A portrait of a friend of the artist, for it is inscribed "Leal Souvenir"—and a true recollection it obviously is, and was the more acceptable, one likes to think, for being so. "It is not the untrue imaginary Picture of a man and his work that I want, ... but the actual natural Likeness, true as the face itself, nay, truer in a sense, Which the Artist, if there is one, might help to give, and the Botcher never can" (Carlyle, Friedrich).
291. PORTRAIT OF A GIRL.
Lucas Cranach (German: 1472-1553).
Lucas Sunder (or possibly Müller), called Cranach from his native place, was one of the chief of the German painters,—after Dürer, the most famous artist of his day. He was the close friend of Martin Luther, whose features he several times represented. He may indeed be called the painter of the German Reformation, and in his later works the reformed doctrines receive symbolical illustration. The influences of the Renaissance were also at work in his art, as may be seen in his classical subjects. He was fond also of drawing birds and animals, and he often depicted hunting scenes. These he rendered with a realism of effect which won the admiration of his princely employers. It was, however, as a portrait-painter that he was chiefly employed. His engravings were also very numerous. In the lower left-hand corner of the picture before us, a crowned serpent will be noticed. This was the arms granted to him in 1508 by the Elector of Saxony, and it superseded his initials on all his pictures after that date. Of Cranach's earlier years, little is known. In 1504 he was established at Wittenburg as court-painter to Frederick the Wise, a post which he occupied under the next two Electors as well. He was a man of importance at Wittenburg, for he was twice mayor of the town, and carried on there, besides large art workshops, a book-printing business and an apothecary's shop. He was also employed in diplomatic missions, and when the Elector Frederick the Magnanimous was in captivity at Augsburg, Cranach was instrumental in procuring his release from the Emperor Charles V., whose portrait had in earlier years been taken by our painter.
"His female portraits have a sort of naïve grace that renders them very pleasing. There is one in the National Gallery, of a young girl in elaborate costume, which is entirely characteristic" (Bryan's Dictionary of Painters).
292. MARTYRDOM OF ST. SEBASTIAN.
Antonio Pollajuolo (Florentine: 1429-1498).
This picture is expressly ascribed by Vasari to Antonio alone. On the other hand, Albertini, an earlier authority (1510), ascribes it to Piero, the younger brother of Antonio. It is known that many pictures were the joint production of both brothers—Antonio furnishing the design, and Piero putting it into colour. "In the 'St. Sebastian,'" says Sir F. Burton, "we probably have a work so produced; the severe and strenuous drawing of the elder brother, the sculptor and toreuta by profession, is visible throughout; whether he shared in the painting, and if he did, to what extent, may remain an open question."
Antonio Pollajuolo (the "poulterer,"—so called from his grandfather's trade) is an interesting man from two points of view: first, as an instance of the union of the arts in old times; for he was a working goldsmith and engraver as well as a sculptor and painter. He took to painting comparatively late in life, desiring, says Vasari, "for his labour a more enduring memory" than belongs to works of the goldsmith's art; "and his brother Piero being a painter, he joined himself to him for the purpose of learning the modes of proceeding in painting. He acquired a knowledge in the course of a few months and became an excellent master." He became, indeed, an excellent draughtsman, but "neither harmony of colours nor grace was the strong point of this master" (Morelli's Italian Masters in German Galleries, p. 351). In 1484 Antonio was invited to Rome by Pope Innocent VIII., and executed some important monumental works in St. Peter's. His brother died in 1496; Antonio, two years later. The two brothers were buried in S. Pietro in Vincoli, where busts of them may be seen. Antonio is interesting, in the second place, for the developments he introduced into Italian painting. He was one of the first of the Florentines to adopt an oil medium, and the first (says Vasari) who had recourse to the dissection of the dead subject. To him, therefore, Ruskin attributes a baleful influence. "The virtual beginner of artistic anatomy in Italy was a man called 'the poulterer'—Pollajuolo, a man of immense power, but on whom the curse of the Italian mind in this age was set at its deepest. See the horrible picture of St. Sebastian by him in our National Gallery." He was the beginner of those anatomical studies, continues Ruskin, which, pursued and established by later masters, "polluted their work with the science of the sepulchre, and degraded it with presumptuous and paltry technical skill. Foreshorten your Christ, and paint Him, if you can, half-putrefied—that is the scientific art of the Renaissance" (Ariadne Florentina, Appendix IV.).
How popular this "scientific art" was in its day may be seen from the following enthusiastic account which Vasari gives of this picture:—
A remarkable and admirably executed work, with numerous horses, many undraped figures, and singularly beautiful foreshortenings. This picture likewise contains the portrait of St. Sebastian himself, taken from the life—from the face of Gino di Ludovico Capponi, that is. The painting has been more extolled than any other ever executed by Antonio. He has evidently copied nature in this work to the utmost of his power, as we perceive more particularly in one of the archers, who, bending towards the earth, and resting his weapon against his breast, is employing all the force of a strong arm to prepare it for action; the veins are swelling, the muscles strained, and the man holds his breath as he applies all his strength to the effort. Nor is this the only figure executed with care; all the others are likewise well done, and in the diversity of their attitudes give clear proof of the artist's ability and of the labour bestowed by him on his work; all which was fully acknowledged by Antonio Pucci, who gave him three hundred scudi for the picture, declaring at the same time that he was barely paying him for the colours. This work was completed in the year 1475.