Chap. XIII. FRA BARTOLOMMEO DELLA PORTA. 463 that permeates the space begins to appear, and. the more we gaze, the more intense becomes the satisfaction; and we see the Frate illustrate an axiom described by Leo nardo as essential to perfection. One could almost fancy that the words of Da Vinci were intended to apply to the Virgin of Mercy which is altogether according to his maxims. We enter into its darkest recesses, and glance from the lights and shadows to the half-tints that mottle the groups, as clouds cast a transparent darkness on the flatness of a landscape and vary its monotony. 1 The Madonna of the Hermitage is a variation in oil of the frescos of Pian’ di Mugnone and S. Marco, broad and weighty in the scantling of the frames; grandiose in movement rather than enticing by select mould of feature. Four winged children touch instruments or keep watch around her, as she sits on the ground and holds' the spirited and smiling naked child to her bosom; but full enjoyment is forbidden on account of a pallid opaqueness imparted to the colours by restoring. 2 1 Certamente raostro Fra Barto lommeo in questa opera possedere molto il diminuire l’ombre della pittura e gli scuri di quella, con grandissimo rilievo operando, dove le difficult^ dell’ aide mostro con rara ed eccellente maestria e eolo- rito, disegno ed invenzione. On the tablet held up by the angels, are the words: “Misereor super turbam”. On the Virgin’s pedestal: “mr’pietatis et mie. FS. OP.” which means: Frate Sebas- tiano de’ Montecatini, ord. prsedi- catorum, the arms of the family being in the middle of the letters. That the canvass was ordered for Fra Sebastiano, is also proved by records, for which see Marchese ub. sup. II. 109, note; and 144. On the lowest step of the throne: “MDXV. F. Bartholomeus or. pre. pictor Florentinus”. The outlines in many parts are seen as they were first drawn with a pen. In other places they are freshened with a bold touch of the brush. The flesh lights as well as the shadows are in half body, very broadly treated. Glazes are chief ly confined to the more distant parts, the light being concentrated on the front of the picture. Some hardness may be due to cleaning. There is a small unfinished copy of this masterpiece, miscalled a sketch by Fra Bartolommeo, really of the seventeenth century, belong ing to Signor G. B. Mansi at Lucca. Another small modern copy, on copper, is also under the Frate’s name (No. 4) in the Leuchtenberg gallery at S. Petersburg. 2 On a tablet in the upper part are the words: Mater Dei. 1515. Below: “Bart. Florn s ord. prsedi- catorum”. Wood, oil, No. 20. Her mitage at S. Petersburg, formerly belonging to Crozat. The sha dows of the flesh tints are re touched with liquid tints, and hence opaque. The pupils of the eyes and some outlines have also been repainted. There are spots