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Chap. XIII. FEA PAOLINO. 479 and youthful Baptist in the Palazzo Sciarra Colonna, at Rome; a Madonna with the infant, the Baptist, and S. Joseph (1511) in the Palace of Prince Corsini, and a Virgin and child in the Antinori Palace at S. Gaetano, in Florence. 1 Such a man, as Fra Paolino, would naturally do better or worse according as the person who controlled him paid more or less attention to his labours. We need not for this reason hesitate to class under one head pro ductions like those of Vienna, Sienna, Rome, and Flor ence, the last of which are much below the first. For, in spite of the difference in merit apparent in them, they all have the same general stamp. 2 That Fra Paolino was indebted for instruction chiefly to Fra Bartolommeo, is shown by the fact that the Crucifixion undertaken by him in S. Spirito of Sienna (1516) was till lately considered to have been by Della Porta. 3 He had free run of the sketches, drawings, or cartoons of the latter,- and by that means frequently concealed his own deficiencies as a com poser and draughtsman. His most successful effort as an executant is the Madonna of Vienna. Colour, on panel or canvass, is constantly bricky, opaque, and inky in shadow; contours are wiry and mechanical, faces vulgar, and drapery unnecessarily cut up with detail. In fresco, his brush is washy and powerless; relief by light and shade is scarcely attained at all; and lifeless stiffness is the consequence. After Fra Bartolommeo’s death, Fra Paolino- made co pious use of the great man’s heirlooms, finishing what he had begun, or colouring on his outlines. This is apparent in a Pieta of 1519 at the Academy of Florence; in other 1 In 1513 Fra Paolino modelled two figures of earth which were afterwards placed in S. M. Mad. of Pian’ di Mugnone. Marchese, II. p. 207. 2 One painter who might claim to ho mentioned for a share of some of the pieces named, is So- gliani, another is Mariotto. But Sogliani imitated Fra Bartolom meo at a later period, and the stamp of Mariotto is not that ap parent in the works before us. 3 The record proving that the Crucifixion of S. Spirito at Sienna is by Fra Paolino, is in Marchese II. 210—11. Frescos done in 1514, at Pian di Mugnone by Fra Paolino, have perished (Marchese II. 209).