EARLY FLORENTINE SCHOOL
B-43. Virgin and Child, with St. John. (10X81.)
It will be noticed that gold is used freely in the halos, and upon the draperies, which fall in somewhat stiff but ample and not unpleasing folds. This picture is from the collection of the Abbé Genoude, known as the translator of the Bible, by which he accumulated a fortune.
(Bryan Collection.)
B-44. Adoration of the Shepherds. (35½X34.)
This picture is from the collection of the Sylvestre family, and was once improperly attributed to Raphael. It bears many of the marks of Garofalo's pencil.
(Bryan Collection.)
B-45. The Crucifixion. (33X23.) Andrea Mantegna.
Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The Christ has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of traits, designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal."
It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as Squarcioni, the master of Man Tegna, had the largest and most varied collection of ancient arms which existed in his day.
Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the St. Jerome (B-47) by Correggio, the disciple of Mantegna. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to Mantegna's use of the same material in the work before us; thus showing the direct connection between the manner of the two painters.
It is impossible to overrate the historical importance of the juxtaposition of this work of Mantegna with that of Correggio. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.
(Bryan Collection.)
B-46. Adoration of the Kings. (19X14.) Andrea Mantegna.
Found in Venice, 1859.
(Bryan Collection.)
B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) Correggio.
Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of Correggio. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."
This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of St. Jerome; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the Crucifixion by Mantegna (No. B-45).
There can be no doubt that this picture is the finished sketch for the well-known St. Jerome, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.
(Bryan Collection.)
B-48. Virgin and Child. (34X27.) Correggio.
In support of the authenticity of this picture, we have the first authority in England,—that of Mr. Woodburn. The donor thinks it may be Schidone.
(Bryan Collection.)
B-22. ADORATION OF THE INFANT CHRIST.
ATTRIBUTED TO PERUGINO
[MACRINO D'ALBA
]
B-49. Virgin and Child. (10X8.) Bernardino Luini.
(Bryan Collection.)
B-50. Virgin and Child, with St. John. (32X25½.) Giulio Romano.
This picture was attributed to Cæsari da Sesto, but is now believed by the donor to be by Giulio Romano. It is from the collection of Bishop Luscomb, Paris.
(Bryan Collection.)
B-51. Portrait of a Princess of Florence. (52X41½.) Agnolo Bronzino.
(Bryan Collection.)
B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) Agnolo Bronzino.
(Bryan Collection.)
B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) Copy from Palma. (Vecchio.)
(Bryan Collection.)
B-54. Charity. (9X6½.) Giuseppe Cesari d'Arpino.
(Bryan Collection.)
B-55. Virgin and Child. (8X6½.) Annibale Caracci.
(Bryan Collection.)
B-56. St. Joseph holding the Infant Jesus. (8X6½.) Annibale Caracci.
(Bryan Collection.)
B-57. St. Paul borne to Heaven by Angels. (19½X15.) Domenichino.
"Three angels bear aloft the interpreter of the divine will: one has the form of infancy, another of youth, the third of adolescence. The minister of our Lord raises his hands to heaven, on which he gazes with an expression of burning hope. How he seeks to discover the first rays of the eternal light! How he longs for the moment in which he shall appear before the Almighty! What enthusiasm animates his countenance! I doubt if the ardor of faith could be better shown. The little angel has those brilliant eyes, and that expressive visage, which this master knew so well how to paint; it is certainly not inferior to those which we admire in the grand salon of the Louvre. The angel of the second age charms the eye by a grace and an easiness of attitude extremely remarkable; upon his countenance burn the veneration and the love with which the Apostle inspires him. The entire group seems actually to mount in the air. Mr. Bryan had the good taste to purchase it at the sale of M. Forbin-Janson."
To this just and graphic description, from the pen of M. Michiels, which appeared in the Gazette de France, it is needless to add anything more.
This picture was formerly in the gallery of the Cardinal Lambruschini, and afterwards in the collection of M. Forbin-Janson, Director of the Louvre, at whose sale it was purchased by the donor.
(Bryan Collection.)
B-58. Christ Crowned with Thorns. (24½X20.) Guido.
If not original, it is the best copy ever seen by the donor.
(Bryan Collection.)
B-59. Magdalen in a Trance. (46½X36.) School of Guido.
This picture is from the collection of Louis Philippe. The head of the Magdalen is evidently a reminiscence of the Niobe discovered at Rome at the epoch of the painter.
(Bryan Collection.)
B-60. The Young Bacchus. (33X24.) Oval. School of Carlo Dolci.
(Bryan Collection.)
B-61. Lucretia. (33X24.) Oval. School of Carlo Dolci.
(Bryan Collection.)
B-62. Magdalen. (34X28.) Oval. School of Carlo Dolci.
(Bryan Collection.)
B-63. St. Dorothea. (34X28.) Oval. School of Carlo Dolci.
(Bryan Collection.)
B-64. Christ disputing with the Doctors. (39X54.) Gentileschi.
(Bryan Collection.)
B-65. Portrait of Galileo Galilei. (30½X24½.) Justus Sustermans.
From the collection of Louis Philippe.
(Bryan Collection.)
B-66. Virgin and Child. (18½X15½.) Sassoferrato.
Found at Rome.
(Bryan Collection.)
B-67. Landscape, with Historical Figures. (48X79.) Salvator Rosa.
(Bryan Collection.)
B-45. THE CRUCIFIXION.
ANDREA MANTEGNA.
(BRYAN COLLECTION)
B-68. Landscape. (38½X46.) School of Salvator Rosa.
(Bryan Collection.)
B-69. Landscape. (24X38.) School of Salvator Rosa.
(Bryan Collection.)
B-70. Landscape. (24X38.) School of Salvator Rosa.
(Bryan Collection.)
B-71. Marine View, with Architecture. (34X50½.) Canaletto.
Figures by Tiepolo.
(Bryan Collection.)
B-72. Autumn. (18½X24½.)
Purchased of Mr. Terry, artist, Rome.
(Bryan Collection.)
B-73. Philip IV. of Spain. (26X21½.)
Bought at Sienna.
(Bryan Collection.)
B-74. Don John of Austria. (26X21½.)
Bought at Sienna.
(Bryan Collection.)
B-75. A Theologian Decorated with the Order of the Golden Fleece. (26X21½.)
Bought at Sienna.
(Bryan Collection.)
B-76. Portrait. (29X24.)
Bought at Sienna.
(Bryan Collection.)
B-77. Portrait. (29X24.)
Bought at Sienna.
(Bryan Collection.)