A Popular Handbook to the National Gallery, Volume I, Foreign Schools

From the moral point of view, we may see in this picture, says Ruskin, what a gentleman's view of war is, as distinguished from a boor's, with mean passion and low fury on every face. "Look at the young Malatesta,151 riding into the battle of Sant' Egidio. His uncle Carlo, the leader of the army, a grave man of about sixty, has just given orders for the knights to close: two have pushed forward with lowered lances, and the mêlée has begun only a few yards in front; but the young knight, riding at his uncle's side, has not put his helmet on, nor intends doing so yet. Erect he sits, and quiet, waiting for his captain's order to charge; calm as if he were at a hawking party, only more grave; his golden hair wreathed about his proud white brow, as about a statue's" (Modern Painters, vol. v. pt. ix. ch. viii. § 9). Another point to notice is the type this picture affords of "the neglect of the perfectness of the earth's beauty, by reason of the passions of men. The armies meet on a country road beside a hedge of wild roses; the tender red flowers tossing above their helmets, and glowing between the lowered lances." In like manner, adds Ruskin, in the Middle Ages, when men lived for safety in walled cities, "the whole of Nature only shone for man between the tossing of helmet-crests; and sometimes I cannot but think of the trees of the earth as capable of a kind of sorrow, in that imperfect life of theirs, as they opened their innocent leaves in the warm spring-time, in vain for men; and all along the dells of England her beeches cast their dappled shade only where the outlaw drew his bow, and the king rode his careless chase" (Modern Painters, vol. v. pt. vi. ch. i. § 6).

585. PORTRAIT OF A LADY

Umbrian School (15th century). See also (p. xix)

This picture has been dethroned by Sir Edward Poynter from the high estate which it occupied in the catalogues of former directors, wherein it figured as a portrait by Piero della Francesca (see 665) of Isotta di Rimini, the wife of Sigismondo Malatesta. Our portrait "bears little resemblance," says the official catalogue, "to the well-known medallion portraits of that lady by Matteo de' Pasti." It is, says Dr. Richter, "an indifferent production, inferior to the master in outline, as well as in the execution of the ornamental parts. It may have been done by any forgotten painter of the time" (Italian Art in the National Gallery, p. 17). "The curious stippled execution has little or nothing in common with the subtle technique of Piero" (Claude Phillips in the Academy, September 28, 1889). It is, however, interesting for its study of fashions of the time. Notice the high forehead and the sleeves and ornaments of the lady's gown.

586. MADONNA AND CHILD ENTHRONED

Zenobio Macchiavelli (Florentine: 1418-1479).

This picture was formerly ascribed to Fra Filippo Lippi. It is now given to Macchiavelli, who was a pupil of Benozzo Gozzoli, and perhaps also of Lippi. A signed altar-piece by this painter is in the Museo Civico at Pisa; another is in the Louvre; and a third is in the National Gallery of Ireland. The latter is "a picture of singular interest," says the catalogue, "proving this master to have been one of the first of his time; full of delicacy and refinement of feeling, and the heads beautifully drawn."

Madonna and her babe,Ringed by a bowery, flowery angel-broodLilies and vestments and white faces.Browning: Fra Lippo Lippi.

A characteristic production of a school which, "orderly and obedient itself, understood the law of order in all things, which is the chief distinction between art and rudeness. And the first aim of every great painter is to express clearly his obedience to the law of Kosmos, Order, or Symmetry" (Fors Clavigera, 1876, p. 292). The four angel-faces on one side of the Madonna are matched by four on the other; the bishop and black monk on one side-compartment, by the saint and black nun on the other. Similarly at the foot of the throne the two angels are arranged symmetrically, one facing one way, the other the other. "You will at first be pained by the decision of line, and, in the children at least, uncomeliness of feature, which are characteristic, the first, of purely descended Etruscan work; the second, of the Florentine School headed afterwards by Donatello. But it is absolutely necessary, for right progress in knowledge, that you begin by observing and tracing decisive lines; and that you consider dignity and simplicity of expression more than beauty of feature" (Fors Clavigera, 1875, p. 308).

589. THE VIRGIN AND CHILD

Fra Filippo Lippi (Florentine: about 1406-1469). See 666.

Combined with Lippi's realism of representation, "there is also an unusually mystic spiritualism of conception. Nearly all the Madonnas, even of the most strictly devotional schools, themselves support the child, either on their knees or in their arms. But here the Christ is miraculously borne by an angel" (Fors Clavigera, 1875, p. 308).

590. A PIETÀ

Marco Zoppo (Bolognese; painted 1471-1498).

This unattractive painter was born in Bologna, and became a pupil in the school of Squarcione at Padua. His work shows also the influence of Cosimo Tura at Florence.

It is interesting to compare the various representations of the Dead Christ, or Pietà, which may be seen in the National Gallery. The subject, it may first be noted, was treated in very different ways. "Convention did not early harden down into fixity of composition or crystallise into rigid forms. A certain plasticity of imagination was permitted from the beginning; a certain indefiniteness of nomenclature and scope remained habitual to the end" (Grant Allen: see also Mrs. Jameson's History of our Lord, ii. 226). Sometimes the subject of the "Pietà" is the Mater Dolorosa, weeping over the body of the dead Saviour, and attended by saints (266, 1427) or angels (180). At other times the dead Saviour is supported by angels only (22, 219, 602), or, as in this picture, by saints. Sometimes the dead figure is represented lying at full length (22, 180); at other times it is a half-figure showing above a tomb or ledge (219, 266, 602, 590, 1427). Still more interesting is a comparison between these pictures for the illustration it gives of the different sentiment of different painters or schools. The picture before us is hard and dry; that of Crivelli (602) is full of tenderness. With some painters it is the physical horror, the bodily distortion that appeals to them in this subject. With others it is the pity and the sorrow (as, pre-eminently, in Francia's, 180).

591. THE RAPE OF HELEN

Benozzo Gozzoli (Florentine: 1420-1498). See 283. See also (p. xix)

The earliest picture in the Gallery which was painted for domestic pleasure, not religious service. One of the earliest also in which a classical subject is attempted. It probably formed the end of a coffer or cassone,152 such as were often given for wedding presents, and was no doubt a commission to the artist for that purpose. Hence the choice of subject (which has been variously given as the Rape of Helen and the Rape of the Venetian Brides), and the (surely intentional) comic extravagance of the drawing: the bridegroom takes giant's strides in lover's eagerness, and the ships scud along with love to speed them. The ludicrous unreality of the rocks and trees, contrasted with the beautifully painted flowers of the foreground, is very characteristic of the art of the time (cf. 283 and 582). Rocks, trees, and water are all purely "conventional" still; and "the most satisfactory work of the period is that which most resembles missal painting, that is to say, which is fullest of beautiful flowers and animals scattered among the landscape, in the old independent way, like the birds upon a screen. The landscape of Benozzo Gozzoli is exquisitely rich in incident of this kind" (Edinburgh Lectures on Architecture and Painting, ch. iii.).

592. THE ADORATION OF THE MAGI

Filippino Lippi 153 (Florentine: 1457-1504). See 293. See also (p. xix)

This picture, with its immense retinue of followers, is "full of life and swarms with incident and expression, from the dignified gravity of St. Joseph to the fantastic humour of the dwarf. No two figures are alike, except perhaps the two shepherds who are approaching from the right, and they are different from all the rest" (Monkhouse).

593. VIRGIN AND CHILD

Lorenzo di Credi (Florentine: 1459-1537).

Lorenzo di Andrea Credi has been called by Morelli the Carlo Dolci of the fifteenth century. His pictures are sweet and gentle, but lack force or inspiration. His colouring tends towards crudeness; his careful execution and finish are remarkable. "He was a very careful and laborious workman, distilling his own oils and grinding his own colours; and when he was working he would suffer no movement to be made," says Vasari, "that would cause dust to settle on his pictures." What Vasari adds about him may be partly seen in this and the companion picture (648), with their bright colouring and pretty distances: "His works were finished with so much delicacy that every other painting looks but just sketched and left incomplete as compared with those from his hand." Lorenzo was the son and grandson of goldsmiths, and was placed when quite a child under the tuition of Verocchio (296), and was still working under him at the age of twenty-one, content with the modest salary of one florin (about £2) a month. Like his master, he was a sculptor as well as a painter, and Verocchio in his will requested that Lorenzo might finish his famous statue (at Venice) of Bartolommeo Colleoni. (The Venetians, however, gave it to Alessandro Leopardo to finish.) Lorenzo was one of the few men who lived through the Renaissance without swerving from the religious traditions of earlier art, and even without being much influenced by his fellow-pupils – though in his grave and sweet Madonnas there is yet a suspicion of the sidelong look, half sweet, half sinister, and of the long, oval face, which distinguish Leonardo. He was a disciple of Savonarola, and burnt his share of pictures in the famous bonfire. "His will bears witness to his contrition. After having assured the future of his old woman-servant, to whom he left his bedding and an annuity in kind; after having made certain donations to his niece and to the daughter of a friend, a goldsmith; he directed that the rest of his fortune should go to the brotherhood of the indigent poor, and that his obsequies should be as simple as possible" (Müntz: Leonardo da Vinci, i. 29). Lorenzo is not represented so well in the National Gallery as in the Louvre and at Florence. His "Nativity" in the Florentine Academy is perhaps his best work. Lorenzo's range was limited, and "Holy Conversations" or "Madonnas" were his most frequent subjects. A peculiarity of them is the large head and somewhat puffy and clumsy forms he gives to the Infant Christ.

594. THE "HOLY MONEY-DESPISERS."

Emmanuel (Byzantine: about 1660).

This picture is the earliest in the Gallery (with the exception of the Greek portraits, see 1260) – not in order of time, but in order of artistic development. It is a genuine Byzantine picture, an example, therefore, of the art which prevailed in Italy from the sixth century down to about 1250, and the influence of which survived even when the Italian painters had developed an art of their own. The Byzantine style of painting is distinguished by its conventionality and its constancy. It was the recognised thing that such and such a subject should be treated in such and such a way and no other. There is a Byzantine Manual of Painting in a manuscript of the eleventh century in which instructions are given not only as to the subjects to be represented, but as to the costume, age, and lineaments of the characters. An art of this kind was naturally unchanging. This picture is probably only 200 years old, but if it had been painted 800 years ago, or if it had been ordered only the other day from the monks of Mount Athos, little difference of style would be perceptible. It is signed in Greek "The hand of Emmanouel, the priest, son of John," a painter living in Venice about the year 1660.

The picture is conventional in its choice of subject – the saints Cosmas and Damian being one of the subjects recognised in Byzantine art. They were martyrs of the fourth century – patron saints of medicine, which they practised without fees – hence their title, the "holy money-despisers." They are here receiving the Divine blessing. The picture is conventional also in its treatment. Thus the attitude of the hand is the recognised symbol whereby to express that a figure is speaking. So, too, the background is formed by a golden plain, which is meant to represent the air or the sky. The dark blue semicircle surrounding the bust of our Saviour, above the two heads of the saints, has more or less the form of the horizon, and is meant to represent the heaven in which Christ dwells (Richter's Italian Art, etc., pp. 5-7).

595. PORTRAIT OF A LADY

Unknown (Venetian School: 15th-16th century).

One of the many pictures in the Gallery from which the so-called "æsthetic" or "high art" gowns of the present day have been copied. Formerly ascribed to Battista Zelotti, a disciple of Paul Veronese.

596. THE ENTOMBMENT OF CHRIST

Marco Palmezzano (Umbrian: 1456-1537).

This painter was a fellow-countryman and pupil of Melozzo of Forli, who studied under Piero della Francesca, and to that extent Marco is a member of the Umbrian School. Like his master, Marco studied geometry and perspective. He was skilful in perspective, "but he scarcely ever ridded himself of a certain dryness and hardness, and his draperies are in general angular in the folds, cutting up instead of indicating the forms beneath" (Burton). His pictures abound in Forli.

This picture, originally of a semicircular shape, was the lunette of an altar-piece, painted in 1506 for the Cathedral of Forli, and now in the Gallery of that town. To the spectator's right is San Mercuriale, first bishop of Forli, holding the Guelphic banner of the church; on the left, San Valeriano with the standard of Forli.

597. "ST. VINCENTIUS FERRER."

Francesco del Cossa (Ferrarese: about 1435-1485).

Cossa was a contemporary of Cosimo Tura (772), with whom he exhibits close affinities of style. "But while Tura was fantastic, and inclined to the lavish use of decoration, Cossa, with severer views of his art, sought to give dignity and grandeur to his figures, and kept ornamentation within its proper bounds" (Official Catalogue). "It may be added that Cossa, though 'severer' in one sense, viz. that he saw more clearly and kept more strictly within the true limits of fine art, had more amenity than Tura; his decorative instinct was more refined, his sense of grace less crude. He was also a sweeter, finer, colourist" (Monkhouse). Cossa worked at Ferrara with other artists for Duke Borso, and among other works he executed some of the frescoes for the Schifanoia Palace. These have been copied by the Arundel Society. In 147 °Cossa removed to Bologna, where his best works are to be seen. The finest of them is the "Virgin and Child with St. Petronius" in the Pinacoteca – "a work of singular grandeur."

"Our beautiful panel is, for its size, as characteristic and fine a specimen of the master as exists. The painting throughout is of fine quality, the modelling and expression of the head admirable, the colour strong and fine, but soft withal, and the abundant detail executed with great skill and patience, but kept in due subordination. The strange background, with its fantastic erections, half architecture half rock, is of less beauty, but equally characteristic of the artist" (Monkhouse: In the National Gallery, p. 167). The picture, once ascribed to Marco Zoppo, has been now recognised as the central panel of an altar-piece by Cossa, of which the wings are in the Brera at Milan, and the predella is in the Picture Gallery of the Vatican. The Dominican represented has at various times been supposed to be St. Dominic himself, St. Vincentius Ferrer, and St. Hyacinth. The predella pictures are of scenes in the life of St. Hyacinth, who therefore is probably the subject of our panel also. He was a member of the Dominican Order (whose habit he wears), a Pole by birth, and a missionary in Russia. St. Vincentius Ferrer was a Spaniard of Valencia, who in 1374, at the age of 17, entered the Dominican Order, died in 1419, and was canonised in 1455.

598. ST. FRANCIS WITH THE "STIGMATA."

Filippino Lippi (Florentine: 1457-1504). See 293.

St. Francis, the founder of the Franciscan Order of monks (the Black Friars), was the great apostle of Works, whilst St. Dominic, the founder of the Dominican Order (White Friars), was the great apostle of Faith. It was the teaching of these two orders that gave the impetus to the church building, from which grew the art revival at Florence in the thirteenth century. "The gospel of works, according to St. Francis, lay in three things. You must work without money, and be poor. You must work without pleasure, and be chaste. You must work according to orders, and be obedient." And so truly did he in his own works exemplify the life of Christ, that, according to the legend of the time, he received also in his own person the wounds (or "stigmata") of the Crucified One – here visible on his hands. ("Take my yoke upon you"; or "Take up the cross and follow me.") "His reception of the 'stigmata' is, perhaps, a marvellous instance of the power of imagination over physical conditions; perhaps an equally marvellous instance of the swift change of metaphor into tradition; but assuredly, and beyond dispute, one of the most influential, significant, and instructive traditions possessed by the Church of Christ."

The saint is here represented in glory; choirs of singing angels encompass him; for now "the wounds of his Master are his inheritance, the cross – sign not of triumph, but of trial, is his reward" (Mornings in Florence, i. 8, 13; iii. 64). Inscribed on the picture below are some lines from a Latin hymn to St. Francis, exhorting others to follow him, and to advance as he did the standards of their king ("Let those who depart out of Egypt follow him, and be united to him, in whom the standards of the King come forth for us in clear light").

The floating angels recall those by Botticelli, but the pupil's work is not here so good: these angels seem after all to be standing, Botticelli's to be indeed floating in thin air. Lippi, too, learnt no doubt from him the goldsmith's work, seen here in the indented background to the picture.

599. THE MADONNA OF THE MEADOW

Giovanni Bellini (Venetian: 1426-1516). See 189. See also (p. xix)

A very charming little picture, marred only by a certain insipidity in the expression of the Madonna – which contrasts markedly alike with the pathetic type of Bellini's early Madonnas (e. g. No. 288), and with the more stately type which he afterwards adopted (as in the altar-piece in the Academy at Venice). "The landscape is altogether interesting, and will well repay a long examination. The incident of the bird and the serpent should not be missed, and the Eastern sheep with the long ears and its stately attendant in the white burnous should be noted as an attempt to give some Oriental character to the scene" (Monkhouse: In the National Gallery, p. 220). "The exquisite opaline purity of its daylight, the delicacy and finish of every detail, the walls and towers of the little town serene in the rays of morning, and the mountain ranges, pure and lovely in definition – all these graces make the picture one of the joys of art" (Gilbert's Landscape in Art, p. 330).

This picture has at different times been given several different attributions, of which the most cautious was "School of Bellini." In earlier editions of the Official Catalogue it was ascribed to Basaiti (see 281); but now (1898) to Bellini. Sir Edward Poynter refers in support of this alteration to the close resemblance of the present picture to a signed work by Bellini in the Giovanelli Palace at Venice, and, as regards the background, to No. 812 in our gallery. Sir Walter Armstrong (Notes on the National Gallery, p. 24) draws attention to the similarity in the baby's hands here and in 224, and would ascribe both pictures to Catena. The correct settlement of disputed points of attribution like this is highly important for the history of painting, but meanwhile the very fact of such disputes has a useful significance, as showing what is meant by the old "schools" of painting. Individual peculiarities are only discovered by minutest examinations; but beneath such differences there are in each school similarities of treatment and conception which come from common traditions and common teaching, and which cause critics of equal intelligence to attribute the same pictures to different masters of the school.

600. THE BLIND BEGGAR

J. L. Dyckmans (Flemish: 1811-1888).

Josef Laurens Dyckmans, a pupil of Wappers, was for some time Professor of the Academy of Painting at Antwerp.

"A blind old man is standing in the sunshine by a church door: before him is a young girl, who is holding out her hand for alms to the passers-by; an old lady coming from the church is feeling in her pocket for a sou; some other figures are seen in the porch at their devotions before a crucifix. Painted at Antwerp, signed J. Dyckmans, 1853" (Official Catalogue). "The picture is painted in a tone of colour exceedingly low, but the whole is worked to an extreme finish; the heads in fact are elaborated with a care such as Denner's pictures show. In these days of light and glowing harmonies the eye is at once struck with the abstinence from colour which the artist has made a cardinal principle in the execution of his work" (Art Journal, July 1864). This picture was presented by Miss Jane Clark, who paid 900 guineas for it.

602. A "PIETÀ."

Carlo Crivelli (Venetian: painted 1468-1493).

Crivelli is one of the most individual of painters, and no collection is so rich in his works as the National Gallery. He was a native of Venice, and his work shows marked affinities with the school of Padua. Of his life, little is known except that in, or shortly before, the year 1468 he settled at Ascoli in the Marches of Ancona. In that neighbourhood he seems to have spent the rest of his life, in the employment mainly of various religious fraternities. He thus lived somewhat outside the artistic world of his time, a fact which serves to explain the rather conservative character of his art. Thus he adhered to the tempera medium. He adhered also to the Byzantine traditions of the old Venetian School with its fondness for the "ancona," or altar-piece consisting of many single figures each in its separate compartment, and for gilt and silvered ornaments in high relief. There is, too, a vein of affectation in his pictures which contrasts strongly with the naturalistic tendency in contemporary Venetian art. Owing to a little touch of vanity in the painter we are able to date many of his pictures. For it is known that he was knighted in 1490, and so proud was "Sir Charles" of his new honour that he signed all subsequent pictures "Carlo Crivelli, Knight." No. 724 is probably the first he finished after the reception of the coveted honour. His love of accessories, and especially of fruit, will strike every visitor; and so also will the brilliance of his colouring and the unerring, if somewhat harsh, exactness of his outlines. For tender pathos the present picture is remarkable. His range was, as we shall see, somewhat limited. He seldom attempted compositions on any large scale, and his subject pictures are few: No. 739 is one of the best of them. He excelled rather in single figures, and in these we find expressed, "in quaint combination, morose asceticism, passionate and demonstrative grief, verging on caricature, occasional grandeur of conception and presentment, knightly dignity, feminine sweetness and tenderness mingled with demure and far-fetched grace" (Sir F. Burton). Up to the end of the eighteenth century Crivelli's works were still to be found in their original places, in the churches and convents of Eastern Italy, where they attracted little attention. The suppression of the convents after the age of the Revolution brought them into notice, and English collectors purchased them in large numbers. In recent years this appreciation has steadily increased. The large altar-piece, 788, was bought in 1868 for £3360. At the Dudley sale in 1892, the altar-piece, now in the Berlin Museum, fetched £7350.