14. NATIONAL GALLERY.
*658. Martin Schongauer (Colmar, pupil of Roger van der Wey¬
den. and introducer of the Flemish style into Germany ; d. 1488),
Death of the Virgin.
'I believe this to be the earliest work we know by him. It is of the
rarest beauty, but at the same time displays, in conception, glow of
colour, and exactitude of execution, something of Roger van der Weyden;
belonging therefore to a time when the influence of that master was still
fresh upon him'. — IF.
809. Michael Angelo (? formerly ascribed to Ghirlandajo), Ma¬
donna and Infant Christ; *923. Andrea da Solario (A. after 1515),
Portrait of a Venetian senator (recalling Antonello da Messina).
Melozzo da Forli (Umbrian school, influenced by Piero della Frau-
cesca; d. 1494); 756. Music; 755. Rhetoric (supplemented by two
similar representations in the Museum at Berlin). — *744. Raphael,
Madonna, Infant Christ, and St. John (the 'Aldobrandini' or 'Gar-
'The whole has a delicate, harmonious effect. The flesh, which is
yellowish in the lights, and lightish brown in the shadows, agrees ex¬
tremely well with the pale broken rose-colour of the under garment, and
the delicate bluish grey of the upper garment of the Virgin. In the
seams and glories gold is used, though very delicately. The execution
is particularly careful, and it is in an excellent state of preservation'. — W.
*168. Raphael, St. Catharine of Alexandria.
'In form and feeling no picture of the master approaches nearer to
it than the Entombment in the Borghese Palace, which is inscribed 1507.
The modelling here is, however, not so careful, and the frequent use of
hatchings very peculiar'. — W.
790. Michael Angelo, Entombment(unfinished picture, and very
primitive in colouring). — *690. Andrea del Sarto, Portrait of
'A very fine work, touched with excessive ease and breadth. The
warm lights are pleasantly tinged with rosy shades; the mass of chiaro¬
scuro well defined'. — C. & C.
*23. Correggio, 'La Madonna della Cesta', or 'La Vierge au
''This picture shows that Correggio was the greatest master of aerial
perspective of his time'. — Mengs, 'Werke', iii. 156.
It is the only picture in this collection in which Correggio's power
is clearly exhibited.
*189. G. Bellini, Portrait of the Doge Leonardo Loredano.
'This remarkable portrait is a singular instance of the skill with
which Bellini could seize and embellish nature, reproduce the flexibility
of flesh in a soft and fused golden tone, and venture at the same time
into every line of detail'. — C. <t C.
626. Masaccio (Tommaso Guidi, d. 1429), His own portrait
(assigned by Mr. Crowe to Filippino Lippi or Botticelli); 777. Paolo
Morando, Madonna and Child (simply conceived, and tasteful in the
juxtaposition of colours); 694. Bellini (good school-piece?), St.
Jerome in his study. — We now pass into the —
Central Octagon, chiefly containing works by second - rate
painters of North Italy and Umbria.
To the left: 769. Fro Carnovale (Umbrian school, about 1480),
St. Michael and the Dragon; 639. Francesco Mantegna (son and