The study and criticism of Italian art . unettes which originallycrowned these triptychs are at least equal to the bestof the panels. The very finest is a Madonna inthe Correr Museum (Sala 11, No. 17) a fragment,according to Prof. Paoletti, of the lunette abovethe Nativity (621). The Annunciation in theVienna Academy (No. 50) is all but as refined, andthe Pieta in the Brera (No. 173) is quite as in-spired. Only the Trinity in the Correr (Sala XV)is a trifle rougher in execution, although very largein design, and distinguished in feeling. As the lunettes are, on the whole, of such excel-lent qu
The study and criticism of Italian art . unettes which originallycrowned these triptychs are at least equal to the bestof the panels. The very finest is a Madonna inthe Correr Museum (Sala 11, No. 17) a fragment,according to Prof. Paoletti, of the lunette abovethe Nativity (621). The Annunciation in theVienna Academy (No. 50) is all but as refined, andthe Pieta in the Brera (No. 173) is quite as in-spired. Only the Trinity in the Correr (Sala XV)is a trifle rougher in execution, although very largein design, and distinguished in feeling. As the lunettes are, on the whole, of such excel-lent quality, we may as well begin our detailedexamination with them, and first of all with the Madonna of the Correr Museum. I cannot easily believe that a student, armed withour present knowledge of Venetian painting, whonow looked at this Madonna for the first time,would think of placing her within any other circle ofartists than Giovanni Bellinis. Indeed, I myself,who never before connected her with the group now STUDIO OF GIOVANNI BELLINI. [Correr Museum, Venice. MADONNA TRIPTYCHS 67 under discussion, always supposed, as a matter ofcourse, that she was Bellinesque. The oval ofher face and its whole cast is obviously his type, re-calling closest of all, that curious studio piece, theMadonna in Berlin (No. n77), where, also, theplacing of the hands suggests resemblances. TheChilds face, although almost grotesquely ugly, harksback to the one on the left in the Correr Pieta,while His pose and action recall the Infant in thelater Morelli Madonnaat Bergamo. At the presentmoment, I am rather inclined to apologize for notincluding her in the canon of Bellinis autographworks. And yet, although the oval of her face isdelicate and her look charming—in these respectssuperior to the Berlin Madonna already men-tioned—she holds herself very badly, the draperiesdo not cover the body convincingly, the folds aresummary, the Childs head is stupid, and the colour-ing unpleasantly red, so that I
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