Page:The Atlantic Monthly Volume 1.djvu/27

1857.] Far better is an exquisite little picture in his very best manner, a work which hangs in the apartment De' Piccoli Quadri. This is a Judgment Day, and a cheerful painting of its class. There is an old conceit, very cleverly carried out through the whole composition, of representing all the just made perfect as actually converted into little children. Kings with crowns, popes, bishops, cardinals in hats and mitres, monks cowled and robed in conventual habiliments, are all philandering together through gardens of amaranth and asphodel towards the Grecian portico of heaven; and all these fortunate personages, whether monarchs, priests, fine ladies, or beggars, are depicted with perfectly infantine faces. To do this well lay exactly in the quaint, delicate nature of the angelic Frater; and this portion of the picture is most exquisitely handled. The other moiety, where devils with rabbits' ears, tiger faces, and monkeys' tails, are forking over the damned into frying-pans, while Satan devours them as fast as cooked, is common-place and vulgar. At the same time, it is certain that the whole composition shows much poetry of invention and delicacy of finish.

Andrew Castagno's Magdalen, like Donatello's Wooden Statue of the same penitent in the Baptistery, seems a female Robinson Crusoe,—hirsute, cadaverous, fleshless, uncombed and uncomely,—certainly a more edifying spectacle than the voluptuous, Titianesque exhibitions of fair frailty which became the fashion afterwards.

Of Gentile da Fabriano, a very rare master, there hangs an Adoration of the Magi, marked May, 1423. One always feels grateful to such of the Quattrocentisti as enlarged the sphere of artistic action, by going out of the conventional circle of holy families, nativities, and entombments. There is a dash about Gentile, a fresh, cavalier-like gentility, quite surprising, and altogether his own. A showy, flippant frivolity in several of the figures enlivens and refreshes us with its mundane sparkle and energy. One of the three kings, in particular,—a young, well-dressed, vivacious, goguenard-looking personage, with a very glittering pair of spurs, which his groom is just unbuckling, while another holds a highly bedizened war-horse, who is throwing up his head, showing all his teeth, and crying ha, ha, with all his might,—has a very dramatic effect.

Of the Lippo Lippis, the Lorenzo di Credis, the Ghirlandaios, the Peruginos, and the other great masters of the fifteenth century, of whom are many masterpieces in this collection, there shall, for the present, not a word be said.

There is also a portrait of Savonarola, by Fra Bartolommeo. The face is neither impressive nor attractive. The head is shorn, except the monastic coronal, and shows a small organ of benevolence, and a very large one of self-esteem. The profile is not handsome,—the nose being regularly aquiline, while the mouth is heavy with a projecting upper lip. A strong, blue beard, closely shaven, but very visible, darkens and improves the physiognomy.

This church was so beloved by Michel Angelo as to be called his bride. It must be confessed that the great artist was determined in his choice less by the external charms than by the interior excellence of his sposa; for although she has now got herself a new front and vamped herself up a little, thus looking a trifle younger than she must have done three hundred years ago, still she has any thing but a bridal or virginal aspect.

This church and monastery belong to the earlier German period of Italy, if such a thing as Italian Gothic can be said to have ever existed. The truth is, that with the exception of Milan cathedral, which is modern, exotic, and exceptional, the German, or, to use the common and senseless expression, the Gothic system of architecture never fairly took root in Italy. Certainly, the pointed windows