SIX CENTURIES OF PAINTING

SIX CENTURIES OF

PAINTING

BY

RANDALL DAVIES

LONDON : T. C. & E. C. JACK

67 LONG ACRE, W.C., and EDINBURGH

CONTENTS

LIST OF ILLUSTRATIONS

INTRODUCTORY

So far as it concerns pictures painted upon panel or canvas in tempera or oils, the history of painting begins with Cimabue, who worked in Florence during the latter half of the thirteenth century. That the art was practised in much earlier times may readily be admitted, and the life-like portraits in the vestibule at the National Gallery taken from Greek tombs of the second or third century are sufficient proofs of it; but for the origin of painting as we are now generally accustomed to understand the term we need go no further back than to Cimabue and his contemporaries, from whose time the art has uninterruptedly developed throughout Europe until the present day.

Oddly enough it is to the Christian Church, whose early fathers put their heaviest ban upon all forms of art, that this development is almost wholly due. The reaction against paganism began to die out when the Christian religion was more firmly established, and representations of Christ and the Saints executed in mosaic became more and more to be regarded as a necessary, or at any rate a regular embellishment of the numerous churches which were built. For these mosaics panel paintings began in time to be substituted; but it was long before any of the human feeling of art was to be found in them. The influence of S. Francis of Assisi was needed to prepare the way, and it was only towards the close of the thirteenth century that the breath of life began to be infused into these conventional representations, and painting became a living art.

As it had begun in Italy, under the auspices of the Church, so it chiefly developed in that country; at first in Florence and Siena, later in Rome, whither its greatest masters were summoned by the Pope, and in Venice, where, farther from the ecclesiastical influence, it flourished more exuberantly, and so became more capable of being transplanted to other countries. In Germany, however, and the Low Countries it had appeared early enough to be considered almost as an independent growth, though not till considerably later were the northern schools capable of sustaining the reputation given them by the Van Eycks and Roger Van der Weyden.

But for the effects of the Renaissance in Italy in the fifteenth century it is questionable whether painting would ever have spread as it did in the sixteenth and seventeenth to Spain and France. But by the close of the fifteenth century such enormous progress had been made by the Italian painters towards the realisation of human action and emotion in pictures, that from being merely an accessory of religious establishments, painting had become as much a part of the recognised means of intellectual enjoyment of everyday life as music, sculpture, or even the refinements of food and clothing.

Portraiture, in particular, had gradually advanced to a foremost place in painting. Originally it was used exclusively for memorials of the dead—as we have seen in the case of the paintings from the Greek tombs—and on coins and medals. But gradually the practice arose, as painters became more skilful in representing the appearance of the model, of introducing the features and figures of actual personages into religious pictures, in the character of "donors," and as these increased in importance, the sacred personages were gradually relegated to the background, and ultimately dispensed with altogether. At the beginning of the sixteenth century we find Hans Holbein (as an example) recommended by Erasmus to Sir Thomas More as a portrait painter who wished to try his fortunes in England; and during the rest of his life painting practically nothing but portraits.

By the end of the sixteenth century, if not earlier, painting had become almost as much a business as an art, not only in Italy but in most other countries in Europe, and was established in each country more or less independently. So that making every allowance for the various foreign influences that affected each different country, it is convenient to trace the development of painting in each country separately, and we arrange our chapters accordingly under the titles of Tuscan and Venetian (the two main divisions of Italian painting), Spanish, Flemish, Dutch, German, French, and British Schools. In each country, as might be expected—and especially in Italy—there are subdivisions; but, broadly speaking, the lover of pictures will be quite well enough equipped for the enjoyment of them if he is able to recognise their country, and roughly their period, without troubling about the particular district or personal influence of their origin.

For while it is undoubtedly true that the more one knows about the history of painting in general the greater will be the appreciation of the various excellences which tend to perfection, it is absolutely ridiculous to suppose that only the learned in such matters are capable of deriving enjoyment from a beautiful picture, or of expressing an opinion upon it. In the first place, the picture is intended for the public, and the public have therefore the best right to say whether it pleases them or not—and why. And it may be noted as a positive fact that whenever the public, in any country, have a free choice in matters of art, that choice generally turns out to be right, and is ultimately endorsed by the best critics. Most of the vulgar art to be found in advertisements and the illustrated papers is put there by ignorant and vulgar providers, who imagine that the whole public are as ignorant and vulgar as themselves; whereas whenever a better standard of taste is given an opportunity, it never fails to find a welcome. Until Sir Henry Wood inaugurated the present régime, the Promenade Concerts at Covent Garden were popularly supposed to represent the national taste in music. Until the Temple Classics and Every Man's Library were published it was commonly supposed that the people at large cared for nothing but Bow Bells, the Penny Novelette, or such unclassical if alluring provender. In the domain of painting, the Royal Academy has such a firm and ancient hold on the popular imagination of the English that its influence is difficult to dispel; but there are many signs that its baneful ascendency is at length on the decline; and it is well known that the National Gallery is attracting more and more visitors and Burlington House less and less as the years go on.

In the following attempt at a general survey of the history of painting—imperfect or ill-proportioned as it may appear to this or that specialist or lover of any particular school—I have thought it best to assume a fair amount of ignorance of the subject on the part of the reader, though without, I hope, taking any advantage of it, even if it exists; and I have therefore drawn freely upon several old histories and handbooks for both facts and opinions concerning the old masters and their works. In some cases, I think, a dead lion is decidedly better than a live dog.

R. D.

Chelsea, 1914.

TUSCAN SCHOOLS

I

GIOVANNI CIMABUE

By the will of God, in the year 1240, we are told by Vasari, Giovanni Cimabue, of the noble family of that name, was born in the city of Florence, to give the first light to the art of painting. Vasari's "Lives of the Painters" was first published in Florence in 1550, and with all its defects and all its inaccuracies, which have afforded so much food for contention among modern critics, it is still the principal source of our knowledge of the earlier history of painting as it was revived in Italy in the thirteenth century.

Making proper allowance for Vasari's desire to glorify his own city, and to make a dignified commencement to his work by attributing to Cimabue more than was possibly his due, we need not be deterred by the very latest dicta of the learned from accepting the outlines of his life of Cimabue as an embodiment of the tradition of the time in which he lived—two centuries and a quarter after Cimabue—and, until contradicted by positive evidence, as worthy of general credence. In the popular mind Cimabue still remains "The Father of modern painting," and though his renown may have attracted more pictures and more legends to his name than properly belong to him, it is certain that Dante, his contemporary, wrote of him thus:—

Credette Cimabue nella pintura
Tener lo campo, ed ora ha Giotto il grido
Si che la fama di colui s'oscura.

This is at least as important as anything written by a contemporary of William Shakespeare; and even if we are required to believe that some of his most important works are by another hand, his influence on the history of art is beyond question. Let us then follow Vasari a little further, and we shall find, at any rate, what is typical of the development of genius.

"This youth," Vasari continues, "being considered by his father and others to give proof of an acute judgment and a clear understanding, was sent to Santa Maria Novella to study letters under a relation who was then master in grammar to the novices of that convent. But Cimabue, instead of devoting himself to letters, consumed the whole day in drawing men, horses, houses, and other various fancies on his books and different papers—an occupation to which he felt himself impelled by nature."

This is exactly what is recorded of Reynolds, it may be noted, and very much the same as in the case of Gainsborough, Benjamin West—and many a modern painter.

"This natural inclination was favoured by fortune, for the governors of the city had invited certain Greek (probably Byzantine) painters to Florence, for the purpose of restoring the art of painting, which had not merely degenerated but was altogether lost. These artists, among other works, began to paint the chapel of the Gondi in Santa Maria Novella, and Cimabue, often escaping from the school, and having already made a commencement of the art he was so fond of, would stand watching these masters at their work. His father, and the artists themselves, therefore concluded that he must be well endowed for painting, and thought that much might be expected from him if he devoted himself to it. Giovanni was accordingly, much to his delight, placed with these masters, whom he soon greatly surpassed both in design and colouring. For they, caring little for the progress of art, executed their works not in the excellent manner of the ancient Greeks, but in the rude modern style of their own day. Wherefore, though Cimabue imitated them, he very much improved the art, relieving it greatly from their uncouth manner and doing honour to his country by the name that he acquired and by the works which he performed. Of this we have evidence in Florence from the pictures which he painted there—as for example the front of the altar of Saint Cecilia and a picture of the Virgin, in Santa Croce, which was and still is (i.e. in 1550) attached to one of the pilasters on the right of the choir."

Unfortunately the very first example cited pulls us up short alongside the official catalogue of the Uffizi Gallery (where the picture was placed in 1841), in which it is catalogued (No. 20) as "Unknown ... Vasari erroneously attributes it to Cimabue."

Tiresome as it may seem to be thus distracted, at the very outset, by the question of authenticity, it is nevertheless desirable to start with a clear understanding that in surveying in a general way the history and development of painting, it will be quite hopeless to wait for the final word on the supposed authorship of every picture mentioned. In this instance, as it happens, there is no reason to question the modern catalogue, though that is by no means the same thing as denying that Cimabue painted the picture which existed in the church of S. Cecilia in Vasari's time. Is it more likely, it may be asked, that Vasari, who is accused of unduly glorifying Cimabue, would attribute to him a work not worthy of his fame, or that during the three centuries since Vasari wrote a substitution was effected? The other picture, the Madonna and Child Enthroned, which found its way into our National Gallery in 1857, is still officially catalogued as the work of Cimabue, and it is to be hoped that this precious relic, together with the Madonnas in the Louvre, the Florence Academy, and in the lower church at Assisi, may be long spared to us by the authority of the critics as "genuine productions" of the beloved master.

On the general question, however, let me reassure the reader by stating that so far as possible I have avoided the mention of any pictures, in the following pages, about which there is any grave doubt, save in a few cases where tradition is so firmly established that it seems heartless to disturb it until final judgment is entered—of which the following examples of Cimabue's reputed work may be taken as types. The latest criticism seeks to deprive him of every single existing picture he is believed to have painted; those mentioned by Vasari which have perished may be considered equally unauthentic, but, as before mentioned, his account of them gives us as well as anything else the story of the beginnings of the art.

Having afterwards undertaken, Vasari continues, to paint a large picture in the Abbey of the Santa Trinità in Florence for the monks of Vallombrosa, he made great efforts to justify the high opinion already formed of him and showed greater powers of invention, especially in the attitude of the Virgin, whom he depicted with the child in her arms and numerous angels around her, on a gold ground. This is the picture now in the Accademia in Florence. The frescoes next described are no longer in existence:—

"Cimabue next painted in fresco at the hospital of the Porcellana at the corner of the Via Nuova which leads into the Borgo Ogni Santi. On the front of this building, which has the principal door in the centre, he painted the Virgin receiving the Annunciation from the angel, on one side, and Christ with Cleophas and Luke on the other, all the figures the size of life. In this work he departed more decidedly from the dry and formal manner of his instructors, giving more life and movement to the draperies, vestments and other accessories, and rendering all more flexible and natural than was common to the manner of those Greeks whose work were full of hard lines and sharp angles as well in mosaic as in painting. And this rude unskilful manner the Greeks had acquired not so much from study or settled purpose as from having servilely followed certain fixed rules and habits transmitted through a long series of years by one painter to another, while none ever thought of the amelioration of his design, the embellishment of his colouring, or the improvement of his invention."

After describing Cimabue's activities at Pisa and Assisi with equal circumstance, Vasari passes to the famous Rucellai Madonna, now supposed to be by the hand of Duccio of Siena. However doubtful the story may appear in the light of modern criticism, historical or artistic, it certainly forms part of the history of painting—for its spirit if not for its accuracy—and as such it can never be too often quoted:—

"He afterwards painted the picture of the Virgin for the Church of Santa Maria Novella, where it is suspended on high between the chapel of the Rucellai family and that of the Bardi. This picture is of larger size than any figure that had been painted down to those times, and the angels surrounding it make it evident that although Cimabue still retained the Greek manner, he was nevertheless gradually approaching the mode of outline and general method of modern times. Thus it happened that this work was an object of so much admiration to the people of that day—they having never seen anything better—that it was carried in solemn procession, with the sound of trumpets and other festal demonstration, from the house of Cimabue to the Church, he himself being highly rewarded and honoured for it. It is further reported, and may be read in certain records of old painters, that while Cimabue was painting this picture in a garden near the gate of S. Pietro, King Charles the Elder of Anjou passed through Florence, and the authorities of the city, among other marks of respect, conducted him to see the picture of Cimabue. When this work was thus shown to the King, it had not before been seen by anyone; wherefore all the men and women of Florence hastened in great crowds to admire it, making all possible demonstration of delight."

Now whether or not Vasari was right in crediting Cimabue with these honours in Florence instead of Duccio in Siena, makes little difference in the story of the origin and early development of the art of painting. One may doubt the accuracy of the mosaic account of the Creation, the authorship of the Fourth Gospel or the Shakespearean poems, or the list of names of the Normans who are recorded to have fought with William the Conqueror. But what if one may? The Creation, the poems and plays of Shakespeare and the battle of Hastings are all of them historic facts, and neither science, nor literature, nor history is a penny the worse for the loose though perfectly understandable conditions under which these facts have been handed down to us. When we come down to times nearer to our own the accuracy of data is more easily ascertainable, though the confusion arising out of them often obscures their real significance; but in looking for origins we are content to ignore the details, provided we can find enough general information on which to form an idea of them. To these first chapters of Vasari, then, we need not hesitate to resort for the main sources of the earlier history of painting. Even so far as we have gone we have learnt several important facts as to the nature of the foundations on which the glorious structure was to be raised.

First of all, it is apparent that the practice of painting, though strictly forbidden by the earliest Fathers of the Church, was used by the faithful in the Eastern churches for purposes of decoration, and was introduced into Italy—we may safely say Tuscany—for the same purpose.

Second, that being transplanted into this new soil, it put forth such wonderful blossoms that it came to be cultivated with much more regard; and from being merely a necessary or conventional ornament of certain portions of the church, was soon accounted its greatest glory.

Third, that it was accorded popular acclamation.

Fourth, that its most attractive feature in the eyes of beholders was its life-like representation of the human form and other natural objects.

Prosaic as these considerations may appear, they are nevertheless the fundamental principles that underlie the whole of the subsequent development of painting; and unless every picture in the world were destroyed, and the art of painting wholly lost for at least a thousand years, there could not be another picture produced which would not refer back through continuous tradition to one or every one of them. First, the basis of religion. Second, the development peculiar to the soil. Third, the imitation of nature. Fourth, the approbation of the public—there we have the four cardinal points in the chart of painting.

It would be easy enough to contend that painting had nothing whatever to do with religion—if only by reference to the godless efforts of some of the modernists; but such a contention could only be based on the imperfect recognition of what religion actually means. In Italy in the thirteenth century, as in Spain in the seventeenth, it meant the Church of Rome. In Germany of the sixteenth, as in England in the eighteenth, it meant something totally different. To put it a little differently, all painting that is worth so calling has been done to the glory of God; and after making due allowance for human frailties of every variety, it is hard to say that among all the hundreds of great and good painters there has ever been one who was not a good man.

As for the influence of environment, or nationality, this is so universally recognised that the term "school" more often means locality than tuition. We talk generally of the French, English, or Dutch schools, and more particularly of the Paduan, Venetian, or Florentine. It is only when we hesitate to call our national treasure a Botticelli or a Bellini that we add the words "school of" to the name of the master who is fondly supposed to have inspired its author. The difference between a wood block of the early eighteenth century executed in England and Japan respectively may be cited as an extreme instance of the effect of locality on idea, when the method is identical.

With reference to the imitation of nature, at the mere mention of which modernists become so furious, it is worth recalling that the earliest story about painting relates to Zeuxis, who is said to have painted a bunch of grapes with such skill that the birds ignored the fruit and pecked at the picture. In later times we hear of Rembrandt being the butt of his pupils, who, knowing his love of money, used to paint coins on the floor; and there are plenty of stories of people painting flies and other objects so naturally as to deceive the unwary spectator. Vasari is continually praising his compatriots for painting "like the life."

Lastly, the approbation, or if possible the acclamation, of the public has seldom if ever been unconsidered by the artist. Where it has, it has only been the greatest genius that has been able to exist without it. A man who has anything to say must have somebody to say it to; and though a painter may seem to be wasting the best part of his life in trying to make the people understand what he has to say in his language instead of talking to them in their own common tongue, it is rarely that he fails in the end, even if, alas for him, the understanding comes too late to be of any benefit to himself.

Cimabue's last work is said to be a figure, which was left unfinished, of S. John, in mosaic, for the Duomo at Pisa. This was in 1302, which is supposed to be the date of his death, though Vasari puts it two years earlier, at the time he was engaged with the architect Arnolfo Lapi in superintending the building of the Duomo in Florence, where he is buried.

II

GIOTTO DI BONDONE

While according all due honour, and probably more, to Cimabue as the originator of modern painting, it is to his pupil, Giotto, that we are accustomed to look for the first developments of its possibilities. Had Cimabue's successors been as conservative as his instructors, we might still be not very much better off than if he had never lived. For much as there is to admire in Cimabue's painting, it is only the first flush of the dawn which it heralded, and though containing the germ of the future development of the art, is yet without any of the glory which in the fulness of time was to result from it.

To Giotto, Vasari considers, "is due the gratitude which the masters in painting owe to Nature, seeing that he alone succeeded in resuscitating art and restoring her to a path that may be called the true one; and that the art of design, of which his contemporaries had little if any knowledge, was by his means effectually recalled to life." This seems to detract in some degree from his eulogies of Cimabue; but it is to the last sentence that our attention should be directed, which implies that in profiting by the master's example he succeeded in extending the possibilities of the new art beyond its first limits. Cimabue, we may believe, drew his Virgins and Saints from living models, whereas his predecessors had merely repeated formulas laid down for them by long tradition. Giotto went further, and extended his scope to the world at large. For the plain gold background he substituted the landscape, thus breaking down, as it were, a great wall, and seeing beyond it. Nor was this innovation merely a technical one—it was the man's nature that effected it and made his art a living thing.

Giotto, who was born in 1276, was the son of a simple husbandman, who lived at Vespignano, about fourteen miles from Florence. Cimabue chanced upon the boy when he was only about ten years old, tending his father's sheep, and was astonished to find that he was occupied in making a drawing of one of them upon a smooth piece of rock with a sharp stone. He was so pleased with this that he asked to be allowed to take him back to Florence, and the boy proved so apt a pupil that before very long he was regularly employed in painting.

His influence was not confined to Florence, or even to Tuscany, but the whole of Italy was indebted to him for a new impulse in art, and he is said to have followed Pope Clement V. to Avignon and executed many pictures there. Giotto was not only a painter, but his name is also famous in the history of architecture: the wonderful Campanile adjoining the Duomo in Florence was designed by him, and the foundations laid and the building erected under his instructions. On sculpture too he exercised a considerable influence, as may be seen in the panels and statues which adorn the lower part of the tower, suggested if not actually designed by Giotto, and carved by Andrea Pisano.

Chief of the earlier works of Giotto are his frescoes in the under church at Assisi, and in these may be seen the remarkable fertility of invention with which he endowed his successors. Instead of the conventional Madonna and Child, and groups of saints and angels, we have here whole legends represented in a series of pictures of almost dramatic character. In the four triangular compartments of the groined vaulting are the three vows of the Franciscan Order, namely, Poverty, Chastity, and Obedience, and in the fourth the glorification of the saint. In the first, the Vow of Poverty, it is significant to find that he has taken his subject from Dante. Poverty appears as a woman whom Christ gives in marriage to S. Francis: she stands among thorns; in the foreground are two youths mocking her, and on either side a group of angels as witnesses of the holy union. On the left is a youth, attended by an angel, giving his cloak to a poor man; on the right are the rich and great, who are invited by an angel to approach, but turn scornfully away. The other designs appear to be Giotto's own invention. Chastity, as a young woman, sits in a fortress surrounded by walls, and angels pay her devotion. On one side are laymen and churchmen led forward by S. Francis, and on the other Penance, habited as a hermit, driving away earthly love and impurity. S. Francis in glory is more conventional, as might be expected from the nature of the subject.

In the ancient Basilica of S. Peter in Rome Giotto made the celebrated mosaic of the Navicella, which is now in the vestibule of S. Peter's. It represents a ship, in which are the disciples, on a stormy sea. According to the early Christian symbolisation the ship denoted the Church. In the foreground on the right the Saviour, walking on the waves, rescues Peter. Opposite sits a fisherman in tranquil expectation, typifying the confident hope of the simple believer. This mosaic has frequently been moved, and has undergone so much restoration that only the composition can be attributed to Giotto.

Of the paintings of scriptural history attributed to Giotto very few remain, and the greater part of those have in recent times been pronounced to be the work of his followers. Foremost, however, among the undoubted examples are paintings in the Chapel of the Madonna dell'Arena at Padua, which was erected in 1303. In thirty-eight pictures, extending in three rows along the wall, is contained the life of the Virgin. The ground of the vaulting is blue studded with gold stars, among which appear the heads of Christ and the prophets, while above the arch of the choir is the Saviour in a glory of angels. Combined with these sacred scenes and personages are introduced fitting allusions to the moral state of man, the lower part of the side walls containing, in medallions painted in monochrome, allegorical figures of the virtues and vices—the former feminine and ideal, the latter masculine and individual—while the entrance wall is covered with the wonderful Last Judgment.

Here, as in his allegorical pieces, Giotto appears as a great innovator, a number of situations suggested by the Scriptures being now either represented for the first time or seen in a totally new form. Well-known subjects are enriched with numerous subordinate figures, making the picture more truthful and more intelligible; as in the Flight into Egypt, where the Holy Family is accompanied by a servant, and three other figures are introduced to complete the composition. In the Raising of Lazarus, too, the disciples behind the Saviour on the one side and the astonished multitude on the other form two choruses, an arrangement which is followed, but with considerable modification, in Ouwater's unique picture of the same subject now in the Kaiser Friedrich Museum at Berlin. This approach to dramatic reality sometimes assumes a character which, as Kugler puts it, oversteps the strict limits of the higher ecclesiastical style. It is worth noting, however, that the early Netherlandish school—as we shall see in a later chapter—developed this characteristic to a far greater extent, continuing the tradition handed down, quite independently of Giotto, through illuminated manuscripts, and with less of that expression of the highest religious or moral feeling which is so evident in Giotto.

The few existing altar-pieces of Giotto are less important than his frescoes, inasmuch as they do not admit of the exhibition of his higher and most original gifts. Two signed examples are a Coronation of the Virgin in Santa Croce at Florence, and a Madonna, with saints and angels on the side panels, originally in S. Maria degli Angeli at Bologna, and now in the Brera at Milan. The latter, however, is not now recognised as his. The earliest authentic example is the so-called Stefaneschi altar-piece, painted in 1298 for the same patron who commissioned the Navicella. Giotto's highest merit consists especially in the number of new subjects which he introduced, in the life-like and spiritual expression with which he heightened all familiar occurrences and scenes, and in the choice of the moment of representation. In all these no earlier Christian painter can be compared with him. Another and scarcely less important quality he possessed is in the power of conveying truth of character. The faces introduced into some of his compositions bear an inward guarantee of their lively resemblance to some living model, and this characteristic seems to have been eagerly seized upon by his immediate followers for emulation, as is noticeable in two of the principal works—in the Bargello at Florence, and in the church of the Incoronata at Naples—formerly attributed to him but now relegated to his pupils. The portrait of Dante in a fresco on the wall of the Bargello shows a deep and penetrating mind, and in the Sacraments at Naples we find heads copied from life with obvious fidelity and such a natural conception of particular scenes as brings them to the mind of the spectator with extraordinary distinctness.

Of Giotto's numerous followers in the fourteenth century it is impossible in the present work to give any particular account, but of his influence at large on the practice as on the treatment and conception of painting at this stage of its development, one or two examples may be cited as typical of the progress he urged, such as the frescoes in the Campo Santo at Pisa. This wonderful cloister, which measures four hundred feet in length and over a hundred in width—traditionally the dimensions of Noah's ark—was founded by the Archbishop Ubaldo, before 1200, on his return from Palestine bringing fifty-three ships laden with earth from the Holy Land. On this soil it was erected, and surrounded by high walls in 1278. The whole of these walls were afterwards adorned with paintings, in two tiers.

So far as concerns the history of painting, the question of the authorship of these frescoes—which are by several distinct hands—is altogether subordinate to that of the subjects depicted and the manner in which they are treated, and we shall learn more from a general survey of them than by following out the fortunes of particular painters. The earliest are those on the east side, near the chapel, but more important are those on the north, of about the middle of the fourteenth century, which show a decided advance, both in feeling and execution, beyond Giotto. The first is The Triumph of Death, in which the supernatural is tempered with representations of what is mortal to an extent that already shows that painting was not to be confined to religious uses alone. All the pleasures and sorrows of life are here represented, on the earth; it is only in the sky that we see the demons and angels. On one side is a festive company of ladies and cavaliers, with hawks and dogs, seated under orange trees, with rich carpets at their feet, all splendidly dressed. A troubadour and a singing girl amuse them with songs, amorini flutter around them and wave their torches. On the other side is another group, also a hunting party, on splendidly caparisoned horses, and accompanied by a train of attendants. On the mountains in the background are several hermits, who in contrast to the votaries of pleasure have attained in a life of contemplation and abstinence the highest term of human existence. Many of the figures are traditionally supposed to be portraits.

The centre foreground is devoted to the less fortunate on earth, the beggars and cripples, and also corpses of the mighty; and with these we may turn to the allegorical treatment of the subject. To the first group descends the angel of death, swinging a scythe, and to her the unfortunate are stretching out their arms in supplication for an end to their sorrows. The second group, it will be seen, are tracing a path which leads to three open coffins in which lie the bodies of three princes in different stages of decay, while a monk on crutches—intended for S. Macarius—is pointing to them. The air is filled with angels and demons, some of whom receive the souls of the dead.

A second picture is The Last Judgment, and a third Hell, the resemblance between which and the great altar-piece in the Strozzi Chapel in Santa Maria Novella at Florence, painted by Andrea Orcagna in 1357, was formerly considered proof of the same authorship. They are now attributed to an unknown disciple of Pietro Lorenzetti, who was painting in Siena between 1306 and 1348, and is assumed to have been a pupil of Duccio.

The fourth picture, apparently by another hand—possibly that of Lorenzetti himself—is The Life of the Hermits in the wilderness of Thebais, composed of a number of single groups in which the calm life of contemplation is represented in the most varied manner. In front flows the Nile, and a number of hermits are seen on its banks still subjected to earthly occupations; they catch fish, hew wood, carry burdens to the city, etc. Higher up, in the mountains, they are more estranged from the world, but the Tempter follows them in various disguises, sometimes frightful, sometimes seducing. As a whole this composition is constructed in the ancient manner—as in Byzantine art—several series rising one above the other, each of equal size, and without any pretension to perspective: the single groups, at the same time, are executed with much grace and feeling.

Next to this are six pictures of the history of S. Ranieri, and as many of the lives of S. Efeso and S. Potito. The latter are known to have been painted in 1392 by Spinello of Arezzo, or Spinello Aretino as he is called, of whose work we have some fragments in the National Gallery—alas too few! Two of these fragments are from his large fresco The Fall of the Rebellious Angels, painted for the church of S. Maria degli Angeli at Arezzo, which after being whitewashed over were rescued on the conversion of the church to secular uses. Vasari relates that when Spinello had finished this work the devil appeared to him in the night as horrible and deformed as in the picture, and asked him where he had seen him in so frightful a form, and why he had treated him so ignominiously. Spinello awoke from his dream with horror, fell into a state of abstraction, and soon afterwards died.

On the third part of the south wall is represented the history of Job, in a series of paintings which were formerly attributed to Giotto himself, though it is now recognised that they cannot be of an earlier date than about 1370.

The Temptation of Job is by Taddeo Gaddi, and the others, painted in 1372, are probably by Francesco da Volterra—not to be confused with the sixteenth century painter Daniele da Volterra.

The paintings on the west wall are of inferior workmanship, while those on the north were the crowning achievement of Benozzo Gozzoli a century later.

III

THE EARLIER QUATTROCENTISTS

Coming to the second period in the development of the new art—roughly, that is to say, from 1400 to 1450—Vasari observes that even where there is no great facility displayed, yet the works evince great care and thought; the manner is more free and graceful, the colouring more varied and pleasing; more figures are employed in the compositions, and the drawing is more correct inasmuch as it is closer to nature. It was Masaccio, he says, who during this period superseded the manner of Giotto in regard to the painting of flesh, draperies, buildings, etc., and also restored the practice of foreshortening and brought to light that modern manner which has been followed by all artists. More natural attitudes, and more effectual expression of feeling in the gestures and movements of the body resulted, as art seeking to approach the truth of nature by more correct drawing and to exhibit so close a resemblance to the face of the living person that each figure might at once be recognised. Thus these masters constantly endeavoured to reproduce what they beheld in nature and no more; their works became consequently more carefully considered and better understood. This gave them courage to lay down rules for perspective and to carry the foreshortenings precisely to the point which gives an exact imitation of the relief apparent in nature and the real form. Minute attention to the effects of light and shade and to various technical difficulties ensued, and efforts were made towards a better order of composition. Landscapes also were attempted; tracts of country, trees, shrubs, flowers, clouds, the air, and other natural objects were depicted with some resemblance to the realities represented; insomuch that the art might be said not only to have become ennobled, but to have attained to that flower of youth from which the fruit afterwards to follow might reasonably be looked for.

Foremost among the painters of this period was Fra Angelico, or to give him his proper title, Frate Giovanni da Fiesole, who was born in 1387 not far from Florence, and died in 1455. When he was twenty years old he joined the order of the preaching friars, and all his painting is devoted to religious subjects. He was a man of the utmost simplicity, and most holy in every act of his life. He disregarded all worldly advantages. Kindly to all, and temperate in all his habits, he used to say that he who practised the art of painting had need of quiet, and should live without cares and anxious thoughts; adding that he who would do the work of Christ should perpetually remain with Christ. He was most humble and modest, and in his painting he gave evidence of piety and devotion as well as of ability, and the saints that he painted have more of the air of sanctity than have those of any other master.

It was the custom of Fra Angelico to abstain from retouching or improving any painting once finished. He altered nothing, but left all as it was done the first time, believing, as he said, that such was the will of God. It is also affirmed that he would never take his brushes in hand until he had first offered a prayer, and he is said never to have painted a crucifix without tears streaming from his eyes, and in the countenance and attitude of his figures it is easy to perceive proof of his sincerity, his goodness, and the depth of his devotion to the religion of Christ.

This is well seen in the picture of the Coronation of the Virgin, which is now in the Louvre (No. 1290). "Superior to all his other works," Vasari says of this masterpiece, "and one in which he surpassed himself, is a picture in the Church of San Domenico at Fiesole; in this work he proves the high quality of his powers as well as the profound intelligence he possessed of the art he practised. The subject is the Coronation of the Virgin by Jesus Christ; the principal figures are surrounded by a choir of angels, among whom are a vast number of saints and holy personages, male and female. These figures are so numerous, so well executed in attitudes, so various, and with expressions of the head so richly diversified, that one feels infinite pleasure and delight in regarding them. Nay, one is convinced that those blessed spirits can look no otherwise in heaven itself, or, to speak under correction, could not if they had forms appear otherwise; for all the saints male and female assembled here have not only life and expression most delicately and truly rendered, but the colouring also of the whole work would seem to have been given by the hand of a saint or of an angel like themselves. It is not without sufficient reason therefore that this excellent ecclesiastic is always called Frate Giovanni Angelico. The stories from the life of Our Lady and of San Domenico which adorn the predella, moreover, are in the same divine manner; and I for myself can affirm with truth that I never see this work but it appears something new, nor can I ever satisfy myself with the sight of it or have enough of beholding it."

No less beautiful are the five compartments of the predella to the altar-piece still in San Domenico at Fiesole—which were purchased for the National Gallery in 1860 at the then alarming price of £3500—with no less than two hundred and sixty little figures of saintly personages, "so beautiful," as Vasari says, "that they appear to be truly beings of Paradise."

FRA FILIPPO LIPPI, born in Florence about 1406, and dying there in 1469, was the exact antithesis of Fra Angelico, both in his private life and in the method of his painting. He was just as earthly in both respects as Fra Angelico was heavenly. As a child he was put with the Carmelites, and as he showed an inclination for drawing rather than for study, he was allowed every facility for studying the newly painted chapel of the Branacci, and followed the manner of Masaccio so closely that it was said that the spirit of that master had entered into his body. It is only fair to Masaccio to add that this means his artistic spirit, for Filippo's moral character was by no means exemplary. The story of one of his best-known works, The Nativity, which is now in the Louvre (No. 1343), is thus related by Vasari:—"Having received a commission from the nuns of Santa Margherita, at Prato, to paint a picture for the high altar of their church, he chanced one day to see the daughter of Francesco Buti, a citizen of Florence, who had been sent to the convent as a novice. Filippo, after a glance at Lucrezia—for that was her name—was so taken with her beauty that he prevailed upon the nuns to allow him to paint her as the Virgin. This resulted in his falling so violently in love with her that he induced her to run away with him. Resisting every effort of her father and of the nuns to make her leave Filippo, she remained with him, and bore him a son who lived to be almost as famous a painter as his father. He was called Filippino Lippi."

The picture of S. John and six saints in the National Gallery (No. 677) also recalls the story of his wildness, inasmuch as it came from the Palazzo Medici, where Filippo worked for the great Cosimo di Medici. It was well known that Filippo paid no attention to his work when he was engaged in the pursuit of his pleasures, and so Cosimo shut him up in the palace so that he might not waste his time in running about while working for him. But Filippo after a couple of days' confinement made a rope out of his bed clothes, and let himself down from the window, and for several days gave himself up to his own amusements. When Cosimo found that he had disappeared, he had search made for him, and at last Filippo returned; after which Cosimo was afraid to shut him up again in view of the risk he had run in descending from the window.

Vasari considers that Filippo excelled in his smaller pictures—"In these he surpassed himself, imparting to them a grace and beauty than which nothing finer could be imagined. Examples of this may be seen in the predellas of all the works painted by him. He was indeed an

artist of such power that in his own time he was surpassed by none; therefore it is that he has not only been always praised by Michelangelo, but in many particulars has been imitated by him."

As a contributor to the progress of the art of painting he is credited by Vasari with two innovations, which may be seen in his paintings in the church of San Domenico at Prato, namely (1) the figures being larger than life, and thereby forming an example to later artists for giving true grandeur to large figures; and (2) certain figures clothed in vestments but little used at that time, whereby the minds of other artists were awakened and began to depart from that sameness which should rather be called obsolete monotony than antique simplicity.

It is noticeable that despite his bad character—which is said to have been the cause of his death by poison—all his work was in religious subjects. He was painting the chapel in the Church of Our Lady at Spoleto when, in 1469, he died.

Paolo Uccello, as he was called, was born at Florence in 1397, and died there in 1475. His real name was Paolo di Dono, but he was so fond of painting animals and birds—especially the latter—that he officially signed himself as Paolo Uccello. He devoted so much of his time, however, to the study of perspective, that both his life and his work suffered thereby. His wife used to relate that he would stand the whole night through beside his writing table, and when she entreated him to come to bed, would only say, "Oh, what a delightful thing is this perspective!" Donatello, the sculptor, is said to have told him that in his ceaseless study of perspective he was leaving the substance for the shadow; but Donatello was not a painter.

Before his time the painters had not studied the question of perspective scientifically. Giotto had made no attempt at it, and Masaccio only came nearer to realising it by chance. Brunelleschi, the architect, laid down its first principles, but it was Uccello who first put these principles into practice in painting, and thereby paved the way for his successors to walk firmly upon.

How he struggled with the difficulties of this vitally important subject may be seen in the large battle-piece at the National Gallery, and however crude and absurd this fine composition may seem at first sight to those who are only accustomed to looking at modern pictures, it must be remembered that Uccello is here struggling, as it were, with a savage monster which to succeeding painters has, through his efforts, been a submissive slave.

This picture is one of four panels executed for the Bartolini family. One of the others is in the Louvre, and a third in the Uffizi. Another—or indeed almost the only other—work of Uccello which is now to be seen is the colossal painting in monochrome (terra-verde) on the wall of the cathedral at Florence. Strangely enough, this equestrian portrait commemorates an Englishman, Sir John Hawkwood, whose name is Italianized in the inscription into Giovanni Acuto. He was born at Sible Hedingham in Essex, the son of a tanner, and adventuring under Edward III. into France, found his way to Florence, where he served the State so well that they interred him, on his death in 1393, at the public expense, and subsequently commissioned Uccello to execute his monument.

With all his devotion to science, the artist has committed the strange mistake of making the horse stand on two legs on the same side, the other two being lifted.

To Masaccio, born in or about 1400, and dying in 1443, we owe a great step in art towards realism. It was he, says Vasari, who first attained the clear perception that painting is only the close imitation, by drawing and colouring simply, of all the forms presented by nature showing them as they are produced by her, and that whoever shall most perfectly effect this may be said to have most nearly approached the summit of excellence. The conviction of this truth, he adds, was the cause of Masaccio's attaining so much knowledge by means of perpetual study that he may be accounted among the first by whom art was in a measure delivered from rudeness and hardness; it was he who led the way to the realisation of beautiful attitudes and movements which were never exhibited by any painter before his day, while he also imparted a life and force to his figures, with a certain roundness and relief which render them truly characteristic and natural. Possessing great correctness of judgment, Masaccio perceived that all figures not sufficiently foreshortened to appear standing firmly on the plane whereon they are placed, but reared up on the points of their feet, must needs be deprived of all grace and excellence in the most important essentials. It is true that Uccello, in his studies of perspective, had helped to lessen this difficulty, but Masaccio managed his foreshortenings with much greater skill (though doubtless with less science) and succeeded better than any artist before him. Moreover, he imparted extreme softness and harmony to his paintings, and was careful to have the carnations of the heads and other nude parts in accordance with the colours of the draperies, which he represented with few and simple folds as they are seen in real life.

Masaccio's principal remaining works are his frescoes in the famous Branacci Chapel at the Carmine convent in Florence. The work of decorating the chapel was begun by Masolino, but finished by Masaccio and Filippo Lippi. Vasari states it as a fact that all the most celebrated sculptors and painters had become excellent and illustrious by studying Masaccio's work in this chapel, and there is good reason to believe that Michelangelo and Raphael profited by their studies there, without mentioning all the names enumerated by Vasari. Seeing how important the influence of Masaccio was destined to become, I have ventured to italicise Vasari's opinions on the causes which operated in creating the Florentine style and in raising the art of painting to heights undreamt of by its earliest pioneers.

IV

THE LATER QUATTROCENTISTS

Three names stand out conspicuously from the ranks of Florentine painters in the latter half of the fifteenth century. But progress being one of the essential characteristics of the art at this period, as in all others, it is not surprising that the order of their fame coincides (inversely) pretty nearly with that of their date. First, Antonio Pollaiuolo; second, Sandro Botticelli; and lastly, Leonardo da Vinci.

It is important to note that Pollaiuolo was first apprenticed to a goldsmith, and attained such proficiency in that craft that he was employed by Lorenzo Ghiberti in the carving of the gates of the Baptistry, and subsequently set up a workshop for himself. In competition with Finiguerra he "executed various stories," says Vasari, "wherein he fully equalled his competitor in careful execution, while he surpassed him in beauty of design. The guild of merchants, being convinced

of his ability, resolved to employ him to execute certain stories in silver for the altar of San Giovanni, and he performed them so excellently that they were acknowledged to be the best of all those previously executed by various masters.... In other churches also in Florence and Rome, and other parts of Italy, his miraculous enamels are to be seen."

Now whether or not Antonio, like others, continued to exercise this craft, the account given by Vasari, as follows, of his learning to paint is extremely significant as showing how painting was regarded in relation to the kindred arts so widely practised in Florence:—"Eventually, considering that this craft did not secure a long life to the work of its masters, Antonio, desiring for his labours a more enduring memory, resolved to devote himself to it no longer; and his brother Piero being a painter, he joined himself to him for the purpose of learning the modes of proceeding in painting. He then found this to be an art so different from that of the goldsmith that he wished he had never addressed himself to it. But being impelled by shame rather than any advantage to be obtained, he acquired a knowledge of the processes used in painting in the course of a few months, and became an excellent master."

As early as 1460 he had painted the three large canvases of Hercules for Lorenzo de'Medici, now no longer existing, but probably reflected in the two small panels of the same subject in the Uffizi. These alone are enough to mark him as one of the greatest artists of his time. The magnificent David, at Berlin, soon followed, and the little Daphne and Apollo in our National Gallery. These were all accomplished unaided, but a little later he worked in concert with his brother Piero, to whom we are told to attribute parts of the painting of the large S. Sebastian in the National Gallery, painted in 1475 for Antonio Pucci, from whose descendant it was purchased. "For the chapel of the Pucci in the church of San Sebastian," says Vasari, "Antonio painted the altar-piece—a remarkable and wonderfully executed work with numerous horses, many nude figures, and singularly beautiful foreshortenings. Also the portrait of S. Sebastian taken from life, that is to say, from Gino di Ludovico Capponi. This picture has been more extolled than any by Antonio. He has evidently copied nature to the utmost of his power, as we see more especially in one of the archers, who, bending towards the ground, and resting his bow against his breast, is employing all his force to prepare it for action; the veins are swelling, the muscles strained, and the man holds his breath as he applies all his strength to the effort. All the other figures in the diversity of their attitudes clearly prove the artist's ability and the labour he has bestowed on the work."

It is in his superb rendering of the figure, especially in the nude, that Antonio Pollaiuolo marks a decisive step in the progress of painting, and is entitled to be regarded as "the first modern artist to master expression of the human form, its spirit, and its action." But for him we should miss much of the strength and vigour that distinguishes the real from the false Botticelli.

"In the same time with the illustrious Lorenzo de Medici, the elder," Vasari writes, "which was truly an age of gold for men of talent, there flourished a certain Alessandro, called after our custom Sandro, and further named di Botticello, for a reason which we shall presently see. His father, Mariano Filipepi, a Florentine citizen, brought him up with care; but although the boy readily acquired whatever he had a mind to learn,

yet he was always discontented, nor would he take any pleasure in reading, writing, or accounts; so that his father turned him over in despair to a friend of his called Botticello, who was a goldsmith.

"There was at that time a close connection and almost constant intercourse between the goldsmiths and the painters, wherefore Sandro, who had remarkable talent and was strongly disposed to the arts of design, became enamoured of painting and resolved to devote himself entirely to that vocation. He acknowledged his purpose forthwith to his father, who accordingly took him to Fra Filippo. Devoting himself entirely to the vocation he had chosen, Sandro so closely followed the directions and imitated the manner of his master, that Filippo conceived a great love for him, and instructed him so effectually that Sandro rapidly attained a degree in art that none could have predicted for him."

The influence of the Giottesque tradition which was thus handed on to the youthful Botticelli by Filippo Lippi is traceable in the beautiful little Adoration of the Magi—the oblong, not the tondo—in the National Gallery (No. 592). This was formerly attributed to Filippino Lippi, but is now universally recognised as one of Sandro's very earliest productions, when still under the immediate influence of Filippo, and prior to the Fortitude, painted before 1470, which is now in the Uffizi, and is the first picture mentioned by Vasari, thus—"While still a youth he painted the figure of Fortitude among those pictures of the virtues which Antonio and Pietro Pollaiuolo were executing in the Mercatanzia or Tribunal of Commerce in Florence. In Santo Spirito (Vasari continues, naming a picture which is probably The Virgin Enthroned, now at Berlin (No. 106)), he painted a picture for the Bardi family; this work he executed with great diligence, and finished it very successfully, depicting the olive and palm trees with extraordinary care."

The influence of Pollaiuolo is more evident in his two next productions, the two small panels of Holofernes and the Portrait of a Man with a Medal, in the Uffizi, and again in the S. Sebastian now at Berlin, which was painted in 1473.

About 1476 the second Adoration of the Magi in the National Gallery was painted, and a year or two later the famous and more splendid picture of the same subject which is in the Uffizi. With this he established his reputation, showing himself unmistakably as an artist of profound feeling and noble character besides being a skilful painter. It was commissioned for the church of Santa Maria Novella. "In the face of the oldest of the kings," says Vasari, "there is the most lively expression of tenderness as he kisses the foot of the Saviour, and of satisfaction at the attainment of the purpose for which he had undertaken his long journey. This figure is the portrait of Cosimo de'Medici, the most faithful and animated likeness of all now known of him. The second of the kings is the portrait of Giuliano de' Medici, father of Pope Clement VII., and he is presenting his gift with an expression of the most devout sincerity. The third, who is likewise kneeling, seems to be offering thanksgiving as well as adoration; this is the likeness of Giovanni, the son of Cosimo.

"The beauty which Sandro has imparted to these heads cannot be adequately described; all the figures are in different attitudes, some seen full face, others in profile, some almost entirely turned away, others bent down; and to all the artist has given an appropriate expression, whether old or young, showing numerous peculiarities, which prove the mastery he possessed over his art. He has even distinguished the followers of each king, so that one can see which belong to one and which to another. It is indeed a most wonderful work; the composition, the colouring, and the design are so beautiful that every artist to-day is amazed at it, and at the time it acquired so great a fame for Sandro that Pope Sixtus IV. appointed him superintendent of the painting of the chapel he had built in Rome."

The visit to Rome was in 1481, and meantime Botticelli had produced the wayward Primavera, and the more stern and harsh S. Augustine in the church of Ognissanti. Of his frescoes in the Pope's chapel nearly all have survived, including Moses slaying the Egyptian, The Temptation, and The Destruction of Korah's Company, besides such of the heads of the Popes as were not painted by Domenico Ghirlandaio and his other assistants in the work.

Returning to Florence in 1482, he was for twenty years without a rival in the city—after the departure of Leonardo to Milan—and he appears to have been subjected to no new influences, but steadily to have developed the immense forces within him. Before 1492 may be dated the two examples in the National Gallery, the Portrait of a Youth and the fascinating Mars and Venus, which was probably intended as a decoration for some large piece of furniture. The beautiful and extraordinarily life-like frescoes in the Louvre (the only recognised works of the master in that Gallery) from the Villa Lemmi, representing Giovanna Tornabuoni with Venus and the Graces, and Lorenzo Tornabuoni with the Liberal Arts, are assigned to 1486. Of this period are also the more familiar Birth of Venus; The Tondo of the Pomegranate and the Annunciation in the Uffizi, and the San Marco altar-piece, the Coronation of the Virgin in the Florence Academy.

To the influence of Savonarola, however great or little that may have been, is attributed the seriousness of his latest work. Professor Muther characterises Botticelli as "the Jeremiah of the Renaissance," but whether or not this is a rhetorical overstatement, the "tendency to impassioned and feverish action, so evident in the famous Calumny of Apelles, reflects, no doubt, the agitation of his spiritual stress."[1]

This is the latest of Sandro's works which are in public galleries, and there is every probability that the last years of his life were not very productive. "This master is said to have had an extraordinary love for those whom he knew to be zealous students in art," Vasari tells us, "and is affirmed to have gained considerable sums of money, but being a bad manager and very careless, all came to nothing. Finally, having become old, unfit for work, and helpless, he was obliged to go on crutches, being unable to stand upright, and so died, after long illness and decrepitude, in his seventy-eighth year. He was buried at Florence, in the church of Ognissanti in the year 1510."

The large and beautiful Assumption of the Virgin, with the circles of saints and angels, in the National Gallery, which has only of late years been taken out of the catalogue of Botticelli's works, is now said to have been executed by his early pupil Francesco Botticini (c. 1446-1497) in 1470 or thereabouts. "In the church of San Pietro," Vasari writes of Botticelli, "he executed a picture for Matteo Palmieri, with a very large number of figures. The subject is the Assumption of our Lady, and the zones or circles of heaven are

there painted in their order. The patriarchs, prophets, apostles, evangelists, martyrs, confessors, doctors, virgins, and the hierarchies; all of which was executed by Sandro according to the design furnished to him by Matteo, who was a very learned and able man. The whole work was conducted and finished with the most wonderful skill and care; at the foot were the portraits of Matteo and his wife kneeling. But although this picture is exceedingly beautiful, and ought to have put envy to shame, yet there were certain malevolent and censorious persons who, not being able to fix any other blame upon it, declared that Matteo and Sandro had fallen into grievous heresy." It is apparent that the picture has suffered intentional injury, and it is known that in consequence of this supposed heresy the altar which it adorned was interdicted and the picture covered up.

In view of all the circumstances it is certain that it was designed by Botticelli, and very possibly executed under his immediate supervision and with some assistance from him. If we do not see the real Botticelli in it, we see his influence and his power far more clearly than in the numerous tondi of Madonna and Child that have been assigned to him in less critical ages than our own. For the real Botticelli was something very real indeed, and though it was easy enough to imitate his mannerisms, neither the style nor the spirit of his work were ever within reach of his closest followers.

V

LEONARDO DA VINCI

Twelve years younger than Botticelli was Leonardo da Vinci (1452-1520), whose career as a painter commenced in the workshop of Andrea Verrocchio, goldsmith, painter, and sculptor. That so extraordinary a genius should have fixed upon painting for his means of expression rather than any of his other natural gifts is the most telling evidence of the pre-eminence earned for that art by the efforts of those whose works we have been considering. For once we may go all the way with Vasari, and accept his estimate of him as even moderate in comparison with those of modern writers. "The richest gifts," he writes, "are sometimes showered, as by celestial influence, on human creatures, and we see beauty, grace, and talent so united in a single person that whatever the man thus favoured may turn to, his every action is so divine as to leave all other men far behind him, and to prove that he has been specially endowed by the hand of God himself, and has not obtained his pre-eminence by human teaching. This was seen and acknowledged by all men in the case of Leonardo da Vinci, in whom, to say nothing of the beauty of his person, which was such that it could never be sufficiently extolled, there was a grace beyond expression which was manifested without thought or effort in every act and deed, and who besides had so rare a gift of talent and ability that to whatever subject he turned, however difficult, he presently made himself absolute master of it. Extraordinary strength was in him joined with remarkable facility, a mind of regal boldness and magnanimous daring. His gifts were such that his fame extended far and wide, and he was held in the highest estimation not in his own time only, but also and even to a greater extent after his death; and this will continue to be in all succeeding ages. Truly wonderful indeed and divinely gifted was Leonardo."

To his activities in directions other than painting, I need not allude except to say that they account in a great measure for the scarcity of the pictures he has left us, and to emphasise the significance of his having painted at all. To a man of such supreme genius the circumstances in which he found himself, rather than any particular technical facility, determined the course of his career, and in another age and another country he might have been a Pheidias or a Newton, a Shakespeare or a Beethoven.

But if the pictures he has left us are few in number—according to the present estimate not more than a dozen—they are altogether greater than anything else in the realm of painting, and with their marvellous beauty and subtlety have probably had a wider influence, both on painters and on lovers of painting, than those of any other master. They seem to be endowed with a spirit of something beyond painting itself, and in the presence of The Last Supper or the Mona Lisa the babble of conflicting opinions on questions of style, technique, and what not is silenced.

Similarly, in writing of Leonardo's pictures, every one of which is a masterpiece, it seems superfluous to say even a word about what the whole world already knows so well. All that can be usefully added is a little of the tradition, where it is sufficiently authenticated, relating to the circumstances under which they came into existence, and such of the circumstances of his life as concern their production.

When still quite a youth Leonardo was apprenticed to Andrea Verrocchio, and the story goes that it was the marvellous painting of the angel, by the pupil, in the master's Baptism in the Academy at Florence, that induced Verrocchio to abandon painting and devote himself entirely to sculpture. This angel has been attributed to the hand of Leonardo from the earliest times, but can hardly be taken, at any rate in its present condition, as a decided proof of the genius that was to be displayed in manhood. More certain are the S. Jerome in the Vatican, and the Adoration of the Kings in the Uffizi, though neither is carried beyond the earlier stages of "under-painting." A few finished portraits are now assigned with tolerable certainty to his earlier years; but for his famous masterpieces we must jump to the year 1482, when he left Florence and went to Milan, where for the next sixteen years he was intermittently engaged in the execution of the great equestrian statue, which was destroyed by the French mercenaries before it was actually completed.

It appears that he was recommended by Lorenzo de'Medici to Lodovico il Moro, Duke of Milan, probably for the very purpose of executing this statue. However that may be, it is now certain that in 1483 he was commissioned by the Franciscan monks to paint a picture of the Virgin and Child for their church of the Conception, and that between 1491 and 1494 Leonardo and his assistant, Ambrogio di Predis, petitioned the Duke for an arbitration as to price. This was the famous Virgin of the Rocks, now in the Louvre, and the similar, and though not precisely identical, composition in our National Gallery is generally supposed to be a replica, painted by Ambrogio under the supervision of, and possibly with some assistance from, Leonardo himself.

Between 1495 and 1498 Leonardo was engaged on the painting of The Last Supper. In the Forster Library at the Victoria and Albert Museum is a notebook which contains his first memoranda for the wonderful design of this masterpiece. At Windsor are studies for the heads of S. Matthew, S. Philip, and

Judas, and for the right arm of S. Peter. That of the head of the Christ in the Brera at Milan has been so much "restored" that it can hardly be regarded as Leonardo's work. Vasari's account of the delays in the completion of the painting is better known, and probably less trustworthy, than one or two notices of about the same date, quoted by Mr H. P. Horne, in translating and commenting on Vasari. In June 1497, when the work had been in progress over two years, Duke Lodovico wrote to his secretary "to urge Leonardo, the Florentine, to finish the work of the Refectory which he has begun, ... and that articles subscribed by his hand shall be executed which shall oblige him to finish the work within the time that shall be agreed upon." Matteo Bandello, in the prologue to one of his Novelle, describes how he saw him actually at work—"Leonardo, as I have more than once seen and observed him, used often to go early in the morning and mount the scaffolding (for The Last Supper is somewhat raised above the ground), and from morning till dusk never lay the brush out of his hand, but, oblivious of both eating and drinking, paint without ceasing. After that, he would remain two, three, or four days without touching it: yet he always stayed there, sometimes for one or two hours, and only contemplated, considered, and criticised, as he examined with himself the figures he had made."

Vasari's story of the Prior's head serving for that of Judas is related with less colour, but probably more truth, in the Discourses of G. B. Giraldi, who says that when Leonardo had finished the painting with the exception of the head of Judas, the friars complained to the Duke that he had left it in this state for more than a year. Leonardo replied that for more than a year he had gone every morning and evening into the Borghetto, where all the worst sort of people lived, yet he could never find a head sufficiently evil to serve for the likeness of Judas: but he added, "If perchance I shall not find one, I will put there the head of this Father Prior who is now so troublesome to me, which will become him mightily."

In 1500 Leonardo was back again in Florence, and his next important work was the designing, though probably not the actual painting, of the beautiful picture in the Louvre, The Virgin and Child with S. Anne, the commission for which had been given to Filippino Lippi, but resigned by him on Leonardo's return. In 1501 Isabella d'Este wrote to know whether Leonardo was still in Florence, and what he was doing, as she wished him to paint a picture for her in the palace at Mantua, and in the reply of the Vicar-General of the Carmelites we have a valuable account of the artist and his work. "As far as I can gather," he writes, "the life of Leonardo is extremely variable and undetermined. Since his arrival here he has only made a sketch in a cartoon. It represents a Christ as a little child of about a year old, reaching forward out of his mother's arms towards a lamb. The mother, half rising from the lap of S. Anne, catches at the child as though to take it away from the lamb, the animal of sacrifice signifying the Passion. S. Anne, also rising a little from her seat, seems to wish to restrain her daughter from separating the child from the lamb; which perhaps is intended to signify the Church, that would not wish that the Passion of Christ should be hindered. These figures are as large as life, but they are all contained in a small cartoon, since all of them sit or are bent; the figure of the Virgin is somewhat in front of the other, turned towards the left. This sketch is not yet finished. He has not executed any other work, except that his two assistants paint portraits and he, at times, lends a hand to one or another of them. He gives profound study to geometry, and grows most impatient of painting."

The history of this cartoon—as indeed of the Louvre picture—is somewhat obscure, but it is certain that the beautiful cartoon of the same subject in the possession of the Royal Academy is not the one above described.

Lastly, there is the famous—or, may we say, now more famous than ever—portrait of Mona Lisa. "Whoever wishes to know how far art can imitate nature," Vasari writes, "may do so in this head, wherein every detail that could be depicted by the brush has been faithfully reproduced. The eyes have the lustrous brightness and watery sheen that is seen in life, and around them are all those rosy and pearly tints which, like the eyelashes too, can only be rendered by means of the deepest subtlety; the eyebrows also are painted with the closest exactitude, where fuller and where more thinly set, in a manner that could not be more natural. The nose, with its beautiful and delicately roseate nostrils, seems to be alive. The mouth, wonderful in its outline, shows the lips perfectly uniting the rose tints of their colour with that of the face, and the carnation of the cheek appears rather to be flesh and blood than only painted. Looking at the pit of the throat one can hardly believe that one cannot see the beating of the pulse, and in truth it may be said that the whole work is painted in a manner well calculated to make the boldest master tremble.

"Mona Lisa was exceedingly beautiful, and while Leonardo was painting her portrait he kept someone constantly near her to sing or play, to jest or otherwise amuse her, so that she might continue cheerful, and keep away the melancholy that painters are apt to give to their portraits. In this picture there is a smile so pleasing that the sight of it is a thing that appears more divine than human, and it has ever been considered a marvel that it is not actually alive."

It is worth observing that while these rapturous expressions of wonder at the life-like qualities of the portrait may seem somewhat tame and childish in comparison with the appreciation accorded to Leonardo's work in these times—notably that of Walter Pater in this case—they are in reality at the root of all criticism. If Vasari, as I have already pointed out, pitches upon this quality of life-likeness and direct imitation of nature for his particular admiration, it is only because the first and foremost object of the earlier painters was in fact to represent the life; and though in the rarefied atmosphere of modern talk about art these naïve criticisms may seem out of date, it is significant that between Vasari and ourselves there is little, if any, difference of opinion as to which masters were the great ones, and which were not. "Truly divine" is a phrase in which he sums up the impressions created in his mind by the less material qualities of some of the greatest, but before even the greatest could create such an impression they must have learnt the rudiments of the art in the school of nature.

VI

MICHELANGELO BUONARROTI

In the opening years of the sixteenth century the art of painting had attained such a pitch of excellence that unless carried onward by a supreme genius it could hardly hope to escape from the common lot of all things in nature, and begin to decline. After Botticelli and Leonardo, the works of Andrea del Sarto, "the perfect painter" as he has been called, fall rather flat; and no less a prodigy than Michelangelo was capable of excelling his marvellous predecessors, or than Raphael of rivalling them.

Vasari prefaces his life to Andrea del Sarto (1486-1531) with something more definite than his usual rhetorical flourishes. "At length we have come," he says, "after having written the lives of many artists distinguished for colour, for design, or for invention, to that of the truly excellent Andrea del Sarto, in whom art and nature combined to show all that may be done in painting when design, colouring, and invention unite in one and the same person. Had he possessed a somewhat bolder and more elevated mind, had he been distinguished for higher qualifications as he was for genius and depth of judgment in the art he practised, he would beyond all doubt have been without an equal. But there was in his nature a certain timidity of mind, a sort of diffidence and want of strength, which prevented those evidences of ardour and animation which are proper to the highest characters from ever appearing in him which, could they have been added to his natural advantages, would have made him truly a divine painter, so that his works are wanting in that grandeur, richness, and force which are so conspicuous in those of many other masters.

"His figures are well drawn, and entirely free from errors, and perfect in all their proportions, and for the most part are simple and chaste. His airs of heads are natural and graceful in women and children, while both in youth and old men they are full of life and animation. His draperies are marvellously beautiful. His nudes are admirably executed, simple in drawing, exquisite in colouring—nay, they are truly divine."

And yet? Well, let us turn to Michelangelo.

"While the best and most industrious artists," says Vasari, "were labouring by the light of Giotto and his followers to give the world examples of such power as the benignity of their stars and the varied character of their fantasies enabled them to command, and while desirous of imitating the perfection of Nature by the excellence of Art, they were struggling to attain that high comprehension which many call intelligence, and were universally toiling, but for the most part in vain, the Ruler of Heaven was pleased to turn the eyes of his clemency towards earth, and perceiving the fruitlessness of so many labours, the ardent studies pursued without any result, and the presumptuous self-sufficiency of men which is farther from truth than is darkness from light, he resolved, by way of delivering us from such great errors, to send to the world a spirit endowed with universality of power in each art, and in every profession, one capable of showing by himself alone what is the perfection of art in the sketch, the outline, the shadows, or the lights; one who could give relief to painting and with an upright judgment could operate as perfectly in sculpture; nay, who was so highly accomplished in architecture also, that he was able to render our habitations secure and commodious, healthy and cheerful, well-proportioned, and enriched with the varied ornaments of art."

A more prosaic passage follows presently, occasioned by the innuendoes of Condivi as to Vasari's intimacy with Michelangelo and his knowledge of the facts of his life at first hand. Vasari meets this accusation by quoting the following document relating to the apprenticeship of Michelangelo to Domenico Ghirlandaio when fourteen years old. "1488. I acknowledge and record this first day of April that I, Lodovico di Buonarroti, have engaged Michelangelo my son to Domenico and David di Tommaso di Currado for the three years next to come, under the following conditions: That the said Michelangelo shall remain with the above named all the said time, to the end that they may teach him to paint and to exercise their vocation, and that the above named shall have full command over him paying him in the course of these three years twenty-four florins as wages...."

Besides this teaching in his earliest youth, it is considered probable that in 1494, when he visited Bologna, he came under influences which resulted in the execution at about that time of the unfinished Entombment and the Holy Family, which are two of our greatest treasures in the National Gallery. As he took to sculpture, however, before he was out of Ghirlandaio's hands, there are few traces of any activity in painting until 1506, when he was engaged on the designs for the great battle-piece for the Council Hall at Florence. The one easel picture of which Vasari makes any mention, the tondo in the Uffizi, is the only one besides those already noted which is known to exist. "The Florentine citizen, Angelo Doni," Vasari says, "desired to have some work from his hand as he was his friend; wherefore Michelangelo began a circular painting of Our Lady for him. She is kneeling, and presents the Divine Child to Joseph. Here the artist has finely expressed the delight with which the Mother regards the beauty of her Son, as is clearly manifest in the turn of her head and fixedness of her gaze; equally evident is her wish that this contentment shall be shared by that pious old man who receives the babe with infinite tenderness and reverence. Nor was this enough for Michelangelo, since the better to display his art he has grouped several undraped figures in the background, some upright, some half recumbent, and others seated. The whole work is executed with so much care and finish that of all his pictures, which indeed are but few, this is considered the best."

After relating the story of the artist's quarrel with his friend over the price of this masterpiece (for which he at first only asked sixty ducats), Vasari goes on to describe the now lost cartoons for the great fresco in the Council Hall at Florence, in substance as follows:—

"When Leonardo was painting in the great hall of the Council, Piero Soderini, who was then Gonfaloniere, moved by the extraordinary ability which he perceived in Michelangelo [he calls him in a letter a young man who stands above all his calling in Italy; nay, in all the world], caused him to be entrusted with a portion of the work, and our artist began a very large cartoon representing the Battle of Pisa. It represented a vast number of nude figures bathing in the Arno, as men do on hot days, when suddenly the enemy is heard to be attacking the camp. The soldiers spring forth in haste to arm themselves. One is an elderly man, who to shelter himself from the heat has wreathed a garland of ivy round his head, and, seated on the ground, is labouring to draw on his hose, hindered by his limbs being wet. Hearing the sound of the drums and the cries of the soldiers he struggles violently to get on one of his stockings; the action of the muscles and distortion of the mouth evince the zeal of his efforts. Drummers and others hasten to the camp with their clothes in their arms, all in the most singular attitudes; some standing, others kneeling or stooping; some falling, others springing high into the air and exhibiting the most difficult foreshortenings.... The artists were amazed as they realised that the master had in this cartoon laid open to them the very highest resources of art; nay, there are some who still declare that they have never seen anything to equal it, either from his hand or any other, and they do not believe that genius will ever more attain to such perfection. Nor is this an exaggeration, for all who have designed from it and copied it—as it was the habit for both natives and strangers to do—have become excellent in art, amongst whom were Raphael, Andrea del Sarto, Franciabigio, Pontormo, and Piero del Vaga."

In 1508 Michelangelo began to prepare the cartoons for the ceiling of the Sistine Chapel. Space forbids me to attempt any description of these, but the story of their completion as related by Vasari can hardly be omitted. "When half of them were nearly finished," he says, "Pope Julius, who had gone more than once to see the work—mounting the ladders with the artist's help—insisted on having them opened to public view without waiting till the last touches were given, and the chapel was no sooner open than all Rome hastened thither, the Pope being first, even before the dust caused by removing the scaffold had subsided. Then it was that Raphael, who was very prompt in imitation, changed his manner, and to give proof of his ability immediately executed the frescoes with the Prophets and Sibyls in the church of the Pace. Bramante (the architect) also laboured to convince the Pope that he would do well to entrust the second half to Raphael.... But Julius, who justly valued the ability of Michelangelo, commanded that he should continue the work, judging from what he saw of the first half that he would be able to improve the second. Michelangelo accordingly finished the whole in twenty months, without help. It is true that he often complained that he was prevented from giving it the finish he would have liked owing to the Pope's impatience, and his constant inquiries as to when it would be finished, and on one occasion he answered, "It will be finished when I shall have done all that I believe necessary to satisfy art." "And we command," replied Julius, "that you satisfy our wish to have it done quickly," adding finally that if it were not at once completed he would have Michelangelo thrown headlong from the scaffolding. Hearing this, the artist, without taking time to add what was wanting, took down the remainder of the scaffolding, to the great satisfaction of the whole city, on All Saints' Day, when the Pope went into his chapel to sing Mass."

Michelangelo had much wished to retouch some portions of the work a secco, as had been done by the older masters who had painted the walls; and to add a little ultramarine to some of the draperies, and gild other parts, so as to give a richer and more striking effect. The Pope, too, would now have liked these additions to be made, but as Michelangelo thought it would take too long to re-erect the scaffolding, the pictures remained as they were. The Pope would sometimes say to him, "Let the chapel be enriched with gold and bright colours; it looks poor." To which Michelangelo would reply, "Holy Father, the men of those days did not adorn themselves with gold; those who are painted here less than any; for they were none too rich. Besides, they were holy men, and must have despised riches and ornaments."

VII

RAFFAELLO DI SANTI

The character and the influence of Raphael are well expressed in the following sentences with which Vasari 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 excellent method which he has left 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 through him we have the art in all its extent 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 us how every man should conduct himself in all the relations of life. Among his rare gifts there is 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 with 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 was because the artists were at once subdued by his obliging manners and by his surpassing merit, but more than all by the spell of his natural character, which was so full of affectionate kindness, that not only men, but even the very brutes, respected him. He always had a great number of artists employed 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 his very door by perhaps fifty painters who took pleasure in thus attending him to do him honour. In short, he lived more as a sovereign than as a painter. And thus, O Art of Painting! thou too, then, could account thyself most happy, since an artist was thine, who, by his skill and by his moral excellence exalted thee to the highest heaven!"

Raphael was the son of Giovanni Sanzio, or di Santi, of Urbino. He received his first education as an artist from his father, whom, however, he lost in his eleventh year. As early as 1495 probably, he entered the school of Pietro Perugino, at Perugia, where he remained till about his twentieth year.

The "Umbrian School," in which Raphael received his first education, and in which he is accordingly placed, is distinguished from the Florentine, of which it may be said to have been an offshoot, by several well-defined characteristics. Chief of these are, first, the more sentimental expression of religious feeling, and second, the greater attention paid to distance as compared with the principal figures; both of which are explainable on the ground of local circumstances. They reflect the difference between the bustling intellectual activity of Florence and the dreamy existence but broader horizon of the dwellers in the upper valley of the Tiber. In the beautiful Nativity of Piero della Francesca (No. 908 in the National Gallery) we see something akin to the Florentine pictures, and yet something more besides. Piero shared with Paolo Uccello the eager desire to discover the secrets of perspective; but in addition he seems to have been influenced by the study of nature herself, in the open air, as Uccello never was. His pupil, Luca Signorelli (1441-1523), was more formal and less naturalistic, as may be seen by a comparison between the Circumcision (No. 1128 in the National Gallery) and Piero's Baptism of Christ on the opposite wall. Pietro Perugino (1446-1523)—his real name was Vannucci—was influenced both by Signorelli and by Verrocchio. In the studio of the latter he had probably worked with Leonardo and Lorenzo di Credi, so that in estimating the influences which went to form the art of Raphael we need not insist too strongly on the distinction between "Umbrian" and "Florentine."

Raphael's first independent works (about 1500) are entirely in Perugino's style. They bear the general stamp of the Umbrian School, but in its highest beauty. His youthful efforts are essentially youthful, and seem to contain the earnest of a high development. Two are in the Berlin Museum. In the one (No. 141) called the Madonna Solly, the Madonna reads in a book; the Child on her lap holds a goldfinch. The other (No. 145), with heads of S. Francis and S. Jerome, is better. Similar to it, but much more finished and developed, is a small round picture, the Madonna Casa Connestabile, now at St. Petersburg.

A more important picture of this time 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.

After this, 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 neighbouring town of Città di Castello. With all the features of the Umbrian School, they 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, now in the Brera at Milan. 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.

In 1504 Raphael painted the two little pictures in the Louvre, S. George and S. Michael (Nos. 1501-2) for the Duke of Urbino. The Knight Dreaming, a small picture, now in the National Gallery (No. 213), is supposed to have been painted a year earlier.

In the autumn of 1504 Raphael went to Florence. Tuscan art had now attained its highest perfection, and the most celebrated artists were there contending for the palm. From this period begins his emancipation

from the confined manner of Perugino's school; the youth ripens into manhood and acquires the free mastery of form.

To this time belong the celebrated Madonna del Granduca, now in the Pitti Gallery, and another formerly belonging to the Duke of Terra Nuova, and now at Berlin (No. 247a). In the next year we find him employed on several large works in Perugia; these show for the first time the influence of Florentine art in the purity, fullness, and intelligent treatment of form; at the same time many of the motives of the Peruginesque school are still apparent. The famous Cowper Madonna, recently sold to an American for £140,000, also belongs to the year 1505, when the blending of the two influences resulted in a picture which has been extolled by the sanest of critics as "the loveliest of Raphael's Virgins." An altar-piece, executed for the church of the Serviti at Perugia, inscribed with the date 1506, is the famous Madonna dei Ansidei, purchased for the National Gallery from the Duke of Marlborough. Besides the dreamy religious feeling of the School of Perugia, we perceive here the aim at a greater freedom, founded on deeper study.

Raphael was soon back in Florence, where he remained until 1508. The early paintings of 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.

One of the earliest is the Virgin in the Meadow, in the Belvedere Gallery at Vienna. Two others show a close affinity with this composition; one is the Madonna del Cardellino, in the Tribune of the Uffizi, in which S. John presents a goldfinch to the infant Christ. The other is the so-called Belle Jardinière, inscribed 1507, in the Louvre.

It is interesting to observe Raphael's progress in the smaller pictures which he painted in Florence—half-figures of the Madonna and Child. Here again the earliest are characterised by the tenderest feeling, while a freer and more cheerful enjoyment of life is apparent in the later ones. The Madonna della Casa Tempi, at Munich, is the first of this series. In the picture from the Colonna Palace at Rome, now in the Berlin Museum (No. 248), the same childlike sportiveness, the same maternal tenderness, are developed with more harmonious refinement. A larger picture, belonging to the middle time of his Florentine period, is in the Munich Gallery—the Madonna Canignani, which presents a peculiar study of artificial grouping, in a pyramidal shape. Among the best pictures of the latter part of this Florentine period are the S. Catherine, now in the National Gallery, formerly in the Aldobrandini Gallery at Rome, and two large altar-pieces. One of these is the Madonna del Baldacchino, in the Pitti Gallery. The other, The Entombment, painted for the church of S. Francesco at Perugia, is now in the Borghese Gallery at Rome. This is the first of Raphael's compositions in which an historical subject is dramatically developed; but in this respect the task exceeded his powers. The composition lacks repose and unity of effect; the movements are exaggerated and mannered; but the figure of the Saviour is extremely beautiful, and may be placed among the greatest of the master's creations.

About the middle of the year 1508, when only in his twenty-fifth year, Raphael was invited by Pope

Julius II. to decorate the state apartments in the Vatican. With these works commences the third period of his development, and in these he reached his highest perfection. The subjects, more important than any in which he had hitherto been occupied, gave full scope to his powers; and the proximity of Michelangelo, who at this time began the painting of the Sistine Chapel, excited his emulation.

At this period, just before the Reformation, the Papal power had reached its proudest elevation. To glorify this power—to represent Rome as the centre of spiritual culture—were the objects of the paintings in the Vatican. They cover the ceilings and walls of three chambers and a large saloon, which now bear the name of the "Stanze of Raphael."

The execution of these paintings principally occupied Raphael to the time of his death, and were only completed by his scholars.

In 1513 and 1514 Raphael also executed designs for the ten tapestries intended to adorn the Sistine Chapel, representing events from the lives of the apostles. Seven of these magnificent cartoons are now in the South Kensington Museum.

Beside these important commissions executed for the Papal court, during twelve years, many claims were made on him by private persons. Two frescoes executed for Roman churches may be mentioned. One, in S. Maria della Pace, represents four Sibyls surrounded by angels, which it is interesting to compare with the Sibyls of Michelangelo. In each we find the peculiar excellence of the two great masters; Michelangelo's figures are grand, sublime, profound, while the fresco of the Pace exhibits Raphael's serene and ingenious grace. In a second fresco, the prophet Isaiah and two angels, in the church of S. Agostino at Rome, the comparison is less favourable to Raphael, the effort to rival the powerful style of Michelangelo being rather too obvious.

Like all other artists, Raphael is at his best when, undisturbed by outside influences, he follows the free original impulse of his own mind. His peculiar element was grace and beauty of form, in so far as these are the expression of high moral purity.

The following works of his third period are especially deserving of mention.

The Aldobrandini Madonna, now in the National Gallery—in which the Madonna is sitting on a bench, and bends down to the little S. John, her left arm round him. The Madonna of the Duke of Alba, in the Hermitage at St. Petersburg. La Vierge au voile, in the Louvre; the Madonna is seated in a kneeling position, lifting the veil from the sleeping Child in order to show him to the little S. John. The Madonna della Seggiola, in the Pitti at Florence (painted about 1516), a circular picture. The Madonna della Tenda at Munich; a composition similar to the last, except that the Child is represented in more lively action, and looking upwards.

A series of similar, but in some instances more copious compositions, belong to a still later period; they are in a great measure the work of his scholars, painted after his drawings, and only partly worked upon by Raphael himself. Indeed many pictures of this class should perhaps be considered altogether as the productions of his school, at a time when that school was under his direct superintendence, and when it was enabled to imitate his finer characteristics in a remarkable degree.

In this class are the Madonna dell'Impannata, in the Pitti, which takes its name from the oiled-paper window in the background. The large picture of a Holy Family in the Louvre, painted in 1518, for Francis I., is peculiarly excellent. The whole has a character of cheerfulness and joy: an easy and delicate play of graceful lines, which unite in an intelligible and harmonious whole. Giulio Romano assisted in the execution.

With regard to the large altar-pieces of his later period in which several Saints are assembled round the Madonna, it is to be observed that Raphael has contrived to place them in reciprocal relation to each other, and to establish a connection between them; while the earlier masters either ranged them next to one another in simple symmetrical repose, or disposed them with a view to picturesque effect.

Of these the Madonna di Foligno, in the Vatican, is the earliest. 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, behind him stands S. Jerome. On the other side is S. Francis, kneeling, 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 him is S. John the Baptist, who points to the Madonna, while he looks at the spectator as if inviting him to worship her.

The second, the Madonna del Pesce has much more repose and grandeur as whole, and unites the sublime and abstract character of sacred beings with the individuality of nature in the happiest manner. It is now in Madrid, but was originally painted for S. Domenico at Naples, about 1513. It represents the Madonna and Child on a throne; on one side is S. Jerome; on the other the 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. S. Jerome, kneeling on the steps of the throne, has been reading from a book to the Virgin and Child, and appears to have been interrupted by the entrance of Tobias and the Angel. The infant Christ turns towards them, but at the 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 Divine Infant. S. Jerome looks over the book to the new-comers, as if ready to proceed with his occupation after the interruption.

But the most important is the famous Madonna di San Sisto, at Dresden. 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; S. Sixtus and S. Barbara kneel at the sides. Both of them seem to connect the picture with the real spectators. This is a rare example of a picture of Raphael's later time, executed entirely by his own hand.

Two large altar pictures still claim our attention; they also belong to Raphael's later period. One is the Christ Bearing the Cross, in Madrid, known by the name of Lo Spasimo di 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 excellent composition. The other is the Transfiguration, now in the Vatican, formerly in S. Pietro at Montorio.

This was the last work of the master (left unfinished at his death); the one which was suspended over his coffin, a trophy of his fame, for public homage.

"I cannot believe myself in Rome," wrote Count Castiglione, on the death of the master, "now that my poor Raphael is no longer here." Men regarded his works with religious veneration as if God had revealed himself through Raphael as in former days through the prophets. His remains were publicly laid out on a splendid catafalque, while his last work, the Transfiguration, 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.

The schools of Lombardy and the Emilia, which derive their characteristics from Florentine rather than from Venetian influences, may here be briefly mentioned before turning to the consideration of the Venetian School. In 1482, it will be remembered, Leonardo went to Milan, where he remained till the end of the century; and the extent of his influence may be judged from many of the productions of Bernadino Luini (1475-1532) and Giovanni Antonio Bazzi, known as Sodoma (1477-1549). Of Ambrogio di Predis we have already heard in connection with the painting of our version of Leonardo's Virgin of the Rocks. Giovanni Antonio Boltraffio (1467-1516) was a pupil of Vincenzo Foppa, but he soon abandoned the manner of the old Lombard School, and came under the influence of the great Florentine, of whom he became a most enthusiastic disciple.

More independent—indeed, he is officially characterised as "an isolated phenomenon in Italian Art"—was Antonio Allegri, commonly called Correggio, from the place of his birth. In 1518 he settled at Parma, where he remained till 1530, so that he is usually catalogued as of the School of Parma, which for an isolated phenomenon serves as well as any other. Of late years his popularity has been somewhat diminished by the increasing demands of private collectors for works which are purchasable, and most of Correggio's are in public galleries. At Dresden are some of the most famous, notably the Nativity, called "La Notte," from its wonderful scheme of illumination, and two or three large altar-pieces. The Venus Mercury and Cupid in our National Gallery, though sadly injured, is still one of his masterpieces. It was purchased by Charles I. with the famous collection of the Duke of Mantua. Our Ecce Homo is entitled to rank with it, as is also the little Madonna of the Basket.

VENETIAN SCHOOLS

I

THE VIVARINI AND BELLINI

In Venice the Byzantine style appears to have offered a more stubborn resistance to the innovators than in Tuscany, or, in fact, in any other part of Italy. Few, if any, of the allegorical subjects with which Giotto and his scholars decorated whole buildings are to be found here, and the altar pictures retain longer than anywhere else the gilt canopied compartments and divisions, and the tranquil positions of single figures. It was not until a century after the death of Cimabue and Duccio that the real development of the Venetian School was manifested, so that when things did begin to move the conditions were not the same, and the results accordingly were something substantially different.

The influence of the Byzantine style still hangs heavily over the work of Nicolo Semitecolo, who was working in Venice in the middle of the fourteenth century, as may be seen in the great altar-piece ascribed to him in the Academy—the Coronation of the Virgin with fourteen scenes from the life of Christ. In this work there is little of the general advancement visible in other parts of Italy. It corresponds most nearly with the work of Duccio of Siena, though without attaining his excellence; while the gold hatchings and olive brown tones are still Byzantine.

An altar-piece, by Michele Giambono, also in the Academy, painted during the first half of the fifteenth century, shows a more decided advance, and even anticipates some of the later excellences of the Venetian School. The drapery is in the long and easy lines which we see in the Tuscan pictures of the period, and what is especially significant, in view of the subsequent development of Venetian painting, the colouring is rich, deep, and transparent, and the flesh tints unusually soft and warm. This is signed by Giambono, and is one of his most important works, as well as the most complete, as it exists in its original state as an ancona or altar-piece divided into compartments by canopies of joiners' work. It is unusual in form, inasmuch as the central panel, though slightly larger than the pair on either side, contains but a single figure. This figure was generally supposed to be the Saviour, but it has recently been pointed out that it is S. James the Great, the others being SS. John the Evangelist, Philip Benizi, Michael, and Louis of Toulouse. Some of Giambono's finest work was in mosaic, and the walls and roof of the Cappella de'Mascoli in S. Mark's may be regarded as the highest achievement in mosaic of the early Venetian School. While this species of decoration had given place to fresco painting elsewhere, it was here, in 1430, brought to a pitch of perfection by Giambono which entitles this work to a prominent place in the history of painting.

But the two chief pioneers of the early fifteenth century were Giovanni, or Johannes Alamanus, and Antonio da Murano. The former appears from his surname to have been of German origin, the latter belonged to the family of Vivarini, and they used to work together on the same pictures. Two excellent examples of this combination are in the Academy at Venice. The one, dated 1440, is a Coronation of the Virgin, with many figures, including several boys, and numerous saints seated. In the heads of the saints we may trace the hand of Alamanus, in the Germanic type of countenance which recalls the style of Stephen of Cologne. A repetition of this, if it is not actually the original, is in S. Pantalone at Venice. The other picture, dated 1446, of enormous dimensions, represents the Virgin enthroned, beneath a canopy sustained by angels, with the four Fathers of the Church at her side. The colouring is fully as flowing and splendid as that of Giambono.

We do not recognise here, as Kugler rightly observes, the influence of the school of Giotto, but rather the types of the Germanic style gradually assuming a new character, possibly owing to the social condition of Venice itself. There was something perhaps in the nature of a rich commercial aristocracy of the middle ages calculated to encourage that species of art which offered the greatest splendour and elegance to the eye; and this also, if possible, in a portable form; thus preferring the domestic altar or the dedication picture to wall decorations in churches. The contemporary Flemish paintings, under similar conditions, exhibit analogous results. With regard to colour, the depth and transparency observable in the works of the old Venetian School had long been a distinguishing feature in the Byzantine paintings on wood, and may therefore be traceable to this source without assuming an influence on the part of Padua, or from the north through Giovanni Alamanus.

The two side panels of an altar-piece, representing severally SS. Peter and Jerome, and SS. Francis and Mark, now in the National Gallery (Nos. 768 and 1284), are ascribed to Antonio Vivarini alone, though the centre panel, the Virgin and Child, now in the Poldi Pezzoli collection at Milan is said to be the joint work of Alamanus and Antonio. However that may be, there is no longer any dispute about the fascinating Adoration of the Kings in the Kaiser Friedrich Museum at Berlin, formerly supposed to be the work of Gentile da Fabriano, but now catalogued as that of Antonio.

In 1450 the name of Alamanus disappears altogether, and that of Bartolommeo Vivarini, Antonio's younger brother, replaces it in an inscription upon the great altar-piece commissioned by Pope Nicholas V. in commemoration of Cardinal Albergati, now in the Pinacoteca of Bologna. The change is noticeable as introducing the Paduan influence of Squarcione, under whom Bartolommeo had studied, instead of the northern influence of Alamanus, into Antonio's workshop, and while this work of 1450, as might be supposed, bears a general resemblance to that of 1446, the change of partnership is at least perceptible, and had a determining influence on the development of the Venetian style.

A slightly earlier work of Bartolommeo alone is a Madonna and Child belonging to Sir Hugh Lane, signed and dated 1448. An altar-piece in the Venice Academy is dated 1464, a Madonna and Four Saints, in the Frari, 1482, and S. Barbara, in the Academy, 1490. Bartolommeo is supposed to have died in 1499.

Alvise, or Luigi, Vivarini was the son of Antonio, and though he worked under him and his uncle Bartolommeo, as well as under Giovanni Bellini, the Paduan influence is apparent in his work. He was born in 1447, and his first dated work is an altar-piece at Montefiorentino, in 1475. In the Academy at Venice is a Madonna dated 1480, and at Naples a Madonna with SS. Francis and Bernard, 1485. Another Madonna at Vienna is dated 1489, and the large altar-piece in the Basilica at the Kaiser Friedrich Museum in Berlin is assigned to about the same time. This is the first of his works in which the influence of Bellini rather than that of his family is traceable, while of the "Redentore" Madonna at Venice, of about five years later, Mr Bernhard Bernson says that, "As a composition no work of the kind by Giovanni Bellini even rivals it." In 1498 he had advanced so far as to be spoken of as anticipating Giorgione and Titian, in the effect of light and in the roundness and softness of the figures of the Resurrection, at Bragora. His last work, the altar-piece at the Frari, was completed after his death in 1504 by his pupil Basaiti. Bartolommeo Montagna, Jacopo da Valenza and Lorenzo Lotto were the chief of his other pupils.

In connection with the Vivarini must be mentioned Carlo Crivelli, who studied with Bartolommeo under Antonio and Squarcione. But there was something fierce and uncongenial about Crivelli which takes him out of the main body of Venetian painters, and seems to have given him more pride in being made a knight than in his pictorial achievements, remarkable as they were. In his ornamentation of every detail with gold and jewels he recalls the style of Antonio Vivarini, but while the master used it as accessory merely, Crivelli positively revelled in it. An inventory of the precious stones, ornaments, fruits and flowers, and other detached items in the great "Demidoff Altar-Piece" in the National Gallery would fill several pages. Of the eight examples in this gallery the earliest is probably the Dead Christ, presumably painted in 1472. The Demidoff altar-piece is dated 1476. The Annunciation (No. 739), which may be considered his masterpiece, was ten years later. In 1490 Crivelli was knighted by Prince Ferdinand of Capua, and from that date onward he was careful to add to his signature the title Miles—as appears in our Madonna and Child Enthroned, with SS. Jerome and Sebastian—called the Madonna della Rondine:——

Carolus Crivellus Venetus Miles Pinxit. This was painted for the Odoni Chapel in S. Francesco at Matelica, the coat of arms of the family being painted on the step.

Our Annunciation was executed for the convent of the Santissima Annunziata at Ascoli, and is dated 1486. Three coats of arms on the front of the step at the bottom of the picture are those of the Bishop of Ascoli, Pope Innocent VII., the reigning Pontiff, and the City of Ascoli. Between these are the words Libertas Ecclesiastica, in allusion to the charter of self-government given in 1482 by the Pope to the citizens of Ascoli. The patron saint of the city, S. Emidius, is represented as a youth kneeling beside the Archangel, holding in his hands a model of it. The Virgin is seen through the open door of a house, and in an open loggia above are peacocks and other birds. Amid all the rich detail, the significance of the group of figures at the top of a flight of steps must not be missed, amongst which a child and a poet are the only two who are represented as noticing the mystic event.

Another painter of the earlier half of the fourteenth century may be mentioned here, though as he was more famous as a medallist his influence on the main course of painting is not observable. Vittore Pisano, called Pisanello, was born in Verona before 1400, and died in 1455. Of the few pictures attributed to him we are fortunate in having two such beautiful examples as the SS. Anthony and George and The Vision of S. Eustace in the National Gallery. Both exhibit his two most noticeable characteristics, namely, the minute care and exquisite feeling that made him the most famous of medallists, and his wonderful drawing of animals. The latter, it is worth remarking, was attributed by a former owner to Albert Dürer. The other is signed "Pisanus"; in the frame are inserted casts of two of his medals, representing Leonello d'Este, his patron, and a profile of himself.

Another very considerable factor in the development of Venetian painting was the influence of Gentile da Fabriano (c. 1360-1430), who settled in Venice in the latter part of his life, and there formed the closest intimacy with Antonio Vivarini. The remarkable Adoration of the Kings in the Berlin Museum was until lately given to Gentile, though it is now catalogued as the work of Antonio. Of Gentile's education little is known, and of the numerous works which he executed at Fabriano, in Rome and in Venice very few have survived. From those that exist, however, we can form an estimate of his talents and of the difference between his earlier and later styles. To the first belong a fresco of the Madonna in the Cathedral at Orvieto, and the beautiful picture of the Madonna and saints which is now in the Kaiser Friedrich Museum at Berlin. Also the fine Adoration of the Kings, inscribed with his name and the date 1423, formerly in the sacristy of S. Trinità at Florence, and now in the Accademia. This, his masterpiece, is one of the finest conceptions of the subject as well as one of the most excellent productions of the schools descended from Giotto. Of his later period the Coronation of the Virgin (called the Quadro della Romita) in the Brera gallery at Milan is one of the finest. In many respects his work is like that of Fra Angelico, and was aptly characterised by Michelangelo when he said that "Gentile's pictures were like his name." Apart from the influence of the Paduan School, which will next be noticed, the Venetian owed most to Gentile da Fabriano, if only as the master of Jacopo Bellini, whose son, Giovanni Bellini, may be regarded as the real head of the Venetian School as developed by his pupils Giorgione and Titian at the opening of the sixteenth century.

Whether or not Giotto left any actual pupils in Padua after completing the frescoes in the chapel of the arena there, it must be admitted that the older school of painting in Padua, which centred round the church containing the body of S. Anthony, was an offshoot of the Florentine, and that as Giotto was the great leader in Florence he must be considered the same here; though his followers differ so much from each other in style that beyond their indebtedness to their founder they have no distinctive feature in common. But with the opening of the fifteenth century one particular tendency was developed under the fostering influence of Francesco Squarcione, born in 1394, which affected in a very sensible degree the style of the great painters of the next generation in Venice. This, in a word, was the cult of the antique.

Among the Florentines, as we have seen, the study of form was chiefly pursued on the principle of direct reference to nature, the especial object in view being an imitation in two dimensions of the actual appearances and circumstances of life existing in three. In the Paduan School it now came to be very differently developed, namely, by the study of the masterpieces of antique sculpture, in which the common forms of nature were already raised to a high ideal of beauty. This school has consequently the merit, as Kugler points out, of applying the rich results of an earlier, long-forgotten excellence in art to modern practice. Of a real comprehension of the idealising principle of classic art there does not appear any trace; what the Paduans borrowed from the antique was limited primarily to mere outward beauty. Accordingly in the earliest examples we find the drapery treated according to the antique costume, and the general arrangement more resembling bas-relief than rounded groups. The accessories display in like manner a special attention to antique models, particularly in the architecture, and the frequent introduction of festoons of fruit; while the exaggerated sharpness in the marking of the forms due to the combined influence of the study of the antique and the naturalising tendency of the time, sometimes borders on excess.

The immediate cause of this almost sudden outbreak of the cult of the antique—whatever natural forces were behind it—was the visit of Squarcione to Greece, and Southern Italy, to collect specimens of the remains of ancient art. On his return to Padua his collection soon attracted a great number of pupils anxious to avail themselves of the advantages it offered; and by these pupils, who poured in from all parts of Italy, the manner of the school was afterwards spread throughout a great portion of the country. Squarcione himself is better known as a teacher than as an artist, the few of his remaining works being of no great importance. There is no example in the National Gallery, but of the work of his great pupil, Mantegna, we have as much, at any rate, as will serve to commemorate the master.

Andrea Mantegna was born at Vicenza in 1431, and when no more than ten years old was inscribed in the guild of Padua as pupil and adopted son of Squarcione. As early as 1448 he had painted an altar-piece for Santa Sophia, now lost, and in 1452 the fresco in San Antonio. In 1455 he was engaged with Nicolo Pizzolo (Donatello's assistant), and others, on the six frescoes in the Eremitani Church at Padua. The whole of the left side of the chapel of SS. James and Christopher—the life of S. James—and the martyrdom of S. Christopher are his, and in these, his earliest remaining works, we already see the result of pedantic antiquarianism combined with his extraordinary individuality.

In 1460 he went to Mantua, where he remained for the greater part of his life, visiting Florence in 1466 and Rome in 1488.

Among his earlier works are the small Adoration of the Kings in the Uffizi at Florence, the Death of the Virgin and the S. George in the Venice Academy. From 1484 to 1494 he was intermittently engaged on the nine great cartoons of The Triumph of Cæsar, which are now at Hampton Court, having been acquired by Charles I. with many other gems from the Duke of Mantua's collection. On the completion of these he painted the celebrated Madonna della Vittoria, now in the Louvre—a large altar-piece representing a Madonna surrounded by saints, with Francesco Gonzaga, Duke of Mantua, and his wife, kneeling at her feet. It is a dedication picture for a victory obtained over Charles VIII. of France in 1495. It is no less remarkable for its superb execution than for a softer treatment of the flesh than is usual in Mantegna's work. Two other pictures in the Louvre are, however, distinguished by similar qualities—the Parnassus, painted in 1497, and the Triumph of Virtue.

In our own collection we have The Agony in the Garden, painted in 1459—to which I shall refer presently—two monochrome paintings (Nos. 1125 and 1145), the beautiful Virgin and Child Enthroned, with SS. Mary Magdalen and John the Baptist, which is comparable with the more famous Louvre Madonna, and, lastly, the Triumph of Scipio, in monochrome, painted for Francesco Cornaro, a Venetian nobleman, completed in 1506, only a few months before the painter's death. In this we see that Mantegna's antiquarianism was not simply a youthful phase, but lasted till the very end of his career. The subject is the reception of the Phrygian mother of the gods among the recognised divinities of the Roman State, as is indicated on the plinth by the inscription. In the centre is Claudia Quinta about to kneel before the bust of the goddess. Behind is Scipio, and in the background are monuments to his family. The composition includes twenty-two figures. It is significant that the subject and its treatment are so entirely classic as only to be appreciated by references to Latin literature.

Another significance attaches to the Agony in the Garden above mentioned, which is one of the very earliest, as the Scipio is the very latest, of Mantegna's pictures, being painted before he left Padua to go to Mantua. In this we find that the original suggestion for the design appears to have been taken from a drawing in the sketch-book of his father-in-law, Jacopo Bellini, which is now in the British Museum; and the same design appears to have served Giovanni Bellini in the composition of the picture in our gallery (No. 726). This takes us back to Venice, and accounts for the Paduan influence traceable in the works of the Bellini family and their pupils.

Jacopo Bellini, whose considerable talents have been somewhat obscured by the fame of his two sons, Gentile and Giovanni, was originally a pupil of Gentile da Fabriano, after whom he named his eldest son. He was working in Padua in the middle of the fifteenth century, in rivalry with Squarcione, and in 1453 his daughter Nicolosia married Andrea Mantegna. Thus it happened that both of his sons came under the influence of Mantegna, and evidently, too, of the sculptor Donatello, when working at Padua between 1450 and 1460.

Very few authentic pictures by Jacopo are known to us. A Crucifixion (much repainted) was in the sacristy of the Episcopal Palace at Verona; and another, which recalls the treatment of his master, Gentile da Fabriano, at Lovere, near Bergamo. In the sketch-book above mentioned, the contents of which consist of sacred subjects, and studies from the antique, both in architecture and in costume, we see the peculiar tendency of the Paduan School expressed in the most complete and comprehensive manner. These drawings constitute the most remarkable link of connection between Mantegna and the sons of Jacopo Bellini, all three of whom must have studied from them. The book was inherited by Gentile on his mother's death, and bequeathed by him to his brother on condition that he should finish the picture of S. Mark, on which Gentile was engaged at the time of his death.

Giovanni Bellini was born in 1428 or 1430 and lived to 1516. Albert Dürer, writing from Venice in 1506, says that "he is very old, but is still the best in painting."

The greater number of Bellini's pictures are to be found in the galleries and churches in Venice, all of those which are dated being the work of his old age. Of his earlier pictures we are fortunate in having two fine examples in the National Gallery, Christ's Agony in the Garden (No. 726) and The Blood of the Redeemer (No. 1233). In both of these the influence of his famous brother-in-law Andrea Mantegna, is traceable,—the former being till lately attributed to him. Both Giovanni and Gentile worked in Padua, where Mantegna was established, in 1460 or thereabouts, and where another influence, that of the sculptor Donatello, must have had its effect on the young brothers. Similar in character, and even more beautiful in some respects, is the Redeemer, a single half figure in a landscape, recently acquired for the Louvre—the first authentic example of the master in that collection.

In 1464, Giovanni had returned to Venice, and it was some years before the severe Paduan influence melted before "the sensuous feeling of the true Venetian temperament." In 1475, however, the arrival of Antonello da Messina in Venice, bringing with him the practice of painting in oil, effected a revolution, in which Giovanni, if not one of the foremost, was certainly one of the most successful in adopting the new method. His later works, so far from showing any diminution of power, may be said to anticipate the Venetian style of the sixteenth century in the clearest manner. One of the chief, dated 1488, is the large altar-piece in the sacristy of S. Maria di Frari, a Madonna Enthroned with two angels and four saints. The two little angels are of the utmost beauty; the one is playing on a lute, and listens with head inclined to hear whether the instrument is in tune; the other is blowing a pipe. The whole is perfectly finished and of a splendid effect of colour. To the year 1486 belongs a Madonna Enthroned with Six Saints, now in the Academy at Venice. The famous head of the Doge Loredano in the National Gallery must have been painted in or after 1501. In 1507, he completed the large picture of S. Mark Preaching at Alexandria, now in the Brera Gallery at Milan, begun by his brother Gentile. Within three years of his death, namely in 1513, he could produce such a masterwork as the altar-piece in S. Giovanni Crisostomo. His last work, the landscape in which was finished by Titian, is dated 1514. This is the famous Bacchanal now in the collection of the Duke of Northumberland.

The influence of Bellini on the Venetian School was paramount, and his noble example helped more than anything else to develop the excellences observable in the works of Cimada Conegliano, Vincenzo Catena, Lorenzo Lotto, Palma Vecchio and Basaiti, to say nothing of his great pupils Titian and Giorgione. It is impossible to conjecture what course the genius of this younger generation would have taken without his guidance, but when we consider that in 1500 Bellini was seventy years old, and had stored within his mind the experience of his early association with his brother-in-law Andrea Mantegna in Padua, the introduction of the use of oil paints by Antonello da Messina in 1475, since which date he had sedulously developed the new practice; when we also take into account the dignity and gravity of his own works, and the indication they afford of the man himself, it is not difficult to judge how much his pupils and successors owed to him.

The works of Gentile Bellini, the elder brother of Giovanni, are of less importance, but of considerable interest, especially in view of his journey to Constantinople in 1479 at the request of the Sultan, whose portrait he painted there in the following year. A replica

of this portrait has been bequeathed to the National Gallery by Sir Henry Layard, and it is to be hoped that the difficulties raised by the Italian government as to its removal from Venice will shortly be overcome. The picture of S. Mark Preaching at Alexandria already mentioned as having been finished by Giovanni, is remarkable for the Oriental costumes of all the figures in it. Gentile's pictures are often ascribed to his brother; in two examples at the National Gallery (Nos. 808 and 1440) there is actually a false signature on a cartellino. In the latter instance Messrs Ludwig and Molmenti are still of opinion that the picture is the work of Giovanni.

Vincenzo Catena (c. 1470-1530) is not known to have been a pupil of Bellini, but he began by so modelling his style upon him that one of his works in the National Gallery was until quite lately officially ascribed to him, namely the S. Jerome in his Study. Another, a later work, A Warrior Adoring the Infant Christ was similarly ascribed to Giorgione. This is a proof that Catena was very susceptible to various influences, and was "an artist of extraordinary suppleness of mind, never too old to learn or to appreciate new ideals and new sentiments." In a manner more his own is the Madonna with Four Saints in the Berlin Gallery (No. 19). The S. Jerome and the Warrior are among the most popular pictures in the National Gallery—partly perhaps on account of their supposed illustrious parentage, but by no means entirely. A painter who could so absorb the characteristics of two such masters must needs be a master himself.

Cima da Conegliano, so called from his birthplace in Friuli—the rocky height of which serves as a background in some of his pictures—settled in Venice in 1490, when he was about thirty years old. The influence of Bellini may be seen in the temperamental as well as the technical qualities of his work, which is distinguished by sound drawing and proportion, fine and brilliant colour, as well as by sympathetic types of countenance. One of his best and earliest pictures is the S. John the Baptist with four other saints, in Santa Maria del Orto in Venice. Another is the Madonna with S. Jerome and S. Louis, now in the Vienna Gallery. A smaller but peculiarly attractive piece is the S. Anianus of Alexandria healing a shoemaker's wounded hand, at Berlin, distinguished for its beautiful clear colours and the life-like character of the heads.

Andrea Previtali, born in Bergamo in 1480, came to Venice to study under Bellini, whom he succeeded in imitating with remarkable success. The Mystic Marriage of S. Catherine (No. 1409) in the National Gallery was formerly attributed to Bellini. If he had not the originality to carry the art any farther, his pictures are nevertheless a decided and very agreeable proof of the advance that was being made in it at the beginning of the sixteenth century, before the full splendour of Giorgione and Titian had unfolded.

Marco Basaiti, though probably not a pupil of Bellini, nevertheless acquired many of his characteristics. The picture in the National Gallery known as The Madonna of the Meadow was until lately assigned to Bellini, and another of his, in the Giovanelli Palace at Venice, which is identical in technique, tone, and general effect with this one, is still so ascribed. Whether or not he learnt from Bellini, he was certainly an assistant to Alvise Vivarini, on whose death he completed the large altar-piece in the Church of S. Maria de Friari at Venice, representing S. Ambrose surrounded by Saints. His Christ on the Mount of Olives and The Calling of Zebedee, both dated 1510, are now in the Academy at Venice, and together with the Portrait of a Man, dated 1521, in the Bergamo Gallery, and The Assumption in S. Pietro Martire at Murano, may be considered his best performances.

More remote from Bellini, yet not so far as to be entirely free from his influence in some of their more important compositions, was the school formed by Lazzaro di Bastiani or Sebastiani, of which the chief ornament was Vittore Carpaccio, and among the lesser ones Giovanni Mansueti and Benedetto Diana. The history of this independent group of painters has only of late years been elucidated; Kugler, after a page devoted to Carpaccio, dismissed them with the remark that Mansueti and Bastiani were both pupils of Carpaccio, and that Benedetto Diana was "less distinguished." Our national collection was without any example until 1896, when Mansueti's Symbolic representation of the Crucifixion was purchased. In 1905 the National Art-Collections Fund secured Bastiani's Virgin and Child, and in 1910 Sir Claude Phillips presented Diana's Christ Blessing. Alas! that we are still without anything from the hand of Vittore Carpaccio. Seven portraits by Moroni do not fill a gap like this.

The name of Lazzaro de Bastiani first occurs in Venice as a witness to his brother's will in 1449, and as early as 1460 he was painting an altar-piece for the Church of San Samuele. Ten years later, the brothers of the Scuolo di San Marco ordered a picture of the Story of David from him, promising him the same payment as they gave to Jacobo Bellini, who had been working for them with his two sons Gentile and Giovanni. In 1474, another proof of his rank and repute as a painter is afforded by a letter from a gentleman in Constantinople, asking for a picture by him, but that Giovanni Bellini should paint it in the event of Bastiani being already dead. He was thus, it would seem, preferred to Bellini, though it will be remembered that five years later, when the Sultan expressed the wish that a distinguished portrait-painter should be sent him from Venice, it was Gentile Bellini who was nominated. All the same, Gentile was a portrait-painter, and Bastiani was not; and it is fairly evident that the latter was at least in the front rank. One of his best-known pictures the Vergine dai begli occhi in the Ducal Palace at Venice used to be attributed to Giovanni Bellini; but though he appears to have drawn inspiration for his larger and more important compositions from Jacobo Bellini, his style was chiefly developed through that of Giambono. His most important work is now in the Academy at Vienna—an altar-piece painted for the Church of Corpus Domini, Venice, S. Veneranda Enthroned. In the Imperial Gallery at Vienna are a Last Communion and Funeral of S. Girolamo. In the Academy at Venice are S. Anthony of Padua, seated between the branches of a walnut-tree, with Cardinal Bonaventura and Brother Leo on either side, a large picture of a Miracle of the Holy Cross, and a remarkable rendering of The Madonna Kneeling, the child being laid under an elaborate canopy. An Entombment in the Church of S. Antonino at Venice is reminiscent of Giovanni Bellini at his best.

In 1508, the name of Vittore Carpaccio occurs with that of Bastiani in connection with the frescoes of Giorgione upon the façade of the Fondaco de Tedeschi, about which there was a dispute. To Carpaccio we are indebted for the most vivid realization of the contemporary life of Venice; for although his subjects were nominally taken from sacred history or legend, they are treated in a thoroughly secular fashion, giving the clearest idea of the buildings, people, and costume of the Venice of his time, with the greatest variety and richest development. His object is not only to represent single events, but a complete scene, and while we observe this characteristic in one or two pictures by the Bellini, Carpaccio not only shows it much oftener, but carries it to a much fuller development—possibly influenced by the Netherlandish masters.

Many of his works are in the Academy at Venice; eight large pictures, painted between 1490 and 1495, represent the history of S. Ursula and the eleven thousand virgins. Such a wealth of charming material might have embarrassed a less capable painter, but "the monotonous incident which forms the groundwork of many of them," as Kugler coldly puts it, "is throughout varied and elevated by a free style of grouping and by happy moral allusions." Another series is that of the Miracles of the Holy Cross, among which may be especially noticed the cure of a man possessed by a devil; the scene is laid in the loggia of a Venetian palace, and is watched from below by a varied group of figures on the Canal and its banks. Larger and broader treatment may be seen in the Presentation in the Temple, painted in 1510, which is also in the Academy, and in the altar-piece of S. Vitale, dated 1514. This last brings Carpaccio into closer comparison with the later Venetian painters, being in the nature of a Santa Conversazione, where the holy personages are grouped in some definite relation to each other, and not independent figures.

Palma Vecchio (1480-1528), so called to distinguish him from Giacomo Palma the younger—Palma Giovane,—was so much influenced by Giorgione and Titian that his indebtedness to Bellini appears to have been comparatively slight. The beautiful Portrait of a Poet in the National Gallery has been attributed both to Giorgione and to Titian.

The number of pictures which are now permitted by the experts to be called Giorgione's is so small, that we may learn more about him as an influence on the work of other painters—especially Titian—than from the meagre materials available for his own biography. The only unquestioned examples of his work are three pictures at the Uffizi, The Trial of Moses, The Judgment of Solomon, and The Knight of Malta; the Venus at Dresden; The Three Philosophers at Vienna; and the famous Concert Champêtre in the Louvre. But until the critics deprive him even of these, we are able to agree that "his capital achievement was the invention of the modern spirit of lyrical passion and romance in pictorial art, and his magical charm has never been equalled."

II

TIZIANO VECELLIO

Titian occupies almost, if not quite, as important a place in the history of painting as does Shakespeare in that of literature. His fame, his popularity, the wide range as well as the immense quantity of his works, entitle him to be ranked with our poet, if only for the

enormous influence they have both exercised on posterity: and without carrying the parallel farther than the limits imposed by the difference of their circumstances and their method of expression, it may fairly be said that Titian, in painting, stands for us to-day much as Shakespeare stands for in letters. "Titian," says M. Caro Delvaille,[2] "is the father of modern painting. As the blood of the patriarchs of old infused the veins of a whole race, so the genius of the most productive of painters was destined to infuse those of artists through all the ages even to the present day. He bequeathed, in his enormous œuvre, a heritage in which generations of painters have participated."

Not only was he the father of modern painting, but he was himself the first modern painter, just as Shakespeare was, to all present intents and purposes, the first modern writer. Among a thousand readers of Shakespeare, there is possibly not more than one who has ever read a line of Chaucer, or who has ever heard of any of his other predecessors. So it is with Titian. To the connoisseur, Titian is one of the latest painters; to the public he is the earliest. "In certain of his portraits," we read in the National Gallery Catalogue, "he ranks with the supreme masters; in certain other aspects he is seen as the greatest academician, as perhaps he was the first."

As it happens, too, Titian stands in much the same relation to Giorgione as Shakespeare did to Marlowe. Giorgione was really the great innovator, and Giorgione died young, leaving Titian to carry on the work. It has always been supposed that Titian and Giorgione, like Marlowe and Shakespeare, were born within the same year; but in this respect the parallel is no longer admissible, as Mr Herbert Cook has shown to the verge of actual proof that the story of Titian being born in 1577, and having lived to be ninety-nine years old, is unworthy of acceptance. If this were merely a question of biography, it would not be worth dwelling upon; but as it seriously affects the whole study of early Venetian painting, it is necessary to point out that the probability, according to a critical study of all the evidence available, is that Titian was not born till 1488 or 1489, and was thus really the pupil rather than the contemporary of Giorgione, and therefore more slightly influenced by Giovanni Bellini than has been generally supposed.

Without going into all the evidence adduced by Mr Cook (Reviews and Appreciations, Heinemann, 1913) it is nevertheless pretty evident that in the account given by his friend and contemporary, Lodovico Dolce, published in 1557, we have the most authentic story of Titian's early years, and from this it is quite clear that Titian was considerably younger than Giorgione. "Being born at Cadore," he writes, "of honourable parents, he was sent, when a child of nine years old, by his father to Venice, to the house of his father's brother, in order that he might be put under some proper master to study painting; his father having perceived in him even at that tender age strong marks of genius towards the art.... His uncle directly carried the child to the house of Sebastanio, father of the gentilissimo Valerio and of Francesco Zuccati (distinguished masters of the art of mosaic, ...) to learn the principles of the art. From them he was removed to Gentile Bellini, brother of Giovanni, but much inferior to him, who at that time was at work with his brother in the Grand Council Chamber. But Titian, impelled by nature to greater excellence and perfection in his art, could not endure following the dry and laboured manner of Gentile, but designed with boldness and expedition. Whereupon Gentile told him he would make no progress in painting because he diverged so much from the old style. Thereupon Titian left the stupid Gentile and found means to attach himself to Giovanni Bellini; but not perfectly pleased with his manner, he chose Giorgio da Castel Franco. Titian, then, drawing and painting with Giorgione, as he was called, became in a short time so accomplished in art that when Giorgione was painting (in 1507-8) the façade of the Fondaco de'Tedeschi, or Exchange of the German merchants, which looks towards the Grand Canal, Titian was allotted the other side which faces the market place, being at the time scarcely twenty years old. Here he represented a Judith of wonderful design and colour, so remarkable indeed, that when the work came to be uncovered it was commonly thought to be the work of Giorgione, and all the latter's friends congratulated him (Giorgione) as being by far the best thing he had produced. Whereupon Giorgione, in great displeasure, replied that the work was from the hand of his pupil, who showed already how he could surpass his master and (what is more) Giorgione shut himself up for some days at home, as if in despair, seeing that a young (i.e. younger) man knew more than he did."

Again, in speaking of the famous altar-piece—the Assumption, now in the Academy at Venice—painted by Titian in 1516, Dolce mentions him twice as "giovinetto." "Not long afterwards he was commissioned to paint a large picture for the high altar of the Church of the Frate Minori, where Titian, quite a young man, painted in oil the Virgin ascending to Heaven.... This was the first public work which he painted in oil, and he did it in a very short time, and while still a young man."

Vasari's account of Titian's early years is substantially the same, but unfortunately opens with the statement that he was "born in the year 1480." This might easily have been a slip of the pen or a printer's mistake for 1488 or 1489, and subsequent passages in the life bear out this supposition. But partly because Titian was a Venetian and not a Florentine, and partly, no doubt, because he was still alive, and had been producing picture after picture for over sixty years at the time Vasari published his second edition in 1568, the whole account is so confused and inaccurate that its credit has been severely shaken by modern critics, with the result that it is hardly nowadays considered authentic in any respect. The following extracts, however, there seems no reason to question:——

"About the year 1507, Giorgione not being satisfied [with the old-fashioned methods of Bellini and others] began to give his works an unwonted softness and relief, painting them in a very beautiful manner." And a little later "Having seen the manner of Giorgione, Titian early resolved to abandon that of Gian Bellino, although well grounded therein. He now, therefore, devoted himself to this purpose, and in a short time so closely imitated Giorgione that his pictures were sometimes taken for those of this master, as will be related below. Increasing in age, judgment and facility of hand, our young artist executed numerous works in fresco.... At the time when he began to adopt the manner of Giorgione, being then not more than eighteen, he took the portrait of a gentleman of the Barberigo family, who was his friend, and this was considered very beautiful, the colouring being true and natural, the hair so distinctly painted that each one could be counted, as might also the stitches in a satin doublet painted in the same work; in a word, it was so well and carefully done that it would have been taken for a work of Giorgione if Titian had not written his name on the dark ground."

With this we may leave the question of Titian's birth date, and consider the exceptional interest attaching to the question of this Barberigo portrait. According to Mr. Cook, and also, under reserve, to several other eminent authorities, it is no other than the so-called Ariosto, which was purchased for the National Gallery in 1904. The chief difficulties in deciding the question are, first, whether it is possible that a youth of eighteen could have painted such a masterpiece, second, that the signature Titianus is supposed not to have been used by the artist before about 1520, and lastly, that the head, at any rate, is decidedly more in the manner of Giorgione than that of Titian. This last, of course, did not trouble Vasari, and his testimony is therefore all the more valuable; but all difficulties vanish if we accept Mr. Cook's theory that the portrait was begun by Giorgione in 1508, was left incomplete at his sudden death in 1510, and finished by Titian in 1520. That is to say, the head and general design is that of Giorgione, the marvellous finish of the sleeve and other parts that of Titian.

Of works left unfinished at a master's death and completed by a pupil there are numerous instances; the famous Bacchanal at Alnwick is one which takes us a step further in Titian's career. This was begun by Giovanni Bellini, and Titian was invited by the Duke of Ferrara, in 1516, to finish it. The landscape is entirely his. To complete the decoration of the apartment in which the picture was hung, he was called upon to paint two others of the same size, one the Triumph of Bacchus, or as it is usually called Bacchus and Ariadne (now in the National Gallery) and the other a similar subject, the Bacchanal, now in the Prado (No. 418, formerly 450).

Ridolfi, in his life of Titian characterises our picture as one to whose unparalleled merits he is inadequate to do justice; "There is," he says, "such a graceful expression in the figure of Ariadne, such beauty in the children—so strongly marked both in the looks and attitudes is the joyous character of the licentious votaries of Bacchus—the roundness and correct drawing of the man entwined with snakes, the magnificence of the sky and landscape, the sporting play of the leaves and branches of the most vivid tints, and the detailed herbage on the ground tending to enliven the scene, and the rich tone of colour throughout, form altogether such a whole that hardly any other work of Titian can stand in competition with it."

In the composition of the second picture, The Bacchanal at Madrid, a number of the votaries of Bacchus are assembled on the bank of a rivulet, flowing with red wine from a hill in the distance; some of them are distributing the liquor to their associates, while a nymph and two men are dancing. The nymph is supposed to be a portrait of Violante, Titan's mistress, as he has painted, in allusion to her name, a violet on her breast and his own name round her arm. Her light drapery is raised by the breeze, and discovers the beautiful form and morbidezza of her limbs. In the foreground Ariadne lies asleep, her head resting on a rich vase in place of a pillow.[3]

Cumberland says that Raphael Mengs, who lived long at Madrid at the time when this picture was in the reception room of the New Palace, was of opinion that Titian's superior taste was nowhere more strikingly displayed, and remarks that he himself could never pass by it without surprise and admiration, more particularly excited by the beauty of the sleeping Ariadne in the foreground.

Respecting the merits of both pictures the testimony of Agostino Carracci should not be omitted; when he viewed them in the possession of the Duke of Ferrara he declared that he considered them the first in the world, and that no one could say he was acquainted with the most marvellous works of art without having seen them.

Commenting upon another picture of Titian's early period, Sir Joshua Reynolds delivers himself of the following criticisms on Titian as compared with Raphael, "It is to Titian that we must turn," he says, "to find excellence in regard to colour, and light and shade in the highest degree. He was both the first and the greatest master of this art; by a few strokes he knew how to mark the general image and character of whatever object he attempted, and produced by this alone a truer representation of nature than his master, Giovanni Bellini, or any of his predecessors, who finished every hair. His greatest object was to express the general colour, to preserve the masses of light and shade, and to give by opposition the idea of that solidity which is inseparable from natural objects....

"Raphael and Titian seemed to have looked at nature for different purposes; they both had the power of extending their view to the whole, but one looked only at the general effect as produced by form, the other as produced by colour. We cannot refuse Titian the merit of attending to the general form of the object, as well as colour; but his deficiency lay—a deficiency at least when he is compared with Raphael—in not possessing the power, like him, of correcting the form of his model by any general idea of beauty in his own mind. Of this his St. Sebastian with other Saints (in the Vatican) is a particular instance. This figure appears to be a most exact representation both of the form and colour of the model which he then happened to have before him, and has all the force of nature, and the colouring of flesh itself; but unluckily the model was of a bad form, especially the legs. Titian has with much care preserved these defects, as he has imitated the beauty and brilliancy of the colouring...."

Of the Sebastian, Vasari says very much the same as Reynolds. "He is nude," he writes, "and has been exactly copied from the life without the slightest admixture of art, no efforts for the sake of beauty have been sought in any part—trunk or limbs; all is as nature left it, so that it might seem to be a sort of cast from the life. It is nevertheless considered very fine, and the figure of our Lady with the infant in her arms, whom all the other figures are looking at, is also accounted most beautiful."

Two more of the pictures of Titian's earliest period are in the National Gallery—the Christ appearing to Mary Magdalen (No. 270), and the Holy Family (No. 4). The former is ascribed to about the year 1514, partly on the ground that the group of buildings in the landscape is identical, line for line, with that in the Dresden Venus painted by Giorgione but completed by Titian after his death. The same landscape also occurs in the beautiful little Cupid in the Vienna

Academy, and, as Mr Herbert Cook suggests, possibly represents some cherished spot in Titian's memory connected with his mountain home at Pieve di Cadore.

The Holy Family, above mentioned, is a most charming example of the sacra conversazione as developed by Titian from the somewhat formal and austere conception of Bellini and his contemporaries into something eminently characteristic of the secular side of his genius. The very titles of two of his most beautiful and most famous pictures of this sort proclaim the hold they have taken on the popular mind. The one is the Madonna of the Cherries, in the Vienna Gallery. The other is the Madonna with the Rabbit, in the Louvre. In our picture the distinguishing feature is the kneeling shepherd, with his little water-cask slung on his belt, who puts us at once in touch with the whole scene by the simple appeal to our common human experience. Raphael could move our religious feelings to revere the godhead in the child, but could seldom, like Titian, stir our human emotions and bring home to us that Christ was born on earth for our sakes.

If this particular characteristic of Titian were confined to the pastoral setting of these Holy Conversations, it might be taken as merely accidental, and without further significance than should be accorded to a youthful fancy. But in the wonderful Entombment, now in the Louvre, in which he displays "the full splendour of his early maturity," the human element is such an important factor in the presentment of the divine tragedy that even a painter, M. Caro-Delvaille, must postpone his description of the picture to sentences like these:—"Sur un ciel tourmenté," he writes, in phrases which it is impossible to render adequately in English, "se profile le groupe tragique. Aucun geste superflu; le drame est intérieur. La Douleur plane dans l'air alourdi du crépuscule, comme une aile fatale—Jésus est mort! Le grand cadavre livide, que les apôtres angoissés soutiennent, n'a rien dans sa robustesse inerte de la dépouille émaciée des Christs mystiques. Le fils de Dieu semble un patriarche douloureusement frappé par le décret d'en haut.

"Une âpreté primitive, où les larmes se cachent comme une faiblesse, communique a l'œuvre un pathétique si poignant que le mystère de la mort s'étend jusqu'à nous.

"La Vierge et la Madeleine sont là. Elle, la Mère, doute de la réalité, tant elle souffre! Son regard fixe sur le corps chéri, elle ne peut croire que tout est consommé. La pécheresse pitoyable la prend dans ses bras pour essayer de l'arracher à l'horreur de cette vision.

"Drame humain et divin! ne sont-ce point des fils qui ramènent le cadavre de leur père à la poussière? Tous ceux qui passèrent par ces épreuves se souviennent de ce deuil qui semble se prolonger dans la nature entière."

Titian's first period may be said to end in 1530, by which time he had completed the famous Peter Martyr, which was destroyed by fire in 1867. In 1530, too, Titian's wife died. This event of itself need not be supposed to have greatly influenced his career, as there is no evidence of her having appealed to his artistic nature as did his daughter Lavinia. As it happened, however, a more certain influence was nearly coincident with this event—the arrival in Venice of the notorious Aretine, who, chiefly as it appears, with an eye to business, entered into the most intimate relations with Titian. The accession of the sculptor