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There are some curious and beautiful instances of this combination of a significant action with the utmost solemnity of treatment; for example, in that very extraordinary Franciscan altar-piece, by Carlo Crivelli, lately purchased by Lord Ward, where St. Peter, having deposited his papal tiara at the foot of the throne, kneeling receives the great symbolical keys.
Among the more interesting pictures acquired by the Metropolitan Museum within the past two years are the panels by Carlo Crivelli, representing respectively St. George and St. Dominic. Crivelli is one of the fifteenth century Italian masters who show their temperament in their work with extraordinary clearness. His spirit was ardent and his moods were varying.
Isabella d'Este joins her husband in Naples Works of Bramante and Leonardo in the Castello of Milan The Cenacolo Lodovico sends for Perugino His passion for Lucrezia Crivelli Grief of Beatrice Death of Bianca Sforza The Emperor Maximilian at Pavia The Duke and Duchess return to Milan Last days and sudden death of Beatrice d'Este.
Instantly all the bracelet-laden arms were held out to the dead woman's son; and as I watched the weak little body hung with amulets and the heavy head covered with thin curls pressed against a brocaded bosom, I was reminded of one of the coral-hung child-Christs of Crivelli, standing livid and waxen on the knee of a splendidly dressed Madonna.
What the Vivarini began, the three Bellini, with Crivelli, Carpaccio, Mansueti, Basaiti, Catena, Cima da Conegliano, Bissolo, Cordegliaghi, continued.
He stands by the side of a little stream, in a landscape that combines in the true Crivelli manner direct realism with decorative formality. The St. Dominic with book and lily in type resembles the figure in the Metropolitan, but the face is painted with greater skill and has more vigor of expression. Above this lower stage of the altarpiece are four half-length figures of St. Francis, St.
Were it not for the Accademia's Tintorettos, Carpaccios and Bellinis, our own Venetian collection in Trafalgar Square would be much more interesting; and even as it is we have in "The Origin of the Milky Way" a Tintoretto more fascinating than any here; in "Bacchus and Ariadne" a more brilliant Titian than any here; some Bellinis, such as "The Agony in the Garden," the portrait of Loredano, and "The Death of S. Peter Martyr," that challenge his best here; two Giorgiones and several pictures notably of his school that cannot be matched here; the finest Catena that exists; a more charming Basaiti than any here; a better Antonello da Messina; and, according to some judges, the best Paul Veronese in the world: "The House of Darius"; while when it comes to Carlo Crivelli, he does not exist here at all.
Crivelli, however, though a Lombard, prefers a genteel residence in town, the magnificent Milan of Galeazzo and Filippo Visconti. He gives us a whole street, where richly dressed and well peruked gentlemen look down from the terraces, duly set with flower-pots, of houses ornamented with terra-cotta figures and medallions like those of the hospital at Milan.
It has been engraved under the title of La Belle Ferronnière, but later researches leave us no doubt that it represents Lucrezia Crivelli, a beautiful favorite of Ludovico Sforza, and was painted at Milan in 1497. It is, as a work of art, of such extraordinary perfection that all critical admiration is lost in wonder.
Grief of the Duke of Milan His letters to Mantua and Pavia Interview with Costabili Funeral of Duchess Beatrice Mourning of her husband Letters of the Emperor Maximilian and Chiara Gonzaga Tomb of Beatrice in Santa Maria delle Grazie Leonardo's Cenacolo, and portraits of the duke and duchess Lucrezia Crivelli.
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