Above it, Neri di Bicci. Madonna, very wooden. He was a belated Giottesque, who turned out such antiquated types by hundreds in the 15th century.
School of Benozzo Gozzoli. Madonna and Child. L, St. Cosmo and St. Damian, with pens and surgeons’ boxes; St. Jerome, with stone, lion, and cardinal’s hat; his pen and book denote him as translator of the Vulgate. R, St. John Baptist (representing Florence); St. Francis with the Stigmata; St. Lawrence. The combination of Saints shows the picture to have been painted in compliment to Lorenzo de’ Medici. Minor subjects around it are worthy of study.
Now cross over the room again. You come at once upon four pictures of nearly the same size, painted for the Court of the Gonzaga family at Mantua. Allegorical subjects, intended for the decoration of a hall or boudoir. Most of those pictures we have hitherto examined have been sacred: we now get an indication of the nascent Renaissance taste for myth and allegory.
429. Perugino. Combat of Love and Chastity. A frequent subject for such situations, showing Perugino at his worst. Compare it with the other three of the series.
253. Mantegna. Wisdom conquering the Vices. A characteristic but unpleasing example of this great Paduan painter. Admirable in anatomy, drawing, and perspective: poor in effect. Observe the festoons in the background, which are favourites with the artist and his school.
*252. Mantegna. The amours of Mars and Venus discovered by (her husband) Vulcan. A beautiful composition. The guilty pair, with a couch, stand on a mountain, representing Parnassus, accompanied by Cupid. Below, exquisite group of the Nine Muses dancing (afterwards imitated by Guido). To the L, Apollo with his lyre, as musician. R, Mercury and Pegasus. In the background, the injured Vulcan discovering the lovers. This splendid specimen of early Renaissance art is one of Mantegna’s finest. Study it in detail, and compare with the other three which it accompanies. Observe the life and movement in the dancing Muses: also, the growing Renaissance love for the nude, exemplified in the Venus.
154. Costa. The Court of Isabella d’Este. The meaning of the figures is now undecipherable, but the general character indicates peace, and devotion to literature, science and art. A fine example of the Ferrarese master.
Between these four, **Mantegna; (251), Madonna della Vittoria, a most characteristic picture, painted for Giovanni Francesco Gonzaga, Marquis of Mantua, to commemorate his victory over Charles VIII of France. The Madonna is enthroned under a most characteristic canopy of fruit and flowers, with pendents of coral and other decorative adjuncts. L, Gonzaga himself, kneeling in gratitude—a ruffianly face, well-painted. R, St. Elizabeth, mother of the Baptist, with St. John Baptist himself, representing the Marquis’s wife. Behind, the patron Saints of Mantua, who assisted in the victory: St. Michael the Archangel (the warrior saint—a most noble figure), St. Andrew (Mantegna’s name-Saint), St. Longinus, who pierced the side of Christ, and St. George. The whole is exquisitely beautiful. The detail deserves long and attentive study. The reliefs on the pedestal are characteristic. From the church of the same name, erected in commemoration of the victory (of the Taro). I will return hereafter at greater length to this lovely picture.
Above, to the L (*418), Cosimo Tura. Pietà, or body of Christ wept over by the Madonna and angels. In drawing and colouring, a characteristic example of this harsh, but very original and powerful, Ferrarese master. You will come hereafter on many Pietàs. Compare them all, and note the attitude and functions of the angels.
Cross over again to the opposite side. (183), Botticelli. Round Madonna and angels, very characteristic as to the drawing, but inferior in technique to most of his works.