DOI Page / Citation link:
https://doi.org/10.11588/diglit.63299#0098
86
THE PICTURE GALLERT OF CHARLES I.
(No. 20), correctly ascribed to his pupil, Cesare da Sesto. The Portrait
of a Woman with Flowers, No. 61 at Hampton Court, and there, with
a query, put down to Leonardo—as it was, indeed, in King Charles s
catalogue—is by Dr. Gustavo Frizzoni, a high authority, especially on
this his chosen ground, accepted as a genuine Luini. The writer con-
fesses that he is unable to see in it more than a second-rate Milanese per-
formance more or less in his manner. The Leonardesque Infant Christ
caressing St. John (No. 64 at Hampton Court), a picture which Charles
obtained, as we have seen, from the Earl of Pembroke in exchange for
the little Mantegnesque Judith, then put down to Raphael, may be safely
ascribed to the master’s pupil, Marco d’Oggionno, an indifferent painter,
except when he is working, as here, from a design supplied by the
chef d'ecolc. It would be possible to point to many repetitions, both
Italian and Flemish, of the same charming motive. Such an Italian
repetition was quite recently seen in the Doetsch sale at Christie’s, and a
fine Flemish example of the picture, with an elaborate architectural back-
ground of Northern character, is in the Gallery of the Hague as a
Mabuse. Other repetitions are in the Naples Gallery and the Weimar
Museum. Lorenzo Lotto has adopted the same design of the children
kissing with some variation, in his exquisite Madonna and Child, of 1518
in the Dresden Gallery.
An important work was evidently the Mantua piece, “ Our Lady
and Christ, St. John, St. Ann, St. Joseph, St. Katherine—six entire
figures less than the life, said to be done by Lovino, or otherwise by
one out of the school of Leonardo da Vinci (4 feet 5 inches by 4 feet),”
which has not as yet been traced. It has occurred to the writer that it
may be a picture in the collection of Mr. A. Hugh Smith-Barry, M.P.,
which w7as ecstatically praised by Dr. Waagen as a Boltraffio. The latter
does not exactly agree with Vanderdoort’s description, there being six entire
figures besides the Virgin and Child, and among them no St. Catherine,,
but in her place a kneeling donatrix, who may have been mistaken for the
saint of the Mystic Marriage. The dimensions are, however, within a
single inch those given by Vanderdoort (4 feet 4 inches by 4 feet). The
large panel is evidently by one painting in the Milanese style, and it
shows in a marked degree the influence both of Cesare da Sesto and
Boltraffio ; but the hand is surely that of a Fleming painting south of
THE PICTURE GALLERT OF CHARLES I.
(No. 20), correctly ascribed to his pupil, Cesare da Sesto. The Portrait
of a Woman with Flowers, No. 61 at Hampton Court, and there, with
a query, put down to Leonardo—as it was, indeed, in King Charles s
catalogue—is by Dr. Gustavo Frizzoni, a high authority, especially on
this his chosen ground, accepted as a genuine Luini. The writer con-
fesses that he is unable to see in it more than a second-rate Milanese per-
formance more or less in his manner. The Leonardesque Infant Christ
caressing St. John (No. 64 at Hampton Court), a picture which Charles
obtained, as we have seen, from the Earl of Pembroke in exchange for
the little Mantegnesque Judith, then put down to Raphael, may be safely
ascribed to the master’s pupil, Marco d’Oggionno, an indifferent painter,
except when he is working, as here, from a design supplied by the
chef d'ecolc. It would be possible to point to many repetitions, both
Italian and Flemish, of the same charming motive. Such an Italian
repetition was quite recently seen in the Doetsch sale at Christie’s, and a
fine Flemish example of the picture, with an elaborate architectural back-
ground of Northern character, is in the Gallery of the Hague as a
Mabuse. Other repetitions are in the Naples Gallery and the Weimar
Museum. Lorenzo Lotto has adopted the same design of the children
kissing with some variation, in his exquisite Madonna and Child, of 1518
in the Dresden Gallery.
An important work was evidently the Mantua piece, “ Our Lady
and Christ, St. John, St. Ann, St. Joseph, St. Katherine—six entire
figures less than the life, said to be done by Lovino, or otherwise by
one out of the school of Leonardo da Vinci (4 feet 5 inches by 4 feet),”
which has not as yet been traced. It has occurred to the writer that it
may be a picture in the collection of Mr. A. Hugh Smith-Barry, M.P.,
which w7as ecstatically praised by Dr. Waagen as a Boltraffio. The latter
does not exactly agree with Vanderdoort’s description, there being six entire
figures besides the Virgin and Child, and among them no St. Catherine,,
but in her place a kneeling donatrix, who may have been mistaken for the
saint of the Mystic Marriage. The dimensions are, however, within a
single inch those given by Vanderdoort (4 feet 4 inches by 4 feet). The
large panel is evidently by one painting in the Milanese style, and it
shows in a marked degree the influence both of Cesare da Sesto and
Boltraffio ; but the hand is surely that of a Fleming painting south of