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Updated: June 12, 2025
See Venetian Painting at the New Gallery. 1895. Unless we are to suppose that Vasari mistook a copy for an original. Francesco Torbido, called "il Moro," born about 1490, and still living in 1545. Vasari states that he actually worked under Giorgione. Signed portraits by him are in the Brera, at Munich, and Naples.
Tintoretto, who has other miracles of S. Mark in the Royal Palace here and in the Brera at Milan, would have drawn that falling workman magnificently. The other pictures are altar-pieces of much sweetness, by Giovanni Bellini, Carpaccio, Basaiti and Cima.
His pastoral Madonna has, however, little in common with the landscapes of his master, judging from the lovely example in the Brera. The group of figures is strikingly suggestive of Da Vinci, but the quiet, rural pasture in which the Virgin sits is Luini's own. In the distance is a thick clump of trees, finely drawn in stem and branch.
Vischer, 77, etc. Vischer considers the likeness to Fiorenzo due to their mutual relation to Verrocchio. Even the splendid decorative engraving called "The Battle of the Nudes," is only a series of duels. A comparison of these figures with the two nude executioners in the Brera "Flagellation" will justify the assertion of Signorelli's superiority as a master of anatomy and movement.
It is thus described by Kugler: "A picture in the Brera in Milan, very deserving of notice, is perhaps one of Giorgione's most beautiful works; it is historic in subject, but romantic in conception. The subject is the finding of Moses; all the figures are in the rich costume of Giorgione's time.
On the 24th of March, after some adventures caused by the military control of strangers, I reached Milan, where I allowed myself to stay three days to see the sights. Without any official guide to help me, I contented myself with following up the simplest directions I could obtain to the Brera, the Ambrosian Library, the 'Last Supper' of Leonardo da Vinci, and the cathedral.
She had yet to learn the lesson which sooner or later comes home to all the small minority who care a pin about righteousness, that in a world like our own, it is impossible for the righteous always to act consistently up to their most sacred convictions. At Milan, they stopped long enough to snatch a glimpse of the cathedral, and to take a hasty walk through the pictured glories of the Brera.
As she did so she made grimaces, absurd grimaces of pain and misery, like those on the faces of the two women in Mantegna's picture of Christ and the Marys in the Brera at Milan. They are grotesque, yet wonderfully moving in their pitiless realism. But tears fall from the eyes of Mantegna's women and no tears fell from Lady Holme's eyes. Still making grimaces, she sipped the lemonade.
One day, soon after their arrival, as they were in the Brera Gallery, looking for the third or fourth time at Leonardo's Head of Christ, Barbara remarked that she was disappointed because she could not find any particular characteristic of this great artist's work, as she had so often been able to do with others. "I feel that I cannot yet recognize even his style," she lamented.
The only remaining one of these is the Last Supper in the refectory of the old monastery. And the famous Head of Christ in the Brera Gallery, Milan, is only one of perhaps hundreds of studies that he made for the expression which he should give to his Christ in the Last Supper, so dissatisfied was he with his renderings of the face of our Saviour.
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