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For many highly ingenious interpretations of Lotto's portraits and a sustained analysis of his art generally, Mr. Bernard Berenson's Lorenzo Lotto should be consulted. See also M. Emile Michel's article, "Les Portraits de Lorenzo Lotto," in the Gazette des Beaux Arts, 1896, vol. i. Life and Times of Titian, vol. i. p. 29. Die Galerien zu München und Dresden, p. 75.
Putting aside for the moment the beautiful and profoundly moving representations of the subject due to the Florentines and the Sienese both sculptors and painters south of the Alps, and to the Netherlanders north of them, during the whole of the fifteenth century, the essential triviality of the conception in the Treviso picture makes such a work as Lorenzo Lotto's pathetic Annunciation at Recanati, for all its excess of agitation, appear dignified by comparison.
The Paduan School has its fine representation in Mantegna's picture, already referred to; the Brescian, in Moretto's Madonna of S. Clemente; the Veronese, in Girolamo dai Libri's splendid altar piece in San Giorgio Maggiore; the Bergamesque, in Lotto's Madonna of S. Bartolommeo.
Giorgione and Titian were as nearly as possible of the same age, being both of them born in or about 1477. Lorenzo Lotto's birth is to be placed about the year 1476 or, as others would have it, 1480. Palma saw the light about 1480, Pordenone in 1483, Sebastiano Luciani in 1485.
Her hair was red, drawn back rather tightly from her forehead, but breaking into waves over her ears. With the red of her cheeks and the red of her lips she had something of the look of Lorenzo Lotto's lovely ladies, except for a certain sharp slenderness, a slenderness which came, I was to learn later, from an utter indifference to the claims of appetite.
In Lorenzo Lotto's Madonna of 1508 in the Borghese Gallery at Rome, the head of St. DUeRER AND HIS PATRONS AND FRIENDS Duerer had hitherto occasionally enjoyed the patronage of the wise Elector, Frederick of Saxony, for whom he painted the brilliant Adoration of the Magi in the Uffizi.
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