In order to study the Louvre aright, in short, you must be continually comparing. In a word, regard each work, first, as a representation of such-and-such a subject, falling into its proper place in the evolution of its series: second, as belonging to such-and-such a school or nationality: third, as representing such-and-such an age in the historical evolution of the art of painting: fourth, as exhibiting the individuality, the style, the characteristics, the technique, and the peculiar touch of such-and-such an individual painter. Only thus can you study art aright in this or any other gallery.
Try this method on Van Eyck’s Madonna, on Titian’s Entombment, on Sebastiano del Piombo’s Visitation, and on Memling’s little John Baptist, which is one attendant saint from a triptych whose Madonna is missing.
Some other time, consider in detail the two delicately luminous frescoes by Luini, in the Salle Duchâtel. Before doing so, however, read on the spot the following remarks.
I have spoken here for the most part from the point of view of those visitors who have not travelled much in Italy or the Low Countries. And, as a matter of fact, the Louvre is the first great picture gallery on the Continent visited by nine out of ten English or Americans. In reality, however, since this collection contains several isolated masterpieces of all the great schools, together with several unconnected pictures of minor artists, it requires, almost more than any other great gallery, to be seen by the light of information acquired elsewhere. It ought, therefore, to be examined after as well as, and even more than, before visits to other countries. This collection, for example, includes works by Van Eyck, by Memling, by Giotto, by Fra Angelico. But Van Eyck can only be fully understood by those who have visited Ghent; Memling can only be fully understood by those who have visited Bruges: it is impossible really to comprehend Giotto unless you have seen his great series of frescoes in the Madonna dell’ Arena at Padua: it is impossible really to comprehend Fra Angelico unless you have examined the saintly and ecstatic works at San Marco in Florence. Thus you have to bear in mind that the works in the Louvre are only stray examples of masters and schools with whom an adequate acquaintance must be obtained elsewhere. It was for this reason that I began these notes with special examples of Mantegna, because he is one of the very few artists, other than French, of whom you can form some tolerably fair conception in Paris alone, to be pieced out afterwards by observation in Italy.
Furthermore, it must be recollected that many artists can only be seen to advantage under the conditions amid which their works were produced. This is especially the case with the Italian painters of the 14th and 15th centuries. They were a school of fresco-painters. Their altar-pieces and other separate panels give but a very inadequate idea of their powers, and especially of their composition. Giotto and Fra Angelico, in particular, cannot possibly be estimated aright by any of their works to be seen north of the Alps. The altar-pieces, being more especially sacred in character, were relatively very fixed in type: they allowed of less variation, less incident, less action, than the histories of saints which frequently form the subjects of frescoes. You can judge of this to a slight extent in the Louvre itself, by comparing the Madonnas at the far end of the Salle des Primitifs with Giotto’s St. Francis which hangs by: for the Madonna was the most sacred and therefore the most bound by custom of any type. You will at once observe how much freer and more naturalistic is the treatment in the episode of the Stigmata than in the comparatively wooden figures of Our Lady by which it is surrounded. Still more is this the case when we come to compare any of these altar-pieces with frescoes such as those of the Arena at Padua, or Santa Croce at Florence. Similarly with Fra Angelico: the little crowded works which he produced as altar-pieces give a totally different conception of his character and powers than that which we derive from the large and relatively spacious frescoes at San Marco, or in Pope Nicolas’s Chapel at the Vatican. In such works, we see him expand into a totally different manner. Now frescoes, by their very nature, cannot easily be removed from the walls of churches without great danger. Therefore, the school of fresco-painters—that is to say, the Early Italian school—is ill represented outside Italy.
Now Luini, though he belongs to the 16th century, and though he produced some of his most beautiful works as cabinet or panel pictures, was yet almost as essentially a painter in fresco as Fra Angelico or Ghirlandajo. He can best be appreciated in Milan and its neighbourhood. And I will add a few notes here for the benefit of those who know Italy, and who can recall the works they have seen in that country. At the Brera in Milan, an immense number of his frescoes, cut out from churches, can be seen and compared to great advantage. Everybody who has visited that noble gallery must recall at least the exquisite figure of St. Catherine placed in her sarcophagus by angels, as well as the lovely Madonna with St. Antony and St. Barbara, where the face and beard of the aged anchorite somewhat recall the treatment of the old bearded king in the Adoration of the Magi in this gallery. Still better can Luini’s work be understood by those who know the Sanctuary at Saronno, where a splendid series of his frescoes still exists on the wall of the great church in which they were painted. The two frescoes here in the Salle Duchâtel are not quite so fine either as those at Saronno or as the very best examples among the collection at the Brera. Nevertheless, they are beautiful and delicately-toned specimens of Luini’s work, and, if studied in conjunction with other pictures by the same artist in the adjoining rooms, they will serve to give a tolerably just conception of his style and genius.
Luini is essentially a Leonardesque painter. He was not actually a pupil of Leonardo; but like all other Lombard artists of his time, he was deeply influenced by the temperament and example of the Florentine master. If you wish to see the kind of work produced by the Lombard school before it had undergone this quickening influence of Leonardo,—been Tuscanised and Leonardised—look at the Borgognones in the Long Gallery. These, again, are not at all satisfactory specimens of that tender, delicate, and silvery colourist. To appreciate Borgognone as he ought to be appreciated, however, you must have seen him at home in the Certosa di Pavia: though even those who know only his exquisitely spiritual altar-piece of the Madonna with the two St. Catherines (of Alexandria and Siena) in the National Gallery will recognise how inadequately his work is represented by the specimens in the Louvre. Nevertheless, these examples, inferior though they be in style and feeling, will serve fairly well to indicate the point to which art had attained in Lombardy before the advent of Leonardo. I need not point out their comparatively archaic character, and their close following of earlier methods and motives. Again, if you compare with Borgognone the subsequent group of Leonardesque painters,—Solario and his contemporaries,—whose works hang close by on the left-hand wall of the Long Gallery, you will see how immense was the change which Leonardo introduced into Lombard art. From his time forward, the Leonardesque face, the peculiar smile, the crimped wisps of hair, the subtle tones of colour, and as far as possible the touch and technique of the master, are reproduced over and over again by the next generation of Milanese painters. Among them all, Luini stands preeminently forward as the only one endowed with profound original genius, capable of transfusing the Leonardesque types with new vitality and beauty of his own conceiving. The others are imitators: Luini is a disciple.
These attributes are well seen in the two beautiful frescoes of the Salle Duchâtel. They came to Paris from the Palazzo Litta, that handsome rococo palace in Milan which stands nearly opposite the church of San Maurizio, itself a museum of Luini’s loveliest frescoes, including the incomparable Execution of St. Catherine. The Adoration of the Magi is the most satisfactory of the two. In it the kings,—Caspar, Melchior, Balthasar,—representing, as ever, the three ages of man and the three old continents,—are treated with a grace and soul and delicacy which Luini has hardly surpassed even at Saronno. The eldest king, as most often, kneels next to the Madonna, who occupies the conventional R hand of the picture. He has removed his crown, also an habitual feature, and is presenting his gift, while the others are caught just before the act of offering theirs. The exquisite face of this eldest king is highly typical; so is the gently-smiling Leonardesque Madonna. The youngest king is represented as a Moor, as always in German, Flemish, and North Italian art, though this trait is rarer, if it occurs at all, in the Florentine and Central Italian painters. I take it that the notion of the Moor was derived from Venice; for the Three Kings were great objects of devotion in Lombardy and the Rhine country. Their relics, which now repose at Cologne, made a long stay on their way from the East at Milan; and it is to this fact, I fancy, that we must attribute the exceptional frequency of this subject in the art of Northern Italy, as of the Rhenish region. In the background, the usual caravans are seen descending the mountain. Such long trains of servants and attendants are commonly seen in Adorations of the Magi. Camels and even elephants frequently form part of them. Recollect the charming procession in the exquisite Benozzo Gozzoli in the Riccardi Palace. A study of this subject, from the simple beginnings in Giotto’s fresco in the Arena at Padua (where a single servant and a very grotesque camel, entirely evolved out of the painter’s imagination, form the sole elements of the cortège; beyond the Three Kings), down to the highly complex Ghirlandajo in the Uffizi at Florence, (a good copy of which may be seen at the École des Beaux-Arts,) and thence to Luini, Bonifazio and the later Italians, forms a most interesting subject for the comprehension of the historical evolution of art in Italy. Go straight from this picture to the Rubens in the Salon Carré in order to observe the way in which the theme has been treated, with considerable attention to traditional detail, yet with highly transformed feeling, by the great and princely Flemish painter.
The Nativity, in Luini’s second fresco, is also full of traditional features,—a beautiful work in the peculiar spirit of this gentle artist. Note every one of the accessories and details, observing how they have come from earlier pictures, and also how completely Luini has subordinated them to his own art and his delicate handling. Comparison of these two with the other Luinis in other rooms will give you some idea of his varying manners in fresco and oil-painting. Note that the frescoes represent him best, and are fullest of Luini.