See also (p. xx)
Painted on copper, a material which seems first to have been used for painting in the School of Antwerp. M. Auguste Cartan, of Besançon, in a paper by him in the Courrier de l'Art (June 25, 1886), points out the resemblance between this portrait and one, also on copper, in the museum at Besançon, ascribed to Scipione Pulzone, surnamed Gaetano (1550-1558), a painter who has been called "the Van Dyck of the Roman School." A contemporary biographer speaks of Gaetano's portraits as being so conscientious that every hair is painted, and of his skill in rendering various stuffs; both these characteristics may be observed in the present picture. In the same paper M. Cartan identifies the Cardinal as Cardinal Sirleto, Librarian of the Vatican 1570-1585, and tutor of S. Carlo Borromeo. There is a bust of Cardinal Sirleto in the church of San Lorenzo at Rome, and M. Cartan declares the resemblance between the bust and this portrait to be unmistakable. There is also in the Corsini Palace at Rome a bust portrait of the same personage by Scipione Gaetano.
1049. THE CRUCIFIXION.
Unknown (German-Westphalian: 15th century).
A good example of the strength and weakness of this German art. What is good are the clothes, which are very quaint and various. The figures show a ghastly enjoyment of horror and ugliness: notice especially the crucified thief on the left.
1050. A SEA VIEW.
Bakhuizen (Dutch: 1631-1708). See 204.
1051. OUR LORD, ST. THOMAS, AND ST. ANTHONY.
Bertucci (Umbrian: 16th century). See 282.
Our Lord extends his hand and foot to the doubting St. Thomas: "Reach hither thy finger, and behold my hands; ... and be not faithless, but believing." To the right, resting his hands on the shoulder of the donor of the picture, is St. Anthony of Padua, another saint who doubted "till"—as the legend (painted by Murillo) describes—"in his arms," so it is told, "The saint did his dear Lord enfold, And there appeared a light like gold From out the skies of Padua." This picture appears to be by the same painter as No. 282, and both are now ascribed to Bertucci.