For two other more highly-finished pictures of the same subject also ascribed to this master see 592 and 1033. This picture, with others from the Hamilton Collection, was in the "Old Masters" Exhibition of 1873. "The 'Adoration of the Magi,'" wrote Ruskin to Mr. Fairfax Murray, "had prettiness in it, but was poor stuff."
1125. SUMMER AND AUTUMN.
Andrea Mantegna[216] (Paduan: 1431-1506). See 274.
Summer holds a sieve for sifting the corn which she ripens. Autumn raises a goblet of wine to her lips.
1126. THE ASSUMPTION OF THE VIRGIN.
Botticelli (Florentine: 1447-1510). See 1034.
See also (p. xx)
A picture with an interesting history. It was painted by Botticelli[217] when he was a young man, for Matteo Palmieri (a prominent Florentine citizen). This Matteo and his wife are here represented on either side of the tomb in the foreground. The patron assisted Botticelli in working out the design; and between them they made some modifications in theology, which brought them into trouble—so early did Sandro's reforming work begin. The story is thus told, and the picture described, by Vasari:—
"In the church of San Pietro (Florence) the master painted a picture for Matteo Palmieri with a very large number of figures. The subject of this work, which is near the side-door, is the Assumption of Our Lady, and the zones or circles of heaven are there painted in their order. The Patriarchs, the Prophets, the Apostles, the Evangelists, the Martyrs, the Confessors, the Doctors, the Virgins, and the Hierarchies; all which was executed by Sandro according to the design furnished to him by Matteo, who was a very learned and able man. The whole work was conducted and finished with the most admirable skill and care; at the foot of it was the portrait of Matteo kneeling, with that of his wife. But although the picture is exceedingly beautiful and ought to have put envy to shame, yet there were found certain malevolent and censorious persons who, not being able to affix any other blame to the work, declared that Matteo and Sandro had erred gravely in that matter, and had fallen into grievous heresy. Now, whether this be true or not, let none expect the judgment of that question from me; it shall suffice me to note that the figures executed by Sandro in that work are entirely worthy of praise, and that the pains he took in depicting those circles of the heavens must have been very great, to say nothing of the angels mingled with the other figures, or of the various foreshortenings, all which are designed in a very good manner" (ii. 233).