Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The Christ has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of traits, designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal."
It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as Squarcioni, the master of Man Tegna, had the largest and most varied collection of ancient arms which existed in his day.
Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the St. Jerome (B-47) by Correggio, the disciple of Mantegna. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to Mantegna's use of the same material in the work before us; thus showing the direct connection between the manner of the two painters.
It is impossible to overrate the historical importance of the juxtaposition of this work of Mantegna with that of Correggio. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.
(Bryan Collection.)
B-46. Adoration of the Kings. (19X14.) Andrea Mantegna.
Found in Venice, 1859.
(Bryan Collection.)
B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) Correggio.
Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of Correggio. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."
This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of St. Jerome; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the Crucifixion by Mantegna (No. B-45).
There can be no doubt that this picture is the finished sketch for the well-known St. Jerome, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.
(Bryan Collection.)
B-48. Virgin and Child. (34X27.) Correggio.
In support of the authenticity of this picture, we have the first authority in England,—that of Mr. Woodburn. The donor thinks it may be Schidone.
(Bryan Collection.)
B-22. ADORATION OF THE INFANT CHRIST.
ATTRIBUTED TO PERUGINO