Chapter D: G. ROSSETTI: Early Italian Poets (11)

St. George baptizing the Princess (79): picture, S. Giorgio
degli Schiavoni, Venice.
St. Jerome in his study (89): " " "
The Calling of St. Matthew (77): " " "
St. George and the Dragon (190): " " "

[See for full descriptions of these pictures Ruskin's "St.
Mark's Rest," _Shrine of the Slaves_.]

St. Vitale and Saints (259); picture, Church S. Vitale, Venice.

[Signed, and dated 1514. An admirable example of the master.]

CIMABUE (see under 565).

Frescoes in the upper church of Assisi (137-155).

["In these works there is an evident struggle in the mind of
the artist to give to traditional form the expression of a
living intention; but all that belongs to a closer imitation
of nature in her individual peculiarities--all that belongs
to the conception of characteristic or graceful action,--is
still wanting. The form of the countenance is alike throughout;
the expression, as conveyed by mien, always constrained. Yet,
notwithstanding all these defects, these works must be regarded
as having been mainly instrumental in opening a new path to the
free exercise of art."--Kugler.]

DOMENICO DI BARTOLO (SIENESE: died 1449).

Copies from two of the frescoes in the Hospital of S. Maria della Scala, at Siena (Nos. 1 and 6 of the series, "The Rearing, Education, and Marriage of Foundlings," and "Pope Celestine's approval of the building of the Hospital").

DÜRER, ALBERT (see under 1938).

St. John and St. Peter (99): picture, Pinakothek, Munich.
St. Mark and St. Paul (103): " " "
Adoration of the Trinity (101): picture, Belvedere, Vienna.

EYCK, VAN, The Brothers (see under 186).

Adoration of the Lamb (107): altar-piece, Cathedral, Ghent.

[This famous picture has been put together, in the copy, from
the originals, which are now distributed among Ghent (three
central panels), Brussels (the Adam and Eve), and Berlin (the
remaining panels).]

FOLIGNO, NICCOLO DA (see under 1107).

Virgin and Child (40): altar-piece, Gualdo Tadino, Umbria.

FORLI, MELOZZO DA (see under 755).

Pope Sixtus VI. (38): fresco, Vatican Gallery, Rome.
Angels (68, 76, 206, 217): fresco, sacristy, St. Peter's, Rome.

FRANCESCA, PIERO DELLA (see under 665).

The Resurrection (32): fresco, Palazzo Communale, Borgo San Sepolcro.

Battle for the Recovery of the True Cross (178): fresco, S. Francesco, Arezzo.

St. Helena finding the True Cross: fresco, S. Francesco, Arezzo.

Dream of Constantine (161): fresco, S. Francesco, Arezzo.

["The movement and life in the compositions, the variety in the
expressions of the numerous figures, their energy of action,
and the grand treatment of the draperies, are all equally
remarkable."--Kugler.]

FRANCIA (see under 180).

Marriage of St. Cecilia: fresco, St. Cecilia, Bologna.
Burial of St. Cecilia: " " "

GADDI, AGNOLO (Florentine: died 1396).

Nativity of the Virgin (207): fresco, cathedral of Prato.
Betrothal (179): " " "

GADDI, TADDEO (see under 215).

Adoration of the Magi (113): fresco, lower church, Assisi.

GHIRLANDAJO (see under 1230).

Calling of the Apostles (115): fresco, Sistine Chapel, Rome.
The Last Supper (88): fresco, Ognissanti, Florence.
St. John the Baptist (90): fresco, S. Maria Novella, Florence.
Zacharias Naming his Son (92): " " "
Birth of the Baptist (111): " " "
Angel appearing to Zacharias (132): " " "
Baptism of Christ (159): " " "
Expulsion of Joachim (171): " " "
Birth of the Virgin (172): " " "
Marriage of the Virgin (175): " " "
The Salutation (195): " " "
Massacre of the Innocents (196): " " "
Presentation in the Temple (226): " " "

[For a criticism of Ghirlandajo's frescoes in this church, see
Ruskin's _Mornings in Florence_, pp. 25, 26.]

The Emperor Augustus and the Sibyl (84): fresco, S. Trinita, Florence.
Death of St. Francis of Assisi: fresco, S. Trinita, Florence.
Death of S. Fina (47): fresco, Cappella S. Fina, S. Gimignano.
Burial of S. Fina (158): " " "

GIORGIONE (see under 269).

Virgin and Child (9): altar-piece Castelfranco.

[This according to Ruskin, is one of the "two most perfect
pictures in existence; alone in the world, as an imaginative
representation of Christianity, with a monk and a soldier on
either side, the soldier bearing the white cross of everlasting
peace on the purple ground of former darkness."--_Oxford
Lecture_, reported in Cook's _Studies_ in _Ruskin_, p. 251. For
a further description of the picture, see _Stones of Venice_,
Travellers' edition, ii. pp. 177-179.]

GIOTTO (see under 568).

The Life of St. Francis (2, 95, 199-205, 215-220): frescoes, upper church of S. Francesco, Assisi.

The Virtues: frescoes, lower church of S. Francesco, Assisi.

[Here, in "the cradle of Florentine art," the young Giotto
worked out his apprenticeship as a painter. For Ruskin's
estimate of Giotto's work at Assisi, see _Fors Clavigera_ for
1877.]

Vices and Virtues (82 A, etc.): frescoes, Arena Chapel, Padua.
Pietà: " " "

GOZZOLI (see under 283).

Scenes from the Life of St. Francis (208, 222, 242, 267): frescoes, church S. Francesco, Montefalco.

Virgin and Child (97): altar-piece, church of S. Francesco, Montefalco.

Scenes from the Life of St. Agostino (46, 224, 243, 244): frescoes, church S. Agostino, S. Gimignano.

The Journey of the Three Kings to Bethlehem (37, 39, 41, 123, 248): frescoes, Riccardi Palace, Florence.

["The chapel in the Palazzo Medici, now Riccardi, is made the
scene of the journey, represented in a sumptuous procession of
knights, squires, and pages, with dogs and hunting leopards.
He has also introduced portraits of various members of the
Medici family and of some of the principal citizens of
Florence."--Kugler's _Italian Schools_, i. 164.]

Marriage of Isaac and Rebecca: fresco, Campo Santo, Pisa.

GUIDO DA SIENA.

Virgin and Child (241): picture, S. Domenico, Siena.

[Stated on an inscription to have been painted in 1221. Relying
on the date, the Sienese have disputed the claims of the
Florentines to have been the regenerators of Italian art. But
it has been proved that the numerals have been tampered with,
the true date being 1281.]

HOLBEIN (see under 1314).

The Meier Madonna (102): picture, Palace Princess Charles, Darmstadt.

[This is from the original, of which there is a celebrated copy
at Dresden. "The received tradition respecting the Holbein
Madonna is beautiful, and I believe the interpretation to be
true. A father and a mother have prayed to her for the life
of their sick child. She appears to them, her own Christ in
her arms. She puts down her Christ beside them--takes their
child into her arms instead. It lies down upon her bosom,
and stretches its hand to its father and mother, saying
farewell."--Ruskin's _On the Old Road_, i. pp. 234, 235.]

LIBRI, GIROLAMO DAI (see under 748).

Virgin and Child (44): picture, S. Giorgio, Verona.

LEONARDO DA VINCI (see under 1093).

Virgin and Child: fresco, St. Onofrio, Rome.

LIPPI, FRA FILIPPO (see under 666).

Virgin and Child (34): picture, Uffizi, Florence.
Virgin and Child (100): picture, Belle Arti, Florence.

[This is one of the four pictures selected by Mr. Ruskin for
his series of "Lesson Photographs."--See _Fors Clavigera_,
1875, pp. 307-310; 1876, p. 187.]

Burial of St. Stephen (238): fresco, cathedral of Prato.
Heads from frescoes (157, 170): " " "

LIPPI, FILIPPINO (see under 293).

Virgin and Child (66): fresco, cathedral, Prato.

Vision of S. Bernard (1): altar-piece, Badia, Florence.

Glorification of St. Thomas Aquinas, two heads from: fresco (157); Cappella, Carafa, S. Maria sopra Minerva, Rome.

[For a description of this remarkable fresco, "barbarously
restored and repainted in 1874," see Kugler's _Italian Schools
of Painting_, i. 160.]

St. Peter delivered from prison: fresco, Brancacci chapel, Carmine, Florence.

St. Peter and St. Paul before Nero, and Martyrdom of St. Peter: fresco, Brancacci chapel, Carmine, Florence.

St. Peter visited by St. Paul: fresco, Brancacci chapel, Carmine, Florence.

[See also Masaccio and Masolino; the Arundel Society's
ascriptions are here followed, but the ascription of these
frescoes to one or other of the three artists, Filippino Lippi,
Masaccio, and Masolino is doubtful.]

LORENZETTI, PIETRO (see under 1113).

The Deposition (29): fresco, lower church, Assisi.
Good Government: frescoes, Palazzo Pubblico, Siena.

LORENZO, FIORENZO DI (see under 1103).

Events in the Life of St. Bernardino (30, 229, 230): pictures, Pinacoteca, Perugia.

LUINI (see under 18).

Ippolita Sforza in prayer, with attendant saints (74): fresco,
S. Maurizio, Milan.
Donor and Saints (266): fresco, S. Maurizio, Milan.
St. Catherine (268): fresco, Santuario della Madonna, Saronno.
St. Apollonia (260): " " "
Head of an Attendant (125): " " "
Head of the Virgin (117): " " "
Marriage of the Virgin: " " "
Adoration of the Magi: " " "
Christ among the Doctors: " " "
Presentation: " " "

Madonna and Child (160): fresco, S. Maria degli Angioli, Lugano.

[In a side chapel to the right of the entrance. "One of the
loveliest little pictures in Italy. It is dated 1530, and
is probably the last work which the golden hand of Luini
bequeathed to the world."--Lund's _Como and Italian Lake-land_,
p. 432.]

MANTEGNA (see under 274).

The Histories of SS. James and Christopher (38, 42, 227, 230, 236, 239); frescoes, Eremitani Chapel, Padua.

[The most important works of Mantegna's youth. "His early
frescoes in the Eremitani look as though they had been painted
from statues or clay models, carefully selected for the
grandeur of their forms, the nobility of their attitudes,
and the complicated beauty of their drapery."--Symonds:
_Renaissance_, iii. 197.]

MASACCIO (Florentine: 1401-1428).

St. Peter and St. John giving alms: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter and St. John healing the sick: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter preaching: fresco, Brancacci Chapel, Carmine, Florence.

The Expulsion from Paradise: " " "

The Tribute Money: " " "

St. Peter and St. Paul raising the King's son: fresco, Brancacci Chapel, Carmine, Florence.

Homage of St. Peter: fresco, Brancacci Chapel, Carmine, Florence.

[For Masaccio, as the first "naturalist" in landscape, see
Ruskin's notices of the frescoes in _Modern Painters_, vols. i.
and iii.]

MASOLINO (Florentine: 1383-1447).

The History of the Baptist (119, 127, 169, 211): frescoes, Castiglione d' Olona (near Varese).

The Prophet Isaiah (167): fresco, Castiglione d' Olona (near Varese).

The Temptation: fresco, Castiglione d' Olona (near Varese).

St. Peter and St. John raising Petronilla: fresco, Brancacci Chapel, Carmine, Florence.

[Tommaso di Cristoforo Fini, known as Masolino da Panicale,
from the place of his birth, is supposed to have been the
teacher of Masaccio. He was for some time in the service of
Cardinal Branda Castiglione. These frescoes, on one of which
he inscribed his name, were executed 1426-1437. They "indicate
a careful study of nature, though the type of composition is
still that of the 14th century."]

MEISTER WILHELM (see under 687).

Virgin and Child (104): picture, collection Archbp. of Cologne.

MEMLINC (see under 686).

Panels from Triptych (105): Hospital St. John, Bruges.
Crucifixion (106): triptych, Lübeck Cathedral.

MEMMI, SIMONE (Sienese: born 1283).

Annunciation (78): picture, Louvre, Paris.

Death-bed of St. Martin (277): fresco, church S. Francesco, Assisi.

Investiture of St. Martin: fresco, church S. Francesco, Assisi.

St. Martin renouncing the Emperor's service (124): fresco, church S. Francesco, Assisi.

[The real name of this Sienese painter was Simone Martini. He
is celebrated by Petrarch: "I have known two painters," he
writes, "talented both and excellent, Giotto of Florence and
Simone of Siena."]

MICHAEL ANGELO (see under 790).

Delphic Sibyl (20): fresco, Sistine Chapel, Rome.
Persic Sibyl (262): " " "
Ezekiel (17): " " "
Jeremiah (16): " " "

[For Ruskin's criticism of these frescoes, see (among other
places) _Ariadne Florentina_, ch. iv.]

MONTAGNA (see under 802).

St. John Baptist and St. Benedict (6): picture, SS. Nazzaro e
Celso, Verona.
SS. Nazzaro e Celso (8): picture, SS. Nazzaro e Celso, Verona.
St. Blaise led to execution: " " "

MORANDO (see under 735).

The Deposition (80): picture, Municipal Museum, Verona.

PACCHIAROTTO (see under 1849).

St. Catherine and St. Agnes (10): fresco, oratory of S. Catherine, Siena.

PALMA VECCHIO (see under 636).

Virgin and Child (212): picture, church S. Stefano, Vicenza.

[S. Lucia stands on the left; on the right, St. George in
armour with his banner--a grand figure recalling the S.
Liberale in Giorgione's picture at Castelfranco. One of Palma's
finest works.]

PERUGINO (see under 288).

Christ's charge to Peter (56): fresco, Sistine Chapel, Rome.
Baptism of Christ (181): " " "
Moses and the Angel (197): " " "

[Attributed by Morelli to Pinturicchio: see _German Galleries_,
p. 264.]

Adoration of the Magi (96): fresco, S. Maria de' Bianchi, Città della Pieve.

Crucifixion (5): fresco, S. Maria Maddalena de Pazzi, Florence.

Marriage of the Virgin (73): fresco, Convent of S. Girolamo, Spello.

Martyrdom of St. Sebastian (28): fresco, chapel of convent at Panicale.

Nativity and Adoration (7): fresco S. Francesco del Monte, Perugia.

The Transfiguration (4): fresco, Sala del Cambio, Perugia.

PERUZZI (see under 218).

Augustus and the Sibyl (250): fresco, church of Fonte Giusta, Siena.

[Peruzzi imparted to this picture, says Lanzi, "such a divine
enthusiasm that Raffaelle himself never surpassed him in his
treatment of this subject."]

PINTURICCHIO (see under 693).

Glorification of St. Bernardino (186): fresco, church of Aracoeli, Rome.

Burial of St. Bernardino (130): fresco, church of Aracoeli, Rome.

["Somewhat slight and hard in execution, but full of expression
and individual life."--Kugler.]

Betrothal of Frederick III. (75): fresco, Piccolomini Library, Siena.

Piccolomini receiving a Cardinal's hat (71): fresco, Piccolomini Library, Siena.

A drawing of the interior of the Piccolomini Library, showing Pinturicchio's frescoes (43).

The Nativity (82): fresco, S. Maria del Popolo, Rome.

St. Catherine of Alexandria (59): fresco, Appartamenti Borgia, Vatican.

Virgin in Glory (3): altar-piece at Monte Oliveto.

Annunciation: fresco, Cathedral, Spello.

Nativity: " ""

Christ among the doctors: ""

PORDENONE (see 272).

Adoration of the Magi (176): fresco, castle of Coll' Alto, near Conegliano.

Flight into Egypt (225): fresco, castle of Coll' Alto, near Conegliano.

RAPHAEL (see under 1171).

Philosophy (22): fresco, in one of the Stanze, Vatican.
Poetry (25): " " "
Poets on Mt. Parnassus (21): " "
St. Peter delivered from Prison (19): "
Theology (23): " " "
Justice (26): " " "
Expulsion of Heliodorus (213): " "
Mass of Bolsena (121): " "

[These frescoes, in one of the chambers of the Vatican, are
those by which, according to Ruskin, Raphael "wrote upon
its walls the _Mene_, _Tekel_, _Upharsin_ of the Arts of
Christianity." See _Edinburgh Lectures on Architecture and
Painting_, pp. 213, 214.]

The Four Sibyls (63): fresco, S. Maria della Pace, Rome.

ROMAN WALL PAINTING.

The Nursing of Bacchus (13): Farnesina Gardens, Rome.

ROMANINO (see under 297).

Visit of Christian II., King of Denmark, in 1475 to Bartolomeo Colleoni (58, 182, 188, 228, 234, 240): frescoes, Castle of Malpaga, near Bergamo.

["There is perhaps no edifice of the kind which gives so
complete an idea of the residence of a great Italian nobleman
in the middle ages." The frescoes are fully described in Mr.
Oscar Browning's _Life of Bartolomeo Colleoni_, published by
the Arundel Society in 1891. "These pictures are extremely
interesting as showing the manners and customs of the time; and
we cannot but feel that an age which could have crowded into
so short a space so many scenes replete with life and colour,
with dignity and magnificence, must be worthy of our study.
Romanino, the reputed author of the frescoes, was born ten
years after the events which they portray. He must, therefore,
have worked from the family records of what occurred, although
in his own age the life of chivalry was not altogether dead. It
is more probable, however, that they were executed by one of
his pupils."]

ROSSELLI, COSIMO (Florentine: 1439-1507).

Worship of the Golden Calf (135): fresco, Sistine Chapel, Rome.
The Last Supper (184): " " "
Passage of the Red Sea (192): " " "
Sermon on the Mount (198): " " "

[The latter is the most successful. The landscape and perhaps
other parts are by his pupil, Piero di Cosimo. To Rosselli was
formerly attributed No. 227 in our Gallery.]

SANTI, GIOVANNI (see under 751).

Nativity and Resurrection (4): fresco, St. Domenico, Cagli.

SARTO, ANDREA DEL (see under 690).

The Last Supper (122): fresco, S. Salvi, Florence.

[A celebrated work in a convent, now a lunatic asylum, near
Florence: commissioned in 1519, finished in 1527. Described and
highly praised by Vasari (iii. 224), who says that the beauty
of the fresco saved the convent from destruction during the
siege of Florence in 1529-30.]

Charity (94): fresco, cloisters of Campagnia dello Scalzo, Florence.

[This fresco is the subject of an interesting dissertation by
Max Müller, published by the Fine Art Society, 1887.]

St. John Baptist preaching (93): fresco, cloisters of Campagnia dello Scalzo, Florence.

Birth of the Virgin (51): fresco, Annunziata, Florence.

Procession of the Magi (33): fresco, Annunziata, Florence.
St. Filippo Benizzi (52): " " "
Madonna del Saco: " " "

SIGNORELLI (see under 1128).

Scenes from Life of Moses (60): fresco, Sistine Chapel, Rome.

St. Benedict receiving the true King Totila (144): fresco, Monte Oliveto.

St. Benedict receiving the false King Totila (257): fresco, Monte Oliveto.

[For a description of these frescoes at Monte Oliveto, see Maud
Cruttwell's _Luca Signorelli_, p. 58.]

The Crowning of the Elect (165): fresco, cathedral, Orvieto.
Portraits of Dante and Virgil (from the same): " "

[For a description of these see Bevir's _Visitor's Guide to
Orvieto_, p. 43, etc.]

SODOMA (see under 1144).

Presentation of SS. Placidas and Maurus to St. Benedict (233):
fresco, Monte Oliveto.
St. Benedict Preaching (98): fresco, Monte Oliveto.
Christ (12): fresco, convent of S. Anna, near Siena.
Christ bound to the Column (61): picture, Academy, Siena.
Swoon of St. Catherine (69): fresco, S. Domenico, Siena.
Vision of St. Catherine (64): " " "
Presentation of the Virgin (263): fresco, S. Bernardino, Siena.

TIEPOLO (see under 1192).

Anthony and Cleopatra (162, 168): frescoes, Palazzo Labia, Venice.

[The best of Tiepolo's works. "His frescoes in the Palazzo
Labia, representing the embarkation of Anthony and Cleopatra
on the Cydnus, and their famous banquet at Canopus, are
worthy to be classed with the finest decorative work of Paolo
Veronese."--J. A. Symonds: _Century Guild Hobby Horse_, April
1889.]

TIMOTEO DELLA VITE (Ferrarese: 1469-1523).

The Magdalen (265): picture, Pinacoteca, Bologna.

[By the first master of Raphael. The picture is mentioned by
Vasari (iii. 114): "She is standing upright, her vestment is a
short mantle, but the figure is covered principally with the
long hair, which falls to her feet; and this is so beautiful
and natural that, while observing it, one cannot but fancy
that the light silky tresses are stirred by the wind. The
countenance, also, has the most divine beauty of expression,
and clearly exhibits the love which this Saint bore to her
Lord."]

TITIAN (see under 4).

Miracles of St. Anthony of Padua (14, 133): frescoes, Scuola del Santo, Padua.

TURA, COSIMO (see under 772).

Triumph of Venus (112): fresco, Schifanoia Palace, Ferrara.
Triumph of Minerva (129): " " "

UNKNOWN PAINTER.

Richard II. before the Madonna (27): picture, Wilton House.

VASCO, FERNANDEZ ("Gran Vasco") (Portuguese: born 1552).

St. Peter enthroned as Pope (48): picture, sacristy of the
cathedral, Vizen, Portugal.

VERONESE, PAOLO (see under 26).

Allegorical Subjects, "Justice," "Temperance," etc. (15, 18,
155, 156): frescoes, Villa Giacomelli, Masèr.

[This villa, built by Palladio for Daniele Barbara in 1580, is
reached from Cornuda, a station on the line between Treviso
and Belluno. It contains some of Veronese's most beautiful
wall-paintings.]

VITERBO, LORENZO DI (painted 1648).

Betrothal of the Virgin (67): fresco, S. Maria della Verita, Viterbo.
Presentation: fresco, S. Maria della Verita, Viterbo.

* * * * *

There is also a copy, presented by Mrs. Bywater, of Domenico Veneziano's "Madonna and Child" (No. 1215).

SCULPTURES AND MARBLES

Many of the sculptures belonging to the National Gallery have been removed to the Hall of Sculpture at the Tate Gallery or to the National Portrait Gallery. Among those that remain in Trafalgar Square are:--

"THE DYING ALEXANDER" (_in the Vestibule_).--A Renaissance copy in Egyptian porphyry of the bust, in the Uffizi at Florence, known as "The Dying Alexander." The bust is now generally recognised as the work of a Pergamene sculptor, and is supposed to represent a youthful giant. The influence of the "Alexander type" is in any case noticeable in this fine work; a type embodying "the traces of human passion, the imperfection of human longing, the divine despair, which attach to the highest mortal natures because they are high and because they are mortal."--Presented by Mr. Henry Yates Thompson.

BUST OF MANTEGNA.--A plaster cast from the bust of Mantegna in the Mantegna Chapel at Mantua: see the description quoted under 274.--Presented by Mr. Henry Vaughan.

FOOTNOTES:

[264] Among works of illustration produced of late years, "the publications of the Arundel Society," says Ruskin, "hold the first rank in purpose and principle, having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility, and absolutely without taint of self-interest, or encumbrance of operation by personal or national jealousy. Failing often, as could not but be the case when their task was one of supreme difficulty, and before unattempted, they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public.... I learned more from the Arundel copy than in the chapel itself; for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco" (_Stones of Venice_, Travellers' edition, ii, 176; and _Ariadne Florentina_, Appendix, p. 246).