146 14. NATIONAL GALLERY.
'The searching nature of the drawing in ti e head of the Eternal,
reminiscent of the works of Sandro Botticelli, draperies less in the in¬
volved style of Andrea del Castagno than near the finer and simpler style
of Fra Filippo, the gentle character of the heads of cherubs and seraphs,
are remarkable'. — C. tC C.
739. Crivelli, Annunciation, dated 1486 (the heads are pleasing
and the motions graceful); *663. Fra Angelico, Christ with the
banner of the Resurrection, surrounded by a crowd of saints, mar¬
tyrs, and Dominicans, 'so beautiful', says Vasari, 'that they
appear to be truly beings of Paradise'.
*292. Antonio Pollajuolo (Florentine painter, sculptor, and
engraver, d. 1498), Martyrdom of St. Sebastian.
This picture was the altar-piece of the Pucci chapel, in the church
of San Sehastiano de' Servi at Florence, and according to Vasari is the
'It is a piece highly characteristic of the Pollajuoli, but one in which
the pictorial element is impressed with more force than upon foregoing
examples'. — C. d- C.
807. Crivelli, xMadonna and Child enthroned; 909. Benvenulo
da Siena, Same subject, a characteristic example of the antique
style of the Sienese school at the end of the 15th cent.
*902. Andrea Mantegna (A. 1506), Triumph of Scipio, or the
reception of the Phrygian mother of the gods (Cybele) among the
publicly recognised divinities of the Roman state.
In obedience to the Delphic oracle, the 'worthiest man in Rome' was
selected to receive the goddess, and the choice fell upon Publius Corne¬
lius Scipio Kasica (B.C. 204). The picture was painted for a Venetian
nobleman, Francesco Cornara, whose family claimed to be descended from
the Roman gens Cornelia. It was finished in 1506, a few months before
the painter's death, and is 'a tempera', in chiaroscuro. It is not so im¬
portant a work of Mantegna as the series at Hampton Court (p. 2S5).
698. Piero di Cosimo (Florence, pupil of Cosimo Rosselli; d.
about 1521), Death of Procris.
'It is a half tempera of low key in lleshtone, done with ease, fairly-
select in forms, and chastened iu drawing.' — C. it- C.
766, 767. Domenico Veneziano (introduced oil-painting from
Florence into A enice, d. 1461), Heads of saints; 631. Francesco
Bissolo (A'enice, pupil of G. Bellini; early part of 16th cent.), Por¬
trait of a lady, in a rich dress of embroidered Byzantine stuff;
781. Pollajuolo (or school of A'errocchio?), The angel Raphael accom¬
panies Tobias on his journey into Media; 692. Lodovico da Parma
(? 16th cent.), Head of a white monk; 597. Marco Zoppo (early
Bolognese school, end of 15th cent.), St. Dominic. — 726. Gio¬
vanni Bellini (Titian's teacher, d. 15i6), Christ in Gethsemane.
This is an early work of the master, painted in 1456, and reveals the
influence of his father, Jacopo Bellini, a similar sketch from whose hand
is now preserved in the British Museum. The picture was formerly
ascribed to Mantegna, a pupil of Jacopo Bellini at the same time as
906. Crivelli, Madonna in prayer; 181. Perugino (Umbrian
school-piece?), Madonna and Child; 788. Crivelli, Madonna and
saints (large altar-piece in 13 sections, painted in 1476). —
*724. Crivelli, .Madonna and Child with SS. Jerome and Sebastian.