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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.
But I have left no space to speak of the Brera, nor of that paradise of book-worms with an eye for their background if such creatures exist the Ambrosian Library; nor of that mighty basilica of St. Ambrose, with its spacious atrium and its crudely solemn mosaics, in which it is surely your own fault if you don't forget Dr.
Raphael was a happier genius; you look at his lovely "Marriage of the Virgin" at the Brera, beautiful as some first deep smile of conscious inspiration, but to feel that he foresaw no complaint against fate, and that he knew the world he wanted to know and charmed it into never giving him away.
There had been some talk of offering her the chair of poetry at the Brera; but the report of her liberal views had deterred the faculty. Meanwhile the very fact that she represented the new school of thought gave an added zest to her conversation in a society which made up for its mild servitude under the Austrian by much talk of liberalism and independence.
Made an honorary member of the Brera Academy, Milan, 1874, an honor rarely conferred on a woman; elected to the Academy of Urbino, 1875. Born in Milan. Pupil of her father and of Angelo Rossi. She excels in producing harmony between all parts of her works. She has an exquisite sense of color and a rare technique.
As a contrast to the infinite calm of Raphael's "Madonna," we have reproduced Tintoretto's "Finding of the Body of St. Mark," in the Brera Gallery, Milan. Here all is life and movement. The proportions are infinitely varied, nowhere does the eye grasp any obvious mathematical relationship.
And when they come to Milan they are probably both impressed and disappointed by a Martyrdom of St. Catherine in the Brera, bearing the same artist's name. If they wish to understand this painter they must seek him at Varallo, at Saronno, and at Vercelli.
See also the Madonna, with Infant Christ, S. John, and a Lamb, at Lugano. Side chapel of S. Maurizio at Milan. These frescoes are, in my opinion, Luini's very best. The whole church is a wonderful monument of Lombard art. "Crucifixion" at Lugano. See, for example, the oil-paintings in the cathedral of Como, so fascinating in their details, so lame in composition. In the Brera.
The few existing altar-pieces of Giotto are less important than his frescoes, inasmuch as they do not admit of the exhibition of his higher and most original gifts. Two signed examples are a Coronation of the Virgin in Santa Croce at Florence, and a Madonna, with saints and angels on the side panels, originally in S. Maria degli Angeli at Bologna, and now in the Brera at Milan.
To shrink from studying the decline of mental vigour in Italy upon the close of the Renaissance, would be therefore weak; though the task of tracing the impulse communicated by her previous energy to other nations, and their stirring under a like movement, might be more agreeable. S. Maurizio, on the Screen, inner church. Lugano in the Angeli. In the Brera.
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