Chilone (Vincenzo). A Court. Canvas: 2 ft. 4 in. by 2 ft. 8 in. Chimenti. See Empoli. Venetian; 1706-1772. 474. Cignaroli (Giambettino). Death of a Woman in Child-birth. Formerly in the Confraternità della Carità. Canvas: 6 ft. 7 in. by 8 ft. 5 in. 603. Cima (Giov. Battista da Conegliano). Friulan; painted about 1489 to 1508. The Madonna, with (left) St. John the Baptist, and (right) St. Paul with an open book. Behind the Virgin is a red curtain, dividing the landscape background into two portions. The Virgin's face resembles Bellini's Madonnas. On wood: 2 ft. 8 in. by 3 ft. 10 in. "This is a characteristic, but by no means first-rate, example of Cima." (Ruskin.) 623. St. Christopher Carrying the Infant Christ. (For an account of the subject, see under Titian's fresco of St. Christopher, Doges' Palace.) This is a fragment of a large altar-piece, mentioned by Boschini. It was formerly in the Scuola dei Mercanti. On wood 4 ft. 10 in. by 2 ft. 2 in. 604. Pietà. (The Entombment). Nicodemus supports the body of Christ between the Virgin and St. John who holds the arms, while the Marys look on. Signed and painted before 1492. On wood: 2 ft. 4 in. by 3 ft. 8 in. From the Renier collection. 66 'The chief interest of this work centres, as it should, in the principal figure, which, though overcast with the shadow of death, is dignified and impressive. The body is carefully modelled. The heads of the rest of the group are comparatively deficient in interest." (Eastlake.) 597. Madonna. Background is a landscape. On wood : 2 ft. 4 in. by 1 ft. 103 in. 611. *The Incredulity of St. Thomas. The Redeemer stands between St. Thomas and another saint on the right, who, according to some, is St. Magnus, bishop, an old friend of St. Chrysostom, while others more correctly call him St. Nicholas. He holds a book and crozier, and wears a rich cope, the orphreys of which are divided into compartments representing incidents in the life of the saint. The colouring is brilliant, and the figures stand out very clearly from the distance, but the composition is somewhat formal. It was once in the School of the Masons, Venice, On wood: 7 ft. 8 in. by 4 ft. 7 in. "A cold and somewhat stiff creation, but combining great strength of colour and purity of outline with powerful effect." (C. & C.) "In drawing, colour, taste, and sentiment, this picture may be regarded as a typical example of Cima's best work. All the heads are conceived in a spirit of solemn reverence and deep religious feeling." (Eastlake.) "An entirely sincere and noble picture of the central epoch. Not supreme in any artistic quality, but good and praiseworthy in all; and as a conception of its subject, the most beautiful you will find in Venice." (Ruskin.) 592. *Tobias and the Angel. In the centre is Tobias, holding the fish, accompanied by the angel Raphael; to the left is St. John the Evangelist; in the opposite corner is St. Nicholas of Bari, bearing a pastoral staff in his hand. Tobias was the son of Tobit, a rich man, who became blind, and nothing was finally left to him but his wife and son. Tobit sent his son Tobias on a long journey to recover a sum of money which a man in Media owed him. He was guided by the Archangel Raphael. On his return with the money, Tobias cured his father's blindness with the gall of a fish, as directed by Raphael. The composition is simple, in the old style. Cima has made Tobias a mere boy, whereas at the time of his expedition to Media he was a young man, affianced to the daughter of Raguele. In 1889 this picture was transferred from wood to canvas, after having suffered greatly from restorations. It was formerly in the abbey Church of Santa Maria della Misericordia. Canvas: 5 ft. 3 in. by 5 ft. 11 in. Morelli remarks of Cima that he had no dramatic talent, but that he was the best and most careful draughtsman in the school of Bellini, and unlike his master, he never abandoned the old style of painting, as may be seen in this beautiful picture. "The rich, but harmonious disposition of colours in this charming work, the admirable treatment of the draperies, and the interesting (though unfortunately damaged) landscape background, combine to make this picture one of the most attractive objects in the Gallery." (Eastlake.) 36. - *Madonna enthroned with Saints. The Madonna sits on a throne of white and brown marble. On the right are SS. Anthony, Sebastian, and Lucy; on the left St. George in armour, St. Catherine (?), wearing a rose-coloured dress and green mantle, and St. Nicholas. At the foot of the throne are two angels, playing the violin and mandoline. This picture was attributed to Bellini by some old writers by mistake. It is one of Cima's most important works. |