Return frequently to this room, and study it deeply. It will give you the key to all the others.
Now traverse the Salon Carré and enter the
Salle Duchâtel.
On the R wall are two exquisite frescoes by Luini, removed entire from walls in Milan. To the L, the Adoration of the Magi, exquisitely tender and graceful; study it closely as an example both of painter and subject, noting the ages and attitudes of the Three Kings, the youngest (as usual) a Moor, and the exquisite face and form of the Madonna. To the R, a Nativity, equally characteristic. Look long at them. Between, Christ blessing, not quite so beautiful; and Genii with grapes, an antique motive. Above are three other frescoes of the school of Luini, not so fine. Centre, Annunciation, the Madonna separated (as often) from the angel by a lily. The Madonna never approaches the angel, and is usually divided by a wall or barrier.
On the screen by door, good portraits by Antonio Moro.
Other side of door (680), Madonna and Child, with the donors of the picture, by Hans Memling. This beautiful Flemish picture well represents the characteristics of Flemish as opposed to Italian art. Notice the want of ideality in the Virgin and Child, contrasted with the admirable portraiture of the donors, the chief of whom is introduced by his namesake, St. James, recognisable by his staff and scallop-shell. The female donors, several of whom are Dominican nuns, are similarly introduced by their founder, St. Dominic, whose black-and-white robes and star-like halo serve to identify him. Observe the exquisite finish of the hair and all the details. Study this work for the Flemish spirit.
At the far end of the room are two pictures by Ingres, marking the interval covered by French art during the lifetime of that great painter. L, Œdipus and the Sphinx, produced in the classical period of the master’s youth, while he was still under the malign influence of David. R, La Source, perhaps the most exquisitely virginal delineation of the nude ever achieved in painting.
After having traversed these two rooms the spectator will probably be able to attack the
Salon Carré,
which contains what are considered by the authorities as the gems of the collection, irrespective of period or country (a very regrettable jumble). Almost all of them, therefore, deserve attention. I shall direct notice here chiefly to those which require some explanation. Begin to the L of the door which leads from the Salle Duchâtel.