Paolo Morando, otherwise known as Cavazzola (his father was Taddeo Cavazzola di Jacobi di Morando), was a pupil of Morone (see 285). He "infused a higher life, and a fine system of colouring into the Veronese School, making thus a great advance upon his contemporaries, and preparing the way for Paul Veronese.... He shows, as Dr. Burckhardt has justly observed, 'a marvellous transition from the realism of the fifteenth century to the noble free character of the sixteenth, not to an empty idealism'" (Layard, i. 270). His masterpieces are still in his native Verona, and nowhere else, except in the National Gallery, can he be studied.
St. Roch is the patron of the sick and plague-stricken. The legend says that he left great riches to travel as a pilgrim to Rome, where he tended those sick of the plague, and by his intercession effected miraculous cures. Through many cities he laboured thus, until at last in Piacenza he became himself plague-stricken, and with a horrible ulcer in his thigh he was turned out into a lonely wood. He has here laid aside his pilgrim staff and hung his hat upon it, and prepared himself to die, when an angel appears to him and drops a fresh rose on his path. There is no rose without a thorn, and no thorn in a saint's crown without a rose. He bares his thigh to show his wound to the angel, who (says the legend) dressed it for him, whilst his little dog miraculously brought him every morning a loaf of bread.
736. A VENETIAN SENATOR.
Francesco Bonsignori (Veronese: 1455-1519).
Called incorrectly, by Vasari, Monsignori. He was born at Verona, where, in the churches of S. Fermo, S. Bernardino, S. Paolo, and in the Pinacoteca, works by him may be seen. In the grand but not always attractive productions of his earlier style, Bonsignori followed the traditions and manner of the Veronese School. Later in life he went to Mantua, where he settled and was influenced by Mantegna (see Morelli's German Galleries, p. 103, note).
A portrait—remarkable for vigorous execution, and strong individuality—of a senator, from the life, "in his habit as he stood,"—a branch of art in which this painter excelled. He has been called indeed "the modern Zeuxis," after the famous Greek painter whose painted grapes deceived the birds. For so lifelike were Bonsignori's pictures—says Vasari in his entertaining account of this painter—that on one occasion a dog rushed at a painted dog on the artist's canvas, whilst on another a bird flew forward to perch itself on the extended arm of a painted child. The portrait before us is executed in tempera. The study in chalk, for it is in the Albertina collection at Vienna.
737. A WATERFALL.
Ruysdael (Dutch: 1628-1682). See 627.
739. THE ANNUNCIATION.
Carlo Crivelli (Venetian: painted 1468-1493). See 602.