A Popular Handbook to the National Gallery, Volume I, Foreign Schools. National Gallery (Great Britain)

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СКАЧАТЬ the employment of a "glaze." "The kneeling figure of the Saint is robed in green, with sleeves of golden orange. This latter colour is carried through as under-painting over the whole draped portions of the figure, the green being then floated over and so manipulated that the golden tint shows through in parts and gives the high lights on the folds" (Baldwin Brown's Fine Arts, 1891, p. 310).

      27. THE POPE JULIUS II

Raphael (Urbino: 1483-1520). See 1171.

      This is one of nine replicas, or contemporary copies, of the portrait in the Uffizi at Florence. Julius died in 1513; the portrait belongs, therefore, to the earlier part of Raphael's Roman period.

      The portrait of a Pope of the church militant. "Raphael has caught the momentary repose of a restless and passionate spirit, and has shown all the grace and beauty which are to be found in the sense of power repressed and power at rest. Seated in an arm-chair, with head bent downward, the Pope is in deep thought. His furrowed brow and his deep-sunk eyes tell of energy and decision. The down-drawn corners of his mouth betoken constant dealings with the world" (Creighton's History of the Papacy). For it was in the temporal, not in the spiritual world that Julius lived and moved and had his being, and became, by his combination of military and diplomatic abilities, the most prominent political figure of his day. But, like other great princes of the time, Julius was a liberal and enlightened patron of the arts: it was he who laid the foundation-stone of St. Peter's, and who called Michael Angelo and Raphael to his court. On the green hanging which forms the background, the cross-keys of the pontifical office are indicated, and from the two corners of the back of the chair rise two shafts, surmounted by gilt ornaments in the form of acorns – in reference to the armorial bearings of the Pope's family (della Rovere). "No amount of elaboration in the background could disturb the attention of any one looking at the portrait of Julius the Second, by Raphael, also in the Tribune, which I cannot help thinking is the finished portrait in the world. A portrait is the most truly historical picture, and this is the most monumental and historical of portraits. The longer one looks at it the more it demands attention. A superficial picture is like a superficial character – it may do for an acquaintance, but not for a friend. One never gets to the end of things to interest and admire in many old portrait-pictures" (G. F. Watts, R.A., in the Magazine of Art, January 1889).

      28. SUSANNAH AND THE ELDERS

Lodovico Carracci (Eclectic-Bologna: 1555-1619).

      Lodovico is famous in art history as the founder of the Eclectic school of Bologna. Disgusted with the weakness of the Mannerists (of whom Baroccio was the best; see next picture), he determined to start a rival school, and enlisted the services of his two cousins, Agostino and Annibale, for that purpose. Their object, as expressed in a sonnet by Agostino, was to be to "acquire the design of Rome, Venetian action, and Venetian management of shade, the dignified colour of Lombardy (Leonardo), the terrible manner of Michael Angelo, Titian's truth and nature, the sovereign purity of Correggio's style, and the just symmetry of Raphael." Lodovico, who was the son of a Bolognese butcher,62 was a man of very wide culture and of great industry. In natural talent he was deficient. When first sent to an art school at Bologna, he was called by his companions "the ox," and when he visited Venice the veteran Tintoretto warned him that he had no vocation. But resolving to win by industry what nature seemed to have denied him, he studied diligently at Florence, Parma, Mantua, and Venice. He superintended the school, at first conjointly with his cousins, afterwards alone, from 1589 to his death.

      A less objectionable rendering than most, of the story of Susannah in the Apocrypha – a story for all time, setting forth as it does the way in which minions of the law too often prey upon the innocent, and the righteous condemnation that the people, when there are just judges in the land, mete out to the offenders. Two judges, "ancients of the people," approached Susannah and threatened to report her as guilty unless she consented to do their bidding. She refused, and was reported accordingly. Judgment had well-nigh gone against her, when Daniel arose to convict the elders of false-witness, and they were straightway put to death. It is the moment of Susannah's temptation that the artist here depicts. "It is," says Hazlitt (p. 5), "as if the young Jewish beauty had been just surprised in that unguarded spot – crouching down in one corner of the picture, the face turned back with a mingled expression of terror, shame, and unconquerable sweetness, and the whole figure, with the arms crossed, shrinking into itself with bewitching grace and modesty." But Hazlitt never took notes, and Susannah's arms are not crossed – nor is her expression quite so naïve as he describes.

      29. "OUR LADY OF THE CAT."

Baroccio (Umbrian: 1528-1612).

      Federigo Barocci, or Baroccio, is the best of the "Mannerists." "He feebly continued the style of Correggio," says Symonds, "with a certain hectic originality, infusing sentimental pietism into that great master's pagan sensuousness" (Renaissance, viii. 211). His colouring is peculiar: he used too much vermilion and ultramarine, and too few yellows. He was a native of Urbino, and the son of a sculptor. In 1548 he went to Rome and remained there some years, devoting his time to the study of Raphael. He then returned to Urbino, again visiting Rome in 1560, when he was employed in the Vatican. While there he was nearly poisoned, by some rival it is supposed, and for the rest of his long life he suffered from disease of the stomach, which rendered him unable to do much work. He died at Urbino at the age of eighty-four.

      An admirable example of the decline of Italian art. The old religious spirit has entirely vanished, and the Holy Family is represented as worrying a bird with a cat! John the Baptist holds the little goldfinch; while the Madonna expressly directs the attention of the infant Christ to the fun. "See, the cat is trying to get at it," she seems to say. Behind the bird, the painter, in unconscious irony, has placed the Cross. The visitor who wishes to see how far Italian art has travelled in a hundred years should compare this picture with such an one as Bellini's (280), or with one of Raphael's, of whom Baroccio was a fellow-countryman. The connecting link should then be seen in Correggio (23). With Bellini or Perugino, the motive is wholly religious. With Raphael it is intermingled with artistic display. Correggio brings heaven wholly down to earth, but yet paints his domestic scene with lovely grace. Baroccio brings, one may almost say, heaven down to hell,63 and uses all his skill to show the infant Saviour's pleasure in teasing a bird. But the artist only embodied the spirit of his time. Baroccio was one of the most celebrated painters of his day, and his biographer (Bellori) writes of him that "his pencil may be said to have been dedicated to religion: so devout, so tender, and so calculated to awaken feelings of piety, are the sentiments expressed in his pictures."

      30. SEAPORT: ST. URSULA

Claude (French: 1600-1682). See 2.

      The best Claude in the Gallery, for it is a perfect example of his chief merit – the painting of quiet skies. Constable, in one of his lectures, refers to it as "probably the finest picture of middle-tint in the world. The sun is rising through a thin mist, which, like the effect of a gauze blind in a room, diffuses the light equally. There are no large dark masses, there is no evasion in any part of this admirable work, every object is fairly painted in a firm style of execution, yet in no other picture have I seen the evanescent character of light so well expressed" (Leslie's Life of Constable, p. 338). "The effect of the breeze upon the water and upon the trees," says Ottley, "and the freshness of the morning atmosphere, in this picture, are expressed with a closeness of imitation bordering on illusion" (Descriptive Catalogue of the National Gallery, 1826, p. 42).

      As for the subject: St. Ursula, a beautiful and gifted Sicilian princess, was sought in marriage by a prince of Britain; but having already dedicated herself to Christ, she made a condition that before her marriage, she, with eleven thousand attendant virgins, should be permitted for the space of three years to visit the shrines of the Saints. СКАЧАТЬ