14. NATIONAL GALLERY.
This picture is known, from the swallow introduced, as the 'Madonna
della roudine'. -It may be said of the pi-edella, which represents St. Catharine,
St. Jerome in the wilderness, the Nativity of our Lord, the Martyrdom
of St. Sebastian, and St. George and the Dragon, that Crivelli never con¬
centrated so much power on any small composition'. — C. «(■ C.
758. Piero delta Francesca (?), Portrait of a lady ; 592. Filippino
Lippi, Adoration of the Magi; 7 73. Cosimo Tura (early Ferrarese
master, d. after 1481), Jerome in the wilderness ('very energetic
exhibition of lean forms'); 802. Bartolommeo Montagna (A icenza,
about 1510), Madonna and Child; 915. Botticelli, Mars and Venus.
— 812. G. Bellini, Death of St. Peter Martyr (signature forged).
-We are reminded in this scene of Castelfranco. Nothing can exceed
the rich and well-blended golden colour'. — C. it- C.
602. Crivelli, Pieta (painted after 1490).
'One of those pieces in which the master has much of the force of
Mantegna united to excellent feeling and a fair knowledge of anatomv .
— C. it- C.
247. Niccolo Atunno (Umbrian painter of the end of the 15th
cent.), EJcce Homo; t)90. Cosimo Tura, Christ placed in the tomb
by John the Baptist and Joseph of Arimatha;a, lucid in colouring;
585. Piero della Francesca (V), Portrait of a lady ; 782. Botticelli,
Madonna and Child, a composition which the master often repeated.
— 665. Piero della Francesca, Baptism of Christ.
-A serious drawback to the enjoyment of this picture is the abrasion
of its colour and its reduction to the condition of a preparation; but the
insight which it gives into Piero's mode of painting in the Florentine
method of oil is most interesting'. — V. it- C.
Room XIV. CixiiUECENTo Italian School. This room contains
an extensive collection of the works of the greatest Italian masters,
particularly those of Venice and the school of Lombardy, and
includes not a few master-pieces. The number of names re¬
presented serves to give some idea of the many-sided form which
art assumed at this period, and it is only by bearing this in mind
that the merits of individual painters can be properly estimated.
To the left: 751. Giovanni Sanli (Umbrian painter and poet,
Raphael's father; d. 1494), Madonna. Ambrogio Borgognone (early
Lombard painter and architect, b. 1455), 779, 78U. Family por¬
traits, painted on two fragments of a silken standard, attached to
wood; 2y8. Marriage of St. Catharine of Alexandria, to the right
St. Catharine of Siena. 285. Francesco Morone (early Veronese
painter, d. 1529), Madonna and Child; 226. Botticelli, Virgin and
Child, St. John the Baptist and angels. — Francesco Francia
(painter of the early school of Bologna, also a goldsmith; d. 1517),
*179. Virgin enthroned and St. Anne; 180. Pieta (the lunette of
These two pictures constituted formerly one altar-piece. The com¬
position is of a very high order, reminding us of Perugino, by whom
there is a Pieta very similar to this in Florence.
623. Girolamo da Treoiso (a follower of Raphael, d. 1544), Ma¬
donna and Child enthroned (mentioned by Arasari as the painter's
master-piece); 753. Altobello Melone (early school of CremonaJ,