Six Centuries of Painting Part 4

_National Gallery, London_]

[Ill.u.s.tration: PLATE VIII.--RAPHAEL

LA BELLE JARDINIeRE

_Louvre, Paris_]

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

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

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

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

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

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

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

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

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

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

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

Of these the _Madonna di Foligno_, in the Vatican, is the earliest. In the upper part of the picture is the Madonna with the Child, enthroned on the clouds in a glory, surrounded by angels. Underneath, on one side, kneels the donor, behind him stands S. Jerome. On the other side is S.

Francis, kneeling, while he points with one hand out of the picture to the people, for whom he entreats the protection of the Mother of Grace; behind him is S. John the Baptist, who points to the Madonna, while he looks at the spectator as if inviting him to worship her.

The second, the _Madonna del Pesce_ has much more repose and grandeur as whole, and unites the sublime and abstract character of sacred beings with the individuality of nature in the happiest manner. It is now in Madrid, but was originally painted for S. Domenico at Naples, about 1513. It represents the Madonna and Child on a throne; on one side is S. Jerome; on the other the guardian angel with the young Tobias who carries a fish (whence the name of the picture). The artist has imparted a wonderfully poetic character to the subject. S. Jerome, kneeling on the steps of the throne, has been reading from a book to the Virgin and Child, and appears to have been interrupted by the entrance of Tobias and the Angel. The infant Christ turns towards them, but at the same time lays his hand on the open book, as if to mark the place. The Virgin turns towards the Angel, who introduces Tobias; while the latter dropping on his knees, looks up meekly to the Divine Infant. S. Jerome looks over the book to the new-comers, as if ready to proceed with his occupation after the interruption.

But the most important is the famous _Madonna di San Sisto_, at Dresden.

Here the Madonna appears as the queen of the heavenly host, in a brilliant glory of countless angel-heads, standing on the clouds, with the eternal Son in her arms; S. Sixtus and S. Barbara kneel at the sides. Both of them seem to connect the picture with the real spectators. This is a rare example of a picture of Raphael's later time, executed entirely by his own hand.

Two large altar pictures still claim our attention; they also belong to Raphael's later period. One is the _Christ Bearing the Cross_, in Madrid, known by the name of _Lo Spasimo di Sicilia_, from the convent of Santa Maria dello Spasimo at Palermo, for which it was painted. Here, as in the tapestries, we again find a finely conceived development of the event, and an excellent composition. The other is the _Transfiguration_, now in the Vatican, formerly in S. Pietro at Montorio.

[Ill.u.s.tration: PLATE IX.--RAPHAEL

PORTRAIT OF BALDa.s.sARE CASTIGLIONE

_Louvre, Paris_]

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

"I cannot believe myself in Rome," wrote Count Castiglione, on the death of the master, "now that my poor Raphael is no longer here." Men regarded his works with religious veneration as if G.o.d had revealed himself through Raphael as in former days through the prophets. His remains were publicly laid out on a splendid catafalque, while his last work, the _Transfiguration_, was suspended over his head. He was buried in the Pantheon, under an altar adorned by a statue of the Holy Virgin, a consecration offering from Raphael himself. Doubts having been raised as to the precise spot, a search was made in the Pantheon in 1833, and Raphael's bones were found; the situation agreeing exactly with Vasari's description of the place of interment. On the 18th of October, in the same year, the relics were reinterred in the same spot with great solemnities.

The schools of Lombardy and the Emilia, which derive their characteristics from Florentine rather than from Venetian influences, may here be briefly mentioned before turning to the consideration of the Venetian School. In 1482, it will be remembered, Leonardo went to Milan, where he remained till the end of the century; and the extent of his influence may be judged from many of the productions of BERNADINO LUINI (1475-1532) and GIOVANNI ANTONIO BAZZI, known as SODOMA (1477-1549). Of AMBROGIO DI PREDIS we have already heard in connection with the painting of our version of Leonardo's _Virgin of the Rocks_. GIOVANNI ANTONIO BOLTRAFFIO (1467-1516) was a pupil of VINCENZO FOPPA, but he soon abandoned the manner of the old Lombard School, and came under the influence of the great Florentine, of whom he became a most enthusiastic disciple.

More independent--indeed, he is officially characterised as "an isolated phenomenon in Italian Art"--was ANTONIO ALLEGRI, commonly called CORREGGIO, from the place of his birth. In 1518 he settled at Parma, where he remained till 1530, so that he is usually catalogued as of the School of Parma, which for an isolated phenomenon serves as well as any other. Of late years his popularity has been somewhat diminished by the increasing demands of private collectors for works which are purchasable, and most of Correggio's are in public galleries. At Dresden are some of the most famous, notably the _Nativity_, called "La Notte,"

from its wonderful scheme of illumination, and two or three large altar-pieces. The _Venus Mercury and Cupid_ in our National Gallery, though sadly injured, is still one of his masterpieces. It was purchased by Charles I. with the famous collection of the Duke of Mantua. Our _Ecce h.o.m.o_ is ent.i.tled to rank with it, as is also the little _Madonna of the Basket_.

[Ill.u.s.tration: PLATE X.--CORREGGIO

MERCURY, CUPID, AND VENUS

_National Gallery, London_]

_VENETIAN SCHOOLS_

I

THE VIVARINI AND BELLINI

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

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

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

But the two chief pioneers of the early fifteenth century were Giovanni, or JOHANNES ALAMa.n.u.s, and ANTONIO DA MURANO. The former appears from his surname to have been of German origin, the latter belonged to the family of VIVARINI, and they used to work together on the same pictures. Two excellent examples of this combination are in the Academy at Venice.

The one, dated 1440, is a Coronation of the Virgin, with many figures, including several boys, and numerous saints seated. In the heads of the saints we may trace the hand of Alama.n.u.s, in the Germanic type of countenance which recalls the style of Stephen of Cologne. A repet.i.tion of this, if it is not actually the original, is in S. Pantalone at Venice. The other picture, dated 1446, of enormous dimensions, represents the Virgin enthroned, beneath a canopy sustained by angels, with the four Fathers of the Church at her side. The colouring is fully as flowing and splendid as that of Giambono.

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

The two side panels of an altar-piece, representing severally SS. Peter and Jerome, and SS. Francis and Mark, now in the National Gallery (Nos.

768 and 1284), are ascribed to Antonio Vivarini alone, though the centre panel, the Virgin and Child, now in the Poldi Pezzoli collection at Milan is said to be the joint work of Alama.n.u.s and Antonio. However that may be, there is no longer any dispute about the fascinating Adoration of the Kings in the Kaiser Friedrich Museum at Berlin, formerly supposed to be the work of Gentile da Fabriano, but now catalogued as that of Antonio.

In 1450 the name of Alama.n.u.s disappears altogether, and that of BARTOLOMMEO VIVARINI, Antonio's younger brother, replaces it in an inscription upon the great altar-piece commissioned by Pope Nicholas V.

in commemoration of Cardinal Albergati, now in the Pinacoteca of Bologna. The change is noticeable as introducing the Paduan influence of Squarcione, under whom Bartolommeo had studied, instead of the northern influence of Alama.n.u.s, into Antonio's workshop, and while this work of 1450, as might be supposed, bears a general resemblance to that of 1446, the change of partnership is at least perceptible, and had a determining influence on the development of the Venetian style.

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

ALVISE, or LUIGI, VIVARINI was the son of Antonio, and though he worked under him and his uncle Bartolommeo, as well as under Giovanni Bellini, the Paduan influence is apparent in his work. He was born in 1447, and his first dated work is an altar-piece at Montefiorentino, in 1475. In the Academy at Venice is a Madonna dated 1480, and at Naples a Madonna with SS. Francis and Bernard, 1485. Another Madonna at Vienna is dated 1489, and the large altar-piece in the Basilica at the Kaiser Friedrich Museum in Berlin is a.s.signed to about the same time. This is the first of his works in which the influence of Bellini rather than that of his family is traceable, while of the "Redentore" Madonna at Venice, of about five years later, Mr Bernhard Bernson says that, "As a composition no work of the kind by Giovanni Bellini even rivals it." In 1498 he had advanced so far as to be spoken of as antic.i.p.ating Giorgione and t.i.tian, in the effect of light and in the roundness and softness of the figures of the _Resurrection_, at Bragora. His last work, the altar-piece at the Frari, was completed after his death in 1504 by his pupil Basaiti.

Bartolommeo Montagna, Jacopo da Valenza and Lorenzo Lotto were the chief of his other pupils.

In connection with the Vivarini must be mentioned CARLO CRIVELLI, who studied with Bartolommeo under Antonio and Squarcione. But there was something fierce and uncongenial about Crivelli which takes him out of the main body of Venetian painters, and seems to have given him more pride in being made a knight than in his pictorial achievements, remarkable as they were. In his ornamentation of every detail with gold and jewels he recalls the style of Antonio Vivarini, but while the master used it as accessory merely, Crivelli positively revelled in it.