_Justus of Padua_ (died 1400).
A picture of interest as being the oldest by any North Italian
painter in the Gallery--the date inscribed on the plinth below
is 1367. Justus (Giusto di Giovanni) was a native of Florence,
who in 1375 settled in Padua and founded his style upon the
works of Giotto in that town. The frescoes at Padua formerly
ascribed to him are now said to be the works of his scholars,
Giovanni and Antonio da Padova.
None of the pictures in our Gallery by followers of Giotto is so
satisfactory as this; "exquisite both in design and colour, though on
a very small scale, it has," says Sir E. Poynter, "all the largeness
of style which characterises the great Florentine fourteenth-century
frescoes" (_The National Gallery_, i. 258). "The Virgin is of a fresh
type, pretty and noble also. Amongst the saints in the centre picture
that of St. Paul (on the extreme right) is distinguished by its natural
bearing. There is, however, vigour and a sense of beauty and proportion
throughout this charming little work." In the panel to the left, with
the Nativity, "may be noticed the spirit of alertness in the attendant
waiting to wash the child, and the statuesque design of St. Joseph";
in that to the right, with the crucifixion, "the figure of St. John,
at the foot of the Cross, with its fine expression of grief, and
beautifully-designed drapery" (Monkhouse, _Italian Pre-Raphaelites_,
p. 23). Above is the Annunciation, with regard to which see notes on
No. 1139. On the reverse side of the wings are other incidents from the
life of the Virgin.
This and the pictures following (701-722) were presented by Queen
Victoria to the National Gallery "in fulfilment of the wishes of
H.R.H. the Prince Consort." They formerly belonged to the collection
of H.I.H. Prince Louis of Oettingen-Wallerstein, and afterwards
became the property of Prince Albert. It was his intention from
the first to present them to the nation, but the gift was delayed
owing to the uncertainty with regard to the site of the proposed new
National Gallery. The Prince's purpose remained unaccomplished, but
not forgotten, at his death, and in 1863 the best pictures from the
collection were presented by Queen Victoria to the nation.