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Updated: June 20, 2025
There is, however, one young man of wholly Leonardesque loveliness, whose divine innocence of adolescence, unalloyed by serious thought, unstirred by passions, almost forces a comparison with Sodoma.
Other Judiths there are; two here, one next door in the Pitti, any number scattered over the galleries of Europe. There are Jacopo Palma of Venice and Allori of Florence who used the old story, the one to perpetuate a fat blonde, the other a handsome actress in a "strong" situation; there is Sodoma; there are Horace Vernet and the moderns, the Wests and Haydons of our grandfathers.
It is to be lamented that his mineral paints have changed their colors in many places from white to black, and that his green trees have become blue. The padre had studied these frescos so thoroughly as to discover that Sodoma had sometimes spent only three days on a fresco, by tracing the joinings where the fresh plaster had been applied, which had to be finished before it dried.
Esaias also crieth concerning Israel, Though the number of the children of Israel be as the sand of the sea, a remnant shall be saved: For he will finish the work, and cut it short in righteousness: because a short work will the Lord make upon the earth. And as Esaias said before, Except the Lord of Sabaoth had left us a seed, we had been as Sodoma, and been made like unto Gomorrha.
It struck him that this was quite his own view, only he had never thought it out before. "Let me think," said Pauline. "Not any of the great Venetians. They were too, well, too gorgeous." "Raphael?" May suggested. "No, not Raphael. Ah! Now I know! Sodoma could have done it." "That's true," said Geoffry. "It ought to have been Sodoma."
Even in this extremity, however, he is still Divine, and Sodoma almost seems to have reconciled the impossibilities of combining an omnipresent divinity with a suffering and outraged humanity. But this is one of the cases in which the spectator's imagination completes what the artist merely hints at.
The next notice of importance is of the year 1497, when he received the commission from the monks of S. Benedict to fresco the walls of their cloister at Monte Oliveto. Here he painted eight episodes from the life of the patron saint, leaving the rest of the work to be completed by Sodoma.
In Perugia, also, he made many works; among others, a panel in the Duomo for Messer Jacopo Vannucci of Cortona, Bishop of that city; in which panel are Our Lady, S. Onofrio, S. Ercolano, S. John the Baptist, and S. Stephen, with a most beautiful angel, who is tuning a lute. At Volterra, over the altar of a Company in the Church of S. Francesco, he painted in fresco the Circumcision of Our Lord, which is considered beautiful to a marvel, although the Infant, having been injured by damp, was restored by Sodoma and made much less beautiful than before. And, in truth, it would be sometimes better to leave works half spoilt, when they have been made by men of excellence, rather than to have them retouched by inferior masters. In S. Agostino in the same city he painted a panel in distemper, and the predella of little figures, with stories of the Passion of Christ; and this is held to be extraordinarily beautiful. At S. Maria a Monte he painted a Dead Christ on a panel for the monks of that place; and at Citt
Sodoma, then, had painted with colours in fresco the façade of the house of M. Agostino Bardi, and Domenico at the same time, in competition with him, painted the façade of a house of the Borghese, close to the Postierla column, near the Duomo, with which he took very great pains.
The smile of the Virgin of the Rocks is a part of the mystery of her shadowy environment; the serenity of the Madonna in the Meadow belongs to the atmosphere of the open fields. The Madonna by Sodoma, recently added to the Brera Gallery at Milan, is an example in point. Among others who were affected by the influence of Leonardo and chief of the Lombards was Luini.
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