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And when the last word is written, I shall go to the Pinacoteca and stand again before the Morone fresco, and if the Miseratrix Virginum Regina still simpers at me, I shall take it as a sign and a token. I shall return to this marble cavern and make my final exit. It will be theatrically artistic that I vow and declare which no doubt will afford immense pleasure to the high gods in their gallery.
The former is a sickly woman in a sentimental attitude, the child rather heavy, the colouring is bright and well fused; he has evidently adopted the method which he had seen Albertinelli use in his studio. During a stay in Bologna he painted a Madonna and Saints as an altar-piece for the church of S. Francesco, besides a Marriage of S. Catherine, now in the Bologna Pinacoteca.
In 1450 the name of Alamanus disappears altogether, and that of BARTOLOMMEO VIVARINI, Antonio's younger brother, replaces it in an inscription upon the great altar-piece commissioned by Pope Nicholas V. in commemoration of Cardinal Albergati, now in the Pinacoteca of Bologna.
His lustrous armor gleams with Giorgionesque brilliancy from Dossi's masterpiece in the Pinacoteca. That Ferrara, the only place in Italy where chivalry struck any root, should have had St. George for patron, is at any rate significant.
The usual signature of the later time is "Titianus F.," among the first works to show it being the Ancona altar-piece and the great Madonna di San Niccolò now in the Pinacoteca of the Vatican. It has been incorrectly stated that the late St. Jerome of the Brera bears the earlier signature, "Ticianus F." This is not the case.
In the Madonna di S. Niccolò, which was painted or rather finished in the succeeding year, 1523, for the little Church of S. Niccolò de' Frari, and is now in the Pinacoteca of the Vatican, the keynote is suavity, unbroken richness and harmony, virtuosity, but not extravagance of technique.
It was, to tell the truth, the first time an' Italian festa had really exhibited to my eyes the genial glow and the romantic particulars promised by song and story; and I confess that those eyes found more pleasure in it than they were to find an hour later in the picturesque on canvas as one observes it in the Pinacoteca. I found myself scowling most unmercifully at Guido and Domenichino.
Her masterpiece is a picture of "St. Anthony Adoring the Virgin and Child," which is in the Pinacoteca of Bologna. There are pictures by her in the Belvedere and Lichtenstein Galleries at Vienna, in the Hermitage at St. Petersburg, and in the Sciarra Palace, Rome. In person Elisabetta Sirani was beautiful, and her character commanded the affection of all who knew her.
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