HKB
in the National Gallery_, p. 33). Morelli, on the other hand, on the strength of various technical details, ascribes the picture to Pollajuolo (Italian Masters in German Galleries, pp. 353-355).
This picture, whatever may be its authorship, is certainly one of the most beautiful examples of Florentine art in the second half of the fifteenth century. Of a very individual and fascinating type are the faces of the two angels; their sweet and childlike loveliness will haunt the memory of any visitor who has once studied them. Mr. Monkhouse suggests that they may represent some member of the Medici family: "It is at all events evident that the originals of these beautiful children, however elevated by the refinement of the artist, belonged to no common stock. Nor can there be any doubt that this extremely elegant type, dainty to a degree unknown before, has a close affinity to the ideal of Leonardo da Vinci." The angels' hands in our picture are also very beautiful, though there is a touch of awkward affectation in the disjointed bend of the little finger in the angel on the left. The spectator will notice further the beautiful embroidery, and the jewelled brooches worn both by this angel and by the Madonna. The child holds a raspberry in one hand, some seeds of which he puts to his lips. The expression of the mother is very beautiful in its serene happiness of worship. Her head-dress is peculiar. "The light golden hair is entirely off the forehead, with but little showing, and is formed into a kind of pad, enclosed in an ornamental veil of thin material, which being tied round upon the top of the head, lightly forms a triangular curved peak upon the forehead, and hangs down gracefully on either shoulder." The entire picture is, as Kugler says, "a work of the most attractive character, from its careful finish, its rich and transparent colour, and its great beauty of expression."
Il Romanino (Brescian: about 1485-1566).
Girolamo Romani was a native of Brescia and the son of a painter; his family belonged originally to the small town of Romano, in the province of Bergamo: hence his name, "Romanino." Like Moretto (whose rival he was), he was little known outside the district of Brescia; but he studied at Venice, where he took Giorgione for his pattern. His best works are remarkable for a brilliant golden colouring, which is unfortunately not conspicuous in this picture. It pervades the fine altar-piece of the "Madonna Enthroned" in S. Francesco at Brescia. Another splendid altar-piece is to be seen in the museum at Padua. Among Romanino's frescoes may be mentioned the lively scenes he executed for the Castle of Malpaga. Copies of these are in the Arundel Society's collection.