To this great painter full justice has scarcely been done by writers on art—an omission which in recent years Morelli and still more Mr. Berenson, in his elaborate monograph, have sought to repair. Lotto led a wandering life, which took him much away from Venice; hence his pictures are comparatively little known. Again, as Sir F. Burton points out, "great versatility and remarkable impressibility are among the chief characteristics of Lotto, who certainly was possessed of genius but whose development was oscillating and affected by many influences. Only by extremely careful study and comparison can his hand be traced throughout in works, which at first sight exhibit little or nothing in common. Were none of Lotto's works signed or otherwise attested they would certainly bear very various attributions, as indeed many of his unsigned pictures have done, and as it is likely some do still." The portrait, for instance, of Andrea Odoni at Hampton Court was for several centuries attributed to Correggio, but recent cleaning has uncovered Lotto's signature and the date 1527. Of his power as a portrait-painter visitors to the National Gallery can form a good idea. His works in this sort will bear comparison with the best of his contemporaries. They have, says Morelli, "all that refined, inward elegance of feeling which marks the culminating point in the last stage of progressive art in Italy, and which is principally represented by Leonardo da Vinci, Lotto, Andrea del Sarto, and Correggio; whereas the elegance of Bronzino in Tuscany, and of Parmigiano in North Italy, is an outward affected one, which has nothing to do with the inner life of the person represented, and therefore characterises the first stage of declining art." His sympathetic nature enabled him to seize the finer traits of his sitters, and they in turn "look out from his canvasses as if begging for the sympathy" of the spectator. No. 1047 in our Gallery is especially characteristic. Lotto's altar-pieces, which were numerous, must be studied at Treviso, Recanati, Jesi, Bergamo, and Trescorre (frescoes), near the latter place. His pictures at different periods (they are for the most part dated) show strong resemblances to different painters—to Bellini and the Vivarini, to Palma, to Titian, to Giorgione, and to Correggio. He was born at Venice, and, according to Vasari, was a disciple of John Bellini. Mr. Berenson, on the contrary, maintains on internal evidence that Lotto must have belonged to the rival school of Alvise Vivarini. Of Palma, he was, according to Vasari, the friend and companion. With Titian he was on friendly terms, though if we may judge from a letter by Pietro Aretino, the attitude of the worldly Titian coterie to the gentle Lotto, was not unmixed with some contempt. "O Lotto," he writes, "as goodness good, and as talent talented, Titian from Augsburg, in the midst of the high favour everybody is eager to show him, greets and embraces you by the token of the letter which I received from him two days ago. He says that it would double the pleasure that he takes in the emperor's satisfaction with the picture he is now painting, if he had your eye and your judgment to approve him. And indeed, the painter is not mistaken, for your judgment has been formed by age, by nature, and by art, with the prompting of that straightforward kindliness which pronounces upon the works of others exactly as if they were your own. Envy is not in your breast. Rather do you delight to see in other artists certain qualities which you do not find in your own brush, although it performs those miracles which do not come easy to many who yet feel very happy over their technical skill. But holding the second place in the art of painting is nothing compared to holding the first place in the duties of religion, for Heaven will recompense you with a glory that passes the praise of this world.—Venice, April 1548." The resemblance between Lotto and Correggio was founded on no personal intercourse or artistic "influence," but on similarity of temperament. It is most conspicuous in the works of Lotto's "Bergamask period" (1518-1526). But whereas Correggio's sensitiveness is to impressions of outward joy and beauty, Lotto's is attuned rather to states of the human soul. Titian's sitters, it has been well said, are as if on parade, and his religious pictures tell of the pomp or rapture of public services. Lotto's sitters commune rather with their own souls, and in his devotional pieces he aims at a personal interpretation of religious motives. "As a colourist," says Burton, "Lotto remained throughout a Venetian. His flesh tints are true, and various as the age, sex, and temperament of the persons depicted." All that we know of his life suggests a reserved, sensitive, and unworldly nature. Unlike so many of his contemporaries, he never sued the favour of the mighty. In his account book recently discovered at Loreto he speaks again and again of having done excellent work for people who remunerated him with pence where if a contract had been made they would have had to pay him in pounds. He lodged sometimes with friends, sometimes with monks. His life was that of a lonely wanderer, very industrious, but laying up no store. In 1554 he made over himself and all his belongings to the Holy House at Loreto, "being tired of wandering and wishing to end his days in that holy place." During the last years of his life he had almost entirely lost his voice. In one of his wills is a reference which shows us the temperament of the man. Among his scanty possessions were a number of antique gems. These he speaks of lovingly, because they were engraved with mystic symbols for the spirit to brood upon (see Lorenzo Lotto: an Essay in Constructive Criticism, by Bernhard Berenson, 1895; and Morelli's German Galleries, pp. 31-40; Roman Galleries, p. 301).
Agostino was Professor of Medicine in the University of Padua; he holds a copy of "Galen," the most celebrated of the ancient medical writers, in his hand. It was for Niccolo, however, according to the inscription, that the picture was painted in 1515; and Signor Morelli (its former owner) thinks that Agostino's portrait must have been inserted at a later time, for "it is placed very awkwardly in the background" (German Galleries, p. 37 n.). "No one with a feeling for composition can doubt for an instant that Agostino was originally intended to be alone on the canvas, as he occupies all of it that a single bust ought to occupy. Morelli's inference seems thus to be well founded that Lotto, on his return from Venice to Bergamo, stopped at Padua and painted the portrait of Agostino, which he brought to Niccolo at Bergamo, who thereupon had his own portrait added.... Lotto's sitters were in no way remarkable. Nevertheless, he gives them a look of refinement and innate sweetness of nature which brings us very close to them" (Berenson, pp. 138, 321).
700. THE HOLY FAMILY.
Bernardino Lanini (Lombard: about 1508-1578).
Lanini was a native of Vercelli, and a scholar of Gaudenzio Ferrari. Subsequently he approached more to the manner of Leonardo, as in this picture dated 1543. His works are frequent at Turin and Vercelli. There is an altar-piece by him at Borgo Sesia, near Varallo; his principal works are frescoes in the Cathedral at Novara.
Mr. Pater bids us notice in this picture the "pensive, tarnished silver sidelights, like mere reflections of natural sunshine" ("Art Notes in North Italy," New Review, Nov. 1890).
701. THE CORONATION OF THE VIRGIN.
Justus of Padua (died 1400).
A picture of interest as being the oldest by any North Italian painter in the Gallery—the date inscribed on the plinth below is 1367. Justus (Giusto di Giovanni) was a native of Florence, who in 1375 settled in Padua and founded his style upon the works of Giotto in that town. The frescoes at Padua formerly ascribed to him are now said to be the works of his scholars, Giovanni and Antonio da Padova.