Michele da Verona (Veronese: 1470-1523?)
Michele, a pupil of Domenico Morone (1211), was a contemporary and sometimes an assistant of Cavazzola (735). The works of the two are easily distinguishable. Michele, says Morelli, "is more pointed in the foldings of his draperies, as well as in the fingers of his hands, which are always rather stumpy in Cavazzola. In conception, however, Cavazzola is far above Michele, and also more elegant and noble in his drawing" (German Galleries, p. 54). Many of Michele's works are to be seen at Verona. His landscape backgrounds, as in the present picture, are interesting.
Coriolanus, a noble Roman, so called from Corioli, a city of the Volscians he had taken, bore himself haughtily, and was banished. Nursing his revenge, he threw himself into the arms of the Volscians, determined henceforth to bear himself "As if a man were author of himself, And knew no other kin," and advanced at their head upon Rome. The Romans, in terror, endeavoured in vain to appease him, and at last sent out his wife, Volumnia, with her child, here kneeling before him, and his mother, Veturia (Volumnia in Shakespeare's play), to intercede. In their presence "the strong man gave way; he throws himself on his knee, and is restored once more to human love"—
Like a dull actor now,
I have forgot my part ... O, a kiss
Long as my exile, sweet as my revenge!
Now, by the jealous queen of heaven, that kiss
I carried from thee, dear; and my true lip
Hath virgin'd it e'er since. Ye gods! I prate,
And the most noble mother of the world
Leave unsaluted: sink, my knee, i' the earth.
Shakespeare: Coriolanus, Act v. Sc. 3.
1215. MADONNA AND CHILD.
Domenico Veneziano (died 1461). See 766.
For the history of this picture (now withdrawn from exhibition) see under 766. The restorations of 1851 there referred to were in great part removed after the acquisition of the picture by the National Gallery. But "it was found, late in 1904, that its state threatened its immediate destruction, and it was hoped that the mischief might be arrested by re-lining. The pigment was, however, found to be falling from the plaster ground in such a way that re-lining, which would affect only the adherence of the ground to the canvas backing, was useless, and very reluctant recourse was had to the process of transferring the picture itself to canvas. This transfer resulted in such a loss to the picture that it has been withdrawn from public exhibition, and, for the present, it is thought better to leave it as a genuine picture, of interest to connoisseurs, rather than subject it to the extensive repainting without which it would hardly be intelligible to the ordinary visitor" (Director's Report, 1905). A small copy of the picture is exhibited among the Arundel Society's Collection.
1216, 1216 a & b. THE FALL OF THE REBEL ANGELS.
Spinello Aretino (Tuscan: about 1333-1410). See 581.