HKB
remarkable panels from cassoni, there ascribed to Gozzoli, but by modern criticism more justly to Pesellino; they bear out Vasari's remark as to this painter's skill in delineating animals" (Burton).
This picture is perhaps the finest version extant of the conventional Italian representation of the mystery of the Trinity. The Son on a crucifix is supported by the Father, whilst the Holy Spirit in the form of a dove hovers over the head of the Son. The head of the First Person of the Trinity is a very majestic conception. "In this face, so full of beauty and power, of intensity and calm, as well as the careful modelling of the pathetic figure of Christ upon the cross, Pesellino touches heights which Lippi could not reach; but in the charming cherubim and seraphim with which the severity of the subject is softened and decorated, and in the beauty of the colour (though that has suffered much) we may recognise the influence of his master. We have only to compare this picture with the representations of the same subject by Landini (580a) and Orcagna (570) to show how the power to render the most august subjects had been increased by progress in technical accomplishment and the liberation of the artist's imagination, even when the elements and arrangements of the composition remained virtually unchanged from the traditional type" (Monkhouse, In the National Gallery, p. 62). The picture is referred to by Vasari: "At Pistoja is a work by Pesello, representing the Trinity, with figures of San Zeno and San Jacopo" (ii. 115). On the suppression of the religious congregation to whom the church of the Holy Trinity at Pistoja belonged, the picture was sold, and passed into the collection of Mr. Young Ottley. The side panels referred to by Vasari are still in private collections.
Beltraffio (Lombard: 1467-1516).
Giovanni Antonio Beltraffio came of a noble family in Milan (his epitaph is in the Brera) and filled public offices in his native town. He fell under the influence of Leonardo, and when that master settled at Milan, Beltraffio lodged in his house, and became his ardent disciple. "His most ambitious creation, where he lamentably fails, is the Louvre altar-piece, the redeeming features of which are the fine portraits of the Casio family, his friends and patrons. When he confined himself to portraiture he was often strikingly successful, and the older Milanese families still possess a number of ancestral portraits by him, some of which are of great charm. He seems to have become the pet artist of the society of his day, often painting the portraits of his friends in the guise of a St. Sebastian, or as Sta. Barbara. He accompanied Leonardo to Rome in 1514. Although not a great artist, and entirely lacking in imagination and dramatic power, he exhibits singular refinement. His cultured intellect enabled him to appreciate, and in a measure reflect, the fastidious spirit of his master. His works charm by their high finish, and by the absence of all vulgarity or display. His portraits do not reveal much penetration, and he never caught the subtleties of character or the intellectual qualities of his sitters" (Catalogue of the Burlington Fine Arts Club Exhibition, 1898, p. lviii.). His pictures are for the most part on a small scale. Good specimens are to be seen in the Morelli collection at Bergamo, and the Poldi-Pezzoli collection at Milan. To delineate the human figure on a large scale, or human passions, was not his forte; he succeeded better in expressing naïve innocence in children, and gentle grace in the Mother of God, or devoted women (Morelli's German Galleries, pp. 425-48; Roman Galleries, p. 163).
Of Beltraffio's powers in the respect last mentioned this charming picture is perhaps the best specimen extant. The child with its quaint belly-band, and still more the noble but slightly languishing grace of the mother, at once recall Leonardo.
Vincenzo Foppa (Lombard: about 1425-1492).