. A wanderer in London. omb make itmemorable: these and the distant view of Florence thebeautiful. But personally I would rather have his Por-trait of a Young Man just inside Room I. Amongthe other minor portraits in the National Gallery one ofthe most fascinating is No. 1230, here, — the Portrait ofa Girl by Domenico del Ghirlandaio. To this quietItalian face I return again and again. We are weak inthe National Gallery in Ghirlandaios work: we own onlythis portrait and one other near it, a boy: nothing tocompare with the Louvres treasures. One other pictureI would mention, No. 701, by Justus
. A wanderer in London. omb make itmemorable: these and the distant view of Florence thebeautiful. But personally I would rather have his Por-trait of a Young Man just inside Room I. Amongthe other minor portraits in the National Gallery one ofthe most fascinating is No. 1230, here, — the Portrait ofa Girl by Domenico del Ghirlandaio. To this quietItalian face I return again and again. We are weak inthe National Gallery in Ghirlandaios work: we own onlythis portrait and one other near it, a boy: nothing tocompare with the Louvres treasures. One other pictureI would mention, No. 701, by Justus of Padua, a smalltryptich which I like for the little woman at a wash tubin one corner. With Room IV we journey north for a while and come tohints of domesticity and a homelier landscape—for RoomIV belongs to the early Flemish masters. The cheerfulpiety of Francesca and Fra Angelico, and the sheer love ofinnocent beauty of Botticelli and Filippino Lippi, are nomore. A note of sadness has come in, a northern earnest-. TIIK ENTOMHMKXT TIIK IK Tl ItK IIY KiMilKK VAN KKK WKVIKN IN IIIK N A I K )N.\ I, <iAM,i;ilY ; THE EARLY FLEMINGS 93 ness, and also the beginning of a realistic interest in hu-manity. The full materialism of later Netherlandishart is not yet: there is still much left of the rapt religiousspirit; but these early Flemish painters have an eye onthis world too. It is in their minds that living men andwomen deserve painting as much as the hierarchy ofheaven. We find realism at its most extreme in No. 944,the Two Usurers of Marinus van Romerswael, a miracleof minuteness without compensating allurement of anykind. Joachim Patinir introduces us to domestic landscapein Nos. 1084 and 1082, both incidents in the hfe of theVirgin but more interesting for their backgrounds of fairy-tale scenery, busy with romantic Chaucerian more remarkable as innovation is No. 1298, from thesame hand, one of the most exquisite pieces of colour in thewhole collecl
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Keywords: ., bookcentury1900, bookdecade1900, bookidwandererinlo, bookyear1906
