The Great M ast ers

and Sculpture

GAUDENZIO FERRARI THE GREAT MASTERS IN PAINTING D S ULPTU AN C RE.

a fi Tfie ollow in volu mes ftim e éeen i ssu ed r ice s. n et e c . f g , p 5

N D N LU IN I B G O G C M ON Li l t . D . BER AR I O . y E R E . WILLIA S , Seco E i nd dit on .

L M V Th r Edi ti on . U B A S N ON . V E AZQ EZ . y R . . TE E S i d

DR E E H GU Sec E . AN A D L S B NN . ARTO . y . I ESS ond dition

Sec E i . LU CA SIGN OREL LI By MAU D CRUT rwELL . ond d tion

EL B H S Y Sec E . A P H A C . . y . TRA HE ond dition

A RL C LL G M N U FO R . . C O V B . C R I E I . y EIL R SH TH , M A ’ ‘ C EG B W N B N M Sec E . G . S Y RI I ON . . ORR IO y EL , A ond dition D LL B H P N . O O ATE O y E REA. E G G Litt D Sec . P U N . C M ON . . ER I O . By . WILLIA S , ond dition v M the O A L ZO PRI ULI BO N. SO DO A . By C N TESS OREN m L U C D LL the C B URLAMAcc . A E A ROBBIA . By MAR HESA G G N H B C K M OO . . IOR IO E . By ER ERT . A M M L NC W H W M . E I . By . . JA ES EALE M A . D ELL NC C G R . PI F S . . . ERO A RA E A By W WATE S , PINT R I H I EV Y N C PP O CC O. By EL MAR H PHILLI S . D N G L M O Litt . C C N . F . G O . RA IA By E R E WIL IA S . LL H L U N SC I D SCO . BR E E . By EA ER TT M N GN M U D R TTWELL. A TE A . By A C U N D M CO M . REMBRA T . By AL L BELL G M K O . F ON P N . IOTT By . AS ER I S L K B L U - G W I . D N D S N D . F S A O O O . . . W IE y R R AL THERLA ER , M A , . Ph D G D . D U M N . ERAR O . By W. ARTI ,

U EDGCOMBE S Y B. . WAT T EA . By TALE . A C LL I . S . BO TT I E By A . TREETER IN S I— B B . . . TOUG ON H O N . A T TORETT O By J B IT OL R , M I H EI G L L U G W C N O . O D N D N D O A E By R RO AL S THERLA ER ,

F. § . A . G Z H U D N IO F I Y. A E ERRAR . By ETHEL ALSE

I n P re ara ti p on . L D D VIN U N CI . DW D C DY O C . EO AR A By E AR M R , M A. L G C M N U CO D Ph D Di ector O Litt . . r E RE O . By A EL B . SSI , . , . , f he M u M d o t usée Péd agogxq e, a rnd . P L V N F O S . OG . RY AO ERO E E By R ER E .

Oi lters tofollow .

LONDON : GEORGE BELL AND SONS

ET H EL H A L S EY

LONDON

M Y M O T H ER flfi P REFAC E

more and more visited , that the accommodation found Of c ommunica there is improving , and that the means tion are increasing , the beautiful districts where Gau d enzio lived and worked have begun to receive their a of due ppreciation . The map in this book may be use to those who wander through the North Of Lom ’ Of G au denzio s bardy, where the greater part works still exist over the alta rs a nd in the churches for which they were originally executed .

I have, perhaps, not drawn enough attention to the

German element which is to be found in Lombardy . It is natural to fi nd it in a great trade centre like the Milan , but it is also found percolating through mountain valleys both in the diction and in the art . ’ Of B or o none s The type g g angels is clearly Northern , a n d the impression is the same in those p ainted by

G . Valsesian w audenzio The great , ho ever, p ossessed ” a power in depicting these birds OfGod which is as remarkable as it is unique . I wish to take this opportunity of expressing my thanks for the kind assist ance I have received from Of Count Alessandro Baude de Vesme , Director the S Royal Gallery at Turin ; ignor Corrado Ricci , Director ffizi i a in i U . B . V tt d of the ; Signor G , Director of the

Mr . . . s Museum , Castello Sforza , Milan ; Dr and P Frizzoni Richter, Dr . Gustavo , Signor Adolfo Venturi , B a n l . . o d . . . E Mr A g , Mr H F Cook , Herr ugen Ma r soe o . Schweitzer , Signor , and others The quotations from Lomazzo I have taken from an old translation , as the quaint English more nearly O ’ conveys the flavour of the ld Italian s diction . ET EY H EL H ALS .

1 8 S D NH P G N W . S. , TA O E AR E S , , Oct b o er I 1 . , 903 C O N T E N T S

PR EFACE LIST O F ILLU STRATI ONS B I BLI OGRAPHY F F CHAPTER I . LIFE O GA U DENZIO ERRARI TH D D V M I I . E ART AN E ELOP ENT DENZI O FERRARI E LY Y III. AR EARS

I V. 1 5 1 1 To 1 5 1 3

V 1 1 1 2 0 . 5 3 TO 5

V 1 2 0 T 1 2 8 I . 5 o 5

V V — 2 I I . ERCELLI 1 5 8 To

V III . LAST YEARS X D W I . RA INGS CHRONOLOGY CATALOGU E OF WORKS

LI ST OF I LLUSTRA T I O NS

PAGE

' am D or c/zester H ouse London Fronti s iece Holy F ily ( , ) p Map 6

a m m T m R o a l Galler Turi n 0 Jo chi driven fro the e ple ( y y , ) 3

M c m an d A a Ro a l Galle Tar m 2 eeting of Joa hi nn ( y ry , ) 3

The Ma and i St. A A R o al donna Ch ld, nna and ngels ( y

Gallei Tur i n y , ) —H an Man Head of a Monk asleep . ead of Elderly

M useum Va ra llo ( , ) 34

A a Sa nta M ar ia A rona donéle la te 8 ncon ( , ) ( f ) 3 ’ St . m a Sa nt A lessandro della Croce B er Jero e re ding ( ,

’ The A a Lad La a ra Venice nnunci tion ( y y , ) Frescoes representing Twenty - one Scenes from the Life ’ L a nta M a r ia aella Gr azie Var a llo of our ord (S , ) (doa ble pla te) 4 2 ’ The N a Sa n ta M a ria aelle Gr azie Va r allo tivity ( , ) 44 ’ The R a s Laza Sa nta M aria aelle Gr a zie i ing of rus ( , Va ra llo) 46

Santa M i n a delle Grazie Va r allo 8 Christ before Herod ( , ) 4

f a Sa nta Ma r i a del/e Gr a zie Va rallo 0 Christ be ore Pil te ( , ) 5 The a a Sa nta M ar ia delle Gr azie Vara llo 2 Fl gell tion ( , ) 5

The Ma and w A Si nor Vittadi ni donna Child ith ngels ( g , A rcorr e)

A Sa n Gaudenzio N ooa ra ncona ( , ) xi xii LI ST O F I LLU STRATI ON S

A a N ational Galler B er li n nnunci tion ( y , ) ’ Th Ma a V Ca tfieara l omo e rri ge of the irgin ( , C )

B r er The Ma a and C a .Mila n donn hild ( , ) a S nor Cr es i M ila n Piet ( ig p , )

A a - Sa n Ga udenzio Var allo lt r piece ( , ) d a K R o al aller Tu rin St. an G Peter neeling Figure ( y y , ) The Ma a and C w Sa B or r onzean M useum donn hild ith ints ( ,

The Journey to Calvary ( Ca fzoooio)

ssum t n a n t a Mor oe no A c a T/ze A io d S . L w rence n on ( p , g ) ’ T Ma a an d C w Sa Ca tnea r a l ZVooa r a he donn hild ith ints ( , ) ' D a c and a P Galleria l oci ns B e al /no n ing Pl ying utti ( , ng )

The Ma a and w Sa R o a l Ga ller donn Child ith ints ( y y , Tur i n) D s Ro al Galler Tu r in epo ition ( y y , )

The F E Ca t/i cdr a l Gonzo light into gypt ( , )

The Ma a and C Sa n and Sa n r is donn hild , i ts Putti ( C

lo aro Ver celli f , )

The fi San Cr isto or o Vercelli dou ble e Cruci xion ( f , ) ( p ag ) The Ma da at Ma s s San Cr isto oro Vercelli g len r eille ( f , ) “ Head of a Woman in the Marriage Of the Virgin

a n r isto or o Ver celli (S C f , )

The N a Sa n Cr isi or o Ver celli tivity ( of , )

D a A m San Cr isto oro Vercelli et il of the ssu ption ( f , ) Detail OfFrescoes in the Cupola Ofthe Church of Santa Ma a Sa ri , ronno Detail of Frescoes in the Cupola of the Church of Santa Ma Sa ria, ronno B I B L I O G R A P H Y

’ ’ L AR CH I VIO STORICO DELL ARTE (Milano) : Articles b y

G s a Frizzoni G B onola G . . D am a D . iulio , F i ni , r u t vo ,

Em a Am Marazza O . Ma r E e il J cobsen , brogio , ru i , ug ne T V n B V a M z A a d G . . unt , Henry hode, dolfo enturi, itt i din . W r T P o l o. L ADY M RS. UL C GH : /le o i , (J IA ART RI T) tf ondon ,

1 8 8 0 .

B L NC CH L d es leS E A , AR ES Histoire Peintures de toutes coles

E M a a . a 1 8 6 . cole il n ise P ris, 7

B ORDIGA G . Notizio O G z a . , intorno alle pere di auden io Ferr ri

M a 1 8 2 1 . il n,

B ORD IGA G. al a M Va al . 1 8 1 . , Guida S cro onto di r lo 5 ’

B C K D . r . . . U R HAR T S Cicerone Transl ated b y M s A H Clough .

New s and b . A . w . edition, revi ed corrected y J Cro e L 1 8 . ondon , 7 9

B U L S MU L : E V . L 1 888 . T ER , A E x oto ondon,

C CC : Il Sa M V a . N a A IA cro onto di ar llo First edition, ovar ,

1 6 M a 1 6 . 5 5 ; second edition, il n, 5 7

V M . ri CAR LE AR IS P : D s l B di S. att , IETRO i egni del a iblioteca

a a Ga z a ri odatti in . a d a buit uden io Ferr ri , p xxi t vole T . . 1 8 8 . P C orino, 5 B D N V L M O O G . : O a z C a G a . O O , it ed pere di uden io Ferr ri T 1 88 1 . orino,

C L MB DON G . : D m N z li A O O O, ocu enti e oti ie intorno g rtisti

V . V c 1 88 . ercellese er elli , 3 xiii xiv B I B LI OGRA P H Y

W M CO K . F. : a a Of S O , H C t logue of orks the ilanese chool

at B A . L exhibited the urlington Fine rts Club ondon ,

1 898 . M 1 0 1 C L GO N : M N a . . OTTA , AZZARO A STI O useo ov rese ilano, 7 CROWE A ND CAVACASELLE : History of Painting in North

V l i. 1 8 1 a o L . It ly . . ondon, 7

E L K CH L : Ga at M a . L 1 8 8 . AST A E, AR ES llery il n ondon , 3

D E . G . l e Mont/z. L 1 8 . GAR INER , ondon , 94 UN LU DW G : s D a S Of GR ER , I Fre co ecor tions and tuccoes

an d Pa a a . L 1 8 . Churches l ces in It ly ondon, 5 4 f H AYDOCKE R . T c a A s o , ra te cont ining the rte Curious Paint W Ca s and B . fi s a a b ings, rving , uildings ritten r t in It li n y L matius s H k . . E a doc e . J P o ; ngli hed b y R . y Printed at

O f b s Ba R . for . H A D m x ord y Jo eph rnes , nno o ini

1 5 96 . W T K NG S. . : he V A . I , Italian alleys of the Pennine lps

L 1 8 8 . ondon, 5

KUGLER . See LAYARD .

s a a a . T a a . R LANZI Hi tory of It li n P inting r nsl ted b y T oscoe . L 1 8 2 8 ondon, . L Y D U N H N Y : The a a S a A AR , A STE E R It li n chools of P inting,

fK . L 1 0 as a O 0 . b ed on the H ndbook ugler ondon , 9 mAzz Lo o G V NN P L : a m . , IO A I AO O Ide del te pio della pittura M 1 8 . ilano, 5 4 ’ LomAzzo V NN P L : T a a a a , GIO A I AO O r tt te dell arte dell pittur ,

M a 1 0 . diviso in sette libri . il no , 5 9

M N r D h al i m m 1 8 . N O S N La Cat ed e d . C O TI , A TO Co o o o, 97 M N DON S N S A a P a a a O TI , A TO toria ed rte nell rovinci ed ntic

D di m . C m 1 0 1 . iocesi Co o o o, 9 ’ M NTz 1 6 u EUGEN : L Art la R sa . a 8 . , E de enais nce P ris, 9 P IANEZZA E BORDIGA : Le Opere di Gaudenzio Ferrari . M a 1 8 1 8 6 . il no, 3 5 and 4

R L F N E a d ie Sc V c . IFFE , RA Z usebio Ferr ri und hule von er elli

R m fur K w af 1 8 1 . epertoriu unst issensch t, 9

G AUDENZ IO FERRARI

C HAPTE R I

LIFE O F GA U D E NZ IO FE RRARI

I N dealing with the first twenty or thirty years of ’ Gaudenzio Ferrari s life, we are confronted with the difficulty which meets us in dealing with the lives o f Of of the greater number the artists the Renaissance, Of namely , a complete absence documentary informa Of tion . To arrive at the approximate date his birth , of we are forced to turn to the record his death , which has recently been found in the archives at 1 Milan , and which states that he died on January 3 ,

1 6 - five 5 4 , aged about seventy . As a contemporary writer* mentions that Gaudenzio was over sixty at of Of the time his death , this places the date his 1 1 6 birth somewhere between 1 47 and 48 . Though the Of only authentic portrait we have him , which was

painted shortly before his death , represents him as O man ' ' quite an ld , l it is difficult to accept the earlier date . For it would mean that this original and powerful artist had not only not developed his remark

‘ ‘ L m zo See . 1 6. o az . l p e GAUDENZJ O FERRAR I

able abilities till he was over forty, but also that the old complete change in his painting , from the traditions of to the more fluid , broader technique the day, took place when he w a s between fifty and sixty . With his w as a so a strong character, this hardly prob ble l te in n w as life . Recent writers o the subject believe he

1 0 . born about 48 , and this date seems the most likely In writing a life of an artist of the Italian Ren a is

a sance , we should n turally turn for information to Vasari ’s Lives but that writer seems curiously ’ ignorant of Gau d enz io s position as head of the f Lombard School during the last years o his life .

There are tw o short paragraphs a bout G a udenzio . The second and longer one is printed tow ards the end of m a ne the work . This y have been o of those addi tions which Vasari complains were made to his book w as w when it printed ithout his permission . The on e contemporary writer in whose pages we find constant mention of Gaudenz io is Giovanni Paolo a Lom zzo , a Milanese artist . He must have been a lad ’ a t of G au denzio s the time death , but his first master

t a was Giovanni Battis a Della Cerv , and he was no doubt fired by him w ith his enthusiasm for the great

Lombard . Lomazzo wrote two books , in which he expounds curious and fantastic theories about the art O f his day , especially as exemplified by Raphael , Mantegna,

Polidoro , Leonardo , Michel Angelo , Titian , and Gau d enzio f , whom he calls the seven pillars o the Temple of Art . “ Of Gaudenzio he says in one place : Finally mine olde Master G aud entius (though he be not much know ne ) was inferior unto few , in giving the apt H IS LI F E 3 motions of the Saintes and Angels, who was not only a w very witty painter (as I have elsewhere she ed) , but also a most profound Philosopher and Mathematician .

all- - workes Amongst all whose praise worthy , (which f are almost infinite, especially in this point O motion) there are divers mysteries of Christes passion of his doing , but chiefly a Crucifix called Mount C alvary at

a dmir the Sepulcher of Varallo , where he hath made able horses , and strange angels , not only in painting , Plasticke of but also in , of a kind earth wrought most curiously with his ow n hand di tutto relievo through all the figures . iri Vaul e f Besides the t of the Chappell o St . Mary di Grazia in Milane he hath wrought most naturall for acti angels , I mean especially their ons. There is f also that mighty cube o S . Mary de Serono full of of set ou thrones angels, t with actions and habites of all sortes, carrying diversity of most strange instruments n eale in their hands . I may not co c that goodly Chapel which he made in his later time , in the Church of Peace finde ofou r at Milano , where you small histories Lady

oachime - moti ons and J , shewing such super excellent , that they seem much to revive and animate the

Spectators . “ Moreover the story of Saint Roc cho done by him o k in Vercelli , with divers other w r es in that Citty : Although indeed e almost all Lombardy be adorned w rk with his most rare o es. Whose common saying concerning this arte of motions I will not c onceale ; w w as hich , That all painters delight to steale other ’ him lf men s inventions , but that he se e w as in no great ofb ein d etected f danger g o theft hereafter . Now this I —Z 4 G AU D ENZI O FERRARI

for great painter, although in reason he might his wisd ome discretion , and worth , be compared with the

. notw ith above named in the first book , Cap yet Vasar standing is he ommitted by George y , in his lives

of . the famous Painters , Carvers , and Architects An Argument (to say no worde of him) that he intended to ” eternise only his ow n Tu scanes. The name Ferrari is common both in Piedmont and c an Lombardy, but no connection be traced between ’ zi the different families . G auden o s branch belonged is to the Valsesia , but it possible that his family was closely related to the Ferraris at Vercelli . In the first G 1 08 contract signed by audenzio in that town in 5 , a ‘ E Ferrari certain usebio n an artist , becomes guarantee w as for him . Gaudenzio born at a small place called

Valduggia , not far from Borgosesia , and , from a register 1 6 taken of the houses at Varallo in 5 3 , we learn that his

w as or a father a painter, named Lanfranco Fr nchino . The Valsesia still supplies most of the masons and

- of house painters in the North Italy, and whatever may have been the rank of the elder Ferrari , it is probable that Gaudenzio not only learnt the rudiments of fresco painting at an early age , but also , no doubt , acquired that feeling for broad and liberal treatment ofwall surfaces which is so strong a characteristic of his work . His mother was a member Ofthe Vincio family of

Varallo , a family well known in the Valsesia ; and we

find that Gaudenzio valued the connection , for in sign “ ” Vincius ing his early works he constantly adds , De ” “ ” Vincio his . , or De Vince to own name He also

“ The se en a s s men one on . 2 . See . 6 v rti t ti d p 1 p . H I S LI FE 5 signed himself “ De Varali or “ De Varali vallis

iccidae of . s , the greater part his life The family must have moved to Varallo when Gaudenzio was quite

small . to He was probably sent Milan at an early age , and ’ in Scotto s studio he was brought into direct contact " of O Schoolfi with the artists the ld Milanese Here ,

too , began his friendship with Bernardino Luini , a

friendship which had the happiest results on his art .

Like Luini , his earliest works show that he experienced B raman ino the influence of t and Borgognone . As

these same early works show, he did not altogether

escape the magic spell of Leonardo da Vinci , he must have studied in M ilan between 1 490 and 1 498 during ’ a Leonardo s residence there . A Piet in the Cloisters of Santa Maria delle Grazie at Varallo is said to be

his earliest existing work , and believed to have been O f a f painted in 1 498 . As this is the date the f ll o of Milan and the flight Ludovico Sforza , it is probable

that Gaudenzio returned to Varallo that year . During the next few years he must have been absorbed in the decoration ofthe chapels which were al being rapidly built on the Sacro Monte at Var lo .

U nfortunately, nearly all this early work has dis

appeared , partly owing to time and exposure , but chiefly to the pulling down and rebuilding of most of these early chapels at a later date . The only fragment o f fresco that remains is in the present Chapel of th e a of Piet , which was originally the Chapel the Pro al cession to C vary , and which was erected in

- This painting and a few terra cotta figures, together

See . 22. o p T C tta. 6 GAU D ENZI O FERRARI

with the Chapels of the Nativity and the Presepio , are all that remain of these early years at Varallo , though we know from various writers that a great

- many frescoes were executed . The few panel pictures of this period show how completely Gaudenz io was of Old the outcome the Milanese School , and it is not till much later that he allows the influence ofthe late Renaissance to infect his art , and , unfortunately, to destroy its charm .

The frescoes in the Chapel of St . Margaret in the re re Church of Santa Maria delle Grazie at Varallo , p senting scenes from the childhood of Christ , are the

first important works that we possess . The cartello not B ordi a out is easy to decipher, though g made the date to be This date is , however , very probable , as the technique shows that it was done some time n previous to the anco a at Arona . ’ It is difficult to give a date for Gaudenz io s first visit to Pavia . It may have been during his student days , 1 0 of and certainly before 5 7 , as the scheme decoration ’ in the above chapel recalls B orgognone s work in the of Certosa , while we find the influence both Borgognone

- and Perugino very Obvious in the Arona altar piece . It is a matter of great regret that the first picture of which we have the contract signed and dated at Vercelli 1 08 in 5 is lost . This work might have shown us even more clearly his artistic bent at that time . Eusebio Ferr ' arii is known to have worked at the Certosa, and , though possibly a relation , the friendship between them may have begun at Pavia . ’ This contract gives us some idea of G aud enzio s

See . 2 . . See p . 3 I p 4

H IS LI FE 7

position . He is called maestro , and must have had a fairly wide reputation to be summoned to Vercelli , where a good many artists were then working he was evidently in flourishing circumstances , and married about this time . His wife belonged to Varallo , and had property there . A son called Gerolamo was born 1 0 1 1 in 5 9, and a daughter named Margaret in 5 2 . 1 1 0 I n February , 5 , Gaudenzio signed a contract to paint an ancona for the Church of Santa Maria N uova at Arona, on the Lake Maggiore . It is in the Borro mean Chapel ; and though no mention is made ofthat

family in the contract , tradition says that the kneeling

figure of a lady represents a Contessa Borromeo . Who she she of one of ever may be , has the privilege being the most interesting figures in one of the most perfect

works Gaudenzio ever achieved . He took about a year

over it , as we find from documents signed in June and

1 1 1 . July , 5 ’ It is difli c ult to follow G au d enzio s movements in his

constant journeyings to and fro , but the political life

of the time gives a certain clue to his wanderings . Leagues and counter - leagues made the Milanese terri tory a cockpit during the first thirty years ofthe sixteenth of century . The constant movements the French to

hold the duchy of Milan , and the recurring invasions

each time they were driven out , must have made life and property anything but secure for the inhabitants of 1 0 1 1 the country . Just at this period , from 5 9 to 5 3 , the

Novarese district was particularly unsettled , and pr ob ably for this reason we find Gaudenzio working either

at Varallo or in the Lake districts . Part of the frescoes i o Sa h n the Church f n Giulio , on t e island of that name 8 GAU D ENZI O FERRARI

on of O . the Lake rta , belong to this period Though d quite ruined by amp and repainting , they have much in

common with the frescoes in the Chap el of St . Margaret . f 1 1 Towards the beginning o 5 2 he mu—st have begun the first of his three great masterpieces the frescoes on the screen across the Church ofSanta Maria delle

Grazie at Varallo . They represent scenes from the life

1 1 . of our Lord , and were finished in 5 3 We have no documents relative to this great work , but tradition says that it was commissioned by certain members of Vincio the family . Up to this p oint of his career we c an trace the various influences he had come in contact with ; but here he throws tradition to the winds, sets his imagination free , and deals with these sacred sub j ects in so original a manner that w e are rarely reminded of f any contemporary treatment o similar scenes . In 1 5 1 3 the French were defeated at the second of w battle Novara, and forced to ithdraw from Italy , and , a temporary quiet reigning in the Novarese 1 1 com district , we find Gaudenzio accepting in 5 4 the mission of an ancona for the original Church of

San Gaudenzio at Novara . It was to be finished in eighteen months , and every detail is carefully arranged for in the contract . The length of time given points to the fact that he was busy with other work at that w as a date , and in all probability it the ncona for the of Church San Martino at Rocca Pietra , near Varallo . This ancona has been considerably altered at a later date , but in the panels and in the daintily carved figures on the summit we find all the charm of ’ a z G uden io s early work .

e 6 . S e p. 4 H IS LI FE 9

Another point of interest which sheds some light on ’ G au denzio s movements at this time is the similarity existing between the design ofthis ancona and the one in the Chapel ofSan Abbondio in the Cathedral of

Como , although the latter is entirely carried out in carved woodwork . Both are designed like temples ,

- with finely carved figures on the summits . The first notice in the Como archives relative to this ancona is 1 in the year 1 5 4 . Though we have no mention of ’ Gaud enz io s of name , the greater part the design is

- undoubtedly his, and much resembles the altar piece 1 1 6 begun at Morbegno in 5 , while the great tempera e of e painted wings , though done rath r later , are sp cial w interest , as sho ing the renewal of the friendship between Luini and Gaudenzio . of We have no documentary proof this , but the mutual influence of these two artists o n each other begins to show in their works . There is also in Gau ’ d enz io s art a distinct rapprochement to Leonardo , which is particularly striking in a Last Supper ” n ow hanging in the sacristy of the Cathedral at

N ovara . The only place he could have come into contact with him at this p eriod was at Pavia , and there is indirect evidence of a meeting there . Leonardo had 1 1 1 1 gone to Rome in 5 3 , and in 5 5 he was at the 1 1 6 French Court at Pavia . I n 5 he left Italy for good .

Francis I . strove to bring back the golden days of II e Moro , and welcomed all artists to assist in the f tes and Court functions which took place during the winter ’ 1 1 1 1 6 G u nz i Of 5 5 and 5 . a de o s fame had spread through Lombardy , and it is probable he was sum “ moued to Pavia . Lomazzo mentions a Rape of 1 0 GAU D ENZI O FERRARI

for Proserpine painted by Gaudenzio Francis I . This picture , which is fully described in the Trattate della w as Pittura, sent to Fontainebleau , and has since disappeared . This is the only profane subject that de ’ — Gau nzio is known to have pain—ted , but and this gives a further clue to the date in the carvings of the Morbegno altar - piece designed by Gaudenzio this winter he introduces mythological subjects , such as

turn rn . Daphne g into a laurel , etc , which would Show that his interest had been revived in the fashionable classic subjects of the day . This , combined with the fact that the construction of this altar - piece w as carried ou t by a carver from Pavia , points to the French Court as the place where Gaudenzio experienced again the influence of the great Florentine , and the interesting

Last Supper at Novara shows the result . Whether Luini was also at Pavia it is difficult to

sa . y . Court life would have little to attract him The e great sp ctacular effects would interest Gaudenzio , but he had in common with Luini a very sincere and deep religious feeling , and both are at their best in the great “ of works executed for the Church . A Descent the ” Holy Ghost at Romagnano , which is evidently done “ B ernardinus from a cartoon by Gaudenzio , is signed ”

Lu inu s 1 1 . , and dated 5 7 It is difficult to accept this of are signature , though some the heads distinctly Lu ines u e B or o q , and the colouring recalls faintly g g ’ none s fine ancona at Bergamo . This picture was “ ” of cut originally in the form a tondo , and down to

h of M an d in h c In the vaulting oft e Ch ap el St. argaret t e ba k ground of some ofthe frescoes on the screen are the only occa ’ an i u nzio w sion s when we come across pag subjects n Ga d e s ork . H I S LI FE 1 1

“ ow its present shape some years ago . N , the Last ” c ut Supper at N ovara was also a tondo , and also down to fit its present place in the panelling of the sacristy ofthe cathedral . But when we compare the ’ Luini s Romagnano picture with work at this period, it cannot have come from his brush . In its present can blackened condition , all that be said is that the date is probably correct , and that it came from Gau ’ d enzio on s atelier . The use of gesso the mantle of ’ the Madonna points to an early period of G audenzio s lifefi’i

’ I t is a little difficult to follow G aud enzio s move w 1 1 1 2 8 ments bet een 5 5 and 5 , for , though his home was at Varallo , he must have been constantly away . For a long time it was believed that he was in Rome 1 1 1 20 working under Raphael between 5 7 and 5 , but recent research has shown that he was busy with commissions in the Milanese territory . His signature o n is found documents at Novara , Vercelli , and Mor

begno , and we also know he twice painted conjointly with Luini for the Chapel of San Abbondio in the 1 1 8 Cathedral at Como , once about 5 , and again about

nine years later . 1 2 1 On January 9, 5 , he signed an agreement to take six G iovenone of as pupil for years Joseph , the nephew

the painter of that name . This document throws a

- t side light on the uncer ainties of existence in those days , as it particularly stipulates that in the case of war o r plague preventing work the contract was to be sus

pended till such time as work could be resumed .

H e abandoned its use entirely during the Vercelli period in ane c s p l pi ture . 1 2 GAU D ENZIO FE RRARI

Between 1 5 2 1 and 1 5 2 5 (the year ofthe B attle ofPavia) great unquiet prevailed but during this period we find

Gaudenzio , accompanied by his assistants , hard at work in the Valsesia and the Valtellina , and safe from ofK E the troops ing or mperor, who ravaged the plains o fLombardy . The decoration of the Chapel of the Crucifixion at

Varallo was begun during this period . The chapel was 1 1 built about 5 7 , but no document can be found relative to this remarkable piece of work . Gaudenzio worked on and Off at it for many years, and finally left it to be

- finished by assistants . It contained many terra cotta

figures , and on the walls are painted a vast crowd , while on the vaulting are depicted angels in attitudes its o fdespair and horror . In present ruined condition it is difficult to judge what the original effect must have

z been like , but it raised Gauden io to the highest position among his contemporaries . This chapel and the altar - piece at Morbegno occupied his 1 2 8 on chief attention till 5 , but he had other work 1 6 r 1 hand as well . About 5 2 o 5 27 he must have paid a V for isit to Parma , in no other way could the influence of Correggio , which appears Suddenly in his art about so this time, completely revolutionize his methods and w e see ideas . This distinctly in the Como Flight into ” of the Christ with the Signs the Passion , Valtellina which was originally in the , i and in his sub sequent work at Vercelli . ’ We do not know which year Gau denz io s first wife

1 28 . died , but by 5 he had married again His second wife was Maria Mattia della Foppa , from Morbegno ;

88 . See . 8 . See p . T p 9

1 4 GAU D ENZIO FERRARI

' and und ertook Saronno the following Easter , not to begin any other work till it was finished . This agree ment he carried out , and returned to Vercelli in October, 1 of of 5 35 , leaving behind him one the finest works art in Northern Italy . We do not know the exact date that Gaudenzio left r Vercelli o when he settled definitely at Milan . An 1 6 invasion of the French in 5 3 , who took many Pied montese towns and threatened Vercelli , may have decided him to move his domicile a second time . He went first to Varallo , where we find him working 6 between 1 5 3 and 1 5 39. Assisted by Bernardino son Lanino and his Gerolamo , he pai nted the cupola ofthe old church on the Sacro Monte and the Chapel 1 8 of the Magi . In 5 3 a violent quarrel broke out between the civil and ecclesiastical authorities relative to the finances of the Sacro Monte . This unhappy affair and the death of his son Gerolamo probably old made the artist leave Varallo , and he apparently settled in Milan , for all subsequent documents are dated from that city . In 1 5 39 he painted an ancona for the Church of

Santa Maria in Piazza at Busto Arsizio , and in the autumn ofthat year we find him signing papers relative ’ to his wife s affairs , arbitrating in a dispute between another artist and his patron , and the sale of his house 1 0 at Varallo . I n January, 5 4 , he signs a receipt for and e the final payment for the said house, thus pra l tically terminates his connection with his o d home . one He paid more Visit to the Valtellina, probably in 1 1 of 5 4 , and painted a lunette over the door the Church of San Antonio dei Domenicani at Morbegno , besides H IS LI F E 1 5 important works in the adjacent Villages of Traona and

Prem ona . Gaudenzio w as now the acknow ledged head of the

Lombard School , but during the last years of his life it is a sad fa ct that the quality ofhis work deteriorated f ra pidly . This may account or his complete eclipse as so of during the succeeding centuries , much his decadent work is in M ilan , and judging by that , few would trouble themselves to visit the smaller places , where his finest productions are to be found . This c an be clearly seen in the frescoe s in the Chapel of Santa Corona in Santa Maria delle Grazie at M ilan ,

1 2 . f painted in 5 4 A picture of St . Paul for the altar o

a a 1 this ch pel was p inted in 5 43 , and is now in the

. is ac com Louvre in Paris The vigour still there , but

anied of p by a crudeness both sentiment and technique .

We do not know which year his second wife died , but there is no mention ofher or of her son later than 1 0 1 5 4 . In 5 43 we find Gaudenzio taking a house for

a three years with Giovanni Battista della Cerv , a Milanese artist who became his associate for a short time . Della Cerva was unmarried , and appears to or have had no kith kin , for some months after Gau ’ d enzio s 1 death he makes a will , dated September 3 , 1 6 O 5 4 , in which he left all his property to the spedale

M aggiore at Milan , with directions to provide dowries can yearly for two poor girls . We imagine Gaudenzio gladly turning to this kindly friend as the burden of in firmities loneliness and the of age increased . We find them working together on equal terms at a Last ” Supper for the Church ofthe Passione at Milan in 1 1 5 43 and 5 44. Della Cerva apparently did . not 1 6 GAU D ENZI O FERRARI

1 for accompany Gaudenzio to Saronno in 5 45 , though the only assistant mentioned in the archives is a

- Battista , he appears to have been only a wood carver, not a painter . Della Cerva is said to have begun as a pupil of 1 Bernardino Lanino . In the autumn of 5 45 we find w w ho him orking with Lanino , was in Milan , and who had undertaken a large series of frescoes in the Oratory f of o St . Catherine in the Church San Nazaro in Brolio , which were finished in 1 5 46 . The intimacy existing between the two young men and Gaudenzio is here the gracefully shown , not only by use of his cartoon for the centre painting, but also in a portrait group , where * the Old master appears betw een the two younger artists . He is here depicted a broken - down old man with a kindly expression , but with a strained , anxious look .

“ w as His last illness probably already on him , for he 1 1 6 died on January 3 , 5 4 , as the following extract from the Milanese necrology tells : Domenicus Majester G aud entius de ferrarijs anorem circa 7 5 ex catarro

uff a us uditis s oc t in prima, sine signo pestis decessit j ” Magestri Alexandri Granati . We have some knowledge ofhis personal appearance ’ Lomazzo s and character from writings , while the word ing of the few contracts we possess also gives a clue to

- his popularity . He stands before us a good natured , a - l rge hearted man of a bright and cheerful disposition , and just and generous in all his dealings . He had regular features , an aquiline nose , auburn hair , and a

Lanino dipinse Gaudenzio suo precettore che disputava ” s o e mi maes o con G o . Ba . De a C a suo ce o o i v tt ll erv , di p l tr ” L zz ( oma o, Trattate, H I S LI FE 1 7

f dign ified and noble carriage . Lomazzo gives a list o “ as : his accomplishments follows He was painter, ‘ ’ d ortico mo eller, architect , , natural philosopher and ” poet , and a player on the lyre and the lute . It is an in teresting fact that Gaudenzio introduces a lute when can ever he , while in the Saronno cupola the variety of musical instruments in the hands ofthe celestial choir is very striking, and could only have been depicted by as one who w thoroughly familiar with them . The dominant note ofhis ch aracter w as an intense * and ardent piety, which pervades everyt hing he did ; and it is this sincerity of heart that redeems to a certain extent even those faults of exaggeration and violence which his strenuousness led him to commit . The intercourse with the Franciscan friars during ’ G audenzio s early years intensified this side of his of character , while it developed the dramatic qualities his art . I n later life he is too often carried away by of his enthusiasm , and sadly needs the control a right u judgment . H is greatest fa lts are due to a want of of balance mind , accompanied by a curious lack of the

critical faculty . This is seen clearly in the works he on undertook from time to time , conjointly and equal

terms with artists like Fermo Stella, Lanino , and Della

Cerva . Though they are obviously his inferiors in c of of te hnique and in range ideas , he seems heedless

their shortcomings, a fact which , while it speaks highly

for - ofa his good nature, shows a deplorable lack esthetic

taste . He does not seem to realize that the finest f composition may be injured by indi ferent execution ,

We fin d in Gaudenzio the devotion exp ressed in the book of ” saints ( Lomazzo) . 1 8 GAU D ENZI O FERRARI

f and many of his works su fer in consequence . This was special point , however, noticed by his contem

raries one p o , and in more than contract his patrons protect themselves against the work of his assistants by stipul ating that Gaudenzio only is to do the paint ing ale . He always seems willing to fall in with the of wishes others , and we never hear of quarrels with his patrons , and any differences are always amicably and easily settled . When painting the ancona , for

Casale , he lets his imagination go , and paints an altar piece twice as fine as the one commissioned . When the brothers De Nanis object to the greater size and value , he willingly cuts it in two . At Arona he agrees that if, when the work is finished , two competent artists decide that the value does not come up to the price settled upon , he shall return part of the money, and then makes himself secure by painting an altar - piece so beautiful that there can be no two Opinions in the w matter . Al ays willing to oblige his patrons , the contracts Show that he was also thoughtful for his assistants , and provides for their needs , while the family documents show him equally thoughtful , fair ,

his . and generous , in private life He would take infinite pains to alter anything he ow considered not good enough in his n work . When f painting in fresco , he would have the surface o the wall destroyed and prepared over and over again , till he got the desired result . He never cared for riches, and though he depicts gay and varied costumes in his paintings , he always dressed simply and in sober hues . He had a great desire to preserve both the dress and

1 . See p . 6 H IS LI F E 1 9 speech of the Valsesia from innovations which he dis liked . Many of his recorded sayings show a strong common O sense , as when he bjects to the Madonna and the “ Apostles being painted in gorgeous robes , which , as “ he says , they never wore . The only time he himself 1 gave way on this point was about 1 5 5 and 1 5 1 6 . The “ ” Annunciation at Berlin , and the Madonnas in the Vittidini Collection and in the Brera , are the only ones thus a ttired . The technique Shows that they were done about this time, and they were probably commissions

- for the splendour loving Court at Pavia . C H APTE R I I

TH E ART AND D EVE LO PMENT OF GAUD ENZ IO FE RRA RI

TH E fame of Leonardo at Milan is perhaps the reason why the existence of a distinct and original Lombard School was more or less ignored till within the last of century . The portion that school which became ’ revolutionized by Leonardo s methods was at or near old Milan , where, however , the M ilanese School as FO a Civerchio Z enale represented by pp , , Borgognone , ,

ow n . and others , still held its In the outlying parts of of Lombardy , and especially west the Ticino , we find artistic activity at Lodi , Pavia , Novara, Vercelli , in the of O Lake districts and in the lower valleys the Alps . f these places, Pavia and Vercelli were the most impor tant , and there the Milanese and Piedmontese Schools amalgamated , the latter being practically a subdivision

of . of the former The Court Ludovico Sforza at Pavia , of and the decorations the Castello and of the Certosa, * brought a diverse group of artists to that place , the of most important the painters being Borgognone , ’ Macrino . d Alba, and Perugino As to Vercelli , we find certain families of artists settling there during the last of Oldoni thirty years the fifteenth century , such as the s Giovenones from Milan , the from Novara, and the

B in n w in h Zenale and utt o e orked t e Castello . Bernardino di m E se o Fe a wo i e n h . Conti came fro Pavia. u bi rr ri rk d t e Certosa 20

2 2 GAU D ENZIO FERRARI

as has his life his art degenerated rapidly, and , he been

a generally judged by his work at Mil n , there is little wonder that his reputation as an artist suffered so ' complete an eclipse . Though these divisions are purely a arbitr ry, they enable us to study his works to a certain extent chronologically . We have few dates to go by , o r but by grouping round the few signed p ictures , the

w w e a works about hich have document ry evidence , t hose which have the same qualities and show the same point of technical development , we can arrive at a fairly ’ accurate idea of his life s work . ’ G audenzio s first masters were Stefano Scotto and

Luini . About the former little is known . Lomazzo mentions that he excelled in arabesques , a form of art which can have appealed but little to his pupil , and we ’ a u nzi only find ar besques twice in G a d e o s works . The Scottos had come from Piacenza about the middle of of the fifteenth century, and the names various members f * o the family are found in the archives of Milan . The most interesting document rel ative to the position o f the Scottos is one about a society o f a rtists who called ’ ” themselves L universita dei pittori milanesi . This on 2 document states that this society met February , 1 8 1 4 , at the house of one Melchiore Scotto , and gives a list of seventy members . Among them we find

Z enale B u ttinone . Borgognone , , and This document ’ shows that not only was Scotto s house a meeting - place of a the Milanese artists , but , as the above names indic te , of old it was possibly the centre the Milanese School , ’ as distinct from , and possibly rival to , Leonardo s old famous Accademia . The Lombard School remained

Annuali della fabbrica d el D uomo di Milano . H I s ART AND D EVELO PMENT 2 3

w i s quite t enty years behind t Italian contemporaries ,

o f of and this in spite the quickening spirit Leonardo ,

a and the new f cilities afforded by painting in oils , which had been recently introduced at Milan by Flemish artists . I have dw elt rather long on this subject ; for if this

a theory is correct , it expl ins how it is that Gaudenzio , coming as a lad into this rather circumscribed centre , show s in his e a rliest works a curious straining after 0 a fifteenth- e rly century methods , at a time when such n ew a n d powerful influences were at work in the art

at world Milan , and influences far more in harmony

a with his natur l gifts . The feeling for quick and lively movement is there , but is suppressed as he strives to t attain to the quieter, more grave and dignified a mo f sphere of the Older generation o artists . In architecture wider influences were at work : Foppa of had introduced the classic ideas the Paduan School , and Bramante had developed Italian Renaissance archi tecture to its highest form by enriching the Byzantine and Gothic styles w ith ideas drawn from G rmco - Roman

m a n in . B ra t o sources continued his work , and the whole of Lombardy bears proof to - day of the beauty of z z and refinement their art . Loma o mentions a book “ of w architectural designs by Bramante , hich , he “ says , much influenced Raphael , Polidoro , and Gau ” n d e zio . This accounts for the slight similarity in

certain architectural backgrounds , which led later ’ writers to place Gaudenzio among Raphael s pup ils instead ofrecognising that both artists had taken from h o f t e same source . Lomazzo also mentions a book draw ings of buildings and studies for p resep ios and 24 GAU D ENZ I O F ERRAR I

Civerchio B uttinone . rooms , by and This book , which was highly prized by Gaudenzio , was given by him in ale C esarini . his old age to Cesare , one of his pupils Luini seems to have used his influence at this time ’ in directing his young p u pil S attention chiefly to the works of Borgognone and B ram antino . The impres ’ sions of these two masters are found in Luini s own ’ rk Gaudenzio s is early w o i as well as in , and it possible ’ that when Luini went to B orgognone s studio I his ’ pupil went with him . Perugino s work at the Certosa 1 w as as see in 495 also noted by Gaudenzio , we Shall later on . § But Gaudenzio possessed a vivacity and a dramatic sense which demanded far more of art than the old

Milanese School could give . The force and rhythm of movement appealed to him as to no other contemporary

. Now b ut one of Lombard , there was z master movement at Milan at that time , namely, Leonardo da Vinci . As we know, Leonardo particularly strove to represent the subtle shades of expression offace and gestures in his s irit o l e of figures , and it is this p f if in every line his work that fascinated his contemporaries . While most of his followers failed to see this essence of his genius , r and , copying slavishly, produced commonplace o gro tes u e d q results , Gaudenzio grasped and absorbe this ’

. of fundamental truth He was never a pupil Leonardo s , and could not have comprehended the subtle and f varied qualities o his character . This feeling for V is of itality one the few things they had in common , but it is the chief quality that distinguished Gaudenzio

Wo b s nf o s c n b rk y thi i eri r arti t a e seen in the Val sesia .

' See B e a Ga e . Lomazz 1 r r ll ry I o. See p . 38. H IS ART AND D EVELOPMEN T 25

from his Lombard contemporaries, and became his greatest characteristic when he finally emancipated himself from the traditions of his youth . During his first years of independent work the influ ence of Leonardo is not very apparent . But the old c om order was changing, and the new order , with its of plicated theories chiaroscuro , perspective and move f ment , was most e fectively bringing in another range of ideas , both in technique and composition . Just as ’ Lu in i s o ne so temperament had been attracted by the , ’ was G au denz io s livelier imagination attracted by the other ; and it w as possible that it was Gaudenzio who first inspired Luini with an appreciation for Leonardo ’s ’ genius , which developed after the great Florentine s ’ ” 1 0 Lu in i s return to Milan in 5 7 . maniera grigia ’ seems to be the result oftrying to combine B orgogn one s gray flesh tints with an attempt at Chiaroscuro after the of manner Leonardo, and it is my belief that after ’ Leonardo had left Italy in 1 5 1 6 Lu ini s last or blond manner w as the result Of renewed intercourse with w as Gaudenzio , whose colouring at this period of his career ofquite extraordinary brilliancy. ’ To sum G au d enzio s up the results of early training , o we find him for many years faithful to the ld traditions .

His genius , however, could not fail to develop itself on * its natural lines . A modern writer has drawn attention to the impetus given to dramatic art by the Franciscan movement , and Gaudenzio , working in a Franciscan atmosphere at Varallo , is able to give expression to his for great gift dramatic action , as the screen across the

Church of Santa M aria delle Grazie bears witness .

w Sir Martin Con ay . 2 6 GAU D ENZI O FERRARI

The originality of the composition , the life and vivacity

O f a a the figures , and the ud city of the perspective ,

a re . most striking But the undue length of limb ,

w a a w the nt of anatomic l kno ledge , especially in the

a . h nds , and the lack of restraint , are also noticeable

The renewed intercourse with Luini , which possibly 1 1 began at Como about 5 4, was also most beneficial to z Gauden io , who had remained faithful to a great extent of to the early types features , hands , and forms that he had learnt at Milan . After this date the long, attenuated ’ a G au denzio s beings gradu lly disappear , and figures r acqui e reasonable proportions , while the hands become ’ Lu in i s a like , a large peas nt type, soft and rounded and anatomically correct . H is children also approach ' Lu in i s nearer to child Christ , and the small , solidly “ ’ modelled putti we find in G aud enz io s second and third periods are admirably drawn . The restraining influence which Luini seems to have had was distinctly

a a . benefici l while it l sted With better modelling , of intenser colour, and moderation violent and ex a erated z of gg attitudes , Gauden io executed some his

- finest panel pictures, and , though less single minded w than Luini , he sho s himself far more powerful than his former master . One last but important influence ca me into Gau ’ d enzio s 1 2 life about 5 7 , namely , that of Correggio , as we see by the works at Como a n d Bellagio . These two natures had much in common . They both had a t an d strain of originality bordering on the fantas ic ,

a a both possessed a dr m tic force in the conception , and a natural swiftness and impetuosity in the execution , Of their art . Both men were sincerely religious , and both H I S A RT AN D D EVELO PMENT 2 7 were able to depict the fervour ofspiritual ecstasy in a remarkable manner .

z This influence, which led Gauden io to make many

of a interesting changes in his mode rtistic expression , had eventu ally a disastrous effect on his art . While the influence of Luini tended towards simplicity and

a . restraint , that of Correggio had the contr ry effect The n ew system of strong Chiaroscuro and the massing of clouds an d flying cherubs often give confused and a n ifi unsatisfactory results . Though w e h ve such mag cent works as the frescoes at Vercelli and the Angel

Choir at Saronno during the following decade , Gau d enzio gradually allows his rapidity Of execution and his exuberant fa ncy to lead him astray . His fine and of striking ways expressing emotion , his wonderful richness of invention , and his pure, strong colouring suffer in consequence . His touch coarsens , his colour

O f scheme becomes crude and fiery , and the movement his figures violent and exaggerated .

H is influence is found throughout Lombardy, where his followers strove to imitate his methods . The most of w ho important these was Bernardino Lanino , became 1 0 his pupil in 5 3 , at a time when Gaudenzio had completely abandoned the old style for the new . A “ ” Last Supper in the old convent behind St . Chris topher (now used as a charitable institution) is attributed to him by Signor Frizzon i . H is earliest dated work 1 ( 5 now in the Turin Gallery , shows that he closely ’ imitates his master s new methods . The composition

a - 1 of fine altar piece at Borgosesia , which is dated 5 3 9, proves that he had a strong feeling for both form and colour ; but his later works show that as he develops 2 8 GAU D ENZIO FERRARI his scheme of colour becomes pal er and browner than ’ G aud enzio s . The two Depositions hanging in the same room in the gallery at Turin show this clearly . l A Madonna and Child in the Po di Pezzoli , which has long been attributed to Gaudenzio , is a fine panel painting by Lanino . The beautiful face is the type of ’ G au denzio s a of Vercelli Madonn s , but the type the child Christ is not his . This; together with the of general brown tone colouring, is similar to that in a f picture o a Madonna and Child in the Turin Gallery , i f u which s there rightly attributed to Lanino . Un ort natel u se of y for Lanino , the constant the cartoons left w of him by Gaudenzio , combined ith a weakness execution , destroyed all originality and charm in his

- work , as many large altar pieces testify . ’ Of G au denzio s other pupils and assistants little is a known . Fermo Stell was his assistant at Morbegno 1 2 0 of about 5 , and also in the Chapel the Crucifixion

- on the Sacro Monte , and some fairly good altar pieces by him are still in existen ce . Della Cerva was Gau ’ d enz io s assistant at Milan for a short time before his c an death , and frescoes by him still be seen in that city .

3 0 GAU D ENZI O F ERRARI

n peculiarities are here very stro gly marked , and the Borgognone and the B ram antino influences clearly shown , while in the feeling for movement and in the ’ types of some ofthe heads we see the trace of Leonardo s magnetic art . The drawing is still very faulty, and the length of the fingers (see Plate I I . ) unduly exaggerated .

These long , stiff fingers , the heavy , drooping upper eye

On a a a lids , the lights the hair indic ted by r ther co rse r v r e b ush work , the—strained , pensi e exp ssion , the curious pursed - up lips all these are traits which we sh all constantly come across .

The least interesting is No . 44, which represents ” 8 “ the Almighty , but No . 4 , Joachim driven from the ” Temple , shows us a good architectural background, while both the pavement and the vista through the arch are interesting attempts at perspective . (The colouring a n d com position of this little panel may be compa red with two little panels by Borgognone in

Room 5 in the same gallery . ) The weakness in the drawing is very apparent , but there is a graceful feeling

f . for drapery , which goes far to redeem the general e fect

NO . 47 , representing the Madonna and Child with _

St . Anna and two angels , is a charming composition , to but is , unfortunately , much injured . The angel the right recalls a drawing by Leonardo , so also does the ’ of w graceful pose the Madonna s head, hile the scarlet and gold bra id net on her hair and the scarf thrown lightly round her shoulders are distinctly Peru ginesque . All through these early years the impressions offirst one and then another contemporary artist appear, to be ’ all eventually made subservient to G aud enzio s own very real and very pow erful genius . A derso /zoto n n fi Tu ri n Ga llery JOACHI M DR I V EN FROM TH E TEMPLE To a e 0 f c p . 3

EARLY LI FE 3 1

These panels were obviously painted about the time that Gaudenzio executed the frescoes in the

Chapel of St . Margaret in Santa Maria delle Grazie at — 1 06 or 1 0 Varallo that is to say , about 5 5 7 . These frescoes have the special interest of being the only ones of any importance belonging to this early p eriod w hich * are extant in their origin al condition . Of his chief works during these years there are , unfortunately, no f ” . o . traces left The frescoes in the chapels St Francis , ” ” the Betrayal , the Magdalen , the Repose , ” “ Christ before Pilate , and , on a portico , Christ ” carried to the Sepulchre , all belonged to this time ; but the origin al buildings were pulled down during the next two centuries to be replaced by larger and more ’ G a ud enzio s pretentious edifices , and work perished . ’ For the same reason it is diffi cult to trace Gaud enzio s ” early work as a modeller plasticatore , as Lomazzo

- calls him . The terra cotta figures in many shrines in Northern Italy belong to a form of art indigenous to this part of the country . During the first half of ’ G aud enzio s life he undoubtedly executed many such on figures for the original chapels the Sacro M onte , but during the changes made a century later most of the original figures disappeared , though a few can be found fitted into more modern groups . Two ofthese fig ures are in the present Ch apel of Pilate showing ” a f Christ to the People , and show an individu lity o treatment far superior to the other work . The only chapels belonging to this early period which are still in ” their original condition are those of the H oly Family

The fescoes in the C c of S . G u o are e a n e r hur h t i li r p i t d . 6 See p . 5 .

A derso lzoto n n p Tu ri n Ga llery

34 GAU D ENZI O FE RRARI may note with interest a scheme ofcomposition which here occurs for the first time , but which we shall find ’ constantly recurring in G audenzio s work . Whether ” ” the scene represents a Disputation , a Last Supper , ” ” or of a Pentecost, an Ascension , the arrangement d the ramatis persona: is practically the same . In the of so Last Supper this form composition , different f rom the Tuscan and Umbrian ideas , comes direct from ‘t the Byzantine sources at Ravenna and Milanf and shows how tenaciously the young artist held to the old ’ of ideas , in spite of the fame Leonardo s great work at

Milan . In the colouring of this fresco we find delicate shades of reds , blues, and yellows , shown up pleasantly by the gray stone background , while a stronger tone is use introduced by the of a dark brown , which here of throws into relief the figure the child Christ . This dark brown and certain shades of rich mulberry reds ’ ofGaudenzio s are much used during this stage career . of and contrast well with his light scheme colouring . Gold is only used for the halos ofMary and Joseph and the child Christ . is The human touch , which never absent from Gau ’ zi —in d en o s work , is depicted in many ways the pathetic attitude of Mary and in the puzzled faces of

hile ' the of the doctors, w high mission the Holy Child is clearly shown . Gaudenzio was not only an intensely one as religious painter, but a dramatic well , and he never fails to impress on us the true meaning ofany scene he represents . ’ of In the Church Sant Antonio at Quarona , near

See Ravenna mosaics.

EARLY LI FE 35

Varallo , is a picture of the Madonna and Child and angels . It is much blackened and injured , but belongs to this early period . Two panels , once forming part f o an ancona in the Church of San Giovanni , outside

Quarona, are now in the museum at Varallo . They represent a local saint , Santa Panacea, and St . Peter, and are attributed to Gaudenzio , but seem to me more probably done by an early follower . A small St . Se bastian , much injured , and a Santa Petronilla, are also as in this gallery . The latter w painted outside a mountain Chapel , and though her red robe and yellow cloak are still discernible , the picture was much o injured by weather before it was moved t the museum . The best things in this museum are two small

tondi representing St . Peter Martyr and a monk of c a asleep , and the portrait an elderly man in a red p . of The delicate colouring the tondi is charming , while the sweep ofthe brush shows the beginning of his of emancipation from the small , dry strokes his earliest method . This is shown still more clearly in the portrait , where the features are put in with strength and vigour . This picture is interesting as being the

first portrait we have from his brush . Two pictures of the Annunciation must also be one mentioned here , now in the collection belonging to

Lady Layard at Venice , the other belonging to Herr

Eugen Schweitzer at Berlin . They both consisted of two panels , but only the angel exists of the one at of Berlin , the other half the picture having been lost . The freer brush work shows it to be of a slightly later date than the picture at Venice . “ This Annunciation is the finest exis—ting w ork 3 2 36 GAU D ENZI O FERRARI

painted previous to the ancona at Arona . Though it has much in common with the panel at Turin

(No . both in the types of the heads and in the dryness of the technique , it is a far finer picture . The execution is better, and it is also in a far better state of ’ preservation . It recalls strongly B orgognone s scheme o f colouring , especially in the pallid flesh tints , while the blues , though heavy like all Lombard blues , are

a . harmonious and greeable in tone The Virgin , who is o n seated before a desk , wears a scarlet and gold net her hair, as in the Turin picture . A blue mantle lined with green is draped over her red dress , while a bronze coloured curtain falls behind her, and throws up in relief her fair hair and delicate features . The angel kneels before her with a red mantle thrown over his white robes , and it is to be noted that he holds a cross , round the staff of which is a scroll bearing the sacred

a o f s lutation , an unusual rendering the subject . The two panels are united in composition by the long wooden terrace ledge and the blue sky speckled with clouds , which form the background to both figures . We will now examine the ancona in the Church on of Santa Maria Nuova at Arona, the Lake Maggiore, which is one of the most perfect things we have from ’ G aud enzio s brush . Hitherto we have had to dispense or with documentary evidence for dates , accept such tra ditional ones as agreed with the technique of the works themselves . The earliest documents we possess 1 08 1 0 were signed at Vercelli in 5 and 5 9, and refer to an altar - piece painted for the Church of the C o nfra ternity of Santa Anna in that town . It represented

Santa Anna and two saints , but it has since disappeared . EARLY LI FE 37

The contract for the ancona at Arona w as drawn up

on 2 1 1 0 . and signed February 5 , 5 , at Arona Gau d enzio undertakes to design and supply the framework ’ of or wood , carved and gilded , in three four months time , and to go to Arona and paint the panels in oils as soon as he could . He undertakes that the ancona shall be completed and in its place over the altar o fthe principal chapel of the above - mentioned church by

Easter Day the following year . The price is to be 1 0 5 ducats , and he agrees to the stipulation that after it is finished experts are to value it . If these experts 1 0 j udge the value to be less than 5 ducats , Gaudenzio on consents to give back what they consider right if,

a of the contr ry, the ancona is considered greater value , the people ofArona are not obliged to give more than the stipulated sum . A document exists referring to this

1 1 1 . arrangement , dated June 5 , 5 Whether no expert w as or of w as forthcoming , the beauty the work so self 2 6 1 1 1 evident , a third document , dated July , 5 , states of that , at the urgent request Gaudenzio to have the matter settled , not only was the whole sum paid , but it expressly states that no restitution would be expected whatever the verdict of later experts might be .

- The altar piece is divided into nine parts . I n the ” centre is The Adoration of the Child . In the lunette above are the Almighty and two angels . To the right ,

St . . above , are Martin and St Jerome , and to the left ’ St . George and Sant Ambrogio . Below, to the right , a are St . Peter M rtyr and San Gaudenzio protecting the of kneeling figure a woman , while to the left are

St . Catherine and St . Barbara . The lowest row con of sists the predella, in three panels , representing Christ 3 8 GAU DENZIO FERRARI

“ and the Twelve Apostles . Among the grotteschi ’ Gaudenzio s under the columns are two cartouches , with signature and the date GREE N ”

15 11

In the central panel , the Child , who is supported by

St . Joseph and an angel , looks up at the kneeling

Madonna, while another angel behind the group plays

a lute . In the background is the manger, and to the As left a landscape . Signor Venturi has justly pointed out of , the composition and design the principal figures ’ are taken from Perugino s panel which is now in the

N ational Gallery in London , but which had been

painted recently for the Certosa at Pavia . The attitude of of the Madonna , the flowing lines her draperies , th e on position of the Child, the pillow which it is being ’ a re . held , practically identical with Perugino s work

- But there the similarity ceases . This fair haired

Madonna , with her crimped golden tresses , differs not only in type, but in sentiment , from the Peruginesque

ideal . The thrill ofemotion playing over the features f replaces the dainty aloofness o the Umbrian Madonna , and we feel the glow oftender mother - love radiating

towards the little one , which , while robbing the picture f attrac perhaps o a certain religious quality, makes it tivel y sweet and human . The colouring of the whole ancona is rich and har

EARLY LI FE 39 m ’ on ious. In the above composition the M adonna s

- rich blue mantle , her purple robe and light green scarf, the white robes of one angel and the delicate pinkish draperies of the other, make a charming scheme of colour , strengthened by the rich browns and yellows of ’ St . Joseph s raiment , and brought into relief by the f dark tones o the landscape in the background . The head ofthe angel holding the Child is painted with a rare delicacy and charm . It recalls Leonardo , and is one ofthe most perfect little heads Gaudenzio ever did . Equal to this panel in interest and beauty is the one

. an d . to the left representing St Catherine St Barbara . of The sweet gravity expression , the delicate beauty of form and feature,the grace and refinement in every e line, the exquisite colour, the str ngth and excellence ofthe painting- all combine to make this panel a very perfect creation .

The panel to the right is also of great interest , as it

o f n contains the portrait a kneeli g woman , possibly the donor . Though the name Borromeo does not occur in the contract , the chapel in which the ancona stands belongs to the Borromean family , and tradition believes As this figure to represent a lady of that house . in all of portraits that time , the strong features are faith she fully depicted , and as kneels there , an imposing

figure in her rich velvet gown , a gold chain round her she neck , and everything handsome about her, hardly seems to need the assistance ofthe wistful - eyed saints behind her . The two panels above representing four saints recall again the influence of Borgognone , which , no doubt , 40 GAU D ENZI O FERRARI

had been revived and strengthened by the sight ofa fine picture by that master which hangs in the neigh o f b ou ring Church of the SS . Martiri . The figures

St . George and St . Martin might almost have stepped ou t of the groups of youthful martyrs represented in

that work but for the freer technique , while the softer

expression and the golden hair are typical ofGaudenzio . of one The lunette the Almighty, blessing with hand ,

and holding the globe in the other , surrounded by

angels and cherubs , is a composition often introduced in the upper part of altar - pieces by Lombard artists of

this period .

The predella panels have been ruined by repa inting . I t has been pointed out that the predellas by the later n * masters were generally lightly sketched i . Gaudenzio his I n generally paints predellas chiaroscuro , and we know from the Novara ancona with what daintiness

and vivacity . But except for the predella this ancona is the most

perfect production belonging to his first period , before

he developed his larger manner , and while the dainty framing ofthe old -fashioned anconas still necessitated a t care and minuteness of finish , which were unsui able

for larger effects . Gaudenzio also painted a Nativity in fresco for

this church , which has disappeared . It was an early

work and done about this time . 1 1 2 We have no documents belonging to 5 , but in the sacristy of the Church of San Alessandro della Croce at a Berg mo are four panels representing St . Jerome and three Dominican saints , which approach the Arona

. . R . Dr J P . ichter ’ Ta ra nzellz p ho o Sa A essa d o de a C oce B e a m o t nt l n r ll r , rg

EARLY LI FE 41

n ancona closely i drawing and technique . They possess the same beauty ofexecution and distinction ofsenti ment , while the figure of St . Jerome is practically a replica ofthe one in that masterpiece . They evidently of formed part an ancona executed for the Dominicans , and it is believed they came from the suppressed

Church of St . Thomas at Bergamo , though nothing is t definitely k now nfi

f sso E a Fornoni ofB e amo sa s a mos of h Pro e r li , rg , y th t t t e u h pictures and f rniture of t e suppressed Church of St . Th omas we e en to the C c ofSan A essan o e a C oce an d ha r giv hur h l dr d ll r , t t n m probably these pan el s we re amo g th e . C HAPTER IV

1 5 1 1 T o 1 5 1 3

’ GAUDENZ I O S anxiety to have matters settled at Arona of1 1 1 not in the summer 5 was no doubt owing , only to of on stress work already hand , but probably still more f to the work he had in prospect or the future . The idea of decorating the centre wall ofSanta Maria delle Grazie at Varallo was no doubt already u nder dis u i c ss on . Though we have no documents relative to of 1 1 this vast piece work , it was finished in 5 3 , and Gaudenzio could hardly have taken less than a year or eighteen months over it . The origin of the peculiar construction of this church is worth recording . An ancient chapel originally stood on a spot near which the path begins to ascend to the ' m nli B ernardino Sacro Monte . When the Franciscan o a C ini , fixed upon this mountain as a suitable site for of or the chapels a New Jerusalem , the Vicinanza 1 80 to Commune of Varallo promised him , about 4 , erect f r Scaro in i a convent o the Minorites close by . Marco g , a pious Milanese noble , and an ardent supporter of

Bernardino Caini , had already erected another chapel now close to the first one . His epitaph ( in the church) tells us this chapel w as dedicated to Santa Maria 42

S a ta M a ri a delle Gra zi e Va ra llo n , OM TH E FR LIFE OF OUR LO RD ENES

To a e f c p . 42

44 GAU D ENZI O FERRARI and the subj ects chosen were scenes from the life of

Christ . The first thing which strikes the observer is the extra ordinary originality both in the composition and in the of colour scheme this great work . The deep and rather V heavy greens , blues , and purples of the enetian and of Umbrian Schools are quite absent . A wide range

o f a tones cre my whites , grays , and fawns in the draperies and in the architectural and rocky backgrounds give a lightness and a delicacy of tone to the whole wall . w Light blues , yellows , bro ns , pinks , and greens abound , emphasized by touches o f a dark rich reddish - brown introduced in the draperies and in the mosa ic pave

z ho ments . Gauden io knows w to use darker colours sparingly , but most effectively, ever careful to keep

a the gener l tone light . He employs gesso for the armour and trappings , but his love of modelling makes its him occasionally exaggerate use , as in the picture of the Crucifixion , and his happiest results are in the scenes where paint is the only medium used . see e In composition we shall , as we study the scre n in

z detail , that Gauden io possessed a most extraordinary fertility of invention , and that , though he may some of times err on the side exaggeration , it is the result of ow n a his original genius , and not the v in attempt to are reproduce the ideas of others . Sincerity and piety the chief notes struck , while his dramatic sense gives

fire and animation to the scenes depicted .

- Gaudenzio divided the wall into twenty one spaces , one arranged in three rows , scene in the centre , that of the Crucifixion , being four times as large as the others . A lzna ri li oto Sa a [Ma i a de e G a zi e Va r a llo p nt r ll r , TH E NATI VITY To fa ce p . 44

1 5 1 1 To 1 5 13 45 The following is a list of subjects chosen

H The Annunciation .

The Nativity . of tThe Adoration the Magi . - The Flight into Egypt .

I U The Baptism . G o f The Raising Lazarus .

) \ The Entry into Jerusalem . O O The Last Supper . f o . \ Christ washing the Feet the Disciples

O The Agony in the Garden .

1 1 al . . The Betray

1 2 . Christ before Herod .

1 3 . Christ before Pilate . 1 4 . The Flagellation .

1 5 . Pilate washing his Hands .

1 6 . The Journey to Calvary .

1 . 7 . The Arrival at Calvary

1 8 . The Crucifixion .

1 9 . The Deposition .

2 0. The Descent into Hades .

1 . 2 . Christ rising from the Tomb

Above in the angle ofthe roof are two putti su p “ ” porting a tondo representing the prophet Isaiah . H e holds a scroll on which is inscribed in Gothic lettering Traditu the following words , i morte aia tuam Esaia

Below are four tondi . The two centre ones rep re

sent St . Francis and San Bernardino da Siena , while the o n others bear inscriptions . On the e to the left is “ 1 1 . Gaudentius Ferraius Vallido Sicc id e written , 5 3 46 GAU DENZI O FE RRARI

ne H oc Pinxit while on the o to the right we read ,

O m en si AD pus I p s Popli Varali 52Gloriam .

a of Unfortun tely for the perfection this great work , Gaudenzio has obviously left a good deal of the ex ecu tion to assistants , as we shall see as we examine it in detail . “ 1 N o . , The Annunciation , is among the least interesting of the compositions ; for though the rush and fervour of the angel and the gentle dignity ofthe is Virgin are well expressed , the execution coarse and of rough . The general tone the colouring is light and

of - harmonious , and the squares dark red mosaic have a pleasing effect . 2 No . , The N ativity, is a charming composition and well executed . The Madonna has a very lovely

- face . She kneels to the left wrapped in a pale blue

of . mantle , while the tall figure St Joseph in a warm yellow cloak stands beside her. Two charming angels n singing from a book stand above the Child , who lies o the ground sucking H is finger as H e looks up at His parents . The delicate creamy and pinkish robes of the angels compose well with the gray wall behind them , while the shadow ofa rocky arch in the background throws into relief the rest of the group . In the distance we see an angel announcing to a shepherd the glad tidings ofgreat joy . of i so No . 3 , The Adoration the Mag , is not satis factory a production . The composition is confused and complicated . The Madonna and Child are seated outside a doorway to the left . Her charming face recalls the Umbrian type . Two of the kings are bend E ing before them ; the third , the thiopian , is standing A lzna r i fi lzoto l ' .S fa I l a r za delle Gr a z ze Va ra l ,

T H E R i I Q I N C O F T A 7 A D

48 GAU D ENZI O FERRARI

and gesture are so fine , and the expressions of the other so faces true in sentiment , that the shortcomings and the exaggerations have no power to injure ou r enjoy ment of this picture . In the background are sundry m figures , whose actions express wonder and amaze ent

as . Lazarus emerges from the tomb Pale and wan , his of look adoration and worship is fixed on the Redeemer, while Martha and Mary throw themselves at Christ ’s feet in a rapture of thankfulness and awe . ’ These two figures throw a light on Gaud enzio s con ce ion of p t of their respective spheres action . Martha ’ wears a nun s head - dress and is severely robed in dark green , and is perhaps representative of the life of graver cares , while Mary , with her fair hair streaming over her

- pale blue dress and yellow and pink mantle , possibly represents the gay world and its allurements . “ ” No. E . 7 , The ntry into Jerusalem Though the out centre figure in this scene stands well , the general is n impression unsatisfactory . The composition is co fused, and the audacity of foreshortening here leads

Gaudenzio astray . The figure of the youth in green doublet and white stockings , strewing branches in the

- right hand corner, is grotesque and unpleasing . At the of same time , some the details in the background are realis good . The man helping a youth up a tree is d tically drawn , while another youth raising his han to i catch the branches s very well depicted . “ . 8 . No , The Last Supper This is the earliest existing representation of this subject painted by Gau

’ z i in d en o . The composition is accordance w ith the ”6 a of of Byz ntine tradition , and a cartoon this subject a

it Se . e p . 34 A li na r i p irate Sa a fil a r za de e G t ll ra zie Va ra llo n ,

CHRIST B EFORE HER OD

To a f ce p . 48

1 5 11 TO 15 13 49

later date , now in the Albertina Library at Turin ,

show s that Gaudenzio never departed from it . This a n d scene is carefully painted , the light and dark coloured marbles of the walls and benches are well of rendered . The heads of the Apostles are full expres sion . The one in the foreground turning to the left is a speci ally fine and dignified type . The graceful figure ofa page pouring water into a basin and standing o n a raised platform relieves the monotony of the back O ofsk ground , while an pen doorway with a vista y and

hills gives a sense oflightness and space . “ No . 9, Christ washing the Feet of the Disciples . e of The composition , colour , and ex cution this scene

. hall are admirable Standing in a vast , the puzzled but interested group of disciples gather round the centre a figures . St . Peter, in a gr y robe and yellow cloak , is

a seated to the left in an e sy and natural attitude , but the pucker on his forehead shows the bewilderment of his mind . The kneeling figure of Christ is full ofgrace and dignity . Robed in red , with a white towel thrown ’ over His shoulder , He bends over the Apostle s feet . The dark - brown robe of a disciple in the background brings his fine and delicate features into relief. These two figures are finished with much care and precision of detail . The fine architectural background gives dignity to the scene .

No . 1 0 . A , The Agony in the Garden s we approach the crisis of the great tragedy the intensity

of feeling grows more acute . The conflict shown in

of - the drawn , agonized face this white robed figure is

wonderfully depicted . The sharp rocks in the back ground add an atmosphere ofsternness and severity to 5 0 GAU D ENZIO FERRARI

the scene . The angel presenting the chalice is the of least satisfactory of the figures , but the group the disciples asleep is carefully executed . “ ” . 1 1 . one N o , The Betrayal This is of the most a a dram tic and origin l of the series , and I doubt if a more realistic represent ation ofthis scene existed at f a that period . The blackness o night lit up by artifici l light had rarely been successfully treated before , and Gaudenzio seized the Opportunity for novel chiaroscuro effects . The light from the burning braziers falls direct o n Christ , who is embracing Judas , while the soldiers , i emerging from the darkness , se ze H im with rough brutality . St . Peter, to the left , is smiting down a of re soldier , and the swift action his arm is most markable. To the right stands a Roman soldier, the brim ofhis helmet casting the upper part of the face into shadow with a quite Rembrandtesque effect . In w e contrast to the agitated group in the foreground, have in the distance the outline of the quiet fields , and in the sky the faintest glimmer of the coming dawn . Though much of this fresco is marred by coarse ex eri execution and bad drawing , it is an interesting p f ment in a new line o artistic achievement . A good deal ofgesso is used both in this picture and in the next . “ 1 No . 2 , Christ before Herod , is a finely painted ’ on scene with rich detail . The carpet Herod s throne , and the tapestry studded with flowers and leaves in the background, are very decorative . Gesso is used lavishly in the trappings and armour of the soldiers, Mante nes ue on e of whom , standing in an almost g q A lzn a r i il o o l/I ia zi Va r a llo S a a . a de e G a e p t nt r ll r ,

CHRIST BEFORE PI LATE 0 To fa ce p . 5

5 2 GAU D ENZIO FE RRARI

“ 1 a N o . 4, The Flagell tion , is of equal interest to 1 of NO . 3 . The great beauty this scene lies in the perfect harmony of low tones in which it is painted . ou t em ha Grays and whites predominate , picked and p sized by the red and black patches ofthe mosaic pave ’ ment , while the touch of rich brown given by Pilate s dark - robed figure in the background has a particularly f happy effect . The modelling o the figures a nd the swing of the bodies are excellent , and the feeling for is space , distance , and movement admirable . There an architectural sketch attributed to Z enale in the British Museum which represents a very similar loggia sup ported by dainty columns , which may have indirectly inspired Gaudenzio in this fresco .

1 . N o . 5 , Pilate washing his Hands This scene c om is very unequal . It has some good detail , but the position is spoilt by the exaggerated figure ofa strad dling warrior, who dominates the foreground to the

of . To detraction the general effect the right , in the on background , Pilate is seated his throne, while a youth pours water over his hands . H is fine , grave face looks thoughtfully at Christ , whose head is turned of towards him . On the hem the red robe worn by the Redeemer is inscribed in gold the words SALVAT of or MON . The rest the lettering is illegible hidden by the white cloak . o f to A curious figure a youth asleep , the right , ’ shows G au d enz io s love for strange and fanciful effects .

- on This fair haired page , bored with the turmoil going , has fallen asleep on the steps of the throne . His green doublet and tights , white shirt and gold chain in gesso, of give a bright note colour, while, standing close to A lzn a r i p/zoto Sa n ta [ll a m a delle Gra zi e Va r a llo ,

5 4 GAU D ENZIO FERRARI while the dark brown of her dress brings the face of

Christ into relief. The child is attracted by the soldier to the right , who holds a large gesso ornamented SENATVS POPVLVS shield , on which is inscribed OVE ROMAN I and the beginning of another sen O of V STN . tence , His expression bored indifference as he stands keeping order is naturally depicted . In the background a troop ofhorsemen crowd round and keep back the people . “ 1 8 . con No . , The Crucifixion Gaudenzio justly sid ered that this scene required more space than the others . I t is four times the size of the other panels , but he has taken care that the proportions of the f figures should harmonize with the rest o the screen .

This crowded scene is full of incidents . Though it is far removed from the quiet atmosphere of the

U mbrian School , it holds its own by the sincere and the intense feeling which animates it , and the strong dramatic qualities give movement and life to every

figure depicted . of In the foreground , to the left , is a group women

a supporting the f inting Virgin . The faces and To draperies are beautifully rendered . the right are of the soldiers casting lots . The foreshortening the one leaning over in the centre is admirable , though the excessive use ofgesso makes him come almost too far u of is o t the picture . Behind them a charming group o n of women with children looking , and tradition says that the two figures in pilgrim dress in the centre are portra its . The one to the right is said to be . Pellegrino o n da Modena, and the one in the centre , being fawned by a fine white dog of the collie type , is believed to 1 5 1 1 To 1 5 13 5 5

ir represent Gaudenzio himself. Roman horsemen c cu

late round the base of the crosses . The action of Longinus on a white char ger richly caparisoned is well

depicted , but the gesso is again too heavily applied ,

and brings him too much into the foreground . of The upper part the picture looks confused , owing partly to overcrowding and partly to the voluminous ’ of folds the angels robes , who , eight in number, hover

round the centre cross . They have not yet attained the beauty of either movement or expression which we ’ a nz shall find in G u de io s later work . I n the distance al we see Jerus em , represented with many fine Renais sance towers and domes .

1 . a N o . 9, The Deposition This scene is f irly well carried out , and the composition is interesting , as being very similar with that ofa fine picture o fthis subject n ow painted by Gaudenzio at a later date , and in the Tu rin fit one Gallery at The colouring is bright , and or two ofthe heads are finely rendered but part ofthe execution was left to assistants , and the general effect of the picture is crude and unsatisfactory . “ No . 0 2 . , The Descent into Hades This is another experiment in chiaroscuro . The light in this fresco

radiates from the figure of the Redeemer, who , wrapped for in a gray cloak and carrying a gray banner , bends w ward to dra Eve forth over the fallen door . Two fine on figures of prophets stand the right , and on the left is

the penitent thief holding up the cross , while demons

and hobgoblins hover round , striving to bar the way . has Unfortunately, the gesso blackened with time , and looks more like prickles than rays of light ; but the

See p . 87 . 5 6 GAU DENZI O FERRARI

of general scheme light and shade is good , and the impression of the dark limitless cavern well given . ”

. 2 1 . No , Christ rising from the Tomb The of surface this fresco is much injured . The figure of

of w . Christ , though full movement , is not ell executed a The general tone ofthe colouring is pale . The st rtled

a soldier to the left , who raises his shield in h ste , is fairly good , but the others are grotesquely rendered a and very badly dr wn . This fresco is the least satis f factory o the series .

5 8 GAU D ENZI O FERRARI

A - 1 1 bbondio altar piece is 5 4, and proves that the set carver had already to work , and Gaudenzio had

, probably made the design soon after he finished his great work in Santa Maria delle Grazie . We do not know the name ofthe carver who executed

- n the Como alta r piece . Do Santo Monti believes him o one r t have been of the Passeri , a family of ca vers , 01 11 0 gilders , and painters from T , as similar work by a certain Andrea Passeri exists in the Lake districts . w as e Whoever he , the carvings show him to have b en d an excellent craftsman , and he may have esigned ’ those figures which are not characteristic of Gaudenzio s art . There are distinctly two minds at work in this

- - altar piece, though the master spirit is undoubtedly the * Valsesian . This work in the Duomo at Como is of special interest as being probably the occasion when Gaudenzio renewed his intercourse with Luini , with results very beneficial to his art . Luini painted one of his finest

- altar pieces for the neighbouring Chapel ofSt . Jerome “ probably about this time , as it is in his maniera ’ - of Sa grigia . The screen for the altar piece the nt Abbondio Chapel was the combined work of both w as artists , and though it executed at a later date , it was probably arranged for now . I have dealt elsewhere on the influence of Luini on Gaudenziod‘ and we shall notice a gradual improvement in the modelling and in the proportions ofthe figures in the work ofthe latter of Lu ines u e artist , while some his heads become quite q . Another interesting work is in the Church of San V o f Martino , in the illage Rocca Pietra, about two

was a e a e . . The predella dd d l t r See p 26. M a rcozzi /i o o ’ p t S i o Vztta d zn z A r cor re g n r ,

60 GAU D ENZI O FERRARI us of C remia a picture by Borgognone at , on the Lake ofComo .

Two other panels, now in the Library at Novara , may also have belonged to the Rocca Pietra ancona . The dimensions make it possible , and the technique shows re re that they were painted about this time . They p sent angels adoring . The colouring of the wings is marvellously brilliant and glowing , while the swiftness ofmovement and the rapture of devotion are beautifull y felt . The Rocca Pietra ancona has much in common with the next great work which we shall examine , namely, the altar - piece in the Church of San Gaudenzio at

. on 2 0 N ovara I n the contract , which was signed July , 1 1 5 4, there are many stipulations for statuettes , delicate carving , and fine colouring . We find from this docu ment that Gaudenzio had submitted a model of the proposed altar - piece to the Canons of the basilica m before they com issioned the work , and every detail was settled in advance . Gaudenzio was to design a frame in “ good and excellent wood and three figures on in wood to be placed the top of the said frame , and that the said frame was to be made with subtle and excellent detail - work by the hand of an excellent carver , according to the model given to the said Canons by the said Maestro Gaudenzio, and better o f still . He was also to paint the bottom the frame of with scenes from the history San Gaudenzio, and in all the ancona there were to be at least thirteen large

figures as in the model , and it was to be painted with very fine ultramarine blue , and other very fine colours oil and fine gold, in , and that Maestro Gaudenzio alone ’ Sa n Ga u a cnzi o N ct ra r a A 12n a ri p ho to , ANCONA e 6 To fa c p . 0

62 GAU D ENZI O FERRAR I

We learn from the contract that , when complete , this ancona was contained in a painted casing or outer frame , and covered by a screen probably attached by a old hinge to the outer frame . I t was made for the of Basilica San Gaudenzio , which stood outside the walls of N ovara . In the seventeenth century the

Spaniards strengthened the fortifications of the town , and pulled down all buildings w ithin a certain distance

of ld . the walls, and amongst them the o church The pictures a n d furniture belonging to it were moved into of the present Church San Gaudenzio , which had been recently built . This ancona suffered considerably in the move . The outer casing was probably left behind , the painted screen has disappeared, while to fit it into its present place the top ofthe frame with the carved u ff statuettes was c t o . But though shorn of these of accessories , for beauty colour, design , and execution , ’ it must take a high place amongst Gaudenzio s works . Though a trace ofthe Borgognone influence may still be felt in the figures of the saints , Gaudenzio has completely developed his own types and his ow n ideas of composition . i The ancona s divided into two rows . In the centre ” f u one o the pper is the N ativity, with the Annuncia n of tion o each side in two panels . In the centre the lower row we find the Madonna and Child seated on a rocky bank , surrounded by saints , while above flying a ngels hold back draperies . It is not easy to give ’ names to all the group , but the two saints in Bishop s ’ robes represent Sant Ambrogio and San Gaudenzio . O n ’ the panel to the right are St . Paul and Sant

’ One authority calls him S ant Adalcizio. 15 13 To 1 5 20 63

the while to the left we find St . Peter and St . John

Baptist. On the predella below are the four Fathers of the Church and scenes from the life ofSan Gaudenzio . They are painted in chiaroscuro and are worth study for ing, not only the slight , rapid , and lively brush work , but also for the delicacy and fancy with which these little scenes are depicted . I n the upper part ofthis altar - piece the M adonna is represented with soft golden hair falling in a cloud on round her face . Her hands are crossed her breast , and we may note the complete change in the type of refine the hand, which is now depicted with far less ment , but more realism . Her dress is a rich carmine

’ “ colour, which is also used for St . Paul s cloak , while ’ the gorgeous robes of the Bishops and Gaud enzio s favourite yellows and browns , introduced in various b ar places , all combine to keep the tone bright and l moniou s. The faces are delicate y painted and full of feeling ; the heads of the two Bishops and the saint in of the red biretta are particularly good . The whole

the detail is carefully executed , and the general effect

- of the alt ar piece is rich and glowing . It is a fine ’ of G aud enzio s example this period in career , when his of colouring was a quite remarkable brilliancy , and while it is still combined with a careful precision in the

technique . This period lasted about ten years , during of which time the best his panel pictures were prod uced .

Ve Gaudenzio did other work for this church . \

- of know of a terra cotta figure Christ crucified, with the Magdalen painted in fresco kneeling at H is feet ; s of of al o a picture the Madonna and St . Anna, with

the donor, who was one of the Regular Canons. This 64 GAU D ENZI O FERRARI

a picture and the fresco have dis ppeared , but the Christ crucified was moved into the new Church of n ow a San Gaudenzio , and hangs ne rly opposite to the w e ancona have j ust been studying . The figure is well u modelled with painf l realism , but to the modern mind there is something distasteful in the use of real hair, nu llifies which gives an element of banality, and almost the very real and intense feeling which pervades the of work . We find this mixture of mediums in some o n the figures the Sacro Monte , and it is a fit example of that extraordinary decline o fartistic feeling which took place in Italy during the sixteenth century . A picture which recalls the Novara altar - piece is a fragment ofan Annunciation representing the angel

G . abriel , now in the museum at Varallo I t was old on originally in the church the Sacro M onte , and w as the other half, representing the Virgin , destroyed when that church was pulled down to make room for

a the present edifice . This angel is practically a replic of, and the swirling draperies almost identical with , the or tw o Novara work . It was possibly painted a year of later, as there are touches gold in the embroidered hem ofthe robe and in the hair . The composition of a lunette over the door of the Chapel of Santa Maria di Loreto outside Varallo is also reminiscent of the Novara work . It represents a Holy Family , and , though injured by exposure , it has great merit . Being in fresco , it is not so carefully is finished , but the brush work good and strong and the

of . faces full charm The usual reds , yellows , and f greens are used in the colouring o the draperies . A series offrescoes exist in the Church of San Giulio

1 5 13 TO 1 5 20 65

of of O . on the Island San Giulio , on the Lake rta

They are completely ruined by damp and restoration .

Judging from the action of the figures , I believe those on the side - walls and arches were painted not long

o f . after the Chapel St Margaret at Varallo , but all ’ trace of G au d enzio s brush is hidden under modern

. E paint In the vaulting are the four vangelists , and ” on the arches are tondi representing characters from n the Old Testament . Below o one side are San Fermo on and Santa Apollonia, and the wall opposite are ’ Sant Ambrogio and St . Benedict .

The fresco over the altar has nearly disappeared , but enough remains to show it represents the Madonna and Child , with St . Joseph and St . Roch to the right , and to the left St . Sebastian and St . Peter . The last named is protecting the kneeling figure of a fair - haired boy . In the lunette above is the martyrdom of of St . Stephen . The type the Madonna shows that this wall was painted some years later than the rest , of and this fact , combined with the presence saints especially invoked against the plague , gives some clue to its approximate date , as there was a specially bad Visitation through the N orth of Italy in 1 5 1 6 and 1 1 5 7 .

The picture in the sacristy is not by Gaudenzio , but C esarini recalls the work of his follower, Cesare , a very inferior Lombard artist , and done much later in the century . I have mentioned elsewhere the influence of the of Court Pavia , where Leonardo was living during the of1 1 1 1 6 winter 5 5 and 5 . Certain pictures exist whose technique and colouring show that they were paint ed 5 66 GAU D ENZI O FERRARI

about the time ofthe Novara ancona . One of the most important is the Last Supper now in the sacristy of the Cathedral ofNovara . Nothing is known of the origin of this interesting work , which is , unfortunately, skied and difficult to study under its present conditions . Char acteristics ofboth the Paduan and Florentine Schools are found in the composition of this picture . The scene of takes place in the courtyard a massive building , possibly the Castello at Pavia , as soldiers are depicted on one guard at the entrance , and on side we see standing the solitary column so often found in pictures influenced by the Paduan School , while the said influence is still further shown in the group of carved children playing round the base . I n the figures in the foreground , how ever, in Spite of the Byzantine grouping, we are forcibly reminded ofLeonardo da Vinci . It is like the flash of a likeness seen for a moment on a strange face . Certain of the heads recall his drawings, but it is in the move ment and in the chiaroscuro that his influence is espe cially noticeable . Gaudenzio here aims at that subtle ’ delicacy characteristic of the great Florentine s work , of of and , though falling short his model , his treatment lights and shades , and the refinement of the modelling

- on in the half tones, show a great advance his previous work . Another trace of Florentine influence at this period ’ of G au d enzio s career is found in the fact that this ” picture was originally in the form of a tondo , and is the only known instance ofhis painting this form of u picture . It was c t down to fit into the panelling of the sacristy in the seventeenth century . The colouring s a d th i very beautiful , rich , n vivid, and in spite of e

' B ro z ho o B r er a M z/a n g p t , T H E MAD ONNA A N D CHI LD 6 To face p . 6

68 GAU D ENZI O FERRARI

x and veils are beautifully e ecuted , but the heavier of modelling and the cooler tones , and the types the

' an Mad on na d Child , point to a very fine work of a * later date by Lanino . “ a I n the same gallery is , however , a Piet which ’ may rank among the finest of G au denzio s panel

pictures . It is in very good preservation . The n ex pression o the faces , and the pathos and elevation

of sentiment , are admirably rendered . The depth and f u u brilliancy o the colo r, the caref l modelling, and the

of . fine lines the draperies, are superbly painted The cartoon of this fine work is in the Albertina at

Turin . This Pieta has much in common with the on e in San the ancona in the C hurch of G audenzio at Varallo ,

which was probably painted a little earlier . i This ancona consists of s x panels . In the centre ” a St . above is the Piet , to the right is Mark , and to the

B . B left St . j ohn the aptist elow, in the centre, is the

St . St . Marriage of Catherine , to the right Peter , and i to the left San Gaudenzio . The Pieta s simpler in one composition than the we have just been studying , and very beautiful . The chiaroscuro effect is more

of St . abru pt , and the head j ohn recalls Luini , and indirectly Leonardo . The action of the Madonna is infinitely touching , and the whole atmosphere has a restraint and dignity which places this panel at a very high level . The group below is not particularly striking , thou gh the M adonna and Child are charmingly rendered ,

n b ut the panels of the four saints are very good . U fortunately , when the original frame was replaced by the

See p . 27 . A n d erson lzoto Sz n or Cr i p g esp , M i l/m

P I ETA T 6 o face p . 8

1 5 13 TO 1 5 20 69

present one during the seventeenth century , the predella was suppressed A small panel of the M artyrdom of St . Catherine , in chiaroscuro , now in the museum at

Varallo , is said to have belonged to this ancona . Another tradition says that the panels of this predella B el ioiosa are in the Palazzo g at Milan , and represent of the four Fathers the Church , the Nativity , the E piphany, and the Presentation in the Temple . ’ The screen for the ancona in the Chapel ofSant Abbondio in the cathedral at Como must have been 1 1 1 1 con taken in hand about 5 6 or 5 7 . It originally ofsix G sisted canvases , three by audenzio and three by Luini but at a later date it was divided , and the S ” posalizio by Gaudenzio , together with the Pre ” se io p by Luini , were moved to the opposite side of the church . We will study the Flight into Egypt * on later , as it obviously belongs to a later develop ’ nz f ment of Gau d e io s art . The composition o the S ” posalizio is good , and there is a fine architectural of background representing the interior the Temple , with steps leading up to the altar . A note of classicism is introduced by the sacrifice depicted on the side of the altar , while above the altar is an inscription I have been unable to decipher . We find a decorative touch in the gold edges of the draperies, which have become almost too voluminous and drown the figures . The centre group is good , while to the right is a fine figure of a woman , obviously a portrait , wearing the turban like head - dress we so often find in portraits of this n o period . The suitors breaking their sticks are t so f n o articu good , the attitude o the o e t the left being p 8 See p . 8 . 7 0 GAU D ENZI O FERRARI l arly affected and ex aggerated . Like all tempera on painting canvas , the colour has sunk in , and it is impossible to judge of the original effect , especially as these particular canvases have been restored several times . This peculiar treatment ofdrapery we find in two

- other works of this period . One is a much injured

‘ panel now in the Poldi Pezzoli Museum at Milan . It

St . represents the Madonna and Child with Catherine,

St . St . St . . Margaret , Dominic , and Peter Martyr

St . M argaret might have stepped out ofthe Sposa ” lizio , with her voluminous draperies edged with gold . B x is eing a panel picture , the e ecution far more care fully done . The surface is much injured , especially about the centre figures , and the picture has been restored ; but some of the heads still preserve the * original delicate brush work .

The other work is in the gallery at Turin , and x on represents the Crucifi ion . It is in tempera canvas , and was ex ecuted later than the foregoing panel . I n on many ways it is a great advance the Varallo screen , though the medium used does not allow of any strength of x colour, and the e ecution is slighter . The angels are far better drawn , and , though swathed in draperies , the movements of their aerial flight are drawn with x e quisite lightness and delicacy . The stir and anim a ’ tion of the whole scene are depicted with Gaudenzio s usual skill . I n the same gallery is a very fine work belonging to this period , but greatly superior to those we have just “ The Madonna and Child in this gallery attributed to Gau nzio is nino d e by La .

7 2 GAU DENZIO FERRARI

so left , while in the chiaroscuro the strong lights are

treated that , in spite of the confusion of the crowd , the attention of the spectator is at once riveted on this

pathetic incident . Gaudenzio rarely painted anything of x finer than this head the Redeemer, and the e pres

sion of pain and anx iety are wonderfully rendered . “ ” The dramatic quality in this Journey to Calvary, the x beautiful colouring and the e cellence of the technique ,

all combine to make it an important work ; but it is ,

unfortunately, in a rather bad condition . In its original state the painting was so vivid and lifelike that Lomazzo speaks of a dog attacking the amiable - looking cur

- seated in the right hand corner . In the trappings of

the horses G audenzio uses gesso , a rare occurrence anel in his p pictures , and it is also used for a small ” f gilded Pieta in the centre o the predella . To the ” right and left ofthis Pieta are represented angels

adoring , charming little figures painted with great

refinement . In the B orromeo Gallery at Milan is a Madonna and

S . S Child with t Joseph and t . Antony . Though neither so strong nor so brilliant in colouring as the last picture ,

the types show that it belongs to this period , probably

- 1 1 8 . nd about 5 The figures are nearly life size , a the

M adonna and Child are well composed . There is a charming touch ofnature in the way the little child

nestles against its mother and clutches at her dress . see for We the first time the orchard background, which we shall constantly find in later works . In the museum at Varallo is a picture representing

St . Francis receiving the stigmata . It was probably x I 20 e ecuted before 5 , and tradition says it was painted

7 4 GAU D EN Z I O FERRAR I

I n the collection of Mr . Willett at B righton is a

Madonna and Child attributed to Gaudenzio . It is of u a charming work full tender feeling, but,tho gh it f has much that reminds us of Gaudenzio , it is di ficult can to place it among his works . All that be safely said is that it is a very good picture of the Valsesian SchooL

7 6 GAU DENZ I O FERRARI

two artists for the sum of lire . They were paid u set in instalments, and Ga denzio seems to have to his work as soon as the carving was finished , as we find C red e ntiae 2 1 2 0 name in the Liber on M ay 9, 5 , and

1 1 2 1 . on October 4, 5 He then seems to have left it for 8 some time , as his name does not reappear till March , 1 2 S of 5 4, Fermo tella having signed the receipts pay

u ment du ring the intervening period . Ga denzio must his then have taken it in hand again , for we find signa on 2 1 1 2 u 1 2 on S ture July , 5 4, on Aug st , eptember 7 1 6 on O 1 2 and , and ctober 7 , 5 5 , and finally in January , 1 2 6 5 (the day ofthe month is illegible) .

- 1 The altar piece stands about 9 feet high , and is 1 0 is of nearly feet broad . It a mass elaborate carving ,

. of gilding , and painting The surface the wood was prepared with a layer of gesso before the paint and

gilt were applied , but it is much cracked, and many of u 8 the fig res , some of which are only about inches

high , are chipped and broken . The altar - piece is designed so as to frame an old f fresco ofa Madonna and Child . O n each side o this painting are large stat u es of saints ; the on e to the right San B ofS is ernardino iena , and the one to the left is

St . of . Lawrence , the patron saint the church Above u is on in a l nette God the Father , with cherubs , and the cornice the fig ures of the Virgin and the angel “ of Gabriel . O n the cupola above is the Assumption the Virgin , who stands on the summit surrounded by “ ” “ ” a mandorla of cherubs . A circle of putti below are playing on various musical instruments , while still lower down are the Apostles in attitudes of rapture and surprise . All these little figures are obviously carved 1 5 20 TO 15 28 7 7

’ Gau denzi o s from models , and all imbued with the vivacity and life characteristic ofhis work . B ut the most interesting of the carvings are the five scenes from the life of the Virgin which are in

- the lower part of the altar piece . They represent E the Presepio , the Flight into gypt , Christ and the S of Doctors , the posalizio , and the Descent the Holy

Ghost . We have seen similar work in the Como

- altar piece , but there the original colours have dis

. of appeared under more recent gilding Here , in spite the chipping ofthe gesso and the damage done to the u fig res, we are able to see the original effect to a certain

x of e tent . The painting the dresses , the faces , and the architectural backgrounds , is most carefully and daintily ex ecuted . Classic scenes and tiny but elaborate “ of grotteschi cover the walls the buildings , and classic ideas are also to be found in the ornamentation of the general design . The perspective is very well carried out in these minute scenes, and a delightful naturalness of gesture and attitude are found in the groups , which are cleverly manipulated . In the Presepio a charming touch is given in the action ’ ofthe little Child pulling at its mother s cloak , de manding to be caressed and not worshipped . The composition ofthe scene of Christ and the Doctors is distinctly original . Though the perspective is u perhaps a trifle abr pt , the feeling for distance and amplitude in this limited space is very cleverly con

e ed v y , while the large curtains caught up in the fore ground break the monotonous lines ofthe chequered ceiling very effectively . The Chapel ofthe Crucifix ion on the Sacro Monte 7 8 GAU DENZIO F ERRARI

V 1 1 at arallo was erected about 5 7 , under the direction B B of Pietro Ravelli and ernardino aldi , builders , of x Varallo. There are no documents e isting relative to ’ G au d enzio s contract for the frescoes or for the statuary . 1 2 on S Arienta The date 5 3 was found the wall by ignor , and the probabilities are that Gaudenzio worked on off and at it for several years , leaving the chapel practically completed when he moved to Vercelli in

1 2 8 . 1 2 2 6 5 The following inscription , 5 9 Die ” ‘ S Octobre Johannes Antonius , also found by ignor Arienta , shows that one of his assistants did not finish his part ofthe work till the following year . O x wing to the effects of e posure and time , and to the reshiftin of g many of the statues at a later date , it is a little difficult for us to picture to ourselves this famou s its or chapel in original condition , to understand the ’ of Gaud enzio s enthusiasm contemporaries . The frescoes , once brilliant with gorgeous colouring, are now faded , cracked , and ruined , and no longer make a suitable background to the terra - cotta group of

al . B ut figures , which are so much injured , as the

. S B v late M r amuel utler justly obser ed, this chapel , “ x regarded as a single work , conceived and e ecuted by a single artist , who aimed with one intention at the highest points ever attained both by painting and on sculpture, and who wielded a very large scale , in connection with what was then held to be the sublimest

of u u and most solemn conceivable s bjects, the f llest range of all the resources available by either, must stand , perhaps, as the most ambitious attempt that has been made in the history ofart As regards the frescoes, the success was as signal as the daring , and

80 GAU D ENZ I O FERRARI

They are depicted in proud, overbearing attitudes , and — carry all kinds of weapons spears , arquebuses, maces , E and swords . One group represents astern warriors in O riental dress , and over their heads float banners with

the crescent and the star . In the centre background three nobles on horseback have ladies on the croup

behind them . They are all , horses as well , gorgeously

arrayed . The noble on the white charger is dressed in

a red slashed doublet , with white and blue striped hose ,

fle r- - and wears a garter w ith a u de lis design . His

lady is in red , with white sleeves , and wears a green

- - and yellow turban shaped head dress . The trappings of f the horse are blue and gold , while a fine piece o

tapestry hangs from its back with a beautiful green ,

- dark blue and gold pattern . The others ofthe group

are equally elaborately and gaudily attired . The general impression ofthe costumes and plumed head dresses recalls the Hungarian and South German dress f o that period , and makes me believe that Gaudenzio had a new opportunity of making studies from the of varied troops of which the army Charles V . was composed . Milan had revolted from the French in ’ 1 2 E 1 5 2 1 . I n 5 3 the mperor s troops were engaged in ou t of l l driving the French N orth Ita y , and fina ly 1 2 B ofGattinara n ot defeated them in 5 4 at the attle , . far from Varallo . It is possible that the noble with the w - - re resents the B fleur de lis garter p Constable de ourbon , E 1 2 who had joined the mperor in 5 3 , and was present at that engagement . Tradition says that another of Torinelli these warriors is the Count Filippo of Novara, E ’ who was also one of the mperor s generals . The the b attle neighbourhood of the celebrated shrine to _ 15 20 TO 1 5 28 8 1

field makes it probable that the Sacro Monte benefited o f financially from the gratitude the victorious army, and it is qu ite possible that the most important figures depicted in these frescoes are portraits of the chief u leaders , which Gaudenzio co ld have painted in the f1 spring o 5 2 4 . Certain other figures are known to be portraits of

of Sc aro n in i members the g family of Milan , a family who had always been foremost among the patrons of

S . the acro Monte From an inscription now defaced , old but mentioned by writers , it is known that the two men kneeling over the door to the right are portraits of in i a certain Emiliano Sc arogn and his son Francesco . E 1 1 miliano died in 5 7 , so it is possible that Gaudenzio painted these portraits directly the chapel was built , so ou t of and placed them over the door , as to be the o f not way the general design , which he had probably settled on . The technique is rather more precise and dry than in the rest of the frescoes . B n elow, to the right of the door, and by the door o

ofthe the opposite side chapel , are two family groups which must have been charming in their original condi

u . tion , but which are now much inj red The portraits of the lady and ofher two children are too faded for reproduction , but the grace and beauty of this white Sh robed figure can still be appreciated . e wears the

u - - usual t rban shaped head dress , bound with ribbons and jewels, which lends an added dignity to her aspect . The grou p opposite of the gentleman and his son is a lso much ruined . The attitudes of both figures are x simple and natural , and this little child, with its fla en

- u hair and yellow brown dress , m st have been a charm 6 82 GAUD ENZIO FERRAR I

ing study . U nfortunately, the features of both have u been retouched , with deplorable res lts , and the photo graph brings out the crudeness ofthe new paint to the detriment of the general effect . In the background are seen the chapels ofthe Sacro Monte . There are of some charming heads women in the crowd , notably

on on two the wall to the left , sitting a bank holding

one of d o . children , whom is playing with a g

We will now turn to the statuary . The group c on

of - six on sists twenty statues , two of which are horse S back . Tradition says that Fermo tella helped with of the modelling ofthe horses . The original figure the

Redeemer was an old sacred statue , which was stolen Toine i ' in later times . tt mentions that the original figures of the two thieves were carved in wood by the Ala ardi sculptor g Romano , who records this fact in ” le his Life . They were copied from models made by

e . Gaud nzio in clay , and were also stolen in later years The most pleasing group left is that of the Madonna

St . supported by two women , and John standing near u by . Z cchero specially mentions this group , which is

u . well carried out and f ll of feeling U nfortunately, the repainting it was subjected to in later years has natur ally ruined the delicacy ofthe surfaces . The group of a of soldiers gambling is lso very good, while the pose a peasant woman standing close by with her children is

x u too e cellent , tho gh the little boy at her side is clumsily

u - u modelled . A p g dog sitting just behind this gro p of is , on the contrary, very well done . The armour the soldiers is decorated with gesso , and we find f on some o the shields . On one shield is i I h ave b een unable to find a copy ofth s b ook .

84 GAU DENZ I O FERRARI

G a u d entius Ferrariu s p atritius ex voto pictura ” b at - d ecora . The altar piece representing the Madonna

St . and Child with Francis and St . G eorge has dis of appeared , and all that remains the frescoes on the walls are the nearly effaced figures ofSan Crispino and ’ * Sant Orso . In the parish church of San Giorgio at Valduggia

St . B Gaudenzio painted a Holy Family , with arbara and a shepherd . Though this fresco is much injured , enough remains to show that it must have been a very

fine work , and was probably done about the same date u as the Dorchester House pict re . A certain number of panel pictures were also painted during this period . Their rich colou ring and matured technique and the types of the Madonna and Child show that they must have been ex ecuted after the pictures we ’ G au d enzi have already studied, and before o s visit to of Parma, which I should place towards the end this I 6 1 period and about 5 2 or early in 5 2 7 . O ne of the finest of these pictures is the Marriage ” of St . Catherine in the cathedral at Novara . This beautiful picture is , luckily , in a good state of preserva tion . The brilliant colouring is rich and glowing , and unmarred by the hot reds which have appeared occa ’ sionally in G audenzio s work . The figures are pai nted life - size with all the strength and vigour of his best of period . The face the Madonna is refined and beauti fu l x , with an e pression of ineffable sweetness playing over the features , while the grand figure to the left in ’ B ishop s robes of rich gold and red brocade is one of the ’ zi finest we have from Gau den o s brush . It represents

ir ur w ain in a i The th d fig e as p ted l ter t mes.

86 GAU DENZI O FERR ARI

religious in spirit , or more closely allied to the little

of - people Northern folk lore, in the work of the Italian artists of that day . The present predella was put together about the middle of - the last century, when the altar piece was moved to * a ” its present place . The centre panel is a Piet ’ n G audenzio s by La ino , and is a free adaptation of

- cartoon at Turin . The two side panels representing

B ofSt . the Martyrdom and the urial Catherine, painted of in a network arabesques , were done by a modern of artist . To this artist is also attributed the head the

Almighty in the lunette above, and the two heads representing the Virgin and the angel Gabriel in the

o f of - upper corners the frame the altar piece . The fine picture at Dorchester House was probably 1 1 is x of painted about 5 2 . It a very good e ample the early part of the period we are now studying .

of St . The kneeling figures the Virgin , Joseph , and an

‘ ecclesiastici are very fine, and are painted with great ’ u nz io f beauty and dignity . Ga d e s natural feeling or the ex uberance o flife is shown in the attitudes ofthe cherubs , three of whom support and worship the infant

Christ , while two others , holding a scroll , are flying

. its over the group The Holy Child , holding up arms to its Mother, and the cherubs bending over it , are T charmingly rendered . o the right is the ruined wall of of the stable , while a fine landscape distant moun tains bounds the horizon to the left . The general

I had e n an in for som im in he sac is w ere t b e h g g e t e t r ty, h

B ordiga saw it. 1' Tradition say s this is a portrait of the C ardinal Arcib oldi erna S e Frontis i Tav . e p ece.

88 GAU D ENZI O FERRA RI

’ C orre io s strove after gg ideals , and came very near him ,

as we shall see in the Vercelli frescoes . N o . 49 in the Turin Gallery represents the Madonna u u u seated on a throne , with a baldaq in h ng with p rple

cloth . The infant Christ stands on her knees , with His

hand raised in benediction . The type of face and the ” u modelling recall L ini , while the putto , playing on a harp at the foot of the throne reminds us of the child “ ” . O n in the Marriage of St . Catherine at Novara

St . o n the right of the throne stands Martin , and the ’

St . B . left Maurice in ishop s robes The fine , sharp

- features of the last named are strongly painted , and

this head is evidently a portrait . The background of

- fruit trees is carefully painted . u of Sa n Ma ianico In the Ch rch Pietro at gg , near

on of - Lecco , the Lake Como , is an altar piece which

u belongs to this period , tho gh inferior to the works of ’

. S St . this time It represents ant Ambrogio , Anthony ,

St . B and onaventura, and was originally painted on wood . The three saints were transferred on to canvases

u early last century, and slightly inj red in consequence .

The colouring is rich and warm , and the figures are the ’ types we have constantly found in this artist s works .

The predella , representing the Apostles , is by another hand . We will now t u rn to a work which shows clearly the further development ofthe influ ence of Correggio on ’ “ G au d enzio s art , namely , The Flight into

u x the D omo at Como , which was probably e ecuted

1 2 . B on about 5 7 eing painted in tempera canvas, the of great brilliancy the colour is not now apparent , but the new i nfluence is seen not only in the strong

90 GAU D ENZI O FERRARI we see from the works ofBernardino Lanino and two ofthe Giovenonesfi’e f The picture in the collection o Dr . Mond in London x probably belongs to this time , for , though the e ecution is broad and fluid, there is still a certain restraint . It represents St . Andrew bearing his cross and standing out against a blue sky, with a landscape painted in the f lower part o the canvas .

’ i oo s co ec ion In the Tu rin Gall ery and in S r F. C k ll t at

Richmond . ’ A Zm a r z /w to ‘ p Sa n Cr zsto r o Ver ccllz fo ,

“ T H E MA DO N N A A N D r l-I n n C A I N T

92 GAU DENZI O FERRARI

St . Church of Christopher at Vercelli , which , taken as

a whole, undoubtedly ranks as the greatest creation of

his bru sh . This church belonged to the Order of the

Umiliati , and had been for some time under the

control of the Corradi family , Counts of Lignana and on patricians of Vercelli , the condition that the Provost appointed by that family took the habit and f professed the rules o the Order . The church had been recently rebuilt during the administration of the

Provost Nicolino Corradi , who , however , died before it

X . 1 1 was finished . Leo , on May 4, 5 9, continued the rights to the family in favour o f a certain Andrea l . o d Corradi Andrea was only eight years at the time ,

and during his minority his father, Giovanni Angelo

Corradi , as guardian of his son , administered the f of S af airs the Order and finished the church . hortly before his son came of age he entered into negotiations of with G audenzio for the decoration the church . In on 2 1 2 a contract signed June 7 , 5 9, G audenzio not only undertook to paint an altar - piece for the high

altar, with its shell or casing , but also to paint the * vaulting above in fresco . G audenzio was to receive in payment the su m of1 5 0 gold écu s and three sacks

o f . u 1 2 corn On J ly 3 , 5 9, we find that he gave the contract for the frame to a certain Maestro Nicolo di Vaillate w as , a Milanese carpenter who then living at

Vercelli . He was to make it after a design given ” six by G audenzio , to finish it in months , and to B receive 3 5 écus in payment . oth picture and frame

Thi s arrangemen t w as evidently altere d w hen An drea soon a e wa d s came of a e and a an e for the escoes in the ft r r g , rr g d fr

r m ss n . adjacent ch apel . Th ese d ocument s a e i i g — VERC ELLI 15 28 TO 15 36 93

were ready and in place by the beginning of 1 5 3 0 . Alterations and changes were made o n the high - altar f in later days when a di ferent taste prevailed . ’ G au d enzio s - of altar piece , shorn its carved frame , is w as 1 62 n ow in the choir, where it placed about 3 . It is interesting to note how far the movement of the day had carried Gaudenzio along the new paths of

x artistic e pression . Up to a certain period he was

for distinctly a reactionary, and only his great gift movement and action distinguishes him from the old

M ilanese School . We have followed his gradual

u evolution , and , as we have j st seen in the Como Flight into a new and a powerfu l influence had come into his life . In the picture we are now ’ studying the impression o fC orreggio s peculiar qualities is as strongly shown , only , being in oil on wood , ’ G au d enz io s rich colouring is better preserved . The ’ scheme of light and shade is distinctly C orreggio s of namely , a dark background , and a sort searchlight turned on to the group from the front . The lively colouring is subdued by the shadows which are thus strongly emphasized . The picture represents the Madonna and Child seated T on a bank and surrounded by saints . o the left are

St . B St . John the aptist , and Christopher carrying

- another Child Christ on his shoulder , while to the right San B B we have N icolo di ari and the lessed Orico , o f founder the order , whose bones lie under the high altar . In the corner kneels a figure in the robes of the O rder , which probably represents the young Provost

u - Andrea . I n the backgro nd is an orange tree covered

See p . 88 . 94 GAU D ENZI O FERRARI

with fruit , which gives the popular name to the picture , A i ” which is known as La M adonna delle rang . of Putti are playing about the branches , two whom u are eagerly st dying a scroll , and others are holding

back a curtain . This in itself is not a new motive in ’ G aud enzio s b u t compositions , these particular curtains , ’ both in colour, proportions, and folds, recall Raphael s ” San S Madonna di isto , which was at that time at

Piacenza . Two little fellows in the foreground are Is making music . There a spontaneity and freedom in “ the action ofthese putti which gives them a lightness and a vivacity that go far to palliate their too clumsy

build . The type of child which Gaudenzio painted under the influence of Luini has given place to a less see u refined type , and we shall these rot nd little people, of of with rolls flesh instead firmly modelled limbs ,

appear constantly in the works ofhis last years . We have no documents relative to the frescoes repre

St . senting scenes from the life of Mary Magdalen , and x the fine Crucifi ion over the altar of this chapel , but

1 2 . O n we know they were finished by November, 5 3 2 1 0 December , 5 3 , G audenzio signed a contract to

St . paint an ancona for the Church of Mark at Vercelli , * six which was to be ready in months , and towards the end of1 5 3 1 he began negotiations for an ancona for the Duomo at C asalefi which w as partly ex ecuted during the first half of 1 5 3 2 . It must therefore have been 1 0 of 1 1 during the year 5 3 , the autumn 5 3 , and the 1 2 autumn of 5 3 , that the frescoes in this chapel were painted . of ar They have suffered much injury in the course ye s ,

- See . 106 . This altar piece has disappeared . p

96 GAU DENZI O FERRARI B elow is a tablet with the following inscription in Latin :

JO : ANGEL U S EX CORRADI S LI GNANJE

R A RE/E /E I ET P . ND P R PO S TI NI CO LAI H UJUS TEMP LI CONDITO RI S P RONEPOS SAC ELLU M

H OC I /E M MAG ALE /E D V . D N I DICAVIT MDXXXI .

t w o The upper frescoes are half destroyed , but we have some idea of the composition from two small pen and - ink drawings which are now in the collection of B the Avocat orgogna at Vercelli , and which were done previous to the bombardment in We find that in the second scene there were two windows in the see background , through which we the Magdalen going to visit the tomb of Christ .

B ut - of the best preserved and , I think , one the most interesting frescoes Gaudenzio ever painted is No . 3 . of Like so many compositions the period , we have several episodes in the same fresco . In the foreground is a fine group of figures , splendidly painted , while in

u the backgro nd fact and fancy are charmingly blended , and in the little scenes depicted the painter tells the

one story with his usual vivaciousness . In place we see the Magdalen , with her little band , welcoming the on u his Prince of Marseilles his ret rn from pilgrimage , ’ with the news of his son s restoration to life ; in another she is preaching from the steps ofthe Temple

These may b e two pag es from the vol ume of p en - and - ink drawin gs d one by P ell egrino Tibaldi which w as in the p ossessi on ’ h Mar ese Ad da a h i n of h oft e ch d t t e b eg nni g t e last century . VERC ELLI _ 1 5 28 To 15 36 97 to Diana ; while further on the accident to the young B man is taking place . eyond and behind stretches a fanciful landscape , towns and temples , water and on of mountains , and castles crags , a fairy world a x f of romance . We have good e ample o the value tones in the way the gray sheen ofthe water shows up

- the little group at the landing stage , and the effort of the boatmen pushing the boat off is clearly defined . The two figures kneeling in the foreground are o f obviously portraits Vercelli patricians , probably

old - - members of the Corradi family . The gold coloured mantle lined with white fur , and the auburn hair and of beard the man , make a rich and harmonious scheme

of d of x . colour , while the mo elling the heads is e cellent of The bony structure the skull is admirably felt , and the roundness and solidity ofthe muscles are firmly and strongly drawn . The technique of the two men kneeling to the right is equally interesting . Tradition says that they are portraits of Gaudenzio and the B young ernardino Lanino , who had recently become * i his pupil . There s every reason to accept this state for on ment , comparing these heads with the well San B known frescoes in N azzaro in rolio at M ilan ,

o f 1 - 6 painted by Lanino during the winter 5 45 4 , we

find they are distinctly the same types , only much ’ outhfuL vi acit Lan ino s younger . The y v y in face is on o f cleverly rendered , while the face the older man is

- x . a graver , more care worn e pression of I n the group to the right , the inspiration the on e artist is unhampered by portraiture , though Max imian a recognises that the head of St. was p inted

In 1 530. 98 GAU D ENZI O FERRARI

from a favourite model . There is a wonderful feeling ’ of spirituality in the Magdalen s face and gestures, and

the hands are almost transparent . Gaudenzio never cared to represent the starved asceticism so popular to

fifteenth- the century artists , and in later life he errs

considerably in the other direction . In this, however, he is only reflecting the general spirit of the late

Renaissance , when material and distinctly opulent forms superseded the more refined types of an earlier

ideal . The sheath , and not the blade , became the ’ u of and G audenz io s p rpose art , it is only sincerely religious nature that enables him still to endow his

figures with a spiritual elevation , which is the keynote f o his life . The fourth fresco was ruined by the cannon - ball which pierced the wall and destroyed a great part of

the central group . This represented the Magdalen

rising to heaven , supported by angels , and the part

which escaped destruction is still interesting to study . O n e angel supporting the feet of the saint is most

remarkable . The feeling of quick motion , like the dart f ’ o . a bird, almost takes one s breath away In the background is a fanciful representation ofthe Estrel

Mountains , and little scenes representing the last hours ' ’ o f u the Magdalen s life can still be made o t . The cartoon for this fresco is in the A lbertina Library at

Turin . The last and most important of this series is the

x Crucifi ion over the altar of the chapel . Though the ’ details naturally recall G audenzio s previous paintings of x this subject , it e cels them all by the beauty of the technique , while its position , facing down the church ,

1 00 GAU DENZI O FERRARI

- figure . He wears the huge head dress with feathers S of we find in German and wiss pictures this century , and was possibly painted from some officer command ’

E . ing in the mperor s army, and stationed at Vercelli

With his red beard and steel armour, he makes a fine bit ofcolour .

St . The John and the M agdalen are more insignificant , and though the soldiers gambling are well painted , the composition is rather confused . The portrait of an elderly man kneeling to the left is probably that of

om Giovanni Angelo Corradi , who died before the c l p etion ofthe work . The frescoes on the other side of the church are equally fine and in a far better state of preservation . on 1 2 The contract was signed November 3 , 5 3 , by

G audenzio and the new head of the Order , who is now “ S called the Reverend ieur Andrea Corradi , Provost ” of St . Christopher . G audenzio undertook to paint of the Assumption the Virgin , and such scenes from her life as should be agreed upon by the Provost and himself. The painting was not to be in any way f inferior to that of the frescoes in the Chapel o St . Mary to Magdalen , and he was begin the work in the spring ’ o f 80 the following year, and to receive écus d or in payment . During the intervening months he must have been at

Vigevano , where he painted a Descent of the Holy ” u Ghost for the chapel in the D cal Palace . In the of x t he of 1 list e penses for first four months 5 3 3, kept by the Intendant Giovanni Aloy sio for the Duke of “ : M ilan , is the following entry A Maestro Gaudenzio pittore in Vigevano lire This picture is praised ’ B r a t V r oe : plzoto S n Cr zs ofom , e T H E MAGDA LEN AT M A R SEI LLES

To face p .

1 02 GA U DENZI O FERRARI

u of u refined face, f ll kindness and humo r , and was pro of bably the portrait some ecclesiastic living at Vercelli . O S ver the window is a ibyl with a scroll , much one injured , but very similar to the in the chapel opposite . The following scenes were chosen for the rest ofthe wall

1 . B The irth of the Virgin .

2 . S The posalizio .

3 . The N ativity .

4 . The Visit of the Magi .

The first scene is slightly injured by damp . The subject is treated in a homely manner, and the peasant women , busy over the child in the fore ground , are simply and naturally grouped . I n the background is a charming figure of a little maid r x of x b inging in food , while the e pression an ious inquiry o n f depicted the face o the nurse bending over St . Anna x She is e cellent . has brought her the boiled egg which it is still the custom in Piedmont and Lombardy to give the mother as soon as she can take refreshment .

I n the background is the angel appearing to St . Joachim and St . Anna . N o . a 2 recalls the Como Spos lizio . The grouping is practically the same , and there is the same element of ex aggeration in the attitudes of the disappointed o n e suitors . The to the left is in the same whirling pose as in the Como picture, and in his green and yellow tights he is an even more fantastic figure, both as regards colouring and attitude . There is a great of advance in the technique the Vercelli fresco , and the general scheme ofcolouring is light and harmonious . B oer i [ Mata ' Sa n Cr z stq/or o, Var cella

ETA I “ D L OF TH E H EAD OF A WOMA N I N TH E MA R R IA GE O F TH E V I R GI N

1 04 GAU DENZI O FERRARI

of f pictures are fine works art , but as di ferent in style as in technique . The beauty of face and gesture and ’ the grand sweep of the Madonna s cloak are wonderfu lly

fine in the fresco we are now studying . The somewhat clumsy type is redeemed by the simplicity ofthe atti tude, and elevated by the beauty and intensity of the feeling . ’ What we have already mentioned abou t G aud enzio s

u techniq e is very apparent in this fresco , and the model ’ ling o fthe old shepherd s head is a good ex ample of his skill in chiaroscuro . The angels making music are amongst the most perfect he ever painted . The land scape is roughly but admirably indicated . The sharp off line dividing the little scenes above , though it cuts

u into the sky , has a certain constr ctive value in separa ting the Annunciation and the Presentation , which are depicted in architectural surroundings , from the wild , lonely landscape beneath . of The fourth scene represents the Visit the Magi , and f u is composed dif erently from the rest . The fig res of the kings and their retin u es fill the foreground and middle

u . distance, and cover the space allotted to this pict re

There is no distant background with little scenes , as we have seen in the other frescoes . The composition is original , but rather overcrowded and confused , and the su bject has given Gaudenzio another opportunity to introdu ce in the figures ofthe three kings fine portraits ofVercelli magnates in all the bravery of Renaissance

. m dress The noble an standing to the right , in his brown and gold surcoat slashed with green , and the richly dr essed young man getting off his horse and d ofli n g his plumed cap , to the left , are superbly painted . ' B oen lzo a n a u d nzio V r e p to S G e , e TH E N ATIV ITY

To face p .

1 06 GAU DENZI O FERRARI though the spiritual ex pression o n her face recalls ’ r io s St . C or e Placida in gg picture at Parma , this ’ G audenzio s beautiful Madonna is own creation , as , rapt in ecstatic self surrender, she floats upwards , drawn by an irresistible force, ending her earthly “ x of B e istence in the spirit her first utterance , ehold the handmaid of the Lord ; be it unto me even as thou ” wilt . Above the Virgin ’s head is the Almighty holding a “ crown , while all round her are putti and clouds . Though nothing c an destroy the distinction of the con principal figure , the general effect is crowded and ” u of f sed . The type putti is unpleasing, and these

ru b icu nd ~ children muscular and , in their violent atti tudes , go far to destroy the spiritual atmosphere of the scene . of I n the lower part the picture are the disciples , drawn on a slightly larger scale to emphasize the distance from the group above . The heads are the ’ of Gaud enzio s usual types found at this period art .

of The faces are full awe , amazement , and grief. The gestures ofthe hands are rather monotonous . They ’ of are a coarse type , well drawn , with the artist s usual un f peculiarities . Though much of the detail is satis ac tory in this fresco , the dramatic qualities and the powerful technique , combined with sincerity and depth of feeling , not only save it from the deadening influences f fleshiness o mannerism and , but also raise it to a very of high place in the realm imaginative art .

As we have seen from the inscription , these frescoes n were finished in 1 5 34. O July 9 of that year Gau d enzio makes a final arrangement about the altar - piece — VERC ELLI 15 28 To 1 5 36 1 07 for ale Casale , which we have already mentioned , and which he undertook to finish by the nex t September . The remains of this work now hang in the Cathedral o f Casale Monferrato , but are hardly worth visiting, as they were badly injured by fire in the eighteenth cen

. B tury The central panel , representing the aptism of our now Lord, hangs in the second chapel to the left of

. S St . the west door The t . John recalls the John in V the arallo screen , but here wears a red cloak . The of S figure Christ is quite spoilt by sentimentality . ome smaller fragments hang in the choir , but the damage done by the fire and the subsequent restoration have quite ruined the original work . ’ G aud enz io s We now come to last great masterpiece , of the Choir Angels , in the dome of the pilgrimage

Church of Santa M aria dei Miracoli at Saronno . Gau d e nz io had already begun negotiations relative to this piece of work , for in the contract which he signed at

on S 28 1 , of M ilan eptember , 5 34, mention is made a design which he had already submitted for the approval of the deputies of the sanctuary . In this document the

u terms are more genero s than usual . The deputies u ndertake to give lodging and wine for himself and his for f assistants, and to pay the sca folding and for the f replastering of the surface o the dome where necessary . I n return Gaudenzio undertakes to start work at the of E end aster week in the following year , and not to begin anything else till it w as finished . He was to ’ 2 00 u receive sc di d or, and there are the same condi of x tions relative to the j udgment an e pert , when the con work is completed , that we have found in previous

S e . e p . 94 1 08 GAU D ENZI O FERRARI

tracts . The beauty of the work is such , however , that we are not surprised to find that Gaudenzio eventually ’ 0 u received 2 5 scudi d or . He must have taken abo t a year over it ; for tho ugh he was back at Vercelli on ‘ 1 of October 4 , 5 3 5 (which is the last mention him in the S that town) , entries in the aronno archives show that the final payments for the frescoes were not made 1 1 1 1 6 till June and N ovember 7 , 5 3 . ’ The cupola at Saronno displays some ofG au d enzio s of finest qualities, and this in spite the fact that he was u ndoubtedly helped by his assistants in the ex ecution n of these frescoes . The idea was probably i spired by ’ C orreggio s domes at Parma but the composition of

this one is entirely Gaudenzio 5 work . In the centre is

the Almighty in a circle of cherubim and seraphim ,

u from which radiate flames and rays of light . Tho gh

not as a rule using gesso in this work , Gaudenzio uses B both carving and gesso for this group . elow is a ring of putti in every attitude of ecstatic j oy . They are u rather inj red by damp and by cracks in the plaster , n but are o the w hole well preserved . They were done ' audenzio f in part by G s assistants . The majority o the figures in the crowd of angels were painted by Gau d enzio of himself, but a certain number the heads lack the lively touch of his own brush . His chief assistants were probably his son Gerolamo and his pupil B er

nardino Lanino . They had been working under him 1 2 since about 5 3 , and we shall find them still working under him a little later at Varallo . ’ In these frescoes we find G au denzio s usual gay but

u — harmonious scheme of colo ring yellows, browns , greens , mulberry reds , grays and whites , with blues

— VERC ELLI 15 28 TO 15 86 1 09

sparsely introduced . Though he is always inclined to make the draperies too voluminous , they are well mani

u lated o f p and beautifully painted . The varied kinds musical instruments are very curious and most effec tively introduced . Among the many beautiful figures one f n is o an a gel blowing bagpipes . This noble and

- - dignified figure , in a dark green dress and pale reddish

one . x mantle , is of the finest in this work Ne t it , to the right , Gaudenzio has painted the yout—hful head with flax en ringlets we have met with before notably “ ” in the Novara Last Supper and in the St . Chris to her of p frescoes at Vercelli . Another figure special

- interest is an angel with an S shaped trumpet . The i action is a tr fle too vigorous , but the swirl and flow x of the pinky draperies are charming . N e t it , to the

’

- right , in dark green robes and brown mantle , is the beautiful figure ofa singing angel rapt in adoration . B u t the supreme quality of this great work is the x e traordinary life that pervades it . As we stand below and look up at this busy throng animated with a holy j oy , we can but marvel at the astonishing vitality and and hear movement , it almost seems that we the rustle of f x this swarm o angels . The intense e citement and tension shown in every face , the energetic and heart whole devotion of each single angel to its own particular function in this vast throng , the w—hole painted with strength , simplicity, and directness all these qualities combine to make this cupola one ofthe most remark “ able works in Italy)

The u e s n in the ssum ion ofthe Vi n w i gro p r p re e t g A pt rgi , th ” u i is ui new . The su ace ofthe cu o a is co e e w p tt , q t e rf p l v r d ith crac s and th w o e s uc u e is sai to s an in nee of k , e h l tr t r d t d d reparation . 1 1 0 GAU DENZI O FERRARI

1 6 for G audenzio probably left Vercelli in 5 3 , in that year the French invaded Piedmont , and , after taking

Turin and some other towns , menaced that place . The unsettled state ofthe country would be sufficient reason for him to move up into the Valsesia .

There is very little left ofhis other works at Vercelli .

The anconas painted for the Churches of St . Mark

of e . and the Holy Trinity have quite disapp ared Gone , of too , are the frescoes a Madonna and Child in the San N B Church of azarro , and those in the asilica of ale Santa M aria Maggiore . The famous frescoes repre

ofSt . on senting the life Roch , and painted the facade of f ex voto the Church o St . Thomas as an against the plague for the people of Vercelli , were already perishing x 1 6 2 from e posure in 7 when Cusano saw them , and of they have now quite disappeared . In the Church ’ ‘ m r io St . ofS A b o Francis is a fine picture ant g , r now in the first chapel to the right ofthe west door ; but the ” Conversion of St . Paul seen by Lanzi in this church B S ’ has gone . In the adia of ant Andrea, the picture

- once over the high altar, representing the Madonna

St . S and Child with Francis and anta Clara , is no longer to be found ; but in the sacristy there are still the remains ofa fresco ofthe Madonna and Child with three putti playing on musical instruments . It “ ” is very much injured, but the putti have still a certain charm . A small picture representing the N ativity is in

Some fragment s of th ese frescoes were once in the P al azzo

G nara Ve ce i b ut I a e een una e to ace em . atti , r ll , h v b bl tr th " M o i b i nni i 1 Signor asoer b elieves t to e by G ov a G ovenone.

— VERC ELLI 15 28 TO 15 36 1 1 1

’ the Archbishop s Pal ace at M ilan . It is painted in oil

on . wood , and belongs to the Vercelli period The composition is very similar to the big fresco in St .

Christopher, only the Madonna is kneeling on the

St . . right , and a little John is kneeling by her Three

St . angels playing musical instruments , and Joseph kneeling to the left , complete the group , over which stand St . Jerome and St. Christopher . In the back is a charming landscape with a lake and mountains , which recalls the view of Lake Maggiore from Luino . of The surface this panel is , unfortunately, much injured and blackened , but the colouring must have been of great brilliancy . The draperies are well painted , and the reds , yellows , browns , and greens , give a warm effect , while the chiaroscuro is intensified by a bright light which is thrown on the figures from the left Gaudenzio is known to have painted a banner for the S f San ociety o M asons belonging to Germano , a village about seven miles from Vercelli . A bad copy is now in the Royal Castle o f Rivoli . M any works were once attributed to him in the Vercelli district . Those that re still remain a not his work , but show that he had influenced a number of smaller artists who were i working in that ne ghbourhood long after he had left . C HAPTER VI I I

LAST YEARS

TH E x of ne t trace we have Gaudenzio is at Varallo , 1 where he was working till 5 39 . Assisted by Lanino of ol and his son Gerolamo , he painted the cupola the d on S church the acro Monte . This church was pulled down in later years , but we know the subject was the same as in the Church of San Giovanni Evangelista — at Parma namely, Christ in glory with the Twelve ’ ofCorre i Apostles and angels , and is another proof gg o s influence . Gaudenzio painted the principal figures , and his assistants did the rest . This is the last mention o fLanino as assistant to Gaudenzio . H e had already on undertaken work his own account , as the contract 2 for his earliest signed picture is dated April 4, and he probably now definitely began his independent

- B is career, for his fine altar piece at orgosesia dated

- 1 5 39. We also find a proof of this in the fact that ’ of Gaud enzio s x in the Chapel the M agi , ne t work at ’ son Lan ino s Varallo , he is assisted by his , and name is not mentioned . u We have , unfort nately , reached the period of de ’ e nzio s generation in Gaud art , which rapidly developed w as no with his declining years . This chapel t altered

in the Tu n Ga er . T is ic u e was o ina in NO . 65 ri ll y h p t r rig lly

fTernen o n ear Bie a . the pa rish chu rch o g , ll 1 1 2

1 1 4 GAU DENZI O FERRARI

St . St . . Jerome , and Francis Above is God the F ather , and below is a predella with scenes from the life of the Virgin . This is divided into three partitions : of to the left we have the birth the Virgin , in the S centre the posalizio , and to the right the angel ’ appearing to Joseph in the carpenter s shop . The Assu mption is the same composition as the Vercelli fresco , but lacks the spiritual atmosphere of that fine work . The forms are coarser, and the colouring, though rich , is heavier . The favourite yellow mantle appears well in front . The surface of the picture has been much blackened by the smoke ofthe candles on the altar beneath . I n the predella , however, we still have a trace of that vein of delightful fancy which we have often noticed . These little scenes are painted in brown and yellow chiaroscuro with a light , quick brush , and have a vivacity and a delicacy lacking in the larger panels . They are full of natural incidents, such as a do d o child playing with a g, a g asleep , the Virgin “ S ” reading, etc . The drawing for this posalizio is probably the one now in the Ambrosiana Pinacoteca at Milan . The side -walls ofthe choir are covered with frescoes ’ Gaud enzio s by Lanino , which are nearly all taken from designs . As Gaudenzio left his cartoons to Lanino on i s . his death , this not surprising There are no documents to be found relative to Gau ’ 1 1 d enzio s work during the years 1 5 40 and 5 4 . In a 2 1 0 document signed by him at Milan on March 7 , 5 4 , ’ he appointed his stepson agent for his wife s property at Morbegno , and it is probable that his last visit to the

Valtellina took place during these tw o years. Little is LA ST YEA RS 1 1 5

of x left now the work he e ecuted during this visit . A ” Coronation of the Virgin in the parish church o f

Traona , about three miles from Morbegno , was highly of praised by Lomazzo , who speaks the Christ who s crown the Virgin , surrounded by angels similar to the ” “ B of Saronno ones . eneath it was a Conversion ”

St . . Paul They were both painted in fresco , but the wall was rebuilt in later years and the frescoes were not

All ‘ that o f preserved . remains them now are some

- broken fragments in a store room behind the choir . At Premona Talamona , above , a little higher up the valley, S of Don anto Monti found a fresco on the wall a house , which is undoubtedly by Gaudenzio . The figures are

- S . S . t t . life size , and represent Anthony and Roch It is much injured by weather . At Morbegno itself Gau ‘ d enz io painted a N ativity in a l u nette over the door ofthe church belonging to the suppressed Convent o f

St . as . Anthony, which is now used barracks The

- fresco is protected by a wire netting , which makes it ee of difficult to s . I n spite a certain crudity in the

x colouring and coarseness in the e ecution , the work is redeemed by the devout and earnest intention of the artist and the beauty ofsentiment in the figures . In 1 5 42 Gaudenzio was commissioned to paint the Chapel of Santa Corona in the Church of Santa M aria delle Grazie at M ilan . As the name of the chapel sug of gests , the subj ects chosen were those scenes the n Passion in which the crown ofthorns appears . O the “ right wal l we find the Flagellation , and above it ” Christ being shown to the People on the left wall “ ” x x of is the Crucifi ion , an e aggerated version the Vercelli masterpiec e ; and in the vaulting are eight 8—2 1 1 6 GAU DENZI O FERRARI

angels bearing the signs of the Passion . They are coarsely and heavily painted, but are the same types as we have seen in the Saronno cupola . of Though far inferior to the work his earlier years , certain details in these frescoes are still fine . The face ofour Lord in the Flagellation is pathetically ren f dered , while that of the Virgin fainting in the scene o ” u x one o f the Cr cifi ion is the finest known . The realism of this noble face worn out with grief has never been su rpassed .

The frescoes have been much injured by damp , and of much the fiery colouring has faded , but the coarse ex ecution and the violent attitudes of most of the — — figu res many of which are over life - size make one feel that these frescoes can never have been satisfac tory . We find Gaudenzio again using gesso for the trappings of the horses .

fSt ‘ The picture o . Paul now in the Louvre at Paris as 1 o f w painted in 5 43 for the altar this chapel . It “ 1 8 was replaced in 5 5 by a Crowning with Thorns, by 1 800 Titian , and both pictures were taken to France in ,

1 8 1 S . and were not restored in 4 . t Paul is painted in a green dress and red mantle , seated before a desk on which is an open book . Through a window in the background is seen the town of Damascus, and a small grou p of figures representing the episode of the con version of the saint . It is signed and dated on the

1 G aud entiu s. desk , 5 43 It is not a pleasing picture, f for the colouring is too strong and fiery, and the type o face is ugly . 1 About 5 43 Gaudenzio must have lost his wife, for on July 4 of that year we find him renting a house for

1 1 8 GAU DENZI O FERRARI

older works , but the composition lacks the early spon anei t ty and vivacity . This Last Su pper was commissioned by a certain

Don Aurelio , Prior of the monastery . He tried to make a stipulation that , in return for his gift , the monks ofthe Passion Should say a yearly mass for him A on the anniversary of his death . s he could not get this arrangement made , he presented the picture to the ’ S 1 6 Church of ant Ambrogio at M erate in 5 4 , and in 1 5 49 cancelled his original deed ofgift to the Passionists ’

. G audenzio s of Milan Litigation ensued , as death had , no doubt , sent up the value of the work , and finally, in 1 1 5 5 , the picture was restored to its original place .

To this period belongs the Martyrdom ofSt . Cathe ” rine now in the B rera . This picture was originally ’ u nfor painted for the Church of Sant Angelo . It is an tu nate specimen of the work of his last years . The strength is there , but spoilt by violent and uncouth attitudes . The brilliant colour , no longer subdued by

- delicate half tones , has degenerated into crudeness , the

. types are coarse , and in the case of the central figure ruined by sentimentality . The flesh tints are grayer and browner, and the technique heavy and laboured , while

a s the composition 15 I ncoherent and confused . Such ’ G au d enzio s it is , however , it was immensely admired by * contemporaries, and in later times we find the Austrian

G overnment giving lire to secure it for the B rera . B eing in that important gallery and being a work o f such magnitude , this picture has , perhaps, more than anything else tended to give a wrong estimation ot ’ G aud enzi o s very real talents .

In 1 8 29. LA ST YEA RS 1 1 9

Another late work is in the Church of Santa Maria in

Celso at Milan . It is in the ambulatory, and represents

B of . S the aptism Christ The t . John recalls the f o . Casale picture , but the figure Christ is more dignified

- . To They are painted life size the right are two angels , God and above are the Father , and the Holy Ghost descending in the form of a dove . Around are five

putti and clouds . In the background is a charming landscape with hills and mountains , and a castle by a ’ stream . It is one ofthe most pleasing of G aud enzio s last works . ’ In the B asilica ofSant Ambrogio is a canvas painted in tempera . It is in the third chapel to the right , that f S o t . B artholomew, and that saint is represented on o ne of standing side the M adonna and Child , with St E on John the vangelist the other , while above two ’ u p tti hold a crown over the M adonna s head . The

- figures are life size , but the colours have sunk in , the surface of the canvas has been much blackened and k u . inj red by time , and it is in a very bad light Li e ’ of G au d enzio s most other work of this period , it is

mentioned by Lomazzo . San A pictu re of St . Jerome in the Church of Giorgio

is also attributed to Gaudenzio . It is in the first x chapel to the right , but it is e tremely doubtful that

- S this coarsely painted picture was his work . His pecial

characteristics are lacking in the drawing , though his o f favourite red is used for the cloak the saint , and the general impression given by this picture makes

me think that it belongs to a slightly later period . Tradition says that the kneeling figure to the left is the portrait of a member of the Della Croce family i zo GAU D ENZIO FERRARI

w as d su who Abbot of the a joining monastery , now p pressed . In the B orromean Gallery at Milan are two putti

of - who evidently once formed part an altar piece . The type of child belongs to this late period , and the pale ’ flesh- tints and gray tones would point to Della Cerva s S assistance in the ex ecution . ome foliage recalls G au ’ d enzio s ow n brush , and the curtains are painted a certain red he constantly uses . 1 In 5 45 Gaudenzio worked again at Saronno . He painted four tondos below the cupola with the follow ing scenes from the story of the Fall

1 . f The Creation o Eve .

2 . Adam and Eve in Eden .

E e . 3 . The Temptation of v

4 . The Ex pulsion from Eden .

The first two are ruined by damp, but the two last f named are in a fair state o preservation . We do not ’ G au den zio s know who were assistants , as the only B name mentioned in the archives is a certain attista , a ’ - Gaudenzio s wood carver, but these frescoes entirely lack usual animation . The tone of colouring is light , with pale , distant landscapes . The figures are painted against the skyline , and the anatomy is good . Gaudenzio also painted an “ Assumption of the ” M adonna with the Apostles , which was destroyed when an organ was placed on th at wall in the seven S teenth century . From the aronno archives we learn 1 00 that he received gold scudi for this work , which shows that it was an important one . I n the latter part of 1 5 45 Gaudenzio must have

C HAPTER IX

D RAWI N G S

’ A G OOD many ofGau denzio s drawings and cartoons are to be found at Turin . In the Royal Library is an album containing a good many small drawings belong S of ing to the Lombard chool , which fourteen may be attributed to Gaudenzi o . He generally drew on gray or or brown paper , sometimes in pen and ink in crayon , or he painted in gouache . Sepia is chiefly used with white for the high lights , and he also occasionally uses a green colour . Another interesting collection of small drawings is in the possession ofthe Cavaliere Antonio f u Abrate o T rin . There are a good many by Lanino in this collection , but twelve are certainly by Gaudenzio , and are very well preserved . The earliest represents of of the Visit the Magi , and is about the time the of Varallo screen . Another the same subject , in pen and ink touched up with white , belongs to a slightly of later period . It is very good . Many these drawings are chequered for enlarging . In the Albertina at Turin we find a large collection ofcartoons . Gaudenzio bequeathed a great number to B ernardino Lanino , who at his death left them to his

on 00 . s Pietro , who valued them at 4 scudi His heir, S 800 to the Canonico Carlo olero , sold them for scudi the Marchese Serra . Later they got dispersed , but in 1 22 D RAWI N G S 1 23

f E fS the reign o Charles mmanuel I . o avoy a certain number were acquired for the Royal Gallery at Turin . In 1 83 0 King Carlo Alberto ordered all drawings in the Royal Collection to be transferred to the Royal B Accademia Albertina delle elle Arti , where they have

- . fift remained ever since There are y eight in all , but some are by Lanino , and in nearly all these cartoons the original strokes ofthe chalk have been gone over so f again and again , that it is di ficult to recognise ’ G u nzi a d e o s touch anywhere . The following are probably his work

The N ativity .

Madonna and Child .

A single Figure . Possibly pair to No . 49 . u S of Christ in Glory, with P tti bearing the igns for San the Passion . Cartoon the picture in

B . Giovanni , near ellagio

i . 1 8 . St . Catherine . Possibly pa r to N o

M adonna and Child, with Worshippers .

The M agdalen rising to Heaven . Cartoon for

the Vercelli fresco .

e O . 1 . Asingle Figure . S e N 3

Annunciation . Very similar to the composition

o n the Varallo screen .

The Deposition .

The Resurrection .

S . The Deposition , with even Figures

The Nativity .

The Apostles .

The Sposalizio . 1 24 GAU D ENZIO FERRARI

NO

37 . An Archangel . S f igns o the Passion .

44. The M adonna kneeling with Angels . 6 S 4 . The Holy epulchre .

St . . See . 6 . 49 . John No

0 B 0 i . 5 . A ishop . Pair to No . 5 b s i 0 b s. B See . 0. 5 A ishop . No 5 1 S D 5 . aint and Angel , with onor kneeling .

5 3 . The Holy Family .

. S . 5 5 The Virgin , Child , and aints

8 . St . S . 5 The Madonna, John , and aints

two of The cartoons for N os . 9 and 42 were used by the Giovenones in pictures now in the Turin Gallery . A very early drawing ex ists in the B elle Arti at of u Vercelli which is special interest , as it is a youthf l of copy a drawing by Perugino . It is painted in gouache in gray and red monotone, and is probably done from a study by Perugino for his Deposition , 1 is as which was painted in 495 , and now in the Pitti , the greater part of the design is a facsimile of that

. w as 1 8 composition When Perugino at Pavia in 49 , it is probable that his Sketches were eagerly st u died by of the young Lombard artists . The want proportion , of the ignorance anatomy, and the clumsiness of the S x technique, how great ine perience , while the peculiari ’ ties ofGau d enzio s earliest style are found . Uffiz i In the , Morelli found two drawings by c or Gaudenzio under other names . They are now rectl 8 y labelled , and are N o . 34 , which represents an

Assumption of the Madonna with a host of angels ,

1 26 GAU DENZI O FERRARI

It is drawn roughly with the pen , shadowed with sepia, and lightened with white .

' O Ox ford are utside of Italy, London and the only x places where drawings by Gaudenzio e ist . Morelli 1 1 believed that N o . 3 in the Dresden Collection w as by * him . It is a decorative scheme representing two

putti , with foliage and grapes , and , though reluctant to differ from that eminent critic , I believe it to be the

o f . too work Lanino It is finished for Gaudenzio, whose later drawings are strongly but roughly ex ecuted . This drawing was photographed by B raun under the ’ of orre io of name C gg , r which is yet another proof the of on o n influence that artist Gaudenzio , and indirectly fll rs his o ow e . I In the Print Room at the B ritish Museum we find S several drawings belonging to the Milanese chool . T w o in the Malcolm Collection are by Gaudenzio . 1 8 No . 3 is a design for a lunette , and represents three on figures playing musical instruments . They are painted in bistre and heightened with white, and is f done on gray paper . The other drawing one o the of earliest we possess by Gaudenzio, and one the finest . ’ The composition recalls Perugino s fine picture ofthe ff same subject at Florence , but the types are di erent . The careful manner ofdelineating the locks ofhair is to ’ be found in all G aud enzio s early work . The portrait of the donor shows that this must have been the sketch

The oil- painting ofIa H oly Family in the Dresd en Gallery z o is not by Gauden i . ’ No 8 in B raun s a a o ue. j . 4 C t l g ic u e an un nown a is in the rar at ar e ouse I A p t r by k rt t lib y Ch t rh , ofthe o ona on ofthe Vi in is ano e oo of is. C r ti rg , th r p r f th D RAWI N G S 1 27

for a commission , and , judging from the finish of the x drawing , it was e ecuted earlier than the screen at

Varallo . It is delicately and minutely drawn in red chalk , and the high lights painted with white . Another drawing in the B ritish Museum is probably “ ” a study for the Madonna degli Arangi in San * Cristoforo at Vercelli . There is the same background of u u foliage and fr it , with putti playing in the bo ghs and holding back curtains , and the larger technique shows that it belongs to the Vercelli period . A nother drawing by Gaudenzio is in the library of x of Christ Church , O ford . It represents the head a x youth wearing a biretta , and is e ecuted in silver point heightened with white .

See p . 93. C H R O N O LO G Y

- da GaudenZIo s r at u 1 8 0 8 1 r a a d a. 4 . P ob ble te of bi th V l ggi ’ Fa s am a a Fracchino ther n e, Antonio L nfr nco or ; ’ mo e s am am Vincio ar th r f ily n e, (of V allo) : both

‘ d ead b efore r sr o .

- W a and s u r S fa 1 494 98 . ent to Mil n t died unde te no Scotto

and Luini. 8 oss da a a in sc c s s of 1 49 . P ible te of Piet fre o in the loi ter

a a ar a a a a . S nt M i delle Gr zie, V r llo h I 0 . Fr sc wa l a a Sa 5 3 e o on l of the C pel of the Piet , cro Monte,

ara r a a u a a . V llo, o igin lly Ch pel of the Jo rney to C lv ry f t r Fr s s in a o S . a a i 1 5 0 7 . e coe the Ch pel M g ret n the Church l Sa a a a ra a a . of nt M ri delle G zie, V r lo ’ r Gaud enzio s ma r a 1 0 8 . a a 2 6 5 Prob ble ye of r i ge . On July he signed a contract at Vercelli to paint a picture ’ a a for the Confr ternity of S nt Anna. He is called ” ’ ma s and d sc as Gaudentius e tro, e ribed d e ” a a Eus o F rar is m i V r li . ebi er i entioned n the deed

as witness for Gaudenzio. The picture was to be

r Eas r 1 0 . has d sa a eady by te , 5 9 It i ppe red .

1 0 Ma aud s d a c for m 5 9. On y 7 G enzio igne re eipt pay ent for

a o - m w r i n u c the b ve entioned o k, the Ch r h of St .

s r a at c i. H is son r Agne , p ob bly Ver ell Ge olamo was

born this year. I F rua 2 aud s a c n ra f r 5 1 0 . On eb ry 5 G enzio igned o t ct o an a c a for u c Sa a ar a at r n n on the Ch r h of nt M i A o a. ad b Eas r x a To be re y y te in the ne t ye r. 1 28

1 30 C H RO N O LOGY

On J uly 2 4 he signed a deed as witness. On October 1 3 he signed a contract for an altar-piece for u ch San a r a r ad b the Ch r of t T init , to be e y y

u us I 1 2 . s ur has d sa a d . A g t , 5 9 Thi pict e i ppe re

On November 8 he signed a deed as witness. On J une 2 7 Gaudenzio signed the cont ract for the

- a ar St. r s o rc . lt piece in Ch i t pher, Ve elli On J u ly 3 he signed a contract with a wood- carver for

am - m o a ar- the fr e of the above enti ned lt piece. On February 3 he signed a deed as witness in the

San a c . Convent of M rco, Ver elli u 1 2 s i ss sam On J ly he igned a deed as W tne . In the e document are the names of his son Gerolamo and of

Bernardino Lanino. n u 2 aud s a d as w ss O J ly 4 G enzio igned eed itne . On December 2 he signed a contract for an ancona for

rc San ar . I t was to the Chu h of M co, Vercelli be

r a u 1 1 1 . s ic ur has dis e dy by J ne 3 , 5 3 Thi p t e

appeared . F u 2 au z o f r ar a 1 5 3 1 . On ebr ary 3 G den i signed receipt o p t p y

m f b - m ent o the a ove entioned ancona. On January I 4 and 1 9 and on August 7 and 1 9 he signed receipts for payments of the altar-piece for the ca h a at asa ra t edr l C le Monfer to. On May 4 Gaudenzio signed a deed in which his son

Gerolamo appears as wit ness. On August 1 4 Gaudenzio signed a deed in which he m m r i akes hi self gua antee for h s stepson . ’ d o um d a m 2 r a v to his a s A c ent ted Nove ber , el ti e d ughter ma r a and dot is s d b a d n and his r i ge , igne y G u e zio m u r a son Gerolamo . The oney is sec red by a mo tg ge on his s s at a a and is a in f hou e V r llo , to be p id our s m s in tal ent . On November 3 Gaudenzio signed the contract for the C H RON O LO GY 1 3 1

frescoes representing the life of the Virgin in the

u c St. r s e a a . Ch r h of Ch i toph r, V r llo In the list of ex penses d uring the fi rst four months of ’ 1 b u s d a at 5 3 3 , kept y the D ke of Milan inten nt

a is w : a s r Gau Vigev no, the follo ing entry A M e t o n i a 6 d e t o pittore in Vigev no lire 3 . On J uly 9 Gaudenzio signed a d oc ument relative to the

asa a a - w ch is s d and s C le lt r piece, hi to be fini he ent ff h n a S t . o in t e followi g September. igned Vercelli On Septemb er 2 0 Gau denzio met the deputies from Sa a s d c ra to a ronno at Mil n, and igne a ont ct p int u a a was the c pola of Santa M ria di S ronno . He to ' ’

x Eas r and c 2 00 c us d or. begin the ne t te , to re eive e

Signed at Milan . On October 4 Gaudenzi o signed a d eed as witness at h w s is as im a n . Vercelli . Thi the l t notice of in th t to On J une 1 1 and November 1 7 Gaudenzio signed receipts r am a for payment s for the Saronno wo k . N e of pl ce

is m b ut was r a Sa . not entioned, it p ob bly ronno On Augu st 8 Gaudenzio signed a document relative to ’ his wife s property . This and the following docu

ments are all signed at Milan . On August 9 he signed a deed selling his house at

Varallo for 7 0 0 livres. On September 2 2 he signed a document appointing an ’ agent at Morbegno to administer his wife s property . On October I Gaudenzio and another artist arbitrate in r a quarrel between a pat on and an artist . On October 8 the d ecision relative to the above- men

tioned arbitration was signed . On January 2 0 Gaudenzio signed a receipt for the final a his s at ara p yment for hou e V llo. On March 2 7 he signed a deed making his stepson

agent at Morbegno. 1p C H RO N O LO GY

On J uly 4 Gaudenzio and Della Cerva take a house for r th ee years.

c ur St. au now r was a d Pi t e of P l , in the Louv e, p inte

this year. d o um n a F ruar 1 8 and r a to A c e t d ted eb y , el tive the ” Last Supper in the Ch urch of the Passionist s at

a m s a m s ma to aud nz Mil n, ention three p y ent de G e io

nd a r a an on o th am - ma a e d e t e . D ll Ce v , fr e ker Entries made in the Saronno archives d uring this year p rove th at Gauden zio and his assistants painted the four tondos under the cupola during this year ; also “ ” an ssum the w ch was s r A ption of Virgin, hi de t oyed f r h r in later times to make room o t e o gan .

h au F r ar a ua 1 . D eat of G denzio e r i, J n ry 3

1 34 CATA LOG U E O F WO R KS

E FRAN C .

S O RE. PARI , L UV

ST. A L il w P U O on ood . Form erly in the Chapel ofSanta C orona in Santa Maria

e e Graz e M an. Ta en to a is in 1 800 d ll i , il k P r . ” In scri e 1 GAUDENTIUS. b d 543,

GERMAN Y .

B ATI L ALLERY E O A . RLIN, N N G

. 2 1 CIATI O . w od . No 3, ANNUN N Oil on o “ Ave Maria in Gothic lettering .

BE ERR E H I ER GE SC E T . RLIN, H U N W Z

TH E GEL ABR IEL il w d AN G O on oo .

r f IAT P a t o an ANNUNC ION .

FO R TTI Sma a s in c ar scu . U PU . ll p nel hi o ro

B ES SCH LESI SCH ES SE M . R LAU , MU U

A u au n . A PORTRAIT OF A M N . Attrib ted to G de zio

K BE TH E K ST EREI . ONIGS RG, UN V N

ELI ERY F TH E KEYS r u d aud . D V O . Att ib te to G enzio

ALLER . OLD ENBURG. G Y

A A AND H I L AND SAI TS u u . M D ONN C D N . Do btf l

ITALY .

V I TTADINI ARCORRE, SIGNOR .

M ADONNA AND CH I LD Oil on wood .

h u c of San ie o Rocca ie a P ossibly from t e Ch r h P tr , P tr , sia Val se . ITA LY 1 3 5

H RCH OF SA TA AR IA . ARONA , C U N M

A E F s i 1 1 n 1 . il w . ANCON ( . ini hed 5 O on ood

In n ine i ision s. o e G od the Fa er ee d v Ab v , th , 4 f t inc es x 2 ee n c es and sain s cen e H o Fam 7 h f t 4 i h , t ; tr , ly ily , ee 6 inc es x ee and sa n s and ono e ow 3 f t h 3 f t, i t d r ; b l , ed e a of ri o n pr ll Ch st and the Twelve Ap stles. E graved by

Piannezza . i S gne d and dated .

BE H R CH OF SAN IOVA I LLAGIO , C U G NN .

- E 8 f 2 x LTAR I CE s f 1 1 s. A P , eet inche 3 eet inche Oil on

wood .

is in or su roun e an e s ea n the s ns of Chr t gl y , r d d by g l b ri g ig the assion e ow sa n s and ono s nee n in a o a P ; b l , i t d r k li g d r on ar oon in the cca emia e na d ei B e e ti C t A d Alb rti ll Arti , T rI Forme in a c u i h n a nd re u n . c n t e Va e a rly h r h lt lli , p sen e to the u c of San Gio ann i B e a o the t d Ch r h v , ll gi , by no Frizzoni i 1 late Sig r n 849.

BE A ALLER I A ARRAR A RG MO, G C . f 8 A O A AND H I L . w No. 9 , M D NN C D Oil on ood, 5 eet

2 x 2 inches feet 7 inches.

i ina in he Prob ably ex ecute d by D ell a C erva. Or g lly t En a e an C onvent of Santa Chiara at Mil an . gr v d by Pi

nezza.

BE ALLER I A LOCH IS. RGAMO , G

. 8 0 n 1 A I G AND LAY I I Nos a d C G TT . 4 , 49, 5 , 5 , D N N P N PU

Oil on wood . “ Form e the e e a ofthe a ar- iece The Ma ia e rly p r d ll lt p , rr g

ofSt . a e ne in the ca e a at No ara. asse n o C th ri , th dr l v P d i t the Mon o ec ion at M an en n o the B o omeo ti C ll t il , th i t rr i Ga e and na n o the Loch s Ga e . ll ry , fi lly i t ll ry

LY FAM ILY il I f s x o. O O w d N 7 3 , H on oo , oot 7 inche

1 foot 1 inch .

’ BE H RCH OF SA T LESSA R O ELLA ROCE RGAMO , C U N A ND D C

SACRISTY .

T EROME AND H REE OMI ICA SAI TS F S . J T D N N N our

an s oil w od . Cir ca 1 1 0 . p el , on o 5 1 36 CATALO G U E OF WO RKS

B S S Z SA TA A R IA DI IA A . U TO AR I IO , N M P ZZ

'

A i n n n . a . ANCON ni e pa el s Czrc I 5 39 Oil on wood .

um i n h M n o n the B a is and Ass pt o oft e ad on a ; St . J h pt t

. M . St c ae St e ome and St . F anc s a o e God the i h l ; J r r i ; b v ,

Fa e e e a ee scen es om the e ofthe V n . th r p r d ll , thr fr lif irgi

B B KE E H I A ESA ELLA I ET . CANO IO, LA MAGGIOR , C D P

O R EY T AL AR Y r 1 . o . Ci a 1 n J U N C V c 5 9 Oil o wood .

d a a in s e e a : n e s nee n an e es o e . Pr d ll A g l k li g, Pi t g , gild d

S E FE R OMO . CA AL MON R ATO , DU

ar ra c BA TISM OF H RI ST. Oil w Alt , left of ent n e, P C on ood, muc n ur h i j ed .

- c o r ra men s ofa ar ec ST. CY A ND TH E MA G In h i , f g t lt pi e, LU A LE E and de a an s w sc n es rom of D N , pre ll p el ith e f the life

St . Lu 1 m n u r . . on w d uc d . cy 5 34 Oil oo , h i j e

BB KE OF BB BA TI STERY OF COMA IO, LA COMA IO, P AR I P SH CH URCH .

A 8 CO . on ca as 2 1 s. AN N Oil nv , feet inch x 4 feet inche u D o btful .

e a Ma onn a and ca e and e Upp r p rt , d Child , rv d gild d ;

a sou s in m o . l ower p rt , l li b — ’ DuoMo H A EL OF SA T BBO IO . COMO, C P N A ND

- n d ar and d . Circa 1 1 1 . ANCONA i woo , c ved gilde 5 4 5

a Gau enz o and o a D esigne d in great p rt by d i , p r b bly carried out by P asseri .

FLI GH T I TO EGY T . Circa 1 2 . m ra on To left, N P 5 7 Te pe

ca as 1 0 c s x 6 nc s. nv , feet 7 in he 7 feet i he

E MBE T FIG R E OF PRO H ET . m ra on Above, R CU N U P Te pe

canvas. — DuoMo H A EL OF SAN I SE E DEL ARCH ESI . COMO, C P G U PP M

m n ir ca 1 1 8 . e ra o M AR R IAGE OF TH E VI RGI N . C 5 T pe

can as 1 0 e nc s x 6 c s. v , fe t 7 i he 7 feet in he ’ Originally paint ed for the Ch apel ofSant Abb ondio.

1 3 8 CATA LOG U E OF WO R KS — BRERA E TRA CE ALLERY . MILAN , N N G

A series of FR ESCOES representing scenes from the lives of

St. oac m St. a and r . J hi , Ann , the Vi gin

Be un Gau enzio and nis e a er his ea his g by d , fi h d ft d th by followers.

’ RCH BISH O S ALACE. MILAN , A P P

R F H E OLY H IL Circa 1 0 . sma AD O ATION O T H C D . 5 3 A ll

panel in oil .

SEO BOR ROMEO. MILAN , MU

1 2 A O A AND H IL ITH ST. OSE H AND ST No . , M D NN C D W J P il w od t Y BB T irca 1 1 . TH O O . O AN N A C 5 9 on o , 4 fee

5 inches x 2 feet 7 inches. i PUTTI O l on wood .

I SEO DI ASTELLO SFOR A . M LAN, MU C Z

r w . PREDELLA in chia oscuro . Oil on ood

I- P LI SEO OL E O . MILAN , MU P D ZZ

A O A AND H I L ITH ST. OMI IC ST. ETER M D NN C D W D N , P R YR T BA RBARA AND T ATH I A T S . S . ER E OF SIE A . M , , C N N

i 8 il o . C rca 1 5 1 . O on wo d

‘ — H RCH OF SA T AMBROGIo H A EL OF ST. BAR MILAN , C U N C P

TH OLOMEw .

A O A AND H IL ITH ST BARTH OLOME AND ST . M D NN C D W . W OH TH E BA TI ST AND TTI J N P PU Tempera on canvas.

H R CH O F SAN IORGIO AL PALAzzo—FI R ST MILAN, C U G I H T ALTAR To R G .

ST. EROM E A N D O OR . w J D N Doubtful Oil on ood . x 1 5 feet 5 inches 4 feet 9 inches.

E Piannezza n graved by . ITA LY 1 39

H RCH OF SA TA AR IA I N ELso— MB LA MILAN, C U N M C A U

TORY .

BA TISM OF H RIST w 1 1 c s x P C Oil on ood, feet 5 in he 6 s 4 feet inche .

H RCH OF SA TA ARIA ELLE RA IE MILAN , C U N M D G Z A CH APEL O F TH E S NTA CORONA .

S s f m TH E ASSI O OF H R I ST a s in u n cene ro P N C , ngel the va lti g

1 2 r . 5 4 . In f esco

En r Piann zz g aved by e a.

H RCH O F SA TA AR IA ELLA ASSIO E MILAN , C U N M D P N

H A E F T OH TH E E A GELIST. C P L O S . J N V N

° L H A ER . 1 . w T E L ST SUPP ( ) 5 44 Oil on ood .

Assiste d by D ella C erva.

SI G OR RES I . M ILAN, N C P

I ETA w d f 1 0 ch s x 2 P Oil on oo , 3 eet in e feet

1 1 inches.

n in he ossession of the Rossi am a Tu n O ce t p f ily t ri . n M n B ou S n o P asse d to Signor Bia co at ila . ght by ig r Crespi in 1 900 .

O TE ICOG A . MILAN, C N C N

ATH M ARRIAGE O F ST. C ERI N E.

O TE OR E O SOR MANI . MILAN, C N L NZ

ORATIO OF TH E H I L u u . a as AD N C D Do btf l Oil on c nv .

BE H RCH OF TH E SS M TI O AND OF MOR GNO, C U A U P N RE E LAW NC .

- LTAR IE E. i rca I 1 6 1 2 . a d d A P C C 5 to 5 3 C rve , gilde ,

painted .

Assiste d by Del M agno and Fermo Stell a . 1 40 CATALO GUE OF WO RKS

’ B E H RCH OF SA T TO IO DEI OME I CA I MOR GNO, C U N AN N D N N a (now used as b rracks) .

E r n ra LUN TTE ove e t nce.

ORATI O OF TH E H IL s f x 1 0 f AD N C D In fre co, 5 eet eet

6 inches.

I BRAR Y NOVARA, L .

n EL A R I G il Two pa els of ANG S DO N O on wood . B e uea e a a e e Mo o in w ose am e q th d by C v li r rbi , h f ily th y En h n un e ea s. r z ad b ee ov er a h dr d y r g aved by Pianne za . — DUOMo H I R H A EL To IGH T . NOVARA, T D C P R

ARR IAGE OF ST. ATH ER I E. w od M C N Oil on o , 7 feet x s 4 inches 5 feet 4 inche .

Engraved by Piann ezza . — OMO SACR ISTY . NOVARA , DU

H ER il T E LAST SUPP O on wood . O na in the orm ofa on o and cut own to in o rigi lly f t d , d fit t th ane n e p lli g .

H R CH OF SAN A E IO— H IR H A EL NOVARA, C U G UD NZ T D C P

To LEFT.

T - IE ix r n r E ir a L AR CE s a s a d d a . c c A P in p tition p e ell ( , i O l on wood .

Engraved by Piannezza .

R H RCH OF SAN A E IO—FI FTH H A EL NOVA A, C U G UD NZ C P

To RI GH T.

Terra-cotta figure of CH R IST CRUCI FIED

A ASA ELLA FA MIGLIA FAA . NOVAR , C D

Two an s : T A R I E T. H H E E A E I T S . C S O T G L S p el M U , J N V N .

w 6 c s x 2 nc s. Oil on ood, 3 feet in he feet 3 i he P art ofan ancona originally painte d for the Tettona family n ofRomag ano .

1 42 CATA LOG U E OF WO RKS

OYAL ALLERY . TURIN , R G

E . NO. EETI G OF ST . OACH IM AND ST. A 43 , M N J ANN ( )

woo 2 1 0 s x 1 f 1 0 c s. Oil on d, feet inche oot in he

‘ TH E L I Y 2 1 0 s . M GH T Oil w d N 44 , A , f h o on oo _ eet inc e x 1 f oot 1 0 inches.

. TH E A O A AND H I L T. A AND GELS No 4 7 , M D NN C D , S ANN AN

Oil o n w 2 t I O nc s x I 1 0 c s. ood, fee i he foot in he

. 8 St. OACH IM R I E FROM TH E EM LE No 4 , J D V N T P Oil w d 2 1 0 c s x 1 1 0 c on oo , feet in he foot in hes. T ese ou anels once e on e to Si n r n onio na h f r p b l g d g o A t Pri , n m a d ca e from near Novara .

f- ze NO 6 ST. ETER AND O OR . il w od s . 4 , P D N O on o (li e i ) , f 2 x 2 5 eet inches feet . Th ri w in f e ght g o an ancona .

. TH E A O A AND H IL ST . ARTI ST. No 49, M D NN C D , M N,

A R I CE AND A TTO . il w 6 6 es M U , PU O on ood , feet inch x 4 feet . B elon ged formerly to the C onfraternita della Scala at asa B he ain er C l e di Monferrato. ought in 1 87 0 from t p t n i Orla d for lire .

NO . 0 TH E R CI FIX I a as f O . m a 5 , C U N Te per on c nv , 5 eet 6 c s x in he 5 feet 7 inches. B el onge d in 1 830 to the Crescia fa mily at C a sale d i Mon r a fe r to.

NO. 1 TH E E x f t OSITIO . w 5 , D P N Oil on ood, 7 feet 4 ee 2 inches.

a oon in the Bi o eca e ina Tu in . In 1 is C rt bli t Alb rt , r 799 th picture was sent to P aris and was believed to b e by B ramante . It was re u ne in 1 1 t r d 8 5 .

SIG OR BRATE. TURIN, N A

c c on RA I A olle ti of D W NGS.

ROYAL I Y BRAR . TURIN , L

co RA I A llection of D W NGS. I TALY 1 43

B IBLI OTECA LBERTI A ELLE B ELLE RTI TURIN , A N D A .

ART n I C OONS a d D RAW NGS.

’

ARCH ESA DI SA T R E. TURIN , M N AND

H R IST IN LORY su sa s u C G , rrounded by int and angels. Do bt

ful. Oil on wood .

Signature said to b e un der the frame .

E H R H O F AN I S S C S ORG IO. VALDUGGIA, VAL IA, C U G

OLY FAMI LY ST. BA BARA AND A H E H R S ER . F s H , , P D re co .

Injured . n ra P E g ved by iannezza .

SACRO O TE. VARALLO , M N

Chapel of the Nativity : FIGU RES (E

a s h : FI R Ch pel of the Vi it of S epherd s GU ES (E ) .

a a FR E E Ch pel of the Piet : SCO S only. This chap el was originally the Chapel ofthe Journey to r C alva y .

a u x : FR E OE an I Ch pel of the Cr cifi ion SC S d F GUR ES.

a a FI G RES and FR ESCOES ar Ch pel of the M gi U (in p t) . Chapel ofChrist shown to the People : Two FI GU R ES in

the crowd.

SE M . VARALLO, MU U

T EBASTI . w . S . S AN Oil on ood

ST. A ACEA T. ETER w . P N , S P Oil on ood These t w o small p anel s forme d part ofan ancona in the Chu rch ofSan Giovann i at Quarona .

ORTRAIT O F A MA N I N A R ED CAP w A P Oil on ood. ’ K EA Fr Two tondi of M ON S H DS esco . R EI I G TH E STI MATA ST. FRANCI S EC V N G . Thi s picture w as originally in the old ch u rch on the Sacro

Mon En a e Piannezza . te . gr v d by 1 44 CATA LO G U E OF WO RKS

SE M conti nued . VARALLO , MU U ( )

Pr d a ARR I T TH ERI E. a u e AGE OF S . A s o. e ll , M C N Chi ro c r il O on wood .

F SA TA AR IA ELLE RA I E H RCH O . VARALLO, C U N M D G Z

SCR EE ac oss c u c r r s w n - s s N r the h r h , ep e enting t e ty one cene fr m f 1 fr s x o O r s . 1 . t the life Ch i t 5 3 In e co, 34 fee

2 6 feet .

Engrave d by Piannezza .

H RCH O F SA TA AR IA ELLE R A I E VARALLO, C U N M D G Z

H A EL F T AR GAR ET. C P O S . M

ir 1 0 E E FROM TH E H I H H R I T ca . SC N S C LD OOD OF C S . C 5 7

Fr sc 8 x t 1 0 s. e o, feet 7 fee inche

En a e Piannezza gr v d by .

A H RCH OF SA TA AR IA ELLE RA IE V RALLO, C U N M D G Z

CLOISTER .

PIETA Fresco.

Engrave d by Piannezza. — H RCH OF SAN A E IO H OI R . VARALLO, C U G UD NZ C

- ALTAR PIECE in six parts. Oil on wood .

Engrav ed by Piannezza .

L s H A EL OF ORETO. VARAL O (out ide) , C P L

E E a c r r s Fam and LUN TT over entr n e, ep e enting Holy ily

an s. Fr s 6 6 c s x e c s. gel e co, feet in he 3 fe t 9 in he

E E A Y LAYAR . V NIC , L D D

T ANNUNCIA ION Oil on wood .

- E CH UR cH OF ST. H RISTO H ER H OI R . VERC LLI , C P C

LTAR - IECE r r se n a a and d sa n s and A P , ep e nti g M donn Chil , i t

1 2 . wo . putti . 5 9 Oil on od

Engrav ed by Piannezza .

I N D E X

’ A MB ROGI O SANT 1 1 0 s i n G o 2 6 8 , , Chri t l ry , , 9 A nconas : A on a 6 omo s i n H a es r , 3 , 3 7 ; C , Chri t d , 5 5 8 R occa P I etra 6 0 Ch rI St r I SI n fom the Tom : 5 7 , 5 ; , ; g r b a a o 68 M o e no a a o 6 Lon on 1 1 V r ll , ; rb g , 7 5 ; V r ll , 5 ; d , 7 B usto A s z o 1 1 C om ab O 1 6 r i i , 3 , 3 An ew mo 1 1 St . 0 o 2 6 6 88 dr , , 9 C , 9 , , , 9 , A n e s 60 6 0 8 8 onw a SI r M a n 2 g l , 35 , , 4 , 7 , 7 9 , 9 , 9 , C y , rti , 5 1 08 o e o 1 2 2 1 2 6 2 8 88 C rr ggi , , , 7 , 7 , , A n n u n c at on : B e n G a e 1 1 06 1 2 6 i i rli ll ry , 9 , 93 , , 6 ; en ce o a a 6 2 u c fi on : a a o 7 V i , 3 5 ; N v r , Cr i xi V r ll , 5 4 , 7 7 A rcorre e ce 8 M an 1 1 , 5 9 V r lli , 9 il , 5 A rienta S n o 8 , ig r , 7 A on a 6 2 6 1 0 e os t on : a a o ; Tu n r , , 7 , 9 , 3 , 3 7 , 3 D p i i V r ll , 5 5 ri Assumption of the Virgin : Fon 8 7 tane ta ; B u sto A s z o 1 1 escen t o fthe H o G ost 1 0 , 7 3 r i i , 3 D ly h , aw n s : B s M useu m 1 2 6 Dr i g riti h , , B a sm of s : a a o 1 2 ; F o ence Uffi zi 1 2 ; p ti Chri t V r ll , 47 ; 7 l r , , 4 asa e M on e a o 1 0 M an M Ilan Am os an a L a and C l f rr t , 7 il , , br i ibr ry 1 1 n aco te ca 1 2 S no F z 9 Pi , 5 ; ig r ri B e a o 2 6 8 zon 1 2 Tu n A e n a ll gi , , 9 i , 5 ri , lb rti ’ B e amo : San A essan o e a L a 1 2 R o a L a rg t l dr d ll ibr ry , 3 ; y l ibr ry oce 1 G a e a Lochis 8 1 2 ; a a e e A ate 1 2 2 Cr , 4 ll ri , 5 3 C v li r br , G a e a a a a 1 1 e ce 1 2 ll ri C rr r , 7 V r lli , 4 B e n ee n rli . S An u n cia tion B o o na nce H ercolan i 1 01 Fe a Eu se o 2 0 l g , Pri , rr ri , bi di , 4 , 5 , B oltra ffio 6 Fe a G au en z o : ace , 7 rr ri , d i birthp l B ordi a 6 2 and a en ta e ; sen to M an g , , 3 p r g , 4 t il , B o oses a 2 nflu en ce of a t sts at M an rg i 4 . 7 5 i r i il B o o n n e A F 6 1 0 and a a 2 2 - 2 hi s ea o . . 2 2 2 ; rg g , , 5 , , , , 4 , P vi , 4 rly 2 0 6 0 60 6 2 w o a t a a o 1 - his 5 , 3 , 3 , 4 , , rk V r ll , 3 3 3 t ma a e ancona a t A on a B ton M r . e ; righ , Will t , 7 4 rri g , 7 r , B u s o A s z o 1 1 1 ; sc een ac oss San a M a a t r i i , 4 , 3 37 r r t ri B u e Samu e 8 8 e e G az e a a o w o tl r , l , 7 , 3 d ll r i , V r ll , 43 rk a t o a a 60 66 ; a a o 6 8 N v r , , V r ll , ; o mo 6 a no o 1 M o an o o 1 ; , r C bbi , 7 C , 9 C bbi 7

asa e M on fe a o 1 0 1 8 e n o , a e ofthe uc C l rr t , , , 94 b g 7 5 Ch p l Cr i

e a G B e a 1 1 6 2 8 fi x i on , ar a o , 8 al u a C rv , . d ll , 5 , , , V ll 7 V d ggi , 8 o a a 8 ; omo 8 8 1 1 7 1 2 0 3 ; N v r , 4 C , a e n a 8 fes C esarm i e sa e 2 6 , 9 ; coe s i n St , C r , 4 , 5 V lt lli r I N DEX 1 47

r s o e e ce 1 0 1 2 a u i a 8 Lon on Ch i t ph r , V r lli , 93 , 7 ; V ld gg , 4 ; d , o of An e s a t Sa on n o 86 Tu n 88 M I la n 1 1 1 1 1 Ch ir g l r , ; ri , ; , , 9 1 0 o e w o at e c e 1 1 0 M a ian ico 88 7 ; th r rk V r lli , ; gg , M a f e ne V ar e u n e to a a o 1 1 2 se e a e o St. a : r t r d V r ll , ; ttl d rri g C th ri a t M an 1 1 w o a t B us o a o 6 8 o a a 8 il , 3 ; rk t ll , ; N v r , 4 A s 1 1 i he e na M a om of t a e n e z o n t a S . r i i , 3 ; V lt lli , rtyrd C th ri 1 1 M an 1 1 Sa onno 1 2 0 a a o 6 M an 1 1 8 5 ; il , 5 ; r , ; V r ll , 9 il , e a of G au en z o 1 6 o r M Ilan 1 1 2 1 1 0 1 1 ; d th d i , ; p , , 3 , 5 , 5 , , 7 , 3 a s 1 6 e sona a ea m os a n a L a an d n a tr it , , 9 7 ; p r l pp r A br i ibr ry Pi ance and cha ac e s cs 1 6 1 oo eca 1 1 1 2 A c r t ri ti , , 7 t , 33 , 4 , 5 ; r h ’ Fe ar Ge o amo 1 1 08 1 1 2 s o s a ace 1 1 1 B e i o rr i , r l , 4 , , , bi h p P l , ; lg 1 1 osa a a ce 6 B e a 1 6 3 i P l , 9 ; r r , 9 , 7 . F n o E 88 1 1 8 1 2 1 u c ofthe ass on light i t gyp t , 33 , 47 , , Ch r h P i , F o e n ce 1 2 1 1 S n o es 6 l r , 4 7 ; ig r Cr pi , 5 3 , 7 , Fontan e ta 6 8 P old I e zzo G a e 2 8 , 7 3 ; P li ll ry , , ’ Fornoni o esso E a 1 0 San Am o o 1 1 San , Pr f r li , 4 7 ; t br gi , 9 ; Fri zzoni G u s a o 2 1 2 G o o 1 1 San a M a a i n . ; , Dr t v , 7 , 5 i rgi , 9 t ri e so 1 1 San a M a a e e C l , 9 ; t ri d ll G a n a a 80 G a z e 1 1 1 ; San Naz tti r , r i , 5 , 99 , 5 Gioven on e ose 1 1 2 0 za o in B o o 1 6 , J ph, , r r li , , 97 M an ese Sc oo 2 0- 2 2 6 il h l , 3 , I so a Be a M o e n o 1 0 1 1 1 2 1 2 8 l ll , 7 3 rb g , 9 , , , 4 , , , I I 5 7 . 7 5 1 5 me t 1 1 1 e o S . J r , , 4 , 9 oac m en om the Tem e o a a : ou n as e an ; J hi driv fr pl , N v r C t C t ll i , 7 3 0 ca e a 1 1 8 88 San 3 th dr l , , 4 , ; ou ne to a a 1 G au en z o 8 0 60 6 J r y C lv ry , 5 3 , 7 d i , , 4 , 5 9 , , 4 A oca P a a 60 v t , 7 3 libr ry , Lani n o B e na n o 1 1 6 2 , r rdi , 4 , , 7 , 2 8 8 6 1 1 2 1 1 1 1 1 2 2 O en e 1 , , 97 , , 3 , 7 , , ld b rg , 34 1 2 6 O ta La e of 6 r , k , 7 , 5 Las Su e a a o 8 O o 1 2 6 1 2 t pp r , 34 ; V r ll , 4 ; xf rd , , 7 o a a 6 6 M an 1 1 N v r , ; il , 7 Leo n a o d a n c 2 0 2 a s 1 1 1 6 rd Vi i , 5 , 9 , , 4 , P ri , 5 , 0 66 68 8 8 a ma 1 2 8 1 06 3 , 34 , 39 . , , 3 , 5 P r , , 4 , Lom I 6 2 2 2 asse A n ea 8 azzo G . 2 , P , 9 , , , 3 , P ri , dr , 5

1 0 1 au St. 1 1 1 6 P l , , 5 , Lon on : a on a G a e 8 a i a 6 1 d N ti l ll ry , 3 , P v , , 9 , 9 , 7 5 1 1 B s M u seu m 2 1 2 6 e e n o d a M o en a 7 , riti h , 5 , , P ll gri d , 5 4 1 2 o c es e H ou se 86 e u n o 6 2 0 2 8 1 2 1 2 6 7 D r h t r , ; P r gi , , , 4 , 3 , 4 ,

M on 0 e te St . 1 Dr . d , 9 P r , , 7 Lu n B e n a no I o 2 2 2 eta 2 68 i i , r rdi , 5 , 9 , , , 4 , Pi , 9 , 5 3 , 8 6 P re m on a 1 1 1 5 . 7 , 5 , 5 u t 8 1 2 0 P t i , 5 , ’ m d Alb a 2 0 6 Mac ri o , , 7 M a on na and : u a ona u a on a d Child Q r . Q r . 3 4 Arcorre M I lan 6 3 4 ; , 5 9 ; , 7 ; B i on R a ae r ght , 7 4 ph l , M a onna sa n s an d R e ee me the d , Child , i t , d r , , 7 3 a n e s : Tu n 0 a a o 6 R o 1 1 1 g l ri , 3 ; V r ll , 4 ; iv li , La e of O a 6 M an 0 R oc ca e a 8 60 k rt , 5 ; il , 7 , Pi tr , , 5 7 , 1 48 I N D EX

R oma nan o 1 0 a a o 1 2 1 g , V r ll , 3 , 5 , 7 , , 4 , R ome 1 1 1 mu seu m 6 2 San G au , , 33 , 5 , 35 , 9 , 7 ; d en zio 6 8 San a M a a e e , ; t ri d ll Sac o M on e See a a o G az e 6 8 2 2 1 2 r t . V r ll r i , , , 5 , 9 , 3 , 4 , 5 7 , Sa n s 88 San a Ma a Lo e o 6 i t , 35 , 7 3 , 5 9 t ri di r t , 4 ; Sa on no 1 1 6 2 1 2 6 10 1 2 0 Sac o M on e 2 1 2 6 r , 3 , , , , 7 , r t , 5 , 9 , 3 , 4 , 4 , Sc we ze H e Eu en 1 1 2 a e of the u c h it r , rr g , 35 7 7 , ; Ch p l Cr i Sco o S efan o 2 2 8 fi x ion a e of s tt , t , 5 , , 3 , 7 7 ; Ch p l Chri t S osa z o : omo 6 e ce s ow n to the eo e 1 a e p li i C , 9 ; V r lli , h P pl , 3 Ch p l 1 02 M an 1 1 ofthe H o Fa m 1 a e ; il , 4 ly ily , 3 ; Ch p l S a ue of s C ru cified 6 of the M a 1 1 2 a e of t t Chri t , 4 gi , ; Ch p l th e Pi eté 2 a e of the , 9 ; Ch p l T a e e no 6 S e e s 2 ib ldi , P ll gri , 9 h ph rd , 3

T aon a 1 1 asa G . 2 r , 5 V ri , , Tu n : a e 2 0 8 en ce 1 2 ri g ll ry , 7 , 3 3 , 5 5 , 7 , 7 ; V i , 35 , 5 A e na L a 68 86 e ce 1 1 1 2 0 2 6 6 lb rti ibr ry , 49 , , , V r lli , 3 , 7 , , 3 , , , 3 , 8 8 1 2 2 1 2 R o a L a 1 1 08 Acca em a e e B e e 9 , 9 , , 3 ; y l ibr ry , 9 , ; d i d ll ll 1 2 2 a a e e A a e 1 2 2 A 1 2 A oc a B o o na C v li r br t , rti , 4 ; v t rg g , 6 St s o e 2 9 ; Chri t ph r , 9 Vaillate co o 2 e ano 1 00 , Ni l di , 9 Vig v , al u a 8 V d ggi , 4 , 3 a ses a 1 2 1 1 0 Z enale 2 2 2 V l i , 4 , , , , 5 a te n a 1 2 8 u cc e o F 82 V l lli , , 9 Z h r , . , 7 9,

TH E END

BI I N A ND ON I I D P I N UI D FO D LL G S S, L M TE , R TERS , G L R

’

Bell s Miniatu re Series ofPaint ers.

H I S Se es is es ne ma n to e ose who w ou the o or ri d ig d i ly h lp th , ith t pp tunit of o n ee n o the s u ofart et w s to b e a e to y g i g d ply i t t dy , y i h bl a e an n e en n e es i n the w o f Eac o ume t k i t llig t i t r t rk s o Great Masters. h v l ’ con a ns a s o s e c ofthe a s s e an essa on his art a s ofhis t i h rt k t h rti t lif , y , li t c e c u es etc hi f pi t r , .

P tt da i nt lot/z covers wit!: 8 I llu st a t r n o y C , r i ons, 1 s. n et eack , o i m a he h li le t r wi t Photo r avu re Frontis i ece 2s n et . p , g p , .

N OW REA D Y. M T EM L . B H ELE I M MER A A AD A y N Z N. E- E B M LCO M B U R O S. A L BELL N J N y . E I B E D R R GG O . L A ER COTT CO y S . A L E I O . B . LL M Li D FRA G G . I I A SO tt. . N C y C W N, M S I SBORO GH . B R . . BELL GA N U y A G . . E E R LD R A B H A O A M IT G E. G R UZ . y

GA RTH B . ELLI OT STR U TH ER H O . G y AN .

B EI B . . H A M B ERL I H OL . B A N y A C N . L H B M T. . . I LLIA MS i . D H O U G O L tt . AN N y C W N, EER B MC O GA LL A . U SCOTT. L NDS . y W D

EI H T . B G . . I LLIAMSO i D L G O L tt. . N y C W N,

MI LL I B . L. BA L R . A S. y A D Y M I ET EDG UM B E TALE B LL . B C S . A . y Y ,

M RI LL . B G . . I LLIA MSO Litt U O . D . y C W N, MC O GALL R A H A EL B . U COTT . P . y W D S

. B R WLE LEE E REYNOLDS y O Y C V .

R M E B ROW LE LEE E. O N Y . y Y C V

E . B . . I LLI A M SO Litt. D EL U G . V AZQ Z y C W N,

ATT E U . B EDGCUM B E STA LE B . A . W A y Y,

B . T. BA TEMA WATTS. y C N.

I N P REPA RA TI ON . E B A LB IN I H ER R A . TU RN R. y W Y

P E . REMB RANDT. By H O E R A

T B E. B U R B . H AMB ERLA I CONS A L y ARTH C N.

H EL GEL B E WAR . TRU TT S . MI C A AN O . y D D C

F H E R E O P I N I O N S O T P SS . We h r from e e o nt of iew . stmi ns te r B ud et H ig ly sa tisfacto y v ry p i v g . These d ain ty little vol umes are b e au tI fu lly I ll u st ra ted and p rodu ce d at a p rice which " — ’ he w ithin the m eans ofall. L ad i es F ie ld . will pl ac e t m — reve in t ese e t u II ttle oo s. C1zu r chw o All lovers ofart w ill l h d ligh f l b k ma n . ’ h 1 d elI htfu ll w n tten and ot u a w on er u shi in s w h me 5 ort . Eac vol u g y g p , d f l ll g mes I r ish Ti .

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M . A R E . B the R EV. T I N . O . U N y PERK S ,

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