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Chap. XIV. GIULIANO BUGIARDINI. 495 ment in the Boy, heavy and round though his shape may be. The drapery gives a good account of the frame and limbs beneath, as it does in Mariotto and the Frate, but is rendered more after Michael Angelo’s fashion. The colour is full of light, of good impasto, and fused like that of Albertinelli. We mark in fact the effect which a constant observation of the best models produces on Bugiardini. 1 In the Leipzig Madonna, greatly as it has been injured, the same dependence is manifested; and in a pleasant landscape Giuliano seeks to tint the hill-sides with natural variety according to their distance, and to give depth on the principles of Da Vinci. But his types are more vulgar and fleshy, his drawing more incorrect, his drapery more festooned than at the Uffizi. 2 The Ber lin Nativity, of better preservation, is composed and painted more particularly in the method of Mariotto and the Frate, in a strong low key of harmonious tone, the figures still faulty and short. 3 A more effective dis tribution, better forms and truer proportions in the “Mar riage of S. Catherine” at Bologna, are insufficient to com pensate for the bricky tinge and rawness of a picture marked by something like the manner in which Inno- cenzo da Imola afterwards betrays his contact with the Florentines. 4 Another phase in Bugiardini’s character is to be noticed in genuine works in which the personages, instead of 1 Uffizi. No. 220. Wood, oil, fi gures all but life size. The type of the child is like that in the TurinMadonna (antea). The colour . shadowed in grey, fused like that in Mariotto’s Virgin and saints (1506) at the Louvre. The prevail ing tone is rosy, but some sharpness has been created by old cleaning and the consequent flaying of glazes. 2 Leipzig Museum. No. 143. Ca talogued, Giulio Romano, the in scription, havingbeen altered from “Jul. Flor. f.” to “Jul. Ko. f.” The Virgin holds the infantin herarms, the Baptist in front pointing to him and holding the reed cross, the drawing heavy, puffy, and in correct. The nimbuses have been removed; and many parts, ex. gr. the shadow on the Virgin’s cheek and neck, the child’s hand, and the foot of the Baptist are repainted. 3 The infant sits on the ground adored by the kneeling Virgin, right, SS. John Evangelist and Philip; left, SS. Jerom and Joseph.* In the air is an angel, distance landscape. Inscribed: “Jul. Flo. fac.” Wood, oil, figures life size, well preserved. 4 Bologna Pinacotoca. No.26. The Virgin has the child on her knee,