Salle Duchâtel.
On the R wall are two exquisite frescoes by _Luini_, removed entire from
walls in Milan. To the L, the Adoration of the Magi, exquisitely tender
and graceful; study it closely as an example both of painter and
subject, noting the ages and attitudes of the Three Kings, the youngest
(as usual) a Moor, and the exquisite face and form of the Madonna. To
the R, a Nativity, equally characteristic. Look long at them. Between,
Christ blessing, not quite so beautiful; and Genii with grapes, an
antique motive. Above are three other frescoes of the school of Luini,
not so fine. Centre, Annunciation, the Madonna separated (as often) from
the angel by a lily. The Madonna never approaches the angel, and is
usually divided by a wall or barrier.
On the screen by door, good portraits by _Antonio Moro_.
Other side of door (680), Madonna and Child, with the donors of the
picture, by _Hans Memling_. This beautiful =Flemish= picture well
represents the characteristics of Flemish as opposed to Italian art.
Notice the want of ideality in the Virgin and Child, contrasted with the
admirable portraiture of the donors, the chief of whom is introduced by
his namesake, St. James, recognisable by his staff and scallop-shell.
The female donors, several of whom are Dominican nuns, are similarly
introduced by their founder, St. Dominic, whose black-and-white robes
and star-like halo serve to identify him. Observe the exquisite finish
of the hair and all the details. Study this work for the Flemish spirit.
At the far end of the room are two pictures by _Ingres_, marking the
interval covered by French art during the lifetime of that great
painter. L, Œdipus and the Sphinx, produced in the classical period of
the master’s youth, while he was still under the malign influence of
David. R, La Source, perhaps the most exquisitely virginal delineation
of the nude ever achieved in painting.
After having traversed these two rooms the spectator will probably be
able to attack the
Salon Carré,
which contains what are considered by the authorities as the gems of the
collection, irrespective of period or country (a very regrettable
jumble). Almost all of them, therefore, deserve attention. I shall
direct notice here chiefly to those which require some =explanation=.
Begin to the L of the door which leads from the Salle Duchâtel.
Close to the door, Apollo and Marsyas: a delicate little _Perugino_,
attributed to Raphael. Good treatment of the nude, and painted like a
miniature. Renaissance feeling. Compare it with the St. Sebastian in the
Salle des Primitifs.
Above it, _Jehan de Paris_. Madonna and Child, with the donors; a
characteristic and exceptionally beautiful example of the =early French
school=. Contrast its character with the Italian and Flemish. Extremely
regal and fond of tinsel ornament.
20. _Correggio._ Jupiter and Antiope, a good example of his
Correggiosity and marvellous arrangement of light and shade. Very late
Renaissance. Perfection of art; very little feeling.
=*=446. _Titian._ Entombment. A fine but faded example of the colour and
treatment of the prince of the Venetian Renaissance.