Mola, a native of Milan, and the son of an architect, studied first at Rome and Venice, but afterwards at Bologna—returning ultimately to Rome, where he held the office of President of the Academy of St. Luke. "There is," says Sir Frederic Burton, "a certain idyllic character in Mola's works which renders them extremely attractive and of more artistic value than the majority of works produced in his day."
The wild figure of the Baptist is well contrasted with the turbaned Pharisee and the rest of his audience:—
The last, and greatest, herald of Heav'n's King,
Girt with rough skins, hies to the desert wild:
There burst he forth—"All ye whose hopes rely
On God! with me amidst these deserts mourn;
Repent! repent! and from old errors turn."
Who listen'd to his voice, obey'd his cry?
Only the echoes, which he made relent,
Rung from their flinty caves—Repent!—repent!
Drummond of Hawthornden: Flowers of Zion.
The preacher places his right hand on his heart as if to attest his own sincerity, while with his left he points to the Saviour, who is seen approaching in the distance: "This is he of whom I said, After me cometh a man which is preferred before me, for he was before me."
70. CORNELIA AND HER JEWELS.
Padovanino (Venetian: 1590-1650).
Alessandro Varotari was born at Padua, from which town he derived the name by which he is generally known. He was the son of a Veronese painter, but went early to Venice, where he became a student and imitator of the works of Titian and Paolo Veronese. His masterpiece is the "Marriage at Cana" in the Academy at Venice. He painted children well, and often introduced them into his pictures.
Cornelia, a noble Roman lady, daughter of the elder Scipio Africanus, and mother of the Gracchi, was visited by a friend, who ostentatiously exhibited her jewels. Cornelia being asked to show hers in turn, pointed to her two sons, just then returning from school, and said, "These are my jewels."