Carlo Crivelli (Venetian: painted 1468-1493). See 602.
This picture (like 724) is signed by "Sir Charles": it is dated 1491. It bears the painter's sign-manual also in the fruits and the vase of flowers. The giver of the picture (which was dedicated to the Virgin, and which, as recorded in a Latin inscription below, cost no inconsiderable sum) is kneeling, in the habit of a Dominican nun, at the foot of the throne. On the Madonna's left is St. Sebastian, pierced with arrows and tied to a pillar, but with the happy look of "sorrow ended" on his face. On her right is St. Francis. Near his feet are some flowers and a snail—typical of the kindness and humbleness of the saint, of whom it is recorded that "he spoke never to bird nor to cicala, nor even to wolf and beast of prey, but as his brother," and who thus taught the lesson "Never to blend our pleasure, or our pride, With sorrow of the meanest thing that feels" (Wordsworth).
808. ST. PETER MARTYR.
Giovanni Bellini[186] (Venetian: 1426-1516). See 189.
See also (p. xx)
A fancy portrait of a jolly comfortable-looking Dominican monk—a faithful portrait doubtless. His face is painted as it really was, "wart and all," but it has pleased him to be represented in the character of Peter, a famous member of his order (see under 812).
809. THE HOLY FAMILY.
Michael Angelo (Florentine: 1475-1564). See 790.
The Virgin mother is seen withholding from the child Saviour the prophetic writings in which His sufferings are foretold. Angelic figures beside them examine a scroll—