Most of the masterpieces of the Italian School had been absorbed into Europe’s national collections before the Metropolitan Museum entered the field. It is quite remarkable that the present showing is possible, in view of the difficulties in the way. Most of the works of the “primitives”[2] are fixed on the walls of the palaces and churches of Italy, but there is a scattering of them here. In the case of Pollajuolo’s (polla-yoo-o´-lo) “St. Christopher,” the whole wall has been transported. It has great value for the study of fresco technic. An “Epiphany,” simple in its appeal, attributed to the School of Giotto (jot´-to), but possibly by Giotto himself, has great charm of color and composition.
[2] The pioneers of a nation’s art. In Italy, Giotto and Duccio are the two great primitives.
One of the most important possessions of the Museum is Raphael’s “Madonna of St. Anthony,” the gift of Mr. J. Pierpont Morgan. It was painted before the artist had fully developed, and lacks the spirit and brilliancy of his later productions. But study its composition. Note the dignity in the single figures of St. Peter and St. Paul. How exquisitely the adoring angels fill the lunette![3] The picture was intended for the high altar, and, in its original position, it would have been possible to see it only from a distance and from below, and not close at hand as now. The central group shows some of the promise so richly fulfilled in the years that followed.
[3] The upper, semi-circular portion. The word refers to the half-moon shape of the composition.
VIRGIN AND CHILD ENTHRONED WITH SAINTS. By Raphael
Also called “The Madonna of St. Anthony”
MADONNA AND CHILD. By Andrea del Verrocchio
