540. _Murillo._ Birth of the Virgin, where the transformation of the
traditional element is even more marked than in the Italian Renaissance.
The colouring splendid. St. Anne is always seen in bed; other points you
could notice in the enamels at Cluny. With Murillo, they become mere
excuses for display of art-faculty.
Further on, _Murillo_. The occupants of a poor monastery in Spain
miraculously fed by angels, known as “La Cuisine des Anges.”
I do not recommend more than a cursory examination of these fine Spanish
works, which can only be properly understood by those who have visited
Madrid and Seville. It will suffice to note their general
characteristics, and the way in which they render traditional subjects.
The best point of view for the “Cuisine des Anges,” is obtained from the
seat nearly opposite, beneath the archway, when the splendid luminous
qualities of this theatrical picture can be better appreciated. From
this point also, many of the other Spanish pictures are well seen with
an opera-glass. They are not intended for close examination.
(The =columns= which separate these compartments have an interesting
history. They first belonged to a classical temple in North Africa. They
were brought thence by Louis XIV to support a baldacchino at St.
Germain-des-Prés. Finally, the Revolution transferred them to the
Louvre.)
Return again, now, to the last archway, and begin once more on the =R
side=, which contains for the most part tawdry works of the Baroque
period, which should, however, be studied to some extent in illustration
of the decadence of art in the later 16th century, and also as examples
of further transformation of the traditional motives.
53. _Barocci._ Madonna in Glory, with St. Antony and St. Lucy. A good
example of the insipid style which took its name from this master.
Below it, 309. _Bagnacavallo._ Circumcision, with twisted pillars,
showing the decline in architectural taste. The crowded composition may
be instructively compared with earlier and simpler examples of this
subject; also, with Fra Bartolommeo, whose fine but complex arrangements
rapidly resulted in such confused grouping.
52. _Barocci._ Same scene. The tradition now entirely ignored, and an
unpleasantly realistic, yet theatrical and mannered treatment,
introduced.
304. After _Primaticcio_. Mythological concert, exhibiting the taste of
the =School of Fontainebleau= (the Italian artists of Raphael’s group,
scholars of Giulio Romano, introduced into France by François I^{er}).
349. _Rosselli._ Triumphant David, with the head of Goliath. Marking the
advance of the histrionic tendency.
A very cursory examination of the rest of the works on this wall will
probably be sufficient. Look them over in an hour. The most celebrated
are two by Salvator Rosa: 318, _Guido Reni’s_ Ecce Homo, full of tawdry
false sentiment; and _Domenichino’s_ St. Cecilia (often copied), with
the angel reduced to the futile decorative winged boy of the period.
324, _Guido’s_ St. Sebastian, may be well compared with Perugino’s, as
marking the decline which art had suffered. It is on works like these
that the Spanish School largely based itself.
This completes the =Italian collection= of the Louvre, to which the
visitor should return again and again, until he feels he has entered
somewhat into the spirit and tone of its various ages.
* * * * *
Between the next two archways, we come to a small collection of works of
the =Early French School=, too few of which unfortunately remain to us.
=Left Wall.= Two portraits of François I^{er}, may be well compared with
the Titian of the same king, as indicating the gulf which still
separated France from the art-world of Italy. The hard, dry, wooden
manner of these French works is strongly contrasted with the finished
art of the Italian Renaissance. Recollect that these seemingly archaic
portraits are painted by contemporaries of Raphael and Titian.
Between them, good miniatures, by Nicolas Froment, of King René and his
Queen.
Above, 650. Admirable Dead Christ, with the Madonna, Magdalen, Joseph of
Arimathea, etc. In the best style of the French School of the 15th
century. Observe the action of the various personages: all are
conventional.
Beyond it, several good small pictures of the early French Renaissance
which should be carefully examined. Fouquet’s portrait of Charles VII is
a capital example of the older method.
Above them, 875, characteristic 15th century Crucifixion, with Last
Communion and Martyrdom of St. Denis. The executioner’s face is French
all over. (Scenes from the Passion have often in French art such
side-scenes from lives of saints. Several at Cluny.) This picture has
been employed as a basis for the restoration of the reliefs in the
portals at St. Denis.
Beyond again, portraits of the early Renaissance, exhibiting
considerable advance in many cases.
On the =R wall= are some works more distinctly characteristic of the
=school of art= which grew up round Primaticcio and his scholars at
=Fontainebleau=. Among them are a Diana hunting (D. de Poitiers again),
and a Continence of Scipio. They reflect the style of Giulio Romano.
Beneath the first, two good portraits, with patron saints (John and
Peter). All the works in this compartment should be examined carefully,
as showing the raw material upon which subsequent French art was
developed.
* * * * *
Beyond the next archway, we come to the pictures of the =Flemish
School=, which deserve almost equal attention with the Italian, as
individual works, but which, as of less interest in the general history
of art, I shall treat more briefly. Begin here on the =R side=, for
chronological order.
Among the most noticeable pictures are Adam and Eve, unnumbered, good
specimens of the frank, unidealised northern nude.
595. An exquisite early Annunciation, the spirit of which should be
compared with the early Italians. Notice the general similarity of
accessories, combined with the divergence in spirit, the dwelling on
detail, the Flemish love for effects of light and shade on brass-work,
fabrics, glasses, etc. Notice that this charming picture gives us the
early stage in the evolution of that type of art which culminates in the
Gerard Dou in the Salon Carré.
Beside it, an exquisitely tender Dead Christ. Remarkable for the finish
in the background.
The _Quentin Matsys_ is not a worthy representative of the master.
Beside it, a quaint and striking group of Votaries, listening to a
sermon. Probably a mere excuse for portrait-painting. The character in
the faces is essentially Flemish.
Fine portrait of a young man with a pink, in a red cap.
Triptych, with the Madonna and Child (who may be well compared with
those of the Memling in the Salle Duchâtel). On the flaps, the donor and
his wife, introduced by their patrons, St. John and St. Christopher.
Now cross over to the =L side=.
=*=698. _Rogier Van der Weyden._ Excellent Deposition, with a touching
St. John, and a very emaciated Dead Christ. These scenes of death are
extremely common in Flemish and German art, and resulted in a great
effort to express poignant emotion, as contrasted with the calmer
ecstatic character of Italian art.
=**=279. _Quentin Matsys._ Banker and his wife. An admirable and
celebrated picture, with marvellous detail, of which there are variants
elsewhere. Notice the crystal vase, mirror, leaves of book, and objects
on shelves in background. The fur is exquisitely painted.
=*=288 and 289. Two beautiful little _Memlings_.