14. NATIONAL GALLERY.
of age and retouching, would alone have aroused attention at Milan'.
— C. <(• C.
*728. Giov. Ant. Beltraffio (pupil of Leonardo atMilan, d. 1516),
Madonna and Child (an effective, though simple and quiet compo¬
sition, suffused in a cool light); 27. Raphael Sanzio (A. 1520),
Pope Julius II. (repetition of the original in Florence); 24. Sebastian
del Piornbo (Venice, friend of Michael Angelo, d. 1547), Portrait of
a lady, as St. Agatha (manipulation free and flowing). — *10. Cor-
reggio, Mercury instructing Cupid in the presence of Venus.
This picture has passed through the hands of numerous owners,
chiefly of royal blood. It was bought by Charles I. of England with the
rest of the Duke of Mantua's collection in 160*0. From England it passed
to Spain, Naples, and then to Vienna, where it was purchased by the
Marquis of Londonderry, who sold it to the National Gallery. It has
suffered considerable damage during its wanderings.
1024. Giambattista Moroni (portrait painter at Bergamo, pupil
ot'Moretti; d. 1578), Italian ecclesiastic. Angelo Bronzino, GoO.
Portrait of a lady; 670. A knight of St. Stephen. — 15. Correggio,
'Only a repetition ('.') of the long lost original, or perhaps merely an
old copy'. — Dr. Julius Meyer, 'Correggio'.
287. Bartolommeo Veneziano (rare Arenetian master, first half
of 16th cent.), Portrait, dated 1530 (substantial impasto); 17. An¬
drea del Sarto (greatest Florentine colorist, d. 1531), Holy Family
(perhaps a school-piece); 669. Giov. Batt. Btnvenuto dell' Ortolano
(Ferrara, d. 1525), SS. Sebastian, Rochus, and Demetrius; 624.
Giulio Romano (? pupil of Raphael, d. 1541), Infancy of Jupiter;
272. Pordenone (Giov. Ant. Licinio, A. 1539), An Apostle (an in¬
ferior production); 651. Bronzino, Venus, Cupid, Folly, and Time,
an allegory (unpleasant, cold, and stony work); *697. Moroni,
Portrait of a tailor ('Tagliapanni') ; 41. Giorgione ('.' Giorgio Barba-
relli, A. 1511), Death of St. Peter Martyr (flesh tints dead); 649.
Pontormo (Jacopo Carucci, pupil of Andrea del Sarto in Florence ;
d. 1556), Portrait of a boy ; 674. Paris Bordone (Treviso, celebrated
for his female portraits; d. 1571), Portrait of a lady of Genoa (not
in good preservation). —225. Giulio Romano and Francesco Penni
(pupil of Raphael), Beatific vision of the Magdalene (fresco from
Legend relates that in the latter years of her repentant and amended
life, Mary Magdalene was daily borne to Heaven by angels, to enjoy a
foretaste of the bliss of the saved.
*294. Paolo Veronese, Family of Darius at the feet of Alex¬
ander the Great.
'In excellent condition; perhaps the only existing criterion by which
to estimate the genuine original colouring of Paul Veronese. It is re¬
markable how entirely the genius of the painter precludes criticism on
the quaintness of the treatment. Both the incident and the personages
are, as in a Spanish play, romantically travestied'. — Rumohr (manuscript
notes). — The picture cost 13,650/., the largest price paid for any work
in the gallery.
3. Titian Vecellio ('? d. 1576), Concert.
•It is far below Titian's powers, betraying rather the hand of Schiavone
or Zelotti than that of a better master'. — Crowe and Cavalcaselle,
'Titian; his Life and Times'.