173. PORTRAIT OF A GENTLEMAN
Jacopo da Ponte is commonly called Il Bassano or Jacopo da Bassano from his native town, near Venice. His father, Francesco, who was a painter in the school of the Bellini, was his first master; he afterwards studied under Bonifazio at Venice. After a short stay in that city, Jacopo returned to his native town, where he remained for the rest of a long life. "His best works are almost worthy," says Sir F. Burton, "of Titian. They are conspicuous among other qualities for Venetian excellence of colouring – especially in his green, where he exhibits a peculiar brilliancy. Most of his pictures seem at first sight as dazzling, then as cooling and soothing, as the best kind of stained glass; while the colouring of details, particularly of those under high lights, is jewel-like, as clear and deep and satisfying as rubies and emeralds." No. 228 in this Collection has passages which illustrate this point. Jacopo was nearly contemporary with the great Tintoretto, but while the latter was the last of the Venetian painters in the grand style, Bassano after a time devoted himself to simple scenes of country life. His distinguishing place in the history of art is that he was the first Italian painter of genre– a painter, that is, du genre bas, painter of a low class of subjects, of familiar objects such as do not belong to any other recognised class of paintings (as history, portrait, etc.): see, for instance, No. 228, in which the religious subject merely gives the painter an opportunity for a scene of market life. "His pictures were for the inhabitants of the small market-town from which he takes his name, where, besides the gates, you still see men and women in rustic garb crouching over their many-coloured wares; and where, just outside the walls, you may see all the ordinary occupations connected with farming and grazing. Inspired, although unawares, by the new idea of giving perfectly modern versions of Biblical stories, Bassano introduced into nearly every picture he painted episodes from the life in the streets of Bassano and in the country just outside the gates. Another thing Bassano could not fail to do, working as he did in the country and for country people, was to paint landscape. He loved to paint the real country. He was, in fact, the first modern landscape painter" (Berenson: Venetian Painters of the Renaissance, § xxi). "Giovanni Bellini places his figure in the crystal air of an Italian morning; Titian and Tintoretto give us daylight, mighty while subdued; but Bassano throws a lurid grey over his landscape and carries the eye to the solemn twilight spread along the distant horizon. This peculiarity of feature is partly accounted for by the position of the town of Bassano, which is wrapped in an early twilight by the high mountains above it on the west" (Layard's edition of Kugler, ii. 624).
A fine portrait – somewhat recalling Rembrandt in style – of a very refined face. In the vase beside him is a sprig of myrtle. This painter is fond of introducing such vases: see one in 277. In the principal street of Bassano, where the artist was born and, after studying at Venice, continued to live, such vessels may still be seen placed out for sale.
174. PORTRAIT OF CARDINAL CERRI
Carlo Maratti (called also Carlo delle Madonne, from the large number of Madonna pictures that he painted) was an imitator of Raphael, and for nearly half a century the most eminent painter in Rome. The portrait of a cardinal should have come kindly to him, for he was in the service of several popes, and was appointed superintendent of the Vatican Chambers by Innocent XI.
176. ST. JOHN AND THE LAMB
An interesting illustration of the substitution of the palpable image for the figurative phrase. The mission of St. John the Baptist was to prepare the way for Christ, to proclaim to the people "Behold the Lamb of God!" Murillo makes the standard of the Lamb, with those words upon it, lie upon the ground below; but he further represents the young St. John as embracing an actual lamb.
177. THE MAGDALEN
Just such a picture as might have suggested the lines in Pope's epistle on "The Characters of Women" —
Let then the fair one beautifully cry,
In Magdalen's loose hair and lifted eye;
Or dress'd in smiles of sweet Cecilia shine,
With simpering angels, palms, and harps divine;
Whether the charmer sinner it, or saint it,
If folly grow romantic, I must paint it.
Just such a picture, too, as Guido turned out in numbers. "He was specially fond," says one of his biographers, "of depicting faces with upraised looks, and he used to say that he had a hundred different modes" of thus supplying sentimentality to order.
179. VIRGIN AND CHILD ENTHRONED.
180. A PIETÀ
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.101 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 with 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's102 marks that of the Umbrian, and in these pictures (originally one altar-piece, painted for the Buonvisi chapel in S. Frediano at Lucca, where, says Vasari, it was held to be of great value) we have some of his best work. Many of his pictures are still at Bologna, including the one which some consider his chef d'œuvre, the Bentivoglio altar-piece in S. Giacomo Maggiore. Francia is the most pathetic of painters. Raphael is said to have remarked that Francia's Madonnas were the most devoutly beautiful he knew,103 and there is considerable affinity between Francia and Perugino. But the Umbrian master was more ideal; in Francia there are touches of realism. "It will be observed in No. 180 that the Virgin is represented as a middle-aged woman, and that the lids of the angels' eyes are red with weeping. In spirit also they are different. Francia makes his angels appeal to the spectator as if to enlist his sympathy in the pathos of the tragedy, holding up the beautiful tresses of Christ's hair to aid in the appeal. This Perugino would never have done; his angels, and his saints also, are always wrapt in a spiritual ecstasy to which Francia could not attain" (Monkhouse: In the National Gallery, p. 173).
(179) 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 discovery of Benedetto Buonvisi's will has shown why the various saints were selected – St. Anne, because the Buonvisi chapel was dedicated to her; St. Lawrence as the patron of the founder's father; St. Paul as the patron of the founder's brother and heir; St. Sebastian as the saint invoked in plagues (from which calamity