latter, being of a good and kindly disposition, returned his pretended cordiality with sincere good-will, and willingly accepted his advances, Andrea seeming to him a clever and amusing person. This friendship, therefore, on the one side feigned, on the other sincere, proceeding to intimacy, Domenico, who was very fond of music, and played on the lute, passed the greater part of his evenings with Andrea, when they amused themselves in company, or went together to serenade their “inamorate;” all which greatly delighted Domenico, who sincerely regarding Andrea, instructed him in the method of painting in oil, which was at that time not known in Tuscany.[1]
Things being thus, Andrea, to relate what occurred in due order, depicted an Annunciation on the portion of the chapel appropriated to him; this work is esteemed to be very beautiful, and is much admired for the attitude of the Angel, whom he represents to be hovering in the air, a thing which had not previously been done. But a much finer work is that in which he has depicted the Virgin ascending the steps of the Temple, whereon are grouped many figures of mendicants: among these is one lifting his cruise, with which he smites one of his fellows on the head, an extremely fine figure, as indeed are all the others.[2] Andrea, having bestowed much study on the work, and being incited by his emulation with Domenico, finished every part with great care. In the same picture is an octagonal temple, in the midst of a piazza, drawn in perspective: the building is isolated, it exhibits numerous columns, niches, &c., and the principal front is beautifully adorned with statues painted to imitate marbles. Around the piazza, magnificent buildings, in great variety, are represented, and on one side of these, the shadow of the temple, the scene, being one of sun-light, falls with ad-
- ↑ The only painting by Domenico of which the authenticity is indubitable, that in Santa Lucia de’ Magnoli, namely, is affirmed by Rumohr, and other competent authorities, who examined it before its restoration, to be painted, not in oil, but in tempera. The later Florentine annotators question whether Domenico did receive instruction from Antonello da Messina, and incline to the opinion that he did not.
- ↑ “A vulgar idea,” remarks the latest Florentine annotator, “by no means in harmony with the subject of the picture. Its introduction here must be attributed to the peculiar character of the artist.”—Ed. Flor. 1849.
