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A series of frescoes of the highest beauty, painted for the monastery Della Pace. Unhappily we have only the fragments which are preserved in the Brera. The series of bas-reliefs on the outer shrine of the Casa di Loretto, by Sansovino, and others of the greatest sculptors of the beginning of the sixteenth century. The series of bas-reliefs round the choir at Milan: seventeen subjects.
There we may see the strongly marked features and refined expression of the great Moro, between his brother and his nephew, while above the opposite portal are the four Duchesses of Milan, Bianca Maria Visconti, Bona of Savoy, Isabella of Aragon, and Beatrice d'Este with the same soft, beautiful face, the same long coil of hair and jewelled net that we see in her portrait in the Brera or in Cristoforo Romano's bust in the Louvre.
The nearest approach to the style of Piero that remains to us is "The Flagellation," of the Brera, Milan, which, however, already shows signs of a more deeply impressed technical influence, but it was probably under Piero's training that Signorelli developed his broad methods of work, and the grand manner which makes his painting so impressive.
It is well modelled, and of a more pleasing type than usual. In 1507 was painted another very important work the altar-piece in the church of S. Medardo in Arcevia, a splendid Ancona, still in its original Gothic frame. The Virgin is of the same tender type as in the Brera and Florence Academy pictures, but with an added stateliness and gravity.
The background to the circular "Madonna" in the Uffizzi, the "Flagellation of Christ" in the Academy at Florence and in the Brera at Milan, and the "Adam" at Cortona, belong to this grade. We may add the pages in a predella representing the "Adoration of the Magi" in the Uffizzi.
Finding that the picture would not fit the particular wall of their refectory for which it had been destined, they ruthlessly cut it down, slicing off a large piece of the upper part, and throwing the composition out of balance by the mutilation of the architectural background. Jerome in the Desert. Gallery of the Brera, Milan.
We do not know how long he studied anatomy from the dead and living model in the Florentine workshop, nor have we any example of his gradual development, for when he first appears before us in his earliest remaining work, "The Flagellation," of the Brera, he is already the master who has conquered all the difficulties of muscular movement, and surpassed even Antonio Pollaiuolo in freedom of gesture and correct anatomy.
'Victor conjured up a day when this darling Fredi, a child, stood before a famous picture in the Brera, at Milan; when he and her mother noticed the child's very studious graveness; and they had talked of it; he remarking, that she disapproved of the Patriarch; and Nataly, that she was taken with Hagar's face. He seemed surprised at her not having heard from Dudley. 'How is that? said he.
M. Perrotin at the Nice Observatory was able to redetect Schiaparelli's canals, which elicited the remark that "the reality of the existence of the delicate markings discovered by the keen-sighted astronomer of Brera seems thus fully demonstrated, and it appears highly probable that they vary in shape and distinctness with the changes of the Martial seasons."
The collection of books at Brera is prodigious, and has been lately much increased by the Pertusanian and Firmian libraries falling into it: a more magnificent repository for learning, a more comfortable situation for students, so complete and perfect a disposition of the books, will scarcely be found in any other city not professedly a university, I believe; and here are professors worthy of the highest literary stations, that do honour to learning herself.
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