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http://www.archive.org/details/cu31924008748760

By

BERNHARD BERENSON.

The Venetian

Painters of the Renaissance. Large-paper edition, with 24 photogravure representations of famous paintings. 4, gilt top $5-00 Painters of the Renaissance, with an Index to their Worlrs. Third Edition,
12, gilt top

The Venetian

$1.00

The

Florentine Painters of the Renaissance.

$1.00
Italian Painters of the Renais-

12, gilt top

The Central
sance.
"

12", gilt top

....
:

$1.00

study, the great industry, the wide range and minute accurac^y of knowledge are worthy of all praise. The author's special acquaintance with his subject is infinitely great." The Nation,

The profound

In preparation

The North
sance

Italian Painters of the Renais-

G. P.

PUTNAM'S SONS NEW YORK & LONDON

^^

THE

FLORENTINE PAINTERS OF THE RENAISSANCE

WITH AN INDEX TO THEIR WORKS

BY

BERNHARD BERENSON
AUTHOR OF '*VHNETIAN PAINTERS OF THE RENAISSANCE*'
" LORENZO LOTTO," " CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE "

SECOND EDITION, REVISED

G. P.

PUTNAM'S SONS
LONDON
24

NEW YORK
37

WEST TWBNTV-THIRD STREET

BEDFORD STREET, STRAND

S^e $nuktibocIut

T^tatt

1902

Copyright, 1896 BY
G. P.

PUTNAM'S SONS

Mntered at Stationers^ Hall^ London

^^

CONTENTS.

PAGE

THE FLORENTINE PAINTERS OF THE

NAISSANCE

RE-

INDEX TO THE WORKS OF THE PRINCIPAL FLORENTINE PAINTERS

....

95

INDEX OF PLACES

143

PREFACE TO THE SECOND EDITION

The
some
cini,
lists

have been thoroughly revised, and

increased.
Bottidi

of

them considerably

Pier Francesco Fiorentino, and

Amico

Sandro have been added, partly

sic

for the intrin-

value of their work, and partly because so

of their pictures are exposed to public

many

admiration

under

greater

names.

Botticini

sounds too much

like Botticelli

not to have

been confounded with him, and Pier Francesco

has similarly been confused with Piero della
Francesca.

Thus, Botticini's famous " Assump-

tion," painted for

Matteo Palmieri, and now

in

the National Gallery, already passed in Vasari's

time for a

Botticelli,

and the attribution at

" Karlsruhe of the quaint and winning " Nativity

to the sublime, unyielding Piero della Francesca

is

surely nothing

more than the echo

of the

real author's

name.

iv

PREFACE TO THE SECOND EDITION

Most inadequate accounts, yet more than can

be given here, of Pier Francesco, as well as of

Botticini, will

be found in the Italian edition of

Storia della Pittura in Italia,
latter painter will doubtless

Cavalcaselle's

Vol. VII.

The

be

dealt with fully and

ably in

Mr. Herbert P.

Home's forthcoming book on Botticelli, and in this connection I am happy to acknowledge

my

indebtedness to Mr.

Home

for

having perdi

suaded

me
I

to study Botticini.

Of Amico
in

Sandro
des

have written at length

the Gazette

Beaux Arts, June and

July, 1899.

FlESOLE, November, 1S99.

THE FLORENTINE PAINTERS OF THE RENAISSANCE

I.

Florentine

painting

between

Giotto

and

Michelangelo contains the names of such

as Orcagna, Masaccio,

artists

Fra Filippo, Pollaiuolo,

Put beart,

Verrocchio, Leonardo, and Botticelli.

side these the greatest

names

in

Venetian

the Vivarini, the Bellini, Giorgione, Titian, and

Tintoret.

The

difference

is

striking.
is

The

sig-

nificance of the Venetian

names

exhausted
so with

with their significance as painters.

the Florentines.
ers,

Not

Forget that they were paint-

they remain great sculptors; forget that

still

they were sculptors, and

tects, poets,
left

they remain archiscience.

and even men of

They
to

no form

of expression untried,

and

none

could they say, " This will perfectly convey

my

MANYSIDEDNESS OF THE PAINTERS

Painting,
therefore,
offers

meaning."

but a

partial and not always the most adequate mani-

festation of their personality,

artist as greater

and we

feel

the

than his
artist.

work, and the nian as

soaring above the

The immense
his greatest

superiority of the artist even to

in

achievement

any one

art form,

means that his personality was but slightly determined by the

particular art in question, that
it

he

tended to mould
It

rather than let

therefore,

it

shape him.
treat

would be absurd,

to

the

Florentine painter as a mere link between two

points in a necessary evolution.

The

history of

the art of Florence never can be, as that of

Venice, the study of a placid

development.

Each man

of genius brought to bear

upon

his

art a great intellect, which, never condescend-

ing merely to please, was tirelessly striving to

reincarnate what
it

comprehended
convey
it

of

life
;

in

forms that would

in this sarily

fitly

to others

and

endeavour each

man of

genius was neces-

compelled to create forms essentially his

own. But because Florentine painting was preeminently an art formed by great personalities,
it

grappled with problems of the highest inter-


IMAGINATION OF TOUCH
est,

and offered solutions that can never

lose

their value.

What
is

they aimed

at,

and what

they attained,
essay.

the subject of the following

II.

The
entine
affords

first

of the great personalities in Flor-

painting

was

Giotto.

Although he

no exception to the
all

rule that the great

Florentines exploited

the arts in the enre-

deavour to express themselves, he, Giotto,

nowned

as architect

and sculptor, reputed as

from most of his

wit and versifier,

differed
in

Tuscan successors

having peculiar aptitude

for the essential in painting as

an

art.

But before we can appreciate

his real value,

we must come

to an agreement as to

what
its
;

in

the art of figure-painting

altogether diverse laws
figure-painting,

the craft has

is

own
for

the essential

we may

say at once, was not

of

only the one pre-occupation

Giotto,

but

the dominant interest of the entire Florentine

school.

Psychology has ascertained that sight alone

gives us no accurate sense of the third dimension.

IMAGINATION OF TOUCH
we
are conscious of

In our infancy, long before

the process, the sense of touch, helped on

by

muscular sensations of movement, teaches us to appreciate depth, the third dimension, both
in objects

and

in space.

In the same unconscious years

we

learn to

make

of touch, of the third dimension, the test

of reality.

The

child

is still

dimly aware of the

intimate

connection between touch and the

third dimension.

He

cannot persuade himself

of the unreality of Looking-Glass

Land

until

he

has touched the back of the mirror.

entirely

Later,

we
it

forget

the

connection, although

remains true, that every time our eyes recognise reality,

we

are, as a

matter of

fact,

giving

tactile values to retinal impressions.

Now,

painting

is

an art which aims at giving

artistic

an abiding impression of
only two dimensions.
fore,

reality

with

The

painter must, thereall

do consciously what we

do uncon-

sciously,

construct his third dimension.

by giving
His
first

And

he can accomplish his task only as we accomplish ours,

tactile

values to retinal
is

impressions.

business, therefore,
I

to

rouse the tactile

sense, for

must have the

GIOTTO
illusion of

being able to touch a

figure, I

must

have the
inside

illusion of

varying muscular sensations

fingers corresponding to
I

my

palm and

the various projections of this figure, before

shall take
it

for granted as real,

and

let it affect

me

lastingly.

It follows

that the essential in the art of

painting

as distinguished

from the

art of col-

ouring, I beg the reader to observe

is

somehow

to stimulate our consciousness of tactile values, so that the picture shall have at least as

much

power

as the object represented, to appeal to

our tactile imagination.

Well,
it

was

of the

power to stimulate the

essential, as I

tactile consciousness

of the

have

ventured to

call

it,

in the art of painting

that
which

Giotto was supreme master.

This
it is

is

his ever-

lasting claim to greatness, and

will

this

make him

a source of highest aesthetic de-

light for a period at least as long as decipherable

traces of his

handiwork remain on mouldering

panel or crumbling wall.

For great though he

story-teller, splen-

was as a poet, enthralling as a

did and majestic as a composer, he was in these

qualities superior in degree only, to

many

of

6
the masters

GIOTTO

who

painted in various parts of Eu-

rope during the thousand years that intervened

between the decline of antique, and the

in his

birth,

own

person, of

modern

painting.

But

none of these masters had the power to stimulate the tactile imagination, and, consequently,

they never painted a figure which has

existence.

artistic
all,

Their works have value,

if

at

as

highly elaborate, very intelligible symbols, capable, indeed, of

communicating something, but

losing
is

all

higher value the

moment

the message

delivered.

Giotto's paintings, on the contrary, have not

only as

much power
is

of appealing to the tactile

imagination as
represented

possessed by

the

objects

human figures

in particular

but

actually more, with the necessary result that

to his contemporaries they conveyed a keener

sense of reality, of life-likeness than the objects

themselves

We whose
greater,

current knowledge of

who expect more articulaand suppleness in the human figure, who, tion in short, see much less naively now than
anatomy
is

Giotto's

contemporaries, no longer find his

paintings

more than

life-like

but

we

still

feel

ANAL YSIS OF ENJO YMENT OF PAINTING

them
they
to be intensely real in the sense
still

that

powerfully

appeal

to

our

tactile
all

imagination, thereby compelling us, as do

things that stimulate our sense of touch while

they present themselves to our eyes, to take

theif existence for granted.

And

it

is

only

when we can take

pleasure that
is

for granted the existence of

it

the object painted that

can begin to give us

artistic, as

genuinely

separated

from the interest we

feel in

symbols.

At

the risk of seeming to wander off into the

boundless domain of esthetics, we must stop

at this point for a

moment

to

make

sure that

we

are of

one mind regarding the meaning of the

artistic pleasure,"

phrase "
it is

in so far at least as

used

in

connection with painting.

What

is

the point at which ordinary pleasures

pass over into the specific pleasures derived

from each one of the arts?

Our judgment

about the merits of any given work of art

depends to a large extent upon our answer to

this question.

Those who have not yet

differ-

entiated the specific pleasures of the art of

painting from the pleasures they derive from

the art of literature, will be likely to

fall

into

ANAL YSIS OF EN/0 YMENT OF PAINTING

its

the error of judging the picture by

dramatic

presentation of a situation or
character
that
tion.
is
it
;

its

rendering of

will, in short,

demand

of the painting

shall

be

in the first place a

good

illustra-

Those others who seek

in painting

what

usually sought in music, the communication

of a pleasurable state of emotion, will prefer

pictures which suggest nice

pleasant

associations,

people,

refined

amusements,

agreeable

landscapes.
is

In

many

cases this lack of clearness

of comparatively slight importance, the given

picture

containing
in addition

all

these

pleasure-giving

elements

to the qualities peculiar

to the art of painting.

But

in
is

the case of the

of vital conse-

Florentines, the distinction

quence, for they have been the artists in Europe

who have most

work upon the
figure-painting,

resolutely
specific

set

themselves to
art of

problems of the

and have neglected, more than

call to their aid

any other school, to

the second-

ary pleasures of association.

issue
is

With them the

clear.

If

we wish

to appreciate their

merit,

we

are forced to disregard the desire for

pretty or agreeable types, dramatically inter-

preted

situations,

and, in

fact,

" suggestive-

ANAL YSIS OF ENJO YMENT OF PAINTING 9

ness" of any kind.

Worse

still,

we must even

forego our pleasure in colour, often a genuinely

artistic pleasure, for

they never systematically

exploited this element, and in

some

of their best

works the colour

ant.
It

is

actually harsh and unpleas-

was

in fact

upon form, and form

alone,

that the great Florentine masters concentrated

their efforts,

and we are consequently forced to

least,

the belief that, in their pictures at

form

is

the principal source of our aesthetic enjoyment.

Now
ing give

in

what way, we

ask, can

form

in paint-

me

a sensation of pleasure which differs

I

from the ordinary sensations

form
?

receive

from

How

is it

that an object whose recog-

nition in nature

may have

given

me no pleasure,
recognition

becomes, when recognised

of

in a picture, a source

esthetic

enjoyment, or
in

that

pleasurable pleasure the

nature becomes an
it

enhanced

moment
I

is

transferred to art?
fact

The

answer,

believe,

depends upon the

that art stimulates

to

an unwonted activity
in

psychical processes which are

themselves the
our pleasures,

source of

most

(if

not

all)

of

and which here,

free

from disturbing physical

sensations, never tend to pass over into pain.

ANAL YSIS OF ENJO YMENT OF FAINTING

:

For instance
value as

am

in the habit of realising a

given object with an intensity that

2.

we

shall

If I

suddenly

realise this familiar

I

object with an intensity of 4,

receive the

immediate pleasure which accompanies a doubling of

my

mental

rarely stops here.

receiving direct
are generally led

But the pleasure Those who are capable of pleasure from a work of art,
activity.

on to the further pleasures of

self-consciousness.

The

fact that the psychical

process of recognition goes forward with the

unusual intensity of 4 to

2,

overwhelms them
whole

with the sense of having twice the capacity

they had credited themselves with

personality
this
is

their

enhanced, and, being aware that

is

enhancement

connected with the object

in question,

they for some time after take not

it,

only an increased interest in

realise
this
is
it

but continue to
Precisely
it

with the

new
of

intensity.
in

what form does

painting:

lends

a higher coefficient
represented,
of

reality to

the object

with the consequent enjoyment

psychical
of

accelerated

processes,

and the
in

exhilarating

sense

increased

capacity

the observer.

(Hence, by the way, the greater

ANAL YS/S OF ENJO YMENT OF PAINTING

pleasure
itself.)

we

take in the object painted than

in

And
realise

it

happens thus.

We remember that
we have
off

to

form we must give

tactile values to reti-

nal sensations.

Ordinarily

consider-

able

difficulty in

skimming

these tactile

values,

and by the time they have reached

lost

our consciousness, they have

strength.

Obviously, the

artist

much of their who gives us

itself

these values more rapidly than the object

gives them, gives us the pleasures consequent

upon a more

vivid realisation of the object,

and the further pleasures that come from the

sense of greater psychical capacity.

Furthermore, the stimulation of our

tactile

imagination awakens our consciousness of the

importance of the

tactile

sense in our physical

and mental functioning, and thus, again, by

making us

feel

better provided for

life

than

we were aware

of being, gives us a height-

ened sense of capacity.

And

this brings us

back

once more to the statement that the chief business of the figure painter, as an
artist,
is

to

stimulate the tactile imagination.

The proportions of

this small

book

forbid

me

ANAL YSIS OF ENJO YMENT OP PAINTING

to develop further a theme, the adequate treat-

ment
fied

of

which would require more than the

entire space at

my command.

must be
this

satis-

with the crude and unillumined exposition

myself
further

given already, allowing

word

only, that

do not mean

to imply that

we

get no pleasure from a picture except the

tactile satisfaction.

On

the contrary,

we

get

much
colour,

pleasure from composition,

more from

and perhaps more

all

still

from movement,

to say nothing of

the possible associative

pleasures for which every

occasion.
it

work

of art
is

is

the

What

do wish to say

that unless

satisfies

our tactile imagination, a picture

will not exert the fascination of

an ever-heightits

ened

reality
its

first

we

shall

exhaust

ideas,

and then
tions,

power

of appealing to our
" will

emo-

and

its "

beauty

not seem more

significant at the
first.

thousandth look than at the

My
I

need of dwelling upon

this subject at

all,

must

repeat, arises from the fact that although

is

this

principle
it

important

indeed

in

other

schools,
school.

is

all-important in
its

the Florentine
it

Without

due appreciation

would

GIOTTO

AND VALUES OF TOUCH

13

be impossible to do justice to Florentine painting.

We

should lose ourselves

in

admiration
historical

of its

" teaching," or perchance of

its

importance

as

if

historical
artistic

importance were
!

synonymous with

significance

but
idea

we should never
understand
academic.

yealise
its

what

artistic

haunted the minds of

great men, and never

early
it

why

at a date so

became
in

Let us now turn back to Giotto and see

what way he
ing as an
art,

fulfils

the

first

condition of paintas

which condition,

we

agreed,

is

somehow

to stimulate our tactile imagination.

We
we
in

shall

understand this without difficulty

if

cover with the same glance two pictures of

nearly the same subject that hang side

by

side

the Florence Academy, one by " Cimabue,"

and the other by Giotto.

striking,

The

difference

is

but

it

does not consist so

much

in a

difference of pattern
tion. In

and types,

as of realisa-

the " Cimabue "

the lines and colours,

we patiently decipher and we conclude at last

that they were intended to represent a

seated,

woman

men and

angels standing

by or kneeling.

To

recognise

these representations

we have

14

GIOTTO

AND VALUES OF TOUCH

effort

had to make many times the

actual objects

that the
in con-

would have required, and

sequence our feeling of capacity has not only

not been confirmed, but actually put in question.

ing

With what sense of relief, of vitality, we turn to the Giotto

had time to
light

rapidly

ris-

scarcely have
realise
it

on

it

before

Our eyes we

completely

the
is

throne occupying

a real

space, the Virgin

satisfactorily seated
it.

upon

it,

the angels grouped in rows about

Our

tactile

imagination

put to play imme-

Our palms and fingers accompany our eyes much more quickly than in presence of
diately.
real objects, the sensations

varying constantly

with the various projections represented, as of

face, torso,

knees; confirming in every

way our

feeling of capacity for coping with things,

life,

for

in short.

care

little

that

the picture

endowed with the

correspond to

gift of

evoking such feelings

has faults, that the types represented do not

my

ideal of

beauty, that the

figures are too massive,

and almost unarticubecause

I

lated

forgive

them

all,

have much
this mira-

better to

do than

to dwell

upon

faults.

But how does Giotto accomplish

GIOTTO
cle?

AND VALVES OF TOUCH

With the

simplest means, with almost

rudimentary light and shade, and functional

line,

he contrives to render, out of

all

all

the possi-

ble outlines, out of

the possible variations

of light and shade that a given figure

may have,
This de-

only those that we must isolate for special attention

when we

are actually realising

it.

termines his types, Jiis schemes of colour, even

his compositions.
in face

He

aims at types which both

and figure are simple, large-boned, and

massive,
life

types, that
of his

is

to say, which in actual

would furnish the most powerful stimulus

Obliged to get the
light

to the tactile imagination.

utmost out

rudimentary

and shade,

he makes

his

scheme

of colour of the lightest of the strongest.

that his contrasts

his compositions,
ing, so that

may be
he aims

In

at clearness of group-

may have its desired tactile value. Notein the"Madonna"we have been looking at, how the shadows compel
each important figure
us to realise every concavity, and the lights

every convexity, and how, with the play o&the

two, under the guidance of
line,

we

Psali^^ the

significant parts of each figure,

whether draped
its archi-

or undraped.

Nothing here but has

l6

GIOTTO

AND VALUES OF TOUCH

Above
is
all,

tectonic

reason.
;

every

line

is

functional
pose.

that

to say, charged with

pur-

Its existence, its direction, is absolutely

determined by the need of rendering the

values.

tactile

Follow any

line here, say in the figure

left,
it

of the angel kneeling to the

it

and see how

outlines

and models, how

enables you to

realise the head, the torso, the hips, the legs,

the

feet,

and how

its

direction, its tension,

is

always determined by the action.

There

is

not

a genuine fragment of Giotto in existence but

has these qualities, and to such a degree that

the worst treatment has not been able to spoil

them.

Witness the resurrected

!

frescoes

in

Santa Croce at Florence

The rendering

of tactile values

once recog-

nised as the most important specifically artistic

quality of Giotto's work, and as his personal

contribution to the art of painting,

we
I

are

all

the better fitted to appreciate his

more obvious
must

though

less peculiar merits

merits,

add, which would seem far less extraordinary

were not for the high plane of reality on which Giotto keeps us. Now what is back of
if it

this

power

of raising us to a higher plane of

7
;

SYMBOLISM OF GIOTTO
reality

but a genius for grasping and communi?

cating real significance

What
?

is it

to render

the tactile values of an object but to communicate

after
its

material significance
of

painter who,

generations

mere manufacturers of

symbols, illustrations, and allegories had the

power

to render the material significance of the

objects he painted, must, as a man, have had a

profound sense of the

then,

significant.

No
of
it

matter,

what

his theme, Giotto feels its real signifi-

cance and communicates as

general limitations of his
permit.
art,
is

much
and

as the
skill
it

of his

own

When

the theme

sacred story,

is

scarcely necessary to point out with

cessional
gravity, with

what pro-

what

hieratic dignity,
it

with what sacramental intentness he endows

the eloquence of the greatest
critics

has here

found a darling subject.

But

let

us look a mo-

ment

at certain of his

symbols
"

in the

Arena

at

Padua, at the "Inconstancy," the "Injustice" the

"Avarice," for instance.
cant traits,"

What

are the signifi-

he seems to have asked himself,

"in the appearance

and action of a person under

?

the exclusive domination of one of these vices

Let

me

paint the person with these

traits,

and

SYMBOLISM OP GIOTTO
have a figure that perforce must
call

I shall

up
her

the vice in question."

So he paints
with a blank

" Inconface,

stancy" as a

woman

arms held out aimlessly, her torso

falling backIt

wards, her feet on the side of a wheel.

makes one giddy to look

is

at her.
in the

" Injustice,"

a powerfully built

man

vigour of his

years dressed in
his left

the costume of a judge, with

hilt

hand clenching the

of his sword,

and his clawed right hand grasping a double

hooked

lance.

His cruel eye

is

is

sternly

on the

watch, and his attitude

to spring in
all

one

of alert readiness

his giant force

upon

his prey.

He
tall

sits

enthroned on a rock, overtowering the

trees,

waving
are

and below him

his under-

lings
farer.

stripping
is

and murdering

way-

"Avarice"

a horned hag with ears like

trumpets.
curls

snake issuing from her mouth

back and bites her forehead.

Her

left

hand clutches her money-bag,

as she

moves
need to

forward stealthily, her right hand ready to shut

down on whatever
label

it

can grasp.

No

them

as long as these vices exist, for so

long has Giotto extracted and presented their

visible significance.

GIOTTO
Still

19

another exemplification of his sense for

is

the significant
action and
ures never
ly

furnished by his treatment of

gest-

movement. The grouping, the

fail

to be just such as will

most rapid-

convey the meaning.

So with the significant

signifi-

line,

the significant light and shade, the

cant look up or down,

gesture, with

and the significant

means

technically of the simplest,

and, be

it

remembered, with no knowledge of

anatomy, Giotto conveys a complete sense of

motion such as we get

in his

Paduan

frescoes

of the "Resurrection of the Blessed," of the

"Ascension of our Lord," of the

in

God

the Father

the " Baptism," or the angel in " Zacharias'

Dream."
This, then,
is

Giotto's claim to everlasting

:

appreciation as an artist

that his thorough-

going sense for the significant in the visible world enabled him so to represent things that

we

realise

his

representations

more quickly
realise

and more completely than we should

the things themselves, thus giving us that confirmation of our sense of capacity which
is

so

great a source of pleasure.

20

FOLLOWERS OF GIOTTO
III.

For a hundred years

appeared
in

after

Giotto

there

Florence no painter equally ensignificant.

dowed with dominion over the

immediate followers so
little

His

understood the
it

essence of his power that

some thought

re-

sided in his massive types, others in the swiftess

of his line,

and

still

others in his light

colour,

and

it

never occurred to any of them

its

that the massive form without

nificance, its tactile values,
is

material sig-

a shapeless sack,
is

that the line which

is

not functional

mere
can at

caligraphy, and that light colour

by

itself

the best spot a surface prettily.

them
and

felt their inferiority,

The better of but knew no remedy,

all

worked

busily,

copying and distorting

Giotto, until they and the public were heartily

tired.

A change at all costs became

was very simple when
at
it

necessary,
"

and

it

came.

Why
ob;

grope about for the

vious
is

significant,

when the
some

hand ?

Let

me

paint the obvious

the obvious always pleases," said

innovator.

clever

clothes, pretty faces,

So he painted the obvious, pretty and trivial action, with the

FOLLOWERS OF GIOTTO
results foreseen
still.
:

21

he pleased then, and he pleases

flock to the Spanish chapel

Crowds

still

in S.

Maria Novella to celebrate the triumph of

Pretty faces,

the obvious, and non-significant.

pretty colour, pretty clothes, and trivial action

Is there a single figure in the fresco representing

the "

Triumph
it

of St.

Thomas " which

incarnates
its label-

the idea
ling

symbolises, which, without

instrument, would

convey any meaningg>

whatever?

One
I

pretty

woman

holds a globe

and sword, and

ty of empire
;

am

required to feel the majes-

another has painted over her

pretty clothes a

bow and

arrow, which are sup-

posed to rouse

me

to a sense of the terrors of

war

a third has an organ on what was intended

to be her knee, and the sight of this instrument

must

suffice

to put
;

me
if

into the ecstasies of

heavenly music

still

another pretty lady has

her arm akimbo, and

you want

to

know what
a

edification she can bring,

scroll.

you must read her

Below these pretty

women

sit

number

of

men

looking as worthy as clothes and beards

;

can

make them

one highly dignified old genall his

tleman gazes with

at

heart and

all

his soul

the

point of his

quill.

The same

lack of

22
significance, the

ORCAGNA
same obviousness characterise

the fresco representing the " Church MiHtant

and Triumphant."
for the

What more obvious symbol

Church than a church ? what more significant of St. Dominic than the refuted Paynim
philosopher

who
it

(with a movement,
is

by the way,

as obvious as
his

clever) tears out a leaf from

I

own book ?

And

have touched only on

the value of these frescoes as allegories.

Not

to speak of the emptiness of the one and the

confusion of the other, as compositions, there

is

not a figure in either which has tactile values,

that
is

to say, artistic existence.

I

While

do not mean to imply that painting

betweeh> Giotto and Masaccio existed in vain

on the c^trary, considerable progress was made

in the direction of landscape, perspective,
facial expression,

and

it is

true that, excepting the

art were
in

works of two men, no masterpieces of

produced.

These two, one coming

the

middle of the period

we have been
its

dwelling

upon, and the other just at

close,

were

Andrea Orcagna and Fra Angelico. Of Orcagna it is difficult to speak,

as only a

single fairly intact painting of his remains, the

FRA ANGEUCO
altar-piece in S.

21

Maria Novella.

Here he

re-

veals himself as a

man

of considerable endow-

ment

as

in

Giotto,
;

we have

tactile values,

material significance
exist.

the figures artistically

But while

this painting betrays

no pe-

culiar feeling for

beauty of face and expression,

the frescoes in the same chapel, the one in

particular representing Paradise, have faces full
of

charm and

grace.

am tempted

to believe

that

we have

here a happy improvement

restorer.

made

by the recent

But what these mural

is

paintings must always have had

real artistic

existence, great dignity of slow but rhythmic

movement, and splendid grouping.

convince us of their high purpose.
other hand,

They

still

On

the

we

are disappointed in Orcagna's

sculptured tabernacle at

Or Sammichele, where
sig-

the feeling for both material and spiritual

nificance
is

much

lower.

We

are happily far better situated toward

Fra Angelico, enough of whose works have

come down

to us to reveal not only his quality

as an artist, but his character as a

man.

Per-

fect certainty of purpose, utter devotion to his

task, a sacramental earnestness in

performing

24
it,

FRA ANGELICO
are

what the quantity and quality

It is true

of his

work together proclaim.

to's

that Giot-

profound feeling for either the materially or the spiritually significant was denied him

and there
difference

is
;

no possible compensation

for the

but although his sense for the real

it

was weaker,

yet extended to fields which

Giotto had not touched.

artists,

Like

all

the supreme

Giotto had no inclination to concern

the
signifi-

himself with his attitude toward

cant, with his feelings about
it
;

the grasping
In the

and presentation of

it

sufficed him.
significant,

weaker personality, the

ceived,
felt,
is

vaguely peris

converted into emotion,

realised.

merely
feel-

and not

Over

this
first

realm of

ing Fra Angelico was the

great master. the

"God's

in

his'
felt

heaven

all's right with

world " he
vented him

with an intensity which preevil

it,

from perceiving

anywhere.
his imagi-

When

he was obhged to portray

bogy-land;

nation failed
his hells are

him and he became a mere

his

child

martyrdoms

are

enacted by children solemnly playing at martyr and executioner and he nearly spoils one of
;

the most impressive scenes ever painted

the

FSA A NGELICO.
great

25

"Crucifixion" at San Marco

with
all

the

childish violence of St. Jerome's tears.

But

upon the picturing of blitheness, of

resources of his
a

ecstatic con-

fidence in God's loving care, he lavished

art.

the

Nor were they

small.

To
it is

power

of rendering tactile values, to a sense

for the significant in composition, inferior,

true, to Giotto's,

but superior to the

qualifica-

tions of

any intervening

painter, Fra Angelico

added the charm

of great facial beauty, the

interest of vivid expression, the attraction of

delicate colour.

What

in

the whole world of art

"

more rejuvenating than Angelico's

tion " (in the Ufifizi)

Coronaall

the

happiness on

the

faces, the flower-like grace of line

and colour, the

beauty of

childlike simplicity yet unqualifiable

the composition

And all

this in tactile values

reality of the
real

which compel us to grant the

scene, although in a world

where

people

are standing, sitting, and

not,

kneeling

we know
the sigscarcely
is

and care not, on what.

It is true,

nificance of the event represented

touched upon, but then

how well Angelico comit

municates the feeling with which

inspired

him

Yet simple though he was

as a person,

26

FXA ANGELICO

simple and one-sided as was his message, as a

product he was singularly complex.

the typical
painter of

He was
from

the

transition

Mediaeval to Renaissance.
feeling are in the
his feelings in a

The
is

sources of his

Middle Ages, but he enjoys

almost modern

way which

and almost modern

pression.

also are his

means

of ex-

We are too
we

apt to forget this transi-

tional character of his, and, ranking

him with
articula-

the moderns,

count against him every awk-

wardness of action, and every lack of

tion in his figures.
articulation

Yet both

in action

and

in

he made great progress upon

his

precursors

so great that, but for Masaccio, who

we should
value him

completely surpassed him,

as

an innovator.
first

Moreover, he was not only

the

Italian to paint a landscape that can

be identified (a view of Lake Trasimene from

Cortona), but the
of
first

to

communicate a sense

the pleasantness of nature.

feel

How

readily

we

the freshness and spring-time gaiety

of his gardens in the frescoes of the "

Annun-

ciation" and the "Noli

me

tangere" at San

Marco

MASACCIO
IV.
Giotto

27

bom

again, starting

where death had

cut short his advance, instantly

all

making

his

own

that

had been gained during

his absence,,

and profiting by the new conditions, the new

demands
Giotto

imagine such an avatar, and you

we know
already, but

will

understand Masaccio.

what were the

new

conditions, the

new demands ? The medi-

aeval skies

had been torn asunder and a new

heaven and a new earth had appeared, which

the abler spirits were already inhabiting and
enjoying.
prevailed.

Here new

interests

and new values

The

thing of sovereign price was

;

the power to subdue and to create

ereign interest
all

of sov-

that helped

man

to

know

the world he was living in and his power over

it.

To

the artist the change offered a

It is

field of

the freest activity.

reveal to an age

always his business to

its ideals.

But what room was

there for sculpture and painting,

first

arts

whose

purpose

it is

to

make

us realise the matelike the

rial

significance of things

in a period

Middle Ages, when the human body was de-

28
nied
all intrinsic

MASACCIO
significance
?

In such an age

the figure artist

in spite of
it,

can thrive, as Giotto did, only

and as an isolated phenomenon.

In the Renaissance, on the contrary, the figure

had a demand made on him such as had not been made since the great Greek days, to
artist

reveal to a generation believing in

man's power

to subdue and to possess the world, the physical types best fitted for the task.

And

as this

demand was imperative and

but a hundred Italian
in his

constant, not one,

artists arose, able

it,

each

own way

to

meet

in their combined
had already given
the education, the
artist

achievement, rivalling the art of the Greeks.

In sculpture Tgor^atello

body
his

to the

new

ideals

when Masaccio began

in

brief

career,

and

awakening, of the younger

of the elder
force.

the example

must have been

in

of incalculable
in significance

But a type gains vastly

by being presented
other individuals of

some action along with the same type and here

;

Donatello was

apt,

rather

than to draw his

Hieed of profit, to incur loss by descending to

the bvious

witness

his bas-reliefs at Siena,

Florence, and Padua. Masaccio was untouched

MASACCIO
by
this taint.

29

Types,

in

themselves of the

manliest, he presents with a sense for the materially significant

which makes us

realise to
;

the utmost their power and dignity

spiritual significance thus

and the

gained he uses to
is

give the highest import to the event he

por-

traying; this import, in turn, gives a higher

value to the types, and thus, whether

we

de-

vote our attention to his types or to his action,

Masaccio keeps us on a high plane of reality

and

significance.

In later painting

we

shall

easily find greater science, greater craft,

and

greater perfection of detail, but greater reality, greater significance,

I

venture to say, never.

Dust-bitten and ruined though his Brancacci

Chapel frescoes now

are, I

never see them with-

out the strongest stimulation of

consciousness.
figure, that
it

my

tactile

I feel

that

could touch every

definite resistance

would yield a
I

to

my

touch, that

should have to expend

it,

thus

much
it

effort to displace
it.

that

could

walk around
realise

In

short,
in

scarcely could
life I

more, and
it

real

should

scarcely realise

so well, the attention of each

of us being too apt to concentrate itself

upon

30

MASACCIO
quality, before

some dynamic
begun to
his his

we have

at all

realise the full material significance of

us.

the person before

Then what strength

to

young men, and what gravity and power to old How quickly a race like this would
!

possess

itself of

the earth, and brook no rivals

!

but the forces of nature

simply because
it
is

Whatever they do

they

is

impressive and

important, and every movement, every gesture,

is

world-changing.

those in

Compared with the same chapel by his

his figures,

precursor,
fol-

Masolino, are childish, and those by his

lower, Filippino, unconvincing
nificance,

and without

sig-

because without tactile values.

Even

Michelangelo, where he comes in rivalry, has,

for

both reality and significance, to take a

place.

sec-

ond

Compare

his

" Expulsion

from

Paradise " (in the Sixtine Chapel) with the one

here by Masaccio.

Michelangelo's figures are

far less

more
a

correct, but
;

tangible

and

less

powerful

and while he represents nothing but

and a

man warding off a blow dealt from a sword, woman cringing with ignoble fear, Ma-

saccio's

Adam

and Eve

heart-broken with

stride away from Eden shame and grief, hearing,

MASACCIO
perhaps, but

31

not seeing, the angel hovering

high overhead
steps.

who

directs their

exiled foot-

Masaccio, then, like Giotto a century

earlier,

himself
dowed
tactile

the Giotto

of an
as

artistically
artist,

more

propitious world

was,

an

a great

master of the significant, and, as a painter, ento the highest degree with a sense of
values,

and with a

skill

in

rendering

them.

In a career of but few years he gave to

it

Florentine painting the direction

the end. In

pursued to

many ways he reminds us of the young Bellini. Who knows? Had he but
lived as long,

he might have

laid the founda-

tion for a painting not less delightful

and
it

far

more profound than that

his frescoes at

of Venice.

As

was,

once became, and for as long as

there were real artists

among them remained,

the training-school of Florentine painters.

V.
Masaccio's death
the hands of three
left

Florentine painting in

younger than himself,

not of genius, each of

men older, and two somewhat all men of great talent, if

whomthe

former to the

rr 32
.>

PAOLO UCCELLO

extent habits already formed would permit, the

latter

overwhelmingly,

felt his influence.

The
in

older, who, but for Masaccio, would themselves

have been the sole determining personalities

their art,

were Fra Angelico, Paolo Uccello, and

;

Andrea
the

del Castagno

the younger,

Domenico
these were
after

Veneziano and Fra

Filippo.

As

men who

for

a who]^

generation

Masaccio's death remained

craft,

at the head of their

forming the taste of the public, and com-

municating their habits and aspirations to their

pupils,

we

at this point can scarcely

do better

than try to get some notion of each of them and

of the general art tendencies they represented.

Fra Angelico we know already as the painter

who devoted

his life to picturing the departing

mediaeval vision of a heaven upon earth. Nothing could have been farther from the purpose of

Uccello and Castagno.

Different as these two

this

were from each other, they have

much

in

common,
ity,

that in their works which remain to

it is

us, dating,

true,

from their years of maturartists they belonged enand they stand at the be-

there

is

no touch of mediaeval sentiment, no

note of transition.
tirely to the

As

new

era,

PAOLO UCCELLO

33

ginning of the Renaissance as types of two

tendencies which were to prevail in Florence

throughout the whole of the fifteenth century,

partly supplementing and partly undoing the

teaching of Masaccio.
Uccello had a sense of tactile values and a
feeling for colour, but in so far as he used these
gifts at all,
it

was 0

illustrate scientific

prob-

lems.

His

real passion

was perspective, and

and displaying his
Accordingly he

painting was to him a mere occasion for solving

some problem
mastery over

in this science,
its

difficulties.

composed pictures
as

in

which he contrived to get

inward.

many lines as possible leading the eye

horses,

Prostrate

dead

or
fields,

dying

cavaliers,

broken lances, ploughed

Noah's

arks, are
dis-

used by him with scarcely an attempt at

guise, to serve his

scheme

of mathematically

converging
colour

lines.

In his zeal he forgot local

he loved to paint his horses green or pink forgot action, forgot composition, and,
it

need scarcely be added,

significance.

Thus

in

his battle-pieces, instead of adequate action of

any

sort,

we get the

feeling of witnessing a

show

of stuffed figures
3

whose mechanical movements

34

PAOLO UCCELLO
in

have been suddenly arrested by some clog

their wires
;

in his fresco of the "

Deluge," he

has so covered his space with demonstrations

of his cleverness in perspective

and foreshortento us the ter-

ing that, far from bringing

rors of a cataclysm,

home
;

he at the utmost suggests

the bursting of a mill-dam

and

in the neigh-

bouring fresco of the " Sacrifice of

as

Noah,"

just

some

capitally constructed figures are about

all possibility

to enable us to realise the scene,

of artistic pleasure
is

destroyed by our seeing

an object in the

air

which, after

some

difHculty,

we decipher

as a

human being plunging downInstead of making this

is

ward from the clouds.

figure, which,

by the way,

meant to represent
dash inward,
skill

God

the Father, plunge toward us, Uccello de-

liberately preferred to

make

it

away from
in

us,

thereby displaying his great

both perspective and foreshortening, but

at

the same time writing himself

down

as the

founder of two families of painters which have

flourished ever since, the artists for dexterity's

sake mental
and the

or manual,

it

scarcely

matters
in-

naturalists.

As

these two clans

creased rapidly in Florence, and, for both

good

ART FOR DEXTERITY'S SAKE

and
evil,

35

greatly affected the whole subsequent

course of Florentine painting,

we must,
to

before

going

farther,

briefly

define

ourselves

dexterity and naturalism, and their relation to

art.

The

essential in painting, especially in figureis,

painting,

we

agreed, the rendering of the

tactile values of the

forms represented, because

by

this

means, and this alone, can the art make

us realise forms better than

we do
all,

in life.
artist

The
with

great painter, then,

is,

above

an

a great sense of tactile values and great

skill in
it

rendering them.
will increase as the
is

Now
man
he
is

this
is

sense,

though

revealed to himself,

something which the great painter possesses

scarcely,
if

at the start, so that

at

all,
is

aware
given
of
;

of possessing to the

it.

His conscious
It

effort

means

of rendering.

is

of

means

rendering, therefore, that he talks to others

and, because his triumphs here are hard-earned

and conscious,

it is

on

his skill in rendering that

he prides himself.
less likely

The

greater the painter, the

he

is

to be aware of aught else in his

art

than problems of rendering

is

but

all

the

while he

communicating what the force of

36

ART FOR DEXTERITY'S SAKE

makes him
feel

his genius
for
it,

without his striving

it,

almost without his being aware of

spiritual

the

material and

significance

of

forms.

However
but

his intimates hear

;

him

talk of no-

thing but
skill;

skill

he seems to think of nothing

and naturally they, and the entire public, conclude that his skill is his genius, and
that skill
is

art.

This, alas, has at

all

times
art
is,

been the too prevalent notion of what

divergence of opinion existing not on the principle,

but on the kind of dexterity to be prized,

critic,

each generation, each

having an

indi-

vidual standard, based always on the several

peculiar problems and difficulties that interest

them.

At Florence

these inverted

notions
it

about art were especially prevalent because

was a school of

art with a score of

all

men of genius
egging each
in

and a thousand mediocrities

their hot rivalry

other on to exhibitions of dexterity, and

it

was

all

the great geniuses

signifi-

could do to be faithful to their sense of

cance.
his

Even Masaccio was driven to exhibit mere skill, the much admired and by itself
realised

wonderfully

figure of a

naked man

trembling with cold being not only without

ART FOR DEXTERITY'S SAKE

real significance,

37
in

but positively distracting,

the representation of a baptism.

weaker

man

like

Paolo Uccello almost entirely sacrificed

of artistic significance he
his

what sense

may have

started with, in
skill

eagerness to display his

and knowledge.

As

for the rabble, their

work has now the

interest of prize exhibitions

at local art schools,

and their number merely

helped to accelerate the

momentum with which

its

Florentine art rushed to

end.

But out of
art
sig-

even mere dexterity a certain benefit to

may come. Men nificant may yet

the

without feeling for the

perfect a thousand matters

easier

which make rendering

and quicker

for

man who comes

Botticelli

with something to render,

and when

and Leonardo and Michelartistic patri-

angelo appeared, they found their

mony

increased in spite of the fact that since

Masaccio there had been no

proaching their genius.
ever,

man

at all ap-

This increase, how-

was due not

at all so

much

to the sons of

dexterity, as to the intellectually

much

nobler,
also

but

artistically

even inferior race of

whom

Uccello was the ancestor

the Naturalists.
?

What

is

a Naturalist

venture upon the

38

NATURALISM IN ART
:

following definition
for science
is

A man with a native

art.

gift

who

has taken to

His purpose
sig-

not to extract the material and spiritual

nificance of objects, thus

communicating them

to us

more

rapidily

and intensely than we

should perceive them ourselves, and thereby

giving us a sense of heightened vitality
;

his

purpose

is

research,

and his communication

facts.

consists of nothing but

From

this per-

haps too abstract statement

in

let

us take refuge

an example already touched upon

the Almighty in

the

figure

of

Uccello's " Sacrifice of

Noah."

Instead of presenting this figure as

in

coming toward us
solemnity, as a
artistic

an attitude and with an

appeal to our sense of
chief interest was
in fact,

expression that will

man whose
"

would have done

Baptism

in his "

as Giotto, did Uccello seems to have been

how
a

possessed with nothing but the scientific intention to find out

man swooping down

if

head-foremost would have looked

instant of his
fall

at a given

he had been suddenly congealed and suspended in space. figure like

this

may have

a mathematical but certainly has

significance.

no psychological

Uccello,

it

is

NATURALISM IN ART
true, has studied every detail of this

39

phenom-

enon and noted

down

his

observations, but

because his notes happen to be in form and

colour, they

do not therefore constitute a work

his

of art.

Wherein does

achievement

differ in

quality from a coloured

can easily conceive of

map of a country? We a relief map of Cadore or

scale,

Giverny on so large a
coloured, that
it

and so elaborately

will

be an exact reproduc-

tion of the physical aspects of those regions,

but never for a

moment
of art.

should

we

place

it

be-

side a landscape by Titian or Monet, and think of

it

as a

work

Yet

its
is

relation to the

Titian or

Monet painting
paints

exactly that of

Uccello's achievement to Giotto's.

scientist

What

the
to

say,

attempts to do
who
If

the naturalist, that

is

is

not to give us what art

alone can give us, the life-enhancing qualities

of objects, but a reproduction of
are.

them

as

they

he succeeded, he would give us the ex-

act visual impression of the objects themselves,

but

art, as

we have

already agreed, must give

us not the mere reproductions of things but a

quickened sense of capacity for realising them.

Artistically, then, the naturalists, Uccello

and

40
his

ANDREA DEL CASTAGNO

numerous
successors, accomplished nothing.

Yet

their efforts to reproduce objects as they

anatomy and perspective, made it inevitable that when another great genius did arise, he should be a Leonardo or a
are, their studies in

Michelangelo, and not a Giotto.

Uccello, as
sentative of
I

have

said,

was the

first

repre-

two strong tendencies

in Florentine

painting

of

art for dexterity's sake,

and

art

for scientific purposes.

Andrea

del Castagno,

while also unable to resist the fascination of

mere science
artistic

and

dexterity,

had too much

genius to succumb to either.

He was
him
all

endowed with great sense

although,
it is

for the significant,

true, not

enough

to save

completely from the

Florentines,

pitfalls

which beset

and even

less

from one more

peculiar to himself
cate at

the tendency to communiTo make

it

any cost a feeling of power.

us feel power as Masaccio and Michelangelo do

at their best
is

indeed an achievement, but

requires the highest genius and the profoundest

sense for the significant. sense

in
is

The moment

this

at all lacking, the artist will not succeed

conveying power, but such obvious manifes-

ANDREA DEL CASTAGNO

tations of
it

4
still,

as

mere strength,
Castagno,

or,

worse

the

insolence not infrequently accompanying high

spirits.

Now
in

who
his
if

succeeds well
figures as

enough
his

one or two such single

Sibyl
or

Cumaean

Farinata

degli

Uberti, which have great,

not the greatest,

power, dignity, and even beauty, elsewhere condescends to

mere swagger,
"

as

in

his

Pipo

Spano or Niccolo
strength, as
still,

di Tolentino

or

to
or,

mere
worse

in his

Last Supper,"

to actual brutality, as in his Santa Maria " Crucifixion."

Nuova
greatest

Nevertheless, his few

in

remaining works lead us to suspect

artist,

him the
genera-

and the most

influential perfirst

sonality

among

the painters of the

tion after Masaccio.

VI.

To

distinguish

clearly,

after the

lapse

of

nearly five

centuries,

between

Uccello

and

Castagno, and to determine the precise share

each had in the formation of the Florentine

school,
ties.
is

already a task fraught with

difficul-

The
it

scantiness of his remaining works

difficult,

makes

more than

makes

it

almost im-

42

DOMENICO VENEZIANO
come
to accurate conclusions retheir

possible, to

garding the character and influence of

somewhat younger contemporary, Domenico

Veneziano.

That he was
Vasari

an innovator in

technique, in affairs of vehicle and

medium, we
in-

know from

but as such innovations,

dispensable though they

may become

to paint-

ing as a craft, are in themselves questions of

theoretic and applied chemistry, and not of
art,

they do not here concern

us.

His

artistic

achievements seem to have consisted

to the figure

in giving

movement and
sacrifice
it

expression, and to

the face individuality. In his existing works

find

we

no trace of

made
is

to dexterity and

naturalism, although

clear that

he must

have been master of whatever science and whatever craft were prevalent in his day. Otherwise

he would not have been able to render a figure

like the
St.

Francis in his

Uffizi altar-piece,

where

tactile values

and movement expressive

of character \\'hat

we

usually call individual

gait

were perhaps
St. Francis, at

for the first

time combined;

or to attain to such triumphs as his St. John

and

Santa Croce, whose entire

figures express as

much

fervour as their elo-


FRA FILIPPO LIPPI
quent
in faces.

43

As

to his sense for the significant

the individual, in other words, his power as

a portrait-painter,

we have

in the Pitti

one or
great

two heads to witness, perhaps, the

achievements

first

in this kind of the Renaissance.

No
in the

such

difficulties as

we have encountered
His
are

study of Uccello, Castagno, and Venezi-

ano meet us as we turn to Fra Filippo.

works are

still

copious, and
;

many

of

them

admirably preserved
facility for
is

we

therefore have every

artist,

judging him as an

yet nothing
If

harder than to appreciate him at his due.

attractiveness,

and attractiveness of the best

to

kind, sufficed

make

a great

artist,

then

Filippo would be one of the greatest, greater

perhaps

than

any

other
shall

Florentine
find

before

Leonardo.

Where

we

faces

more

winsome, more appealing, than

in certain of his

Madonnas
than in

the one in the Ufiizi, for instance

of noble feeling
?

more momentarily evocative

his

Louvre
is

altar-piece

Where
more

in
fas-

Florentine painting

there anything

cinating than the playfulness of his children,

more poetic than one

or
is

two of
at

his landscapes,

more charming than

times his colour?

44

^^^

FILIPPO LIPPl
health, even robustness,
!

And

with

all this,

and

almost unfailing good-humour

Yet by them-

selves all these qualities constitute only a high-

and such by native endowment That he I believe Fra Filippo to have been. is due rather more became more very much
class illustrator,

to Masaccio's potent influence than to his

own

genius

for he had no profound sense of either

material or spiritual significance

qualifications of the real artist.

the
in

essential

Working under
the
Uffizi

the inspiration of Masaccio, he at times renders

tactile

values

admirably,

as

Madonna but most

to render

frequently he betrays no
in his

genuine feeling for them, failing

attempt

them by the introduction

of bunchy,

billowy, calligraphic draperies.

These, acquired

from the late Giottesque painter (probably

Lorenzo Monaco) who had been

he seems to have prized
less

his first master,

as artistic elements

no

than the

tactile values

which he attempted

to adopt later, serenely unconscious, apparently,

of their incompatibility.

Filippo's

strongest
artis-

impulse was not toward the pre-eminently

tic

one of

re-creation, but rather

field,

toward expres-

sion,

and within that

toward the expression

NATURALISM IN FLORENTINE ART

45

of the pleasant, genial, spiritually comfortable

feelings of ordinary
life.

His

real place

is

with

the genre painters

only his genre was of the

soul, as that of others

of Benozzo Gozzoli, for

Hence
a sin of his

example

was of the body.

less pernicious

own, scarcely
naturalists,

than that of the

and cloying to boot

expression

at

any

cost.

VII.

From

the brief account just given of the four

in

dominant personalities

Florentine painting
it

from about 1430 to about 1460,

results that

the leanings of the school during this interval

were not

artistic

and

artistic alone,

but Jhat

there were other tendencies as well, tendencies

on the one

side,

toward the expression of

because
in

emotion (scarcely
and colour than
if

less literary

form

in words), and,

on the other,

toward the naturalistic reproduction of objects.

We

have also noted that while the former tend-

ency was represented

latter

by Filippo
all

alone, the

had Paolo Uccello, and

permit them to

of Castagno

and Veneziano that the genius of these two

men would

sacrifice to natural-

46

NA TURALISM IN FLORENTINE ART

ism and science.

To

the extent, however, that

they took sides and were conscious of a distinct purpose, these also sided with Uccello

and

not with Filippo.

It

may

be agreed,

therefore, that the

main current of Florentine

painting for a generation after Masaccio was

naturalistic,

and that consequently the impact

given to the younger painters

who

during this

period were starting, was mainly toward naturalism.

Later, in studying Botticelli,

difficult
it

we
if

shall see
at

how

was

for

any one young

from

the time to escape this tide, even

by temscientific

perament
interests.

farthest

removed

Meanwhile we must continue our study

the naturalists, but
tion.

of

now

of the second genera-

Their number and importance from 1460

is

to 1490

not alone due to the fact that art

education toward the beginning of this epoch

was mainly

naturalistic,

but also to the

craft,

real

needs of a rapidly advancing

and even

more

to the character of the Florentine mind,

the dominant turn of which was to science and

not to

art.

But as there were then no profes-

sions scientific in the stricter sense of the word.

ALESSIO BALDOVINETTI.
and
as art of

47
pursuit of

some form was the

it

a considerable proportion of the male inhabitants of Florence,

happened inevitably that

as an

many
artist.

a lad with the natural capacities of a

Galileo

was

in early

boyhood apprenticed

And

as

he never acquired ordinary

methods of
obliged his

scientific expression,

and never had

time for occupations not bread-winning, he was

life

long to

make
of

of his art both

the subject of his strong instinctive interest in

science,

and

the

vehicle

conveying

his

knowledge
This was

to others.
literally

the case with the oldest

the

among

the leaders of

new

generation,

Alessio Baldovinetti, in whose scanty remaining works no trace of purely artistic feeling or
interest can be discerned
;

and

it

is

only less
far

true of Alessio's

somewhat younger, but

These
also

more

gifted contemporaries,

Antonio Pollaiuolo

and Andrea Verrocchio.

we should
of

scarcely suspect of being

science,
if

more than men

Pollaiuolo once or twice, and Verfrequently, did not dazzle us with

for our

rocchio

more

works of almost supreme art, which, but

readiness to believe in the manifold possibilities

48

POLLAIUOLO AND VERROCCHIO

of Florentine genius,

we should with exceeding

difficulty accept as their creation

so

little

do

they seem to result from their conscious

ing.

striv-

Alessio's attention being largely devoted

to problems of vehicle

which

is

scarcely superior to cookery

little else,

to the side of painting he had

in

time for

although that spare time he

the render-

gave to the study of landscape,

ing of which he was

among

the innovators.

Andrea and Antonio

set themselves the

much

worthier task of increasing on every side the

effectiveness of the figure arts, of which, sculpt-

ure no less than painting, they aimed

masters.

to

be

To confine ourselves, however, we may to painting, and leaving

already said,
is,

as closely as

aside for the

I

present the question of colour, which, as

in

have

Florentine

art, of

entirely

subordinate importance, there were three directions in which painting as Pollaiuolo

rocchio found
it

it

and Verhad greatly to advance before

could attain

its

maximum

of effectiveness

movement, and the nude. Giotto had attempted none of these. The nude, of
landscape,
course, he scarcely touched
;

movement he

sug-

POLLAIUOLO AND VERROCCHIO

gested admirably, but never rendered
;

49

and

in

landscape he was

satisfied

with indications

hardly more than symbolical, although quite

adequate to his purpose, which was to confine

himself to the

human figure. In all directions Masaccio made immense progress, guided by

it

his never failing sense for material significance,

which, as

led

him

to render the tactile values

of each figure separately, compelled

him

also

to render the tactile values of groups as wholes,

and

of their landscape surroundings

by pre-

ference, hills so

shaped as readily to stimulate

the tactile imagination.

For what he accommovement, we have

his

plished in the nude and in

his

"Expulsion" and
" to witness.

"Man Trembling
in his

with Cold

But

works neither

landscape nor movement, nor the nude, are as

yet distinct sources of artistic pleasure
to say, in themselves life-enhancing.

that

is

Although

we can

well leave the

nude
the

until

we come
we

to

Michelangelo,

who was

first

to completely can-

realise its distinctly artistic possibilities,

not so well dispense with an enquiry into the

sources of our aesthetic pleasure in the representation of

movement and

of landscape, as

it


50

REPRESENTATION OF MOVEMENT
in these

was

movement by Pollaiuolo especially, and in landscape by Baldotwo directions

in

vinetti,

Pollaiuolo,

and Verrocchio

that

the

great advances of this generation of Florentine

painters were made.

VIII.

Turning our attention

which, by the way,
is

first

to

movement

not the same as motion,

mere change of place

it

we

find that

we

realise

just as

we

realise objects,

by the stimulation

of our tactile imagination, only that here touch

retires to

a second place before the muscular

feelings of varying pressure

(to take

and

strain.

I see

an example) two

men

wrestling, but

unless

my

retinal impressions are

immediately

translated into images of strain

in

and pressure

my
in

muscles, of resistance to
all

my weight,

of to

touch

over

my
I

body,

it

means nothing

me
men

terms of vivid experience

if

not

more,

perhaps, than
are

heard some one say "

Two

wrestling."
in
fact,

Although a wrestling
contain

match may,
artistic

many
it

genuinely

elements, our enjoyment of

artistic
;

can never

be quite

we

are prevented from com-

REPRESENTATION OF MOVEMENT
pletely realising
interest in the
it

not only by our dramatic

also,

game, but

granting the

possibility of being devoid of dramatic interest,

by the succession
fatiguing, even

of

movements being too

rapid for us to realise each completely, and too

if

realisable.

Now

if

way

could be found of conveying to us the realisation of

movement without
of

the confusion and

the fatigue

the

actuality,

we

should

be

getting out of the wrestlers

more than they

heightening of

themselves can give us

vitality

the

which comes to us whenever we keenly

such as the actuality
itself

realise life,

would

give us, plus the greater effectiveness of the

heightening brought about by the

tenser,

clearer, in-

and

less fatiguing realisation.

This

is

precisely what the artist

who
:

succeeds in repre-

senting
it

as

movement achieves making us realise we never can actually, he gives us a

is

heightened sense of capacity, and whatever

in

the actuality enjoyable, he

leisure.

allows us

to

enjoy at our

In words already familiar

to us, he extracts the significance of movements,

just as, in rendering tactile values, the artist

extracts the corporeal significance of objects.

52

REPRESENTATION OF MOVEMENT
is,

His task

however, far more

:

difficult,

although

less indispensable it is not enough that he should extract the values of what at any given

moment
what
ment.
at

is

an actuality, as
really

is is

an object, but

no moment

namely movepar-

He

can accomplish his task in only one

is

way, and that

ticular
all

by so rendering the one

movement that we shall be able to realise movements that the same figure may " He is grappling with his enemy now,'' make.
other
I

say of

my

wrestler.

"

What

a pleasure to be

able to realise in
chest, with
is in

my own muscles, on my own my own arms and legs, the life that
is

him

as he

making
I

his

supreme

effort

What

a pleasure, as

look away from the repre-

sentation, to realise in the

same manner, how

relax,

after the contest his muscles will

rest

and

trickle like a refreshing

!

stream through

his nerves

"

All this

I shall

be made to enjoy

by the artist who, in representing any one movement, can give me the logical sequence
of visible strain

and pressure

in the parts

and

muscles.
It is just

here that the scientific spirit of the

Florentine naturalists was of

immense

service

REPRESENTATION OF MOVEMENT
to art.

53

This logic of sequence

is

to be attained

only by great, although not necessarily more

than empiric, knowledge of anatomy, such per-

haps as the
to

artist

pure would never be inclined

work out

for himself, but just such as

would

be of absorbing interest to those

scientists

by

temperament and

artists

by profession

whom
conpos-

we have
trived to

in Pollaiuolo and, to a less extent, in

Verrocchio.

remember how Giotto render tactile values. Of all the

of
all

We

sible outlines,

the possible variations of

figure

light

and shade that a

may

have, he

selected those that

we must

isolate for special

when we are actually realising it. If we say figure in movement, the same statement applies to the way Pol. laiuolo rendered movement with this differattention
instead of figure,
ence, however, that he
actuality
line

had to render what

in

we
light

never can perfectly

isolate, the

and

and shade most

This the

significant of

any

given action.

artist

must construct

himself out of his dramatic feeling for pressure

and strain and

his ability to articulate the figure

in all its logical

sequences,

for, if

he would con-

vey a sense of movement, he must give the line

54

"BATTLE OF THE NUDES"

light

and the

and shade which

will best

render

not tactile values alone, but the sequences of

articulations.
It

would be

difficult

to find

more

effective

illustration of all

that has just been said about

movement than one

ments, where
little

or two of Pollaiuolo's

own
re-

works, which, in contrast to most of his achieve-

more than
art.

effort

and

search are visible, are really masterpieces of

life-communicating
his

Let us look

first

at

engraving known as the "Battle of the

Nudes."
to
this

What
?

is

it

that

makes us return
renewed, ever
in-

sheet with

ever

creased pleasure
faces of
less

Surely

it is

not the hideous

their scarcely

most of the

figures

and
it

hideous bodies.

Nor
is

is

the pattern as

decorative design, which

deed, but not at
all in

of great

beauty

in-

proportion to the spell

all is it

exerted upon us.

of us

Least of

for most
in

an

interest in the technique or history

of engraving.

No, the pleasure we take

these savagely battling forms arises from their

power to
at the

directly

communicate

life,

to im-

mensely heighten our sense of

vitality.

Look

combatant prostrate on the ground and

; !

"

HERCULES STRANGLING DA VW "

55

his assailant

bending over, each intent on stabSee

bing the other.

how

the prostrate

man

plants his foot on the thigh of his enemy, and

note the tremendous energy he exerts to keep

off

the foe, who, turning as upon a pivot, with

his grip

on the other's head, exerts no

less force

to keep the advantage gained.

of
all

The significance
is

these muscular strains and pressures

so

rendered that

we cannot

help realising them

all

we imagine

ourselves imitating

the move-

ments, and exerting the force required for them

and
If
all

all

without the least effort on our

side.

this

without moving a muscle, what

feel if

should

we

we

too had exerted ourselves

And

thus while under the spell of this illusion

hyperaesthesia not bought with drugs,
for

this
own

and not paid

vitality

with cheques drawn on our

the elixir of
life,

we

feel as if

not our

sluggish blood, were coursing through our

veins.

Let us look now at an even greater triumph

of movement than theNudes, Pollaiuolo's " Her-

cules Strangling Antaeus."

As you

realise the

suction

of

Hercules' grip on the earth, the

that

swelling of his calves with the pressure

56
falls

VERROCCHIO

AND LANDSCAPE

on them, the violent throwing back of his as you chest, the stifling force of his embrace
;

realise the supreme effort of Antaeus, with orie

hand crushing down upon the head and the other tearing at the arm of Hercules, you feel
as
if

a fountain of energy
feet
I

had sprung up under

through

your
veins.

and were playing

your
still

cannot refrain from mentioning

another masterpiece, this time not only

of

movement, but
beauty as well

of tactile values
Pollaiuolo's "

and personal
" at Berlin.

David

The young

warrior has sped his stone, cut off

the giant's head, and

now he
still

strides over

it,

his

graceful, slender figure

vibrating with the

if

rapidity of his triumph, expectant, as

fearing

the ease of

it.

What lightness, what buoyancy

realise the

wefeel as we
derful youth

movement of

this

won-

IX.
In
all

that concerns

movement, Verrocchio
initi-

was a learner from Pollaiuolo, rather than an

ator,

and he probably never attained his master's proficiency. We have unfortunately but few
terms for comparison, as the only paintings


VERROCCHIO

AND LANDSCAPE

57

which can be with certainty ascribed to Verrocchio are not pictures of action.

drawing

however

like that of his angel, in the British

Museum, which attempts

as the Hercules
lection,
is

as

much movement
same
col-

by

Pollaiuolo, in the

of obviously inferior quality.

Yet
for

in

sculpture, along with

as harbingers of

works which are valuable

Leonardo rather than

any

intrinsic perfection,

he created two such masas the " Child with the

terpieces of

movement

Dolphin " in the courtyard of the Palazzo Vecchio,

and the Colleoni monument

if

at

Venice

the latter sinning,

at

all,

by an over-exuberBut
in

ance of movement, by a step and swing too

suggestive of drums and trumpets.

landscape Verrocchio was a decided innovator.

To understand what new elements he introduced, we must at this point carry out our
determination to enquire into the source of our
pleasure in landscape painting
;

or rather

to
is

avoid a subject of vast extent for which this

not the place

tised

of

landscape painting as prac-

by the

Florentines.
first

Before Verrocchio, his precursors,

Alessio

Baldovinetti and then Pollaiuolo, had attempted

58

LANDSCAPE PAINTING

to treat landscape as naturalistically as painting

would permit. Their

view

ideal

was to note

it

down

with absolute correctness from a given point of

;

their subject almost invariably the Val;

darno
this

their achievement, a bird's-eye view of

Tuscan paradise.
conveyed by

Nor can

it

be denied
is

that this gives pleasure, but the pleasure

only

such as

is

tactile values.

Instead
in

of having the

difficulty

we should have
them
life.

nature to distinguish clearly points near the

horizon's edge,

we here

see

perfectly and
feel great
if

without an

effort,

and in consequence

confirmation of capacity for

Now

land-

scape were, as most people vaguely believe, a

pleasure coming through the eyes alone, then

the Pollaiuolesque treatment could be equalled

by none that has followed, and surpassed only by Rogier van der Weyden, or by the quaint

German

"

Master of the Lyversberg Passion,"

us see objects miles

who makes

away with

as

great a precision
local colour as

and with

as

much

intensity of

a few

feet.

if we were standing off from them Were landscape really this, then

nothing more

inartistic

than gradation of
all

tint,

atmosphere, andplein air,

of

which help

to

VERROCCHia S LANDSCAPES

59

make

distant objects less clear, and therefore

tend in no
capacity.

way

to

heighten

our sense of
fact the pleasis

But

as a matter of

ure

we

take in actual landscape

only to a

limited extent an affair of the eye, and to a

great extent
being.

one of unusually intense wellpainter's problem, therefore,

is

The

not

merely to render the

tactile values of the visi-

ble objects, but to convey,

more rapidly and

the consciousof well-

unfailingly than nature

ness of an unusually

would do,

intense degree

being.

This

task

the
of

communication
feelings

by
such

means purely
chiefly

visual

occasioned
is

by sensations
is

non-visual

of

difficulty that, until recently, successes in the

rendering of what
art,

peculiar to landscape as an

and to landscape alone, were accidental

and sporadic.
lem seriously
the

Only now,

in

our

own

days,

may
at

painting be said to be grappling with this prob;

and perhaps we are already

which
will

dawn

of an art

have to what
rela-

has hitherto been

called landscape, the

tion of our music to the music of the Greeks or of the

Middle Ages.

Verrocchio was,

among

Florentines at

least.

6o
the
first

VERROCCHIO'S LANDSCAPES
to feel that a faithful reproduction of
is

the contours
of nature
is

not landscape, that the painting

art distinct

an

from the painting of

differ-

the figure.

He

scarcely

knew where the

in each,

ence

lay,

but

felt

that light and atmosphere play

an entirely different part

and that

in

landscape these have at least as

much

import-

ance as

tactile

values.

vision of plein air,

vague

must

grant,

seems to have hovered be-

fore him, and, feeling his powerlessness to cope

with

it

in full

effects

of light such as

he

at-

tempted

in his earlier pictures,

he deliberately

chose the twilight hour, when, in Tuscany, on

fine

days,

the

trees

stand out almost black

against a sky of light opalescent grey.

To

ren-

der this subduing, soothing effect of the coolness and the

dew

after the glare

and dust
in

of the

day
"

the
"

effect so

matchlessly given

Gray's

Elegy
and

seemed to be
we
feel that

his first desire as a pain(in

ter,

in

presence of his " Annunciation "

the Uffizi),

he succeeded as only one

other Tuscan succeeded after him, that other

being his

own

pupil Leonardo.

GENRE ARTISTS.
X.
It is

a temptation to hasten on from Pollaiu-

olo and Verrocchio to Botticelli and Leonardo,

to

men

of genius as artists reappearing again

after

two generations, men who accomplished

But from these

with scarcely an effort what their precursors had

been toiling
even more

after.

it

would be

difficult

than at present to turn back

to painters of scarcely

any rank among the

world's great artists, and of scarcely any im-

portance as links in a chain of evolution, but not to be passed by, partly because of certain
qualities they

do possess, and partly because

in

their

names would be missed

this, of

an account,

even so brief as

Florentine painting.

The men

chiefly refer to,

one most active

to-

ward the middle and the other toward the end

of the fifteenth century, are

Benozzo Gozzoli

and Domenico

Ghirlandaio.

Although they

have been rarely coupled together, they have

much

in

common.

Both were,

as artists, little

more than mediocrities with almost no genuine feeling for what makes painting a great art.

The

real attractiveness of

both

lies

entirely out-

62

BENOZZO GOZZOLI

side the sphere of pure art, in the realms of

genre

illustration.

And
;

here

the

likeness

between them ground they

ends

within

their

common
not

differed widely.
facility

Benozzo was gifted with a rare

only of execution but of invention, with a

spontaneity, a freshness, a liveliness in telling a

story that

wake the

child in us,

and the lover of

the fairy
gifts

tale.

Later

in life, his

more precious
to
resist

deserted him, but

who wants

the

fascination of his early works, painted, as they

seem, by a Fra Angelico

who had

forgotten

heaven and become enamoured of the earth and

the spring-time?
coes,

In his Riccardi Palace

fres-

he has sunk already to portraying the

Florentine apprentice's dream of a holiday in

the country on St. John's

ideal of luxury

Day

but what a naif

!

and splendour

it is

With these,

the glamour in which he saw the world began to

fade

away from him, and

it is

in his

Pisan frescoes

we

have,

true,

many

a quaint bit of genre

(superior to Teniers only because of superior

associations),

but never again the fairy

it is

tale.

And

as the better recedes,

all

replaced by the

worse, by the bane of

genre painting, non-

GHIRLANDAIO
significant detail,

63
taste.

and positive bad

London

or

New York

or Berlin worse to

Have show

us than the jumble of buildings in his ideal of a great city, his picture of Babylon
?

It

may

be said he here continues mediaeval

tradition,

which

is

quite true, but this very fact indicates

his real place, which, in spite of his adopting so

many

of the fifteenth-century improvements,

is

not with the artists of the Renaissance, but with

the story-tellers and costumed fairy-tale painters of the transition,

with Spinello Aretino and

Gentile da Fabriano, for instance.

And

yet,

once

in a while,

he renders a head with such

character, or a movement with such ease that we wonder whether he had not in him, after
all,

the making of a real

artist.

Ghirlandaio was born to far more science and

cunning

in

painting than was current in Beall

nozzo's early years, and

that industry,

all

that love of his occupation,

all

that talent even,

;

can do for a man, they did for him

but unfor-

tunately he had not a spark of genius.

He
Pol-

appreciated
laiuolo's

Masaccio's

tactile

values,

movement, Verrocchio's effects

in so

of light,

and succeeded

sugaring

down what he

64
\

GHIRLANDAIO
su-

adopted from these great masters that the

perior philistine of Florence could say
:

"

There
any
of

now
I

is

man who knows

!

as

much

as

the great men, but can give

me something

that

can really enjoy "

Bright

colour, pretty

faces,

good

likenesses,

and the obvious everydelightful,

it

where

attractive

and

must be

granted, but, except in certain single figures,

never significant.
his

Let us glance a moment at

in

famous frescoes

Santa Maria Novella.

To

begin with, they are so undecorative that, in

spite of the tone

and surface imparted

still

to

them

by four
side,

centuries, they

suggest so

many

tableaux vivants pushed into the wall side by

and

in tiers.

Then
"

the compositions are

as overfilled as the sheets of an illustrated news-

paper

witness

the

Massacre of the Innomagnificent

artistic

cents," a

scene of such

possibilities.

Finally, irrelevant episodes

and

irrelevant groups of portraits

do what they can

to distract our attention from all higher signifi-

cance.

Look at

the " Birth of John "

Ginevra

dei Benci stands there, in the very foreground,

staring out at

you

as

stiff

as

if

she had a photo-

grapher's

iron

behind

her

head.

An

even

LEONARDO
larger

6?
in all

group of Florentine housewives

their finery disfigures the " Birth of the Virgin,"

which
off

is

further spoiled

by a bas

relief to

show

the painter's acquaintance with the antique,

and by the figure of the serving maid who

pours out water, with the rush of a whirlwind
in her skirts

this to

show

off skill in

the renas in his

dering of movement.
"

Yet elsewhere,

Epiphany

" in the Ufifizi, Ghirlandaio has un-

deniable charm, and occasionally in portraits

his talent, here at its highest, rises
ocrity, in

above medi-

one instance, the fresco

of Sassetti in

Santa Trinitk, becoming almost genius.

XL
All that Giotto and Masaccio had attained
in the rendering of tactile values, all that

Fra

Angelico or Filippo had achieved

sion, all that

in

expresin

Pollaiuolo had

accomphshed

movement, or Verrocchio

in light

and shade,

Leonardo, without the faintest trace of that

tentativeness, that painfulness of effort

which

characterised his immediate precursors, equalled

or surpassed.

Outside Velasquez, and perhaps,

when

at their best,

Rembrandt and Degas, we

66

LEONARDO

shall seek in vain for tactile values so stimulat-

ing and so convincing as those of his "

Mona
as

Lisa "

outside Degas,

we

shall
art of

not find such

supreme mastery over the

in the unfinished "

movement

Epiphany
left

" in

the UfiBzi

and

if

Leonardo has been

far

behind as a

painter of light, no one has succeeded in con-

veying by means of light and shade a more

penetrating feeling of mystery and awe than he
in his " Virgin of the

Rocks."

Add

to

all this,

a feeling for beauty and significance that have

scarcely ever been approached.

youth so poignantly

attractive,

Where again manhood so polike

tently virile, old age so dignified and possessed

of

the

world's secrets

Who

Leonardo

has
child
like

depicted

the

mother's happiness in her

and the

child's joy in

being alive

who

Leonardo has portrayed the

timidity, the
refine-

newness to experience, the delicacy and

ment
tions,

of

maidenhood

or the enchantress intuifascination

of

the

inexhaustible

the

woman in her years of mastery ? Look at his many sketches for Madonnas, look at Donna
Laura Minghetti's
" Profile of a

Maiden," or

at

the Belle Joconde, and see whether elsewhere

LEONARDO
you
of
find their equals.
it

6/
artist
:

Leonardo is the one

whom

may be

said with perfect literalness into

Nothing that he touched but turned

thing of eternal beauty.

Whether

it

be the

cross-section of a skull, the structure of a weed,

or a study of muscles, he, with his feeling for

line
it

and

for light

and shade, forever transmuted

;

into life-communicating values

and

all

with-

out intention, for most of these magical sketches

were dashed

off

to illustrate purely scientific

matter, which alone absorbed his

mind

at the

moment.

And
is

just as his art

is

life-communicating as

that of scarcely another, so the contemplais

tion of his personality

of scarcely

life-enhancing as that

any other man.

a sculptor and

Think that great

less re-

though he was as a painter, he was no

nowned

as

architect, musician

and improviser, and that

whatsoever were
in

all artistic

occupations

his career

but moments

snatched from the pursuit of theoretical and

practical

knowledge.
field

It

would seem

as

if

there

were scarcely a
either foresaw
it,

of -modern science but he

it

in vision, or clearly anticipated

scarcely a realm of fruitful speculation of

68

LEONARDO
;

which he was not a freeman

and as

if

there

were hardly a form of human energy which he

did not manifest.
of
life

And

all

that he

demanded
!

was the chance to be useful

Surely,
tidings

such a

man

brings us the gladdest of

of

all

the

wonderful possibilities

the

human
little
it

family, of

whose chances we
was
that
to

all

partake.
of
as

Painting, then,

Leonardo so

a preoccupation

we must

regard
at

merely a mode of expression used

moments

by a man of universal genius, who recurred to it only when he had no more absorbing occupation, and only

when

it

could express what

nothing else could, the highest spiritual through

the highest material significance.

And

great

though
for

his

mastery over

his craft, his feeling

it

significance

was so much greater that

caused him to linger long over his pictures,

labouring to render the significance he
felt

but

which

his

hand could not reproduce, so that

he rarely finished them.

quantity, but have

We
mere

thus have lost in

we

lost in quality ?
artist,

Could a

mere
and

painter, or even a
felt as

have seen

Leonardo?

We may

well doubt.

We

are too apt to regard a universal genius as

BOTTICELLI
a number of ordinary brains
in

69

somehow conjoined
means

one

skull,

and not always on the most neigh-

bourly terms.

We

forget that genius

mental energy, and that a Leonardo, for the

self-same reason that prevents his being merely
a painter

the

fact that

it

does not exhaust a

hundredth part of

his

energy

will,

when he
above

does turn to painting, bring to bear a power of

seeing, feeling,

and rendering,

as utterly

that of

the ordinary painter as the "

Mona

Lisa " is above, let us say,

" Portrait of his Wife."

Andrea
let

del Sarto's

No,

us not join in
for

the reproaches

made
;

to

Leonardo

having

painted so

little

because he had

much more
us heirs to
art ever

to do than to paint, he has

left all of

one or two of the supremest works of

created.

XII.

Never

pretty, scarcely ever

;

charming or even
and
selill-

attractive

rarely correct in drawing,

in

dom

satisfactory
;

colour

in

types,

favoured dolorous

in

feeling acutely intense

is
it

and even

what

then that makes Sandro

Botticelli so irresistible that

nowadays we may

70

BOTTICELLI

have no alternative but to worship or abhor

him?

The

secret

is

this,

that

in

European

painting there has neveragain been an artist so

indifferent to representation

and so intent upon

triumph-

presentation.

Educated
with

in a period of
first

ant naturalism, he plunged at

representation
earnestness
trained
;

into

mere

almost

self-obliterating

the pupil of Fra Filippo, he was

spiritual

to a love of

genre ; himself

gifted with strong instincts for the significant,

he was able to create such a type of the thinker

as in his fresco of St.

Augustin

yet in his best

signifi-

years he

left

everything, even spiritual

cance, behind him, and

abandoned himself to the

presentation of those qualities alone which in a

picture are directly life-communicating, and hfe-

enhancing.
in

Those

of us

who

care for nothing

it

the

work

of art but

what

represents, are

by his unhackneyed types and quivering feehng but if we are such as have an imagination of touch
;

either powerfully attracted or repelled

and of movement that

it is

easy to stimulate,
if

we

feel

a pleasure in Botticelli that few,

any,

other artists can give us.

we have exhausted both the intensest sympathies and

after

Long

BOTTICELLI

71

the most violent antipathies with which the

representative elements
in

his

pictures

may
its

have inspired

us,

we
is

are only on the verge of

fully appreciating his real genius.

This in

happiest
perfectly

moments

an unparalleled power of
of

combining values

touch

with

values of movement.

Look,

for

instance, at

BotticeUi's

"Venus

Rising from the Sea."

imagination
itself
is

Throughout, the tactile

roused to a keen activity, by

life

almost as

heightening as music.
is

But

the power of music

even surpassed where, as

in the goddess' mane-like tresses of hair flutter-

ing to the wind, not in disorderly rout but in

masses yielding only after resistance, the move-

ment
tire

is

directly life-communicating.

The

en-

picture presents us with the quintessence

is

of all that

pleasurable to our imagination of

touch and of movement.

How we

revel in the
life

force and freshness of the wind, in the

of

the

wave

And
Venus

such an appeal he always

makes.
"

His subject
of

may be

fanciful, as in the

Realm
in

" (the "Spring"); religious,

as

the Sixtine

Chapel frescoes or
;

in

the
the

" Coronation of the Virgin "

political, as in

72

BOTTICELLI

recently discovered " Pallas Taming a Centaur"

or even crudely allegorical, as in the

frescoes,

Louvre

no

matter

how

unpropitious,

how
is

abstract the idea, the vivid appeal to our tactile

sense, the life-communicating

movement
it

al-

ways

there.

Indeed, at times

seems
artistic

that the

less artistic the

theme, the more

the

ful-

filment, the painter being impelled to give the

utmost values of touch and movement to just

those figures which are liable to be read
off as

mere empty symbols.

the
" Pallas,"

Thus, on the figure

representing political disorder

in

the

Centaur

Botticelli

has lavished his

most intimate
and flanks
in

gifts.

He
way

constructs the torso

that every line, every

such a

indentation, every boss appeals so vividly to the

sense of touch that our fingers feel as

if

they

had everywhere been

in

contact with his body,

still

while his face gives to a

heightened degree

this convincing sense of reality, every line func-

tioning perfectly for the osseous structure of

brow, nose, and cheeks.

ine shapes having the

As to

the hair
life

imagyou
and

supreme

of line

may

see in the contours of licking flames,

all

yet possessed of

the plasticity of something


LINEAL DECORATION
which caresses the hand that models
it

-Jl

to

its

own
In

desire!
fact,

the mere subject, and even reprein

sentation

general,

was so

indifferent
if

to

Botticelli, that

he appears almost as

haunted

by the idea
a

of

communicating the unembodied

values of touch and movement.

Now
by

there

is

way

of

rendering even tactile values with

is

almost no body, and that

translating

them

as faithfully as

may
:

be into values of

movement.

For instance

we want to render
;

the roundness of a wrist without the slightest

touch of either light or shade

we simply
falls

give

movement of the wrist's movement of the drapery as it

the the roundness
is

outline and the

over

it,

and

communicated to us almost
movement.
But
let

entirely in terms of

us go

one step further.

Take

this line that renders

the roundness of the wrist, or a more obvious

example, the lines that render the movements

of the tossing hair, the fluttering draperies,

and

the dancing waves

in the " Birth of

all

take these lines alone with

Venus " their power of

stimulating our imagination of movement, and

what do we have

Pure values of movement

74

LINEAL DECORATION
any representaline,

abstracted, unconnected with

tion whatever.

This kind of

then, being

the

quintessence of movement, has, like the

essential elements in all the arts, a

power
an

of

stimulating our imagination

and of directly
imagine
art

communicating

life.

Well

made up

entirely of

these

quintessences of

movement-values, and you

that holds the

will

have something

same

relation to representation

that music holds to speech

and
the

this art exists,

and
arts

is

called lineal decoration.

Botticelli

In this art of
rivals in

Sandro

may have had

in

Japan and elsewhere

East,

but

in

Europe never.
to
sacrifice

To

its

demands he was ready

everything that habits acquired

under Filippo and Pollaiuolo,

ployers
!

and
lent

his

em-

would
was
for

permit.

The
a

representative
libretto
:

element

him

mere

he

was happiest when

translation into

his subject

itself to

what may be
to this
;

called a lineal

symphony.

And

symphony everything
were
transfor the

was made to yield

tactile values

lated into values of

movement, and,

same reason

to

prevent the drawing of the

it

eye inward, to permit

to devote itself to the

POPULARISERS OF ART
rhythm
of

75

the

line

the

backgrounds were

either entirely suppressed or kept as simple as

possible.
for
its

Colour

also,

with almost a contempt

function,
Botticelli

representative

en-

tirely

subordinated to his lineal scheme, comit

pelling

to draw attention to the line, rather

usual,

than, as

is

away from

it.

This

is

the explanation of the value put upon

Botticelli's masterpieces.-

In some of his later

works, such as the Dresden predelle,

it is

we

have,

true,

bacchanals rather than symphonies of

in

line,

and

many
so

of his earlier paintings, in the

"

Fortezza" for instance, the harness and trap-

pings

have

disguised

Pegasus

that

we

scarcely

know him from

a cart horse.

But the

painter of the "

Venus Rising from the Sea,"

of the " Spring," or of the Villa

Lemmi

fres-

coes

is

the greatest artist of lineal design that

Europe has ever had.

XIII.

Leonardo and

Botticelli, like

Michelangelo

after them, found imitators but not successsors.

To communicate more

material and spiritual

significance than Leonardo,

would have taken

j6
an
artist

POPULARISERS OF ART
with deeper feeling for significance
of design than Botti-

to get

more music out

celH, would have required a painter with even

greater passion for the re-embodiment of the

pure essences of touch and movement.

There

were none such

of
Botticelli

in Florence,

and the followers

all

Leonardo's were

Milanese,

and do not here concern us

could but imitate

them down
to

the patterns of their master: the patterns of the

face,

the patterns of the composition, and the

patterns of the line; dragging

their

own

level,

sugaring them

down

to their

own

palate, slowing

them down
is

to their

own

insensitiveness for

what

life-communicating.

And

although their productions, which were

nothing but translations of great man's art into

average

man's

art,

became popular,

as

was

inevitable, with the average

man

of their time,
felt

(who comprehended them better and

comfortable
in their

more

presence than in that of

the originals which he respectfully admired but

did not so thoroughly enjoy), nevertheless

we

need not dwell on these popularisers nor on

their popularisations

not

even on Filippino,

with his touch of consumptive delicacy, nor

FRA BARTOLOMMEO

"Jf

Raffaelino del Garbo, with his glints of never-tobe-fulfilled

promise.

Before approaching the one

left in

man

of genius

Florence after Botticelli and Leonardo,

before speaking of Michelangelo, the

whom
that
art

all

that was most peculiar and

in the striving of
let

man in much

was greatest
found
its

Florentine
turn for a

fulfilment,

us

moment
where

to a few painters who, just because

they were

men

of manifold talent,

might

else-

almost

have

become

masters.

Fra

Bartolommeo, Andrea del Sarto, Pontormo,

and Bronzino were perhaps no
artists

less gifted as

than Palma, Bonifazio Veronese, Lotto,

;

and Tintoretto
being

but their talents, instead of

to

permitted

flower

naturally,
off

were
dex-

scorched by the passion for showing

terity,

blighted

by academic

ideals,

and uproot-

ed by the whirlwind force of Michelangelo.

Fra Bartolommeo,

who

in

temperament was
as a painter

delicate, refined, graceful,

and

had
in-

a miniaturist's feeling for the dainty, was

duced to desert his lovely women, his exquisite

landscape, and his gentleness of expression for
figures constructed mechanically

on a colossal

78
scale,

ANDREA DEL SARTO

or
for
effects
is

of

the

round

at

any

cost.

And

as evil

more obvious than good,

Bartolommeo, the painter of that masterpiece

of colour

and

light

and shade, of graceful move-

ment and charming feeling, the "Madonna with

the Baptist and St. Stephen" in the Cathedral at

Lucca, Bartolommeo, the dainty deviser of Mr.

Mond's tiny "Nativity," Bartolommeo, the

ficer of
is

arti-

a hundred masterpieces of pen drawing,

almost unknown; and to most people Fra

is

Bartolommeo
posity.

a sort of

synonym
as the

for

pom-

He

is

known only
or,

author of

physically

colossal,

spiritually

insignificant

prophets and apostles,

perchance, as the

painter of pitch-dark altar-pieces: this being

the reward of devices to obtain mere

relief.

Andrea
Florentine,

del

Sarto approached perhaps

as

closely to a Giorgione or a Titian as could a

neighbourhood of Leonardo and Michelangelo. As an artist he

ill

at ease in the

was,

it is

true,

not endowed with the profoundwithin the

est sense

for the significant, yet

common humanity who has produced anything more genial than his " Portrait of a Lady " probably his wife with a Petrarch in
sphere of

ANDREA DEL SARTO

her hands?

79

Where out

of Venetia can

we

find portraits so simple, so frank,

and yet so

interpretive as his "Sculptor," or as his various

portraits of himself

these, by the way, an autoAlmost Venetian again

is

biography as complete as any in existence,

and

tragic as few?

his " St.

the sweetest feeling.

technique,

James " caressing children, a work of Even in colour effect, and

how

singularly close
in his "

to

the best

Venetian painting
Trinity"

Dispute about the

what
!

blacks and whites, what greys

!

and purplish browns

And

in addition, tactile

values peculiar to Florence

Sebastian's

what a back

St.

But

in a

work

of scarcely less

technical merit, the "

we

already feel the

Madonna of the Harpies," man not striving to get the

for

utmost out of himself, but panting

grand and magnificent.
almost a great
artist,

the

Even

here, he remains
ro-

because his natural

;

bustness comes to his rescue

but the " Ma-

donna "
saints,

is

too obviously statuesque, and, good

pray

why

all

these draperies ?

The

obviously statuesque and draperies were

Andrea's devices for keeping his head above

water in the rising tide of the Michelangelesque.

8o

ANDREA DEL SARTO

glance in sequence at the Annunziata

As you

frescoes,

on the whole so

full of vivacity, gaiety,

and genuine delight

in life,

you see from one

series,

fresco to another the increased attention given

to draperies.

In the Scalzo

otherwise

masterpieces of tactile values, the draperies do

their

utmost to smother the

figures.

Most

of

these paintings are closed in with ponderous

forms which have no other purpose than to serve

as a frame,

and as clothes-horses

for draperies

witness the scene of Zacharias in the temple,

wherein none of the bystanders dare move for

fear of disturbing their too obviously arranged
folds.

Thus by constantly
and then material
draperies,
tial in art.

sacrificing first spiritual,

significance

to

pose and

Andrea

loses all feeling for the essenis

What

a sad spectacle

his

"Assump-

tion," wherein the Apostles, the Virgin herself,

have nothing better to do than to show

draperies
!

off

Instead of feeling, as in the pres-

ence of Titian's "Assunta," wrapt to heaven,

you gaze

at

number
stuff

of tailor's

men, each

showing how a

you

are thinking of trying

looks on the back, or in a certain effect of light.

PONTORMO
But
let

8
let

us not end on this note

us bear in

mind

that, despite all his faults,

Andrea painted

the one " Last Supper" which can be looked at

with pleasure after Leonardo's.

Pontormo, who had

rator

it

in

him

to be a deco-

and portrait-painter of the highest rank,

his awe-struck admiration for

was led astray by

Michelangelo, and ended as an academic constructor of monstrous nudes.

What he

could

do when expressing himself, we see

as fancy, the freshest, gayest,

in the

lunette at Poggio a Caiano, as design, as colour,

most appropriate
in Italy
;

mural decoration now remaining

what
in his

he could do as a portrait-painter, we see

wonderfully decorative panel of Cosimo dei

Medici at San Marco, or

"

in his portrait of a

Lady with a Dog "

was

(at Frankfort),

perhaps the
sitter's

first

portrait ever painted in

insisted

which the
as

social position

^pon

much

as

the personal character.

to,
all

What Pontormo

sank

we

see in such a riot of meaningless nudes,

caricatures of Michelangelo, as his "Martyrof Forty Saints."

dom

Bronzino,

Pontormo's close

follower,

had

none of
6

his master's talent as a decorator, but

82

BRONZING

happily

much

of his

power as a

portrait-painter.
else

Would he had never attempted anything

The nude without
material or spiritual

signifi-

cance, with no beauty of design or colour, the

nude simply because

his " Christ in

it

was the nude, was

But as a
portrait-

Bronzino's ideal in composition, and the result

is

Limbo."

painter, he took
ter

up the note struck by his masit,

and continued

leaving behind him a series

effect

of portraits
in
all

which not only had their

determining the character of Court painting

over Europe, but, what
is

more

to the point,

a series of portraits most of which are works of

art.

As

painting,
;

it is

true,

they are hard, and

often timid

but their

air of distinction, their

interpretive qualities, have not often been sur-

passed.

In his Uffizi portraits of Eleanoro di

Toledo, of Prince Ferdinand, of the Princess

Maria,

we seem

to see the prototypes of Velas:

quez' queens, princes, and princesses

fine
ter,

and

for a

example of dignified rendering of characlook in the Sala Baroccio of the Uffizi at

a bust of a young hand.

woman

with a missal in her

MICHELANGELO
XIV.
The
great Florentine artists, as

83

we have seen,
upon

were, with scarcely an exception, bent

rendering the material significance of visible

things.

This,
it,

little

though they may have formof

ulated

was the conscious aim

in proportion as
ecclesiastical

most of

them

and

they emancipated

themselves from

dominion, and

found among their employers

men

capable of

understanding them, their aim became more

and more conscious and their striving more

energetic.

At

the pupil of
felt

man who was nobody, the heir of everybody, who

last

appeared the

profoundly and powerfully what to his pre-

cursors

had been vague

instinct,
it all.

who saw and

The seed that
in

expressed the meaning of

produced him had already flowered into a

Giotto, and once again into a Masaccio
;

him, the

last of his race,

born in conditions
all

artistically

most propitious,
had

the energies

re-

maining

in his stock

were concentrated, and

in

him Florentine

art

its logical culmination.

Michelangelo had a sense for the materially

significant as great as Giotto's or Masaccio's,

84

ANTHROPOMORPHISATION IN ART

but he possessed means of rendering, inherited

from

Donatello,

Pollaiuolo,

Verrocchio and
of

Leonardo,

means that
or even

had been undreamt

by Giotto
felt

by Masaccio.

Add

to this

that he saw clearly what before

him had been

in-

only dimly, that there was no other such

strument for conveying material significance as

the

human

nude.

This

fact

is

as closely de-

pendent on the general conditions of realising

objects as tactile values are on the psychology
of sight.
translate

We
them

realise objects

into terms of

when we perfectly our own states, our

is

own
cause

feelings.

So obviously true
realise the

this,

that

even the least poetically inclined among

us, berail-

we keenly
it

movement

of a

way

train, to

take one example out of millions,

speak of
ing on

as going or running, instead of rollwheels, thus being

its

no

less guilty of

anthropomorphising than the most unregenerate savages.

Of

this

same

fallacy

we

are guilty

every time

we

think of anything whatsoever

with the least warmth

thing some

we are lending this human attributes. The more we endow it with human attributes, the less we merely know it, the more we realise it, the more

VALUE OP THE NUDE IN ART

does
it

85

approach the work of

art.

Now there is
realise

one and only one object

in the visible universe

which we need not anthropomorphise to

and
there

that

is

man

himself.

His movements,

his actions, are the only things

we

realise with-

out any myth-making effort

is

directly.

Hence,

no

visible object of such

;

artistic possi-

bilities as

the

human body nothing with which

;

we we

are so familiar

nothing, therefore, in which

;

so rapidly perceive changes

if

nothing, then,

which

represented so as to be realised more

life,

quickly and vividly than in

effect

will

produce

its

with such velocity and power, and so

strongly confirm our sense of capacity for living.

Values of touch and movement, we remember,

are

the specifically artistic qualities in

figure painting (at least, as practised

by the
while
it

Florentines), for

it is

through them chiefly that

life.

painting directly heightens

Now

remains true that

tactile values can, as

Giotto

and Masaccio have forever established, be admirably rendered

on the draped

figure,

yet

drapery

is

a hindrance, and, at the best, only a

way out

of a difficulty, for

we
is

feel
the

it

masking
under-

the really significant, which

form

86
neath.

VALUE OF THE NUDE IN ART

A mere painter,

one

who

is satisfied

to

reproduce what everybody sees, and to paint

for the fun of painting, will scarcely

compreis

hend
as in

this feeling.

His only significant

the

obvious

in a figure, the face

and the clothing,

most of the portraits manufactured nowa-

days.

The

artist,

even when compelled to paint

drapery to render
signifi-

draped

figures, will force the

the nude, in other words the material

cance of the

clearly will this significance shine out,

human body. But how much more how much

will
its

more convincingly
itself,

the character manifest

perfect rendering
!

when between
is

and

the artist nothing intervenes

And

this perfect

rendering
only.

to be accomplished with the

nude

If draperies are

a hindrance to the convey-

ance of tactile values, they

rendering of
realise the

make

the perfect

movement next

to impossible.

To

play of muscle everywhere, to get

the

full

sense of the various pressures and re-

sistances, to receive the direct inspiration of the

energy expended,
here alone can

we must have the nude for we watch those tautnesses of

;

muscle and those stretchings and relaxings and

VALUE OF THE NUDE IN ART

87

ripplings of skin which, translated into similar

strains
realise

on our own persons, make us

fully

movement. Here alone the

translation,

owing to the multitude and the clearness of the

appeals made,
is

instantaneous, and the conse-

quent sense of increased capacity almost as

great as can be attained
figure
;

while in the draped

we

miss

all

the appeal of visible muscle

and skin, and realise movement only after a slow

translation of certain functional outlines, so that

the sense of capacity which

the perception of
slightly.

we
is

receive from

movement

increased but

We
art

are

now

able to understand
is

whose

chief preoccupation

the

why every human

figure

must have the nude

also,

for its chief interest

why,

the nude

is

the

most absorbing

problem of
is it

classic art at all times.

all

Not only
is

the best vehicle for

that in art which

directly life-confirming
it is

and life-enhancing, but

person since the great
fully
art,

itself

the most significant object in the

human

world.

The

first

days of Greek sculpture to comprehend

the identity of the nude with great figure

was Michelangelo.

Before him,

it

had been

88
studied
for

MICHELANGELO
scientific

purposes

as

an aid
that

in
it

rendering the draped figure.

He saw
final

was an end
his art.

in itself,

and the

purpose of

For him the nude and

art

were synony-

mous.

Here

lies

the secret of his successes

and

his failures.

First, his successes.

Nowhere

outside of the

best Greek art shall

we find, as in

Michelangelo's

works, forms whose

tactile values so increase

our sense of capacity, whose movements are so

directly
artists
tile

communicated and
alone,

inspiring.

Other
for tac;

have had quite as much feeling

values
still

Masaccio,
least as
;

for

instance

others

have had at

much
it,

sense of

movement and power

ardo,
for

of rendering

Leonof
it

example

but

no other
all

artist

modern

times, having at

his control over

the materially significant, has employed

as
its

Michelangelo did, on the one subject where

full

value can be manifested

the achievements of

the nude.
modern

Hence
are

of

all

art, his
is

the most invigorating.

Surely not often

our

imagination of touch roused as by his

in the " Creation,"

Adam
ceiling

by

his

Eve

in the "

Tempta-

tion," or

by his many nudes

in the

same

MICHELANGELO
of the Sixtine Chapel,

89

there

for

no other pur-

pose, be

it it

noted, than their direct tonic effect

less rare to quaff

Nor

is

such draughts of

we receive from the "God Creating Adam," the "Boy Angel" standunadulterated energy as
ing by Isaiah, or

to choose one or two instances

(in their

from his drawings

est
in

existence)-^the "

own kind the greatGods Shooting at a

Mark

" or the "

Hercules and the Lion."

And
this

to this feeling for the materially signifiall

cant and

this

power

of conveying

it,

to

all

more narrowly

artistic

capacity, Michel-

angelo joined an ideal of beauty and force, a

vision of a glorious

but

possible
its

humanity,

which, again, has never had

times.

like in

modern
in-

Manliness,

robustness,

effectiveness,

the fulfilment of our dream of a great soul

habiting a beautiful body,

nowhere
in

else so frequently

we shall encounter as among the figures

the Sixtine Chapel.

Michelangelo completed

what Masaccio had begun, the creation of the

type of

man

best fitted to subdue and control

the earth, and,

the earth.

who knows

perhaps more than

But unfortunately, though born and nurtured

90
in a

LAST WORKS OF MICHELANGELO

world where his feeling for the nude and

his ideal of

humanity could be appreciated, he

life in

passed most of his

disasters,

the midst of tragic

the fulness of his
years,

and while yet

in

vigour, in the midst of his

most creative

he found himself alone, perhaps the greatest,

but alas
!

also the last of the giants born so

plentifully during the fifteenth century.

He
in

lived

on

in a

world he could not but despise,

a world which really could

no more employ

him than
he

it

could understand him.

He was
much

not allowed, therefore, to busy himself where

felt

most drawn by
his

his genius, and,

against

own

strongest

impulses, he was

obliged to expend his energy upon such subjects as the " Last
all

Judgment."

His

later works
first in

show

signs of the altered conditions,

an overflow into the figures he was creating of

the scorn and bitterness he was feeling, then in

harmony between his genius and what he was compelled to execute. His pasthe lack of
sion

was the nude,

his ideal power.

But what
for

outlet for such a passion,

what expression
" Crucifixion

such an ideal could there be in subjects like the

" Last

Judgment," or

the

of

1:

LAST WORKS OF MICHELANGELO

Peter"

subjects
Now

which the Christian world

incarnate the

imperatively
fear of the

demanded should

humble and the

self-sacrifice of

the
feel-

patient?
ings as

humility and patience were

to Michelangelo as to

unknown

Dante

before him, or, for that matter, to any other of the world's creative

geniuses

at

any time.

Even had he

felt

them, he had no means of

expressing them, for his nudes could convey a

sense of power, not of weakness
of dread
; ;

of terror, not

of despair, but not of

submission.

And
ment

terror the giant

"

nudes of the " Last Judgnot terror of the Judge,

do

feel,

but

it is

who, being

in

no wise different from the others,

in spite of his

omnipotent gesture, seems to be

announcing rather than willing what the bystanders, his fellows, could not unwill.

As

the

representation of the

moment

before the uni-

verse disappears in chaos

Gods

huddling

to-

gether for the Gdtterddmmerung

the

" Last

Judgment
but
vive

"

is

as grandly conceived as possible

when the
it,

crash comes, none will

sur-

no, not

even

God.

Michelangelo

therefore failed in his conception of the subject,

and could

not

but

fail.

But

where

92
else

LAST WORKS OF MICHELANGELO

in

the

whole world
blasts

of

art

shall

we
from
?

receive

such

of

energy
will,

as

this giant's

dream,

or, if

you

nightmare

For kindred reasons, the

is

" Crucifixion of Peter

"

a failure.

Art can be only life-communicating

If it treats

and life-enhancing. and

of pain

and

death, these must always appear as manifestations

as results only of living resolutely

and

energetically.

What chance

is

there,

ask, for this, artistically the only possible treat-

ment,

in

the representation of a
?

man

crucified

with his head downwards

Michelangelo could

do nothing but make the bystanders, the executioners, all the

more life-communicating, and

therefore inevitably

more sympathetic
!

No
by

wonder he

failed here

What

a tragedy,

the way, that the one subject perfectly cut out

for his genius, the

one subject which required

artistic

none

but

genuinely

treatment, his

"Bathers," executed forty years before these

last

works, has disappeared, leaving but scant

!

traces

Yet even these

suffice to

enable the

competent student to recognise that

position

this commust have been the greatest master-

piece in figure art of

modern

times.

LAST WORKS OF MICHELANGELO

That Michelangelo had
is

93

faults

of his

own

undeniable.
its

As he
fell

got older, and his genius,

lacking

proper outlets, tended to stagnate

into exaggerations

and thicken, he

ex-

aggerations of power into brutality, of tactile

values into feats of modelling.

No

doubt he
such a

was

also at times as indifferent to representa!

tion as Botticelli

But while there

is

is

thing as movement, there

tactile values

no such thing as

without representation.

Yet he

seems to have dreamt of presenting nothing

but tactile values
:

hence his

many drawings

with only the torso adequately treated, the

rest

unheeded.

Still

another result from his

I

passion for tactile values.

have

already

suggested that Giotto's types were so massive

because such figures most easily convey values

of

touch.

Michelangelo

tended

to

similar

exaggerations,to making shoulders, for instance,

too broad and too bossy, simply because they

make thus
tile

more powerful appeal

Indeed,
I

to the tac-

imagination.

venture to go even

farther,
arts,

and suggest that

his faults in all the

sculpture no less than painting, and archi-

tecture no less than sculpture, are due to this

94

CONSTANT AIMS OF FLORENTINE ART

self-same predilection for salient projections.

But

the' lover of the

is

figure arts for

what

in

them

genuinely

artistic

and not merely

ethical, will in

Michelangelo, even at his worst,

as,

get such pleasures

excepting a few, others,

even at their best, rarely give him.

In closing, let us note what results clearly

even from this brief account of the Florentine

school,

namely

that,

although no Florentine

merely took up and continued a predecessor's

work, nevertheless
for the
all,

from

first
is

to last, fought

same

cause.

There

no opposition

between Giotto and Michelangelo.

energies of the
first,

The

best

of the last, and of

all

the

intervening great Florentine artists were persistently

devoted to the rendering of

tactile

values,

or of

movement,
is

or

of both.

Now
all

successful grappling with problems

of form

and of movement
painting, despite
sculpture, the

at the

bottom of
fact,
is,

the

higher arts; and because of this

its

Florentine
after Greek

many

faults,

most serious

figure art in exist-

ence.

INDEX TO THE WORKS OF THE PRINCIPAL FLORENTINE PAINTERS.

NOTE.

The
better

following li^s

make no claim

to absolute completeness,

but no genuine work by the painters mentioned, found in the

known

public or private collections, has been omitted.

With

the exception of three or four pictures, which he

knows
for
in-

only in the photographs, the author has seen and carefully

studied every picture indicated,

the attributions, although he

is

and is alone responsible happy to acknowledge his

debtedness to the writings of Signer Cavalcaselle, of the late

Giovanni Morelli, of Signor Gustavo Frizzoni, and of Dr.

J.

P. Richter.

sculptures, but the

to the lists

For the convenience of students, lists of the more important only, have been appended of pictures by those artists who have left sculptures
first,

as well as paintings.

Public galleries are mentioned

then private collections,

is

and churches
Paris

last.

The

principal public gallery

always

understood after the simple mention of a city or town.

Thus,

means

Paris, Louvre,

London means London, National

title

Gallery, etc.

An

interrogation point after the

of a picture indi-

cates that its attribution to the given painter is doubtful.

works are marked E. or L. need scarcely be said that the attributions here given are not based on official catalogues, and are often at variance with
Distinctly early or late
It

them.
95

96

WORKS OF

MARIOTTO ALBERTINELLI.
1474-1515.
influenced by Lorenzo di Credi.
ship with Fra Bartolommeo.

Pupil of Cosimo RosselU and Pier di Cosimo; Worked in partner-

Bergamo.
Florence.

Lochis, 203.

Crucifixion.
St.

MORELLI,

32.

John and the Magdalen.

Saints.

Academy, 63. Trinity. Madonna and four 167,

169.

Annunciation, 1510.

PiTTi, 365.

Holy Family.
Visitation

Uffizi, 1259.

CORSINI, 160.

and Predella, Holy Family, 1511.

1503.

CertosA (near Florence), Crucifixion, 1506. Annunciation (with Fra Bartolommeo), 1511. Geneva. The Hague. 306. Holy Family with Infant John (Fra
B.'s cartoon).

Milan.

Poldi-Pezzoli.
1 1 14.

Triptych, 1500.

Munich.
Paris.

1057. Annunciation

and two

Saints.

Madonna and

Saints (begun

by

Filip-

pino), 1506.

Pisa.

Countess PouRTALfes, Annunciation. S. Caterina, Madonna and Saints (cartoon by

Fra Bartolommeo), 1512. BoRGHESE, 310. Madonna and Infant John (cartoon by Fra Bartolommeo), 1512.

Rome.

Scotland. Siena.
Stuttgart.

Head of Christ. Gosford House, Lord Wemyss. Madonna. SalaXI, 115. St. Catherine, 1512. 116. The Magdalen, 1512.
421. 242, 243, 244. Coronation

Venice.
Volterra.

Seminario,

18.

and Madonna.
E.

two//ft*.

Duomo, Annunciation.

'

THE FLORENTINE PAINTERS

97

AMICO DI SANDRO.
Altenburg.
79.

Profile of
83.

a Lady.
Portrait of Giuliano dei Medici.

Bergamo.
Berlin.

Morelh,
82.

Brighton.

Madonna. Mr. Constantine Ionides,

meralda Bandinelli."

Portrait of

" Es-

Buda-Pesth.
Chantilly.

Madonna with

St.

Anthony
of

of

Padua and

kneeling Monk.

MustE Cond^,
ture).

Story

Esther (cassone pic-

Florence,

Pitti, 336.
353,

"La

Bella Simonetta.''

Death of Lucretia.

Cenacolo di Foligno (Via Faenza), 100. Madonna and Infant John adoring Christchild.

CoRSiNi, 340. The Five Virtues. Horsmonden (Kent). Mrs. Austen, Madonna and Angel.
E.

London.

1124.

Adoration of Magi.

Madonna and Infant John. Meiningen. Ducal Palace, Nativity. Prince Trivulzio, Profile of Lady. Milan. SCUOLA ToscANA, 32. Madonna and two Naples.
141
2.

Angels.

E.

Museo
Oxford.
Paris.

Filangieri,

1506

bis.

Portrait

of

Young Man, Christ Church,

1663.
Portrait of

4, 5.

Sibyls in Niches.

Young Man.
of

1662*. Story of Virginia (cassone picture).

M. LEOPOLD Goldschmid, Story

(cassone picture).

Esther

Rome.
Scotland.

Count Stroganoff. Two Angels. New Battle, Marquess of Lothian.

tion (lunette).
'

Corona-

See Preface.

98
Turin. Vienna.
98.

WORKS OF
The Three Archangels and Tobias. Lichtenstkin, Bust of Young Man. Two cassone panels from Story of Esther. Castle. St. Stephen a Bishop (small iondt).
;

Warwick

ANDREA DEL SARTO.

1486-1531. Pupil of Pier di Cosimo Bartolommeo and Michelangelo,
;

influenced by

Fra

Berlin.

240.

Bust of his Wife.

246.

Madonna and
Marriage of
61.

Saints, 1528.

Dresden.
Florence.

76. 77.

St. Catherine.

Sacrifice of Isaac,

Academy, Dead 75.

76.
77.

Two

Angels.

Christ (fresco).
Saints, 1528.

Four

Predelle to above.

PiTTi, 58.
66.
81.

Deposition, 1524.

Portrait of Himself.

Holy Family.
Life of Joseph.

87, 88.

124.

Annunciation.

172.
184.

Dispute over the Trinity.

Portrait of Himself.

191.

225.
272.

Assumption, 1531. Assumption, 1526.

The

Baptist.

Uffizi, 93.
188.

" Noli

me

Tangere.''

E.

Portrait of his Wife. Portrait of

280.

Himself
dell'

(fresco).

1112.

Madonna

Arpie, 1517.

1176.
1230. 1254.

Portrait of Himself.
Portrait of
St.

Lady.

James.

THE FLORENTINE PAINTERS

99

Florence (Cow.). Chiostro dello Scalzo. Frescoes from the Life of the Baptist and four Allegorical Figures, begun 1515, interrupted and taken up
again 1522, finished 1526.
SS.

Annunziata, Entrance Court,

five,

frescoes

with the story of

S.

Filippo Benizzi,

1509-1510. Adoration of Magi, 1511. Birth

of Virgin, 1514.

Chapel to

L. of Entrance, Head of Christ. Inner Cloister, Madonna del Sacco, 1525. S. Sal VI, Last Supper (fresco), begun in 1519.

London.
Madrid.

690.

Portrait of a Sculptor.

Hertford House, Madonna and

385.

Angels.

Holy Family and Angel.

Sacrifice of Isaac.

Munich.

Holy Family.
Charity, 1518.

Holy Family.
Caesar receiving Tribute (fresco) 1521.

(Finished by Al. AUori.)

Vienna,

411.

Pieti.

lOO
Florence
{Con.).

WORKS OF
227.

Madonna and

six Saints.

234-237. Fifteen panels with the Life of Christ.

243.

Story of SS. Cosmas and Damian.

246. 250. 251.

Entombment.
Crucifixion.

Coronation. Story of SS. Cosmas and Damian.

four Saints.

252-254. Seventeen panels with the Life of Christ.

257, 258.
265.

Madonna and

266. 281.
283.

Last Judgment.

Madonna and

eight Saints.

Pieti and Saints (predella).

Uffizi, 17.

Madonna, with Angels and

Saints

in frame, 1433.

1162. 1178.
1290.

Birth of St. John (predella to No. 1290).

Sposalizio (predella to

No.

1290).

Coronation.
Triptych.
Frescoes, St. Peter
St.

1294.

MusEO S. Marco, Cloister.

Martyr. St. Dominic at Foot of Cross.

Dominic (ruined). Pieta. Christ as Pilgrim with two Dominicans. St. Thomas Aquinas. Chapter House, Large Crucifixion.

Upper Floor Walls, Annunciation. St. Dominic at Foot of Cross. Madonna and
j

eight Saints.

Rooms
2.
3.

" Noli me Tangere." i. Entombment.

:

Annunciation.
Nativity.

4. Crucifixion.
5.

6.
7.

Transfiguration,

Ecce Homo.
Resurrection.

8.

9.

Coronation.

10. Presentation in

Temple,

THE FLORENTINE PAINTERS

Florence {Con.\
II.

lOI

Madonna and

Saints.

15 23. Crucifixions (some ruined).

24. Baptism. 25. Crucifixion. 26.

Pieti.

28. Christ bearing Cross.

3132.

Descent to Limbo. Sermon on the Mount. Also small Madonna 33. Betrayal of Judas. and Angels (panel). 34. Agony in Garden.
35- Institution of Eucharist.
36.

Nailing to Cross.

37- Crucifixion.

38.

Adoration of Magi and Pieti.

(near Florence),

42, 43. Crucifixion.

S.

DoMENico
Credi).

Madonna and

Saints (architecture and landscape by L. di

Sacristy of adjoining Monastery, Crucifixion (fresco).

London. Madrid. Munich.

Orvieto.

663.
14.

Paradise.

Annunciation.

Oxford.
Paris.

Legends of Saints. Entombment. DuoMO, Chapel of S. Brizio, Ceiling frescoes, 1447 (assisted by Benozzo Gozzoli). University Museum, 5. Triptych.
989-991.
992.

1290.
1293. 1294.

Coronation.

Martyrdom

of

Cosmas and Damian.

Crucifixion (fresco).

Parma.
Perugia.
Pisa.

Rome.

Sal A III, 25. Madonna and four Saints. Sala V, 1-8. Altar-piece in many parts. Sala VI, 7. Salvator Mundi. Corsini, Sala VII, 22. Pentecost.
23.

Last Judgment.

I02

WORKS OF
24.

Rome (Co.).

Resurrection.

Vatican. Gallery. Madonna. TwoPredelle. MuSEO Cristiano, Case Q, V. St. Francis receiving the Stigmata.

Turin.

Frescoes from and Lawrence. L. Count Stroganoff. Small Tabernacle. Adoring Angels. 94, 96.
of Stephen

Chapel of Nicholas V.

lives

BACCHIACCA

(Francesco Ubertini).

About 1494-1557. Pupil of Perugino and Frauciabigio influenced by Andrea del Sarto and Michelangelo.
Asolo.
SiG.

G.

Bartoldl

Madonna,

St.

Elizabeth,

Bergamo.
Berlin.

and the Holy Children. MORELLI, 62. Death of Abel.

267.
80.

Baptism.

Dresden. Florence.

Legendary Subject, 1523. Pitti, 102. The Magdalen. Uffizi, 87. Descent from Cross.
1296.

Life of St. Ascasius (predella).

Bardini Collection, Moses striking the Rock. CoRSiNi, 164. Madonna, Infant John, and
Sleeping Child.
206.

Portrait of

Man,

1540.

London.

1218, 1219. 1304.

Story of Joseph.

Marcus Curtius.

Mr. Charles Butler, Portrait of Youth. Sir a. Naylor Leyland, Creation of Eve.
Milan.
SiG. B. Crespi, Adoration of Magi. Madonna. Dr. G. Frizzoni, Adam and Eve. 1077. Madonna and Infant John. Christ Church, 55. " Noli me Tangere."
57.

Munich.
Oxford.

Resurrection of Lazarus.

Richmond. Sir Francis Cook, Holy Family. Rome. Borghese, 425, 426, 427, 440, 442, Joseph, 338. Madonna,

463.

Life ot

THE FLORENTINE PAINTERS

Venice.

103

Seminario, 23. Madonna. Prince Giovanelli, Moses striking the Rock. Wiesbaden. 114. Madonna and Infant John.

ALESSIO BALDOVINETTI.
1427-1499.
Pupil of

Domenico Veneziano

influenced

by

Paolo Uccello.

Bergamo,
Florence.

Morelli,

23.
33.

Portrait of

Himself

(fresco).
;

Academy,
159.

Marriage of Cana

Baptism

Transfiguration, 1448.
Trinity, 1472.

Uffizi, 56.
60.

Annunciation.
Saints.

Madonna and

Palazzo Panciatichi, 117. Madonna. SS. Annunziata, Entrance Court, Nativity

(fresco), 1462.

DuoMO, Sacristy,
S.

Nativity

Circumcision

(in-

tarsias after cartoons), 1463.

MiNlATO, Portuguese Chapel, Annunciation,

Prophets

(fresco), 1466.

S.

Pancrazio (Ruccellai Chapel), Resurrected

Christ (fresco), 1467.

S.

Noah, TrinitA, Choir, Ceiling frescoes Moses, Abraham, David Lunette Sacrifice
: ; ;

of Isaac, 1472-1497.

Paris.

1300*.

Madonna.

Mme. Edouard Andr^, Madonna.

FRA BARTOLOMMEO
1475-1517.

(Baccio della Porta).

;

Pupil of Pier di

Cosimo

influenced by Leonardo

and Michelangelo.

Ashridge.
Berlin.

Lord Brownlow, Madonna.

249.

Besan^on,

Cathedral, Madonna

Assumption (upper part by Albertinelli). in glory, and Saints.

I04
Florence,

WORKS OF
Academy,
97.
58.
St.

Vincent Ferrer.

Vision of St. Bernard, 1506.

168. 171.
172. 173.

Heads

in fresco (excepting the St. John).

(fresco).

Madonna Madonna
St.

Portrait of Savonarola.
(fresco).

PiTTi, 64.
125. 159-

Deposition.

Christ and the

208.
256. 377.

Mark, 1514. Four Evangelists, 1516. Madonna and Saints, 1512. Holy Family. Ecce Homo (fresco).
Isaiah.

Uffizi, 1126.
1 1 30.

Job.

1161.

Small Diptych.
S.

E.
Crucifixion

MusEO

Marco, Refectory,

(fresco).

Savonarola's Cell,

Madonna

Christ at

Emmaus
Gallery of
S.

(frescoes).

S.

Maria Nuova, Last Judgment,

(finished

begun 1499
1509.

by

Albertinelli). Saints,

Marco, 2d Altar

R.,

Madonna and

London.

Mr. Ludwig Mond,

Nativity.

Holy Family.

Small

Lord Northbrook, Holy Family

Albertinelli).

(finished

by

Lucca.

Sala
12.

Milan. Naples.

II, 5. Madonna della Misericordia, 1515. God adored by two Saints, 1509. DuoMO, Madonna and Saints, 1509. Marchese Visconti-Venosta, Holy Family. Sala Grande, 61. Assumption.

Panshanger. Holy Family.

S.

Small Burial and Ascension of E.

Antonino.

Paris.

1 1

15.

" Noli me Tangere."

Annunciation, 1515.

1153.

THE FLORENTINE PAINTERS

Paris
(C1j.).

105

1154.

Pian

di

Mugnone.

S.

Madonna and Saints, 151 1. Maddalena, Annunciation

(fresco),

" Noli me Tangere " (fresco), 1517. Richmond. Sir Francis Cook, Madonna, St. Elizabeth and Children, 1516.
1515.

Rome.
Vienna.

CoRSiNi, 579. Holy Family, 1516. Quirinal, SS. Peter and Paul.
41.

Circumcision, 1516.

BENOZZO GOZZOLI.
1420-1498.
Bicci
;

Pupil possibly of Giuliano Pesello, and of the

assistant

and follower of Fra Angelico.

Berlin.

Madonna, Saints, and Angels. Rose and the Magdalen. Castelfiorentino (near Empoli). Cappella di S. Chiara,
60 b.
193.

B^ziers.

St.

Tabernacle with frescoes on four

sides.

Madonna della Tossa

nuovo).

(on

way

to Castel-

Frescoes, 1484.

Certaldo.

Cappella del Ponte dell' Agliena, Tabernacle with frescoes on three sides, 1465.
774.

Cologne.
Florence.

Madonna and

Saints, 1473.

Uffizi, 1302.

and Saints (predella). Palazzo Riccardi, Procession of Magi and

Pieti

Angels (frescoes), 1459.

Palazzo Alessandri, Four

of S.

predelle

Miracle

Zanobi
E.

Totila before St. Benedict

;

Fall of

Simon Magus

Conversion of

St.

Paul.

S. Gimignano. S. Agostino, Choir, Life of St. Augustin

(frescoes) 1465.

2
S.

Altar

L., St. Sebastian (fresco).

Andrea, Madonna, 1466. DuoMO, Choir, Madonna and Saints, 1466. Entrance Wall, St. Sebastian and other
frescoes, 1465,

io6
S.

WORKS OF
(C.)-

Gimignano

Municipio, Pinacoteca, Crucifixion

(fresco).

Monte Oliveto, Crucifixion (fresco), 1466. Locko Park. Mr. Drury Lowe, Crucifixion. E.
Madonna, Saints, and Angels, 1461. London. 283. Meiningen. Ducal Palace, St. Ursula. Montefalco. S. Fortunato, over Entrance, Madonna,
Saints, and Angels (fresco). R. Wall, Madonna and Angel
S.
(fresco), 1450.

Francesco, Choir, frescoes: Scenes from

the Life of St. Francis.

Paris.

Perugia.
Pisa.

Entrance Chapel R., frescoes, 1452. Triumph of St. Thomas Aquinas. 1319. M. RoDOLPHE Kann, Miracle of S. Zanobi. Count Robert Pourtal^s, Four Saints, 1471. Sala V, 34. Madonna and Saints, 1456.
Sala VI, 23. Madonna, Saints, and Angels. Madonna and St. Anna. 24. Campo Santo, Series of frescoes from Old
Testament, 1469-148 1.
St. Anthony and Angels (fresco). E. Lateran, 60. Polyptych. 1450. Madonna and Saints (predella). 251. DuoMO, Cappella del Nome di GesO. Procession of Magi (fresco background to a

Rome.
Vienna.
Volterra.

Aracceli,

della

Robbia

Nativity).

BOTTICELLI
1446-1510.
Pollaiuoli, later

(Alessandro Filipepi),
;

Pupil of Fra Filippo

influenced early by the

by Leonardo.
84.

Bergamo.
Berlin,

Morelli,
106.

Story of Virginia.
Saints, 1485.

L.

Madonna and
St.

H28.

Sebastian, 1473.

THE FLORENTINE PAINTERS

107

Boston, U. S. A. Mrs. J. L. Gardner, Madonna with Angel offering ears of wheat to Child. E. Death of Lucretia. L. Scenes from Life of S. Zanobi. L. 12. Dresden.
Florence.

Academy,
74,

73.

Coronation.

Predella to above.

80.
85.

" Primavera."

Madonna, Saints, and Angels. 'I57. Dead Christ. Death of St. Augustin. 158.
161.
162.

Salome.
Vision of
St.

Augustin.

Uffizi, 39.
1154.

Birth of Venus.
of

Portrait

Giovanni

di

Cosimo dei

Medici.
1156.
1 1 58.

Judith.

E.

Holophernes.
St. Augustin.

E.

1179.

1182.

Calumny.
bis.

L.

1267
1286.
1289.

Magnificat.

Adoration of Magi,

Madonna and Angels ("of

").

the

Pome-

granate
1299.

"Fortezza."

E.

3436.

Adoration of Magi (only laid in by B.)

Palazzo Pitti, Pallas subduing a Centaur. Palazzo Capponi (Marchese Farinola), Communion of St. Jerome.
Ognissanti,
St.

Augustin

(fresco).

London.

592.

Adoration of Magi.
Portrait of

E.

626.

Young Man.
E.

915.
1033.

Mars and Venus.

Adoration of Magi.
Nativity, 1500.
J.

1034.

Mr.

P.

Heseltine, Madonna and Infant

John

(in part).

I08

WORKS OF
(Con,).

London
Milan.
Paris.

Mr. Ludwig Mond, Scenes from Life

Zanobi
(2 panels).

of S.

L.
Angels.

Ambrosiana,
1298.

145.
17.

Madonna and
Madonna.

Poldi-Pezzoli,

Lorenzo Tornabuoni introduced into the

Circle of the Sciences (fresco), 1486.

1297.

Giovanna Tornabuoni with Venus and the

(fresco), i486.
:

Graces

Rome.

Moses Vatican, Sistine Chapel, Frescoes and the Daughters of Jethro Destruction of Children of Korah Christ Tempted on Roof of Temple single figures of Popes,
; ; ;

1482.

Prince Pallavicini, " The Outcast." St. Petersburg. 163. Adoration of the Magi.

FRANCESCO BOTTICINI.
1446-1498.

Pupil of Neri di Bicci influenced by Castagno worked under and was formed by Cosimo Rosselli and Verrocchio.
; ;

Bergamo.
Berlin.

Morelli,
70 a.
72.

33.

Tobias and the Angel.

Crucifixion

and

Saints.

1475.

Coronation of Virgin.

Brighton. Mr. Henry Willett, Madonna and Angels. Brozzi (near Florence). S. Donnino, R. Wall. God and Cherubs (fresco) altar-piece Madonna
; :

with Saints.

E.

Buda Pesth.

Madonna and Donor with S. Anthony Abbot and Lawrence. Herr Rath. Madonna with SS. Monica, James,
45.

Dominic, Peter Martyr, and Angustin. (Mentioned by Vasari as a Verrocchio at S.

Domenico

di Fiesole).

THE FLORENTINE PAINTERS

Empoli.
.

109

Opera del Duomo.

Annunciation. 25. Tabernacle for Sacrament with St. Andrew

:

and the Baptist. Predelle Last Supper Martyrdom of the two Saints. Begun in 1484.
Tabernacle for sculptured
St.

Sebastian with
:

two Angels and Donors.

of St. Sebastian.

Predelle

Story

Florence.

Academy,
60.
St.

jg.

St.

Augustin.

Monica. The Three Archangels and Tobias. 84. Tobias and the Angel. 154.

Martyrdom
PiTTi, 347.

of St.

Andrew. Madonna, Infant John, and Angels

worshipping Child.
Uffizi, 3437.
S.

Madonna.
Deposition with Magdalen, and

Apollonia.

SS. Sebastian and Bernard.

DucA

Di Brindisi.

Two Cassone panels

452.

Story

of Virginia.

Palazzo Panciatichi.
landscape.

Madonna

in

London.

Strozzi, Madonna and Saints. R. Transept, Altar-piece with predella St. Monica and Nuns. 1483. 227. St. Jerome, other Saints, and Donors. Tobias and the Angel. 781. 1 126. Assumption of Virgin.

Marchese Pio
Spirito,
:

S.

Lord Ashburnham.
Child
(?).

Madonna adoring Child. Mr. C. Brinsley-Marlay. Madonna adoring

Mr.

C. Butler.
St. Francis,

Lord Crawford.
Modena.
Palermo.
449.

Madonna and Children. Madonna enthroned, with

Donor, Tobias and Angel.

Madonna and Angels adoring Infant. Baron Chiaramonte-Bordonaro, SS. Nicholas

and Roch.

no
Paris.
1482.

WORKS OF
Madonna in Glory and Saints. Mme. E. Andr^, Madonna and four Saints,

Countess Arconati-Visconti, Nativity. Richmond. Sir F. Cook, Bust of Young Man.

Strasburg. 213.
Turin,
632.
Nativity.

Coronation of Virgin.

BRONZING
1502 (?)-i572.
angelo.

(Angelo
;

Allori).

Pupil of Fontormo

influenced

by Michel-

Bergamo.
Berlin.

Morelli, 65
337.
338.

Portrait of Alessandro dei Medici.

Portrait of Portrait of
.

Cosimo

I.

Young Man.
da Toledo.
of a

338 A

Portrait of Ugolino Martelli.

Portrait of Eleonora

338

Herr James Simon, Bust of Youth. Mrs. J. L. Gardner. Portrait Boston, U.S.A.
Medici Princess.

Buda Pesth.
Florence.

161.

Nativity.

Venus and Cupid. Pitti, 39. Holy Family. Portrait of Duke Cosimo 403.
163.

I.

Uffizi, 154.
158.

Lucrezia Panciatichi.
1545.

Descent from Cross.

159. 172.
198.

Bartolommeo Panciatichi. Eleonora da Toledo and Don Garzia.

Portrait of

Young Woman.

1155.

Don

Garzia.

1164.
1

166.

Maria dei Medici. Man in Armour.

1209.

Dead

Christ.

I2II.
1266.

Allegory of Happiness.
Portrait of Sculptor.

1271.
1272.
1275.

Christ in

Limbo.

1552.

Don

Ferdinand.

Maria dei Medici.

THE FLORENTINE PAINTERS

Florence
(G>.)-

in

Miniatures

848. 852.

Don Don

Garzia,

Ferdinand.

853.
854855.

Maria dei Medici.

Francesco dei Medici.

Duke Cosimo.
Alessandro dei Medici.

857.

Magazine, Annunciation. Palazzo Vecchio, Chapel of Eleonora di Toledo. Frescoes, 1564. Martyrdom of St. Lawrence S. Lorenzo,
(fresco).

Hague. London.

3.

Portrait of Lady.
Portrait of Boy.

649. 651.
1323.

Allegory.
Pier dei Medici.

Lucca.
Milan.

Portrait of

Portrait of

Don Don

Ferdinand.
Garzia.

Brera. Portrait of Andrea Doria. New York. Mr. Gould. Portrait of Woman and Child. Oxford. University Museum, Portrait of Don 30.
Garzia.

Paris.

1183.

" Noli me Tangere."

Portrait of Sculptor.

1184.

Pisa.

S.

Rome.

Stefano, Nativity. 1564. Borghese, 444. St. John the Baptist. CoLONNA, Venus. Madonna, St. Anne, and Infant John.
CORSINI.
Portrait of Stefano Colonna.

1548,

Doria, Portrait of Giannottino Doria.

Vienna.
49.

Holy Family.

112

WORKS OF
BUGIARDINI.

1475-1554.

Pupil of Ghirlandaio and Pier di Cosimo influeneed by Albertinelli, Perugino, and Michelangelo.
;

Berlin.

142, 149. 283.

Cassone panels, Story of Tobias.

Saints.

Madonna and
St. Felicitas.

Museum of Industrial Art,

Palace of Emperor
Story of Tobias.

Cassone, Story of
Cassone,

William

I.,

Bologna.

St.

John

in Desert.

Madonna enthroned, with SS.

of Padua,

Catherine, Antony

and Infant John.

of Perugino's

Bowood.
Dijon.

Madonna (tondd). Marquess of Lansdowne, Copy Louvre Madonna (No. 1565). I. Madonna and Infant John.
Pitti, 140.
Portrait of a Lady.

Florence.

Uffizi, 213.
3451.
S.

Madonna.

Madonna and Infant John. 1520. Maria Novella, Martyrdom of St. Catherine.
Madonna, Infant John, and Angels.

London.
Milan.

809,
S.

Modena. Mombello (near Milan). Prince Pio di Savoia, Madonna. Newport, U. S. A. Mr. T. H. Davis, Madonna, Infant
John, and Angel.

Maria delle Grazie, The Baptist. Madonna and Infant John. 334.

Oldenburg.
Paris.

28. St. Sebastian.

Rome.

Portrait of Young Man. 1644. Mme. Edouard Andr^, Portrait of Lady. BoRGHESE, 443. Madonna and Infant John.

COLONNA,

Turin.

Madonna. Madonna. Prince Colonna, Madonna and Infant John. 106. Madonna and Infant John. MusEO Civico, Madonna and Infant John.
136.

CORSINI, 580.

THE FLOREiYTIXE PAINTERS

Vienna.
36.

II3

Rape

of Dina, 1531.

LiCHTENSTEiN, 254.

Madonna and Infant John.

ANDREA DEL CASTAGNO.

1396 (?)-i457.

Influenced by Donatello and Paolo Uccello.

Florence.

S.

Apollonia, Frescoes Last Supper, Crucifixion, Entombment, Resurrection. Boccaccio, Petrarch, Dante, Nine Figures Queen Thomyris, Cumean Sibyl, Niccolo
: .

Acciaiuoli,

Farinata degli Uberti, Filippo

Scolari ("Pippo Spano"), Esther.

Annunziata, 2 Altar L., Trinity with Jerome and other Saints (fresco). DuoMO, Wall R. of Entrance, Equestrian
SS.
St.

Portrait of Niccolo da Tolentino, 1456.

S.

Maria Nuova(25 Via

(fresco).

S. Egidio), Crucifixion

(33 Via degli Alfani), Crucifixion (fresco).

Locko Park. Mr. Drury Lowe, David (on

London.
Paris.
1138.
Crucifixion.

a shield).

L.

Sir H.

Howarth,

Nativity

(?).

M. Rodolphe Kann, Bust

of

Man.

LORENZO
1459-1537.

DI

CREDL

Pupil of Verrocchio.

Bergamo.

114
Florence
(Ci>.).

WORKS OF
TJffizi, 24.

Madonna.

34.

Portrait of

Young Man.
E.

1160. 1311.

Annunciation.

" Noli me Tangere."

" Noli
Venus.
R.,
ff.e

13131314.

Tangere.''

Annunciation.

3452.

DUOMO, Sacristy, St. Michael. 1523. S. DoMENico (near Fiesole) 1ST Altak
Baptism.

Marchess
Forll.
130.

Pucci, Portrait of Lady.

Portrait of Lady.

E.

London.

593.

Madonna.

648.

Madonna adoring Child. Mr. Charles Butler, Madonna.

Lord Rosebery,
Longleat.

St.

George.

Marquess of Bath, Madonna.

105.

Mayence.
Milan.

Madonna.

E.

Munich.
Naples. Oxford.
Paris.
Pistoia.

Casa Casati, Madonna and Infant John. 1040A. Madonna (?). Sala Toscana, 27. Nativity. L. U.MVERSITY Museum, 26. Madonna. Madonna and two Saints, 1503 or 1263.

later.

me Tangere." DuoMO, Madonna and Saint.

1264.

" Noli

E.

Madonna del Letto,

Baptist.
15

Virgin, St. Jerome, and

10.

Rome.

BoRGHESE,
Capitol,

433.

70.

Scandicci (near Florence).

Madonna and Infant John. Madonna and two Angels, Countess de Turenne, Por-

trait of a Youth. Strasburg. 107. Madonna. E. Turin. 103. Madonna. 356. Madonna. E. Venice. Querini-Stampalia, Sala III, and Infant John.

4,

Madonna

THE FLORENTINE PAINTERS

FRANCIABIGIO.
1482-1525.

"5

Pupil of Albertinelli and Pier di Cosimo

influ-

enced by Andrea del Sarto.

Barnard Castle.
Berlin.
235.

Bowes Museum,
Portrait of

235

Bust of Youth.

Man.

Portrait of Youth, 1522. 245. 245A. Bust of Man.

Bologna.
Brussels.

Madonna.
478.

Leda.
Bathsheba, 1523.
Portrait of

MusfiE DE LA ViLLE, Profile of Old Man.

Dresden.
Florence.

75.

PiTTi, 43.
427.

Man,

1514.

Calumny.

E.

Uffizi, 92.
1223.

Madonna and Infant John. Temple of Hercules. Holy Family and Infant John. 1224. Madonna with Job and Baptist. E. 1264. Baptist Chiostro dello Scalzo, Frescoes
:

leaving his Parents, 1518.

Meeting of Christ and

SS.
lizio (fresco),

Baptist.

Annunziata, Entrance Court R., Sposa1513.

(fresco).

La Calza,
Hamburg.
London.
1035.

Last Supper
106.

Consul Weber,

Bust of

Young Man.

Portrait of

Young Man.

Mr. Robert Benson, Apollo and Daphne. Lord Northbrook, Head of Young Man. Lord Yarborough, Bust of a Jeweller, 1516.
Modena.
Naples.
223.

Birth of John.
21.

E.
Portrait

Sala Grande,
biena
(?).

of

Card.

Bib-

Nimes.
Oxford.

132, 269, 270.

Small tondi.
Saint.

Mr. T. W. Jackson. Legend of a Triumph Poggio a Caiano (near Florence).

(fresco).

of

Cicero

Ii6

WORKS OF
BoRGHESE,
458.
570. 177.

Rome.

Marriage of

St.

Catherine.

Madonna and
Madonna.
Annunciation.

Infant John.

E.

Turin. Vienna.

121.

413.

Holy Family.

LicHTENSTEiN, Bust of Young Man, 1507. Wiesbaden. 118. Cassone picture.

Windsor.

Portrait of

Man.

RAFFAELINO DEL GARBO.

1466-1524.
Pupil of Botticelli and Filippino
;

influenced

by

Ghirlandaio and Perugino.

Berlin.
78.

Bust of Man.
Profile of

81.

90.

Young Man. Madonna and Angels. Herr James Simon, Madonna and Angels
(tondo).

Florence.

London. Lyons. Munich.

Naples.

Academy, 90. Resurrection. Mr. Robert Benson. Madonna and Bust of Young Man (?). 51.
loog.
Pieti.
15.

Angels.

SCUOLA RoMANA,
John.

Madonna and

Infant

Oxford.
Paris.

Christ Church, Magdalen. L. M. Alphonse de Rothschild, Profile Bust

of

Parma.
Venice.

Young Lady. Madonna giving Girdle to St. Thomas. 56. Lady Layard, Portrait of Lorenzo dei Medici.

DOMENICO GHIRLANDAIO.
1449-1494.
Pupil of Alessio Baldovinetti.
66.

Florence.

Academy,
195.

Madonna and

Saints.

Adoration of Shepherds, 1485.

: ;

THE FLORENTINE PAINTERS

Florence
(Con.). Uffizi, 1163.

WJ

Portrait of

(?)

Penigino.

1295.

Adoration of Magi, 1487.

of

Madonna, Saints, and Angels. 1297. Palazzo Vecchio, Flag Room, Triumph
Zanobi Roman Warriors begun 1481, finished 1485.
S.
;

(frescoes),

Mused

S.

Marco, Small Refectory, Last

Supper (fresco). Innocenti, Adoration of Magi, 1488. S. Maria Novella, Choir, Frescoes Lives of Virgin and the Baptist-Execution, save portrait heads, chiefly by assistants. Begun i486, finished 1490. Ognissanti, St. Augustin (fresco), 1480.
;

Madonna

della Misericordia (fresco).

E.

Refectory, Last Supper (fresco), 1480. S. TrinitA, Chapel R. of Choir, Frescoes Life of St. Francis. Augustus and Sibyl,
1485.

S.

Gimig^ano.

Collegiata, Chapel of
Frescoes
:

Santa Fina,

Life of the Saint.

London.

1299.

Portrait of

Youth

(repainted).
Sassetti

Mr. Robert Benson, Francesco

his Son.

and

Mr. Ludwig Mond, Madonna. Mr. George Salting, Madonna and

John.

Infant

Bust of Costan.

3^ Medici.

Lucca.
Narni.
Paris.

DuoMO,

Sacristy,

Madonna

and

Saints

Lunette Pieti.

Municipio, Coronation, i486.

1321.
1322.
Visitation (in part).

Old

Man and

Boy.
Portrait
of

M. RoDOLPHE Kann,
Pisa.

Giovanna

Tomabuoni, 1488. Sala VI, 21. Sebastian and Roch S. Anna, Madonna and Saints.

in part.

ii8
Rimini.

WORKS OF
Three Saints. Top with God the Father. Vatican, Sistine Chapel, Calling of Peter and Andrew (fresco), 1482. Municipio, Christ in Glory adored by two
Saints, 1492 in part.

Rome.
Volterra.

RIDOLFO GHIRLANDAIO.
1483-1561.
Pupil of Granacci, and eclectic imitator of most
of his important contemporaries.

Berlin.

91.

Nativity.

Buda Pesth. 68. Nativity, 15 10. CoUe di Val d'Elsa. S. Agostino, 3D Altar R.
Dijon.

Pieti.

L.

Florence.

Madonna and Academy, 83, 87.

71.

Infant John.

Panels with three Angels

each.

E.
Portrait of a Goldsmith.

PiTTi, 207.
224.

Portrait of a Lady, 1509.

Uffizi, 1275,
1 5 10.

1277.

Miracles of S. Zanobi,

Palazzo Vecchio, Chapel of St. Beknako,

Frescoes, 1514.

BiGALLO, Predelle, 151 5.

CORSINI, I2g.
Portrait of

Man.
Old Man.

Palazzo Torrigiani,

Portrait of

Portrait of Ardinghelli.

La Quiete,
Glasgow. London.
Paris.
Pistoia.

Marriage of

St. Catherine.

St. Sebastian.

Mr. Wm. Beattie,

1143.
1324.
S.

Portrait of

Man.
E.

Procession to Calvary.

Coronation, 1504.

PiETEO
1514.

M aggiore. Madonna and Saints, 1508.

giving Girdle to
St.

Prato.

DuoMO, Madonna

Thomas,
Portrait

Reigate.

The

Priory,
of

Lady Henry Somerset,

Girolamo Benivieni.

THE FLORENTINE PAINTERS

St, Petersburg. Nativity.

119

GIOTTO.
1276-1336,

Formed under
Sposahzio
etc.

the influence of Giovanni Pisano.

Alnwick Castle. Duke of Northumberland, Panel with

:

St.

Francis receiving Stigmata,

St. Francis,

E.

Assisi.

Lower Church, over Tomb of

Four Allegorical Frescoes. E. R. Transept, Lives of Christ and Virgin

part).

(in

E.

Chapel of St. Mary of Egypt, Frescoes (?). E. Upper Church, Frescoes with Life of St,
Francis, (entirely repainted).

Bologna.
Florence,

Polyptych.

Academy,
Angels.
S.

103.

Madonna

Enthroned

and

Croce, Bardi Chapel, Frescoes

St. Francis.

Life of

London. Munich.

Peruzzi Chapel, Frescoes Lives of the Baptist and St. John the Evangelist. Dr. J. P. Richter, Presentation in Temple. Madonna Washing of Small Panel 979.
:
:

Feet
980.

Last Judgment.
:

E.
;

Small Panel
ing Stigmata.
981.
983.

Crucifixion
;

Flagellation

Christ bearing Cross

St.

Francis receiv-

E.

Crucifixion (in part).

Last Supper.
Frescoes
:

Padua,

Arena Chapel,
and Virgin
Figures.
;

Lives
;

of

Christ

Last Judgment

Symbolical

Paris.

1312.

St.

Rome.

St.

John Lateran, Pillar R.

1300.

Francis receiving Stigmata. Aisle, Boni-

face VIII. proclaiming the Jubilee (fresco),

I20

WORKS OF
{Cm.'). St. Peter's,

Rome.

Sagrestia dei Canonici,

E.

Ste-

faneschi Polyptych.

Vatican, Museo Cristiano, Case D, Pope and two Saints ; Crucifixion. E,

ix.

FRANCESCO GRANACCI.
1477-1543.
Pupil of Ghirlandaio
;

influenced

by Fra Barto-

lommeo and Pontormo.

Berlin.
88.

97.

Madonna and four Saints (in part). Madonna with Baptist and Archangel
Michael.

E. L. L.

229.

Trinity.

Darmstadt.
Florence.

Small Crucifixion.

Academy,
285-290.
PiTTi, 345.
1280.

68.

Assumption.

Stories of Saints.

Holy Family.
Life of Joseph.

Uffizi, 1249, 1282.

L.

London.
Munich.

Madonna giving Girdle to St. Thomas. Lord Ashburnham, Two Panels with Life of
the Baptist.

E.
L.

1061-1064.
1065.

Panels with Saint in each.

Holy Family. New Haven, U. S. A. Jarves Collection, 86. Pieti. L. Oxford. Christ Church, St. Francis. University Museum, 23. St. Antony of Padua and an Angel. Panshanger. Portrait of Lady. Quintole (near Florence). Church, Pieti. L. BoRGHESE, 371. Rome. Maddalena Strozzi as St.
Catherine.

CoRSlNi, 573.

Scotland.

Hebe. Rossie Priory, Lord Kinnaird,

before her Judges.

St.

Lucy

L.

"

THE FLORENTINE PAINTERS

Villamagna
(near Florence).

121
SS.

Church, Madonna with

Warwick

Gherardo and Donnino. Castle. Lord Warwick, Assumption of Virgin, and four Saints. L.

LEONARDO DA
1452-1519.

VINCI.

Pupil of Verrocchio.

Florence,

Uffizi, 1252.

Adoration of Magi (unfinished),

148 1.

begun

in

London.
Milan.
Paris,

Burlington House, Diploma Gallery, Cartoon for a Madonna with St. Anna. S. Maria della Grazik, Last Supper (fresco).
1265.
1598.

Annunciation.

E.
(in part).

1599.

i6oi.

Madonna, Child, and St. Anna " La Vierge aux Rochers. " La Gioconda."
St.

Rome.
Note
:

Vatican,

Jerome

(unfinished).

adequate conception of Leonardo as an artist can only be obtained by an acquaintance with his drawings, many
of the best of

An

which are reproduced in Dr. " Literary Vorks of Leonardo da Vinci."

J. P. Richter's

FILIPPINO LIPPI.
1457-1504.
Berlin.
78A.
96.

Pupil of Botticelli.

Allegory of Music.
Crucifixion.

L.

L.

Madonna. loi. Bologna. S. Domenico, Marriage of St. Catherine, 1501. Boston, U. S. A. Mrs. Warren, Holy Family with St.
Margaret
Florence.
{tondo).

Academy, 89. St. Mary The Baptist. 93.

98.

of Egypt.

Deposition (finished by Perugino).

Allegorical Subject.
Portrait of Self (fresco).

PiTTi, 336.

Uffizi, 286.

122
Florence
(Coh.).

WORKS OF
1167.

Old

Man

(fresco).

1257.

Adoration of Magi, 1496.

(itmdo).

Madonna and Saints, 1485. 1268. Palazzo Corsini, Madonna and Angels
E.

Palazzo Torrigiani, Bust

Badia, Vision of
St.

of Youth.

Bernard, 1487-8.

Carmink, Brancacci Chapel, Completion of Masaccio's frescoes, 1484 Angel delivering Peter Paul visiting Peter Peter and Paul before the Proconsul Martyrdom of Peter
:

in the raising of the King's Son, the group

S,

E. L., the boy, and eight men in a row. Maria Novella, Strozzi Chapel, Frescoes,
finished 1502
:

Episodes from Lives of

St.

Genoa.

John the Evangelist and St. Philip. Santo Spirito, Madonna and Saints with Tanai di Nerli and his wife. Palazzo Bianco, Sala V, 30. Madonna and
Saints, 1503.

London.

293.

Madonna with

SS. Jerome and Dominic.

927.

Angel Adoring.
small panels with

Lord Ashburnham, Two

two Bishops each.

Mr. Julius Werner, Madonna.

Lucca.
Naples. Oxford.
Prato.
S.

Michele, SS. Helena, Jerome, Sebastian, and Roch. ScuoLA ToscanA, Annunciation. E. Christ Church, Centaur.
(near Florence).

Poggio k Cajano
16,

Porch, Fresco (payment).

Rome.

Madonna with the Baptist and St. Stephen. Fresco in Tabernacle on Street Corner, Madonna and Saints, 1498, S. Maria sopra Minerva, Caraffa-Chapel,
Altar-piece, Annunciation.

Frescoes
:

Tri-

umph

of St.

Thomas Aquinas Assumption,

1489-1493.

THE FLORENTINE PAINTERS

Strasburg. Bust of Angel (a fragment). Venice. Seminario, 15. Christ and the Samaritan. " Noli me Tangere." 17.

123

FRA FILIPPO
1406-1469.

LIPPI.
follower
of

Pupil
;

of

Lorenzo

Monaco and

Masaccio

influenced by Fra Angelico.

Ashridge.
Berlin.

Lord Brownlow, Madonna.

58.

Madonna.

6g.

95.

Florence.

Madonna adoring Child. " Madonna della Misericordia." Academy, 55. Madonna and Saints.
Coronation, 1441.
79.

E.

62.

Madonna adoring
Nativity. Predella.

Child.

E.

82. 86.

E.

263. 264.

Archangel Gabriel and the Baptist.

Madonna and

St.

Antony.

PiTTi, 343.

Madonna. Uffizi, 1307. Madonna. Palazzo Alessandri, St. Lawrence,

Donors.
S.

Saints,

and

St. Antony Abbot and Bishop. Lorenzo, Martelli Chapel. Annunciation and Predella.

London.

248. 666. 667.

Vision of

St.

Annunciation.

Bernard, 1447. E.

Munich.
Paris.

1005. 1006. 1344.

Seven Saints. E. Annunciation. E.

Madonna.

Prato.

of Stephen and the Baptist, 1452-1464. R. Transept, Death of St. Bernard. Richmond. Sir Francis Cook, Adoration of Magi (tondo). E. Archangel Michael and St. Antony.
:

Madonna and Angels, 1437. DuoMO, Choir, Frescoes Lives

124

WORKS OF
LaterAN, Triptych
Donors.
E.
:

Rome.

Coronation,

Saints,

and

Prince Doria, Annunciation.

Spoleto.

Mr. Ludwig Mond, Annunciation and Donors. DuoMO, Choir, Frescoes Life of Virgin, left
:

unfinished at death.

Turin.

Academy,

140, 141.

The

four Church Fathers.

LORENZO MONACO.
Worked about
1370-1425.

Follower of Agnolo Gaddi and

the Sienese.

Altenburg. Flight into Egypt. E. Bergamo. MoRELLi, 10. Dead Christ. Berlin. no. Madonna with Baptist and St. Nicholas. E. Raczynski Collection, Nazional Galerie,
42.

Adoration of Magi.
St.

Kaufmann Collection,
Empoli.
Florence.

Jerome.
1404.

Opera del Duomo, 5. Madonna, Academy, 143. Annunciation.

144. 145. 146. 166.

Life of

St.

Onofrio.

Nativity.

Life of St. Martin.

Three pinnacles
Deposition.

above Fra

Angelico's

Uffizi, 39.

and Prophets
40.
Pieti, 1404.

Adoration of Magi (Annunciation in frame by Cosimo Rosselli).

41.

Triptych, 1410.

1309.

Coronation, 1413.
;

Magazine, Three panels Crucifixion, Mary, and John. Biblioteca Lahrenziana, Miniatures.
S.

M. NuovA
(fresco).

(25

Via

S. Egidio),

Entombment

THE FLORENTINE PAINTERS

Florence (Con.\
S.

125

TrinitA, Bartolini Chapel, Altar:

piece Annunciation and Predella. Frescoes

Life of Virgin.

London.

215, 216.

Various Saints.

Mr. Henry Wagner,

Gualbert.

Legend
96.

of St.

John

Munich.
Paris.

Lotzbeck Collection,
throned.

St.

Peter En-

Cluny, 1667. at Tomb,

3.

Agony
1408.

in

Garden, Three Marys

Saints.

Prate.

Triptych

Madonna and

E.

Ravenna.

Crucifixion, with St.

Rome.

Lawrence and other Saints. MusEO Cristiano, Case C, viii. Ascension. Case H, iv. Nativity.

BASTIANO MAINARDI.
?-l5i3.

Pupil and imitator of his brother-in-law,

Domenico

Ghirlandaio.

Altenburg.
Berlin.

153.
21.

Bust of

Woman.

Judith, 1489.

77.
83.

Madonna.
Portrait of

Young Woman.

85.

Portrait of Cardinal.

86.

Portrait of Young Man. Hainauer Collection, Portrait of Young Man.

Madonna. Boston, U. S. A. Mr. Quincy A. Shaw, Madonna adoring Child.

Florence.

Uffizi, 1315.

St.

Peter

Martyr between SS.

James and Peter. Bargello Chapel, Madonna (fresco), 1490. Palazzo Torrigiani, Madonna and two Angels
(tondo).

S.

Croce, Baroncelli Chapel, Virgin giving

Girdle to St.

Thomas

(fresco).

126

JVORJCS

OF

San Gimignano,
S.

Municipio, 8, 9. Madonnas (tondi). Agostino, R. Wall, Nicholas of Ban,

St.

Lucy, St. Augustin. Ceiling, Frescoes, the four Church Fathers. L. Wall, Tomb of Fra Domenico Strambi
(frescoes), 1487.

COLLKGIATA, SACRISTY, Madonna

Saints.

in Glory

aad

Chapel of
1482.

S.

Cappella di

Fina, Ceiling frescoes. S. Giovanni, Annunciation,

R.,

Monte Oliveto, Chapel

Madonna with

SS. Bernard and Jerome, 1502.

Ospedale di Santa Fina, Frescoes in Vaulting. Via S. Giovanni, Madonna and Cherubs (fresco). Hamburg. Consul Weber, 30. Madonna. Hildesheim. 1134. Madonna (tondo). Locko Park. Mr. Drury-Lowe, Replicas of Berlin portraits

London.

1230.

(Nos. 83 and 86). Bust of Young Woman.

three Angels

Sir H.

Howarth, Madonna and

adoring Child.

Longleat.
Milan.

Marquess of Bath, Madonna,

putti,

four

Saints,

and Angels,

Signor Crespi,

Two

panels with

men and

Munich.
Munster.
Oxford.
Paris.

women worshippers. Madonna and Donor. 1014.

1015.
(in

Two

Saints.
32.

W.).

Kunstverein,

Marriage of

St.

Catherine.

University Museum, 21. SS. Bartholomew and Julian. Madonna and Infant John. 1367. M. G. Dreyfus, Profile of Young Woman. M. LEOPOLD GOLDSCHMID, Portrait of Young

Woman.

THE FLORENTINE PAINTERS

Rome.
Siena.

127

Barberini,

73.

Bust of Young Man.

Saints.

Count Stroganoff, Two

Palazzo Saracini, Bust
red.

of

Young Woman

in

Vienna.

Harrach Collection, 314. Nativity. LiCHTENSTEiN, Madonna and Infant [ohn.

MASACCIO.
1401-1428.
Berlin.

Pupil of Masolino
58^.
58B.

influenced by Donatello.

Adoration of Magi.

Martyrdom

of St. Peter

and the

Baptist,

58c.

Birth Plate.

E.
of

Boston, U. S. A.
Florence.

Mrs. J. L. Gardner, Bust Man. Academy, 73. Madonna, Child, and

E.

Young
Anne.

St.

London.
Vienna.

Carmine, Brancacci Chapel, Frescoes: Expukion from Paradise Tribute Money SS. Peter and John healing the sick with their Shadows ; St. Peter baptising SS. Peter and John distributing Alms in the raising of the King's Son, Middle Group and part of St. Peter, and scene to R., St. Peter Enthroned, and two heads in group L. S. Maria Novella, Wall R. of Entrance, Trinity, Madonna, and St. John, and two Donors (fresco). Mr. C. Butler, four Saints. E. Count Lanckoronski, St. Andrew. E.
; ;

MASOLINO.
1384-after 1435.

Kunsthalle, 164. Madonna, 1423. Castiglione D'Olona. Church, Frescoes Life

Bremen.

of Virgin.

Baptistery, Frescoes

Life of Baptist, 1428.

128
Castig^lione

WORKS OF
D'Olona (Con). Vk-lktlo Castiglione, Frescoes
:

a landscape

and

friezes.
(?).

Empoli.
Florence.

DuoMO, Baptistery,
Carmine,
Fall of

Pieti (fresco)

Brancacci
St. Peter,

Chapel,

Frescoes
;

Preaching of

Healing of Tabitha

Adam and

Eve.
Christ in

Munich.
Naples.

loig. Madonna and Angels. ScuoLA Toscaxa, 25. Madonna and

Glory.
34.

Rome.

S.

Founding of S. Maria Maggiore. Clemente, Frescoes Episodes from Lives of SS. Clement and Catherine of Alexandria.
;

Crucifixion.

Gosford House, Lord Wemyss, Annunciation. Scotland. Strasburg. 4. Christ in Glory.

MICHELANGELO BUONARROTL
1475-1564.
Pupil of Ghirlandaio influenced by works of Jacopo della Querela, Donatello, and Signorelli.
;

Florence.

Uffizi, 1139.
790.

Holy Family.
:

London.

Deposition (unfinished).

Rome.

Vatican, Sistine Chapel, Frescoes Ceiling, 1508-1512 W. Wall, Last Judgment, 1534;

1541.

Cappella Paolina, Frescoes Paul Martyrdom of Peter.

;

Conversion of
L,

SCULPTURE.
Bologna.
Bruges.
S.

Domenico,

S. Petronio Dominic), 1494.

Angel

(for

Ark of

St.

Notre Dame, Madonna,

1506.

finished before August,

THE FLORENTINE PAINTERS

Florence.

129

Academy, David, 1504. Court, St. Matthew.

Bargello, Bacchus.
Brutus.

1504.

E.

Madonna
Apollo.

(relief).

BoBOLi Gardens,
figures.

Grotto, Four unfinished

Centaurs

Casa

Buonarroti,
E.

and
Pieta.

Lapithse

(relief).

Madonna

(relief).

E. L.

DUOMO, BEHIND HiGH Altar,

S.

Lorenzo,
Giuliano,
1534-

New

Sacristy, Madonna,

Tombs
and

of Lorenzo dei Medici,

Duke

of Urbino,

Due de Nemours,

left unfinished.

London.

Burlington House, Diploma Gallery, Madonna

S.
(relief).

Kensington Museum, Cupid.

Renaissance
Sculpture,

Paris.

Room of
Slaves.
S.

Two

Rome.

Maria sopra Minerva,

finished, 1521.

Christ with Cross,

St. Peter's, Pieti, 1499.

S.

Pietro in Vincoli, Moses, Rachel, and Leah.

ANDREA ORCAGNA.
I308(?)-I368.

Pupil of Andrea Pisano

follower of Giotto
of Siena.

influenced by

Ambrogio Lorenzetti
L.
:

Florence.

S.

Maria Novella,
1357
!

Transept,
;

Altar-piece,

Frescoes

Paradise

Judgment.

SCULPTURE.
Florence.

Or San Michele,

Tabernacle, finished, 1359.

I30

WORKS OS

FRANCESCO PESELLINO.
1422-1457.
Pupil
;

possibly

of

his

grandfather,

Giuliano

Pesello

follower of Fra Filippo Lippi and Masaccio.

Altenburg.

79.

Bergamo.

SS. Jerome and Francis. Morelli, 9. Florentine arraigned before a

II.

Judge. Story of Griselda.

Saints.

Berlin.

Hainauer Collection, Small Madonna and

Mrs.
J.

Boston, U. S. A.
Chantilly.

L.

Gardner, Triumphs

of

Petrarch (two Cassone pictures).

Florence.

Mus^E CoNDfi. Madonna and Saints. Academy, 72. Three predelle. Casa Buonarroti, Life of St. Nicholas of Bari.
E.

Lockinge.

Lord Wantage,
pictures).

Story of David (two cassone

London.

Dorchester House, Captain Holford, Madonna and

Saints.

Poldi Pezzoli, Sala del Caminetto, 10. Pieti. Milan. Montpellier. 619. Nativity and Adoration. E. University Museum, 12. Meeting of Joachim Oxford. and Anne. Miracle of SS. Cosmas and Damian St. Paris. 1414.
;

Francis receiving Stigmata.

Rome.

Prince Doria. Pope Sylvester before Constantine Pope Sylvester subduing Dragon.
;

PIER DI COSIMO.
1462-1521.
elli,

Pupil of Cosimo Rosselli

Filippino, and Leonardo.
107.

influenced

by Signor-

Berlin.

204.

Venus, Cupid, and Mars. Adoration of Shepherds.

Bella Simonetta."

Chantilly.

" La

THE FLORENTINE PAINTERS

Dresden. Dulwich.
Florence,
so.

131

Holy Family and Angels.

of Youth.

Head

Uffizi.

82, 83, 84.

1312.

Immaculate Conception. Story of Perseus and Andromeda. Rescue of Andromeda.

Portrait of " Caterina Sporza."
(?)

3414.

Magazine, Madonna and Children

PiTTi, 370.

{tondo).

L.

Head

of Saint.

Spedale degli Innocenti, Holy Family and

Saints.
S.

Lorenzo,

R.

Transept,

Madonna and

Saints adoring Infant Christ.

Hague. London.

Palazzo Panciatichi, 73. Madonna. L. Palazzo Pucci, Madonna and Angels. Giuliano di Sangallo and his Father. 254, 255. Death of Procris. 698.
895.

Portrait of

Man

in

Armour.

Lord Ashburnham, Madonna and Infant John. Mr. Robert Benson, Hylas and the Nymphs. E. Mr. John Burke, Combat of Centaurs and
Lapithse.

Mr. a. E. Street, Madonna adoring Child

{tondo).

Marseilles. 335. 336-

Story of Theseus and Ariadne.

Milan.

New

Borromeo, SalaCentrale, 19. Madonna. L. Prince Trivulzio, Madonna and Angels. L. Lady Haven, U. S. A. Jarves Collection, 68.
holding Rabbit.
(Hants.).

Newlands Manor
Oxford.
Paris.

Col.

Cornwallis West,
L.

Visitation.

Christ Church.
1274. 1416.

Pieti (tondo).
Baptist.

The Young
Coronation.

E.

L.
of Solomon.

1622.

Rome.

Madonna. Borghese, 329. Judgment Holy Family. L. 335.

132

WORKS OF
(Con.).

Rome

Borghese.
ing Child.

343.

Madonna and Angels

ador-

Sen. Giovanni Baracco, Magdalen. Vatican, Sistine Chapel, Destruction Pharaoh (fresco). 1482.

of

Scotland.

Calder House

(near Glasgow), Sir F. Stir-

ling-Maxwell, Madonna and Infant John. Gosford House, Lord Wemyss. Bust of Man. New Battle, Marquess of Lothian. Mythological scene.

Vienna.

Harrach Collection,
Angels. L.

Holy Family

and

Lichtenstein Gallery, Madonna L.

PIER FRANCESCO FIORENTINO.

Known
to

have been active

last three

decades of
;

XV Century.

Pupil possibly of Fra Angelico

Bicci

influenced by Neri di

and Benozzo Gozzoli

eclectic imitator of Alessio

Baldovinetti, Filippo Lippo, and Pesellino.

Bergamo.
Berlin.

Morelli,
71*.

36.

SS. Jerome and Francis.

Madonna against Rose-hedge. Haina^er Collection, i. Madonna with

Goldfinch and Angels.
104.

Carlsruhe.
Certaldo.

Nativity, Angels

and three Saints adoring.

PietJ.

Palazzo dei Priori, Lower Floor,

1484
(fresco).

Thomas (fresco). Upper Floor, Madonna (fresco). 1495. Cappella del Ponte d'Agliena, Tobias and
Incredulity of
St.

Angel Jerome

(fresco).

(fresco).

CoUe

di

Val d'Elsa. Salone, Altar-piece with predella Madonna with SS. Jerome and Nicholas of
Bari, the Baptist,

and a kneeling

Saint.

Altar-piece

Madonna with

four Saints.

THE FLORENTINE PAINTERS

Florence. Bargello, Collection Carrand,
Uffizi, 61.
15.

33

Madonna.

Madonna and
S.
S.

Angels.

Cenacolo di Gallery of

Apollonia, Nativity. M. Nuova, 15. Madonna

adoring Child.

Count Serristori, Madonna. Mr. Spencer Stanhope, Madonna and Angels

adoring Child.
S.

GiovANNlNO DEI Cavalieri,

donna.
10.

Sacristry,

Ma-

Frankfort a/M.

Madonna and

Angels.

San Gimignano.

Municipio,

Pinacoteca,

Madonna

be-

tween two kneeling Saints, 1477Sala del Giudice Conciliatore, Trinity, and small scenes from sacred legends (fresco),
1497S.

Agostino, 1ST Altar R.

Saints, 1494.

Madonna and

Collegiata, Nave, ten disciples in medallions, and two smaller busts. Decoration oi pulti and garlands (monochrome frescoes).

Over Triumphal Arch, Dead

six

Christ (fresco).

L. Aisle, Spandrils of Arches,

Abraham and

Prophets

(fresco).

L.

Wall, Adam and Eve

driven forth from Par-

adise (original fresco of

Taddeo

di

Bartolo

restored by Pier Francesco).

Cloister, Dead Christ S. JACOPO, Pillar R.

S.

(fresco), 1477.
St.

James

(fresco).

Lucia, behind
(fresco).

High Altar,

Crucifixion

Cappella di Monti (near S. Gimignano). Madonna with SS. Antony Abbot and Bartholomew, 1490.
S.

Maria Assunta a Pancole

nano).

(near S. Gimig-

Madonna,

134

WORKS OF
S.
S.

San Gimignano (Con:).

Gimignano).

Bartolommeo a Ulignano (near Madonna with SS. Stephen

London.

and Bartholomew. Madonna, Infant John, and Angels. Mrs. Louisa Herbert, Madonna in Land1199scape.

Mrs. Horner, Nativity. Madonna and Angels. Narbonne. 243. Madonna and Angels adoring Child. New Haven, U. S. A. Jarves Collection, 61. MaMells Park (Frome).
donna,
St.

Catherine, and Angels.

Palermo.
Perugia.

Baron Chiaramonte - Bordonaro, Two Madonnas.

Marchese Meniconi Braceschi, Madonna

and Infant John adoring Child.

Richmond. Sir F. Cook, Madonna. Siena. Sala III, 4-7. Triumphs

66.

of Petrarch.

Nativity.
S.

Volterra.

Oratorio di

Antonio,

Nativity.

THE POLLAIUOLI.
ANTONIO
:

1429-1498.
;

Pupil of Donatello and Andrea

;

del Castagno
sculptor.

strongly influenced by Baldovinetti

also

PIERO

1443-1496.

Pupil of Baldovinetti

worked mamly

on his brother's designs.

(Where the execution can be

Berlin,

clearly

distinguished as of
is

either of the brothers separately, the fact

73.

indicated.)

Annunciation (Piero). David (Antonio). 73*.

Hainauer Collection,
tonio).

Portrait of

Lady (An-

Florence.

Uffizi, 30.
73.

Galeazzo Sforza.

Cartoon for "Charity," on back of picture (Antonio).

THE FLORENTINE PAINTERS

;

35

Florence (Om.), 1153. Hercules and the Hydra Hercules and Ant8eus (Antonio). SS. Eustace, James, and Vincent (Piero). 1301.
1466. 1306.

Prudence
di

(Piero).

3358.

Miniature Profile of Lady (Piero).

Torre

Gallo

(Villino),

Dance

of

Nudes

(fresco, recently discovered

and since then

completely repainted).
S.

(Antonio.)

N1CCOL6, Assumption of Virgin (Piero), E. San Gimig^ano. Collegiata, Choir, Coronation, 1483
(Piero).

London.

292.

St. Sebastian,

928.

1475 (Antonio). Apollo and Daphne (Antonio).

64.

New Haven, U. S. A.

Jarves Collection, and Nessus (Antonio).

85.
(fresco) (Piero).

Hercules
Christopher

New York.
Turin.

Metropolitan Museum,
97.

St.

Tobias and the Angel.

SCULPTURE, ETC.
Boston, U. S. A.
Florence.

Mr. Quincy A.
(?)

Shaw,

Warrior

in

Breastplate

(terra-cotta).

Bargello, Bust of Young Warrior (terra-cotta). Hercules and Antaeus (bronze). Opera del Duomo, Birth of Baptist (relief in
silver).

Twenty-seven
1470. Forll.

scenes

from

Life

of

Baptist
designs),

(embroideries

after

Antonio's

Rome.

Bust of Pino Ordelaffii (?). St. Peter's Chapel of Sacrament,

Sixtus IV, 1493 (bronze).

Tomb

of

L. Aisle,

Tomb

of

Innocent VIII (bronze).

136

WORKS OF

PONTORMO
1494-1556,
angelo.

(Jacopo Carrucci).
;

Pupil of Andrea del Sarto

influenced by Michel-

Bergamo.
Berlin.

Morelli,
239.

59.

Portrait of Baccio Bandinelli.

Portrait of

Andrea

del Sarto.
St.

Borgo San Sepolcro.

Florence.

Municipio,
183.
at Pieti.

Quintin in the

Pil-

lory (in part).

Academy,
190.

L.
1528.

Supper

Emmaus,

PiTTi, 149.
182.

Portrait of

Man

with Dog.

Martyrdom of
St.

forty Saints.

233. 249.

Antony.

L.

Portrait of

Man.
Saints.

379.

Adoration of Magi.

Uffizi, 1177.
1

Madonna and

187.

Martyrdom

of S. Maurizio.

1198.

Birth of St. John (plate).

Portrait of Man. Cosimo dei Medici. Cosimo I, Duke of Florence. Venus and Cupid (?).
38.

1220.
1267.

1270.

1284.
S.

Marco, Room
Medici.

Portrait

of

Cosimo

dei

CORSINI, 141.
185.

Madonna and Infant John. Madonna and Infant John. Palazzo Capponi (Marchese Farinola), Madonna and Infant John.
Annunziata,
(fresco),
1

SS.

Cloister

R.,

Visitaton

516.
S.

Cappella di
(fresco).

Luca, Madonna and Saints

Deposition
three

S.

FelicitA, Altar-piece
dallions of Prophets

me-

Annunciation

(fresco).

CoLLEGio
1513-

Mim are,

frescoes in Pope's Chapel,

THE FLORENTIN-E PAINTERS

before Pilate (fresco), 1523.

37

Florence {Con). Certosa (near Florence), Cloister, Christ

Frankfort a/M. 14*. Portrait of Lady with Dog. Genoa. Brignole-Sale, Portrait of Youth. London. 1131. Joseph and his Kindred in Egypt.

E.

Lucca. Milan. Prince Trivulzio, Portrait of a Rinuccini Lady. Oldenburg. 19. Portrait of Lady. Panshanger. Lord Cowper. Two panels with story of
Joseph.
Portrait of

Mr. Lhdwig Mond, A Conversation. Sala I, 5. Portrait of Youth.

E.

Young Man.
Saints, 1543.

Paris.

1240. 1241.

Holy Family and

Portrait of Precious Stone Engraver.

Poggio a Caiano (near Florence). Decorative fresco around window Vertumnus, Pomona, Diana, and
;

other figures, 1521.

Pontormo

(near Empoli).
gelist

Rome.

Church, St. John the Evanand St. Michael. Barberini, 16. Pygmalion and Galatea.
408.
Portrait of a Cardinal.
173.

BoRGHESE,

Tobias and the Angel. Prince Rospigliosi, Portrait of Francesco dei

Medici.

Scotland.

Keir, Mr. Archibald Stirling, Portrait of Bart. Compagni. New Battle, Marquess of Lothian, Portrait
of

Young Man.

Turin.

127.

Portrait of Lady.

COSIMO ROSSELLI.
1439-1507.

Pupil of Neri di Bicci]; influenced by Benozzo

and Baldovinetti.
Berlin.
sg.

Madonna,
Glory of

Saints,
St.

59A.
71.

and Angels. Anne, 1471.

Entombment.

138
Breslau,

WORKS OF
four

Madonna and Infant John. 171. Cambridge. Fitzwilliam Museum, 556. Madonna and
Saints, 1493.

Cologne.
Diisseldorf.

730c.

Madonna,

Saints,

and the

Innocents.

E.

Fiesole.

Florence.

Academy, no. Madonna adoring Child (?). Duomo, Salutati Chapel, Frescoes. Academy, 52. SS. Barbara, John, and Matthew.
160.

E.
Coronation.

Nativity.

Uffizi, 63.
65.

Adoration of Magi.

1280 bis. Madonna, Saints, and Angels, 1492. CORSINI, 339. Madonna and Angels adoring Child (tondo).

Gallery of
S.

Madonna. S. Maria Nuova, 65. Ambrogio, 3D Altar, L. Assumption and

predella.

1498.

Chapel of Sacrament, Miraculous

and other
SS.
Benizzi
1476.
S.

Chalice,

frescoes, i486

Annunziata,
taking

L.

Cloister,
habit

S.

Filippo

Servite

(fresco),

Maria Maddalena
Coronation, 1505.
St.

dei Pazzi, Altar-piece

Lille.

667.

London.

Mary of Egypt. Combat of Love and Chastity. Mr. Charles Butler, St. Catherine of Siena Order. Madonna and instituting her
1196.

Cherubs.

Lucca.
Miinster
Oxford.
(in

Duo.MO,
W.).

Wall

L. of

Entrance, Story
33.

of the

Cross (fresco).

Kunstverein,
riel

Madonna with GabSS. Dominic and

and Infant John.

19.

University Museum,
Nicholas.

THE FLORENTINE PAINTERS

Rome.
Vatican, Sistink

I39

Chapel, Frescoes; Christ preaching from the Lake Moses destroying the Tables of the Law Last Supper, 1482.
; ;

Mr.
Turin.
369.

Ludwig Mond, Madonna and Angel

adoring Child.

Triumph

of Chastity.

ROSSO.
1494-1 541.

Pupil of Andrea del Sarto

influenced

by Pon-

tormo and Michelangelo.

Borgo San Sepolcro.

Citt^ di Castello.
22.

Orfanelle, Deposition. Madonna and Saints (in

part).

DuoMO,
Dijon,
68.

Transfiguration, finished 1528.

Bust of Baptist.

Florence.

Pitti, 113.
237.

Three Fates.
Saints.

Madonna and

Uffizi, 1241.

Angel playing Guitar.

Bargello, DellaRobbiaRoom, Justice(fresco). Gallery of S. Maria Nuova, Madonna and

four Saints.

SS.

Annunziata, R. Cloister,
(fresco).
:

Assumption

S.

Frankfort a/M.
Paris.

Lorenzo, Altar-piece Madonna. 14.

Pieti.

Sposalizio.

1485.
i486.

Challenge of the Pierides.

19.

Siena.

Sala XI,
46.

Portrait of

Young Man.
and
hat.

Venice.
Volterra.

Profile bust of

Man

in red cloak

Duomo, Cappella

di S. Carlo, Deposition.

PAOLO UCCELLO.
1397-1475. Influenced by

Domenico Veneziano and Donatello.

Battle.

Florence.

Uffizi, 52.

DuoMO, Wall above Entrance, Four Heads

of Prophets (fresco).

140
Florence
(Con.).

WORKS OF
Wall L. of Entrance,
of Sir

Equestrian Portrait

S.

John Hawkwood, 1437. Maria Novella, Cloister, Frescoes Flood Sacrifice of Noah.
;

The

London.
Oxford.
Paris.

583.

Battle of S. Egidio.
Portrait of

758.

Lady.
28.

University Museum,
1272. Brunelleschi, 1273.
Battle.
St.

Midnight Hunt.

Portraits of Giotto, Uccello, Donatello,

and Giovanni Manetti.

George and the Dragon.
the

Mme. E. Andr^,
Urbino. Vienna.
23.

Jew and the Host, 1468. Count Lanckoronski, St. George and
Story of the

Dragon.

DOMENICO VENEZIANO.
About 1400-1461. Probablyacquiredhis rudiments at Venice; formed under the influence of Donatello and Masaccio.
Berlin.
64.

Martyrdom

of St. Lucy.

Florence.

Pitti, 375.

Portrait of

Man

L.

Uffizi, 1305.
S.

Madonna and four Saints. Croce, R. Wall, Baptist and St. Francis
(fresco).

L.

London.

766, 767.
1215.

Heads of Monks (frescoes). Madonna Enthroned (fresco transferred

to canvas).

ANDREA VERROCCHIO.
1435-1488.
Berlin.
Pupil of Donatello and Alessio Baldovinetti.
104A.

Profile of

Madonna and Angel. E. Young Woman on blue ground

(in part).

(?).

E.

Florence.

Academy, Baptism
Uffizi, 1204.
3450.

Profile of

Lady

(?).

Annunciation.

THE FLORENTINE PAINTERS

London.
Milan,
276.

I41

Poldi-Pezzoli, E.

Madonna and two Angels (?). E. 21, Profile of Young Woman (?).
Portrait of Lady.

Vienna.

Lichtenstein Gallery,

SCULPTURE.
Berlin.

Sleeping Youth. 93. 97A. Entombment.

Terra-cotta.

Florence.

Bargello, David, 1476

(bronze).

Woman. Opera del Duomo,

Bust of
(silver relief).

Decapitation of Baptist

1480.

Gallery of

S.

Maria

Nuova,

Madonna
Boy with
Cosimo
dei

and Child (terra-cotta). Palazzo Vecchio, Courtyard,

Dolfin (bronze).
S.

Lorenzo, Sacristy, Tomb

Medici, 1472 (bronze).

of

Or San Michele,
Paris.

Christ and St.

Thomas,

finished 1483 (bronze).

"^

Veniair

M. G. Dreyfus, Bust of a Lady. Piazza di S. Giovanni e Paolo, Equestrian monument of Bartolommeo Colleoni, left
unfinished at death (bronze).

INDEX OF PLACES.
Alnwick Castle. Duke of Northumberland, Altenburg^. Amico di Sandro, Lorenzo Monaco,
Ashridge.
Asolo.
Assist.
Giotto.

Mainardi,

Pesellino, Pier Francesco Fiorentino.

Lord Brownlow
Filippo. SiG. G.

Fra

Bartolommeo,

Fra

Bartoldi, Bacchiacca.
:

San Francesco Giotto. Barnard Castle. Bowes Museum, Franciabigio. Bergamo. Lochis Albertinelli. MORELLI Albertinelli, Bacchiacca,
: :

BaldoviPier

netti, Botticelli,

Botticini, Bronzino, L. di

Credi,

Lorenzo Monaco, Pesellino,

Francesco Fiorentino, Pontormo.

Berlin.

Amico

di

Sandro, Andrea del Sarto, Fra AngeBacchiacca,

lico,

Fra

Bartolommeo, Be-

nozzo, Botticelli, Botticini, Bronzino, Bugiardini,

L. di Credi, Franciabigio, R. del

Garbo, Rid. Ghirlandaio, Granacci, Filippino Lippi, Fra Filippo Lippi,

Lorenzo
di Cos-

Monaco, Mainardi, Masaccio, Pier

iuoli,

imo, Pier Francesco Fiorentino, the Polla-

Pontormo, C. Rosselli, D. Veneziano,

Verrocchio.

Museum of Industrial Art Bugiardini. Palace of Emperor William I.: Bugiardini.

:

Raczynski Collection Hainauer Collection

143

Lorenzo Monaco.
Mainardi, Pesellino,

Pier Francesco Fiorentino, PoUaiuolo.

144
Berlin (Con.\

INDEX OF PLACES
Kaufmann Collection Lorenzo Monaco. Herr James Simon, Bronzino, R. del Garbo.
: :

Besangon.
Beziers.

Cathedral Fra Bartolommeo.

Benozzo Gozzoli.
Bugiardini, Franciabigio, Giotto.
:

Bologna.

Filippino, Michelangelo. S. DOMENICO Borgo San Sepolcro. Municipio Pontormo. Orfanelle Rosso. Boston, U. S. A. Mrs. J. L. Gardner Fra Angelico,
:
: :

Botticelli, Bronzino,
:

Masaccio, Pesellino.

Bowood.
Bremen.
Breslau. Brighton.

Mr. Quincy a. Shaw Mainardi, PoUaiuolo (?). Mrs. Warren, Filippino Lippi. Marquess of Lansdowne Bugiardini. Kunsthalle Masolino.
:

Cosimo

Rosselli.
:

Mr. Constantine Conides Amico di Sandro. Mr. Henry Willett, Botticini. Brozzi (near Florence). S. Donnino Botticini.
:

Bruges.
Brussels.

Notre Dame

Michelangelo.

Franciabigio, Pier Francesco Fiorentino.

:

Muse de la Ville Franciabigio. Buda Pesth. Amico di Sandro, Bronzino, Rid. Ghirlandaio. Herr Rath Botticini. Cambridge. Fitzwilliam Museum Cosimo Rosselli.
: :

Carlsruhe.

L. di Credi, Pier Francesco Fiorentino.

Castel Fiorentino.

Cappella di

S.
:

Chiara

Benozzo.
Masolino.

Madonna della Tosse Benozzo. Castiglione D'Olona. Church and Baptistery:

Certaldo.

Palazzo Castiglione Palazzo dei Priori

:

Masolino.
Pier Francesco Fioren-

tino.

Cappella del Ponte d'Agliena

Pier Francesco Fiorentino.

Benozzo.

Chantilly.

Amico

di Sandro, Pier di

Cosimo, Pesellino.

Citt4 di Castello.

Rosso.
:

DuoMO

Rosso.

IXDEX OF PLACES
Colle di Val d'Elsa.

145

Salone
:

Pier Francesco Fiorentino.

S'Agostino

Rid. Ghirlandaio.

Cologne. Benozzo, C. Rosselli. Cortona. S. DoMENico and Ges&. Darmstadt. Granacci.

Dijon.

Fra Angelico.

Bugiardini, Rid. Ghirlandaio, Rosso.

Dresden.

Andrea

del Sarto, Bacchiacca, Botticelli,

L. di

Credi, Franciabigio, Pier di Cosimo,

Dulwich.
Diisseldorf.

Pier di Cosimo.

Empoli.

Academy C. Rosselli (?). Opera del Duomo Botticini, Lorenzo Mon: :

aco, Pier Francesco Fiorentino.

Fiesole.

Florence.

Baptistery Masolino (?). Duomo Cosimo Rosselli. Academy Albertinelli, Andrea del
:
:

Sarto,

Fra

Angelico, Fra Bartolommeo, Baldovinetti,

Botticelli, Botticini,

L. di Credi, Francia-

bigio,

R. del Garbo, Dom. and Rid. Ghir-

landaio, Giotto, Granacci, Filippino Lippi,

Fra Filippo, Lorenzo Monaco, Masaccio, Michelangelo, Pesellino, Pontormo, C. Rosselli,

Verrocchio.

PiTTi

Albertinelli,

Amico

di Sandro,

Andrea
Francia-

del

Sarto,

Bacchiacca, Fra Bartolommeo,

Botticini,

Bronzino,

Bugiardini,

bigio, Rid. Ghirlandaio, Granacci, Filippino

Lippi, Fra Filippo Lippi, Pier di Cosimo,

Pontormo, Rosso, Dom. Veneziano.

Uffizi

Albertinelli,

Andrea del

Sarto,

Angelico,

Bacchiacca,

Baldovinetti,

Fra Fra

Bartolommeo, Benozzo,

Botticelli, Botticini,

Bronzino, Bugiardini, L. di Credi, Franciabigio, Dom. Ghirlandaio, Rid. Ghirlandaio,

Granacci,

Leonardo da Vinci,

Filippino

Lippi, Fra Filippo Lippi, Lorenzo Monaco, Mainardi, Michelangelo, Pier di Cosimo,

146
Florence.
{Con.).

INDEX OF PLACES
Pier Francesco Fiorentino, the Pollaiuoli, Pontormo, C. Rosselli, Rosso, Paolo Uccello,

Dom. Veneziano, Verrocchio. Bargello Mainardi, Michelangelo, Pier Fran:

cesco Fiorentino,
rocchio.

Pollaiuolo,

Rosso, Ver-

BiGALLO Rid. Ghirlandaio. BoBOLl Gardens Michelangelo. Botticini, Castagno, Pier FranS. Apollonia
: : :

cesco Fiorentino.

BiBLiOTECA Laurenziana
:

Lorenzo Monaco.

Casa Buonarroti Michelangelo, Pesellino. Cenacolo di Foligno Amico di Sandro. Chiostro dello Scalzo Andrea del Sarto,
: :

Franciabigio.

Spedale degli Innocenti Pier di Cosimo. Museo S. Marco Fra Angelico, Fra Bartolommeo, Dom. Ghirlandaio, Pontormo. Gallery of S. Maria Nuova Fra Bartolom:
: :

meo. Pier Francesco Fiorentino, C. Rosselli,

Rosso, Verrocchio.

Opera del Duomo

Palazzo Riccardi Palazzo Vecchio
:

Pollaiuolo, Verrocchio.

Benozzo.
Bronzino,

Dom.

Ghirlan-

daio, Rid. Ghirlandaio, Verrocchio.

Andrea del S. Sal VI Palazzo Alessandri Bardini Collection

Sarto.
:

Benozzo, Filippo Lippi.

Bacchiacca.

DucA

DI Brindisi

Botticini.

Palazzo Capponi Botticelli, Pontorma COLLEGIO Militare Pontormo. Palazzo Corsini Albertinelli, Amico
: : :

di

Sandro, Bacchiacca, Botticelli, Rid. Ghirlandaio, Filippino Lippi, Pontormo, C.

Rosselli.

INDEX OF PLACES
:

47

Florence. (Co.). Signor dei Nobili P. F. Fiorentino. Palazzo Panciatichi Alessio Baldovinetti,
:

Botticini, Pier di Cosimo, P. F. Fiorentino.

Palazzo Pitti Palazzo Pucci

Botticelli.

L. di Credi, Pier di Cosimo.

;

Count Serristori
Mr.
Spencer
Fiorentino.

P. F. Fiorentino.
:

Stanhope
:

Pier

Francesco

Marchese Pio Strozzi

Palazzo Torrigiani
: :

Botticini.

Rid. Ghirlandaio, Filip-

pino Lippi, Mainardi.

Torre del Gallo Antonio Pollaiuolo. S. Ambrogio C. Rosselli. SS. Annunziata Andrea del Sarto, Baldovin:
:

etti,

Castagno, Franciabigio, Pontormo, C.

Rosselli, Rosso.

BADIA Filippino Lippi. Calza Franciabigio. Carmine Filippino Lippi, Masaccio, Masolino. Certosa Albertinelli, Pontormo. Giotto, Mainardi, Dom. Veneziano. S. Croce
;

S.

DoMENico
:

Fra Angelico, L.

di Credi.

DuOMO
S.

Baldovinetti, Castagno,

L. di Credi,

Michelangelo, Uccello.
FelicitA.
:

Pontormo.

Innocenti
S.

Dom.
;

Ghirlandaio.

Lorenzo
di

Bronzino, Fra Filippo Lippi, Pier

Cosimo, Rosso, Verrocchio.

New
S.

Sacristy
:

Michelangelo.

S.
S.

Marco Fra Bartolommeo. Maria Maddalena dei Pazzi C. Rosselli. Maria Novella Bugiardini, Dom. Ghirlan; ;

daio,

Filippino Lippi, Masaccio, Orcagna,

Uccello.
S.

Maria Nuova
Miniato
:

Castagno, Lorenzo Monaco.

S.

Baldovinetti, Ant. Pollaiuolo.

148
Florence.

INDEX OF PLACES
(Can.). S.

Niccol6
:

Piero PoUaiuolo.

Ognissanti
S.

Botticelli,
:

Dom.

Ghirlandaio.

Or San Michele
Pancrazio
: :

Orcagna, Verrocchio.

Baldovinetti.

La Quiete
S.
S.

Rid. Ghirlandaio.
Botticini, Filippino Lippi.

Spirito

TrinitA

Baldovinetti,

Dom.

Ghirlandaio,

Lorenzo Monaco.
Forll.

L. di Credi, PoUaiuolo

(?).

Frankfort.

Pier Francesco Fiorentino, Pontormo, Rosso.

Albertinelli.
:

Geneva. Genoa.

Brignole-Sale Pontormo. Palazzo Bianco Filippino Lippi. S. Gimignano. Municipio Benozzo, Pier Francesco Fior: :

entino.
S.

Agostino

Benozzo, Mainardi, Pier Fran-

cesco Fiorentino.
S.

Andrea

Benozzo.
:

COLLEGIATA
S.
:

Benozzo, Ghirlandaio, Mainardi,

Pier Francesco Fiorentino, Piero PoUaiuolo.

Lucia Pier Francesco Fiorentino. Jacopo Pier Francesco Fiorentino. Monte Oliveto Benozzo, Mainardi. OspedAle di S. Fina Mainardi. Via S. Giovanni Mainardi. CappellA di Monti Pier Francesco Fiorentino. S. M. AssuNTA A Pancole Pier Francesco
S.
: : :

Fiorentino.
S.

Bartolommeo a Ulignano:
cesco Fiorentino.

Pier

Fran-

Hague. Hamburg.
Hildesheim.

Albertinelli, Bronzino, Pier di

Cosimo.

Consul Weber
Mainardi.
(Kent).

Franciabigio, Mainardi.

Horsmonden
Lille.

P. F. Fiorentino,

Liverpool.

Walker

Mrs. Austen Amico di Sandro. Cosimo Rosselli. Gallery Cosimo Rosselli.

:
;

INDEX OF PLACES
Lockinge. Lord Wantage Pesellino. Locko Park. Mr. Drury-Lowe Benozzo,
:

I49

Castagno,

Mainardi.

London.

Amico

di Sandro,

Andrea del

Sarto,

Fra Angel-

ico,

BotBronzino, Bugiardini, Castagno, L. di Credi, Franciabigio, Dom. Ghirlandaio, Rid.

Botticelli,
ticini,

Bacchiacca, Benozzo,

Ghirlandaio, Filippino Lippi, Fra Filippo Lippi, Lorenzo Monaco, Mainardi, Michelangelo,

Pier

di

Cosimo, Pier

Francesco

Fiorentino, Antonio Pollaiuolo, Pontormo,

Cosimo
S.

Rosselli, Uccello,
(?).
:

Dom. Veneziano,

Verrocchio
Fiorentino.

Kensington Museum
House,
:

Michelangelo, P. F.

Burlington

Diploma

Gallery

Leonardo, Michelangelo.

Lord Ashburnham

Botticini, Granacci, Filip-

pino Lippi, P. di Cosimo.

Mr. Robert Benson Franciabigio, R. del Garbo, Dom. Ghirlandaio, Pier di Cosimo. Mr. C. Brinsley Marlay Botticini. Mr. John Burke Pier di Cosimo. Bacchiacca, L. di Mr. Charles Butler
:

Credi, Masaccio, C. Rosselli.

Dorchester
Mrs.
Sir H. Sir a.

Lord Crawford Botticini. House (Captain

:

Holpord)

Pesellino.

Louisa

Herbert
:

Pier

Francesco

Fiorentino.

Howarth

Castagno
:

(?),

Mainardi.
Botti-

Naylor Leyland Bacchiacca. Mr. Ludwig Mond Fra Bartolommeo,

:

D. Ghirlandaio, Pontormo. Lord Northerook Fra Bartolommeo.

celli,
:

Dr.

J.

P.

RiCHTER

Giotto

ISO
London.
(Com.).

INDEX OF PLACES
Lord Rosebery Lorenzo di Credi. Mr. George Salting Dom. Ghirlandaio. Mr. Henry Wagner Lorenzo Monaco. Mr. Julius Wernher Filippino Lippi.
: : :
:

Longleat,

Lord Yarborough Marquess of Bath

:

Franciabigio.

L. di Credi, Mainardi.

Lucca.

Fra Bartolommeo, Bronzino, Pontormo. DUOMO Fra Bartolommeo, Dom. Ghirlandaio,

C. Rosselli.
S.

MiCHELE

Filippino Lippi.
(?).

Lyons. Madrid.

R. del Garbo

Andrea del
di

Sarto, Fra Angelico.

Marseilles. Pier

Cosimo.

Mayence.
Meiningen.

L. di Credi.

Ducal Palace
Gozzoli.

Amico

di Sandro,

Benozzo

Mells Park (Frome).

Milan.

Mrs.
:

J.

Horner

Pier Francesco

Fiorentino.

Ambrosiana Botticelli. BORROMEO Pier di Cosimo. Brera Bronzino.

: :

Poldi-Pezzoli

Albertinelli,
(?).

Botticelli,

Pesel-

lino Verrocchio
:

Casa Casati L. di Credi, Cosimo Rosselli. Bacchiacca, Granacci, Lor. Signor Crespi
:

Monaco, Mainardi. Dr. Frizzoni Bacchiacca. Prince Trivulzio Amico

: :

di

Sandro, Pier di

Cosimo, Pontormo.

Marchese Visconti Venosta

meo.
S.

Fra Bartolom-

Maria delle Grazie

Bugiardini, Leonardo.

Modena. Mombello

Bugiardini, Botticini, Franciabigio.

(near Milan)
dini.

Prince Pio di Savoia

Bugiar-

Montefalco.

S.

Fortunato and S Francesco

Benozzo.

INDEX OF PLACES
Montpellier. Pesellino.

151

Munich.

Albertinelli,

Fra Angelico, R. del Garbo, Giotto, Granacci, Fra Filippo Lippi, Maindel
Sarto,

Andrea
L.

Baccliiacca,

di

Credi,

ardi, Masolino.

MUnster
Naples.

(in

LOTZBECK Collection Lorenzo Monaco. W.). Kunstverein Mainardi, C. Rosselli. Amico di Sandro, Fra Bartolommeo, L. di Credi,
:

Franciabigio

(?),

R.

del Garbo,

Filippino

Lippi, Masolino.

MUSEO FILANGIERI
Narbonne.

Amico

di Sandro.

Pier Francesco Fiorentino.

Dom. Ghirlandaio. Nami. Newlands Manor (Hants). Col. Cornwallis West

P. di Cosimo.

New

Haven, U. S. A. Jarves Collection

Ant. Pollaiuolo.

Granacci,

Pier di Cosimo, Pier Francesco Fiorentino,

Newport, U. S. A. Mr. T. H. Davis: Bugiardini. New York. Metropolitan Museum Piero PoUaiuolo. Mrs. Gould Bronzino. Franciabigio. Nimes.
: :

Oldenburg. Bugiardini, Pontormo. Duomo Fra Angelico. Orvieto. Christ Church Amico di Sandro, Bacchiacca, Oxford. R. del Garbo, Granacci, Filippino Lippi. University Museum Fra Angelico, Bronzino,
: :
:

L. di Credi, Granacci, Mainardi, Pesellino,

C. Rosselli, Uccello.

Padua. Palermo.

Mr. T. W. Jackson Franciabigio. Arena Chapel Giotto. Baron Chiaramonte-Bordonaro

:
:

Botticini,

Panshanger.
Paris.

Pier Francesco Fiorentino. Fra Bartolommeo, Granacci, Pontormo.

Albertinelli,

Amico di Sandro, Andrea del Sarto, Fra Angelico, Baldovinetti, Fra Bartolom-

152
Paris {Con.\

INDEX OF PLACES
meo, Benozzo,
zino,
Botticelli,

Botticini,

Bron-

Bugiardini,

L.

di

Credi,

Dom.
Michel-

Ghirlandaio, Rid. Ghirlandaio, Giotto, Leonardo,

Filippo

Lippi,

Mainardi,

angelo, Pesellino, Pierdi Cosimo, Pontormo,

Cosimo
:

Rosselli, Rosso, Uccello.

Cluny Lorenzo Monaco. Mme. Edouard Andre

cini,

Baldovinetti,

Botti-

Bugiardini, Uccello.
:

Countess Arconati-Viscounti Botticini. M. LtoN Bonnat P. F. Fiorentino. M. G. Dreyfus Mainardi, Verrocchio. M. Leopold Goldschmid Amico di Sandro,
:

Mainardi.

M. RoDOLPHE Kann
zoli,

Castagno, Benozzo GozAlbertinelli.

:

Ghirlandaio.
:

Countess Pourtales

Count Robert Pourtales Benozzo Gozzoli. M. Alphonse de Rothschild Raf. del Garbo.
:

Parma.

Perugia. Philadelphia, U. S. A.

Fra Angelico, R. del Garbo. Fra Angelico, Benozzo.

Museum of Fine Arts

P. F.

Fiorentino.

Plan
Pisa.

di

Mug^none. Fra Bartolommeo. Fra Angelico, Benozzo, Dom. Ghirlandaio.

Campo Santo Benozzo. Dom. Ghirlandaio. S. Anna

:

S. S.

Caterina Albertinelli. Stefano Bronzino.

:
: :

Pistoia.

DuoMO
S.

L. di Credi.
:

M. del Letto Lor. di Credi. S. PiETRO Maggiore Rid. Ghirlandaio. Poggio a Caiano (near Florence). Andrea del Sarto, Fran.
:

ciabigio, Filippino Lippi,

Pontormo.

Pontormo.

Church

Pontormo.

INDEX OF PLACES
Prato.
Filippino, Lorenzo

153

Monaco.
:

DuoMO

Ridolfo Ghirlandaio, Fra Filippo Lippi.

Tabernacle in Street Filippino Lippi. Quintole (near Florence). S. Pietro Granacci. Ravenna. Lorenzo Monaco. The Priory Rid. Ghirlandaio. Reigate. Bacchiacca, Fra BartoRichmond. Sir Francis Cook lommeo, Botticini, Fra Filippo Lippi, Pier
:
:

Francesco Fiorentino.

Rimini.

Dom.

Ghirlandaio.
:

Rome,

Barberini

Mainardi, Pontormo.
Albertinelli, Bacchiacca, Bronzino,

Borghese

Bugiardini, L. di Credi, Franciabigio, Granacci, Pier di

Capitol
Corsini

Cosimo, Pontormo. Lorenzo di Credi.

Bronzino, Bugiardini.

Colonna
:

Fra Angelico,

Fra Bartolommeo,

Bronzino, Bugiardini, Granacci.

DORIA Bronzino. Lateran Benozzo, Fra

: : : :

Filippo Lippi.

QUIRINAL Fra Bartolommeo. Vatican Fra Angelico, Leonardo. Fra Angelico, Giotto, MusEO Cristiano Lor. Monaco. Chapel of Nicholas V. Fra Angelico.
:
:

SiSTlNE

Chapel

Botticelli,

Dom.

Ghir-

landaio, Michelangelo, Pier di Cosimo^

C. Rosselli.

CappellA Paolina Michelangelo. Sen. Giov. Baracco Pier di Cosimo. Prince Colonna Bugiardini. PWNCK DoRiA Fra Filippo Lippi, Pesellino,
:
: :

Mr. Ludwig Mond

Rosselli.

Fra Filippo Lippi, C.

Botticelli.

Prince Pallavicini Prince Rospigliosi

Pontormo,

154
Rome.
(Con.').

INDEX OF PLACES
Count Stroganoff
Angelico, Mainardi.
:
:

Amico

di

Sandro, Fra

Aracoeli
S.

Benozzo.
:

Clemente Masolino. St. John LaterAN Giotto. S. Maria sopra Minerva

:

Filippino Lippi,

Michelangelo.
St. Peter's
:

Michelangelo, Pollaiuolo.
:

Sagrestia DEI Canonici Giotto. Michelangelo. S. Pietro IN Vincoli

:

Scandicci (near Florence).

Credi.

Countess de Turenne

L. di

Scotland.

Calder House (near Glasgow). Sir J. Stirling

Maxwell
landaio.

P. di Cosimo.
:

Glasgow, Mr. William Beattie

Rid. Ghir-

GosFORD House, Lord Wemyss

Amico

di

Sandro, Masolino, P. di Cosimo,

Langton
TON
:

Keir, Mr. Archibald Stirling : Pontormo. (near Duns), Mrs. Baillie-HamilBugiardini.

:

New

Battle, Marquess of Lothian Ami> CO di Sandro, P. di Cosimo, Pontormo. Rossie Priory, Lord Kinnaird Granacci.
:

Siena.

Albertinelli, Pier Francesco Fiorentino, Rosso.

Palazzo Saracini
:

Mainardi.

DuoMO Fra Filippo Lippi. Spoleto. St. Petersburg. Botticelli, Rid. Ghirlandaio.
Strasburg. Stuttgart.
'Turin.
Botticini L. di Credi, Filippino, Masolino.
Albertinelli.

Amico

di

Sandro,

Fra Angelico,

Botticini,

Bugiardini, Franciabigio, L. di Credi, P. F. Fiorentino, the PoUaiuoIi, Pontormo, Cos-

imo

Rosselli.
:

Academy Fra Filippo Lippi. Museo Municifale Bugiardini..

:

INDEX OF PLACES
Urbino. Venice.
Uccello.

155

Acadejiiy
Lippi.

Rosso.
:

Seminario

Albertinelli, Bacchiacca, Filippino

Qukrini-Stampalia L. di Credi. Prince Giovanelli Bacchiacca.

:

Lady Layard
Vienna.

R. del Garbo. Piazza S. Giovanni e Paolo Verrocchio. Andrea del Sarto, Fra Bartolommeo, Benozzo,
: :

Bronzino, Bugiardini, Franciabigio.

Harrach
Cosimo.

Collection
:

Mainardi,

Pier

di

Count Lanckoronski Masaccio, Uccello. Amico di Sandro, Lichtenstein Gallery

;

Bugiardini, Franciabigio, Mainardi, Pier di

Cosimo, Verrocchio.

Villamagna
Volterra.

(near Florence).

Church

Granacci.

Municipio

Dom.
S.

Ghirlandaio.

DuoMO

Albertinelli, Benozzo, Rosso.

Oratorio di
Fiorentino.

Antonio
:

Pier Francesco

Warwick

Castle.

Lord Warwick

Amico

di Sandro,

Granacci.

Wiesbaden. Bacchiacca, Windsor. Franciabigio.

Franciabigio.

Utalian IRenaissance

The Florentine Painters

Of
their Genius and a full and Continental galleries. By Bernhard Beeenson, author of " Lorenzo Lotto," etc.

the Renaissance.

With an Essay on
in British

List of their

Works

With
**

a heliotype Frontispiece.

12
;

$1.00

modem methods of investigation." London

A highly competent student of

Italian art

a practitioner of the most Times.

The Venetian Painters

Of
the Renaissance.

With an Account

of their Painting

and

a List of their Works. By Bernhard Berenson, author of " Lorenzo Lotto," etc. With Frontispiece. 12, $1.00

New
*'

edition, with

24 photogravures.

8.

5.00

of the best things I have ever read upon so delicate a subject. It merits translating into Italian." Signor BoNGHl, writing in La Cultura,

One

The Central
Of
the Renaissance.

Italian Painters

By Bernhard Berenson, author of " Florentine Painters," etc. With Frontispiece. 12", $1.00

scholarly and artistic discussion of decoration and illustration, folcritiq^ues on the different artists of Central Italy. The last 75 pages contain an invaluable index. The index alone is worth far more than the price of the book." Wooster Post Graduate.

"A

lowed by brief

Renaissance Fancies
And
Studies.

By Vernon Lee.

sequel to " Euphorion."

12

S1.25

"Delightful and sympathetic essays, inspired by that subtle and indescribable spirit which characterizes the Italian Renaissance, and worthjj to rank with the studies of this period by such a master as Pater himself.

G. P.

PUTNAM'S SONS, New York and

London.

WORKS BY FRANK PRESTON STEARNS.

The

Life

and Genius of Jacopo Robust!

Called Tintoretto.

With Heliotype
" When

Illustrations, 12, $2.25.

I was a boy I was deeply impressed with a rugged portrait of Tintoretto. The exhaustless force and solemn thought there expressed was emphasized by a look of unswerving virtue and lofty independence. Mr. Frank Preston Stearns' biography of him presents him as he lived and worked among his contemporaries; and in reading the book one is living with the painter, and observing his course in art as his associates might have done." Darius Cobb.

The Midsummer of

Italian Art.

Containing an Examination of the Works of Fra Angelico, Michelangelo, Leonardo da Vinci, Raphael Santi, and Correggio. With Heliotype Illustrations,

Second
"
It is

edition, revised.

12

$2.25

one of the most genuinely delightful and readable art books The of the season, and the crop has not been a small one either. work is a model of sensible art writing. An easy familiarity with the sincere, honest art history of the country, a keen appreciation of work, a lively realization of the painter's motives and aims cause him to write with an enthusiasm that is quite contagious. The book is never dry, and the men whose names are household words are made real, tangible people." New York Times.

Four Great Venetians.

An Account
of the

Lives and

Works

of Giorgione,
Illustrated, 12,

Titian, Tintoretto,

and

II

Veronese;

$2.00
" Those whose eyes have never feasted on these masterpieces will read it with much the same feeling with which a hungry man would
peruse a detailed description of a splendid banquet. To those who have enjoyed some of their beauties this work will be a delightful and instructive reminder, crystalhzing, as it were, the vague impressions and hazy ideas so common in matters of art. Mr. Stearns is well qualified for his task, and his style is clear, concise, and free all extravagances." The Interior.

G.

P.

PUTNAM'S SONS, New York and London.

Cornell University Library

ND 621.F63B48

1902

The Florentine painters of tlie Renaissan

3 1924 008 748 760