is a grace and a sweetness here which recalls Perugino. Lorenzo, too, has Perugino's fondness for a "purist" landscape (see p. 104); and note the curious device, peculiar to the Ferrarese School, by which he introduces it. The Madonna's throne is constructed in two parts, so that between the base and the upper part a vacant space is left, through which we look into the open air ("Thus saith the Lord, the heaven is my throne, and the earth is my footstool "). 180. A PIETÀ. Francia (Ferrarese-Bolognese: 1450-1517). Of Francesco Raibolini's life the two most interesting things are these: first, that great artist though he came to be, he never painted a picture, so far as we know, till he was forty; and secondly, the intimate connection, exemplified in him, between the artist and the craftsman. He was the son of a carpenter, and, like so many of the greatest old masters, was brought up to the goldsmith's trade. The name of Francia was that of his master in goldsmith's work, and was adopted by him in gratitude. He attained great skill in his trade, especially as a die-engraver and a worker in "niello" (inlaying a black composition into steel or silver). He was appointed steward of the Goldsmiths' Guild in 1483, and afterwards became Master of the Mint-a post which he held till his death. In some of his earlier pictures the hand of a goldsmith is seen-in the clear outline, the metallic and polished surface, and the minuteness of detail; and even on some of his later and more important works, such as 179, he signed himself "Francia aurifex (goldsmith) Bononiensis." It was from Costa, the Ferrarese artist (see 629) who migrated to Bologna, and with whom he entered into partnership, that Francia learnt the art of painting, and thus, though a Bolognese, he is properly included in the Ferrarese School. His work marks the culminating point of that school, just as Raphael's 2 marks that of the Umbrian. He is the most pathetic of painters, and in this picture and 179 (which originally formed one altar-piece, painted for the church of S. Frediano at Lucca, where, says Vasari, it was held to be of great value) we have some of his best work. This picture, which was the "lunette," or arch, forming the top of the altar-piece, 179, is a "pietà," i.e. the Virgin and two angels weeping over the dead body of Christ. The artist has 1 According to Morelli, p. 56 n., this familiar tale is legendary, Francia being merely an abbreviation of his Christian name, Francesco. * Francia's friendship with Raphael, on which art historians have based many theories and spun many interesting tales, is now discredited, the documents in question being comparatively modern forgeries (see p. 366 of Kugler's Italian Schools of Painting, 5th edition, revised by Sir A. H. Layard, 1887, hereafter referred to as Layard). filled his picture with that solemn reverential pity, harmonised by love, which befits his subject. The body of Christ-utterly dead, yet not distorted nor defaced by death-is that of a tired man whose great soul would not let him rest while there was still his father's work to do on earth. In the face of the angel at his head there is a look of quiet joy, as of one who knows that "death is but a covered way that leads into the light;" in the attitude and expression of the angel at the feet there is prayerful sympathy for the sorrowing mother. The face of the mother herself, which before was pure and calm, is now tearstained and sad, because her son has met so cruel a death What else in life seems piteous any more Yet it bears a look of content because the world has known him. She rests his body tenderly on her knee as she did when he was a little child-thus are "the hues of the morning and the solemnity of eve, the gladness in accomplished promise, and sorrow of the sword-pierced heart, gathered into one human Lamp of ineffable love" (Modern Painters, vol. ii. pt. iii. sec. ii. ch. v. § 21). 771. ST. JEROME IN THE DESERT. Bono (Ferrarese-Veronese: painted about 1460). In the signature of this picture, "Bono of Ferrara " announces himself "a pupil of Pisano,” and the figure of St. Jerome here much resembles Pisano's "St. Anthony" (VII. 776, p. 175). St. Jerome (for whom see 773 and II. 227, pp. 80, 41) is in the desert, deep in thought; his lion couched at his feet keeps his master's thoughts company as faithfully as a scholar's dog. The desert is here shown as the Saint's study; notice, especially, the little table that the rock makes behind him for his books. Mr. Ruskin says of a similar modification of accessories to express supernatural character, in Bellini's "St. Jerome " at Venice: "The Saint sits upon a rock, his grand form defined against clear green open sky; he is reading; a noble tree springs out of a cleft in the rock, bends itself suddenly back to form a rest for the volume, then shoots up into the sky. There is something very beautiful in this obedient ministry of the lower creature; but be it observed that the sweet feeling of the whole depends upon the service being such as is consistent with its nature. It is not animated, it does not listen to the saint, nor bend itself towards him as if in affection; this would have been mere fancy, illegitimate and effectless. But the simple bend of the trunk to receive the book is miraculous subjection of the true nature of the tree; it is therefore imaginative, and very touching" (Modern Painters, vol. ii. pt. iii. sec. ii. ch. v. § 8). 169. THE HOLY FAMILY. Ludovico Mazzolini (Ferrarese: 1481-1530). Ludovico Mazzolini, "whose brilliant colours play through all shades," has been called "the glowworm of the Ferrarese School." In another of his characteristics-the minuteness, namely, of his work— he resembles rather the Flemish School. Of his life little or nothing is known; but his interest in decorative craftsmanship is proved by his pictures. The background and accessories here, as well as in 641, p. 90, are particularly interesting as a record of the decorative art of the time. A few years before the date of these pictures the Pope Leo X. had unearthed the buried treasures of the baths of Titus, and Giovanni da Udine rediscovered the mode by which their stucco decorations were produced. This method of modelling in wet plaster on walls and ceilings was extensively used in house decoration from that time down to the middle of the last century, but has since then been supplanted by the cheaper process of casting. No sooner was Giovanni da Udine's invention known than it must have been adopted by Ferrarese artists, for here we find Mazzolini portraying it in the background of his picture. As in Tura's pilaster (see 772, p. 81) the winged sphere plays a principal part in the design, for it was a favourite badge of the ducal house of Ferrara. Nor is it only in the plaster modelling that Mazzolini's interest in decorative art shows itself. The back of the bench on which the Madonna sits is crowned by the most delicate carving, whilst up aloft, peeping over the wall on which the plaster work occurs, there is a choir of angels playing on a portable organ, which is full of suggestions for decorative design (G. T. Robinson in Art Journal, May 1886, pp. 151, 152). 179. VIRGIN AND CHILD ENTHRONED. Francia (Ferrarese-Bolognese: 1450-1517). On the throne are the Virgin and her mother, St. Anne, who offers the infant Christ a peach, symbolical, as the fruit thus offered in these pictures originally was, of "the fruits of the spirit-joy, peace, and love." At the foot of the throne stands the little St. John (the Baptist), "one of the purest creations of Christian art," holding in his arms the cross of reeds and the scroll inscribed "Ecce Agnus Dei" ("Behold the Lamb of God"). The saints on our left are St. Paul, holding a sword,--the instrument of his martyrdom, and St. Sebastian, bound to a pillar and pierced with arrows, but his anguish forgotten now in beatitude. On our right, St. Lawrence with his gridiron and palm-branch, and another saint-probably, in honour of the Church for which the picture was painted, St. Frediano. On every face there is a prevailing expression of faith and hope, which reflects the mind of one of the most sincerely pious of Christian painters. 638. THE VIRGIN AND CHILD, WITH SAINTS. Francia (Ferrarese-Bolognese: 1450-1517). For more important pictures by this master, see 179 and 180, pp. 89, 87. The saint with the palm-branch here will be recognised in one of the angels in 180. 73. THE CONVERSION OF ST. PAUL. Ascribed to Ercole di Giulio Grandi (Ferrarese: died 1531). The confused character of this picture is sufficiently shown by the fact that whilst the official designation is as above, other critics have called it the "Destruction of Sennacherib." For a masterpiece by Ercole, see above, 1119, p. 82. The ascription to him of this inferior work is decidedly doubtful. 641. THE WOMAN TAKEN IN ADULTERY. Ludovico Mazzolini (Ferrarese: 1481-1530). A picture chiefly remarkable, like 169, p. 89, for its accessories. Notice the ornamental sculpture, the paintings in imitation of bronze relievo, and the modelled plaster work on the walls. 640. ADORATION OF THE MAGI. Dosso Dossi (Ferrarese: 1479-1542). Dosso Dossi, the friend of Ariosto, is one of the greatest masters of the Ferrarese School (see above p. 80), but this is an altogether inadequate example, if indeed it be by him at all. 752. MADONNA AND CHILD. Lippo Dalmasii (Bolognese: painted 1376-1410). A picture by a Bolognese artist, of the Giottesque period, Lippo, son of Dalmasius, called also "Lippo of the Madonna," from the many pictures like this he painted: no Bolognese gentleman's family, we are told, was considered complete with out one. 669. ST. SEBASTIAN, ST. ROCH AND ST. DEMETRIUS. L'Ortolano (Ferrarese: died about 1525). Giambattista Benvenuti, called L'Ortolano (the gardener) from his father's occupation, is still "a problem in art history," details of his life being so uncertain that even the existence of him is disputed by some critics. His life and works are generally confounded with those of Garofalo. This picture was, until 1844, the altar-piece of the parochial church of Bondeno, near Ferrara, where it was generally considered the painter's masterpiece. In the centre is St. Sebastian, tied to a tree, and pierced with arrows; whilst in the foreground is a cross-bow, lying uselessly. For the story is that Sebastian was a noble youth who was promoted to the command of a company in the Prætorian Guards by the Emperor Diocletian. "At this time he was secretly a Christian, but his faith only rendered him more loyal to his masters; more faithful in all his engagements; more mild, more charitable; while his favour with his prince, and his popularity with the troops, enabled him to protect those who were persecuted for Christ's sake, and to convert many to the truth. Among his friends were two young men of noble family, soldiers like himself; their names were Marcus and Marcellinus." And when they were tortured for being Christians, Sebastian, "neglecting his own safety, rushed forward, and, by his exhortations, encouraged them rather to die than to renounce their Redeemer. Then Diocletian ordered that Sebastian also should be bound to a stake and shot to death with arrows. The archers left him for dead; but in the middle of the night, Irene, the widow of one of his martyred friends, came with her attendants to take his body away, that she might bury it honourably; and it was found that none of the arrows had pierced him in a vital part, and that he yet breathed. So they carried him to her house, and his wounds were dressed; and the pious widow tended |