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That he was an intense visionary is beyond doubt, but a very real man too we must believe when we read of the devotion of his monks to his person, and of his success for a while with the shrewd, worldly Great Council. Savonarola had many staunch friends among the artists. We have seen Lorenzo di Credi and Fra Bartolommeo under his influence.
He frequented the cloisters of San Marco, where even Lorenzo de' Medici used to go and hear the prior expound Christianity near the rose tree. There were Lorenzo di Credi and Sandro Botticelli, both middle-aged men, of a high standing as artists; there were the Delia Robbias, father and son, and several others.
Passing up the north aisle, we enter at last the Cappella del Sacramento, under whose altar St. Felix, the Pistojese, sleeps, while on the south wall hangs one of the best works of Lorenzo di Credi, Madonna with Jesus in her arms, and St. John Baptist and S. Zenone on either side. Opposite is the bust of Bishop Donato de' Medici, by Antonio Rossellino. The little crypt under the high altar is scarcely worth a visit, but the great treasure of the church, the silver frontal of the high altar, is now to be found in the Cappella della Citt
Verrocchio was the master of Lorenzo di Credi and of Leonardo, while, as it is said, Perugino passed through his bottega.
Other graves in the church are those of Cronaca, the architect of the Palazzo Vecchio's great Council Room, a friend of Savonarola and Rosselli's nephew by marriage; and Verrocchio, the sculptor, whose beautiful work we are now to see in the Bargello. It is said that Lorenzo di Credi also lies here, and Albertinelli, who gave up the brush for innkeeping.
By the hand of the same monk I have seen in the above-named house of the Mint, at Milan, a picture copied from one by Leonardo, in which are a woman that is smiling and S. John the Baptist as a boy, counterfeited very well. Cremona, as was said in the Life of Lorenzo di Credi and in other places, has had at various times men who have executed in painting works worthy of the highest praise.
Catherine, are life-size. It was painted for a community of Bernardines, the monks of Monte Oliveto. In a beautiful little altar-piece by Lorenzo di Credi , the Virgin is kneeling above, while Christ, seated, places the crown on her head. A glory of red seraphim surround the two figures. Below are the famous patron saints of Central Italy, St. Nicholas of Bari and St. Julian of Rimini, St.
Berenson calls it a Portrait of Perugino, though for long it passed as a Portrait of Verrocchio by Lorenzo di Credi. For a full account of the Umbrian school see my Cities of Umbria. In 1416, Borgo S. Sepolcro was not just within the borders of Tuscany of course, as it is to-day, but just without: it was part of the Papal State till Eugenius IV sold it to Florence. Mr.
The master, certainly, of Lorenzo di Credi and Leonardo, and finally of Perugino also, he was a painter as well as a sculptor; and though his greatest work was achieved in marble and bronze, one cannot lightly pass by the Annunciation of the Uffizi, or the Baptism of the Accademia. Neglected for so long, he is at last recognised as one of the greatest of all Italian masters of the Renaissance.
It may further be said that the limitations he imposed would have been fatal to the free development of art if they had been observed. Several painters, besides Fra Baccio, submitted to Savonarola's influence. Among these the most distinguished were the pure and gentle Lorenzo di Credi and Sandro Botticelli, who, after the great preacher's death, is said to have abandoned painting.
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