1239, 1240. THE MURDER OF THE INNOCENTS.
Girolamo Mocetto (Venetian: worked 1484-1514).
Mocetto was a native of Verona, but a pupil of Giovanni Bellini at Venice. He was "one of the earliest," says Lanzi (ii. 167), "and least polished among Bellini's disciples." And it is interesting to contrast the accomplished and beautiful work of the master (1233) with the almost ludicrous imperfections of these two pictures by the pupil. Notice especially the absurd attitude of the attendant to the left, in 1239; and in 1240, the expression of grief in the mother. Mocetto's claim to distinction rests rather on his rare engravings, executed from the designs of Giovanni Bellini and Mantegna. He "was also the painter of the great window in the church of SS. Giovanni e Paolo (Venice), which, although badly restored, still remains a magnificent work" (Layard, i. 332).
These works probably formed the wings of a triptych. In the former scene Herod directs the massacre which has already begun; in the second, the massacre is at its height.
1241. CHRIST PREACHING IN THE TEMPLE.
Pedro Campaña (Flemish-Italian: 1503-1580).
The painter of this picture forms an interesting link in the history of art. "In Spain the influence exercised over the national school by the northern Gothic masters was weakened at an early stage by the Italian Renaissance. Strange to say, a Fleming, who had learned his art in the school of Michael Angelo, was the chief instrument by which Italy asserted her power. Peter de Kampencer, to whom the Spaniards gave the name of Pedro Campaña, was born in Brussels. He left Italy, where he had enjoyed the protection of Cardinal Grimani, for Seville (1548), where he founded an academy." Luis de Morales (see 1229) is said to have been among his disciples. One of his masterpieces, a "Descent from the Cross," in Santa Cruz, was the picture which Murillo was never tired of admiring (see the story told under 13). Besides such large altar-pieces, "he was accustomed," says Lanzi (i. 402, Bohn's edition), "to paint small pictures, which were eagerly sought after by the English, and transferred to their country, where they were highly prized." In 1560 Campaña returned to his native city, and became official painter to the tapestry works there.
The subject of this "celebrated picture" (as Lanzi calls it) is "The Magdalen led by St. Martha to the Temple, to hear the preaching of Christ." Mary, the sister of Martha and Lazarus, is identified in legend with the Magdalen, and her conversion is said to have begun with the incident here depicted. The kneeling figure of the Magdalen is conspicuous amongst the women listeners; she is encouraged by Martha, who points to the preacher (see Mrs. Jameson's Sacred and Legendary Art, p. 219, ed. 1850, for other representations of this subject).
1243. PORTRAIT OF A YOUNG MAN.
C. W. Heimbach (German: 1613-1678).