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Thus, certain pictures by Raphael, such as the famous Transfiguration, the Madonna di Foligno, and the frescoes of the Stanze in the Vatican, do not at first captivate our admiration, as do the Violin-player in the Sciarra Palace, the portraits of the Doria family, and the Vision of Ezekiel in the Pitti Gallery, the Christ bearing His Cross in the Borghese collection, and the Marriage of the Virgin in the Brera at Milan.
The pedestal throne is also seen in two of Correggio's Dresden pictures, but here the Virgin is seated, with the child on her lap. An exceedingly simple throne Madonna is that of Luini, in the Brera at Milan, where the Virgin sits on a plain coping not at all high.
And now we have to turn back to Leonardo's own studies, above all to one drawing of the central head at the Brera, which, in a union of tenderness and severity in the face-lines, reminds one of the monumental work of Mino da Fiesole, to trace it as it was. It was another effort to lift a given subject out of the range of its conventional associations.
Thus, certain pictures by Raphael, such as the famous Transfiguration, the Madonna di Foligno, and the frescoes of the Stanze in the Vatican, do not at first captivate our admiration, as do the Violin-player in the Sciarra Palace, the portraits of the Doria family, and the Vision of Ezekiel in the Pitti Gallery, the Christ bearing His Cross in the Borghese collection, and the Marriage of the Virgin in the Brera at Milan.
Yet Bandello lived in Milan while the Church of S. Maurizio was being painted; nor does he show the slightest sign of disgust at the discord between the Contessa's life and her artistic presentation in the person of a royal martyr. In the Sculpture Gallery of the Brera is preserved a fair white marble tomb, carved by that excellent Lombard sculptor, Agostino Busti. The epitaph runs as follows:
There is a little dark fellow in the Brera at Milan whose zeal in displaying the merits of Mantegna's foreshortened Christ is as unforgettable as a striking piece of character-acting in a theatre. There is a more reserved but hardly less appreciative official in the Accademia at Bologna with a genuine if incommunicable passion for Guido Reni.
Jerome, on the other hand, does not in the peculiar tightness of the modelling, or in the flesh-tints, recall Titian's masterly synthetic way of going to work in works of this late period. The noble St. Jerome of the Brera, which indubitably belongs to a well-advanced stage in the late time, will be dealt with in its right place.
Now, after he had painted in Rome, as has been related, some apartments for Pope Nicholas V, and had finished over the door of S. Sepolcro, in Milan, the Christ in foreshortening, the Madonna who has Him on her lap, the Magdalene, and S. John, which was a very rare work, he painted in fresco, on a façade in the court of the Mint in Milan, the Nativity of Christ our Saviour, and, in the Church of S. Maria di Brera, in the tramezzo, the Nativity of Our Lady, with some Prophets on the doors of the organ, which are foreshortened very well to be seen from below, and a perspective-view which recedes with a beautiful gradation excellently contrived; at which I do not marvel, he having always much delighted in the studies of architecture, and having had a very good knowledge of them.
Near the altar we can perhaps trace the style of Bartolommeo Suardi in an Annunciation painted on the spandrils that heroic style, large and noble, known to us by the chivalrous S. Martin and the glorified Madonna of the Brera frescoes.
Then when he came to the altar to incense it, and they would have venerated him, he suddenly vanished, only leaving in the hand of the Augusta one of his shoes. This legend, which is represented in relief in the fourteenth-century doorway of S. Giovanni Evangelista, is also the subject of a picture by Rondinelli of Ravenna in the Brera at Milan.
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