 . 184 
 
 (Baptistery Chapel) : 
 
 
 Antonio da ]\Iiirano . 
 
 . 184 
 
 Mosaics 
 
 . 101 
 
 Giovanni Bellini . . 
 
 . 238 
 
 (S. Isidore Chapel) : 
 
 
 Palma, vecchio 
 Tintoretto .... 
 
 . 436 
 . 459 
 
 Mosaics 
 
 . 182 
 
 
 
 (Cappella dei Mascoli) : 
 
 
 Vercelli. 
 
 »S". Cristoforo: 
 
 
 Michiel di Giambono 
 
 . 184 
 
 
 
 
 Gaudenzio Ferrari 
 
 . . 295 
 
 (Cappella Zeno) : 
 
 
 Bernardino Lanini 
 
 . . 296 
 
 Mosaics 
 
 . 100 
 
 Diißmo: 
 
 
 Manfrini Palace : 
 
 
 Gaudenzio Ferrari 
 
 . 294 
 
 Niccolo di Pietro . 
 
 . 182 
 
 
 
 Jacobello del Fiore . . 
 
 . 183 
 
 S. Giuliano: 
 
 
 Antonello da Messina 
 
 . 236 
 
 Bernardino Lanini 
 
 . 296 
 
 Giovanni Bellini . . . 
 
 . 239 
 
 S. Paolo : 
 
 
 Pier Francesco Bissolo . 
 Gir. da Santa Croce . 
 
 . 241 
 . 242 
 
 Gaudenzio Ferrari 
 
 . 295 
 
 Viuoenzio Catena . . . 
 
 . 243 
 
 Verona. 
 
 
 Andrea Previtali . . . 
 
 . 243 
 
 S. Annstasia: 
 
 
 Cesare da Sesto 
 Giorgione .... 
 
 . 292 
 430, 432 
 
 Wall paintings . . 
 Liberale .... 
 
 . 180 
 . 246 
 
 Palma, vecchio 
 
 . 437 
 
 Morone 
 
 . 246 
 
 Kocco Marconi 
 
 . 437 
 
 Girolamo dai Libri 
 
 . 247 
 
 Titian . . . 440, 441, 
 
 447, 448 
 
 
 
 Savoldo 
 
 . 452 
 
 Palazzo del Consiglio : 
 
 
 Moroni 
 
 . 454 
 
 0pm Turoni . . . 
 
 . 180 
 
 11 Romanino .... 
 
 . 454 
 
 Pisanello .... 
 
 . 218 
 
 Pordenone 
 
 . 455 
 
 Squarcione .... 
 
 . 220 
 
 Paris Bordone . . . . 
 
 . 457 
 
 Girolamo dai Libri 
 
 . . 247 
 
 
 . 501 
 
 Gianfrancesco Carotto 
 
 . . 415 
 
 Carlo Saraceno . . . 
 
 . .502 
 
 Titian 
 
 . . 444
 
 628 
 
 LIST OF PLACES REFEERED TO. 
 
 Dmmo : 
 
 
 Liberale 
 
 . . 246 
 
 P'rancesco Torbido 
 
 . . 436 
 
 Titian 
 
 . . 441 
 
 Episcopal Palace : 
 
 
 Giacomo Bellini . , 
 
 . . 220 
 
 St. Euphemia : 
 
 Wall paintings . . . 
 
 (Cappella degli Spolveiini) 
 Gianfrancesco Carotto 
 
 180 
 
 416 
 
 Page 
 
 S. Fenno: 
 
 Liberale 246 
 
 Stefano da Zevio .... 180 
 Pisanello 218 
 
 S. Nazario : 
 
 Wall paintings .... 180 
 
 S. Zeno: 
 
 Wall paintings 180 
 
 Mantegna 223 
 
 ViCENZA. 
 
 S. Corona : 
 
 Giovanni Bellini .... 240 
 
 I. GERMANY. 
 
 AUUSBURG. 
 
 Public Gallery : 
 Salvator Rosa 
 
 506 
 
 Berlin. 
 
 Museum : 
 
 Giotto 
 
 Taddeo Gaddi . . . 
 Simone di Martino 
 Domenico di Bartolo 
 
 Fiesole 
 
 Gritto da Fabriano . 
 Gentile da Fabriano . 
 Fra Filippo Lippi 
 Sandro Botticelli . 
 Filippino Lippi 
 Cosimo Rosselli . 
 Ghirlandajo 
 Andrea del Castaguo 
 PoUajuolo .... 
 Luca Signorelli 
 Mantegna .... 
 Marco Zoppo . . . 
 Lod. Mazzolino . 
 Dom. Panetti . 
 Bernard, de' Conti . 
 Bramantino, vecch. . 
 Ambrogio Borgognone 
 Pietro Franc. Sacchi 
 Bartolommeo Vivarini 
 Luigi Vivarini . . 
 Carlo Crivelli . . . 
 Giov. Bellini . . . 
 Pierfr. Bissolo 
 Pietro degli Ingannati 
 Cordelle Agi . . . 
 
 186 
 
 130 
 
 i;.;6 
 
 158 
 161 
 167 
 185 
 187 
 ' 198 
 200 
 204 
 205 
 210 
 212 
 214 
 217 
 223 
 224 
 226 
 227 
 228 
 228 
 230 
 230 
 232 
 233 
 233 
 240 
 241 
 241 
 241 
 
 Gir. da S. Croce . . 
 
 . . 242 
 
 Fr. da S. Croce . . 
 
 . . 242 
 
 Vincenzio Catena . . 
 
 . . 243 
 
 And. Previtali . . 
 
 . . 243 
 
 Cima da Conegliano . 
 
 . . 243 
 
 Marco Marcone 
 
 . . 244 
 
 Basaiti 
 
 . . 244 
 
 Vitt. Carpaccio . . 
 
 . . 246 
 
 Bart. Montagna . 
 
 . . 246 
 
 Fr. Morone 
 
 . . 246 
 
 Fio. di Lorenzo . 
 
 . . 250 
 
 Niccolo Alunno 
 
 . 251 
 
 Pietro Perugino . 
 
 . 252 
 
 Pinturicchio 
 
 . 258 
 
 Rocco Zoppo . . . 
 
 . 261 
 
 Giov. Santi . . . 
 
 . 262 
 
 Marco Palmezzano . 
 
 . 263 
 
 Fr. Francia 
 
 . 264 
 
 Giulio Francia . . 
 
 . 266 
 
 Giacomo Francia . . 
 
 . 266 
 
 Amico Aspertini . 
 
 . 266 
 
 Lorenzo Costa . . . 
 
 . 266 
 
 Piero di Cosimo . . 
 
 . 287 
 
 Lorenzo di Credi . . . 
 
 . 288 
 
 Giov. Ant. Sogliani . 
 
 . 288 
 
 Giuliano Bugiardini . . 
 
 . 288 
 
 Franc. Melzi . . . 
 
 . 292 
 
 Pietro Riccio . . . 
 
 . 293 
 
 Andrea Solario 
 
 . 296 
 
 After Michael Angelo 
 
 3U7, 308 
 
 Pontormo 
 
 . 308 
 
 Kali'aellino del Garbo 
 
 . 324 
 
 Raphael . . . 329, 
 
 330, 339 
 
 After Raphael . . . . 
 
 . 387 
 
 11 Pistoja 
 
 . 402 
 
 Tim. della Vite . . . 
 
 . 405
 
 LIST OF PLACES REFERRED TO. 
 
 529 
 
 Innocenzo da Imola . . . 
 
 Cotignola 
 
 Dosso Dossi 
 
 Giambatt. Benrenuti . . 
 
 Razzi 
 
 Baldassare Peruzzi , . 
 
 Correggio 
 
 Seb. del Piombo .... 
 Giov. Paolo I'Olmo . . . 
 
 Titian 
 
 Fr. Vecellio 
 
 Savoldo 
 
 II Moretto 
 
 Moroni 
 
 II Romanino 
 
 Pordenone 
 
 Bernard. Licinio .... 
 
 Paris Bordone 
 
 Battista Franco .... 
 
 Tintoretto 
 
 Paul Veronese .... 
 
 Batt. Zelotti 
 
 Hassane 
 
 Vasari 
 
 Bronzino 
 
 Sabbatini 
 
 Lod. Cairacci 
 
 Ann. Carracci . . 483, 
 Guido Reni . . . 489, 
 
 Procaccini 
 
 Carlo Dolce 
 
 M. Ang. da Caravaggio . 
 Lo Spagnoletto .... 
 Salvator Rosa .... 
 Mich. Angelo delle Battaglie 
 Luca Giordano .... 
 
 Page 
 405 
 4*36 
 406 
 408 
 409 
 414 
 415 
 426 
 435 
 438 
 448 
 450 
 452 
 453 
 454 
 454 
 455 
 456 
 456 
 457 
 459 
 462 
 466 
 468 
 473 
 474 
 477 
 481 
 484 
 490 
 495 
 498 
 502 
 503 
 506 
 507 
 508 
 
 Gallery of Count A. Raczynski : 
 Gir. Siciolante da Sennoneta 474 
 Sofonisba Anguisciola . . 495 
 
 Gallery of Hof rath F. Förster : 
 Lippo Memmi .... 158 
 
 DONAUWERTH. 
 
 Monastery of the Holy Cross : 
 Greek Mosaic Picture 
 
 Dresden. 
 
 Royal Gallery: 
 
 Giov. Bellini . , . 
 Leonardo da Vinci (?) 
 And. del Sarto 
 Raphael 
 
 Giulio Romano 
 
 84 
 
 240 
 285 
 321 
 379 
 397 
 
 Niccolö dell' Abate 
 Bagnaeavallo 
 Dosso Dossi 
 Correggio , 
 Giorgione . 
 Titian 
 
 Paul Veronese 
 Ann. Carracci 
 Carlo Cignani 
 Alessandro Turchi 
 
 Page 
 
 . 400 
 
 ... 405 
 
 . 408, 409 
 
 418, 423, 424 
 
 ... 431 
 
 440, 442, 445 
 
 . . 464, 466 
 
 ... 483 
 
 ... 488 
 
 ... 509 
 
 Collection of Herr von Quandt : 
 
 Sandro Botticelli . . . 200 
 
 II Moretto 453 
 
 Frankfort. 
 Stüdel Institution : 
 
 Fiesole 16G 
 
 Barnaba of Modena . . . 171 
 
 Macrino d'Alba .... 231 
 
 II Moretto ...... 453 
 
 Domenichino 486 
 
 Collection of Dr. Carove: 
 
 Polidoi-G da Caravaggio . . 404 
 
 Leipzig. 
 
 Collection of Bamn Speck of 
 Stenihurg : 
 
 Raphael 388 
 
 Munich. 
 
 (In possession of the King) : 
 Raphael 373 
 
 Gallery : 
 
 Francia 265 
 
 After Michael Angelo . . 308 
 Raphael . . 338, 339, 343, 386 
 
 Correggio 424 
 
 Giorgione 430 
 
 Titian 446, 448 
 
 Paris Bordone 456 
 
 Carlo Cignani .... 488 
 Guido Keni 490 
 
 Library : 
 
 Illuminated missal 
 Nicolas of Bologna . 
 
 Schleissheim : 
 
 Guido Reni . . 
 Leuchtenberg Gallery : 
 
 Bossi (cartoon) 
 
 Giorgione 431 
 
 Titian 442 
 
 2 A 
 
 169 
 169 
 
 490 
 
 279
 
 530 
 
 LIST OF PLACES REFERRED TO. 
 
 Stuttgardt. 
 
 
 Gallery : 
 
 Page 
 
 Palma, recchio . . . 
 
 . 437 
 
 P0MMERSFEI.DE>- 
 
 
 Gallery : 
 
 
 Andrea Solario . . . 
 
 . 29G 
 
 Vienna. 
 
 
 Gallery of the Belvedei-e : 
 
 
 Thomas de JIutina . . 
 
 . 170 
 
 Antonello da Messina 
 
 . -236 
 
 Cesare da Sesto . . . 
 
 . 293 
 
 Fra Paolo da Pistoja . . 
 
 . 318 
 
 Raphael . . . 337, 
 
 376, 381 
 
 Pelle?rino Tibaldi . . 
 
 . 407 
 
 Corre;^gio 
 
 . 426 
 
 Page 
 
 Giorgione 430 
 
 Palma, vecchio .... 437 
 Titian .... 440, 445, 446 
 
 Schiavone 451 
 
 II Moretto 453 
 
 Paris Bordone 456 
 
 Cristofano Allori .... 497 
 
 Salvator Rosa 506 
 
 Library : 
 
 Illuminated MS 44 
 
 Ambras Gallery: 
 
 Mosaic of Last Supper . . 279 
 Esfterhazy Gallery: 
 
 Bernardino Luini .... 289 
 
 Paris Bordone 456 
 
 II. FRANCE. 
 
 Besan^ox. 
 
 Cathedral : 
 Fra Bartolommeo 
 
 Louvre : 
 
 Taddeo di Bartolo 
 Fiesole .... 
 Fra Filippo Lippi . 
 Pesellino . . . 
 Sandro Botticelli . 
 Benozzo Gozzoli . 
 Ghirlandajo 
 Mantegna . . . 
 Fr. Bianchi Ferrari 
 Giov. Massone 
 Cima da Conegliano 
 Vitt. Carpaccio 
 Niccolo Alunno . 
 Ingegno .... 
 Lorenzo Costa . . 
 Leon, da Vinci . 2 
 
 Piero di Cosimo . 
 Marco d'Oggione . 
 Giov. Ant. Beltraffio 
 Andr. Solario . . 
 Dan. da Volterra . 
 Fra Bartolommeo 
 Mariotto Albertinelli 
 Andrea del Sarto . 
 
 11 Rosso .323 
 
 Rid. Ghirlandajo .... 323 
 
 Raphael . . 333, 338, 372, 375, 
 
 376, 382, 388, 389 
 
 317 
 
 161 
 167 
 199 
 199 
 200 
 . 207 
 210 
 223 
 . 231 
 , 231 
 243 
 , 246 
 , 251 
 258 
 , 266 
 281, 284, 
 285, 286 
 , 287 
 . 291 
 292 
 \ 296 
 , 310 
 . 317 
 . 318 
 , 321 
 
 Giulio Romano 
 
 
 
 399 
 
 Perino del Vaga 
 
 
 
 401 
 
 Polid. da Caravasgio 
 
 
 403 
 
 Correggio . 
 
 
 
 426 
 
 Mich. Ang. Anselmi . . 
 
 
 427 
 
 Giorgione . . 
 
 430, 
 
 431, 
 
 432 
 
 Seb. del Piombo 
 
 
 
 434 
 
 Palma, vecchio 
 
 
 
 437 
 
 Titian . . 440 
 
 441, 
 
 442, 
 
 443, 
 
 
 
 446, 
 
 448 
 
 11 Moretto . . 
 
 
 . 
 
 453 
 
 Tintoretto . 
 
 
 459 
 
 460 
 
 Paul Veronese . 
 
 463, 
 
 465 
 
 466 
 
 Baroccio . . 
 
 
 
 476 
 
 Lod. Carracci . 
 
 
 
 482 
 
 Agost. Carracci 
 
 
 
 482 
 
 Ann. Carracci . 
 
 
 483 
 
 484 
 
 Domenichino . 
 
 . 
 
 
 487 
 
 Albani . . . 
 
 
 
 487 
 
 Guercino . . 
 
 
 
 492 
 
 Bernard. Campi 
 
 
 
 495 
 
 Domenico Feti 
 
 , 
 
 
 497 
 
 Cristotano Allori 
 
 
 
 497 
 
 Mich. Ang. da Ca 
 
 ravagg 
 
 io . 
 
 502 
 
 Salvator Kosa . 
 
 
 . 
 
 505 
 
 Eoyal Library : 
 
 
 
 
 Miniatures . 77 
 
 , 118, 
 
 158, 
 
 169, 
 190 
 
 Li^jrary of Arsenal : 
 
 
 
 
 Illuminated MS. 
 
 
 
 137 
 
 Fontaineblcau : 
 
 
 
 
 Priraaticcio 
 
 , , 
 
 
 400
 
 LIST OF PLACES REFERRED TO, 
 
 531 
 
 III. ENGLAND. 
 
 Paye 
 National Gallery : 
 
 Leon, da Vinci .... 286 
 Michael Angelo .... 308 
 Seb. del Piombo . 308, 434, 436 
 Raphael .... 333, 340 note 
 
 Garofalo 408 
 
 Correggio .... 425, 426 
 
 Parmigianino 428 
 
 Giorgione 430, 431 
 
 Titian 446 
 
 Ann. Carracci 484 
 
 Domenichino 487 
 
 Royal Academy : 
 
 Marco d'Oggione .... 279 
 Leonardo da Vinci . . . 283 
 
 Kensiwjton Palace : 
 
 Giunto Padovano . . . . 172 
 Pontormo 308 
 
 Hampton Court : 
 
 JIantegna 222 
 
 Kapliael 362 
 
 Bridgewater Gallery (Earl of 
 Ellesmere) : 
 Raphael . . . 337, 372, 374 
 Baldassare Periizzi . . . 415 
 
 Titian 445, 447 
 
 Paris Bordone 457 
 
 Tintoretto 460 
 
 Btaford Ho-use Gallery (Duke 
 of Sutherland) : 
 
 Niccolo deir Abate . . . 400 
 
 Correggio 425 
 
 Titian 445 
 
 Moroni 454 
 
 Tintoretto 459 
 
 Apsley House Gallery (Duke 
 of Wellington) : 
 Correggio 424 
 
 Grosvenor Gallery (Marquis of 
 Westminster) : 
 Salvator Rosa 505 
 
 Collection of Mr. Rogers : 
 
 Raphael 336, 372 
 
 Bassano 467 note 
 
 Collection of Mr. Munro : 
 
 Eapliael .... 374 note, 376 
 
 Page 
 Zord Ashbw-toti's Collection : 
 
 Correggio 419 
 
 Giorgion« ...... 430 
 
 Lord Ward's Gallery; 
 
 Fiesole 167 
 
 Francia ....... 264 
 
 Raphael 328 
 
 (In possession of Lord Garvagh) : 
 
 Raphael 371 
 
 (In possession of Duke of Grafton) : 
 
 After Raphael 389 
 
 (In possession of Lord de Grey) : 
 
 Titian 449 
 
 Northumherland House : 
 
 Titian 448 
 
 Devonshire House; 
 
 Titian . 450 
 
 Messrs. Woodhurn : 
 
 After Michael Angelo . . 307 
 
 Mr. Solly's Collection — (now 
 dispersed) : 
 
 Raphael 342 
 
 Bagnacavallo 405 
 
 Innocenzo da Imola . . . 406 
 
 Cotignola 406 
 
 Giorgione 431 
 
 Lorenzo Lotto 438 
 
 II Moretto 453 
 
 Althorp: 
 
 Perino del Vaga .... 401 
 
 Blenheim : 
 
 Raphael 336 
 
 Boicood : 
 
 Raphael 336 
 
 Burleigh House : 
 
 Pordenone 455 
 
 Barron Hill : 
 
 Raphael 336 
 
 Castle Howard: 
 
 Primaticcio 400 
 
 Giorgione 431 
 
 Tintoretto 459 
 
 Ann. Carracci .... 483, 484 
 
 Domenichino 486 
 
 2 A 2
 
 532 
 
 LIST OF PLACES REFERRED TO. 
 
 Chisuick : 
 Bassaiio 468 
 
 Holkham : 
 
 Bassano 4-68 
 
 Lei[/h Court: 
 
 Raphael 336 
 
 After Raphael 387 
 
 Panshangcr : 
 
 Fra Bartolommeo . . . 317 
 Raphael 339 
 
 St rat ton : 
 
 Raphael 376 
 
 Giorgione 4-30 
 
 Seb, del Piombo .... 435 
 
 Warwick Castle : 
 Raphael 388 
 
 Page 
 Lord Northidck's Collection : 
 
 Giulio Romano .... 399 
 
 Alton Towers : 
 
 II Gobbo 493 
 
 Cambridge. 
 
 Fitzwilliam Museum : 
 
 Giorgione 431 
 
 Titian 445 
 
 Liverpool Institution : 
 
 Don Silvestro 139 
 
 Simone di Martino . . . 157 
 
 Masaccio 196 
 
 Pesellino 199 
 
 After Slichael Angelo . . 307 
 
 IV. BELGIUM. 
 
 ; Antwerp. 
 Museum: Antonello da Messina 
 
 236 
 
 Gallery of the Hague ; 
 Leonardo da Vinci 
 
 V. HOLLAND. 
 
 282 
 
 Collection of Kiivj of Holland: 
 Leonardo da Vinci (drawings) 279 
 
 Cathedral: 
 
 VI. BOHEMIA. 
 
 Prague. 
 
 , . . . Thomas de Mutina 
 
 170 
 
 VII. RUSSIA. 
 
 St. Petersburg. 
 
 Hermitage : 
 
 Leon, da Vinci .... 283 
 Raphael .... 340, 342, 372 
 
 Correggio 422 
 
 Seb. del Piombo .... 434 
 
 II Moretto 453 
 
 Prince Narischkin : 
 
 Domenichino 486 
 
 KlEEF. 
 
 8. Sophia : 
 
 Frescoes 86 
 
 VIII. SPAIN. 
 
 Escurial Palace : 
 
 Raphael 340, 
 
 379 
 
 Titian 443 
 
 Madrid Gallery : 
 Raphael . . , 
 Titian , , , 
 
 375, 376, 382 
 445. 446. 449
 
 LIST OF PLACES REFERRED TO. 
 
 533 
 
 IX. SICILY. 
 
 Page 
 
 MoNREALE (near Palermo). 
 
 Mosaics 76 
 
 Monrealese 507 
 
 Palermo. 
 
 Cliapel of King Roger : 
 I\Iosaics 
 
 S. Maria deW Ammiraglio : 
 
 Mosaics 
 
 Pas'© 
 
 76 
 
 76 
 
 X. GREECE. 
 
 Monastery Church of Daphne, 
 near Athens : 
 
 Mosaics 
 
 Island of Chio. 
 Church of the Basilians : 
 Mosaics 
 
 87 
 
 87 
 
 Mount Helicon, 
 
 St. Luke: 
 
 Mosaics 87 
 
 Island of Salamis. 
 
 Church of the Panagia Phanerowiicnc: 
 Frescoes .,..,, 88
 
 NAMES OF ARTISTS. 
 
 414 
 
 Abate, Niccol» dell' 
 Agi, Andrea Cordelle 
 Alamanus, Johannes 
 D"Alba, Älacrino . . 
 Albani, Francesco . 
 Albertinelli, Mariotto 
 Alfani, Domeuico di Paris 
 
 , Orazio . . 
 
 AHbrando, Girolamo 
 AUegri, Antonio . . 
 
 , Pomponio 
 
 Allori, Alessandro . 
 
 , Cristofano . 
 
 Alunuo, Niccolo . . 
 Amalteo, Pomponio . 
 Ainato, Antonio di, il vecchio 
 Anguisciola, Sofonisba . 
 Anselmi, Michael Angelo 
 
 Ansuiuo 
 
 Antonio of Padaa . . 
 
 Apollonius 
 
 Appiani, Andrea . . . 
 Arezzo, ^Nlargheritone di 
 
 , Spinello di . . 
 
 Arpino, il Cavaliere d' . 
 Aspertini, Amico . . 
 
 , Guido . . . 
 
 Assisi, Tiberio di . . 
 
 B. 
 
 Baglione, Giovanni .... 477 
 
 Bagnacavallo 405 
 
 Baldovinetti, Alessio . . . 208 
 Barbacelli, Bernardino . . . 474 
 Barbarelli, Giorgio .... 430 
 Barbieri, Giovanni Francesco 491 
 Baroccio, Federigo, di Urbino 476 
 Bartolo, Domeuico di . . .161 
 
 , Taddeo di . . . .160 
 
 Basaiti, Marco 244 
 
 Bassano, Francesco .... 408 
 
 , Jacopo 467 
 
 , Leandro 468 
 
 Batoni, Pompeo 511 
 
 Batlaglie, Michael Angelo delle 507 
 Beccafumi, Domenico . . .414 
 
 Page 
 
 400 
 241 
 183 
 231 
 487 
 317 
 2G0 
 260 
 293 
 416 
 427 
 474 
 497 
 250 
 456 
 270 
 495 
 427 
 222 
 172 
 107 
 511 
 IIS 
 151 
 476 
 266 
 266 
 260 
 
 Belletto, Antonio 
 
 , Bernardo , 
 
 Belliui, Gentile . 
 
 , Giacomo 
 
 , Giovanni 
 
 Beltraffio, Giovau Antonio 
 Beuvenuti, Giambattista 
 
 , Pietro . . 
 
 Berna, or Bai'na . . . 
 Bemazzano .... 
 Betto, Bernardino di 
 Bicci, Lorenzo di . . 
 Biliverti, Antonio . . 
 Bissolo, Pier Francesco 
 Bissuccio, Leonardo di . 
 Bologna, Cristoforo di . 
 
 , Lorenzo di . 
 
 , Michele Mattei da , 
 
 , Niccolo di 
 
 Bolognese, Franco . 
 
 , Vitale . 
 
 Bonfigli, Benedetto . 
 Bonifazio .... 
 Bouviciuo, Alessandro 
 Bonzi, Pietro Paolo . 
 Bordone, Paris . . 
 Borgognoue, AmbrogioFossano 
 
 Jacopo Cortese . 
 
 Botticelli, Sandro .... 
 
 Bramantino, giov 
 
 , vecch. . . . 
 
 Bresciauino, Andrea del . 
 Bresciano, Giovita . . . 
 Bronzino, Angiolo . . . 
 Buffalmacco, Buonamico . 
 Bugiardini, Giuliano 
 Buouaccorsi, Pierino . . 
 Buonarotti, Michael Angelo 
 Buoni, Silvestro de' . 
 Buoninse^na di (see Duccio) 
 Buttinone, Bernardino . . 
 
 Page 
 510 
 510 
 240 
 220 
 237 
 292 
 409 
 511 
 160 
 292 
 256 
 154 
 497 
 241 
 181 
 170 
 170 
 182 
 169 
 169 
 169 
 249 
 450 
 452 
 493 
 456 
 229 
 508 
 199 
 228 
 228 
 267 
 455 
 473 
 145 
 288 
 401 
 297 
 270 
 115 
 228 
 
 c. 
 
 Cagliari, Carlo 466 
 
 . , Paolo 461 
 
 Cagnacci, Guido 491 
 
 Calabrese, il Cavaliere . • . 504
 
 NAMES OF ARTISTS. 
 
 535 
 
 Page 
 Caldara, Polidoro .... 403 
 
 Calderari 456 
 
 Caligarino 409 
 
 Calvi, Lazzaro 401 
 
 , Pantaleo 401 
 
 Cambiaso, Luca 477 
 
 Camerino, Jacobus de . . .113 
 Cammucciui, Vincenzio . .511 
 Campagnola, Domenico . . 451 
 
 Campi, Antonio 495 
 
 ■ , Bernardino .... 495 
 
 , Giulio 495 
 
 Cauale, Antonio 510 
 
 Canaletto 510 
 
 Cautarini, Simone . . . .491 
 Canuti, Domenico . . . .491 
 Caracciolo, Giambattista . . 504 
 Caravaggio, Michelangelo 
 
 Amerighi da 500 
 
 , Polidoro da . . 403 
 
 Cariani, Giovanni .... 452 
 Carotto, Gianfrancesco . . .415 
 Carpaccio, Vittore .... 244 
 Carracci, Agostino . . . .479 
 
 , Annibale .... 479 
 
 , Lodovico .... 479 
 
 Carucci, Jacopo 322 
 
 Castagno, Andrea del . . . 212 
 Castiglione, Gio. Benedetto . 510 
 Catena, Vincenzio .... 242 
 
 Cavallini, Pietro 139 
 
 Cavedone, Giacomo .... 493 
 
 Cerano, U 49G 
 
 Cerquozzi, Michael Augelo . 507 
 Cerva, Giovanni Battista . . 296 
 Cesare, Giuseppe .... 476 
 Cesi, Bartolommeo .... 477 
 Ciampelli, Agostino . . .475 
 
 Cignani, Carlo 488 
 
 Cigoli, Ludovico Cardi da . 496 
 Cimabue, Giovanni . . . .109 
 
 Cione, Andrea 145 
 
 , Bernardo 148 
 
 Civerchio, Vincenzo, giov. . 230 
 
 ■ , vecch. . 228 
 
 Clovio, Giulio 400 
 
 Conca, Sebastiauo . . . .510 
 Concgllano, Giambatt. Cima da 243 
 Contarini, Giovanni . . . 509 
 Conti, Bernardino de' (de Co- 
 
 mitibus) 228 
 
 Corenzio, Belisario .... 504 
 
 Correggio 416 
 
 Cortona, Pietro Berettini da . 499 
 Cosimo, Piero di 287 
 
 Page 
 Cosmato, Giovanni . . . .114 
 
 Cosme, II 225 
 
 Cossa, Francesco 225 
 
 Costa, Lorenzo 225 
 
 Cotignola, Gir. Marchesi da . 406 
 
 Coxcie, Michael 410 
 
 Credi, Loi-enzo di . . . . 288 
 
 Crespi, Daniel 496 
 
 , Giov. Batt 496 
 
 Crivelli, Carlo 233 
 
 D. 
 
 Dalmasio, Lippo di . . . .169 
 Dante, Girolamo (di Tiziano) 450 
 
 David 511 
 
 Diamante, Fra 198 
 
 Diana, Benedetto .... 246 
 
 Dolce, Carlo 498 
 
 Domenichino 485 
 
 Doni, Adone 260 
 
 , Alfani 260 
 
 Donzelli, Ippolito .... 269 
 
 , Pietro 269 
 
 Dossi, Dosso 408 
 
 , Giovan Battista . . 408 
 
 Duccio di Buoninsegna . .115 
 
 E. 
 Empoli, Jacopo da 
 
 . 498 
 
 F. 
 
 Fabriano, Gentile da . . .185 
 
 , Gritto da . . . .185 
 
 Faenza, Giovanni da . . . 261 
 
 , Jacomone di . . .410 
 
 Falcone, Aniello 505 
 
 Farinato, Paolo 461 
 
 Fassalo, Bernardino . . . 293 
 
 Fattore, II 401 
 
 Feltre, Lorenzo Luzzo da . .437 
 Ferrara, Stefano da . . . .225 
 Ferra rese, Bono . . , . .222 
 Ferrari, Francesco Bianchi 
 
 {U Frari) 231 
 
 , Gaudenzio .... 293 
 
 Ferri, Ciro . . . . . . .510 
 
 Feti, Domenico 497 
 
 Fiammingo, Dionisio . . . 477 
 Fiesole, BeatoFra Augelico da 163 
 Figino, Ambrogio .... 296 
 Finoglia, Domenico .... 504 
 Fiore, Colantouio del . . .190
 
 536 
 
 xa:mes of artists. 
 
 Fiore, Jacobello del . 
 
 Fiori, Mario de' . . 
 Florigerio, Sebastiano 
 Fontana, Lavinia 
 
 , Prospero . 
 
 Foppa, Vincenzo, giov. 
 
 , vecchio 
 
 Forli, Melozzo da . . 
 Francesca, Piero della . 
 Franceschini, Baldassare 
 Francia, Francesco . . 
 Franciabigio, Marc' Antonio 
 Franco, Battista (II Semolei) 
 Fuligno, Niccolo di . . . 
 
 , Pietro Antonio di 
 
 Fungai, Bernardino . 
 Furini, Francesco . . . 
 
 G. 
 
 Gaddi, Angiolo . 
 
 , Gaddo . . 
 
 , Taddeo . 
 
 Galassi, Galasso . 
 Gambara, Lattanzio 
 Gandiui, Giorgio 
 Garbo, Ifaifaellino del 
 Gargiuoli, Domenico 
 Garofalo .... 
 Gatta, Don Bartolommeo 
 Gatti, Bernardino 
 Gcnga, Girolamo 
 Gennari, Benedetto 
 Genovese, 11 Prete 
 Gessi .... 
 Gherardo di Firenze 
 Gliirlandajo, Benedetto 
 
 , Davide 
 
 , Domeuico 
 
 , lüdolfo 
 
 Giamliono, Michiel . 
 Giannicola (Manui) . 
 Giolfino, Niccolo 
 Giordano, Luca . . 
 Giorgione .... 
 Giottino .... 
 
 Giotto 
 
 Giovanni, Berto di . 
 Gioveuone, Girolamo 
 Gobho, II, da' Frutti 
 Gozzoli, Benozzo 
 Granacci, Francesco 
 Grandi, P>cole . . 
 Grim aid i, Francesco 
 Gualdo, Matteo di . 
 
 della 
 
 Page 
 183 
 . 510 
 , 43f> 
 477 
 . 477 
 230 
 228 
 227 
 215 
 49S 
 263 
 321 
 457 
 250 
 249 
 267 
 498 
 
 137 
 114 
 135 
 225 
 455 
 427 
 323 
 507 
 407 
 211 
 427 
 260 
 492 
 505 
 491 
 211 
 211 
 211 
 207 
 323 
 183 
 260 
 461 
 508 
 429 
 138 
 122 
 260 
 230 
 493 
 205 
 211 
 226 
 493 
 249 
 
 Page 
 Gubbio, Oderigi di . . . .185 
 
 Guercino 491 
 
 Guisoni, Fermo 399 
 
 , Kinaldo .• ... 399 
 
 I. 
 
 Ibi, Sinibaldo 260 
 
 Imola, Innocen/o da . . . 405 
 Ingannati, Pietro degli . . .241 
 Ingegno 258 
 
 J. 
 
 Jesi, Pasquale Cati da . . . 475 
 Johanuis, Petrus 170 
 
 Lama, Giambernardo 
 Lanfranco, Giovanni 
 Lanini, Bernardino 
 Laurentii, Pietro . 
 Lauri, Filippo . . 
 Lazzari, Donato . 
 Liberale . . . 
 Liberi, Pietro . . 
 Libri, Girolamo dai 
 Licinio, Bernardino 
 Liouardo, detto II Pistoj 
 Lippi, Filippino . 
 
 , Fra Filippo 
 
 Lomazzo, Giovanni Paolo 
 Longbi, Luca . 
 
 , Pietro 
 
 Lorenzo, Andrea di 
 
 , Fiorenzo di 
 
 Lotti, Carlo . . 
 Lotto. Lorenzo . 
 Luigi, Andrea. 
 Luini, Aurelio 
 
 . Bernardino 
 
 Luti, Benedetto . 
 
 402 
 492 
 296 
 150 
 510 
 228 
 246 
 509 
 247 
 456 
 402 
 202 
 196 
 296 
 477 
 510 
 159 
 250 
 510 
 438 
 258 
 291 
 289 
 510 
 
 M. 
 
 Maestro Simone 189 
 
 . , Francesco di 189 
 
 , Stefanone di 189 
 
 , 230 
 
 . 211 
 
 , 474 
 
 . 246 
 
 221 
 
 224 
 
 244 
 
 , 437 
 
 MagTii, Cesare 
 Mainardi, Bastiano . 
 Manetti, Domenico . 
 Mansueti, Giovanni . 
 Mantegna, Andrea . 
 
 , Francesco 
 
 Marcone, Marco . . 
 Marconi, Eocco . .
 
 NAMES OF ARTISTS. 
 
 537 
 
 Page 
 
 Martiiiellus 249 
 
 Martino Nello, Ottaviano di . 188 
 
 , Simone di . . . .150 
 
 Marullo, Giuseppe .... 504 
 
 Marziale, Marco 244 
 
 Masaccio 192 
 
 Massone, Giovanni . . . .231 
 Matteis, Paolo de . . . .510 
 Mazzolino, Lodovico . . . 226 
 Mazzuolo, Filippo . . . .231 
 Melano, Giovanni da . . .139 
 Melanzio, Francesco . . . 260 
 
 Meizi, Francesco 292 
 
 Mengs, Kaphael 511 
 
 Messina, Antonello da . . . 236 
 Milano, Andrea da ... . 230 
 Miretto, Giovanni .... 179 
 Modena, Barnaba da . . .171 
 
 , Pellegrino da . . .410 
 
 , Toniniaso da . . .170 
 
 Mola, Giovanni Battista . . 487 
 
 , Pier Francesco . . .487 
 
 Monaco II, Don Lorenzo . .163 
 
 Monrealese 507 
 
 Montagna, Bartolommeo . . 245 
 
 Moretto, II 452 
 
 Moro, II 436 
 
 , Giambattista dal . . .461 
 
 Morone, Francesco .... 246 
 Moroni, Giovanni Battista . 453 
 Mugello, Benedetto da . . . 165 
 Murano, Antonio da . . . .183 
 
 , Giovanni da . . . 183 
 
 Muziano, Girolamo .... 454 
 
 N. 
 
 Naldini, Battista 474 
 
 Negroponte, Fra Antonio da . 233 
 
 Nelli, Plautilla 318 
 
 Neroui, Bartolommeo . . . 414 
 
 Novelli, Pietro 507 
 
 0. 
 
 Oggione, Marco d' . . . .291 
 L'Olmo, Giovanni Paolo . . 437 
 
 L'Orbetto 509 
 
 Orcagna 146 
 
 Orsi, Lelio 427 
 
 L'Ortolano 409 
 
 Pacchiorotto, Jacopo 
 Padovauino, II . . 
 
 267 
 509 
 
 Padovano, Giunto . , . .171 
 Padua, Giovanni di . . . .172 
 Pagani, Gregorio .... 497 
 Palma, Jacopo, giov. . . . 508 
 
 , vecch. . . 436 
 
 Palmezzano, Marco, di Forli. 263 
 Panetti, Domenico .... 227 
 Panicale, Masoliuo da . . .192 
 
 Panini, G. Paolo 510 
 
 Papa, Simone, giov 477 
 
 , Simone, vecch. . . . 270 
 
 Parentiuo, Bernardo. . . . 224 
 Paris Alfaui, Domenico di . 260 
 
 Parmigianino 427 
 
 Passeri, Giambattista . . . 487 
 Passerotti, Bartolommeo . .477 
 Passignano, Domenico da . .497 
 
 Paulus, Jacobo 169 
 
 Pellegrino Pellegrini . . . 406 
 Pennacchi, Pier Maria . . .241 
 Penni, Gianfrancesco . . ,401 
 
 Pens, Georg 410 
 
 Perugino, Pietro . , . .252 
 Peruzzi, I3aldassare . . . .414 
 Pesello, Franc, di (Pesellino) 199 
 
 . Giuliano di . . . .199 
 
 Piazza, Albertino . . , .231 
 
 -, Callisto 452 
 
 , Martino 231 
 
 Pietro, Niccola di . . . .153 
 
 , Niccolo di . . . .182 
 
 Pino, Marco di 474 
 
 Pinturicchio 256 
 
 Piombo, Fra Sebastian del . 434 
 
 Pippi, Giulio 396 
 
 Pisano, Giovanni 145 
 
 , Vittore 217 
 
 Pistoja, Fra Paolo da . . .318 
 
 Pizzolo, Niccolo 222 
 
 Pollajuolo, Antonio . . . .214 
 
 , Pietro . , . ,214 
 
 Pomarance, il Cav. delle . . 476 
 Ponte, Francesco da . . . 468 
 
 , Jacopo da .... 467 
 
 , Leandi'o da ... . 468 
 
 Pontormo 322 
 
 Pordenone, Giovanni Antonio 
 
 Licinio Regillo da . . . 455 
 Porta, Baccio della .... 315 
 Prete Ilario, Ugolino di 156, note 
 
 Preti, Maria 504 
 
 Previtali, Andrea .... 243 
 
 Primaticcio 406 
 
 Procaccini, Camillo .... 495 
 , Ercole .... 495
 
 538 
 
 xa:mes of artists. 
 
 Paj,'e 
 Procaccini, Giulio Cesare . . 495 
 
 Pucci, Pietro di 133 
 
 Puligo, Domenico .... 322 
 
 , Jaeone 322 
 
 Pupini, Biagio 405 
 
 R. 
 
 Raibolini, Francesco 
 
 , Giacomo . , 
 
 , Giulio . . 
 
 Raimondi, Marcantonio 
 Ramenghi, Bartolonimeo 
 Raphael . . . 
 Raviguano, Marco 
 Razzi, Gianautouio 
 Reui, Guido . . 
 Ribera, Giuseppe 
 Ricci, Domenico . 
 
 , Marco . . 
 
 Ricciarelli, Daniele 
 Riccio, Maestro . 
 
 . Pietro . . 
 
 Ridolfi, Carlo . . 
 Robusti, Jacopo . 
 Romauelli, Gianfranco 
 Romaniuo. Girolamo il 
 Romano, Giulio . 
 Roncalli, Cristoforo 
 Rosa, Salvator 
 Rosselli, Cosimo . 
 
 , Matteo . 
 
 Rossi, Francesco de' 
 Rosso, II . . . 
 Rotari, Pietro 
 Rusuti, Philippus 
 
 S. 
 
 Sabbatiui, Andrea . . 
 
 , Lorenzo . . 
 
 Sacchi, Andrea , . . 
 
 , Pietro Francesco 
 
 Salaino, Andrea . . . 
 Salerno, Andrea da . . 
 Salimlieni, Arcangiolo . 
 Salmeggia, Enea . . . 
 Salvi, Giovanni Battista 
 Sammachini, Orazio 
 Santa Croce, Francesco da 
 
 . Girolamo di 
 
 Santafede, Fabrizio . . 
 
 , Francesco , 
 
 S. Gimignano, Vincenzio di 
 Santi, Giovanni .... 
 
 263 
 
 265 
 265 
 411 
 405 
 324 
 411 
 412 
 488 
 503 
 461 
 510 
 309 
 414 
 293 
 509 
 457 
 510 
 454 
 396 
 476 
 505 
 204 
 498 
 473 
 322 
 510 
 114 
 
 402 
 477 
 488 
 230 
 291 
 402 
 474 
 496 
 494 
 477 
 242 
 242 
 402 
 402 
 410 
 261 
 
 Page 
 S. Giorgio, Eusebio di . . . 260 
 S. Giovanni, Giovanni di . . 498 
 S. Severino, Jacopo di . . .188 
 
 , Lorenzo di . .188 
 
 Sanzio, Raphael 324 
 
 Saraceno, Carlo 502 
 
 Sarto, Andrea del . . . .318 
 
 Sassoferrato 494 
 
 Savoldo, Geronimo .... 452 
 Schedone, Bartolommeo . . 493 
 Schiavooe, Andrea . . . .451 
 
 , Gregorio . . . 224 
 
 Schizzone 410 
 
 Sebastian!, Lazzaro .... 246 
 
 Semenza 491 
 
 Semini, Andrea 477 
 
 , Ottavio . . . .477 
 
 Semitecolo, Niccolo . . .182 
 Sermoneta, Gir. Siciolante da 474 
 
 Sesto, Cesare da 292 
 
 Siena, Marco da 474 
 
 , Matteo da 162 
 
 , Ugolino da . . 156, no<e 
 
 Signorelli, Luca 215 
 
 Silvestro, Don 139 
 
 Sirani, Elisabetta . . . .491 
 
 , Giov. Andrea . . .491 
 
 Sogliani, Giovanni Antonio . 288 
 
 Solario, Andrea 296 
 
 , Antonio (Zingaro) . 269 
 
 Solimena, Francesco . . . 510 
 
 Spada, Lionello 493 
 
 Spadaro, Micco 507 
 
 Spagna, Lo 259 
 
 Spagnoletto, Lo 503 
 
 Spinellodi Arezzo .... 151 
 Stanzioni, Massimo .... 504 
 Stefani, Tommaso degli . .118 
 Strozzi, Bernardo .... 505 
 Suardi, Bartolommeo . . . 229 
 
 T. 
 
 Tafi, Andrea 107 
 
 Talpiuo, II 496 
 
 Tiariui, Alessandro .... 493 
 Tibaldi, Pellegrino . . . .406 
 Tiepolo, Giovanni Battista . 510 
 Tintoretto, Domenico . . .461 
 
 , II 457 
 
 Tisio, Benvenuto 407 
 
 Tito, Santi di 473 
 
 Tiziano 438 
 
 Torbido, Francesco .... 436 
 Toriti, Jacobus 113
 
 NAMES OF ARTISTS, 
 
 539 
 
 Page 
 
 Torregiani, Bartolommeo . . 507 
 Treviso, Girolamo da . . .224 
 
 Tura, Cosimo 225 
 
 Turchi, Alessandro .... 509 
 
 U. 
 
 Ubertini, Francesco (II Bac- 
 
 chiacca) 261 
 
 Uccello, Paolo 192 
 
 Udiue, Giovanni da . . 410, 436 
 
 , Martino da ... . 242 
 
 Urbiuo, Bramante di . . .228 
 
 Vaccaro, Andrea . 
 Vaga, Perino del . 
 Valentin, Moses . 
 Vanni, Francesco 
 Vanucchi, Andrea 
 Vanucci della Pieve, Pietr 
 Varotari, Alessandro 
 Vasari, Giorgio . . . 
 Vassilacchi, Antonio 
 Vecchio, Pietro . 
 Vecellio, Francesco 
 
 , Marco . 
 
 -, Orazio 
 
 — , Tiziano 
 
 Veueziano, Agostino 
 
 •, Antonio . 
 
 , Bonifazio 
 
 505 
 401 
 502 
 474 
 318 
 252 
 509 
 472 
 461 
 510 
 450 
 450 
 450 
 43S 
 411 
 151 
 450 
 
 Veneziano, Domenico 
 
 , Lorenzo 
 
 Venusii, Marcello 
 Verocchio, Andrea . 
 Verona, Jacobus de . 
 Veronese, D'Avanzo 
 
 , Paolo . . 
 
 Vieri, UgoHno . . 
 Vigri, Beata Caterina 
 Vinci, Gaudenzio 
 
 , Leonardo da . 
 
 Vincidore, Tommaso 
 Vite, Timoteo della . 
 Vivarini, Antonio 
 
 , Bartolommeo 
 
 , Luigi . . 
 
 Page 
 , 213 
 
 . 182 
 . 309 
 . 214 
 
 173, note 
 . 173 
 , 461 
 
 156, note 
 . 169 
 . 293 
 . 274 
 , 410 
 , 404 
 , 232 
 
 232 
 232 
 
 Volterra, Daniele da . . . 309 
 
 , Francesco da . .152 
 
 Vouet, Simon 502 
 
 Z. 
 
 Zago, Santo . . . 
 Zampieri, Domenico 
 Zelotti, Battista . . 
 Zenale, Bernardo . . 
 Zevio, Aldighiero da 
 
 , Stefano da 
 
 Zoppo, Marco . . 
 
 , Kocco . . . 
 
 Zuccaro, Federigo . 
 , Taddeo . . 
 
 . 450 
 485 
 . 466 
 228,293 
 . 173 
 , 180 
 , 224 
 . 261 
 , 475 
 . 475 
 
 THE END. 
 
 PRINTED Br W. CLOWES AND SONS, STAUFOKD STREET.
 
 E E R A T 1. 
 
 Page 65, line 6, for Cosmedia read Cosmedin. 
 
 Page 88, line 10, for Phaneromeni read Phaneroumene. 
 
 Page 156, note 1, line 4 from end of note, for Preto read Prete. 
 
 Page 181, line 4, for a' Carbonari read a Carhonara, 
 
 Page 182, line 7 from bottom, for da Pietro read di Pietro. 
 
 Page 205, line 11, for Maddelena read Maddalena. 
 
 Page 228, line 18, for di Comitibus read de Comitibus. 
 
 Page 233, line 3 from bottom, for Francesca read Francesco. 
 
 Page 249, line 16, for de GuaJdo read di Gualdo. 
 
 Page 259, line 12, for Spagno read Spagna. 
 
 Page 267, last line, for chapter read book. 
 
 Page 339, line 4, after dress insert (14). 
 
 Page 372, note 1, dele is small; it. 
 
 Page 372, after note 2 insert (18). 
 
 Page 421, line 7 from bottom, after happiest manner insert ; the best example 
 
 is in the Gallery of the Louvre. 
 Page 442, line 22, after Titian's later time insert , now in the Yatican Gallery. 
 Page 452, line 16, for Calisto read Callisto. 
 Page 461, line 11, for Vascibracci read Vassilacchi.
 
 A DESCRIPTIVE CATALOGUE 
 
 MR. MURRAY'S 
 HOME AND COLONIAL LIBRARY. 
 
 A SERIES OF ORIGINAL WORKS OR POPULAR REPRINTS. 
 
 *^* The Sems complete in 76 Parts, 2yrice £9 10s. Od. sewed; or in 37 Volumes, 
 £11 7s. Od. strongly hound in Cloth. 
 
 LONDON: 
 
 JOHN MURRAY, ALBEMARLE-STREET. 
 
 JANUARY, 1851.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
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 Mr. Murray was induced to issue this Scries of Works, in conse- 
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 George Borrow, Esq. 
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 Thomas Campbell, Esq. 
 The Earl of Carnarvon. 
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 Sir Alex. Duff Gordon. 
 Lady Duff Gordon. 
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 Sir Francis B. Head. 
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 B 2
 
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 BoRROw's Bible in Spain. 
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 Ibby and Mangles' Travels in Syria 
 
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 Malcolm's Sketches of Persia. 
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 Life op Oliver Goldsmith. 
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 Lives of the British Poets. 
 
 GENERAL LITERATURE. 
 
 The Railroad, Electric Telegraph, 
 
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 Bracebridge Hall. 
 
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 Way'side Cross. 
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 HISTORY. 
 
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 Liberation War in Germany. 
 Battle of Waterloo. 
 
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 French in Algiers. 
 Sale's Brigade in Afghanistan. 
 Historical Essays. 
 
 NATURAL HISTORY. 
 
 A Naturalist's Voyage round the 
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 Wild Sports of the Highlands. 
 
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 MURRAY'S HOME AND COLONIAL LIBRARY. 5 
 
 Vol. 1 or Parts 1—2. 
 
 The Bible in Spain ; 
 
 OK THE JOURNEYS, ADVENTURES, AND IMPRISONMENTS OF AN ENGLISHMAN 
 IN AN ATTEMFT TO CIRCULATE THE SCRIPTURES IN THE PENINSULA. 
 
 BY GEORGE BORROW. 
 
 " It is not our wish to go into any examination or discussion either of the 
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 and vigorous nature, capable of sympathising with everything but what is bad — 
 religious feelings deep and intense, but neither gloomy nor narrow — a true eye 
 for the picturesque, and a fund of real racy humour." Quarterly Revieio, 
 
 " The work of a man of invincible zeal and activity as a missionary, possessing- 
 a frame and constitution which no hardship could subdue, and an ardour of 
 curiosity which, in the prosecution of his most holy purpose, led him to explore 
 every nook and crevice of Spain and Portugal, so that these countries were never 
 so indefatigably investigated before, or so minutely painted." Weekly Messenger. 
 
 Vols. 2—3 or Parts 3—6. 
 
 A Journey through India. 
 
 CM CALCUTTA TO BOMBAY (WITH NOTES UPON CEYLON), AND 
 A JOURNEY TO MADRAS AND THE SOUTHERN PROVINCES. 
 
 BY BISHOP HEBER. 
 
 " Of a book so well known as Bishop Heber's Journal of his Travels through 
 India, little is necessary to be said in noticing its appearance in this cheap form. 
 Five shillings will soon purchase what once cost ten times as much ; and was 
 worth it a thousand times, if money could measure the value of such a book. 
 We remember it as one of the most perfectly charming books of travels that we 
 ever read ; gentle, tolerant, humane, and full of wisdom ; a religious book in the 
 best sense of the word, because full of charity. It is lively mthout effort, and 
 abounds in valuable judgments of men and things, without one harsh, sarcastic, 
 or illiberal word. We envy those who have it now in their power to read, for 
 the first time. Bishop Heber's Indiau Journal." Examiner. 
 
 " Has all the charm of romance with the sterling value of truth. It is emi- 
 nently the most Christian — because the most charitable and tolerant work of the 
 kind ever written. Residents in India have repeatedly borne testimony to the 
 fidelity of its notices of men and things." Oxford Herald.
 
 6 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 4 or Part 7. 
 
 Egypt, Nubia, Syria, and the Holy Land. 
 
 INCLUDING A JOURNF.Y ROUND THE DEAD SEA AND THROUGH THE 
 COUNTRY EAST OF THE JORDAN. 
 
 BY THE HON. C. L. IRBY fAND JAS. MANGLES, R. N. 
 
 " The great numbers of visitors to Egypt and the Holy Land which those fair 
 cities invite will be glad to find such works as Messrs. Irby and Mangles pre- 
 sented to them. They are pioneers who render the task of their successors au 
 easy and a pleasant one, while it is curious and interesting also to conti'ast the 
 labour and risk they encountered with the facility now afforded. The tour of 
 the Hon. Charles Leonard Irby] and James I\Iangles, Commanders in the 
 Royal Navy, was made in 1816-20. They printed, on their return, for private 
 circulation only, a selection of the letters they had addressed during their absence 
 to their friends in England, as the most convenient mode of satisfying the 
 inquiries of numerous friends. These copies were so much in request, that the 
 "writers requested Mr. Murray, as a small mark of friendship and esteem, to 
 accept the copp-ight, and give the book publicity in the more popular fomi of 
 his Colonial and Home Library. The travellers absolutely explored Egypt, 
 Nubia, and Syria, besides making a tour to Petra and the Head Sea. To give 
 extracts from such a mass of reading would be easy ; but what ]iart should we 
 select in preference to another, where every page is full of interest i" 
 
 Hamj^ialdre Advertiser. 
 
 Vol. 4 or Part 8. 
 
 History of the Siege of Gibraltar, 1779 — 83. 
 
 "WITH A DE.SCRIPTION OF THAT G.VRRI.SON FROM THE E.VRLIEST PERIODS. 
 BY CAPTAIN JOHN DRINKWATER. 
 
 " ' Drinkwater's Siege of Gibraltar ' is a woi-k of great interest, although 
 written many years ago. The author was present at, and took part in, the siege 
 during the whole period of its continuance. His mateiüals are collected from 
 personal observation, and from the observations of other officers. It appears 
 very much in the form of a journal, and deals, not in speculation, but in facts. 
 The siege lasted for upwards of three years, namely, from 1779 to 1783. The 
 preparations, on a A'ast scale, made by the combined forces of France and Spain, 
 by land and sea, against Gibraltar ; the preparations made by the besieged in 
 the mean time in defence ; and the state into which the garrison was frequently 
 brought because of the scarcity of provisions, are all described in the most inte- 
 resting manner. There is something about the very minuteness of detail into 
 which the author goes that gives to the work its greatest excellence. Prefi.xed to 
 this edition is a plan of the rock and the Spanish lines, with an index of refer- 
 ences." StirUny Observer. 
 
 " A book so replete with interest and information as to be truly a legend of 
 the United Services of the day." united Service Marjazine.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 7 
 
 Vol. 5 or Part 9. 
 
 Morocco and the Moors ; 
 
 OR WESTERN BARBARV— ITS WILD TRIBES AND SATAGE ANIMALS. 
 BY JOHN H. DRUMMOND HAY. 
 
 " Here is an original and very delightful book of travels and adventures, pub- 
 lished for Half-a-erown. Mr. Borrow's relish for the Gipsey slang was not 
 gi-eater than Mr. Hay's for the romantic Arab e.\aggeration." Examiner. 
 
 " Animated, varied, readable, and fresh." Spectator. 
 
 " This is quite an amusing book, brimful of adventure, redolent of savage life, 
 and saturated with lively gossip about boar and lion hunting, cheapening honses, 
 meeting robbers and gypsies, visiting Arab tents, and a variety of other memora- 
 h'dia, that may be reckoned among ' the incidents of travel ' in a new and wild 
 country. The author is the British Consul at Tangier, and undertook his journey 
 into Barbary for the purpose of procuring for Queen Victoria a barb of the 
 purest blood, from some of the breeders of horses in the region around Laraiche. 
 In this commission he was unsuccessful ; but he saw a good deal of the country 
 and the people, which has afforded him excellent material for the present 
 volume." Edinhurgli Advertiser. 
 
 " The author introduces us to the wild people among whom he travelled ; he 
 rides along their wild roads, encamps with the swartliy Moors, and, sitting at 
 tlieir evening meal, listens to the strange tales of mighty robbers, or daring ex- 
 ploits with tiie wild beasts." Cheltenham Chronicle. 
 
 Vol. 5 or Part 10. 
 
 Letters from the Shores of the Baltic. 
 
 BY A LADY. 
 
 " So few books open anything like a distinct view of the state of society in any 
 department of the Russian empire, that this publication would have been accept- 
 able, even had its mere literary merit been inconsiderable. It affords a clearer 
 notion of the interior life of Esthonia— of the countiy, the provincial capital, the 
 nobility, the peasantry, the agricultural economy — but, above all, of the real 
 domestic economy and habits of the local gentry — than we have been able to 
 gather from all the travels in our library respecting any other section of that 
 immense territory, and that infinitely diversified population. But this might 
 have been accomplished by a conipuratively unskilful pen, so it were but an 
 honest one. Here we have the results of close feminine observation in a new 
 sphere, set down with such an easy, unaffected grace of language, as might have 
 given great attraction to a delineation of the most hackneyed scenery and the 
 most familiar manners." Quarterly lieview. 
 
 " ' Familiar Letters ' by a young and beautiful and witty English spinster, 
 whose work will cause a sensation hardly inferior to that which attended the 
 bursting of the ' Old Man's Brunnen Bubbles.' " Quarterly Review.
 
 8 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol 6 or Parti]. 
 
 The Amber- Witch. 
 
 THE MOST INTERESTING TRIAL FOR AVITCHCRAFT EVER KNOWN. 
 
 TRANSLATED BY LADY DUFF GORDON. 
 
 " If this work be genuine, it is undoubtedly, as it announces itself, the most 
 interesting of all those strange trials for witchcraft, so absorbing, and sometimes so 
 inexplicable, which occur at a certain period in almost every country in Europe ; 
 if it be a fiction, it is worthy— we can give no higlier praise — of Defoe. The 
 editor professes to have found tlie manuscript in a manner by no means impro- 
 bable, yet rather too like that whicli tlie author of Waverle_y, as well as many 
 others of inferior name, have been so fond of playing off upon us. It was 
 brought to him by his sexton out of a niche or closet in the church, where it 
 had long Iain hid among a heap of old hymn-books and useless parish accounts. 
 We have read nothing for a long time, in fiction or in historj', whicli has so com- 
 pletely riveted and absorbed our interest." Quarterly Revmv, June 1844. 
 
 " The Amber Witch is one of the ' Curiosities of Literature,' for in the last 
 German edition, the author is obliged to prove that it is entirely a work of 
 imagination, and not, as almost all the German critics believed it to be when it 
 appeared, the reprint of an old chronicle. It was, in fact, written as a trap for 
 the disciples of Strauss and his school, who had pronounced the Scriptures of the 
 Old and New Testaments, from Historical research, assisted by ' internal evi- 
 dence,' to be a collection of legends. Meinhold did not spare them when tiiey fell 
 into the snare, and made merry with the historical knowledge and critical 
 acumen that could not detect the contemporary romancer under the mask of 
 the chronicler of two centuries ago, while they decided so positively as to the 
 authority of the most ancient writings in the world." Times, July, 18.50. 
 
 Vol. 6 or Tart 12. 
 
 Lives of John Bunyan and Oliver Cromwell. 
 
 BY ROBERT SOUTHEY. 
 
 " The lives of Cromwell and Bunyan demand a biographer like Soutliey, 
 willing as well as able, to do full justice to the merits of the great usurper, and 
 the honest zeal of the author of the ' Pilgrim's Progress,' while he does not fail to 
 impress upon his readers the warning lesson to be learnt from the rebellion of the 
 one, and the schism of the other. They are biographies valuable from the connec- 
 tion of their subjects with the Constitution and Religion of England- — especially 
 valuable for the lessons of wisdom they are calculated to aflbrd, and which 
 Southey, above all others, knew how to draw from them." Cormcall Royal Gazette, 
 
 " Models of what biography ought to be ; not swelled into huge tomes, occu- 
 pying more space than the history of a nation ; yet embracing all the facts in 
 the lives of their respective subjects that can be of any interest. We always 
 prefer biographies that are written by persons of friendly or congenial feelings. 
 These biographies of Southey's are gems in theii* respective class. " 
 
 Freeman's Jownal.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 7 or Part 13. 
 
 Notes and Sketches of New South Wales. 
 
 DURING A KESIDEKCE IN THAT COLONY FROM 1839 TO 1&14. 
 BY MRS. CHARLES MEREDITH. 
 
 " Mrs. Meredith is a pleasant unaffected writer ; and the booli derives interest 
 from being a ladi/'s view of New South Wales." Spectator. 
 
 "This unpretending little book has, by rare mischance, been hidden under the 
 heavy and dull ware with which that season is apt to burden our library table. 
 But Mrs. Meredith's sense and sprightliness were sure to bring her to light. As 
 Miss Twaniley, she was known for a writer of elegant poetry, and picturesque 
 botanical works. Here she takes a pleasant place among the company of travellers, 
 who bid fair to beat rougher men out of the field." A tkenceum. 
 
 " A narrative and picture, by an actual resident, of the present state and 
 prospects, together with the resources of the colony. ' My aim,' she says, ' is 
 simply to give my own impressions of whatever appeared worthy of observation, 
 and to render my work interesting by true descriptions of the scenery, people, 
 and the other various objects which strike a new comer. I have sketched every- 
 day things with a faithful and homely pencil. My own observations and my 
 husband's long experience in these colonies, have been my sole resource." 
 
 BelVs Weekly Messenger. 
 
 Vol. 7. or Part 14. 
 
 Life, and Voyages of Sir Francis Drake. 
 
 ■\VITII NUMEROUS ORIGINAL LETTERS FROM HIM AND THE LORD HIGH 
 ADMIRAL TO THE QUEEN AND GREAT OFFICERS OF STATE. 
 
 BY JOHN BARROW. 
 
 " Independently of the interest which, from political causes, must, to some 
 extent, attach itself at present to the appearance of a work of this nature, it 
 cannot fail to be welcomed by all, as containing a record of the actions of one of 
 the most extraordinai-y men that this country has ever produced. Perhaps of 
 no other man, who bore so conspicuous a part in the occurrences of his own 
 times, can it be said that such meagre and scanty materials have been trans- 
 mitted to posterity of his public actions and conduct. The general outlines of 
 his history are well known. That he was a daring and successful naval com- 
 mander — that he was a bold and adventurous explorator and discoverer, are 
 matters which are almost simultaneously imbibed with the elements of our 
 education ; but little is known of him as to those points of individual character 
 Avhich give such tone and force to a biographical outline, and by which alone the 
 subject of this memoir can be made to stand out, in his own distinctive character, 
 from tiie race of men by whom he was surrounded — in many respects, similar 
 to himself. Mr. Barrow's woi-k has great merit ; the author has presented us 
 with a memoir which we hail as a welcome addition to our biographical 
 literature." Morninr) Chronicle.
 
 10 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 8 or Part IS. 
 
 Memoirs of Father Eipa. 
 
 DUFJXCr THIRTEEN YEARS' RESIDENCE AT THE COURT OF PEKING, 
 IN THE SERVICE OF THE EMPEROR OF CHINA. 
 
 " A condensation of the most interesting; portions of Father Ripa's History of 
 the Chinese College, which was published at Naples, in tlie year 18152. This 
 venerable priest went to China about the commencement of the last century, 
 where he made a protracted residence, and was much noticed by the reigniiifi 
 Emperor, who treated hira with muisual kindness and condescension, and 
 allowed him to see the interior of his palaces and pleasure-grounds, and obtain 
 an insight into his domestic mode of life — an honour never before granted to 
 European travellers. Father Ripa was not slow to avail himself of the opportu- 
 nities he enjoyed, and wrote a lengthy account of his residence in China, of 
 which the present book is an abridgment, and from which we gather that 
 manners, and customs, and prejudices in the Celestial Empire, are little, if at 
 all, altered from v.liat they were upwards of a century ago. Civilisation, that 
 has made itself felt, more or less, in every other part of the world, has been at a 
 complete stand-still among the Chinese, who seem to pride themselves on their 
 inveterate prejudices, and the unchangeable character of their customs and 
 institutions." >iixn. 
 
 " As interesting a work as any that has appeared, not excepting Borrow's 
 Bible in Spain." Spectator. 
 
 Vol. u or Part 16. 
 
 Journal or a Kesidence in the West Indies. 
 
 BY MATTHEW GREGORY LEWIS. 
 
 " This book possesses three recommendations, — its subject, its writer, and its 
 intrinsic agreeableness. It is one of those works which we would not willingly 
 suffer to pass unnoticed. This Journal stands higli among works of a similar 
 kind, for grace, lightness, pleasantry, descrii^tive power, felicity of expression, 
 and conversational fluency and freedom." Edinhunjh Rtviciv. 
 
 " I would give many a sugar-cane, 
 Älat. Lewis were alive again." Lord Byron. 
 
 " This is indeed a curiosity : it is a posthumous production of the author of 
 ' The Monk,' and we are inclined to say the best of all the creations of his pen. 
 As to the literary merits of the posthumous book, we have already expressed 
 our high notion of them ; and, indeed, on that point, there can, we think, be 
 little difference of opinion. The graphic power displayed, whether in sketching 
 scenei-y, manners, or incidents, appears to us not only high, but first rate ; such 
 as entitles the ' West India Proprietor ' to be ranked with Washington Irving, 
 in such pieces as the ' Visit to Palos,' — with Mr. Matthews, in the very best 
 pages of the 'Diary of an Invalid,' — nay, we hardly hesitate to .say, with Miss 
 Edgeworth, in the brightest pages of 'Castle Rackrent,' — or Lord Byron him- 
 self." Quarterly Review.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 11 
 
 Vol. 9 or Parts 17—18. 
 
 Sketches of Persia ; 
 
 OR THE MANNERS AND CUSTOMS OF THE PERSIANS. 
 BY SIR JOHN MALCOLM. 
 
 " Sir John Malcolm is a perfect master in the delineation of character. With 
 a few bold strokes he gives life and expression to liis personages, and with the 
 utmost ease and apparent faithfulness portrays both individual and national 
 characteristics. The language, the literature, the customs, the manners, the 
 superstitions of Persia are familiar to him. These superior qualifications, along 
 with the delicious scraps of poetry and prose, fable and philosophy, which are 
 scattered through the Avork, make it one of the most instructive and delightful 
 books." Atlas. 
 
 "No one can read ' Sketches of Persia' (by Sir John Malcolm), without 
 feeling that the author has made a valuable addition to our stock of knowledge. 
 New and important views of the Persians as a nation ave here presented with 
 all the interest, without the tendency to caricature, of our amusing friend Hajji 
 Uaba." Quarterly Review. 
 
 " These sketches are not historical — they are not antiquarian ; they do not 
 abound in picturesque descriptions of the country, nor are they the notes of a 
 tourist. They are sketches of Persia by a gentleman, a scholar, and a man of 
 the world, not conveyed in descriptions by himself, but in an exquisite succession 
 of anecdotes, convei'sations, and tales from the mouths of natives themselves. 
 It embraces stories of the king, the ministei's, the chiefs, the inhabitants of every 
 sort ; and the whole has the interest of a novel." Edinhurfjh Weekly Register. 
 
 Vol. 10 or Part 19. 
 
 The French in Algiers. 
 
 I. THE SOLDIER OF THE FOREIGN LEGION.— II. THE PRISONERS OF 
 ABD-EL-KADEE. 
 
 TRANSLATED BY LADY DUFF GORDON. 
 
 " A young Oldenburgh soldier. Lieutenant Lamping, anxious to seek adven- 
 tures, resigned his commission, in 1839, and proceeded to Spain, to offer his 
 services to Espartero ; but, on his arrival, hostilities had ceased. After having 
 remained for some time at Madrid, and having failed in attempts to join the 
 army then acting in AiTagon, he determined to proceed to Algiers, and enter 
 the Legion service as a volunteer, under the French. He accordingly proceeded 
 thither, and, in the end of 1840, joined the Legion, and served for two years, in 
 the capacity, it appears, of a corporal of roltigeurs. His adventures, detailed in 
 .a series of letters, are here presented, and a narrative moi'e romantic, or of 
 more absorbing interest, we have seldom met. The novelty of the scenes, the 
 habits and characters of tlie wild people against whom he served, and the 
 liardships and perils encountered, furnish materials, in abundance, of an exciting 
 kind ; and tlie events are described in a pleasing style of easy epistolary 
 narrative. The glimpses which they afl'ord of the barbarities of the French 
 African war fully confirm the worst opinion which we had formed on the 
 subject." Northern Whig.
 
 12 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 10 or Part 25. 
 
 History of the Fall of the Jesuits in the 
 18th Centurv. 
 
 BY COUNT ALEXIS DE SAINT-PRIEST. 
 
 " An accurate translation of the ' Fall of the Jesuits,' hy Count Alexis de 
 Saint-Priest. Time after time have the nations of Europe been startled by a 
 formal sujipression of that wonderful body of wonderful men, the disciples of 
 Ignatius Loyola, and time after time have they risen uninjured from the opposi- 
 tion of popes and princes, to extend the influence of their wily and astute prin- 
 ciples, and assert their claims to power and perpetuation. The epoch of this 
 temporary downfal, which is chosen in the present narrative, is perhaps the 
 most important in their history, namely, in the latter part of tlie last century. 
 A period more eventful in every respect, and one of more historical importance, 
 could not have been selected, and the narrator specifies each occurrence which 
 led to the great catastrophe of the Jesuits with precision and clearness, even to 
 the moment when Pius VII. issued his bull, ' Solicitvdo omnium ecdcsiarum,' m 
 the August of 1814, reinstating the society in all their former privileges, and 
 re-establishing them throughout the length and breadth of Christendom. As a 
 description of the most remarkable juncture in the status of the most remark- 
 abie association on the face of the earth, this book is both valuable and interest- 
 inji." Sun. 
 
 Vol.11 or Parts •20—21. 
 
 Bracebridge Hall ; or, The Humourists. 
 
 BY WASHINGTON IRVING. 
 
 " Of the merits of the Sketch-Book, a work which enrolled Mr. Irving among 
 the corps litte'raire of the mother country, Ave need not now repeat our opinion. 
 ' Bracebridge Hall' is an amphfication of a particular part of it, devoted to the 
 illustration of old English manners and customs as they exist in the more pri- 
 mitive counties, and enlivened by just sufficient of narrative to impress it on the 
 recollection as a whole. Like the author of Waverley, Jlr. Irving enters, with 
 the eye of a Bewick or a Ward, into all the little amusing habits and predilec- 
 tions of the brute creation, and contrives to awaken that interest in the caprices 
 and enjoyments of these humble friends, which laughingly, but effectually serves 
 the cause of humanity. The same good taste and minute observation charac- 
 terise those frequent allusions to sylvan life, which in most hands would grow at 
 last monotonous, but which in ' Bracebridge Hall' are made to address both the 
 mental and bodily eye. In the Chapter on Forest Trees there is a meditative 
 moral dignity very much reminding us of Southey, and which could hardly have 
 been surpassed had the mantle of Evelyn himself fallen on our cousin of New- 
 York." Quarterbj Revkic.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 13 
 
 VoL 12 or Parts •22—24. 
 
 A Naturalist's Voyage round the World; 
 
 OR, A JOURNAL OF RESEARCHES INTO THE NATURAL HISTORY AND GEOLOGY 
 OF THE COUNTRIES ^^SITED. 
 
 BY CHARLES DARWIN. 
 
 " Looking at the general mass of Mr. Darwin's results, I cannot help con- 
 sidering his voyage round the world as one of the most important events for 
 geology which has occurred for many years." — President of the Geological Society. 
 
 " Upon the merits of Mr. Darwin's volume there can he no two opinions. It 
 is up to the science of the day, and in some instances heyond it. There are, 
 indeed, no illustrations to the book, but we find ample materials for deep 
 thinking ; we have the vivid description that fills the mind's-eyo with brighter 
 pictures than painter can present, and the charm arising from the freshness of 
 heai't which is thrown over these virgin pages of a strong intellectual man, and 
 an acute and deep observer. It is not to the scientific alone that Mr. Darwin's 
 volume will prove interesting. The general reader will find in it a fund of 
 amusement and instruction. Mr. Darwin is a first-rate landscape painter wth 
 his pen, and even the dreariest solitudes are made to teem with interest." 
 
 Quarterly Eevievj. 
 
 " An inexhaustible mine of observations and anecdotes of the Natm-al History 
 of the South American continent, written with the intelligence of a quick- 
 sighted observer, and the tone of a gentleman." I>r. Lindley. 
 
 Vol.13 or Parts 26— 27. 
 
 Life of Louis, Prince of Conde. 
 
 BY LORD MAHON. 
 
 The "Life of Conde'" was originally written by the author in the French 
 language, and without any view of publication. A very small number of copies 
 of that work was printed for a ch'cle of personal friends. Several persons, 
 however, having since expressed a wish for its appearance in our native tongue, 
 the following translation, executed under the superintendence and revision of the 
 author, is now submitted to the public. From the Preface. 
 
 " That Lord Mahon, after acquiring high distinction as an historical writer 
 in his native language, should have thought of composing an historical volume 
 in French, will no doubt excite much wonder. The curiosity of such an attempt 
 by a gentleman so situated is, as we have shown, unexampled among us ; and we 
 have to thank him for a highly interesting and skilful narrative. Even more 
 singular than Lord Mahon's choice of the French language on this occasion, is 
 the fact that it was reserved for him to collect and combine into a clear con- 
 tinuous nai-rative the French materials for the personal history of one of the 
 most illustrious of Frenchmen. No man owed more to a devoted woman than 
 did Conde' to Clemence de Maille ; nor was devotion ever moi'e ungratefully 
 repaid. By Lord Mahon, the adventures of the princess are skilfully inter- 
 woven with those of her husband, and commented on with a generous warmth 
 of feeling which constitutes, to om-selves, the livehest charm of this delightful 
 book." Quarterly Review.
 
 14 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 VoLU or Parts 28— 29. 
 
 The Zincali ; or Gypsies of Spain. 
 
 BY GEORGE BORROW. 
 
 " A curious, a very curious work, and contains some of the most singular, yet 
 authentic descriptions of tlie gipsy race, which liave ever been given to the 
 pubUc." Literary Gazette. 
 
 " Welcome in its present, or in any shape, is Mr. George Borrow's account 
 of the ' Gipsies in Spain :' it carries with it such a freshness, such au animation, 
 and such an air of truthfulness and nature, as to arrest our attention and engage 
 our sympathies. Hence it is, that althougii it now appears before us simply as a 
 reprint, we turn to it again with all the undiminished appetite of novelty, ready 
 to wander once more in its wanderings, to conjecture once more with its con- 
 jectures, to laugh with its laughter, to meditate with its meditations. By its 
 own unassisted merits this publication has acquired no inconsiderable popularity, 
 and the secret of its success is mei'ely attributable to two facts — first, the 
 extreme novelty of the undertaking ; and, secondly, that whatever is narrated 
 Hows from the minute and personal observations of one intimately conversant 
 with his subject. Altogether, ' Borrow's Gipsies in Spain' bears abo>it it such 
 a newness of tone and material, tliat it forms an acceptable addition to litera- 
 ture, and Mr. Murray could not well have selected a better book for his 
 sei'ial." Hun. 
 
 Vol. 13 or Parts 30—31, 
 
 Typee ; or, The JMarquesas Islands ; 
 
 A NARRATIVE OF A FOUR MONTHS' RESIDENCE AMONG TUE NATIVES. 
 
 BY HERMANN MELVILLE. 
 
 " Since the joyous moment when we first read Robinson Crusoe, and believed 
 it all, and wondered all the more because we beheved, we have not met with so 
 bewitching a work as this narrative of Herman Melville's." John Bull. 
 
 " This is really a very curious book. A little colouring there may be here 
 and there ; but the result is a thorough impression of reality. We must refer 
 to the book for his observations of the chief people of the valley : the mildly 
 dignified sovereign, Mehevi ; the graceful, winning, irresistible beauty, Fayavi'ay ; 
 the household that lodged him ; Marheyo and his wife, the only industrious old 
 body in the valley ; the young men of the house, roystering, drinking, laughing, 
 and unthinking ' blades of savages ;' the young ladies, though in the summer 
 costume of Paradise, coquettish and fantastical, delicate and lady-like, as 
 Parisian belles ; and his faithful but hideous body servant, Kory Kory. He 
 passed four months with them, li\'ing in their own fashion. At last, he found 
 an opportunity of escape by means of the boat of an English ship, and so 
 returned to America to wi'ite this clever book." Examiner. 
 
 " The book is a great cmnosity in one point of view : it is the first account 
 that has been published of a residence among the natives of the Polynesian 
 Islands, by a person who has lived with them in their own fashion, and as near 
 as may be on terms of social equality." Spectator.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 15 
 
 Vol. 16 or Part 32. 
 
 Livonian Tales. 
 
 I. THE DISPONENT.— II. THE WOLVES.— III. THE JEWESS. 
 
 BY THE AUTHOR OF "LETTERS FROM THE BALTIC." 
 
 " We like these ' Livonian Tales' much. Not merely do we like them on 
 tlie individuality of their pictures of scenery and life, but, in part, for the absence 
 from them of artistic pretension. They are sketches rather than complete 
 works — all but guiltless of those attempts at plot wlaich, nine times out of ten, 
 end in displaying the inventor's want of contrivance. So long as the lady of the 
 ' Baltic Letters' can write ' Esthoniau' or ' Livonian Tales' as good as these, may 
 she continue to do so." Athenceum. 
 
 " We perfectly well remember the sensation caused by ' Letters from the 
 Baltic,' by the authoress of this volume, revealing, as they did, a picture of 
 middle-age bai'barism still to be witnessed in a secluded nook of northern 
 Europe. The same observant touches of character, the same good sense and 
 good feeling, are apparent in the present tales. Exhausted as the other parts 
 of Europe are by travellers, tourists, and novelists, we should think readers 
 of light literature would rush to these Tales for a little novelty." 
 
 Weekli, NewS' 
 
 Vol. 16 or Part 33. 
 
 Philip Musgrave ; 
 
 OR, MEMOIRS OF A CHURCH OF ENGLAND 3IISSI0NARY IN THE 
 NORTH AMERICAN COLONIES. 
 
 BY REV. J. ABBOTT. 
 
 " The little work before us is a genuine account of what a missionary's life is 
 now in Canada. Under an invented name, it is the story of the writer's own 
 e.xperience, told in a straightforward and unaffected manner, with considerable 
 power of description." Guardian. 
 
 " These memoirs contain an account of the missionary's hfe and experiences, 
 from his first arrival in the colony, full of hope and buoyancy of youth, till he 
 has reached matm-e age, somewhat broken by toil, narrowed circumstances, and 
 domestic afflictions. The topics of his pen are, the character of his parish 
 duties and of his parishioners ; the troubles he had in raising money to build 
 churches, and in contending with sectarians ; various incidents of a singular, or, 
 as Mr. Musgrave is inclined to think, of a ' providential ' kind, occurring among the 
 rough and simple people by whom a district is first broken up ; with accounts of 
 occasional conversions among his flock. The more biographical subjects involve 
 his own adventures on various occasions, when travelling about the comitry, the 
 personal difficulties he experienced in household affairs, from the pecuhar 
 position of a clergyman, and the backward state of the district ; together with 
 some domestic incidents, and a sketch of the campaign against the rebels, when 
 he tui'ned out, imarmed, at the head of his armed parishioners." Spectator.
 
 16 MURRAY'S HOME AND COLONIAL LIBRARY, 
 
 Vol. 17 or Part 34. 
 
 Sale's Brigade in AiFghanistan. 
 
 "WITH AN ACCOUNT OF THE SEIZURE AND DEUENCE OF JELLALABAD. 
 
 BY REV. G. R. GLEIG. 
 
 An accidental meeting with the 13th regiment at the sea-bathing quarter of 
 Walmer during the autumn of last year, gave me an opportunity of hearing 
 more of the particulars of the Jellalabad siege than had previously been com- 
 municated to me. The narrative was full of interest when detailed by actors in 
 the scenes which they described ; and this it was which led to the determination 
 on my part to place it permanently upon record. The substance of the following 
 story is gathered chiefly from the manuscript joui-nals of ofhcers engaged in the 
 campaign. Extract from Preface. 
 
 " Some of our readers may not have met wth the narrative written by the 
 Chaplain of the Forces, ' Of the Actions of Sale's Brigade in Affghanistan.' It 
 is one of the noblest records of military adventures that we know. A chapter 
 of Xenophon or Froissart is not more agreeable than this brilliant and chivalrous 
 story : and the deeds of some of the bravest men the world ever saw, are 
 recounted with the most simple, but the most pictm-escjue eloquence, by the 
 reverend historian." Morning Chronicle. 
 
 Vol 17 or Part 35. 
 
 Letters from Madras ; 
 
 OR, FIRST IMPRESSIONS OF LIFE AND MANNERS IN INDIA. 
 
 BY A LADY. 
 
 " A welcome addition to our store of literary entertainment. No kind of read- 
 ing is more pleasant than the descriptions furnished by accomplished females of 
 ioreign countries. The fancy of the writers is so lively, and their observations 
 so quick, that their pages are like a beautiful panorama, intelligible, changing, 
 and novel. The ' Letters from Äladras,' less poetical than Heber's Journal, 
 are m a lighter and gayer strain, but have the same faculty of picturesque 
 delineation." Britannia. 
 
 " This work will prove a most agreeable travelling or after-dinner companion. 
 It is just the book for a railway carriage, or easy-chair. It takes the reader to 
 India's burning strand, and familiarises him with the habits and customs of 
 India's denizens, without the expense and danger of a sea voyage, or the pangs 
 f<f sea-sickness. We are for the time in India, and not in England, and thus the 
 object of the authoress is really accomplished, for she renders us in every way 
 familiar with the state of society which she describes. A more amusing work 
 has certainly never fallen into our hands ." _ Notlinyham Mevicw.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 17 
 
 VoL 18 or Part 36—37. 
 
 The Wild Sports of the Highlands. 
 
 BY CHARLES ST. JOHN. 
 
 " Mr. St. John's book is very much better than a mere record of wild sports. 
 His sketches of the Natural History of the Highlands are highly interesting, and 
 abound in descriptions of the most graphic truthfulness. It is long since a 
 work has appeared so Ukely to commend itself to the hearts of field naturaUsts. 
 Mr. St. John has had every advantage in making himself acquainted wth the 
 habits of the animals and birds of the country. His ample leisure has enabled 
 him to gratify his early fondness for the study of nature ; and he considers him- 
 self now tolerably well acquainted with the domestic economy of most of our 
 British feral natui'e, from the field-mouse and wheatear, which he stalked and 
 trapped in the plains and downs of Wiltshire dm-ing his boyhood, to the red deer 
 and eagle, whose territory he has invaded in later years, on the mountains of 
 Scotland. His present residence is situated in the midst of a district inhabited 
 by a great variety of animals and birds, into whose haunts his hunting excur- 
 sions constantly take him ; and the habits of the various species which his quick 
 eye has detected, he recounts to his readers with a power of description rarely 
 equalled. An additional charm about the book arises from the evidently 
 unstudied character of its contents. Mr. St. John's words flow fast ; and then, 
 too, he paints the scenery of his favom-ite sport so beautifully, and tells of its 
 attractions with such fidness and spirit, that when his journals become familiar 
 to naturahsts, we shall not be surprised if a ■s'isit to the rapid and glorious 
 Findhorn, is thought not less interesting than a pilgrimage to Selborne." 
 
 Eclectic Eevicw. 
 
 Vol. 19 or Part 38. 
 
 Some Eapid Journeys across the Pampas. 
 
 BY SIR F. B. HEAD, BART. 
 
 " This is a highly interesting volume. Many may be aware that the minmg 
 speculations in the provinces of the Rio de la Plata have turned out unfortimate, 
 and that, too, as Sir Francis Head informs us, from ignorance of the character 
 of the country. Sir Francis had received the charge of an association, the 
 object of which was to work the gold and silver mines of these provinces. In 
 pvirsuance of this task, he crossed and recrossed the Pampas ; and the present 
 work contains the rapid observations made in the com'se of his hasty journey. 
 The pictures of that wild country and its savage inhabitants, are most graphic 
 and exciting, and of a cast quite novel, and out of the beaten track. It is a 
 charming work, both for those who love exciting narrative, and those who wish 
 to extend their knowledge of men and tilings." Edhiburgh WeeMy Register. 
 
 " Sir Francis Head is an admirable dehneator of the scenery in the vicinity of 
 which he was a temporary sojourner. And among the happiest of his delinea- 
 tions of external life, we may instance his account of the Pampas Indians, the 
 aboriginal inhabitants of South America." Sun,
 
 18 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 19 or Part 41. 
 
 The Two Sieges of Vienna by the Turks. 
 
 TRANSLATED BY LORD ELLESMERE. 
 
 " Few English readers, probably, are aware how terrible a scourt^e, not only 
 to Eastern but also to Central Europe, were the invasions of the Turks — even 
 down to the end of the seventeenth century, and how great the alarm and dis- 
 tress they spread over Germanj'. The present work exhibits an interesting 
 picture of the two latest assaults by the Ottoman hordes on the capital of Austria, 
 of the sufferings and bravery of the besieged, and of their final rescue by the 
 valiant John Sobieski. Of the manner in Avhieh tlie Earl of Ellesmere has dis- 
 charged the various duties of translator, editor, and author, we can speak in 
 terms of high praise. His style is clear, nervous, rapid : and has the rare merit 
 of combining the freedom and freshness of original composition, with the minute 
 accuracy of German scholarship. The work is a valuable contribution to the 
 history of an important period." Athenceum. 
 
 " The Sieges of Vienna, by the Turks, first in the year 1529, and again in 1 683, 
 form two very extraordinary episodes in modern history. Those who have not 
 read them will find them combined, and wrought into a very pleasing naiTative, 
 partly translated from a German work, and partly drawn from other sources of 
 Turkish and Polish history. Never could the romance of war be more 
 pictui'esf^uely written than in this little volume before us." 
 
 Edinhurgh Weeldy Advertiser. 
 
 Vol. 20 or Parts 39—40. 
 
 Gatherings from Spain. 
 
 BY RICHARD FORD. 
 
 Although the original design of this work was merely to present in a more 
 readable type, and in a form suited to the library, a series of entertaining extracts 
 from the Hand-Book of Spain, the author has nearly re-written the Avhole in a 
 more popular style, and has introduced a vast quantity of new matter. Preface. 
 
 '• Mr. Ford has shown himself an adept in the art of literary richauffage. His 
 masterly and learned ' Hand-Book of Spain ' having been found by some who 
 love to run and read, too small in type, too grave in substance, he has skimmed 
 its cream, thrown in many well-flavoured and agreeable condiments, and pre- 
 sented the result in one compact and delightful volume, equally adapted to amuse 
 by an English fii'eside or to be useful on the Spanish highway." Blackwood. 
 
 " We have no doubt that the work {Handhooh of Spain) is a capital hand- 
 book — but it is not to be tried by that standard. If the extraneous disquisitions 
 were printed by themselves, we should hare before us a fii'St-rate library-book ; 
 and it is in this light chiefly that ice regard it." Quarterly JRevimi.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 19 
 
 Vol. 21 or Parts 42 and 45. 
 
 Sketches of German Life, 
 
 AVITH SCENES FKOM THE WAR OF LIBERATION IN GERMANY. 
 TRANSLATED BY SIR ALEXR. DUFF GORDON, BART. 
 
 " This is a selection deser\-ing of more than ordinary attention. Though the 
 ■«Titer does not take a high rank among the authors of modern Germany, in right 
 either of original talent, or any peculiar charm of style as a narrator, he is easy, 
 circumstantial and trustworthy. He has lived, too, among distinguished people 
 and in stirring times. His wife, the celebrated Rahel, was acknowledged as one 
 of the intellectual queens of Germany : and her thoughts and opinions were 
 eagerly coui'ted by some of its most learned and most powerful men. It tells 
 us how the writer held coUoquy with Richter, took part in the battle of Aspern, 
 and was mingled in the great world of Paris, shortly after the marriage of 
 Napoleon to ]Maria-Louisa. We mention these passages somewhat disconnect- 
 edly, for the purpose of showing the wide range of the book." Athenceum. 
 
 " This autobiography is not without interest : for Von Ense is a remarkable 
 man, who has mixed a good deal with society and authors, and who conveys 
 shrewd and critical observations in a terse and lively style. The great value of 
 the book, however, consists in the writer's observations upon pubUc opinion, and 
 his reminiscences of the events and men with which he was connected." 
 
 Spectator. 
 
 Vol. 22 or Pai-ts 43—44. 
 
 Omoo ; Adventures in the South Seas. 
 
 BY HERMANN MELVILLE. 
 
 " We were much puzzled, a few w-eeks since, by a tantalising and unintelligible 
 paragraph, pertinaciously reiterated in the London newspapers. Its bre\'ity 
 equalled its mystery : it consisted but of five words, the first and last in imposing 
 majuscules. Thus it ran : — 
 
 ' OMOO : By the Author of TYPEE.' 
 
 Having but an indifferent opinion of books ushered into existence by such char- 
 latanical manoeuvres, we thought no more of ' Omoo ' until, musing the other 
 day over our matutinal hyson, the volume itself was laid before us, and we sud- 
 denly found ourselves in the entertaining society of Marquesan Melville, the 
 phoenix of modern voyagers, sprung, it would seem, from the mmgled ashes of 
 Captain Cook and Robinson Crusoe." The title is borrowed from the dialect of 
 the Marquesas, and signifies a rover : the book is excellent, quite first-rate." 
 
 Blaclcwood
 
 20 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 23 or Parts 46—47. 
 
 The True Story of the Battle of Waterloo. 
 
 FROM PUBLIC AND AUTHENTIC SOURCES. 
 BY REV. G. R. GLEIG. 
 
 " The book is a very complete, painstaking, well-arTanged, and interesting 
 narrative, embracing all the collateral points of the subject as well as its main 
 features. The arrangement, indeed, is its first excellence. There is a bi'ief and 
 rapid \-iew of the state of Europe after the first downfall of Napoleon, and an 
 equally condensed account of his evasion from Elba and march to Paris. The 
 preliminary preparations for the campaign on each side are then described ; the 
 battles of Ligny and Quatre Bras introduce the crowning triumph of Waterloo ; 
 and the contemporary march of Blucher and the attack of Grouchy upon 
 Thielman at Wavre, fall into their proper places in point of time, and support 
 the main story without interfering with it. The subsequent retreat of Grouchy, 
 the entrance into France, the final abdication of Napoleon, and the convention 
 of Paris complete the narrative. More striking accounts of Waterloo, and per- 
 haps of the other battles, have appeared, because the author's fulness occa- 
 sionally runs into over-detail on mere military matters ; but we have never met 
 with so complete and well-arranged a view of the Story of the Himdred Days." 
 
 i^pectator. 
 
 " This seems to us, on the whole, the best connected narrative that we have 
 seen of this world-famous battle. It is the most intelligible, and also, we should 
 say, the most authentic. It is wxitten in a singularly calm and impartial spirit ; 
 there is no straining after romantic adventure or individual exploit ; and the 
 result is a story of surpassing interest, in even the most popular sense of that 
 word, conveyed with not a little of the weight and judicial emphasis of history. 
 Mr. Gleig writes excellent EngUsh. His style is clear and lively, yet impressive." 
 
 Examiner. 
 
 Vol. 24 or Part 48. 
 
 A Voyage up the Eiver Amazon, 
 
 INCLUDING A RESIDENCE AT PARA. 
 
 BY W. H. EDWARDS. 
 
 " Full of novelty ; we can hardly open a page which has not its picture for 
 the general observer, and its product for those, who hke Sir Joseph Banks, look 
 on the earth as one vast museum." Athenäum. 
 
 " This work is valuable for the information it gives on this very little known 
 part of the world. It is hkely to excite many adventurous young men to 
 explore the Amazon. Variety for our travellers is now wanted, and a voyage 
 up the Amazon, going back on the traces of Oi'ellana, and crossing to the Pacific, 
 may probably become, ere long, as famihar to our countrymen as a voyage up 
 the Rhine or the Nile," Economist. 
 
 "The Voyage of the Amazon cannot fail to be exceedingly popular, since it 
 abounds with adventure, narratives of danger and deliverance, of wild beasts 
 and wilder men. Its natural history alone would render any volume highly 
 valuable and justly popular. We particularly commend it to Young People as 
 one of exti'aordinary interest." Christian Witness.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 21 
 
 VoL 24 or Part 49. 
 
 The Wayside Cross ; 
 
 OE, THE RAID OF GOMEZ. A TALE OF THE CARLIST WAR. 
 
 BY CAPT. E. A. MILMAN. 
 
 This little tale is intended to depict the utter lawlessness and consequent 
 misery of a naturally beautiful and gay country, such as Andalucia, under the 
 bloodstained horroi's of an unnatui'al civil war, and the poor control of a 
 wretched, pusillanimous government (if indeed it can be so called). Crime 
 produces crime, bloodshed familiarises men to murdei", until man's life becomes 
 of no more value than the reptile's which is crushed beneath the feet. And 
 such was Spain then : and is it better now ? It must not be supposed that this 
 is altogether a work of fiction. Most of the characters, scenes, and incidents, 
 happened either whilst I was at Gibraltar, or came under my personal experience 
 whilst travelling in the southern part of Andalucia ; and the descriptions are 
 taken from nature. Some of my readers may perhaps recognise in Lope de la 
 Vega the well-known contrabandista Frascito Martinez, of Ximeneh. I can see 
 him now, splendidly dressed in theMajo costume, the best-looking, the proudest, 
 the very personification of the haughty Spaniard, crossing with measured steps 
 the crowded bull-ring of that singular and romantic city of the sierras, the 
 indescribable yet lovely Ronda. From the Preface. 
 
 Vol. 25 or Part 50. 
 
 The Manners and Customs of India. 
 
 ILLUSTRATED WITH NUMEROUS ANECDOTES. 
 
 BY REV. CHARLES ACLAND. 
 
 " Written in an easy unaffected style : and the sketches which it gives of 
 European life and manners under an Eastern sun must interest all who have 
 friends in India, and who would like to know how they pass their days." 
 
 The Theologian. 
 
 " This is a series of letters written by a clergyman to his children. Mr. 
 Acland went out to India as a chaplain on the establishment, leaving the younger 
 members of his family iu England. His career was but brief. He soon fell a 
 victim to the climate — assisted, we are afraid it must be added, by his own 
 imprudence. He appears to have been a man of an amiable temperament — all 
 things to all men ; easy and affable ; hospitable and coui'teous ; not averse to 
 society ; and, for a clergyman, immoderately addicted to sporting. They who 
 have never visited India may derive from Mr. Acland's letters some idea of the 
 manner in which their expatriated brethren spend their lives ; and they who 
 have visited the land of the sun may, at all events, smile at the intense griffinism 
 of the ' padre.' The very triviality of some of the matters discoursed upon 
 gives a touch of novelty to the book ; for Mr. Acland, writing to his children, 
 tells them a number of things which graver men writing for the pubhc press 
 consider beneath their notice." Atlas,
 
 22 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 25 or Part 51. 
 
 The British Army at Washington & New Orleans, 
 
 BY REV. G. R. GLEIG. 
 
 " This graphic narrative is the production of one who served at the capture 
 of Washington and at the attack upon New Orleans, and who made at the time 
 memoranda of the chief incidents attending these enterjirises ; it is, therefore, 
 faithful in its details, and deserving to be received as an authentic history of 
 these operations. Some severe criticisms are passed upon the conduct of these 
 expeditions, particularly upon that directed against New Orleans, and several 
 suggestions are given that may be useful in future wars with the United States 
 of America ; these we merely refer to, leaving them for the consideration of 
 military men and authorities." iforninr/ Post. 
 
 " In this little volume, the Cliaplain-General has presented the pubhc with 
 some recollections of his experience at a period when the country had the benefit 
 of his services in a less peaceful vocation than that which he now professes, and 
 the reader may be occasionally, perhaps, inclined to smile at the colours with 
 which the old spirit of the soldier has insensibly tinged the narrative of the 
 clergyman. It is, however, very fortunate that Air. Gleig betook himself to 
 this task, for the particular campaign which he describes, partly from its 
 unpopular result, and partly from being eclipsed by greater events, has been 
 hitherto but very imperfectly known, although its history is replete with 
 salutary instruction, and with those peculiar warnings which should be the more 
 carefully heeded that they are, happily, so seldom given." T'lvies. 
 
 Vol. 26 or Parts 52—53. 
 
 Mexico and the Eocky Mountains. 
 
 BY GEORGE F. RUXTON. 
 
 " A capital book, alike attractive for its narrative of travel, with its hardships 
 and incidents, for its pictures of scenery and society, for the direct infonnation 
 it imparts as to Mexico, and the incidental glimpses it gives us of the Americans 
 and their armies in Mexico." Spectator. 
 
 " What the Author's errand was in these remarkable regions, or what talisman 
 he procured to insure his safe passage — whether he was Mr. Mun-ay's ' own 
 coiTespondent ' — whether he really discharged any political duty, or whether 
 he merely selected this peculiar route for a summer trip — wo cannot pretend to. 
 say. On critical occasions he produces passports and cartas de securldad, which 
 create as reverential a consternation as Paul Jones's commission was to have 
 done if ever he had displayed it. Cocked hats are doffed at the sight of them, 
 alcaldes become upright, prefects civil, and generals polite ; but as to the 
 purport, source, or character of these magic documents, we are left entirely in 
 the dark. This, however, is of no consequence. The Author did, beyond all 
 question, make his way from Vera Cruz to Santa Fe, and his sketches of what 
 he saw on the road are as clearly faithful as they are imdeniably amusing. A 
 book \\ith less nonsense has seldom been written." Times.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 23 
 
 Vol. 27 or Parts 34 — 55. 
 
 Portugal, Gallicia, & the Basque Provinces. 
 
 FROM NOTES MADE DURING A JOURNEY TO THOSE COUNTRIES. 
 
 BY THE LATE LORD CARNARVON. 
 
 " This is a very remarkable work. It is not only a graphic description of the 
 face of the country, and an impartial and sagacious account of the moral and 
 political condition of Spain and Portugal ; but it relates also a series of personal 
 adventures and perils, very unusual in modern Europe ; and which, while they 
 do honour to the spirit of him who sought information at such risks, exhibit 
 more of the real state of the Iberian Peninsula than could have been obtained 
 by a less ardent and less intrepid inquirer. The author is the Earl of Carnarvon, 
 who seems to have combined the modern thirst for information with the 
 adventurous spirit of the ancient Herberts, and who has the additional quality of 
 being a vei-y elegant and amusing writer." Quarterly Revkw. 
 
 Vol. 28 or Parts 56 — 57. 
 
 Life of Robert, The Great Lord CUve. 
 
 BY REV. G. R. GLEIG. 
 
 " While enough is told of the Company, and the state of Indian wars and 
 politics before CJive culmiuated, to make his position and exploits clearly under- 
 stood, history is never permitted to encroach upon biography ; for in the founda- 
 tion of our Indian empire Clive is the history itself, much more than was even 
 the Conqueror in the Norman invasion. The facts of the life, and even the 
 anecdotes, are accompanied by a sjiirit of commentary which preserves them 
 from triteness even when well known : the narrative is clear, sustained, and 
 solid ; the estimate of Chve is in the main just, though rather severe, if not a 
 little derogatory." Spectator. 
 
 " Mr. Gleig has shown most praiseworthy impartiality in discussing Clive's 
 merits. He has kept none of his faults out of view, nor attempted to defend 
 them at the expense of right and justice. He has also pointed out the great 
 qualities which Ciive possessed ; but he has scarcely given him his due rank as 
 an historical character. As regards the romantic daring of his enterprises, he 
 falls little short of Cortes and Pizarro. In point of real greatness, and compre- 
 hensiveness of views, he stands far before them ; and it must be remembered, 
 in comparing his conquests with those of others, that he was trammelled by 
 official superiors at a distance, who could neither enter into his plans, nor under- 
 stand his motives, while the Spanish conquerors pursued their bloody path 
 without fear either of God or man." Guardian.
 
 24 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol.29 or Part 58. 
 
 Recollections of Bush Life in Australia, 
 
 DURING A KESIDEN'CE OF EIGHT YEARS IX THE INTERIOR. 
 BY H. W. HAYGARTH. 
 
 " Lively, graphic, descriptive of man, animals, nature, and society, such as 
 society there is ; and with sufficient incident to animate the narrative, it pos- 
 sesses the interest of romantic fiction. Moreover, it conveys more useful 
 infonnation to an intending settler than tables upon tables of statistics, or pages 
 of histnrical and geogi-aphical compilation, that will never affect him one jot, or 
 general gazetteer-like accounts of profits and prospects, that from some ulterior 
 purpose or sheer incompleteness are likely to mislead hira to his loss." >^pectatoi\ 
 
 " The library of Australia has recently received so many and various accessions, 
 and the subjects of colonial life and policy have so frequently enjoyed our 
 attention during the last few months, that we should not have been tempted to 
 return to the topic by any less spirited and agi-eeable work than the one before 
 us. Mr. Haygarth has had some years' experience of Australian life, and writes 
 with a thorough comprehension of his subject. His work is not perfectly regular 
 in its form — but this the general reader will find a great advantage. It has 
 neither the shape of a treatise nor that of a journal ; but is something between 
 them — combining the compact information of the first, with the readable interest 
 of the second." Athenoeion. 
 
 Vol. 23 or Part 59. 
 
 Adventures on the Road to Paris during the 
 Campaigns of 1813-14. 
 
 BY HENRY STEFFENS. 
 
 "The wish to place within the reach of English readers some interesting 
 remarks on the state of feeling in Germany at the time of Napoleon's occupation 
 of the country, as well as some graphic details of the war of liberation, has been 
 the chief inducement to select passages from the life of Henry Steffens. The 
 substance is culled from the memoirs published, in Breslau, in 1844." Preface. 
 
 " Compressed from voluminous German publications, this epi.sode paints a 
 long road, and one, certainly, not without some memorable turnings. It begins 
 with the birth, parentage, and education of Steffens, who became a distinguished 
 professor and poet, and who took a striking part in the revolution of Germany, 
 which sealed the fate of Napoleon at the battle of Leipsic, and the consequent 
 march to, and capture of, Paris. Well as the plan of this cheap series has been 
 carried out, we have not met with one njore original in its features, or more 
 amusing in its style and conduct, than this." Literary Gaxtte.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 25 
 
 Vol. 30 or Parts 60— 6 L 
 
 Tales of a Traveller. 
 
 BY WASHINGTON IRVING. 
 
 " It is with great pleasure we turn to the tale of Buckthonie, whose adven- 
 tures with those of his friends occupy the second division of the tales. From 
 the evidence of this tale, which abounds in point and incident, it seems probable 
 to us that Mr. Irving might, as a noveHst, prove no contemptible rival to Gold- 
 smith, whose turn of mind he very much inherits, and of whose style he 
 particularly reminds us. Like him, too, he possesses the art of setting ludicrous 
 perplexities in the most irresistible point of view, and, we think, equals him in 
 the variety, if not in the force, of his humom\ The scenes in the cathedral 
 town form a strong contrast to the broad farce of the strolling company, and 
 the sorrows of the poor ex-columbine ; while the respective descriptions of the 
 principal tragedian, and Iron John the miser's servant, are in as different taste 
 from each other, as the broad flowing freedom of Rowlandson and the dark, 
 worm-eaten, characteristic touches of Quintin Matsys." Quarterly Rtviao. 
 
 Vol. 31 or Parts 62—63. 
 
 Short Lives of the British Poets, 
 
 WITH AX ESSAY ON ENGLISH POETKY. 
 
 BY THOMAS CAMPBELL. 
 
 " This work is a reprint from ' Campbeirs Specimens of the British Poets ' — 
 the specimens being omitted, so as to condense within the compass of 436 pages 
 the biographical notices and preliminary essays given in that voluminous and 
 standard publication. The notion of such a condensation is, to say the very 
 least of it, felicitous, conveying, as the volume does, in one comprehensive glance, 
 a complete conception of the rise, the advance, and the fluctuations of English 
 poetry since the days of Gower and Chaucer down to the commencement of the 
 present century, and the appearance of the contemporaries of the essayist. To 
 quote the punning adaptation of a well-knowia line, tlie retrospect of Campbell 
 turns alternately 
 
 ' From Gray to Gay, from Little to Shakspere.' 
 
 Occasionally, it is true, the remarks of the illustrious poet are singularly super- 
 ficial, though, when the extraordinary scope of his undertaking is taken into 
 account, such an incidental result is by no means surprising. For this delightful 
 volume we are again indebted to the critical niceness of selection which has 
 hitherto characterised ' Mun-ay's Home and Colonial Library ; ' and which is a 
 substantial guarantee for the worth and excellence of its continuation," Sun.
 
 26 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 3-2 or Parts 64—65. 
 
 Historical Essays, 
 
 SELECTED FROM CONTRIBUTIONS TO THE QUARTERLY REVIEW. 
 BY LORD MAHON. 
 
 JOAN OF ARC. r FREDERICK THE SECOND. 
 
 MARY QUEEN OF SCOTS. MR. I'ITT AND DUKE OF RUTLAND. 
 
 MARQUIS OF MONTROSE. | THE FRENCH REVOLUTION. 
 
 " A valuable addition to the Albemarle-street issue of cheap literature for all 
 classes, consisting of articles from the ' Quarterly Review,' written by the noble 
 lord whose name as a historian will give a value to their collection in this 
 shape." Guardian. 
 
 " The reader who has already read in the ' Quarterly Review' the agreeable 
 articles of Lord Mahon on Joan of Arc, Mary Queen of Scots, Montrose, 
 Frederick the Second, and Pitt's Irish Correspondence with the Duke of 
 Rutland, may here renew his acquaintance in a more convenient form ; while 
 those who have yet to make it, have an instructive entertainment to come." 
 
 r>pectator. 
 
 Vol. 33 or Part 66. 
 
 Stokers & Pokers — Highways & Dryways ; 
 
 OR, THE NORTH-WESTERN RAILWAY, THE ELECTRIC TELEGRAPH, 
 AND THE BRITANNIA AND CONWAY TUBULAR BRIDGES. 
 
 BY THE AUTHOR OF "BUBBLES." 
 
 " A republication of a recent dashing article in the ' Quarterly,' with occa- 
 sional modification and considerable additions iy its author. Sir Francis Head. 
 It is a special contribution, we presume, to the popular Railway-Station literature 
 of the day, and is not to be di-awn into a precedent for similar republications 
 from the pages of the great review. It is a very clever, rapid, graphic, and 
 effective series of sketches descriptive of the difficulties attendant on the con- 
 struction, maintenance, and working of a great railway, with illustrations from 
 such scenes as may be witnessed daily on the line. We know nothing more 
 wonderful than the wonders that people get so accustomed to as never to 
 notice at all. This little book will add ' a precious seeing to the eye ' of divers 
 railway travellers who at present see nothing, and therefore we heartily approve 
 of its re-appearance in this form, and anticipate an enormous sale for it at the 
 Paternoster Rows of the North- Western, and every other Western, for it 
 applies almost equally to all the lines. The most prominent and useful addition 
 to it is an appendix of the management rules and regulations in force upon the 
 North-Western, with illustrations of the various signals and theii" meaning." 
 
 Examiner.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 27 
 
 Vol. 33 or Part 67. 
 
 Adventures in the Lybian Desert. 
 
 BY BAYLE ST. JOHN. 
 
 " Mr. St. John and his companions are the second party of Englishmen who 
 have ever penetrated so far in this dh'ection into the sand}^ wastes of Africa. 
 Europeans are very little acquainted with the route, and aU our readers will 
 not, perhaps, be even aware that the modern Siwah is identical with the more 
 famous Oasis of Ammonia name of note and mysterious interest in the ancient 
 world. The enterprise must have needed no little nerve and hardihood to plan 
 and carry into execution, and it seems to have been undertaken more for its 
 owTi sake, and from a desire of encountering and overcoming the difficulties that 
 it presented, than for any furtlier object to be obtained on arrival. Mr. St. Jolm 
 is no autiquai'ian, and has little knowledge of architecture, but he is a man of 
 observation and fond of travelling." _ Guardian. 
 
 "The difficulties of the journey across the desert are described in a most 
 picturesque and agreeable manner ; and those who purpose to follow the track 
 of the author through the almost unknown regions he traversed, will find this 
 book a most invaluable guide." Morning Herald. 
 
 " The style of this volume is easy, polished, and elegant, and its descriptions 
 full of freshness and poetry. There is no redundancy. Every word used is 
 introduced for a special pm-pose ; and the reader when arrived at the end, 
 wishes it were twice as long. This is praise which can be bestowed on very few 
 books indeed, but the 'Adventures in the Libyan Desert' highly deserve it." 
 
 Tait's Magazine. 
 
 Vol. 34 or Parts 68—69. 
 
 A Residence at Sierra Leone. 
 
 DESCRIBED FEOM A JOURNAL KEPT ON THE SPOT, AND FPvOil LETTERS 
 "WKITTEN TO FRIENDS AT HOME. 
 
 BY A LADY. EDITED BY MRS. NORTON. 
 
 "A most animated and sprightly picture of the state of society at Sierra 
 Leone, the point and cleverness of which is, we apprehend, to be placed to the 
 credit of the talented editor, fully as much as to that of the original writer of the 
 letters. The facility of recognising any portraiture of European men and things 
 in a settlement in which there are so few white men, has restrained the author 
 of the letters from dwelling upon that part of her subject, and she has accord- 
 ingly confined herself to an account of life among the Africans. The picture is 
 not as forbidding as the ill odour in which Sierra Leone is held might lead one 
 to anticipate, though probably much of what is here related, was as annoying to 
 experience as it is amusing to read. For a chatty book of foreign lands and 
 outlandish manners, we have rarely known these two numbers equalled, even 
 among the many entertaining books of which Mr. Murray's ' Home and Colonial 
 Library' is composed." John Bull.
 
 28 MURRAY'S HOME AND COLONIAL LIBRARY. 
 
 Vol. 35 or Parts 70—71. 
 
 Life of Sir Thomas Munro. 
 
 BY REV. G. R. GLEIG. 
 
 " Mr. Canning observed in Parliament — ' that the population which he (Sir 
 Tliomas Munro) subjugated by amis, he managed with such address, equity, and 
 wisdom, that he established an empire over their hearts and feelings.' 
 ' Europe never produced a more accomplished statesman, nor India, so fertile in 
 heroes, a more skilful soldier.' The copious and highly interesting contents of 
 Mr. Gleig's work supply us with the grounds of this splendid testimony. His 
 private correspondence will be read with pleasure and instruction, as exhibiting 
 the union of high moral worth with intellectual gifts of no ordinary stamp. It 
 is no smaU honour to his memory, that he was the friend and correspondent of 
 the Great Captain ; and the number of letters addressed to him by Colonel 
 Wellesley, constitute a feature of cai'dinal interest among the contents of the 
 voluiue." Quarterly Review. 
 
 Vol. 36 or Parts 72—74. 
 
 Memoirs of Sir Thomas Fowell Euxton. 
 
 WITH SELECTIONS FROM HIS CORRESPONDENCE. 
 BY CHARLES BUXTON. 
 
 " One of the most thoroughly well- written pieces of biography that has issued 
 from the modern press." Eranyelical Magazine. 
 
 " This book has raised our estimate of Sir Fowell Buxton's talents, and intro- 
 duced us to an acquaintance with graces of character which we might not have 
 been likely to infer from the main circumstances of his public life. It affords 
 some very curious pictures of manners, — and, let us add, an example of discre- 
 tion and good taste in one of the most difScult of literary tasks. The Editor 
 has been contented to rely as far as possible on the correspondence and diaries 
 in his possession, and the anecdotes fm-nished by a few elder friends : — but both 
 classes of material well deserved in this case the advantage of a neat setting, 
 and have received it." Qiuirterly Revieiu. 
 
 " Mr. Charles Buxton has presented to the world all that he deemed to be 
 necessary for the elucidation of his father's chai'acter in one goodly volume, 
 and we are right glad to congratulate him both on the spirit in which his work 
 was conceived, and the mamier in which it has been executed. The editor's 
 pious labours hav^jeen the production of a mirror wherein we may recognise 
 the vera effigies, both intellectual and physical, of one who for many years 
 occupied a most exalted niche in the Legislatm-e of this country." 
 
 Morning Clironide.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 29 
 
 VoL 37 or Parts 75—76. 
 
 Oliver Goldsmith ; a Biography . 
 
 BY WASHINGTON IRVING. 
 
 The present volume is a republication of a former Biographical Sketch of 
 Goldsmith by the same author, who says in his Preface— 
 
 I have again taken up the subject, and gone into it with more fulness than 
 formerly, omitting none of the facts which I considered illustrative of the life 
 and character of the poet, and giving them in as graphic a style as I could 
 command. 
 
 " For popular readers this will be the Life of Goldsmith. Few writers are 
 more penetrated ^^•ith the spirit of Goldsmith than Washington Irving ; for his 
 own style was founded upon that of the gifted Irishman. His own genius was 
 akin to Goldsmith. * * We think Mr. Irving exceedingly happy in bringing 
 out the precise character of the stories with which any life of Goldsmith must 
 of necessity be well sprmkled." Spectator. 
 
 "Mr. Washington Ir-vong has presented an attractive subject in an attractive 
 form ; he never employed more worthily the graces of his style. The picture of 
 Goldsmith is most distinct and indi\ndual." Guardian. 
 
 A Uo, Uniform with 3fiüray's Home and Colonial Librarj/, 
 
 Prince Charlie ; 
 
 OR, THE HISTORY OF THE REBELLION' OF FORTY-FIVE. 
 BY LORD MAHON. 
 
 REPRINTED FROM THE SECOND EDITION OF LORD MAHON's HISTORY OF ENGLAND. 
 
 Humboldt's Cosmos ; and Aspects of Nature. 
 
 TRANSLATED BY COLONEL AND MRS. SABINE. 
 
 "Here we have the 'authorised editions' translated by Mrs. Sabine, at tlie 
 wish of the author, who has, moreover, read a great portion of the proof- 
 sheets, the revLsion being completed by the Chevalier Bunsen." Spedaior. 
 
 "The only English translations which are recognised as authentic by_the 
 distinguished author. We commend them to the notice of all our readers." 
 
 Medical Gazette.
 
 30 MURRAY'S HOME AND COLONIAL UBRARY. 
 
 OPINIONS OF THE PRESS: 
 
 " Mr. ]Murray's meritorious series." Times. 
 
 "We trust the enterprise by which Mr. Murray hopes to supply standard 
 works at a cheap rate, and to give effect to the act for suppressing pirated 
 editions of our authors, will meet with the encouragement to which the design 
 and the execution are eminently entitled." Moraiiuj Chronicle. 
 
 " A series of established worlds unsurpassed for variety and cheapness." 
 
 Morning Post. 
 
 "Mr. Murray's project of supplying Standard Literature at a price wliicli 
 renders it accessible to persons of limited means, at home and in the Colonies, 
 has om* warm approval." Oxford Herald. 
 
 " This singularly attractive and highly popular worlc." Morninrj Herald. 
 
 " This valuable and entertaining Library. Everj'^ article which has yet 
 appeared in it is replete with interest, and the quantity of matter supplied for 
 Half-a-Crowii must secure for it a very extended sale, both at home and abroad." 
 
 Evanrjelical Mayazine. 
 
 " Ml'. Murray's cheap and well-conducted Colonial Library." Examiner. 
 
 " The undertaking does honour to the enterprise and liberality of the Publisher. 
 Mr. Murray holds many valuable copyright works, which it will be a great public 
 benefit to place within reach of the millions." Patriot. 
 
 " The work does credit to the originator." Cliristian Rcmemhrancer. 
 
 " The critical niceness of selection which has characterised Mun-ay's Home 
 and Colonial Library." Sun. 
 
 " The plan of tliis cheap series has been well carried out." Literary Gazette. 
 
 " Whether this series — cheap and valuable as it promises to be — will meet 
 with a proper reception from our colonial brethren, is to our mind somewhat 
 doubtful ; that it will command a very large circulation in this country Ave cannot 
 but anticipate. There have been numerous reprints of standard works issued in 
 connection with original publications, at a very low rate ; but none of these 
 attempts to provide a cheap first-rate literature for the multitude can vie with 
 the present undertaking of Mr. Murray." Pictorial Times. 
 
 " That really excellent serial, Mm'ray's Colonial and Home Library." 
 
 Naval and Military Gazette. 
 
 " Mr. Murray holds on his way in a manner for which the public were not 
 unprepared. Volume succeeds to volume, and work to work, most of them 
 instructive, all of them highly interesting, and sold at a price so insignificant as 
 to bring them withm the easy reach of even the lowest gi'ade of the middle 
 classes." Christian Witness. 
 
 " The many entertaining books of which Mr. Murray's Library is composed." 
 
 Jolm Bull. 
 
 " This most agreeable and judicious series is progressing with great success. 
 Indeed, the variety, value, and nature of the books presented by Mr. Murray 
 are such as to ensm-e the command of the great circulation which, we under- 
 stand, they have obtained." DaUln Evening Post. 
 
 " Mr. ^Murray's most useful and excellent periodical." BelVs Weekly Messenger. 
 
 " This most agreeable and judicious series." DvMin Evening Post.
 
 MURRAY'S HOME AND COLONIAL LIBRARY. 31 
 
 OPINIONS OF THE PRESS. — Continued. 
 
 " On recurring to the mere catalogue of the volumes comprised in the Home 
 and Colonial Libranj, we are reminded very forcibly of the critical adroitness 
 with which the different productions have been selected, and of the felicitous 
 contrasts produced by the mere sequence of their publication. In each of the 
 various departments of litei-ai'y excellence we have obtained specimens worthy 
 of preservation upon the bookshelves of the most fastidious bibliographers — 
 effusions which, in numerous instances, may be regarded as masterpieces. 
 Biographies, travels, and essays, vicissitudes of battle, and sports on the heather, 
 adventures among the wilds of nature, and among the haunts of meek and 
 beautiful barbarians, stories for the fireside, and nan-atives amongst the parterres 
 and quincunxes of science have severally and in succession fallen to the lot of 
 the subscribers — leading them an agreeable pilgrimage over the surface of botli 
 hemispheres, without requiring them to withdraw their wadded slippers 
 from the ottoman, or to move their heads from the cushions of fauteuil. 
 One while we have followed Heber to the Indies, at another Malcolm 
 into Persia ; we have been with Lewis among the Western Islands, with 
 Hay in Morocco, with Borrow in Spain, with Head in the Pampas, with 
 Ford in Andalusia, with Acland in Hindostan, with Melville in the Mar- 
 quesas, with Ruxton in Mexico, with Carnarvon in Gallicia ; and elsewhere 
 with Steffens, and Irby and Mangles, touching alternately on the shores 
 of the Baltic, or on those of Australia, penetrating the deserts of Algeria 
 and the umbrageous wilds of Paraguay, roving through the streets of Madras or 
 floating on the waters of the Amazon. We have pored with the greediest 
 curiosity over the imaginative naiTatives of the ' Amber Witch,' of ' Brace- 
 bridge Hall,' of the ' Tales of a Traveller,' and of those of the ' Livonians.' 
 We have listened to the anecdotes of glory and honour associated with the siege 
 of Gibraltar, or the battle of Waterloo, or the Turkisli bombardment of Vienna. 
 We have gone on the voyage of the Natm-alist with Darwin, and devoured the 
 enthralling ' Memoirs of Father Ripa.' Lord Mahon has recounted to us the 
 life of the Great Conde, and Gleig, the history of the Great Clive. We have 
 perused also with proportionate interest the allusions made elsewhere to the 
 existence and the characters of Drake, of Bunyan, and of Cromwell. Beyond 
 this, it must be borne in recollection, that amongst the herd of writers who 
 flood the reading public with the torrent of their lucubrations, the Home and 
 Colonial Library of Mr. Murray has given to the world two authors of peculiar 
 originality, who, writing in their different ways, are altogether inimitable. We 
 allude to Herman Melville, the American saUor, and to Lieutenant George 
 Fredericlc Ruxton, the late lamented traveller through the Prairies and Savan- 
 nahs of the ' Far W^est.' From the pen of the latter young and enterprising 
 Englishman, Mr. Murray has presented to his subscribers the admirable 
 chapters called ' Adventures in Jlexico' — chapters fraught with entertainment 
 from the fresh and exhilarating manner with which every syllable is indited. 
 From the hand of the former have emanated those two remarkable books 
 ' Typee ' and ' Omoo ' — pearls of description ravished from the unknown 
 depths of the Southern Ocean. Than ' Typee ' there is scarcely a work of 
 more exquisite fascination in the whole range of travels written since the days 
 of Marco Polo. It is one of those bewitching volumes which, once read, haunt 
 the imagination throughout life, like the recollection of Robinson Crusoe on the 
 island of Juan Fernandez, or of Paul and Virginia on that of the Maiu-itius." 
 
 From the Sun.
 
 MURRAINS HOME & COLONIAL LIBRARY 
 COMPLETE. 
 
 In concluding the " Home and Colonial Library," Mr. Murray 
 begs to announce that in consideration of the large circulation of 
 that series, and the continued demand for back numbers, he is con- 
 vinced that there is an unabated desire on the part of the public for 
 reading, at once cheap, popular, and instructive ; he is therefore 
 preparing speedily to put forth a New Library, which, though equally 
 portable, shall be even more elegant in typography than the last, 
 and shall surpass, or at least maintain, its literary value and 
 eeneral attraction.
 
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 I