Among Leonardo's Milanese disciples was Gian Pietro Rizzi, commonly known as Giampietrino, a definite artistic personality, but historically hardly more than a name. Although he was probably not a direct pupil of Leonardo, there is ample evidence in his work that he came under the influence of this great master, whose exquisitely perfect art had captivated all of Lombardy. Whatever the subject of his paintings, Giampietro's real theme is always the beauty of woman. Affection, but never any great emotional feeling, is expressed in his numerous paintings of the Madonna, since passion would distort the delicate, aristocratic beauty of the forms he modeled with such loving skill. Our painting is exhibited as and indefinite loan from Mr. E. J. Carpenter.
Madonna and Saints. Palma il Vecchio, about 1480-1528
In this important Venetian painting of the High Renaissance, the Madonna and Child are represented in a beautiful landscape surrounded by four saints; at the left St. Michael and St. Dorothea, at the right St. Joseph (probably) and St. Mary Magdalene. Such scenes are called in Italian “sante conversazioni,” or sacred conversations, and were especially popular in Palma's time. This artist, one of the great masters of the Venetian school, was called il Vecchio, or the elder, to distinguish him from his grand-nephew who was called Palma the younger. Three periods of development may be noted in Palma's work. The first is called Bellinesque, when Palma was still influenced by Giovanni Bellini. In his second period, Giorgione's influence was dominant. The so-called blond manner characterized his third period. The fascinating landscape of our painting calls to mind the influence of Giorgione, but the wholesome well-being that radiates from this goodly company of saints reminds one more of Titian than of Giorgione. Palma enjoyed the beautiful luxurious things of life, he delighted in rich amplitude of form, in splendid glowing color, in the health and sanity of happy men and women; and to his vision he gave the permanency of supreme craftsmanship. Our painting, given in memory of James S. Bell by his son, was formerly in the Rangoni Collection of Modena.
Stucco Relief. Workshop of Antonio Rossellino
During the Renaissance, a great number of charming reliefs in stucco and plaster by great sculptors, or in their style, were used for the decoration of the home or of wayside shrines. Our example, probably from the workshop of Antonio Rossellino (1427-1478), is a typical example of these popular reliefs.
Glass. Venetian, XVI Century
The glass factories at Murano near Venice were celebrated during the Renaissance, as they are today, for their beautiful productions. The large beaker shown in our illustration is of bluish glass. The deep dish is of white glass decorated with colored enamels.