1436. THE VISION OF ST. EUSTACE.
Vittore Pisano (Veronese: 1380-1452). See 776.
"The minute but unobtrusive finish of the picture is," says the Official Catalogue, "astonishing. Of the coats of the horse, dogs, stag, and other wild animals introduced every hair is drawn; and of the wild birds, every feather; nor are they less remarkable for the beauty of the drawing and the admirable character displayed, in which it may be truly said this painter has never been excelled. Numerous studies of animals of the highest beauty are to be found in collections of drawings throughout Europe, some of them evidently done in preparation for this picture." St. Eustace, whose name before his conversion was Placidus, was a Roman soldier, a captain of the guards in the reign of the Emperor Trajan. He was a great lover of the chase, and "one day, while hunting in the forest, he saw before him a stag of marvellous beauty. He pursued it eagerly, and the stag fled before him, and ascended a high rock. Then Placidus, looking up, beheld, between the horns of the stag, a cross of radiant light, and on it the image of the crucified Redeemer; and being astonished and dazzled by this vision, he fell on his knees, and a voice, which seemed to come from the crucifix, cried to him, and said, 'Placidus! why dost thou pursue me? I am Christ, whom thou hast hitherto served without knowing me. Dost thou now believe?' And Placidus fell with his face to the earth, and said, 'Lord, I believe!' And when he looked up again the wondrous vision had departed. And he returned to his house and was baptized with his wife and children" (Mrs. Jameson: Sacred and Legendary Art, 1850, p. 466). For a representation of the very similar legend of St. Hubert, see No. 783. This beautiful picture (from Lord Ashburnham's Collection) has been placed in a very elaborate frame in the Italian style: compare No. 1416.
1437. THE DESCENT OF THE HOLY GHOST.
Barnaba da Modena (painted about 1365).
A specimen, very well preserved, of the Giottesque period of Italian art. The painter, a native of Modena, appears to have worked chiefly in Piedmont and Pisa. Examples of his work may be seen in the Galleries of Pisa, Turin, Frankfort, and Berlin. It is pointed out as noticeable, in the Official Catalogue, that the drapery of the Virgin Mary is treated in the hieratic or Byzantine manner, while that of the Apostles is in the naturalistic manner of Giotto. For a similar instance of transitional treatment, see Duccio's "Transfiguration," No. 1330.
1438. HEAD OF ST. JOHN THE BAPTIST.
Unknown (Lombard School: 16th Century).
A head of great beauty and much pathos of expression. An inscription on the background gives the date of the picture, 1511.