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diff --git a/42163-8.txt b/42163-8.txt deleted file mode 100644 index d21001d..0000000 --- a/42163-8.txt +++ /dev/null @@ -1,1324 +0,0 @@ -The Project Gutenberg EBook of Bernardino Luini, by James Mason - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Bernardino Luini - Masterpieces in Colour Series - -Author: James Mason - -Editor: T. Leman Hare - -Release Date: February 22, 2013 [EBook #42163] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK BERNARDINO LUINI *** - - - - -Produced by sp1nd and the Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by The Internet Archive) - - - - - - - - - -MASTERPIECES IN COLOUR - -EDITED BY--T. LEMAN HARE - - -BERNARDINO LUINI - - - - -IN THE SAME SERIES - - ARTIST. AUTHOR. - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - -_In Preparation_ - - VAN DYCK. PERCY M. TURNER. - WHISTLER. T. MARTIN WOOD. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - J. F. MILLET. PERCY M. TURNER. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - HOLBEIN. S. L. BENSUSAN. - BOUCHER. C. HALDANE MACFALL. - VIGÉE LE BRUN. C. HALDANE MACFALL. - WATTEAU. C. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - -AND OTHERS. - - - - -[Illustration: PLATE I.--MADONNA AND CHILD. Frontispiece - -(In the Wallace Collection) - -This is another admirably painted study of the artist's favourite -subject. The attitude of the child is most engaging, the painting of -the limbs is full of skill, and the background adds considerably to -the picture's attractions. It will be noted that Luini appears to have -employed the same model for most of his studies of the Madonna.] - - - - -Bernardino LUINI - -BY JAMES MASON - -ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR - - -[Illustration] - - -LONDON: T. C. & E. C. JACK - -NEW YORK: FREDERICK A. STOKES CO. - - - - -LIST OF ILLUSTRATIONS - - - Plate - I. Madonna and Child Frontispiece - In the Wallace Collection - Page - II. Il Salvatore 14 - In the Ambrosiana, Milan - - III. Salomé and the Head of St. John the Baptist 24 - In the Uffizi Gallery, Florence - - IV. The Mystic Marriage of St. Catherine 34 - In the Brera, Milan - - V. The Madonna of the Rose 40 - In the Brera, Milan - - VI. Detail of Fresco 50 - In the Brera, Milan - - VII. Head of Virgin 60 - In the Ambrosiana, Milan - - VIII. Burial of St. Catherine 70 - In the Brera, Milan - - - - -[Illustration] - -I - -A RETROSPECT - - -In the beginning of the long and fascinating history of Italian Art we -see that the spirit of the Renaissance first fluttered over the minds -of men much as the spirit of life is said have moved over the face of -the waters before the first chapter of creation's marvellous story was -written. Beginnings were small, progress was slow, and the lives of -the great artists moved very unevenly to their appointed end. - -There were some who rose to fame and fortune during their life, and -then died so completely that no biography can hope to rouse any -interest in their work among succeeding generations. - -There were others who worked in silence and without _réclame_ of any -sort, content with the respect and esteem of those with whom they came -into immediate contact, indifferent to the plaudits of the crowd or -the noisy praises of those who are not qualified to judge. True -servants of the western world's religion, they translated work into -terms of moral life, and moral life into terms of work. Merit like -truth will out, and when time has sifted good work from bad and -spurious reputations from genuine ones, many men who fluttered the -dovecotes of their own generation disappear from sight altogether; -some others who wrought unseen, never striving to gain the popular ear -or eye, rise on a sudden to heights that might have made them giddy -had they lived to be conscious of their own elevation. They were -lowly, but their fame inherits the earth. - -Bernardino Luini, the subject of this little study, calls us away from -the great art centres--from Venice and Florence and Rome; his record -was made and is to be found to-day amid the plains of Lombardy. Milan -is not always regarded as one of the great art centres of Italy in -spite of the Brera, the Ambrosiana, and the Poldi Pezzoli Palace -collections, but no lover of pictures ever went for the first time to -the galleries of Milan in a reverent spirit and with a patient eye -without feeling that he had discovered a painter of genius. He may not -even have heard his name before, but he will come away quite -determined to learn all he may about the man who painted the wonderful -frescoes that seem destined to retain their spiritual beauty till the -last faint trace of the design passes beyond the reach of the eye, the -man who painted the panel picture of the "Virgin of the Rose Trees," -reproduced with other of his master-works in these pages. - -[Illustration: PLATE II.--IL SALVATORE - -(In the Ambrosiana, Milan) - -This picture, one of the treasures of the beautiful collection in the -Pinacoteca of Ambrosiana in the Piazza della Rosa, hangs by the same -artist's picture of "John the Baptist as a Child." The right hand of -Christ is raised in the attitude of benediction, and the head has a -curiously genuine beauty. The preservation of this picture is -wonderful, the colouring retains much of its early glow. The head is -almost feminine in its tenderness and bears a likeness to Luini's -favourite model.] - -To go to the Brera is to feel something akin to hunger for the history -of Bernardino Luini or Luino or Luvino as he is called by the few -who have found occasion to mention him, although perhaps Luini is the -generally accepted and best known spelling of the name. Unfortunately -the hungry feeling cannot be fully satisfied. Catalogues or guide -books date the year of Luini's birth at or about 1470, and tell us -that he died in 1533, and as this is a period that Giorgio Vasari -covers, we turn eagerly to the well-remembered volumes of the old -gossip hoping to find some stories of the Lombard painter's life and -work. We are eager to know what manner of man Luini was, what forces -influenced him, how he appeared to his contemporaries, whether he had -a fair measure of the large success that attended the leading artists -of his day. Were his patrons great men who rewarded him as he -deserved--how did he fare when the evening came wherein no man may -work? Surely there is ample scope for the score of quaint comments and -amusing if unreliable anecdotes with which Vasari livens his pages. We -are confident that there will be much to reward the search, because -Bernardino Luini and Giorgio Vasari were contemporaries after a -fashion. Vasari would have been twenty-one years old when Luini died, -the writer of the "Lives" would have seen frescoes and panel pictures -in all the glory of their first creation. He could not have failed to -be impressed by the extraordinary beauty of the artist's conceptions, -the skill of his treatment of single figures, the wealth of the -curious and elusive charm that we call atmosphere--a charm to which -all the world's masterpieces are indebted in varying degrees--the -all-pervading sense of a delightful and refined personality, leaves -us eager for the facts that must have been well within the grasp of -the painter's contemporaries. - -Alas for these expectations! Vasari dismisses Bernardino del Lupino, -as he calls him, in six or eight sentences, and what he says has no -biographical value at all. The reference reads suspiciously like what -is known in the world of journalism as padding. Indeed, as Vasari was -a fair judge, and Bernardino Luini was not one of those Venetians whom -Vasari held more or less in contempt, there seems to be some reason -for the silence. Perhaps it was an intimate and personal one, some -unrecorded bitterness between the painter and one of Vasari's friends, -or between Vasari himself and Luini or one of his brothers or -children. Whatever the cause there is no mistake about the result. We -grumble at Vasari, we ridicule his inaccuracies, we regret his -limitations, we scoff at his prejudices, but when he withholds the -light of his investigation from contemporary painters who did not -enjoy the favour of popes and emperors, we wander in a desert land -without a guide, and search with little or no success for the details -that would serve to set the painter before us. - -Many men have taken up the work of investigation, for Luini grows -steadily in favour and esteem, but what Vasari might have done in a -week nobody has achieved in a decade. - -A few unimportant church documents relating to commissions given to -the painter are still extant. He wrote a few words on his frescoes; -here and there a stray reference appears in the works of Italian -writers of the sixteenth and seventeenth centuries, but our knowledge -when it has been sifted and arranged is remarkably small and -deplorably incomplete. Dr. J. C. Williamson, a painstaking critic and -a competent scholar, has written an interesting volume dealing with -the painter, and in the making of it he has consulted nearly fifty -authorities--Italian, French, English, and German--only to find it is -impossible to gather a short chapter of reliable and consecutive -biography from them all. Our only hope lies in the discovery of some -rich store of information in the public or private libraries of Milan -among the manuscripts that are the delight of the scholars. Countless -documents lie unread, many famous libraries are uncatalogued, the -archives of several noble Italian houses that played an important part -in fifteenth and sixteenth century Italy have still to be given to the -world. It is not unreasonable to suppose that records of Luini's life -exist, and in these days when scholarship is ever extending its -boundaries there is hope that some scholar will lay the ever growing -circle of the painter's admirers under lasting obligations. Until that -time comes we must be content to know the man through the work that he -has left behind him, through the medium of fading frescoes, stray -altarpieces, and a few panel pictures. Happily they have a definite -and pleasant story to tell. - -We must go to Milan for Luini just as we must go to Rome for Raphael -and to Madrid for Velazquez and Titian and to Venice for Jacopo -Robusti whom men still call the Little Dyer (Tintoretto). In London we -have one painting on wood, "Christ and the Pharisees," brought from -the Borghese Palace in Rome. The head of Christ is strangely feminine, -the four Pharisees round him are finely painted, and the picture has -probably been attributed to Leonardo da Vinci at some period of its -career. There are three frescoes in South Kensington and a few panel -pictures in private collections. The Louvre is more fortunate than our -National Gallery, it has several frescoes and two or three panels. In -Switzerland, in the Church of St. Mary and the Angels in Lugano, is a -wonderful screen picture of the "Passion of Christ" with some hundreds -of figures in it, and the rest of Luini's work seems to be in Italy. -The greater part is to be found in Milan, some important frescoes -having been brought to the Brera from the house of the Pelucca family -in Monza, while there are some important works in Florence in the -Pitti and Uffizi Galleries. In the Church of St. Peter at Luino on the -shores of Lake Maggiore, the little town where Benardino was born and -from which he took his name, there are some frescoes but they are in a -very faded condition. The people of the lake side town have much to -say about the master who has made Luino a place of pilgrimage but -their stories are quite unreliable. - -[Illustration: PLATE III.--SALOMÉ AND THE HEAD OF ST. JOHN THE BAPTIST - -(In the Uffizi Gallery, Florence) - -In this striking and finely preserved picture Bernardino Luini has -contrived to avoid all sense of horror. The head of the dead John the -Baptist is full of beauty, and even Herodias is handled without any -attempt to make her repulsive. Sufficient contrast is supplied by the -executioner on the right.] - -It might be held, seeing that the artist's work is scanty, and often -in the last stages of decay, while his life story has faded quite from -the recovered records of his contemporaries, that Luini is hardly fit -subject for discussion here. In a series of little books that -seeks to introduce great artists to new friends through the medium of -reproductions that show the work as it is, and a brief concise -description that aims at helping those who are interested to study the -master for themselves, there is a temptation to deal only with popular -men. These give no trouble to their biographer or his readers, but -after all it is not the number of pictures that an artist paints or -the wealth of detail that his admirers have collected that establishes -his claim to be placed among the immortals. His claim rests upon the -quality of the work done, its relation to the times in which it was -painted, the mood or spirit it reveals, the light it throws upon the -mind that conceived and the hand that executed it. - -We know enough and to spare of the more flamboyant personalities of -the Venetian and Florentine schools. Long periods of study will not -exhaust all there is to learn about men like Titian, Michelangelo, -Raphael of Urbino, and the rest, but Luini, though he left no written -record, will not be denied. We dare not pass him by, seeing that we -may introduce him to some admirers who will, in days to come, seek and -find what remains beyond our reach at present. His appeal is so -irresistible, the beauty of his work is so rare and so enduring that -we must endeavour to the best of our ability, however small it be, to -declare his praise, to stimulate inquiry, enlarge his circle, and give -him the place that belongs to him of right. There are painters in -plenty whose work is admired and praised, whose claims we acknowledge -instantly while admitting to ourselves that we should not care to live -with their pictures hanging on round us. The qualities of cleverness -and brilliance pall after a little time, the mere conquest of -technical difficulties of the kind that have been self-inflicted -rouses admiration for a while and then leaves us cold. But the man who -is the happy possessor of a fresco or a panel picture by Luini is to -be envied. Even he who lives in the neighbourhood of some gallery or -church and only sees the rare master's works where, "blackening in the -daily candle smoke, they moulder on the damp wall's travertine," will -never tire of Luini's company. He will always find inspiration, -encouragement, or consolation in the reflection of the serene and -beautiful outlook upon life that gave the work so much of its -enduring merit. Luini, whatever manner of man he may have been, was so -clearly enamoured of beauty, so clearly intolerant of what is ugly and -unrefined, that he shrank from all that was coarse and revolting -either in the life around him or in certain aspects of the Bible -stories that gave him subjects for his brush. Beauty and simplicity -were the objects of his unceasing search, his most exquisite -expression. - -Like all other great painters he had his marked periods of -development, his best work was done in the last years of his life, but -there is nothing mean or trivial in any picture that he painted and -this is the more to his credit because we know from the documents -existing to-day that he lived in the world and not in the cloister. -We admire the perennial serenity of Beato Angelico, we rejoice with -him in his exquisite religious visions. The peaceful quality of his -painting and the happy certainty of his faith move us to the deepest -admiration, but we may not forget that Angelico lived from the time -when he was little more than a boy to the years when he was an old man -in the untroubled atmosphere of the monastery of San Marco in -Florence, that whether he was at home in that most favoured city or -working in the Vatican at Rome, he had no worldly troubles. Honour, -peace, and a mind at peace with the world were with him always. - -Bernardino Luini on the other hand travelled from one town in Italy to -another, employed by religious houses from time to time, but always as -an artist who could be relied upon to do good work cheaply. He could -not have been rich, he could hardly have been famous, it is even -reasonable to suppose that his circumstances were straitened, and on -this account the unbroken serenity of his work and his faithful -devotion to beauty are the more worthy of our praise. What was -beautiful in his life and work came from within, not from without, and -perhaps because he was a stranger to the cloistered seclusion that -made Fra Angelico's life so pleasantly uneventful his work shows -certain elements of strength that are lacking from the frescoes that -adorn the walls of San Marco to this day. To his contemporaries he was -no more than a little planet wandering at will round those fixed stars -of the first magnitude that lighted all the world of art. Now some of -those great stars have lost their light and the little planet shines -as clear as Hesperus. - - - - -II - - -As we have said already nothing is known of Luini's early life, -although the fact that he was born at Luino on the Lago Maggiore seems -to be beyond dispute. The people of that little lake side town have no -doubt at all about the matter, and they say that the family was one of -some distinction, that Giacomo of Luino who founded a monastery in his -native place was the painter's uncle. Perhaps the wish was father to -the thought, and because every man who sets out to study the life and -work of an artist is as anxious to know as was Miss Rosa Dartle -herself, there are always facts of a sort at his service. He who -seeks the truth can always be supplied with something as much like it -as paste is to diamonds, and can supplement the written word with the -aid of tradition. The early life of the artist is a blank, and the -authorities are by no means in agreement about the year of his birth. -1470 would seem to be a reasonable date, with a little latitude on -either side. Many men writing long years after the painter's death, -have held that he was a pupil of Leonardo da Vinci, indeed several -pictures that were attributed to da Vinci by the authorities of -different European galleries are now recognised as Luini's work, but -the mistake is not at all difficult to explain. If we turn to "La -Joconda," a portrait by da Vinci that hangs in the Louvre to-day, and -is apparently beyond dispute in the eyes of the present generation -of critics, and then go through the Brera in Milan with a photograph -of "La Joconda's" portrait in our hand, it will be impossible to -overlook the striking resemblance between Luini's types and da Vinci's -smiling model. Leonardo had an academy in Milan, and it is reasonable -to suppose that Luini worked in it, although at the time when he is -supposed to have come for the first time to the capital of Lombardy, -Leonardo da Vinci had left, apparently because Louis XII. of France, -cousin and successor of that Charles VIII. who had troubled the peace -of Italy for so long, was thundering at the city gates, and at such a -time great artists were apt to remember that they had good patrons -elsewhere. The school may, however, have remained open because no -great rulers made war on artists, and Luini would have learned -something of the spirit that animated Leonardo's pictures. For other -masters and influence he seems to have gone to Bramantino and Foppa. -Bramantino was a painter of Milan and Ambrosio Foppa known as -Caradosso was a native of Pavia and should not be reckoned among -Milanese artists as he has so often been. He was renowned for the -beauty of his medals and his goldsmith's work; and he was one of the -men employed by the great family of Bentivoglio. - -[Illustration: PLATE IV.--THE MYSTIC MARRIAGE OF ST. CATHERINE - -(In the Brera, Milan) - -This is a singularly attractive picture in which the child Christ may -be seen placing the ring upon the finger of St. Catherine. The little -open background, although free from the slightest suggestion of -Palestine, is very charming, and the head of the Virgin and St. -Catherine help to prove that Luini used few models.] - -It may be mentioned in this place that many Italian artists, -particularly those of the Florentine schools, suffered very greatly -from their unceasing devotion to the art of the miniaturist. They -sought to achieve his detail, his fine but cramped handling, and this -endeavour was fatal to them when they came to paint large pictures -that demanded skilled composition, and the subordination of detail to -a large general effect. The influence of the miniature painter and the -maker of medals kept many a fifteenth-century painter in the second -grade and Luini never quite survived his early devotion to their -methods, often making the fatal mistake of covering a large canvas -with many figures of varying size but equal value. It may be remarked -that Tintoretto was the first great painter of the Renaissance who -learned to subordinate parts to the whole, and he had to face a great -deal of unpopularity because he saw with his own eyes instead of using -those of his predecessors. - -[Illustration: PLATE V.--THE MADONNA OF THE ROSE - -(In the Brera, Milan) - -Modern criticism proclaims this picture of the Virgin in a Bower of -Roses to be the finest of the master's paintings. Not only is it -delightfully composed and thought out but the background is painted -with rare skill, and the colour is rich and pleasing to this day.] - -It may be suggested, with all possible respect to those who hold -different opinions, that Luini, though he responded to certain -influences, had no master in the generally accepted sense of the term. -One cannot trace the definite relation between him and any older -painter that we find between Titian and Gian Bellini, for example. He -took a certain type from Leonardo, his handling from time to time -recalls the other masters--we have already referred to the most -important of these--but had he studied in the school of one man, had -he served an apprenticeship after the fashion of his contemporaries, -his pictures would surely have been free from those faults of -composition and perspective that detract so much from the value of the -big works. He seems to have been self-taught rather than to have been -a schoolman. While his single figures are wholly admirable whether -on fresco or on panel, his grouping is nearly always ineffective, -one might say childish, and his sense of perspective is by no means -equal to that of his greatest contemporaries. As a draughtsman and a -colourist Luini had little to learn from anybody, and the poetry of -his conceptions is best understood when it is remembered that he was a -poet as well as a painter. He is said to have written poems and -essays, though we are not in a position to say where they are to be -found, and it is clear that he had a singularly detached spirit and -that the hand of a skilled painter was associated with the mind of a -little child. In some aspects he is as simple as those primitive -painters of Umbria whose backgrounds are all of gold. Like so many -other painters of the Renaissance Luini's saints and angels are -peasant folk, the people he saw around him. He may have idealised -them, but they remain as they were made. - -A few records of the prices paid for Luini's work exist among the -documents belonging to churches and religious houses, and while they -justify a belief that at the time he came to Milan Luini had achieved -some measure of distinction in his calling, they seem to prove that he -was hardly regarded as a great painter. The prices paid to him are -ridiculously small, no more than a living wage, but he had the -reputation of being a reliable and painstaking artist and he would -seem to have been content with a small reward for work that appealed -to him. His early commissions executed in and around Milan when he -first came from Luini were numerous and consisted very largely of -frescoes which are the work of a young man who has not yet freed his -own individuality from the influence of his elders. One of the most -charming works associated with this period is the "Burial of St. -Catherine," which is reproduced in these pages. The composition is -simple enough, the handling does not touch the summit of the painter's -later achievements, but the sentiment of the picture is quite -delightful. St. Catherine is conceived in a spirit of deepest -reverence and devotion, but the angels are just Lombardy peasant girls -born to labour in the fields and now decorated with wings in honour of -a great occasion. And yet the man who could paint this fresco and -could show so unmistakably his own simple faith in the story it sets -out, was a poet as well as a painter even though he had never written -a line, while the treatment of his other contemporary frescoes and -the fine feeling for appropriate colour suggest a great future for the -artist who had not yet reached middle age. We see that Luini devoted -his brush to mythological and sacred subjects, touching sacred history -with a reverent hand, shutting his eyes to all that was painful, -expressing all that was pitiful or calculated to strengthen the hold -of religion upon the mass in fashion destined to appeal though in -changing fashion for at least four centuries. Where the works have -failed to triumph as expressions of a living faith they have charmed -agnostics as an expression of enduring beauty. - -From Milan Luini seems to have gone to Monza, a city a few miles away -from the capital of Lombardy where the rulers of united Italy come -after their coronation to receive the iron crown that has been worn by -the kings of Lombardy for nearly a thousand years. This is the city in -which the late King Umberto, that brave and good man, was foully -murdered by an anarchist. To-day one reaches Monza by the help of a -steam-tram that blunders heavily enough over the wide flat Lombardy -plain. The Milanese go to Monza for the sake of an outing, but most of -the tourists who throng the city stay away, and it is possible to -spend a few pleasant hours in the cathedral and churches with never a -flutter of red-covered guide book to distract one's attention from the -matters to which the hasty tourist is blind. Here Luini painted -frescoes, and it is known that he stayed for a long time at the house -of one of the strong men of Monza and painted a large number of -frescoes there. To-day the fortress, if it was one, has become a -farmhouse, and the frescoes, more than a dozen in all, have been taken -away to the Royal Palace in Milan. Dr. Williamson in his interesting -volume to which the student of Luini must be deeply indebted, says -that there is one left at the Casa Pelucca. The writer in the course -of two days spent in Monza was unfortunate enough to overlook it. - -It has been stated that the facts relating to Luini's life are few and -far between. Fiction on the other hand is plentiful, and there is a -story that Luini, shortly after his arrival in Milan, was held -responsible by the populace for the death of a priest who fell from a -hastily erected scaffolding in the church of San Giorgio where the -artist was working. The rest of the legend follows familiar lines that -would serve the life story of any leading artist of the time, seeing -that they all painted altar-pieces and used scaffolding. He is said to -have fled to Monza, to have been received by the chief of the Pelucca -family, to have paid for his protection with the frescoes that have -now been brought from Monza to the Brera, to have fallen violently in -love with the beautiful daughter of the house, to have engaged in -heroic contests against great odds on her behalf, and so on, _ad -absurdum_. If we look at the portraits the painter is said to have -made of himself and to have placed in pictures at Saronna and -elsewhere we shall see that Luini was hardly the type of man to have -engaged in the idle pursuits of chivalry in the intervals of the work -to which his life was given. We have the head of a man of thought not -that of a man of action, and all the character of the face gives the -lie to the suggestions of the storytellers. It is clear, however, that -the painter made a long stay in Monza and when he came back to Milan -he worked for the churches of St. Maurizio, Santa Maria della Pace, -Santa Maria di Brera, and St. Ambrosia. - -[Illustration: PLATE VI.--DETAIL OF FRESCO - -(In the Brera, Milan) - -This prettily posed figure is at the base of a fresco of the Virgin -with Saints in the Brera. Part of the artist's signature (Bernardinus -Louinus) may be seen below. It will be remembered that Carpaccio -painted a very similar subject. The fresco is not too well preserved.] - -In Milan he found a great patron, no less a man than Giovanni -Bentivoglio who had been driven from his rule over Bologna by the -"Terrible Pontiff" Julius II., that life-long opponent and bitter -enemy of the Borgia Pope Alexander VI. Alessandro Bentivoglio, the son -of the ruined Giovanni, married Ippolita Sforza, daughter of one -of the house that had done so much to rule Rome until Pope -Alexander VI. broke its power. Alessandro Bentivoglio commissioned -Luini to paint altar-pieces in St. Maurizio where his father was -buried, and the painter included in his work a portrait of Ippolita -Sforza with three female saints. He did much other work in this -church; some of it has faded almost beyond recognition. - -At the same time there is no need to think that we have recovered the -last work of Luini or indeed of the great masters even in the churches -of Italy. Only a few months ago the writer was in a small Italian -church that had suffered a few years ago from disastrous floods. The -water unable to find no outlet had risen for a time almost to the top -of the supporting columns. The smooth wall above was plastered, and -when the waters had subsided it was found that the plaster had become -so damaged that it was necessary to remove it. Happily the work was -done carefully, for under the whitewash some excellent frescoes were -discovered. They would seem to have profited by their covering for as -much as has been uncovered is rich and well preserved. It may be that -in days when the State of Italy was seriously disturbed, and Napoleon, -greatest of highwaymen and conquerors, after being crowned in Milan -with the famous Monza crown, was laying his hand on all that seemed -worth carrying away, some one in authority thought of this simple -method of concealment, and obtained expert advice that enabled the -frescoes to be covered without serious damage. Under similar -conditions we may yet discover some of the earlier work of Luini, -because it is clear that the years in which his reputation was in the -making must have been full of achievement of which the greater part -has now been lost. He could hardly have been less than thirty years of -age when he came to Milan with a reputation sufficient to gain -commissions for work in churches; that reputation must have taken -years to acquire, and must have been associated with very definite -accomplishment. The lack of all record was essentially the misfortune -that beset men who were not very high in the esteem of their -contemporaries. A painter like Luini would have executed a great many -pictures for people who could not pay very well, and had no great -gallery or well-built church to harbour the work, and in the course -of time the work would tend inevitably to disappear before the -devouring candle-smoke, or to be carried away by unscrupulous -purchasers who chanced to be better equipped with taste than -conscience. On the other hand, painters who led the various movements -of their time would be honoured by successive generations and their -work would be stored in the best and safest places. To be sure, fire -was never a respecter of palaces or persons, and the flames have -consumed more work than a collection of the finest Renaissance -pictures in existence could show, but even then the odds seem to be in -favour of the bigger men because special efforts would be made to save -their paintings while those of lesser men would be left with few -regrets to take their chance. - -When Luini was engaged to work in the Church of St. Maurizio there was -a fair chance that his altar-pieces and frescoes would be well looked -after, but when he worked for a small provincial family like the -Pelucca the house sank with the family fortunes till at last it became -a farm, and in the early years of the nineteenth century the frescoes -were taken from the walls with as much care as was deemed advisable. -Doubtless Luini worked for many men whose worldly position was not as -considerable as that of the Pelucca family, and that work may have -disappeared altogether. The painter, as we have seen, did not enjoy -the patronage of many great men before Alessandro Bentivoglio, and -large institutions were not numbered among his early clients. But he -was not altogether without valuable patronage in the latter days, and -in the early 'twenties of the sixteenth century the influential -Brotherhood of the Holy Crown, one of the leading charitable -institutions of Milan, would seem to have given him some official -connection with their institution; a recognised position without fixed -salary. For them he painted the magnificent frescoes now in the -Ambrosian Library. The great work there was divided by the artist into -three parts separated by pillars. In the centre Luini has depicted the -crowning with thorns, Christ being seated upon a throne while thorns -are being put upon His head; His arms are crossed; His expression one -of supreme resignation. Above Him little angels look down or point -to a cartouche on which is written "Caput Regis Gloriæ Spinis -Coranatur." In the left hand division of the fresco and on the right, -the fore-ground is filled with kneeling figures whose heads are -supposed to be portraits of the most prominent members of the Society. -Clearly they are all men who have achieved some measure of honour and -distinction. Above the kneeling figures on the left hand side St. John -is pointing out the tragedy of the central picture to the Virgin Mary, -while on the right hand side a man in armour and another who is seen -faintly behind him call the attention of a third to what is happening. -A crown of thorns hangs above the right and the left hand compartment -and there is a landscape for background. It is recorded that this work -took about six months, and was finished in March 1522 at a cost to the -Society of 115 soldi. So Luini's work looks down to-day upon a part -of the great Ambrosian Library, and it may well be that the library -itself will yield to patient investigation some record, however -simple, of the painter's life, sufficient perhaps to enable us to -readjust our mental focus and see his lovable figure more clearly. - -[Illustration: PLATE VII.--HEAD OF VIRGIN - -(In the Ambrosiana, Milan) - -Here we have another well painted and finely preserved head painted -from one of Luini's favourite models. The artist must have known most -of the secrets of colour preparation, for his work has survived much -that was painted centuries later. Unfortunately his frescoes were -exposed to the elements and have suffered accordingly.] - -It may be urged that for those of us who are content to see with the -spiritual eye Luini is expressed more eloquently by his work, and -particularly by this great picture in the Ambrosian Library, than he -could hope to be by the combined efforts of half-a-dozen critics, each -with his own special point of view and his properly profound contempt -for the views of others. The painter's low tones and subtle harmonies, -his pure but limited vision, speak to us of a gentle, refined, and -delicate nature, of an achievement that stopped short of -cleverness and consequently limited him to the quieter byways of -artistic life, while those whose inspiration was less, and whose gifts -were more, moved with much pomp and circumstance before admiring -contemporaries. The refined mind, the sensitive soul, shrank from -depicting the tragedy of the Crown of Thorns in the realistic fashion -that would have proved acceptable to so many other artists. Luini -forgets the blood and the spikes, he almost forgets the physical pain, -and gives us the Man of Sorrows who has forgiven His tormentors -because "they know not what they do." - -Continental galleries show us many treatments of the same familiar -theme, they have none to show that can vie with this in a combination -of strength and delicacy that sets out an immortal story while -avoiding the brutal realism to which so many other artists have -succumbed. We may suppose that the objects of the Society roused -Luini's sympathy to an extent that made it easy for him to accept the -somewhat paltry remuneration with which the Brotherhood of the Holy -Crown rewarded him, and so the picture makes its own appeal on the -painter's behalf, and tells a story of his claims upon our regard. A -man may lie, in fact it may be suggested on the strength of the -Psalmist's statement that most men do, but an artist's life work tells -his story in spite of himself, and if he labour with pen or brush his -truest biography will be seen in what he leaves behind him. It is not -possible to play a part throughout all the vicissitudes of a long -career, and no man could have given us the pictures that Luini has -left unless he chanced to be a choice and rare spirit. We may remember -here and now that the time was richer in violent contrasts than any of -its successors, the most deplorable excesses on the one hand, the most -rigid virtues on the other, seem to have been the special product of -the Renaissance. While there were men who practised every vice under -the sun there were others who sought to arrest Divine Retribution by -the pursuit of all the virtues, and while the progress of the years -has to a certain extent made men neutral tinted in character, the -season of the Renaissance was one of violent contrasts. On behalf of -the section that went in pursuit of righteousness let it be remembered -that heaven and the saints were not matters for speculation, they -were certainties. Every man knew that God was in heaven, and that if -the workers of iniquity flourished, it was that they might be -destroyed for ever. Every man knew that the saints still exerted their -supernatural powers and would come down to earth if need be to protect -a devotee. Satan, on the other hand, went armed about the earth -seeking whom he might devour, and hell was as firmly fixed as heaven. -In order to understand Luini, his life and times, these facts must be -borne in mind. The greater the unrest in the cities the more the -public attention would be turned to statesmen and warriors, and when -the personalities of artists began to be considered, those who lived -and thrived in the entourage of popes and rulers monopolised the -attention. Hundreds of men were at work earning a fair living and -some local repute, it was left to foreign favour to set a seal upon -success. Had Luini chanced to be invited to Venice or to Rome he would -have been honoured throughout Lombardy; but a painter like a prophet -is often without honour in his own country. Luini's gifts were of a -more quiet and domestic order than those of his great contemporaries -Leonardo da Vinci and Michelangelo, for example, were more than -painters, and perhaps it was only in Venice that painting stood by -itself and managed to thrive alone. Luini would have come into his -kingdom while he lived had Venice been his birthplace. The genius of -the Florentine school sought to express itself in half-a-dozen -different ways, no triumph in one department of work could satisfy men -whose longing for self-expression was insatiable. In those days it -was possible for a man to make himself master of all knowledge, -literally he could discourse _de omnibus rebus et quibusdam aliis_. -And this diffusion of interests was fatal to many a genius that might -have moved to amazing triumph along one road. - -It is clear that Bernardino Luini never travelled very far from his -native country either physically or mentally. In the eyes of his -contemporaries he was not a man of sufficient importance to receive -commissions from the great art centres of Italy. This, of course, may -be because he did not have the good fortune to attract the attention -of the connoisseurs of his day, for we find that outside Milan, and -the little town of Luino where he was born and whence he took his -name, his work was done in comparatively small towns like Como, -Legnano, Lugano, Ponte, and Saronno. Milan and Monza may be -disregarded because we have already dealt with the work there. -Saronno, which lies some fourteen miles north-west of Milan, is little -more than a village to-day, and its chief claim upon the attention of -the traveller is its excellent gingerbread for which it is famous -throughout Lombardy. It has a celebrated church known as the Sanctuary -of the Blessed Virgin and here one finds some very fine examples of -our painter's frescoes. Some of the frescoes in the church are painted -by Cesare del Magno others by Lanini, and the rest are from the hand -of Bernardino Luini. Round these frescoes, which are of abiding -beauty, and include fine studies of the great plague saint, St. Roque, -and that very popular martyr St. Sebastian, many legends congregate. -It is said that Luini having killed a man in a brawl fled from Milan -to the Church of the Blessed Virgin in Monza to claim sanctuary at the -hand of the monks. They gave him the refuge he demanded, and, says the -legend, he paid for it with frescoes. This is little more than a -variant of the story that he went to Monza under similar circumstances -and obtained the protection of the Pelucca family on the same terms. -In the absence of anything in the nature of reliable record this story -has been able to pass, but against it one likes to put the tradition -that one of the heads in the frescoes is that of Luini himself. We -find that head so simple, so refined, and so old--the beard is long -and the hair is scanty--and so serene in its expression that it is -exceedingly difficult to believe that brawling could have entered into -the artist's life. - -[Illustration: PLATE VIII.--BURIAL OF ST. CATHERINE - -(In the Brera, Milan) - -This is one of the frescoes painted by Luini for the Casa Pelucca and -transferred to Milan in the beginning of the nineteenth century. It -will be seen that although the three angels bearing the Saint to her -grave are obviously peasant girls from the plains of Lombardy winged -for the occasion, the artist has handled his subject with faith and -reverence. The fresco is better preserved than others from the same -house.] - -The subjects of the pictures in Saronno's Sanctuary are all biblical. -We have an Adoration of the Magi, showing the same muddled composition -that detracts from the other merits of the artist's work; a beautiful -Presentation in the Temple in which the composition is a great deal -better; and a perfectly delightful Nativity. There is a Christ is -Disputing with the Doctors, and this is the picture in which we find -the head that is said to be a portrait of the painter himself. Two -female saints figure in another picture, and Luini's favourites St. -Roque and St. Sebastian are not forgotten. Certainly if the monks -obtained all that work at the price of the painter's safety they were -very fortunate in his choice of sanctuary. - -Como is, of course, a more important town with large industries and -important factories, and one of the finest cathedrals in northern -Italy. For the interior Luini painted another Adoration of the Magi -and another of his favourite Nativities. It is not easy to speak about -the conditions under which this work was done, and the inhabitants -have so many more profitable matters to attend to that they do not -seem to trouble themselves about the history of the painter who helped -to make their beautiful cathedral still more beautiful. - -Legnano, with its memories of Frederick Barbarossa, is within twenty -miles of Milan, and for the Church of San Magno Luini painted one of -his finest altar-pieces. It is in seven divisions and has earned as -much critical admiration as any work from the master's brush. - -Lugano is of course in Switzerland, well across the Italian border. It -is a popular place enough to-day, and so far as we can tell, it was -the city in which Luini painted his last pictures. He must have left -Milan about 1528 or 1529, and he would seem to have gone there to -execute commissions, for in the Church of Santa Maria degli Angioli we -find some of his latest and finest work. The Crucifixion and the -Passion, on the wall of the screen, contains several hundred figures -arranged in lines in most archaic fashion. At first sight the work -appears as a mere mass of figures without any central point in the -composition, and with very little relief for the eye of the spectator -who may come to the church surfeited with the bewildering riches of -many Italian galleries. But for those who will take the trouble to -study the details of this fine work there is very much to admire. In -the scene of the picture Christ is seen on the cross surrounded by -angels. On his right hand the penitent thief on the cross is guarded -by an angel, while on the left the impenitent one is watched by a -devil with a curly tail and spiked wings. Below in perfectly -bewildering fashion are many figures that may be recognised with -little effort--Mary Magdalen, the Madonna, Joseph of Arimathæa, Roman -soldiers, some of the general public--a confused crowd. The whole -picture is supported by figures of San Sebastian and St. Roque seen on -either side of the arch. Stories from the life of Christ are depicted -in the upper parts of the picture, all are painted with the skill of a -great artist and the fervour of a devotee, but the arrangement is -hopelessly confused. Luini also painted a "Last Supper" for this -church and a "Madonna with the Infant Christ and St. John." This is -signed "Bernardino Luini, anno 1530." From 1530 until 1533 the career -of the artist cannot be traced, but in 1533 he was in Lugano again, -and after that year he passes altogether from our sight. Stray writers -mention his name, some venture to carry the date of his life into the -'forties, but we have no proof save their word, no work to record the -later years, and all our conjecture is vain. It must suffice for us -that Luini's life as far as his art was concerned ends for us with the -year 1533. If he lived and worked after that date the facts relating -to the following years and the work done in the latter days are left -for future students to discover. It is well to remember that the -Saronno portrait makes the painter look much older than he is supposed -to have been. - -To his contemporaries it is clear that Luini was a man of small -importance. His best work is seen outside the radius of the great Art -centres of Italy, and it was only when he attracted the attention of -great critics and sound judges like Morelli, John Ruskin, and John -Addington Symonds that the lovers of beautiful pictures began to go -out of their way to find his best work in the little towns whose -churchmen were his patrons. So many of the lesser men had all his -faults--that is to say, lack of perspective and inability to compose a -big picture--that he was classed with them by those critics whose -special gift lies in the discovery of faults. The qualities that make -the most enduring appeal to us to-day were those that were least -likely to make a strong impression upon the strenuous age of physical -force in which he lived. When great conquerors and men who had -accomplished all that force could achieve felt themselves at liberty -to turn to prolonged consideration of the other sides of life they -employed other masters. Then as now there were fashions in painters. -The men for whom Luini strove were of comparatively small importance. -A conqueror could have gathered up in the hollow of his hand all the -cities, Milan excepted, in which Luini worked throughout his -well-spent life, and in the stress and strife of the later years when -great pictures did change hands from time to time by conquest, Luini's -panel pictures in the little cities of his labours passed quite -unnoticed, while even if the frescoes were admired it was not easy to -move them. When at last his undoubted merits began to attract -attention of connoisseurs, these connoisseurs were wondering why -Leonardo da Vinci had left such a small number of pictures. They -found work that bore a great resemblance to Leonardo and they promptly -claimed that they had discovered the lost masterpieces. Consequently -Leonardo received the credit that was due to the man who may have -worked in his Milanese school and was undoubtedly under his influence -for a time. And many of the beautiful panel pictures that show Luini -at his best were attributed to Leonardo until nineteenth-century -criticism proved competent enough to render praise where it was due, -and to say definitely and with firm conviction that the unknown -painter from Luino, who lived sometime between 1470 and 1540, was the -true author. - -If, in dealing with the life of Bernardino Luini, we are forced to -content ourselves with meagre scraps of biography and little details -that would have no importance at all in dealing with a life that was -traceable from early days to its conclusion, it is well to remember -that the most important part of the great artist is his work. -Beethoven's nine symphonies, Milton's "Paradise Lost," the landscapes -of Corot, the portraits of Velazquez, and the carving of Grinling -Gibbons are not more precious to us because we know something of the -life of the men who did the work. Nor are the "Iliad" and the -fragments that remain of the works of the great Greek sculptors less -to us because a shadowy tradition is all that surrounds the lives of -the men who gave immortal work to the world. We must remember that it -is as difficult to deal with art in terms of literature as it is to -express the subtle charm of music in words. Had Luini's years boasted -or regretted a series of gossiping newspapers we should have gathered -a rich harvest of fact, but the facts would have left the painter -where he is. There is enough of Luini left in Milan and the smaller -places we have named to tell us what the man was and the spirit in -which he worked, and while we will welcome the new-comer who can add -to our scanty store of authenticated facts we can hardly expect that -they will deepen our admiration of work that for all its shortcomings -must be remembered when we turn to ponder the greatest achievements of -Italian Art. It forms "a magic speculum, much gone to rust, indeed, -yet in fragments still clear; wherein the marvellous image of his -existence does still shadow itself, though fitfully, and as with an -intermittent light." - - -The plates are printed by BEMROSE DALZIEL, LTD., Watford - -The text at the BALLANTYNE PRESS, Edinburgh - - - - - -End of the Project Gutenberg EBook of Bernardino Luini, by James Mason - -*** END OF THIS PROJECT GUTENBERG EBOOK BERNARDINO LUINI *** - -***** This file should be named 42163-8.txt or 42163-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/1/6/42163/ - -Produced by sp1nd and the Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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