(The columns which separate these compartments have an interesting history. They first belonged to a classical temple in North Africa. They were brought thence by Louis XIV to support a baldacchino at St. Germain-des-Prés. Finally, the Revolution transferred them to the Louvre.)
Return again, now, to the last archway, and begin once more on the R side, which contains for the most part tawdry works of the Baroque period, which should, however, be studied to some extent in illustration of the decadence of art in the later 16th century, and also as examples of further transformation of the traditional motives.
53. Barocci. Madonna in Glory, with St. Antony and St. Lucy. A good example of the insipid style which took its name from this master.
Below it, 309. Bagnacavallo. Circumcision, with twisted pillars, showing the decline in architectural taste. The crowded composition may be instructively compared with earlier and simpler examples of this subject; also, with Fra Bartolommeo, whose fine but complex arrangements rapidly resulted in such confused grouping.
52. Barocci. Same scene. The tradition now entirely ignored, and an unpleasantly realistic, yet theatrical and mannered treatment, introduced.
304. After Primaticcio. Mythological concert, exhibiting the taste of the School of Fontainebleau (the Italian artists of Raphael’s group, scholars of Giulio Romano, introduced into France by François Ier).
349. Rosselli. Triumphant David, with the head of Goliath. Marking the advance of the histrionic tendency.
A very cursory examination of the rest of the works on this wall will probably be sufficient. Look them over in an hour. The most celebrated are two by Salvator Rosa: 318, Guido Reni’s Ecce Homo, full of tawdry false sentiment; and Domenichino’s St. Cecilia (often copied), with the angel reduced to the futile decorative winged boy of the period. 324, Guido’s St. Sebastian, may be well compared with Perugino’s, as marking the decline which art had suffered. It is on works like these that the Spanish School largely based itself.
This completes the Italian collection of the Louvre, to which the visitor should return again and again, until he feels he has entered somewhat into the spirit and tone of its various ages.