Sy eevee vt THE J. PAUL GETTY MUSEUM LIBRARY ee . a j if BARLY ITALIAN PAINTINGS eign oe re A Catalogue of EARLY ITALIAN PAINTINGS Exhibited at the DUVEEN GALLERIES NEW YORK April to May, 1924 SOR SR By Dr. W. R. VALENTINER vOR sa An Illustrated Record of Important Paintings by Old Masters Acquired by Sir Joseph Duveen and Disposed of by Him to Notable American Collectors - Privately Printed NEw YORK 1926 GitBert T. WAsuspurn & Co., N. Y. THE J, PAUL GETTY MUSEUM LIBRARY List of EXHIBITORS Mr. Richard de Wolfe Brixey, New York , 06 The Detroit Institute of Arts, Detroit, Michigan » 2& Sir Joseph Duveen, New York 5 ty DOy Ay Av Mts. T. J. Emery, Cincinnati, Ohio 37,39 Mr. Henry Goldman, New York 2,4,4.6,4.7 Mts. A. E.Goodhart, New York > AE Mr. Maitland F. Griggs, New York = QF Mtr.Carl W. Hamilton, NewYork . 357924 Mr. Nils B. Hersloff, West Orange, New Jersey + 12 The late Mrs. HenryE. Huntington, New York . . 18,19 Mr.Otto H.Kahn, New York . . 14, 23,33 Mtr. Philip Lehman, New York 5 AGO By RAAT Mr. Clarence H. Mackay, Roslyn, L.L . . 9) 11, 13, 22, 30; 38 The Hon. Andrew W. Mellon, Washingion, D. C. , 26 Mr. J. Pierpont Morgan, New York . GOs Onmins Mr. Stanley Mortimer, New York . 2 19 Mr. J. Parmelee, Washington, D.C. . » ALS Mr. and Mts. Harold I. Pratt, New York aco) Mr. John R. Thompson, Chicago - 345 36,43 Mr. Joseph E. Widener, Elkins Park, Philadephia 5 Dilip MO, Als Sot Se eee _—— —_ CON OM fF WwW hb List of PAINTERS FLORENTINE AND UMBRIAN SCHOOLS Cimabue . Giotto[or an Assistant] . . Fra Angelico da Fiesole . . Fra Angelico da Fiesole. . Fra Filippo Lipp . Fra Filippo Lippi . Fra Filippo Lippi . Andrea del Castagno . Alesso Baldovinetti . . Pier Francesco Fiorentino . . Andrea del Verrocchio . . Piero Pollaiuolo . . Sandro Botticelli . . Sandro Botticelli . - Domenico Ghirlandajo . Lorenzo di Credi. . Lorenzo di Credi. . Bastiano Mainardi . Bastiano Mainardi . Bastiano Mainardi . Raphael Sanzio - Raphael Sanzio . . Benedetto Bonfigli . . Piero della Francesca (c. 1240-1303) (c. 1266-1337) Loe 1455) ) ) a mit Ree 1469 au: oe -@ ) & I410-145 7) (1425-1499) (6 1474-1497) 1435- 1488) 1443-1496) 1444 4-1 510) 1444-1510) 1449-1494) 456-1537) 14.56- ae ) ) ) ) ) ) ) an ( ( ( ( G ( - (14507-1513 , (a ye ( 455) ps . (1450?-1513 Di Do Dio 28. 29. 30. Bite QA. 88e Sie 35. Bios ai7e 38. Se 4.0. Abii A Pe Arse 44. 45° 4.6. 4p 48. SIENESE SCHOOL Segna di Bonaventura Ambrogio Lorenzetti Lippo Memmi Paolo di Giovanni Fei Sassetta [Stefano di Giovanni] . Matteo di Giovanni . Benvenuto di Giovanni. Neroccio dei Landi . NORTHERN SCHOOLS Giovanni Baronzio da Rimini Francesco Francia Francesco Francia Bernardino Luini Bernardino Luini : Pisanello [Antonio Pisano] . Andrea Mantegna Andrea Mantegna Giovanni Bellini . Giovanni Bellini . Giovanni Bellini . Giovanni Bellini . Bartolommeo Veneto Titian [Tiziano Vecellio] . Titian [Tiziano Vecellio] . Giovanni Battista Moroni > SE STEAD, LORE APTI Pn (¢. 1305-1326) (¢. 1323-1348) : (1290-1357) (c. 1372-1410) (1392-1450) (6. 1430-1495) (1436-1517) (1447-1500) (c.13 30-1362) . (1450-1517) . (4450-1517) = 475-1532) - (1475-1532) . (4397-1455) . (1431-1506) . (1431-1506) . (4428-1516) . (1428-1516) . (1428-1516) (1428-1516) (c. 1480-1555) - (14772-1576) (84772-1570) . (1520-1578) INTRODUCTION , INTRODUCTION TyAHE Exhibition of Early Italian Masterpieces held at the Duveen 2G Gallery in April, 1924, was one of the really important events in the x art-world of New York, as treasures of art formerly known to but S9sa few connoisseurs, were thereby made available to the public. American collections have, during the past decade, been enriched by an unusual number of Italian masterpieces, equal in importance to those in the great public collections of Europe, and these acquisitions have lifted America’s collective possessions to the highest possible level. The famous public collec- tions of masterpieces of various schools, such as the Louvre, the National Gal- lery, and the Kaiser-Friedrich Museum, have attained their chief distinction through their wealth of early Italian paintings, just as the most far-seeing pri- vate collectors have invariably turned to the distinguished and splendid art of the Italian Renaissance, even though they have only come to an ultimate ap- preciation of its value after long pre-occupation with the schools of other countries. With this fact in mind, the Duveen Exhibition not only illustrated this tendency to applaud the work of the great Italian masters, but it plainly dem- onstrated that the activities of that celebrated connoisseur of Italian painting, Bernhard Berenson, have borne fruit. It was, therefore, a most happy thought to perpetuate the enjoyment afforded by this group of masterpieces, in an ad- mirably illustrated catalogue. The more so as it renders, to some extent, an ac- count of the activities of the firm of Duveen Brothers in this special field of art- collecting during the past ten years. No onewill deny that these activities have been extraordinarily successful and valuable for the cause of American col- lecting in general, and not less in the spreading of an appreciation of early Italian art. Among the quantities of Italian paintings that, thanks to the growing interest in this school, have flooded America, there have been only a few works of the first importance which did not pass through the hands of Sir Joseph Duveen. His steady endeavour to direct this interest only to works of the highest quality, has not only been of value to the private collector, but also to the connoisseur who was only too prone to let the historic interest of a painting influence his aesthetic judgment. 4 | | : | The services of Sir Joseph Duveen in acquiring Italian masterpieces for American collections are the more noteworthy, not only on account of the diffi- culties which attend the importation of such treasures into this country, but especially in the matter of attribution. As everyone knows, who is familiar with this field, climatic conditions, as they affect works of art, are not altogether fa- vourable, and require wide discrimination in selection, for the greater number of early Italian pictures are painted on soft and not very resistant wood, which has to be fortified against a continually changing climate; then the question of attribution is still much more difficult than in the case of the later French, Eng- lish and Dutch schools, requiring, indeed, connoisseurship and authority to bring order and foundation to the task; beyond this a proper appreciation of these works entails a much more far-reaching art-knowledge than is required in the matter of the paintings of the later schools, and the number of those possessed of this equipment is naturally correspondingly small. In glancing over the catalogue, one is astounded by the wealth of mastet- pieces which it offers of the most famous Italian schools of the fourteenth to the sixteenth centuries. The most important school of all, the Florentine, is represented by an incomparable series beginning with Cimabue and ending with Raphael. Few collections can boast of a work by Cimabue of such imag- inative power asthe “Christ with the Two Apostles,” which combines the lofty dignity of Byzantine art with the first stirrings of the personal and individual spirit of the Florentine School. The style of Giotto is represented by the impressive and touching “Ma- donna,” from the collection of Mr. Henry Goldman, which very probably is a product of the great master’s own atelier. Thereafter are ranged the great masters of the century following Giotto, who constitute the glory of the Florentine School. Hardly one of them is lacking. Fra Angelico is represented by his two delightful panels of the “Annunciation,’—works of the utmost decorative charm and delicate inspiration,—and by the splendid “Lamentation,” a highly original composition with a remarkable landscape, expressive of all his depth of feeling. Then there isFra Filippo Lippi—that other much more worldly-minded monk,—whose influence upon the art of his day was perhaps even greater than Fra Angelico’s. He is represented by his famous “Altarpiece” from Vincigliata with the Medici Saints and the remarkable portraits of the Alessandro family, from the J. Pierpont Morgan collection; besides the delightful “Madonna della Stella,” painted under influence of Donatello, belonging to Mr. Carl Hamilton. There are to be seen, moreover, the great experimental artists to whom the Florentine School is so indebted for their researches in the problems of space and the perspective of light: Andrea del Castagno, with his energeticand signifi- cant “Portrait of a Young Man,” from the Morgan collection, and Alesso Bal- dovinetti, with a “Madonna,” from the collection of Mr. Clarence H. Mackay, which excels in charm his “Madonna” in the Louvre. Further, we find the two goldsmith- and sculptor-painters, Antonio Pollaiuolo and Andrea del Verroc- chio. The latter is represented by a “Madonna,” from the Mackay collection, highly sculptural in form with a most ornamental handling of the detail; the former, belonging to Mr. Nils B. Hersloff, by a wonderful profile “Portrait of a Young Lady,” instinct with all that charm of youth and optimism which characterized the splendid days of the Early Renaissance. A remarkable series of portraits by the great Florentine masters is linked with this last work. Thete are splendid examples of the art of the two great portrait-painters of the late Quattrocento: Botticelli, represented by a sensitive and imaginative “Portrait of a Young Man,” in Mr. Mackay’s collection, and by his famous “Portrait of Giuliano de’ Medici” —the darling of Florence,— in the collection of Mr. Otto H. Kahn, and Ghirlandajo, by the bewitching “Por- trait of Giovanna Tornabuoni,” belonging to Mr. J. Pierpont Morgan. Their two most famous followers, Lorenzo di Credi and Mainardi, are seen here at their best—the former with a “Portrait of a Florentine Lady,” owned by Mr. Richard de Wolfe Brixey, and the latter with “Portraits of a Young Flor- entine Couple,” now belonging to the estate of the late Mrs. H. E. Huntington, and of “A Lady,” in the possession of the Hon. Andrew W. Mellon, Washing- ton,—all three paintings clearly influenced by Ghirlandajo’s “Giovanna” in the Morgan collection. The paintings by Raphael, justly regarded as one of the great attractions of the exhibition, form the culminating point of the Florentine Quattrocento. These are the “Cowper Madonna,” from Mr. Joseph Widener’s collection, Philadelphia, a masterpiece of the youthful artist’s, which must have been painted shortly after his arrival in Florence in 1505; and the dramatic little pre- della, “Christ on the Mount of Olives,” from the Mackay collection, executed for an altar to St. Anthony, for the nuns of St. Anthony’s convent in Perugia, shortly before that time, already showing traces of Florentine influence, and, like the other predellas for the altar, excelling the altar-piece itself in charm of composition and execution. The pre-Raphaelite art of Umbria, particularly delightful in its delineation of the Madonna, is demonstrated by the “Madonna with Angels,” by Benedetto Bonfigli, from the collection of Mr. Otto H. Kahn. The “Crucifixion,” by Piero della Francesca, executed in a massive and fresco-like manner in the smallest dimensions, proves how greatly Raphael's native province already vied with Florence in art expression in the early Quat- trocento. Among the Florentine masters probably only Masaccio can be com- pared with Piero in imaginative power and realism. The Sienese masters stand in lively contrast to the Florentine School, although there are sufficient links between their art and that of the neighbouring city. The delicacy of Duccio’s painting from the early fourteenth century is demonstrated in the finely-conceived Segna “Madonna,” from the Detroit Mu- seum. The splendid and imaginative creations of the two Lorenzetti belong to the next generation, and are represented by an exquisite little work by Pietro, representing the “Holy Family,” from Sir Joseph Duveen’s own collection. Then follows a seties of tender and lyrical fourteenth and fifteenth century de- lineations of the Madonna by Lippo Memmi, Paolo di Giovanni Fei, Matteo di Giovanni and Benvenuto di Giovanni, Pier Francesco Fiorentino and Neroc- cio di Landi, which radiate all the charm and decorative quality of Sienese art, and demonstrate the persistence ofa uniform ideal, although in increasingly en- riched form, until the end of the fifteenth century. Sassetta’s poetic composition from the life of St. Anthony, belonging to Mr. Philip Lehman, a fascinating little painting with a delightfully conceived landscape and animal life, stands out from this series. The art of the other side of the Apennines, especially the Schools of Venice and Milan, is portrayed in paintings by their greatest masters of the fourteenth and fifteenth centuries. The School of Giotto is splendidly represented by Giovanni Baronzio da Rimini, whose “Madonna Enthroned with Angels,’ from Mr. Otto Kahn’s collection, is executed with rare delicacy of line and a fine feeling forcolour. Despite the lapse of time, we find in theart of Francesco Francia of Bologna, at the end of the fifteenth century, a not dissimilar sweetness of conception, and a similar enamel-like treatment of surfaces, suggestive of the goldsmith’s art,—the “Madonna” from the collection of Mr. J.R. Thompson, Chicago, painted in 1506 for Cardinal Riario, and the “Madonna,” from the Mackay collection, demonstrate the best qualities of this justly popular master. Inasense Luini maybe compared with Francia, save that the former derived his sweetness of style from Leonardo, whereas Francia vied with Raphael. Both of his compositions, the “Madonna,” owned by Mr. J. R. Thompson, and the “St. Catherine,” in Mrs. T. J. Emery’s collection, show clearly in arrangement, as well as in the treatment of the detail, the connection with Leonardo, only Luini’s mood is less intense; it is milder, more lyrical and more naive. The representatives of the early Renaissance Veronese and Paduan schools, Antonio Pisano and Mantegna, with their sharply significant draughtsmanship and highly individualized style are in striking contrast to the above-mentioned masters. The “Portrait of a Young Lady,” in profile, by Pisano, belonging to Mr. Mackay, is one of the most perfect examples of North Italian portraiture, and shows this great master of the medals at his best—in all his wealth of romantic feeling combined with realism. Mantegna’s masterly drawing and intensity of expression are manifested in a grisaille-like rendering of a “Prophet and Sibyl,” in Mrs. Emery’s collection, and in his gloriously coloured “Judith and Holo- phernes,” from the Widener collection, in which we can appreciate to the full his genius for tragic drama. Mantegna’s influence can be traced in the early examples of the Venetian School,—Giovanni Bellini’s beautiful “Madonna” from the Lehman collection, and perhaps also in the “Male Portrait,’ formerly ascribed to Bartolommeo Vivarini, but now attributed to Bellini himself. Soon after this, however, Bel- lini was to point the way to the softer contours and deeper colouration which became characteristic of the later fifteenth and sixteenth century Venetian School. This softness of contour and emphasis of light and shadow is already visible in a second and somewhat later “Madonna,” instinct with that wonder- ful spirituality which was Bellini’s special gift. The “Portrait of a Merchant” betrays much of the fine treatment of con- tour and tenderness of conception which Bellini’s pupil Giorgione inherited from him. This painting from the Goldman collection has been attributed to both Giorgione and Titian. It betrays, however, so much of Titian’s latent power as to be rightly ascribed to his early period. The “Toilet of Venus,” also from the Goldman collection, by this same master, brings us to the full opu- lence and splendour of the Venetian High-Renaissance. Titian’s all-powerful . ——————————__ss SILT RAINE IS EE ET YN EE DN EE RT influence on the art of Venice and its neighborhood is demonstrated in one of the later works in the exhibition,—the so-called “School Master” by Giovanni Battista Moroni, belonging to Mr. Widener, a work by the famous portrait- painter of Bergamo, which is so akin to Titian that Van Dyck who saw it while sketching in Italy, ascribed it as a work by this master. The exhibition, therefore, having covered the whole domain of Italian art from Cimabue to Titian, it would be difficultto surpass it in quality of selec- tion. This was based on the principle which has made the great American pri- vate collections so interesting and rich in enjoyment, as are so few museums. That is, the principle of eliminating everything which is not in the best sense representative of the great art epochs only by a limited number of authentic masterpieces which alone can give a clear idea of the heights attained. W. R. VALENTINER. Detroit, 1926. [1.] CIMABUE [Florentine School, circa 1240-1303] Christ Between Saint “Peter and Saint James CUM eAiit) [Florentine School, circa 1 24.0-1303| Christ Between Saint “Peter and Saint James CIMABUE(CENNO DI PEPE), /iving about 1240- 1303, has been honoured by Dante as being the greatest Florentine harbinger of the greater Florentine Giotto. About 1260 he painted the “Madonna Enthroned”’ for Santa Trinita, now in the Academy at Florence. In 1272 Cimabue worked in Rome, and was afterwards called to Assisi, where the newly built church of San Francesco was waiting for its interior decoration. Cima- bue’s part cannot be proved with certainty, exeEpHE the «Madonna with Angels” and ‘St. Francis” in the tr CG of the Lower Gua ch, and the powerful Cruct- jixion’”’ in the South Transept of the Upper Church. In 1302 Cimabue worked in Pisa, as capomaestro of the mosaics in the Duomo, at a daily salary of ten soldi. The last year of his life be spent in Florence, working with Arnolfo del Cambio, as architect for Santa Maria del Fiore where he is buried, All of Cimabue’s work shows a monumental grandeur and dignity, which explains why he appeared to his contemporaries as an audacious innovator—soon to be surpassed by Giotto. )O0MPOSED of three shoul- dered panels, the centre one being larger than the wings, eo oeleJeach with an ornamental ane A half-length figure of Christ occupies the centre. On His right is St. Peter, on His left, St. James. All are dressed in wide-sleeved tunics, with a narrow border of embroidery at the neck, the coat covering the left arm en- tirely, leaving free part ofthe hand only. Central panel: Christ, wearing a red tunic and blue mantle, is seen full face in the act of blessing, with the in- dex and middle fingers crossed. In the left hand Christ holds an open book, across the leaves of which are written, in magnificent uncials, the words: EGO SUM LUX MUNDI (lam the Light of the World). Hair and beard are light brown, slightly parted. Gold diaper background. Left panel: St. Peter wears a blue tunic and yellow mantle. In the right hand he holds a jewelled cross, in the left the keys. The head is square-shaped, with short curly hair and short beard. Plain gold background. Right panel: St. James wears a red tunic and green mantle with a pecten- shell embroidered on the left shoulder. He holds a scroll with both hands. The hair and beard are soft and slightly curly. Plain gold background. Wood. CENTRAL PANEL: Height, 31 inches; Width, 22 inches. SIDE PANELS: Height, 26% inches, Width, 1474 inches. In the collection of Sir Joseph Duveen, New York. Formerly in the collections of the Comtesse de Brousillon, Paris, and M. Julien Gréaux, Paris. Bibliography. BERNHARD BERENSON: A Newly Discovered Cimabue. Iv «Art in America,” October, 1920, pp. 251-271. Ilustrated. [In this article the author suggests that the triptych was painted during Cimabue’s sojourn in Rome in the year 1272.| : picetier Sir EAD 2] GIOTTO (or an Assistant) [Florentine School, circa 1266-1337] The Madonna and Child 4 J GIOTTO (or an Assistant) [Florentine School, circa 1 266-1337] The Madonna and Child GIOTTO DI BONDONE was in all probability born 1266 at Colle di Vespignano near Florence, and may have been a pupil of Cimabue. Towards 1300 he made a first sojourn in Rome where he executed the mosaics in the portico of St. Peter’s, a polyptych and some frescoes in the choir. In 1300 he may have become ac- quainted with Dante, who was then in Rome. In 1303- 1306 Giotto painted the series of frescoes in the Arena Chapel at Padua. In Assisi he painted scenes from the Life of St. Francis in the Upper Church, and some of the frescoes in the Magdalen Chapel of the Lower Church. Afier 1316 he decorated the Bardi and Peruzzi chapels at S. Croce in Florence. From 1329 to 1332 Giotto worked at Naples. The greatest honour which fell to Giotto was his appointment as chief architect of the Cathedral at Florence, April 12, 1334, in which quality he followed Arnolfo del Cambio. He died on the 8th of January, 1337. QALF-LENGTH figure ofthe eVirgin, who is holding the {Child on her leftarm. Inthe 2% \sright hand she holdsawhite rose which the Child is trying to take away. The lower part of the Infant’s body is clothed in a white garment, while the upper part is nude. With the left hand He holds the index finger of the Virgin’s left hand. The Madonna weats over her neck and shoulders a blue mantle lined with silk, shaded in green, white and pink. On both sides of her head part of a pink veil is visible. Her mantle is decorated with a gold border with inscriptions in Arabic char- actets. Both the Virgin and the Child have golden nimbi. The one of the Virgin is decorated with an interlaced geometric pattern of Oriental style, the one of the Child with Gothic foliage design. The background is golden with a stip- pled border. The panel terminates in a pointed Gothic arch. Wood. Height, 34 inches; Width, 25 inches. In the collection of Mr. Henry Goldman, New York. Formerly in the collection of M. Eugene Max, Paris. Exhibited at the Fiftieth Anniversary Exhibition, Metropolitan MuseumofArt, New York, 1920. Bibliography: BULLETIN of the Metropolitan Museum of Art, New York. July, 1920, p. 160. Ilustrated. W.R. VALENTINER: The Henry Goldman Collection. New York, 1922, No. 1. I/ustrated. RAIMOND VAN MARLE: The Development of the Italian Schools of Painting. The Hague, 1924. Vol. III, p. 190. Wustrated. CurTH. WEIGELT: Giotto (Klassiker der Kunst). Berlin, 1925, p. 204. Ilustrated. FRANK J. MATHER: The Goldman Madonna. In “Art Studies.” Cambridge, 1925, pp. 25-27. The composition of the Madonna and Child is very near to Giotto, having the intensely earnest and remote spirit of his monumental art. The picture in the Horne Collection, Florence, represent- ing St. John, formed a part of the altar of which this panel was also a part. Fi RG iE ILI in ——_—_ —— [3-] PRA ANGELTCOeDATFIESOLE [Florentine School, 1387-1455] The —Annunciation [3.] FRA ANGELEICO DA FIESOLE [Florentine School, 1387-145 5| The Annunciation GUIDOLINO DI PIETRO DA MUGELLO, generally called Il Beato Fra Angelico da Fiesole, was born, 1387, at Vicchio di Mugello. At the age of twenty he entered the Dominican Monastery at Fiesole, where he came under the influence of the mystic Fra Giovanni Domenici. In 1436-1445 he decorated the cloisters, halls and cells of his Monastery of San Marco at Florencewith frescoes from the life of Christ, beginning with the An- nunciation, ending with the Crucifixion, and with a representation of Christ as a pilgrim appearing to two Dominican monks. Of his panel paintings the “‘Ma- donna of the Flax-merchants,”’ of 1433, now in the Uf- fix, is among the earliest, the «Coronation of the Vir- gin” of the Louvre and Uffizi, among the most beau- tiful. His latest works are at Orvieto, where he painted in 1447, assisted by his pupil Benoxzo Gozzoli, in the cross vaults of the Duomo, ‘Christ surrounded by An- gels and Prophets”; and in Rome, where, called by Pope NicolasV,, he decorated the Chapel of St. Lawrence in the Vatican with frescoes from the lives of St. Lawrence and St. Stephen. He died in Rome, March 18, 1455, and was buried in the Church of Santa Maria sopra Minerva. FaYAHESE two panels,onceform- aes ie A ing a diptych, represent re- ay) 2s spectively: Gabriel, the Nts B29)! Announcing Angel;andthe Virgin, receiving the Divine Message. The two figures are represented at half-length and in their expression and treatment resemble those in the great Annunciation in the Oratorio del Gesu at Cortona. Gabriel stands with wings still extended. The head, seen in full profile, and looking towards the right, is covered with blond, curly hair. The right hand is advanced, the left point- ing upward. Thecrimsontunicis drawn in at the waist and decorated with gold Ber APT Ia ASR Neg A cam at Sem SES AE embroidered bands at neck and wrists and across the bust and sleeves. The iri- descent wings are shaded in rose, violet, green, and yellow, adorned with a peacock motive. The halo consists of a jewelled band. Gold background. ati The Virgin, with head bent low, her hands crossed over the breast, wears a ar blue mantle, and a crimson robe which is decorated with gold bands at the neck Bil and wrists. The left hand holds a missal with the index finger marking the page. Her head is turned three-quarters to the left. The fair hair is slightly waved, parted in the centre and turned back from the forehead with a black velvet rib- ; bon. The halo is ornamented with a band similar to the embroidery on Gabriel’s ¥ tunic and outlined with the same trefoil pattern. Gold background. Wood. Height, 144% inches; Width, 10 inches each. In the collection of Mr. Carl W. Hamilton, New York. Formerly in the collections of Mr. John Edward Taylor, London, and the Duke of Hamilton, K. T., Hamilton Palace, Scotland. | i | Exhibited at the Montclair Art Museum, New Jersey, 1925-1926, No. 54. Deere cei ne ee ——— a BE a SE ERE EEE [4.] FRA ANGELICO DA FIESOES [Florentine School, 1387-1455] The Entombment ee ee eee [4 FRA ANGELICO DA FIESOLE [Florentine School, 1387-145 5| The Entombment GUIDOLINO DI PIETRO DA MUGELLO, generally called Il Beato Fra Angelico da Fiesole, was born, 1387, at Vicchio di Mugello. At the age of twenty he entered the Dominican Monastery at Fiesole, where he came under the influence of the mystic Fra Giovanni Domenici. In 1436-1445 he decorated the cloisters, halls and cellsof his Monastery of San Marco at Florencewith Srescoes from the life of Christ, beginning with the An- nunciation, ending with the Crucifixion, and with a representation of Christ as a pilgrim appearing to two Dominican monks. Of his panel paintings the “Ma- donna of the Flax-merchants,” of 1433, now in the Uf- frzi, is among the earliest, the «Coronation of the Vir- gin” of the Louvre and Uffizi, among the most beau- tiful. His latest works are at Orvieto, where he painted in 1447, assisted by his pupil Benozzo Gozzoli, in the cross vaults of the Duomo, ‘Christ surrounded by An- gels and Prophets”; and in Rome, where, called by Pope NicolasV, he decor ied the Chapel of St. Lawrence in the Vatican with frescoes from the lives of St. Lawrence and St. Stephen. He died in Rome, March 18, 1455, and was moaewen iz 3 is laid on a sheet, held at the “ head by Joseph of Arima- nen The Virgin, kneeling behind the body, is supported by two of the Marys, the third is squatted on the ground in front at the right, turned towards Christ, the head entirely hid- den beneath the hood and the left hand. The Magdalen wipes the left foot of Christ with her veil. St. John stands be- side the Virgin, both hands clasped and raised in prayer. All have halos with stippled borders, with the exception of buried in the Church of Santa Maria sopra Minerva, the servant standing behind Joseph of Arimathea. The scene is laid in an enclosure in front of the tomb, whichis cut in the rock, a large stone slab, forming the door, stands beside the opening. On the flowery ground, in the centre front, on a white cloth, are the instruments of the Passion: crown of thorns, three nails, hammer and tongs. Beyond an open wooden lych-gate the road leading up from the valley below is visible. To the right, a single palm and a group of ilex and cypress trees close the view. To the left rises the hill of Golgotha with the three slender crosses, the thieves still han g- ing. In the middle ground, behind the palm-tree, the city of Jerusalem, with walls and towers, surrounded by trees; roads lead to a fortress at the foot of ! | | | i 4 i Ha h a hill, behind Golgotha. A hilly range closes the background. i ( Wood. Height, 37 inches; Width, 21 inches. j it In the collection of Mr. Henry Goldman, New York. ii Formerly in the collection of Signor Stefano Bardini, Florence. H Bibliography: ' FRIDA SCHOTTMULLER: Fra Angelico (Klassiker der Kunst). Berlin, 1925, p.266. Wustrated. \ ee ee ee eee [5.] FRA FILIPPO LIPPI [Florentine School, 1406-1469] Saint Lawrence Enthroned Ree EPPO: LIEPP! [Florentine School, 1406-1469] Saint Lawrence Enthroned FRA FILIPPO, born in Florence in 1406, the worldly wise and gay Camaldolite friar, is the immediate follow- er, perhaps pupil, of Masaccioand Masolino. Hepaints subjects similar to those of Fra Angelico, but from an al- together different point of view. Like the contemporary Northern painters he fills his works with earthly details, flowers and birds, beautiful clothes and interior decora- tion. His easel paintings are of equally excellent qual- ity as his mural decorations. In his two late large fresco paintings in the choir of the Duomo at Prato, showing scenes from the life of St. John Baptist and St. Stephen, and in the Duomo of Spoleto, depicting the Death and Coronation of the Virgin, he combines Masaccio’s mas- tery of tactile values with a more individual rendering of his subjects. He is probably the first who introduced portraits of contemporaries as ‘assistants’ in his paint- ings. He died in 1469. His tomb with an epitaph by Angelo Poliziano still exists in Santa Maria del Fiore. T. LAWRENCE is seated on a carved wooden throne of severe architectural design. $43) He is robed in a green dal- matic with gold embroidered borders and pectoral. A green mantle falls over the right shoulder and is drawn across the lap. It covers the feet which rest onthe gridiron, the Saint’s attribute. In the left hand he holds a book; in the right, a palm. On either side of the throne stand Saints Cosmas and Dami- an, the Syrian doctors. They wear em- broidered mantles over ample tunics with a border ornament of Moorish let- tering. St.Cosmas rests his left hand holding the palm of martyrdom on the right hand of the throne. His mantle is caught up in the hand which also holds a pillbox. St.Damian holds in his left hand the ends of his mantle to- gether with a sheath for lancets, his right hand, corresponding to Cosmas’ left, holds the palm and rests on the throne. Both Saints wear turbans. The halos are gold, on a gold background. In the foreground, on the tesselated pavement, slightly smaller, are the donor to the right, and his two sons to the left, kneeling with clasped hands. Wood. Height, 48 inches; Width, 4534 inches. In the collection of Mr. J. Pierpoint Morgan, New York. Painted for the Cavaliere Messer Alessandro about 1440, it was placed on the altar of the parish church of Vincigliata where it remained until the church was rebuilt about 1790, when it was transferred to the Palazzo Alessandro degli Albizzi. See No. 6 in this Catalogue for the two wings of the Altarpiece. Bibliography. BERNHARD BERENSON: Florentine Painters of the Renaissance. N. Y., 1896, jy 50). E. C. Strutt: Fra Filippo Lippi. London, 1906, p. 83. HEDWIG MENDELSOHN: Fra Filippo Lippi. Berlin, 1909, p. 75. Illustrated. CROWE AND CAVALCASELLE: History of Painting in Italy. 1911, Vol. 4, p. 173. E. W. ForBEs: Mediaeval and Renaissance Paintings, Fogg Art Museum, Cambridge, 1919, job Ds SR An ARE 0 aaa ale [6 PR Pil PPOvE rere [Florentine School, 1406-1469] Saint “Benedict and Saint Anthony FRA EELIPPO LIPPI [Florentine School, 1 4.06-1 4.69] Saint “Benedict and Saint Anthony FRA FILIPPO, born in Florence in 1406, the worldly wise and gay Camaldolitefriar, is the immediate follow- er, perhaps pupil, of Masaccio and Masolino. He paints subjects similar to those of Fra Angelico, but from an al- together different point of view. Like the contemporary Northern painters he fills his works with earthly details, flowers and birds, beautiful clothes and interior decora- tion. His easel paintings are of equally excellent qual- ity as his mural decorations. In his two late large fresco paintings in the choir of the Duomo at Prato, showing scenes from the life of St. John Baptist and St. Stephen, and in the Duomo of Spoleto, depicting the Death and Coronation of the Virgin, he combines Masaccio’s mas- tery of tactile values with a more individual rendering of his subjects. He is probably the first who introduced portraits of contemporaries as “assistants” in his paint- ings. He died in 1469. His tomb with an epitaph by Angelo Poliziano still exists in Santa Maria del Fiore. fQ)\T. BENEDICT, at three- EK Mquarter length, stands slightly turned to the right. 4-3) His shaven head is inclined as his eyes rest upon the donor. He ts dressed in a monk’s habit and a priest’s alb, beneath a heavy mantle with em- broidered border, around the shoulders of which he wears the cowl. The mantle isheld togetherbya large jewelledclasp, the righthand liftsitsfolds,the leftholds a fine white cloth and the crozier of the abbot.St. Anthony, alsoat three-quarter length, stands, with right knee raised, clad ina hermit’s habit and mantle, carry- ing in his right hand an abbot's staff with a bell. His head, with a fairly long, pointed grey beard, is inclined and turned to the left; the left hand rests on the right knee. The halos and background are of gold. Wood. Height, 28¥% inches; Width, 15/2 inches, each. In the collection of Mr.J. Pierpont Morgan, New York. These are the side panels of the Alessandro altar-piece, the central panel being No. 5 in this Catalogue. Bibliography: BERNHARD BERENSON: Florentine Painters of the Renaissance. N.Y., 1896, p. 150. E.C. StrutT: Fra Filippo Lippi. London, 1906, p. 83. HEDWIG MENDELSOHN: Fra Filippo Lippi. Berlin, 1909, p. 75. Illustrated. CROWE AND CAVALCASELLE: History of Painting in Italy. 1911, Vol. 4, p. 173. E. W. Forses: Mediaeval and Renaissance Paintings, Fogg Art Museum, Cambridge, 1919, p- 57. ; I i i : i [7.| FRA FILIPPO Lie Pri [Florentine School, 1 406-1469] The Madonna and Child PR FrELe PO LIPPt [Florentine School, 1 4.06-14.69| The Madonna and Child FRA FILIPPO, born in Florence in 1406, the worldly wise andgay Camaldolitefriar, is the immediate follow- er, perhaps pupil, of Masaccioand Masolino. He paints subjects similar to those of Fra Angelico, but from an al- together different point of view. Like the contemporary Northern painters he fills his works with earthly details, flowers and birds, beautiful clothes and interior decora- tion. His easel paintings are of equally excellent qual- ity as his mural decorations. In his two late large fresco paintings in the choir of the Duomo at Prato, showing scenes from the life of St. John Baptist and St. Stephen, and in the Duomo of Spoleto, depicting the Death and Coronation of the Virgin, he combines Masaccio’s mas- tery of tactile values with a more individual rendering of his subjects. He is probably the first who introduced portraits of contemporaries as “assistants” in his paint- ings. He died in 1469. His tomb with an epitaph by Angelo Poliziano still exists in Santa Maria del Fiore. gre VIRGIN, with head half PY | #53 turnedand inclined towards CN (athe right, is represented as Re oun half- length figure, in the act of tenderly caressing the Child, whom she supports with both arms, the left leg of the Child rests on her right arm, while the right leg drops comfortably behind. The Child is clothed in a winding drapery of purple hue, and grasps with the left hand the folds of the Virgin’s head-dress as it falls on her neck, and with the right hand He touches His chin, His head being tufned towards the observer, and inclined slightly backward. The Virgin is clad in a dark green hooded mantle with wide gold trim- ming, fastened with an open strap of embroidered gold acrossthe breast, under which she wears a crimson garment pleated from the neck downwards. On the right shoulder of the mantle isan embroidered star. The head-dress, exposing a small quantity of fair hair, is of frilled muslin continued in a loose twist on the neck. The halos of the Mother and Child are of gold, each radiating with impressed lines from the centre, and stippled with dot-pattern. The back- ground is composed of a loosely hanging dossal of gold brocade, also stippled with dot-pattern. Wood. Height, 32% inches; Width, 25'4 inches. In the collection of Mr. Carl W. Hamilton, New York. Formerly in the Monastery of the Carmine Brethren, Florence. Exhibited at the Montclair Art Museum, New Jersey, 1925-1926, No. 92. Bibliography: ANON.: Catalogue of the Loan Exhibition of Paintings, etc., in the collection of Carl W. Hamilton. Montclair Art Museum, New Jersey, 1925-1926. No. 92. Illustrated. | i : eee Sais a a —— [s.] ANDREA DEL CASTAGNO [Florentine School, circa 1410-1457] ‘Portrait of a Young Man [8] ANDREA DEL CASTAGNO [Florentine School, circa 1 4.10-14.57| Portrait of a Young Man ANDREA DEL CASTAGNO was born in or about 1410 at Castagno, a village in the valley of the Mugello; he died in Florence, Aug. 19, 1457. Hardly more than the third part of bis works of which we have literary notice, have come down tous. He is certainly the strongest of the fall of M i ovllD lo, ii i J ax ia crimson cloak iS worn, OLLowers 0, aSaCCLO an onatello. Fis art clings to the soil, passionately, and yet has a monumental gran- hooked together at the neck. The deur which makes him unique among his generation. young man scowls, gazing contemptu- ously at the beholder. His hair is very dark, cut low over the forehead, leaving the ear half uncovered, and falling in a heavy mass to the neck. His right hand clutches an end of the cloak which is thrown back over both shoulders. At the wrist the laced cuff shows the white shirt sleeve. On the little finger is a ring. The figure stands out from the sky background. ) (QALF-LENGTH, three-quarters § (@to the left, dressed in a crim- son doublet, over which Wood. Height, 21 inches; Width, 15” inches. In the collection of Mr. J. Pierbont Morgan, New York. Formerly in the collections of M. Rodolphe Kann, Paris, and the Marchese Torrigiani, Florence. Bibliography: WOLFRAM WALDSCHMIDT: Andrea del Castagno. Berlin, 1900. E. MIcHEL: Collection M. Rodolphe Kann. In Gazette des Beaux-Arts. Paris, 1901, p. 496. E. SCHAEFFER: Das Florentiner Bildnis. Munich, 1904, p. 103. Ilustrated. D. H. GiGtiout: In Emporium XXI, No. 122, Bergamo, 1905, p. 114. BERNHARD BERENSON: Florentine Painters of the Renaissance. New York, 1907, p. 130. Dr. WILHELM VON BopE: The Rodolphe Kann Collection. Paris, 1907, Vol. II,p. 27, No. 120. E. SCHAEFFER: I Thieme-Becker, Allgemeines Lexikon der Bildenden Kunstler. Leipzig, 1912, Vol. VI, p. 132. RR TICS I PAT a He 5 OT am 8 [9.| ALESSO” BALDOY ENED Tt [Florentine School, 14.2 5-14.99] The Madonna and Child [9.| ALESSO BALDOVINETTI [Florentine School, 1425-1499] The Madonna and Child ALESSO BALDOVINETTI was born in Florence in 1425. He was a pupil of Domenico Veneziano and in- fluenced by Paolo Uccello and Castagno. He became a member of the Guild in 1448. His entry-book, a copy of which is preserved in the Ricordi, begins with the date 1449 and contains his accounts, orders, etc. In 1454 he received through Castagno an order to paint a fresco, on the subject of Hell,” for the Hospital of the Servi. In 1461 he completed a fresco in San Egidio begun by Do- menico Veneziano. Hisearly works were paintings on the doors of the vestry of Santissima Annunziata, now in the Museumof San Marco, which completes a seriesbegun by Fra Angelico; also the Annunciation in the Uffizi and the fresco representing the Birth of Christ in Santissima Annunziata (1460-62). In 1466 the ‘Annunciation”’ in SanMiniato was completed. From 1470-73 he painted the altar-piece in San Ambrogio and the «Holy Trinity adored by the Saints Gualberto and Benedict,” now in the Academy. The work on the frescoes of Santa Tri- nita continued until 1497. He died in Florence in 1499. “TWKHE MADONNA, seen at re three-quarter length, is seat- Pod @ = Qed in a chair, turned slightly eg Bho the left and gazing at the Infant in her lap. Over the white veil, which covers her temples and hides her ears, is a gold-brown head-dress that descends to her shoulders; her eyes are downcast and the expression is pen- sive. Around her head is a gold nim- bus. She wears a red tunic edged with gold, and a blue mantle. The nude Child has a cruciform nimbus behind His head and wears a red coral necklace ftom which depends a charm. He blesses in the Greek manner, and holds in His right handa narrow piece of white drapery. The receding landscape background, with scanty vegetation, is bounded by a distant range of hills. Light blue sky. Canvas (transferred from wood): Height, 29 inches; Width, 21 inches. In the collection of Mr. Clarence H. Mackay, Harbor Hill, Long Island. Formerly in the collections of Signor Arnoldo Corsi, Florence; and the late Mr. William Salomon, New York. Bibliography: W.R.VALENTINER: The Clarence H. Mackay Collection. In “International Studio,” August, 1925, p. 337. IMustrated. W.R. VALENTINER: The Clarence H. Mackay Collection. New York, 1926, No.2. Illustrated. = = ie a ge eee 2 ES [10.] PIER FRANCESCO FIORENTINO [Florentine School, active 1474-1497] The Madonna and Child with St. John and Angels [10] PIER FRANCESCO FIORENTINO [Florentine School, active 1474-1497] The Madonna and Child with St. John and Angels PIER FRANCESCO FIORENTINO &s known to have been active during the last three decades of the fuf- teenth century, but the actual dates of hisbirthand death are unrecorded, He was a pupil possibly of Fra Angeli- co or Benozzo Goxzoli, influenced by Neri di Bicci; ec- lectic imitator of Alesso Baldovinetti, Fra Filippo Lippi and Francesco Pesellino. Pier Francesco himself was a priest. Among bis paintings may be mentioned analtar- piece now in the Opera del Duomo at E mpoli, dating from about 1474; a signed “Madonna and Saints’’ in YRHE VIRGIN stands at half- z length behind a parapet, slightly turned to the left. i 23,She wears an ample robe, cut fend at the neck whete it is em- broidered with a border of pearls and gem stones; around her waist is a plain the Pinacoteca at San Gimignano, of 1494; and a pic- gir dle. Themantleof darkbluchasastar ture of Tobias and the Angel,” of 1497, at Certaldo. ernbroidered on the left shoulder and is It is said that he assisted Ghirlandajo at San Gimi- guano about 1475. His work shows a remarkable feel- thrown back, to show the gold starred ing for the decorative value of line and subdued colour. lining . The fair hair is parted in the cen- tre, bound with a fillet and falls in slight waves to the neck, leaving the left ear uncovered; it is only partly covered by the white veil with very long ends which are draped across the breast and shoulders. Her head is inclined to the left; she gazes thoughtfully at the Child, whom she supports with both hands. She wears jewelled rings on two fingers of the left hand. The Child stands on the parapet the weight of the body thrown on the right leg. He is nude except fora drapery, below the shoulders which trails down behind his back. He looks out of the pic- ture, His right hand touches the mother’s, in the left He holds a gold-finch to His lips. At the lower right stands the boy St. John in earnest adoration. Two angels, one at the left, and one at the right, watch the Child’s play with smiling interest. At the right, the semi-circular back of the throne with a moulded top is visible; behind the throne a rose-tree with five blossoms. Gold background. Wood. Height, 1134 inches; Width, 7% inches. In the collection of Mr. and Mrs. Harold I. Pratt, Glen Cove, Long Island, N.Y. Formerly inthe collections of Mr. William Graham, London, and Mr. Oscar Hainauer, Berlin. Bibliography: Dr. WILHELM VON BODE: Die Sammlung Oscar Hainauer. Berlin, 1897, p. 67, No. 45. E. W. ForBEs: Collection of Mediaeval and Renaissance Paintings, Fogg Art Museum, Harvard University, Cambridge, 1919, p. 71. A replica of this picture, also assigned to Pier Francesco Fiorentino, is in the Uffizi, Florence. Similar paintings by this master are in the Kaiser Friedrich Museum, Berlin, and the Victoria and Al- bert Museum, London. So = TO LTT EI a - — ES ONST OOM — REP E ee EOE ces i) i) SS re ee Ee [11.] ANDREA DEL VERROCCHIO [Florentine School, 1435-1488] The Madonna and Child [11] ANDREA DEL ANDREA DEL VERROCCHIO was born at Florence in 1435. Next to Antonio Pollaiuolo the most important sculptor of bronze in Florence in the second half of the fif- teenth century. Famous as goldsmith, sculptor in terra- cotta, bronze, and marble, and as painter. Pupil of a goldsmith and influenced by Luca della Robbia. To his most remarkable bronze works belong the «Statue of Da- vid” in the Museo Nazionale, the «Boy with the Fish” inthe PalazzoV ecchio, thegroupof*Christand Thomas” in Or San Michele, Florence, and the «Colleont Monu- ment’ inVenice. He executed several reliefs of the Ma- donna and portrait busts in terra-cotta (Shaw Collec- tion, Boston; Dreyfus Collection, Paris), and in marble (Museo Nazionale, Florence). Amonghispaintingsgen- erally accepted are the “Baptism of Christ” in the Uffizi, and the‘‘Madonna”’ in the Berlin Museum. The studio of Verrocchio was the most famous training ground in Florence for young artists; among his scholars were Leo- nardo da Vinci, Lorenzo di Credi, Perugino, Francesco di Simone and Agnolo di Polo. He died at Venice 1488. VERROCCHIO [Florentine School, 1435-1488] The Madonna and Child AHE VIRGIN is seen seated at Ai he mathe right, her body turned with a green lining andared gown; the sleeve is slashed and retained by cords, and through the opening a white un- dergarment is exposed. Her hair and neck are covered witha white veil, elab- orately draped at the top where a part is seen twisted around a pin. The Child is seated upon His Mother’s lap and supported by her arms; He is partly covered with a blue tunic and red sash with a white transparent wrapper be- neath him; He raises His arms eagerly towards the Virgin as she gazes towards him. The nimbi are embellished with decoration. Blue sky background, with a suggestion of landscape at the left. Panel: Height, 30/4 inches; Width, 21 inches. In the collection of Mr. Clarence H. Mackay, Harbor Hill, Roslyn, Long Island. Formerly in the collections of Baron Hubert de Pourtalés, Martinvast, Normandy, and Baron Arthur de Schickler, Paris. Bibliography: W.R. VALENTINER: The Clarence H. Mackay Collection. Iz “International Studio,” New York, August, 1925, p. 338. IMustrated. W.R. VALENTINER: Catalogue of the Clarence H. Mackay Collection. New York, 1926, No. 3. Illustrated. An rrr — i SSeS | |-=strongly outlined against thelight green background. Her dress, simply cut, of pink damask, is edged with white at the neck and patterned with a floriated design. The hair is brushed away from the forehead and parted in the middle, dressed in flat bandeaux held by a pale blue velvet ribbon, with bunched side curls and heavy plaits at the back of the head. A thin gauze veil, which covers the hair and part of the forehead, falls in a loop to the neck, without covering the side curls, where it is fastened with a jewel of three stones surrounded by pearls. Wood. Height, 18 inches; Width, 13 inches. In the collection of Mr. Nils B. Hersloff, East Orange, N. J. Formerly in the collections of the late Mr. William Salomon, New York; Baron Michel Laz- zaroni, Paris; and Count Isolani, Bologna. a tere I i i ; \ b [13] SANDRO BOTTICELLI [Florentine School, 1444-1510] ‘Portrait of a Young Man SANDRO BOTTICELLI [Florentine School, 1 4.4.4-1 510] Portrait of a Young Man SANDRO FILIPEPI, called BOTTICELLI, was born at Florence between the first of March, 1444, and the same date 1445, and died there on the 17th of May, 1510. Pupil of his father who wasa goldsmith, and of Fra Filippo Lippi; influenced early by Antonio Pollaiuolo and Castagno. Heworked mostly at Florence; from1474- 1475 he was in Pisa; in 1482-1483 in Rome. His range of subjects was immense, according to the calls of his patrons and the untameable energy of his own nature. It extended from great scriptural compositions, as in his frescoes of the Sistine Chapel, and the large altar- pieces treated with great power, through the most touch- ing scenes in the life of the Virgin, to events in classic history, including allegorical and mythological sub- jects. He was a profound student of Dante whose Divine Comedy he illustrated, and he espoused the cause of Savonarola, becoming one of the Piagnont. G)EPICTEDat half-length, be- iQ \hind a balustrade. The body Fis shown at full front, with ®)the head inclining towards the left and his eyes directed towards the observer. His features are some- what ascetic, his expression is touched with melancholicmood. Hisrighthand with fingers extended is raised and placed against his breast. He wears a coat of purplish brown colour, edged with fur, and applied at the shoulders 6 with single bands of white material. His long yellowish curls are set off with a red cap. Black background. Wood. Height, 1534 inches; Width, 114 inches. In thecollection of Mr. Clarence H. Mackay, Harbor Hill, Roslyn, Long Island. From the collection of Baron Arthur de Schickler, Martinvast, Normandy. Bibliography: BERNHARD BERENSON: A Botticelli Portrait. Im «Art in America.” December, 1921. pp: 26-30. W. R. VALENTINER: The Clarence H. Mackay Collection. I “International Studio,’ New York, August, 1925, p. 339. Idlustrated. W. R. VALENTINER: Catalogue of the Clarence H.Mackay Collection, New York, 1926. No. 4. [lustrated. YUKIO YASHIRO: Sandro Botticelli. London, 1926. Vol. I, pp. 44; 47-48; and 113-114. Illustrated in Vol. IU, plate 204. The present picture belongs to the few portraits which may be attributed with certainty to Botticelli, It is somewhat similar in style but superior to the portrait of a young man in the National Gallery, London, and belongs very likely to his early period. In American collections are only two other portraits by the artist, the one of Giuliano de’ Medici in the collection of Mr. Otto H. Kahn, New York, and the other of Lorenzo Lorenzano in the John G. Johnson Museum, Philadelphia. Boe aia PT STS ay ADOT aE ae iy 4 ie 4 hs | | PSE SS er = = = a = eee eS al a ogee ten ote Mint es a — ae = ee on — = 7 [14] SANDRO BOTTICEEM [Florentine School, 1444-1510] Portrait of Giuliano de’_Medici SANDRO BOTTICELLI [Florentine School, 1444-1510] Portrait of Giuliano de’ Medica SANDRO FILIPEPI, called BOTTICELLI, was born at Florence between the first of March, 1444, and the same date 1445, and died there on the 17th of May, 1510. Pupilof his father who wasa goldsmith, and of Fra Filippo Lippi; influenced early by Antonio Pollainolo ( wie. oe mostly at Florence; from1474- os heavy locks £0 the neck, 1475 he was in Pisa; in 1482-1483 in Rome. His range covering the ear, but leaving the fore- of subjects was immense, according to the calls of his head free. He avy ideo eile ng inane patrons and the untameable energy of bis own nature. It extended from great scriptural compositions, as in half cover the full, deep-set cys, the his frescoes of the Sistine Chapel, and the large altar- straioht eye-brows turn slightly up- pieces treated with great power, through the most touch- 8 y ora) ae ing scenes in the life of the Virgin, to events in classic ward at the angles. The aquiline nose history, including allegorical and mythological sub- andthe firmly compressed lips give the jects. He was a profound student of Dante whose fh h : ch Divine Comedy he illustrated, and he espoused the portrait its haughty expression, whic cause of Savonarola, becoming one of the Piagnoni. 1S tempered, however, by the softness of the well-modelled cheek and chin. The simple black coat fills the lower half of the picture and its severity is hardly relieved by the narrow band of the crim- son doublet just visible below the white linen at the neck. By the contrast of black and crimson the features appear even more pallid, yet full of life. The background is a neutral bluish-grey. Canvas, transferred from wood: Height, 21% inches; Width, 14 inches. In the collection of Mr. Otto H. Kahn, New York. Formerly in the collection of Count Procolo Isolani, Villa di Castelvecchio, Bologna. Bibliography: ANOoN.: An unknown Botticelli. Iz «The Times,” London, April 1st, 1914. Mary LOGAN BERENSON: Botticelli’s Portrait of Giuliano de’ Medici. In“Artin America,” Vol. II, 1914, p. 240. Dr. WILHELM VON BODE: Sandro Botticelli. Berlin, 1911, pp. 62-63. English edition, 1925, p. 49, Plate XXIV. ROGER Fry: Giuliano de’ Medici by Sandro Botticelli. In «Burlington Magazine,” April, 1914. Iustrated. Giuliano de’ Medici, the younger son of Piero di Cosimo de’ Medici, was murdered at the age of 25 during the celebration of Mass in the choir of Santa Maria del Fiore at Florence, on April 26, 1478, on the occasion of the Pazzi conspiracy, while his elder brother Lorenzo narrowly escaped with his life. He was tall and handsome and distinguished in all knightly exercises. Angelo Poliziano records his prowess and his love for the beautiful Simonetta in an epic poem, called “La Giostra.” pea cas