. A history of / with a preface by Frank Brangwyn. shand. Giovanni Battista Bertucci, born at Faenza, andworking in the early years of the fifteen-hundreds, wasreared under the influence of the same masters, Peruginoand Pinturicchio; and his works were also wont to begiven to Perugino and Pinturicchio, or to Lo he, like Raphael, came under the influence of theBologna painters, Costa and Francia, of the school of Padua182 XXIII RAPHAEL1483^ 1520 UMBRTAN SCHOOL THE VIRGIN AND CHILD ATTENDED BY ST. JOHN THE BAPTIST AND ST. NICHOLAS OF BARI (Commonly known as the Ansidei Mad
. A history of / with a preface by Frank Brangwyn. shand. Giovanni Battista Bertucci, born at Faenza, andworking in the early years of the fifteen-hundreds, wasreared under the influence of the same masters, Peruginoand Pinturicchio; and his works were also wont to begiven to Perugino and Pinturicchio, or to Lo he, like Raphael, came under the influence of theBologna painters, Costa and Francia, of the school of Padua182 XXIII RAPHAEL1483^ 1520 UMBRTAN SCHOOL THE VIRGIN AND CHILD ATTENDED BY ST. JOHN THE BAPTIST AND ST. NICHOLAS OF BARI (Commonly known as the Ansidei Madonna ) (National Gallery) The Virgin is seated holding the Infant Christ on an elevated thronewith three steps. To the left stands St. John the Baptist. On the rightstands St. Nicholas of Bari, wearing his episcopal robes and mitre ; in theforeground, at his feet, are the three gaWen balls, representing the threepurses of gold, which are his attributes. Painted in oil, on thick poplar wood ; arched at the top, 7 ft. i in. 4 ft. ic^ in. w. (2i59 x 1-485).. OF PAINTING and Venice. Of Peruginos pupils also was Francesco WHEREINUbertini, better known as II Bacchiacca (1494-1557). WE SEE We have seen the Umbrian School of Painters display- ART FLITing a rich sense of colour, and a style and significance in ^^lU IHEart, akin to that of Venice and of Siena. They are HJ^ls^^^receptive to many influences, and eagerly adopt are inclined to be what the pedants call eclectic—* borrowers, choosers of the best out of everything, makersof fine mixtures. The art of Florence of the fifteen-hundreds is henceforth, also, to become eclectic, borrow-ing from the best that has gone before, both in Florence andin Venice and in Umbria—except only one majestic genius,a very giant, Michelangelo, who stands out alone, headand shoulders above the whole magnificent achievement ofTuscany. But of the splendid borrowers, the mightiestand largest was Raphael, lord of the school of Umbria—in
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