. The study and criticism of Italian art : second series. ne fortunatefact, we should stop. This fact happens to be theexistence of works by the same hand,—works thistime perfectly authenticated with regard to author-ship. These are a large number of illuminations,most of which are now in the cathedral of Siena;their author is Girolamo da Cremona. Of this artist almost nothing has hitherto beenknown. It was believed that he was only anilluminator, and it is certain that he worked inSiena, off and on, from 1467 to 1475,1 and that in1472 he did some illuminations for Monte That
. The study and criticism of Italian art : second series. ne fortunatefact, we should stop. This fact happens to be theexistence of works by the same hand,—works thistime perfectly authenticated with regard to author-ship. These are a large number of illuminations,most of which are now in the cathedral of Siena;their author is Girolamo da Cremona. Of this artist almost nothing has hitherto beenknown. It was believed that he was only anilluminator, and it is certain that he worked inSiena, off and on, from 1467 to 1475,1 and that in1472 he did some illuminations for Monte That Girolamo was more than a mereilluminator was first suspected by Mr. WilliamRankin, who recognized his hand in a Nativityof the Jarves Collection (No. 55) at Yale I am acquainted with this work inthe photograph only, which Mr. Rankin was obligingenough to send me. Judging from this,—and it 1 Vasari, Le Monnier, vi. 182. 2 Vasari, Sansoni, iv. 584. 3 American Journal of Archaeology, First Series, x., p. 149. GIROLAMO DA CREMONA. [Jarves Collection, New Haven, VIRGIN AND CHILD WITH ST. JOSEPH ?? GIROLAMO DA CREMONA 103 happens to be adequate,—Mr. Rankins attributionis so satisfactory that for those who know Girolamoda Cremona, an attempt to prove that this interest-ing little picture was by him would be an attemptto prove the obvious. To others I recommend acomparison of the two Nativities found amongthe Sienese illuminations (Lombardi, 21 o, 219). This Nativity, however, is too close to the miniaturesto increase greatly our estimate of Girolamo daCremona, or to enlarge our acquaintance with hisartistic personality. The Viterbo altar-piece, on theother hand, is so majestic a work, reveals, as wehave seen, a painter of such high talent, that if Ican establish that Girolamo was its author, I shallhave proved also that, beside being one of thegreatest Italian illuminators, he holds his ownamong the worthier Italian painters. To describe in deta
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