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Updated: June 12, 2025
"I have here two photographs," and he unfolded and passed one to Margery, who was close beside him, "which I wish you to look at carefully. They are of works painted very soon after the Coronation; one, the Marriage of the Virgin, or Lo Sposalizio, is in the Brera Gallery at Milan. It is as like Perugino's work as is the Coronation."
I observe that the later painters who treated the subject, Rubens and Poussin for instance, omit the disappointed suitors. After the marriage, or betrothal, Joseph conducts his wife to his house. The group of the returning procession has been beautifully treated in Giotto's series at Padua; still more beautifully by Luigi in the fragment of fresco now in the Brera at Milan.
The attitudes and gestures are natural and dramatic, and the faces have individual character. Here the Virgin sits, with a Bishop on either side, and two monks below. Dry and precise in composition, like that of the Brera, and apparently painted with the assistance of pupils, the Madonna herself is still very characteristic of the master, and not unlike those of the Brera and the Florence Academy.
The painter con amore of arrogant strength, he seems to have little in common with meekness and humility that bows the head to scourging and martyrdom. Thus in nearly all his "Crucifixions" the central figure is ignoble in type and expression, and in the "Flagellations" of the Brera and of Morra, is entirely without dignity, even ignominious.
Here he remained more than eight years, and about the time of leaving painted the very celebrated picture called "Lo Sposalizio," or the Marriage of the Virgin, now in the Brera at Milan. This picture is famous the world over, and is very important in the life of the painter, because it shows the highest point he reached under Perugino, or during what is called his first manner in painting.
Even in the Madonna of the Brera Gallery , which shows Gian Bellino's finest landscape of the late time, certain hardnesses of colour in the main group suggest the possibility of a minor co-operation by Basaiti.
A sketch of the head of Christ for the original picture, which has been preserved on a torn and soiled piece of paper at Brera, expresses the most elevated seriousness, together with Divine gentleness pain on account of the faithless disciple, a full presentiment of his own death, and resignation to the will of the Father.
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