Volltext Seite (XML)
582 THE FIFTEENTH CENTURY. Chap. XVII. tist (wood, oil). The monogram is at S. Joseph’s feet. Though no longer transparent in shadows nor soft in outline, because of bad condition, this is still grand and plastic in the masses, -vyith something in the drawing and colour that tells Pontormo was still in Del Sarto’s atelier. The subject in this form seems to have been prized. There is an injured school copy of it, done at one painting, and hard of colour, but with the monogram (wood, oil), in Dudley House. A second, likewise with the monogram, not so old in appearance as that of Dudley House, but Of a more milky trans parence, and by a clever imitator of Del Sarto, is in the collection of Mr. Holford in London, a third, on canvass, of a later time, without signature, at Ince, near Liverpool (see postea). No. 871. Virgin and child, all but life size (wood, oil), quite in Andrea’s character, but more exaggerated in forms and not quite up to his level in power. A feeble copy of this is in the Dulwich Gallery (postea). No. 788. Virgin, child, and S. Joseph (wood, oil, under life size), reduced from that of the Barberini Gallery in Rome (antea p. 579), at one painting perhaps by Salviati. There is, we have said, a repetition of the subject at Madrid in the collection of the Marquis of Westminster (postea). No. 911 (wood, oil). Virgin, child, two cherubs to the left, and to the right, in distance S. Fran cis in extasy at an angel playing a fiddle. This seems taken by Puligo from an original now belonging to the Marquis of Hertford, in London, of which there is also an imitation at Longford castle (postea). No. 681. Repetition of No. 911, also of the school. Paris. Louvre. No. 439 (round, wood, oil). Holy Family, with the monogram, and inscribed: “Andrea del Sarto Florentino facie- bat.” The Virgin kneels in profile, behind her S. Joseph. She holds the infant Christ whilst S. Elizabeth, in front of her, has S. John in her arms. This is so completely repainted that one cannot judge of its original condition. The composition, however, is reminis cent of Fra Bartolommeo. See for replicas, not original, one in Count Sergei Stroganoffs collection at S. Petersburg, and another belonging to the Earl of Portarlington (postea, p. 587). No. 438. Holy Family (wood, oil, life size). The kneeling Virgin supporting the infant Christ who looks at S. Elizabeth, keeping back the boy Baptist. The latter points towards heaven. Two angels are behind the Virgin. Though, here, the fullest power of Andrea del Sarto is not exhibited, the panel seems to be the original of those at Vienna (No. 3. Room. 4. Ital. sell., antea), at the Grosvenor Gal lery (Marquis of Westminster, postea), and at Ince (postea). No. 440. Annunciation, supposed to be a part of the . predella, No. 63, at the Florence Academy of Arts, and a copy from Andrea’s Annunciation at the Pitti, No. 163. Montpellier. Musee Fabre. No. 6. Virgin and child, and S. John
