DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0250
192 GIOVANNI BUONCONSIGLIO
Finally, the large picture above the first altar to the
right in SS. Giovanni e Paolo at Venice, which is a
very unworthy successor of the wonderful yala by
Giovanni Bellini, destroyed by fire in 1867, has fairly
valid claims for being considered as a late product of
Buonconsiglio’s. It represents the Virgin with the
Child in her lap, hoisted up on a lofty pedestal in a
marble portico, and standing out effectively against
the clouded sky towards which the vaulted hall opens.
On either side of her stand Saints John the Baptist
and Peter and, a step lower, to the left St. Paul, a holy
bishop and St. Francis, and to the right St. Bernard
of Siena, a holy cardinal and an old bearded saint.
This painting originally adorned a church far off in a
Venetian colony—San Francesco at Candia. The
model for the whole was no doubt Alvise’s Glory of
St. Ambrose in the Frari. The types are unmistakably
akin to Buonconsiglio, and his favourite arrangement
of the carpet spread under the feet of the Madonna is
also to be found here. The colouring is very feeble.1
with vehicle. We are reminded of Campagnola and Andrea Schiavone.”
Exhibition of Venetian Art, New Gallery, 1894-95, No. 75 (“ Half-
length figure of a lady, to right; head to left; looking at a man in
armour, who stands behind her; her right hand on a covered basket;
her left resting on an apple placed on the head of a lion. Canvas,
34 x 32I in.” Catalogue, p. 14).—Collection of Mr. Charles Butler.
The Mistress of Giorgione. Crowe and Cavalcaselle (op. cit. ii. 159) :
“ The varnishy thickness of the impast and washy clearness of the flesh
and a certain rawness are characteristic in followers of Palma.” Ex-
hibition of Venetian Art, New Gallery, 1894-95, No. 275 (“ Half-length,
life-size figures towards right; white dress with red sleeves and a
jewelled turban-like head-dress; holding with both hands a lute, the
top of which only is seen ; mountainous background, with knight and
esquire on left, and church on right. Panel, 28 x 22 in. From the
Manfrini, Barker and Malmesbury collections.” Catalogue, p. 52).
1 Venice. SS. Giovanni e Paolo. First altar to the right. The
Virgin, in crimson tunic, blue mantle and white hood, indicates with
her right hand the Child, who is seated, imparting the benediction, in
her lap to the right, and whom she supports with her left hand. St.
Finally, the large picture above the first altar to the
right in SS. Giovanni e Paolo at Venice, which is a
very unworthy successor of the wonderful yala by
Giovanni Bellini, destroyed by fire in 1867, has fairly
valid claims for being considered as a late product of
Buonconsiglio’s. It represents the Virgin with the
Child in her lap, hoisted up on a lofty pedestal in a
marble portico, and standing out effectively against
the clouded sky towards which the vaulted hall opens.
On either side of her stand Saints John the Baptist
and Peter and, a step lower, to the left St. Paul, a holy
bishop and St. Francis, and to the right St. Bernard
of Siena, a holy cardinal and an old bearded saint.
This painting originally adorned a church far off in a
Venetian colony—San Francesco at Candia. The
model for the whole was no doubt Alvise’s Glory of
St. Ambrose in the Frari. The types are unmistakably
akin to Buonconsiglio, and his favourite arrangement
of the carpet spread under the feet of the Madonna is
also to be found here. The colouring is very feeble.1
with vehicle. We are reminded of Campagnola and Andrea Schiavone.”
Exhibition of Venetian Art, New Gallery, 1894-95, No. 75 (“ Half-
length figure of a lady, to right; head to left; looking at a man in
armour, who stands behind her; her right hand on a covered basket;
her left resting on an apple placed on the head of a lion. Canvas,
34 x 32I in.” Catalogue, p. 14).—Collection of Mr. Charles Butler.
The Mistress of Giorgione. Crowe and Cavalcaselle (op. cit. ii. 159) :
“ The varnishy thickness of the impast and washy clearness of the flesh
and a certain rawness are characteristic in followers of Palma.” Ex-
hibition of Venetian Art, New Gallery, 1894-95, No. 275 (“ Half-length,
life-size figures towards right; white dress with red sleeves and a
jewelled turban-like head-dress; holding with both hands a lute, the
top of which only is seen ; mountainous background, with knight and
esquire on left, and church on right. Panel, 28 x 22 in. From the
Manfrini, Barker and Malmesbury collections.” Catalogue, p. 52).
1 Venice. SS. Giovanni e Paolo. First altar to the right. The
Virgin, in crimson tunic, blue mantle and white hood, indicates with
her right hand the Child, who is seated, imparting the benediction, in
her lap to the right, and whom she supports with her left hand. St.