This picture is the earliest in the Gallery (with the exception of the Greek portraits, see 1260)—not in order of time, but in order of artistic development. It is a genuine Byzantine picture, an example, therefore, of the art which prevailed in Italy from the sixth century down to about 1250, and the influence of which survived even when the Italian painters had developed an art of their own. The Byzantine style of painting is distinguished by its conventionality and its constancy. It was the recognised thing that such and such a subject should be treated in such and such a way and no other. There is a Byzantine Manual of Painting in a manuscript of the eleventh century in which instructions are given not only as to the subjects to be represented, but as to the costume, age, and lineaments of the characters. An art of this kind was naturally unchanging. This picture is probably only 200 years old, but if it had been painted 800 years ago, or if it had been ordered only the other day from the monks of Mount Athos, little difference of style would be perceptible. It is signed in Greek "The hand of Emmanouel, the priest, son of John," a painter living in Venice about the year 1660.
The picture is conventional in its choice of subject—the saints Cosmas and Damian being one of the subjects recognised in Byzantine art. They were martyrs of the fourth century—patron saints of medicine, which they practised without fees—hence their title, the "holy money-despisers." They are here receiving the Divine blessing. The picture is conventional also in its treatment. Thus the attitude of the hand is the recognised symbol whereby to express that a figure is speaking. So, too, the background is formed by a golden plain, which is meant to represent the air or the sky. The dark blue semicircle surrounding the bust of our Saviour, above the two heads of the saints, has more or less the form of the horizon, and is meant to represent the heaven in which Christ dwells (Richter's Italian Art, etc., pp. 5-7).
595. PORTRAIT OF A LADY.
Unknown (Venetian School: 15th-16th century).
One of the many pictures in the Gallery from which the so-called "æsthetic" or "high art" gowns of the present day have been copied. Formerly ascribed to Battista Zelotti, a disciple of Paul Veronese.
596. THE ENTOMBMENT OF CHRIST.
Marco Palmezzano (Umbrian: 1456-1537).
This painter was a fellow-countryman and pupil of Melozzo of Forli, who studied under Piero della Francesca, and to that extent Marco is a member of the Umbrian School. Like his master, Marco studied geometry and perspective. He was skilful in perspective, "but he scarcely ever ridded himself of a certain dryness and hardness, and his draperies are in general angular in the folds, cutting up instead of indicating the forms beneath" (Burton). His pictures abound in Forli.
This picture, originally of a semicircular shape, was the lunette of an altar-piece, painted in 1506 for the Cathedral of Forli, and now in the Gallery of that town. To the spectator's right is San Mercuriale, first bishop of Forli, holding the Guelphic banner of the church; on the left, San Valeriano with the standard of Forli.