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A week or two later, Lodovico Sforza's only remaining son, Gianpaolo, the child of Lucrezia Crivelli, who had fought gallantly against French and Imperialists in defence of his brother's rights, died on his way to Naples. With him the last claimant to the throne of the Sforzas passed away.
In the midst of these tokens of grief and love for his lost wife, we come upon a strange incident. That May, Lucrezia Crivelli, the mistress whose liaison with the duke had caused Beatrice the sorrow which he now remembered with so much remorse, bore Lodovico a son, who was named Gianpaolo, and who became a valiant soldier and loyal subject of his half-brother Duke Francesco Sforza in after days.
So he painted the portraits of Ludovico's mistresses, Lucretia Crivelli and Cecilia Galerani the poetess, of Ludovico himself, and the Duchess Beatrice. The portrait of Cecilia Galerani is lost; but that of Lucretia Crivelli has been identified with La Belle Feroniere of the Louvre, and Ludovico's pale, anxious face still remains in the Ambrosian library.
"After a storm in autumn have you never seen " "Yes, it is curious how certain flowers suggest certain painters the perfume of the incarnation, Leonardo; that of the rose, Titian; the tuberose, Crivelli " "I never supposed that anyone else had noticed it." "Have you never thought " "Oh, yes, often and often; but I never dreamed that anyone else had." "But surely you must have felt "
If, however, Crivelli could not be tame he could be insipid, escaping tameness by what might be called the violence of his affectation. The St. George in the Metropolitan Museum is an instance of his occasional use of a type so frail and languid in its grace and so sentimental in gesture and expression as to suggest caricature.
Textiles of Italian manufacture may be seen represented in the paintings of the old masters: Orcagna, Francia, Crivelli, and others, who delighted in the rendering of rich stuffs; later, they abound in the creations of Veronese and Titian. A "favourite Italian vegetable," as Dr.
Compare the embroidery and gold thread work in "The Virgin adoring the Infant Christ," ascribed to Andrea Verrocchio, No. 296, Room V; "The Annunciation" by Carlo Crivelli, No. 739, Room VIII; in "The Angel Raphael accompanies Tobias on his Journey into Media" attributed to Botticini, No. 781, Room V; in "Portrait of a Lady," school of Pollaiuolo, No. 585, Room V; in "A Canon of the Church with his Patron Saints" by Gheeraert David, No. 1045, Room XI; or indeed the general run of the gold embroidery of the period as shown in our gallery.
Gold was often used, and in great profusion, in some of the Lombard pictures even of a late date; for instance, by Carlo Crivelli: before the middle of the sixteenth century, this was considered barbaric. The best Italian painters gave the Virgin ample, well disposed drapery, but dispensed with ornament.
A couple of months after Crocker's leave-taking, a note had come to her from Crespi, the unfrocked priest and consummate antiquarian, who, to the point of improvising a chef d'oeuvre, will furnish anything that this gilded age demands. Crespi most respectfully begged to represent an urgent client, a Russian prince, who desired a fine Crivelli.
I remember, too, a picture by Carlo Crivelli, in which the Virgin is seated on a throne, adorned, in the artist's usual style, with rich festoons of fruit and flowers.
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