Introduction to Robert Browning [101]
St. Sebastian, in the Nat. Gal., painted for the Pucci Chapel in the Church of San Sebastiano de' Servi, at Florence. `This painting', says Vasari, `has been more extolled than any other ever executed by Antonio'. It is, however, unpleasantly hard and obtrusively anatomical. Pollajuolo is said to have been the first artist who studied anatomy by means of dissection, and his sole aim in this picture seems to have been to display his knowledge of muscular action. He was an engraver as well as goldsmith, sculptor, and painter." -- Heaton. tempera: see Webster, s. vv. "tempera" and "distemper". {paint types} Alesso Baldovinetti: Florentine painter, b. 1422, or later, d. 1499; worked in mosaic, particularly as a restorer of old mosaics, besides painting; he made many experiments in both branches of art, and attempted to work fresco `al secco', and varnish it so as to make it permanent, but in this he failed. His works were distinguished for extreme minuteness of detail. "In the church of the Annunziata in Florence, he executed an historical piece in fresco, but finished `a secco', wherein he represented the Nativity of Christ, painted with such minuteness of care, that each separate straw in the roof of a cabin, figured therein, may be counted, and every knot in these straws distinguished." -- Vasari. His remaining works are much injured by scaling or the abrasion of the colors.
28.
Margheritone of Arezzo, With the grave-clothes garb and swaddling barret (Why purse up mouth and beak in a pet so, You bald old saturnine poll-clawed parrot?) Not a poor glimmering Crucifixion, Where in the foreground kneels the donor? If such remain, as is my conviction, The hoarding it does you but little honor.
-- St. 28. Margheritone: Margaritone; painter, sculptor, and architect, of Arezzo (1236-1313); the most important of his remaining pictures is a Madonna, in the London National Gallery, from Church of St. Margaret, at Arezzo, "said to be a characteristic work, and mentioned by Vasari, who praises its small figures, which he says are executed `with more grace and finished with greater delicacy' than the larger ones. Nothing, however, can be more unlike nature, than the grim Madonna and the weird starved Child in her arms (see `Wornum's Catal. Nat. Gal.', for a description of this painting). Margaritone's favorite subject was the figure of St. Francis, his style being well suited to depict the chief ascetic saint. Crucifixions were also much to his taste, and he represented them in all their repulsive details. Vasari relates that he died at the age of 77, afflicted and disgusted at having lived to see the changes that had taken place in art, and the honors bestowed on the new artists." -- Heaton. His monument to Pope Gregory X. in the Cathedral of Arezzo, is ranked among his best works. "Browning possesses the `Crucifixion' by M. to which he alludes, as also the pictures of Alesso Baldovinetti, and Taddeo Gaddi, and Pollajuolo described in the poem." -- Browning Soc. Papers, Pt. II., p. 169.
29.
They pass; for them the panels may thrill, The tempera grow alive and tinglish; Their pictures are left to the mercies still Of dealers and stealers, Jews and the English, Who, seeing mere money's worth in their prize, Will sell it to somebody calm as Zeno At naked High Art, and in ecstasies Before some clay-cold vile Carlino!
-- St. 29. tempera: see Webster, s.v. {a type of paint} tinglish: sharp? Zeno: founder of the Stoic philosophy. Carlino: some expressionless picture by Carlo, or Carlino, Dolci. His works show an extreme finish, often with no end beyond itself; some being, to use Ruskin's words, "polished into inanity".
30.
No matter for these! But Giotto, you, Have you allowed, as the town-tongues babble it -- Oh, never! it shall not be counted true -- That a certain precious little tablet Which Buonarroti eyed like a lover, Was buried so long in oblivion's womb And, left for another than I to discover, Turns up at last! and to whom? -- to whom?
-- St. 30.
28.
Margheritone of Arezzo, With the grave-clothes garb and swaddling barret (Why purse up mouth and beak in a pet so, You bald old saturnine poll-clawed parrot?) Not a poor glimmering Crucifixion, Where in the foreground kneels the donor? If such remain, as is my conviction, The hoarding it does you but little honor.
-- St. 28. Margheritone: Margaritone; painter, sculptor, and architect, of Arezzo (1236-1313); the most important of his remaining pictures is a Madonna, in the London National Gallery, from Church of St. Margaret, at Arezzo, "said to be a characteristic work, and mentioned by Vasari, who praises its small figures, which he says are executed `with more grace and finished with greater delicacy' than the larger ones. Nothing, however, can be more unlike nature, than the grim Madonna and the weird starved Child in her arms (see `Wornum's Catal. Nat. Gal.', for a description of this painting). Margaritone's favorite subject was the figure of St. Francis, his style being well suited to depict the chief ascetic saint. Crucifixions were also much to his taste, and he represented them in all their repulsive details. Vasari relates that he died at the age of 77, afflicted and disgusted at having lived to see the changes that had taken place in art, and the honors bestowed on the new artists." -- Heaton. His monument to Pope Gregory X. in the Cathedral of Arezzo, is ranked among his best works. "Browning possesses the `Crucifixion' by M. to which he alludes, as also the pictures of Alesso Baldovinetti, and Taddeo Gaddi, and Pollajuolo described in the poem." -- Browning Soc. Papers, Pt. II., p. 169.
29.
They pass; for them the panels may thrill, The tempera grow alive and tinglish; Their pictures are left to the mercies still Of dealers and stealers, Jews and the English, Who, seeing mere money's worth in their prize, Will sell it to somebody calm as Zeno At naked High Art, and in ecstasies Before some clay-cold vile Carlino!
-- St. 29. tempera: see Webster, s.v. {a type of paint} tinglish: sharp? Zeno: founder of the Stoic philosophy. Carlino: some expressionless picture by Carlo, or Carlino, Dolci. His works show an extreme finish, often with no end beyond itself; some being, to use Ruskin's words, "polished into inanity".
30.
No matter for these! But Giotto, you, Have you allowed, as the town-tongues babble it -- Oh, never! it shall not be counted true -- That a certain precious little tablet Which Buonarroti eyed like a lover, Was buried so long in oblivion's womb And, left for another than I to discover, Turns up at last! and to whom? -- to whom?
-- St. 30.