Part 8

=*=252. _Mantegna._ The amours of Mars and Venus discovered by (her husband) Vulcan. A beautiful composition. The guilty pair, with a couch, stand on a mountain, representing Parnassus, accompanied by Cupid. Below, exquisite group of the Nine Muses dancing (afterwards imitated by Guido). To the L, Apollo with his lyre, as musician. R, Mercury and Pegasus. In the background, the injured Vulcan discovering the lovers. This splendid specimen of early Renaissance art is one of Mantegna’s finest. Study it in detail, and compare with the other three which it accompanies. Observe the life and movement in the dancing Muses: also, the growing Renaissance love for the nude, exemplified in the Venus.

154. _Costa._ The Court of Isabella d’Este. The meaning of the figures is now undecipherable, but the general character indicates peace, and devotion to literature, science and art. A fine example of the Ferrarese master.

Between these four, =**=_Mantegna_; (251), Madonna della Vittoria, a most characteristic picture, painted for Giovanni Francesco Gonzaga, Marquis of Mantua, to commemorate his victory over Charles VIII of France. The Madonna is enthroned under a most characteristic canopy of fruit and flowers, with pendents of coral and other decorative adjuncts. L, Gonzaga himself, kneeling in gratitude—a ruffianly face, well-painted. R, St. Elizabeth, mother of the Baptist, with St. John Baptist himself, representing the Marquis’s wife. Behind, the patron Saints of Mantua, who assisted in the victory: St. Michael the Archangel (the warrior saint—a most noble figure), St. Andrew (Mantegna’s name-Saint), St. Longinus, who pierced the side of Christ, and St. George. The whole is exquisitely beautiful. The detail deserves long and attentive study. The reliefs on the pedestal are characteristic. From the church of the same name, erected in commemoration of the victory (of the Taro). I will return hereafter at greater length to this lovely picture.

Above, to the L (=*=418), _Cosimo Tura_. Pietà, or body of Christ wept over by the Madonna and angels. In drawing and colouring, a characteristic example of this harsh, but very original and powerful, Ferrarese master. You will come hereafter on many Pietàs. Compare them all, and note the attitude and functions of the angels.

=Cross over again= to the opposite side. (183), _Botticelli_. Round Madonna and angels, very characteristic as to the drawing, but inferior in technique to most of his works.

221. _Filippo Lippi._ Madonna in Glory, with angels. The roundness of the faces, especially in the child angels, is very characteristic. At her feet, two Florentine patron saints. The absence of symbols makes them difficult to identify, but I think they represent St. Zenobius and St. Antonine. Very fine.

184. _Botticelli._ Madonna and Child, with St. John of Florence. The wistful expressions strike the key-note of this painter. Compare with nameless Florentine Madonna of the same school above it.

220. _Fra Filippo Lippi._ Nativity. Worthy of careful study, especially for the accessories: St. Joseph, the stall and bottle, the saddle, ox and ass, and wattles, ruined temple, etc., which reappear in many similar pictures. Not a favourable example of the master. Beneath it, little fragments with St. Peter Martyr, Visitation, Christ and Magdalen, meeting of Francis and Dominic, and St. Paul the Hermit. An odd conglomeration, whose meaning cannot now be deciphered. The ruined temple, frequently seen in Nativities and Adorations of the Magi, typifies the downfall of Paganism before the advance of Christianity.

Beside it, _Ghirlandajo_. Portrait of bottle-nosed man and child. Admirable and characteristic.

=**=202. _Ghirlandajo._ Visitation. Probably the master’s finest easel picture. Splendid colour. Attitudes of the Madonna and St. Elizabeth characteristic of the type. The scene habitually takes place in front of a portal, as here, with the heads of the main actors more or less silhouetted against the arch in the background. At the sides, Mary Salome, and “the other Mary.” Such saints are introduced merely as spectators: they need not even be contemporary: they are included in purely ideal groupings. At Florence, in a similar scene, the as yet unborn St. John the Baptist stands by as an assessor.

185. Venus and Cupid, of the school of _Botticelli_. Very pleasing.

347. _Cosimo Rosselli._ Madonna in an almond-shaped glory (Mandorla) of red and blue cherubs. L, the Magdalen; R, St. Bernard, to whom she appeared, writing down his vision; about, adoring angels. A characteristic example of this harsh Florentine painter.

156. We come at once upon the High Renaissance in _Lorenzo di Credi’s_ beautiful Virgin and Child, flanked by St. Julian and St. Nicholas. Observe the three balls of gold in the corner by the latter’s feet, representative of the three purses thrown to the nobleman’s daughters. Notice also the Renaissance architecture and decorations. In pictures of this class, the saints to accompany the Madonna were _ordered_ by the person giving the commission; the artist could only exercise his discretion as to the grouping. Notice how this varies with the advance of the Renaissance: at first stiffly placed in pairs, the saints finally form a group with characteristic action. The execution of this lovely work shows Lorenzo as one of the finest artists of his period.

70. _Bianchi_, a rare Ferrarese master. Madonna enthroned, with Saints. The angel on the step is characteristically Ferrarese, as are also the reliefs and architecture.

467. Ascetic figure of San Giovanni di Capistrano.

435. _School of Perugino._ Little Madonna, in an almond-shaped glory of cherubs. The shape belongs to Christ, or saints, ascending into glory.

Next it, front of a chest, containing the story of Europa and the Bull. Several episodes are combined in a single picture. To the extreme L, the transformed lover, like the prince in a fairy tale. Most gracefully treated.

61. _Bellini._ Madonna and Child, between St. Peter and St. Sebastian; a plague picture. These half-length Madonnas are very characteristic of Venetian art of the period. The Madonna’s face and strong neck also very Venetian. Observe them as the type on which Titian’s are modelled. Look long at this soft and melting picture. The gentle noble face, the dainty dress, the beautiful painting of the nude in the St. Sebastian, are all redolent of the finest age of Venetian painting.

Above it, a good _Tura_. Compare with previous one.

60. _School of Gentile Bellini._ Venetian ambassador received at Cairo. Oriental tinge frequent at Venice. This gate can still be recognised at Cairo. The figures are all portraits, and the painter probably accompanied the ambassador, Domenico Trevisano.

Beneath it (59), two fine portraits by _Gentile Bellini_.

664. Characteristic little _Montagna_; angels at the base of a Madonna now destroyed. Compare the Bianchi almost opposite. Such angels are frequent in the school of Bellini.

152. Attributed to _Cima_. Madonna Enthroned, with St. John Baptist and the Magdalen. These lofty thrones and landscape backgrounds of the Friuli country are frequent with Cima and Venetian painters of his period.

113. _Carpaccio._ Preaching of St. Stephen. One of a series of the Life of St. Stephen, now scattered. The saint is in deacon’s robes, as usual; oriental costumes mark the intercourse of Venice with the East. Observe the architecture, a graceful compound of Venetian and oriental.

Over the doorway, Fresco of God the Father, in an almond-shaped glory, from the Villa Magliana. Purchased as a Raphael, probably by _Lo Spagna_.

Return frequently to this room, and study it deeply. It will give you the key to all the others.

Now traverse the Salon Carré and enter the

Salle Duchâtel.

On the R wall are two exquisite frescoes by _Luini_, removed entire from walls in Milan. To the L, the Adoration of the Magi, exquisitely tender and graceful; study it closely as an example both of painter and subject, noting the ages and attitudes of the Three Kings, the youngest (as usual) a Moor, and the exquisite face and form of the Madonna. To the R, a Nativity, equally characteristic. Look long at them. Between, Christ blessing, not quite so beautiful; and Genii with grapes, an antique motive. Above are three other frescoes of the school of Luini, not so fine. Centre, Annunciation, the Madonna separated (as often) from the angel by a lily. The Madonna never approaches the angel, and is usually divided by a wall or barrier.

On the screen by door, good portraits by _Antonio Moro_.

Other side of door (680), Madonna and Child, with the donors of the picture, by _Hans Memling_. This beautiful =Flemish= picture well represents the characteristics of Flemish as opposed to Italian art. Notice the want of ideality in the Virgin and Child, contrasted with the admirable portraiture of the donors, the chief of whom is introduced by his namesake, St. James, recognisable by his staff and scallop-shell. The female donors, several of whom are Dominican nuns, are similarly introduced by their founder, St. Dominic, whose black-and-white robes and star-like halo serve to identify him. Observe the exquisite finish of the hair and all the details. Study this work for the Flemish spirit.

At the far end of the room are two pictures by _Ingres_, marking the interval covered by French art during the lifetime of that great painter. L, Œdipus and the Sphinx, produced in the classical period of the master’s youth, while he was still under the malign influence of David. R, La Source, perhaps the most exquisitely virginal delineation of the nude ever achieved in painting.

After having traversed these two rooms the spectator will probably be able to attack the

Salon Carré,

which contains what are considered by the authorities as the gems of the collection, irrespective of period or country (a very regrettable jumble). Almost all of them, therefore, deserve attention. I shall direct notice here chiefly to those which require some =explanation=. Begin to the L of the door which leads from the Salle Duchâtel.

Close to the door, Apollo and Marsyas: a delicate little _Perugino_, attributed to Raphael. Good treatment of the nude, and painted like a miniature. Renaissance feeling. Compare it with the St. Sebastian in the Salle des Primitifs.

Above it, _Jehan de Paris_. Madonna and Child, with the donors; a characteristic and exceptionally beautiful example of the =early French school=. Contrast its character with the Italian and Flemish. Extremely regal and fond of tinsel ornament.

20. _Correggio._ Jupiter and Antiope, a good example of his Correggiosity and marvellous arrangement of light and shade. Very late Renaissance. Perfection of art; very little feeling.

=*=446. _Titian._ Entombment. A fine but faded example of the colour and treatment of the prince of the Venetian Renaissance.

231. _Luini._ Virgin and Child. Not a pleasing example.

=*=419 and =**=417. Two admirable portraits by _Rembrandt_.

=**=250. _Mantegna._ Crucifixion, predella or base of the great picture in San Zeno at Verona. Notice the admirable antique character of the soldiers casting lots for Christ’s raiment. The rocks are very Mantegnesque in treatment. One of the artist’s finest pictures. Spend some time before it. We will return again to this fine painting.

381. _Andrea del Sarto._ Holy Family. Showing well the character of this master’s tender and melting colour: also, the altered Renaissance treatment of the subject.

Beyond the doorway, two dainty little _Memlings_. Marriage of St. Catherine (the Alexandrian princess) to the Infant Christ; and, the Donor with St. John Baptist and his lamb. When a saint places his hand on a votary’s shoulder, it usually indicates the patron whose name the votary bears.

Near it, graceful little St. Sebastian of the Umbrian school. Compare with others. This plague-saint is one of the few to whom mediæval piety permitted nudity.

=*=370. _Raphael._ The great St. Michael, painted for François I^{er}. Admirable in its instantaneous dramatic action. This picture may be taken, in its spirit and vigour, as marking the culminating point of the Italian Renaissance as here represented.

Near it, _Titian_. The Man with the Glove: a fine portrait.

=**=19. _Correggio._ The Marriage of St. Catherine. This is a characteristic treatment, by the great painter of Parma, of this mystical subject. St. Catherine is treated as an Italian princess of his own time, on whose finger the infant Christ playfully places a ring. The action has absolutely no mystic solemnity. Behind, stands St. Sebastian, with his arrows to mark him (without them you would not know him from a classical figure), looking on with amused attention. His smile is lovely. In the background, episodes of the martyrdom of St. Sebastian, proving this to be probably a plague picture. But the whole work, though admirable as art, has in it nothing of religion, and may be aptly compared as to tone with the Education of Cupid by the same artist in the National Gallery. Nothing could surpass the beauty of the light and shade, and the exquisite colouring. Study it as a type of the last word of the humanist Renaissance against mediæval spirituality. Compare it with the Memling close by: and, if you have been at Milan, with the exquisitely dainty Luini in the Poldi-Pezzoli Museum.

Above it, a Holy Family by _Murillo_. Spanish and theatrical.

The greater part of this wall is taken up by an enormous canvas (95), by _Paolo Veronese_, representing the Marriage at Cana of Galilee, from the refectory (or dining-hall) of San Giorgio Maggiore at Venice. Pictures of this subject, or of the Last Supper, or of the Feast in the House of Levi, were constantly placed as appropriate decorations to fill the end wall of monastic refectories (like the famous Leonardo at Milan), and were often therefore gigantic in size. This monstrous and very effective composition (proudly pointed out by the guides as “the largest oil-painting in the world”) contains nothing of sacred, and merely reflects with admirable skill the lordly character of the Italian Renaissance. In the centre of the table, one barely notices the figures of the Christ and the Madonna. Attention is distracted both from them and from the miracle of the wine by the splendid architecture of the background, the loggias, the accessories, and the gorgeous guests, many of them representing contemporary sovereigns (among them François I^{er}, Eleanor of Austria, Charles V, and Sultan Soliman). The group of musicians in the centre foreground is also composed of portraits—this time of contemporary painters (Titian, Tintoretto, etc.). As a whole, a most characteristic picture both of the painter and his epoch, worth some study, and full of good detail.

=**=39. _Giorgione._ Pastoral scene, with nude figures. One of the few undoubted pictures by this master, whose genuineness is admitted by Morelli, though much repainted. Should be studied as an example of the full flush of the Venetian Renaissance, and of the great master who so deeply affected it. Notice the admirable painting of the nude, and the fine landscape in the background. Contrast with the Bellinis in the Salle des Primitifs, in order to mark time and show the advance in technique and spirit. Giorgione set a fashion, followed later by Titian and others. Compare this work with Titian’s Jupiter and Antiope in the Long Gallery.

Above it (=*=427) _Rubens_. Adoration of the Magi. A splendid picture. Interesting also as showing how far Rubens transformed the conceptions of the earlier masters. Compare it with the Luini in the Salle Duchâtel, and other Adorations in this gallery. Full of gorgeousness, dash, and certainty of execution.

37. _Antonello da Messina._ Characteristic hard-faced portrait by this excellent Sicilian artist.

=**=459. _Leonardo._ St. Anne and the Virgin. This great artist can be better studied in the Louvre than anywhere else in the world. This picture, not perhaps entirely by his own hand, is noticeable for the beautiful and very Leonardesque face of St. Anne, the playful figure of the infant Christ, and the admirable blue-toned landscape in the background. The smiles are also thoroughly Leonardesque. Notice the excellent drawing of the feet. The curious composition—the Virgin sitting on St. Anne’s lap—is traditional. Two or three examples of it occur in the National Gallery. Leonardo transformed it. He is the great scientific artist of the Florentine Renaissance.

208. _Hans Holbein_, the younger. Admirable portrait of Erasmus. Full of character. Note carefully. The hands alone are worth much study. How soft they are, and how absolutely the hands of a scholar immersed in his reading and writing.

108. _Clouet._ Elizabeth of Austria. A fine example of the early French school, marking well its hard manner and literal accuracy. It shows the style in vogue in Paris before the School of Fontainebleau (Italian artists introduced by François I^{er}) had brought in Renaissance methods.

=**=162. _Van Eyck._ Madonna and Child, with the Chancellor Rollin in adoration. Perhaps Van Eyck’s masterpiece. Notice the comparatively wooden Flemish Madonna and Child, contrasted with the indubitable vitality and character in the face of the Chancellor. This picture is a splendid example of the highest evolution of that type in which a votary is exhibited adoring the Madonna—the primitive form of portrait: “paint me in the corner, as giving the picture.” Every detail of this finished work deserves long and close inspection. Notice the elaboration of the ornaments, and the delicious glimpse of landscape through the arcade in the background. Compare with the Memlings; also, with contemporary Italian work in the Salle des Primitifs.

=**=362. _Raphael._ Madonna and Child, with infant St. John, known as _La Belle Jardinière_. To the familiar group of the Madonna and Child, Florentine painters and sculptors early added the infant Baptist, as patron of their city, thus forming a graceful pyramidal composition. This exquisite picture, by far the most beautiful Raphael in the Louvre, belongs to the great painter’s Florentine period. It should be compared with the very similar Madonna del Cardellino in the Uffizi at Florence. For simplicity of treatment and beauty of colouring this seems to me the loveliest of Raphael’s Madonnas, with the exception of the Granduca. Look at it long, for colour, design, and tender feeling. Then go back to the St. Michael, and see how, as Raphael gains in dramatic vigour, he loses in charm.

407. _Rembrandt._ Christ and the Disciples at Emmaus. A fine study in light and shade, and full of art, but not a sacred picture. Compare with other pictures of the scene in this gallery. The feeling is merely domestic.

433. _Rubens._ Tomyris, Queen of the Scythians, with the head of Cyrus. A fine, vigorous painting, with the action frankly transferred to the court of Henri IV. Dash and colour and all the Rubens attributes.

365. _Raphael._ Small Holy Family.

364. _Raphael._ Holy Family, known as the “Sainte Famille de François I^{er}”: Joseph, Madonna, infant Christ, St. Elizabeth and the Baptist, and adoring angels. Belongs to Raphael’s Roman period, and already vaguely heralds the decadence. Admirable in composition and painting, but lacking the simplicity and delicacy of colour of his earlier work. Compare it with the Belle Jardinière. It marks the distance traversed in art during his lifetime. The knowledge is far greater, the feeling less.

=**=142. _Van Dyck._ Charles I. A famous and splendid portrait, with all the courtly grace of this stately painter.

=**=462. _Leonardo._ Portrait of Mona Lisa. Most undoubted work of the master in existence. Has lost much of its flesh tints by darkening, but is still subtly beautiful. Compare with any of the portraits in the Salle des Primitifs, in order to understand the increase in science which made Leonardo the prince and leader of the Renaissance. The sweet and sphinx-like smile is particularly characteristic. Observe the exquisite modelling of the hands, and the dainty landscape background. Do not hurry away from it.

363. _Raphael._ Madonna with the infant St. John, known as “La Vierge au Voile.” A work of his early Roman period, intermediate in style between the Belle Jardinière and the François I^{er}. Compare them carefully.

Above it (379) _Andrea del Sarto_. Charity. A fine example of Andrea’s soft and tender colouring.

=*=523. Portrait of a young man. Long attributed to Raphael. More probably _Franciabigio_. Pensive and dignified.

452. _Titian._ Alphonso of Ferrara and his Mistress. A fine portrait, with its colour largely faded.

Above it, 154. Good portrait by _Van Dyck_.

539. _Murillo._ The Immaculate Conception. Luminous and pretty, in an affected showy Spanish manner. Foreshadows the modern religious art of the people. An immense favourite with the inartistic public.

=**=121. _Gerard Dou._ The Dropsical Woman. A triumph of Dutch painting of light and shade and detail. Faces like miniatures. The lamp and curtain like nature. Illuminated on the darkest day. Examine it attentively.

293. _Metsu._ Officer and Lady. Another masterpiece of Dutch minuteness, but far less fine in execution.

526. _Ter Borch._ Similar subject treated with coarse directness.

=**=551. _Velasquez._ The Infanta Marguerite—a famous portrait.

A little above it (229), _Sebastiano del Piombo_. Visitation. Compare with the Ghirlandajo in the Salle des Primitifs. A very favourable example of this Venetian master, painted in rivalry with Raphael. It well exhibits the height often attained, even by minor masters, at the culminating point of the Renaissance.

Above, occupying a large part of the wall, =*=_Paolo Veronese_. Christ and the Magdalen, at the supper in the house of Levi. Another refectory picture, treated in Veronese’s large and brilliant manner, essentially as a scene of lordly Venetian life. The Pharisee facing Christ is a fine figure. Notice the intrusion of animals and casual spectators, habitual with this artist. The sense of air and space is fine. The whole picture is instinct with Venetian feeling of the period; scenic, not sacred. A lordly treatment. Earlier painters set their scene in smaller buildings: the Venetians of this gorgeous age chose rather the Piazza of some mighty Renaissance Italian city. Here, the architecture recalls the style of Sansovino.

This room also contains many good works of the 17th century, justly skied. Examine them by contrast with the paintings of the best ages of art beneath them. Return to them later, after you have examined the works of the French artists in later rooms of this Gallery.

Now proceed into the

Long Gallery

which contains in its =First Compartment= works of the High Renaissance masters, transitional from the conventionality of the 15th, to the freedom of the 16th, and the theatrical tendency of the 17th centuries. Begin on the L, and follow that wall as far as the =first archway=.

_Francia._ Crucifixion, with Madonna and St. John, and Job extended at the feet of the cross, probably indicating a votive plague offering. A tolerable example of the great Bolognese painter, from the church of San Giobbe, patriarch and plague-saint, at Bologna.

_Ansuino_(?) Adoration of the Magi. Note coincidences with others.

308. _Francia._ Madonna. A fair example.

168. _Dosso._ St. Jerome in the Desert. Interesting as showing a later treatment of this familiar subject.

230. _Luini._ Holy Family. A good specimen of Luini’s easel work. Compare with the frescoes in the Salle Duchâtel. The hair is characteristic, also the oval face and cast of features.