Milan. Other pictures are in the Belvedere palace at Vienna. One of the largest pictures of Cesare's later time, an Adoration of the Kings, with many figures, is in the Museo Borbonico at Naples. The Madonna and Child are in Leonardo's manner, the other figures in Raphael's; but it is overladen in the composition, and displays that degenerate mannerism which soon crept in among the scholars of Raphael.

Gaudenzio Vinci of Novara.-An altar-picture at Arona near Milan, distinguished by nobleness of mien and truth of expression. It leans to the manner of Perugino and Francia.1

Other school contemporaries, of whom little certain or remarkable is known, were Pietro Riccio (Gianpedrino ?)— a St. Catherine between two wheels, in the Berlin Museum, is his; Girolamo Alibrando of Messina; Bernardino Fassalo of Pavia; and, finally, Bernardo Zenale, a scholar of the elder Vincenzio Civerchio, who later so devoted himself to Leonardo's manner, that a Madonna with Angels, now in the Brera, long passed for a work of the master.

Another Milanese of this time is Gaudenzio Ferrari, properly speaking a Piedmontese from Valdugga2 (1484-1549). This artist, strictly speaking, is not a scholar of Leonardo; he appears to have proceeded from the old school of Milan, which maintained itself till the beginning of the sixteenth century. For some time also he studied in Perugino's atelier, but the influence of Leonardo is not to be mistaken. Like Cesare da Sesto, he worked at a later period under Raphael at Rome, and imbibed a great deal of the manner of that

1 Schorn. in the Tüb. Kunstblatt, 1823, p. 2. There is a picture in the Manfrini palace in Venice attributed to Perugino (formerly, it appears, to Luini); the date inscribed on it is 1500: it is probably a work by Gaudenzio. It represents Christ Washing the Feet of his Disciples. The arrangement is solemn and beautiful; the apostles are simply ranged next each other; on the left Peter sits at the basin, at the right Christ kneels, behind him John holds the napkin. The folds of the drapery are partly Peruginesque, partly in the manner of the old Venetian schools. In the heads the styles of the Umbrian and Venetian schools are mixed with that of Leonardo, or rather Luini; one youthful head is painted quite in the graceful manner of the latter. On the school of Leonardo generally, see Passavant in the Tüb. Kunstblatt, 1838, No. 69, etc.

2 See Le Opere del pittore e plasticatore Gaudenzio Ferrari, dis. el inc. da Sylvestro Pianazzi, dir. e descr. da G. Bordiga,' Milano, 1835.

school. Together with this union of different influences, he had a peculiarly fantastic style of his own. It distinguishes him from his contemporaries, and, although never quite free from mannerism, it was the source of characteristic beauties. Gaudenzio was one of the most prolific painters of his time, and has bequeathed a quantity of frescoes to posterity, which, in point of freshness of colour, are scarcely inferior to those of Luini, and might be studied in various ways with benefit by the present fresco-painters. His oil-paintings also are distinguished for depth and clearness (not for harmony) of colour, also for intensity of expression, and for great animation and fulness of composition, although he is deficient in the nobler simplicity of the great masters. An early work of the highest merit, which shows the same affinity to Leonardo which his countryman Razzi (of Vercelli) displays, is in the Royal Gallery at Turin; it represents the group lamenting over the Dead Christ. An altar-piece in the new sacristy of the cathedral of Novara, a Martyrdom of St. Catherine in the Brera at Milan (a work of the most masterly freedom), a Visitation in the Solly collection, and a particularly beautiful Madonna with angels and saints, under an orange-tree, in the choir of S. Cristoforo in the cathedral at Vercelli, belong to his best easel-pictures. On the other hand, two pictures in distemper in the cathedral at Como, with all their power, are negligent and mannered. In the gallery of the Brera are several frescoes by him, principally taken from S. Maria della Pace. Of these, three pictures representing the history of Joachim and Anna (the parents of the Virgin') are well worthy of notice. The side pictures contain the history of the couple after their separation. That on the left is peculiarly beautiful, where St. Anna is seen sitting, enduring the reproaches of her maid; both excellent and nobly drawn figures. The centre picture represents the consolation which is granted to them. A rich city (Jerusalem) is in the background; a stream of water which flows on to the foreground divides the picture into two subjects. On the one side stands Anna, on the other Joachim with the shepherds, both looking

1 [See the Flos Sanctorum.-ED.]

up at the angels who announce their salvation. In the background, before the gates of the city, the couple meet and embrace. The grand freedom of the conception, combined with the dignity of the representation, makes this work particularly attractive. The frescoes with which Gaudenzio decorated the celebrated Piedmontese place of pilgrimage, Varallo, are, however, his most comprehensive work. In the chapel of the Sacro Monte he represented the Crucifixion in a large composition, the principal figures being in relief and coloured like nature. Behind this the walls are painted with a number of figures as spectators; the women in the beautiful Luinesque manner, the warriors on horseback in fantastic knightly costume. Many figures, however, are somewhat extravagant and naturalistic. On the vaulted ceiling are eighteen angels lamenting, some of them of the finest expression. In the convent of the Minorites he painted, as early as 1507, a Presentation in the Temple, and a Christ among the Doctors; and after 1510, the History of Christ in twenty-one pictures. These have all more or less affinity with Leonardo. The same may be said of a Madonna in six compartments, the so-called Ancona di S. Gaudenzio. His later works are more indicative of the school of Raphael : for example, an Adoration in a lunette of S. Maria di Loreto, not far from Varallo, executed after 1527. The Refectory of S. Paolo at Vercelli contains a Last Supper, which, though so greatly inferior, shows the unavoidable influence of Leonardo. Assisted by his scholar Lanini (see further), Gaudenzio painted (1532-1535) the transept of the church of S. Cristoforo. The Birth, Annunciation, and Visitation of the Virgin, the Adoration of the Shepherds and of the Kings, the Crucifixion, and the Assumption of the Virgin, are by his own hand: all of these are pictures full of life and of the greatest decision of character, though here and there coarse and tinged with mannerism. In the church of Saronno, not far from Milan, he decorated (1535) the cupola with a glory of angels; those below large and draped, those above naked winged boys, many of them of the highest beauty, after the style of Leonardo, others very mannered, with indications of Correggio's influence. Gaudenzio's last and larger work, a

Scourging of Christ, in S. Maria delle Grazie at Milan (1542), exhibits peculiar power and freedom.

FOLLOWERS OF GAUDENZIO FERRARI.

Bernardino Lanini.-Not very important, nor free from a degenerate mannerism, but with some pleasing reminiscences of Leonardo's school. A Last Supper, at S. Nazaro Grande at Milan, is of this kind, and an altar-picture in the Berlin Museum. A Sposalizio, also, in S. Cristoforo at Vercelli, is by him (of more antiquated and Peruginesque conception); as are several much-injured paintings of scenes from the life of Mary Magdalen, and also the wedding of an aristocratic and elderly pair, distinguished by great nature and animation. Besides these may be mentioned an excellent Madonna with saints, and another in S. Giuliano.

Andrea Solario combined most gracefully Gaudenzio's mode of conception with Leonardo's expression and more refined feeling for form. A Madonna with the Child, in the Louvre, was, perhaps, executed after a drawing by Leonardo; a daughter of Herodias is in the same collection. A beautiful and mild Christ, bearing his cross, is in the Berlin Museum; an Assumption of the Virgin with saints, in the new sacristy of the Certosa at Pavia; a beautiful Madonna with the Child, hitherto called a Leonardo, in the gallery at Pommersfelden. Giovanni Battista Cerva.-Unimportant.

His scholar, Giovanni Paolo Lomazzo, resembles Lanini. He has great merit as a writer on Art (Trattato della Pittura,' 1584. 'Idea del Tempio della Pittura,' 1590).

Ambrogio Figino, scholar of Lomazzo. A weak and mannered imitator of the early styles.

CHAPTER II.

MICHAEL ANGELO BUONAROTTI AND HIS FOLLOWERS.

2

IN the year 1474, twenty-two years later than Leonardo da Vinci, was born Michael Angelo Buonarotti.1 Like Leonardo he led the way in accomplishing the perfection of modern Art, and shone as one of its brightest lights; but Michael Angelo lived to witness its rapid decline, and died at a very advanced age in 1563. Like Leonardo, his talents were universal; he was at once architect, sculptor, painter, and equally great in each art. He was an excellent poet and musician, conversant in science, and a profound anatomist. To the study of anatomy alone he devoted twelve years, and produced results evincing the highest possible mastery. A proud, stern spirit gave its peculiar impress alike to the actions. and works of Michael Angelo—a spirit which valued its own independence above all, and knew how to embody its profound thoughts in distinct creations without having recourse to the symbolic veil. His figures, if I may so speak, have a certain mysterious architectural grandeur; they are the expression of primæval strength, which stamps them, whether in motion or in rest, with a character of highest energy, of intensest will.

Michael Angelo began his career as an artist in the school of Domenico Ghirlandajo, but soon, influenced by inclination and external circumstances, he turned to the study and practice of sculpture. His first important work in the department

7 2 Giorgio Vasari, Vita del gran Michelagnolo Buonarotti, Firenze, 1568 (a separate impression of the Life of M. Angelo in Vasari's great work); Later edition, Roma, 1760 (aggiuntevi copiose note).-Ascanio Condivi: Vita di Michel Angelo Buonarroti, Roma, 1553; Seconda edizione accresciuta, Firenze, 1746; New edition, Pisa, 1823.-Quatremère de Quincy: Hist. de Michel-Angel. Buonarotti, Paris, 1835.-Compare: Beschreibung der Stadt Rom. bd. ii. abth. 2, p. 254, ff. etc.-Outlines in Landon: Vies et Œuvres, etc. t. Michel Ange Buonarotti.-Catalogue of engravings after Michael Angelo, in the Nachrichten von Kunstlern und Kunstsachen, Leipzig, 1768, band i. p. 355, &c. [Duppa, the Life of Michel Angelo Buonarroti, with his Poetry and Letters, London, 1807.-ED.]

2 [The spirit of Michael Angelo's poetry has been lately rendered accessible to the English reader in a translation of select specimens, accompanied by an enlightened introductory dissertation, by Mr. John Edward Taylor.-ED.]