File:A wanderer in London (1906) (14766541705).jpg

Identifier: wandererinlondon00luca (find matches)
Title: A wanderer in London
Year: 1906 (1900s)
Authors: Lucas, E. V. (Edward Verrall), 1868-1938
Subjects: Art -- England London London (England) -- Description and travel
Publisher: New York : The Macmillan company London, Methuen & co.

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ry mood. There are days, forexample, when I cannot drag myself from BronzinosAllegory; days when Cosimos Warrior draws meto it continually; days when warm colour reigns and TitiansMadonna and Child, and Peruginos altar piece, andBellinis Agony in the Garden seem the best; dayswhen masterly quietude seems best, when Andrea delSartos Sculptor and Veroneses St. Helena andVelasquezs Admiral exercise the strongest sway; dayswhen drawing seems more than all, when Michael An-gelos Entombment becomes the most wonderfulachievement of the human hand. One feels in the National Gallery, as in all large collec-tions of pictures, that one would like it to be smaller — tocontain only the best. Not more of its greatest men —that would perhaps be asking too much — but less of itslesser men. Or a system of segregation would meet thecase, by which the greatest were kept together and wereno longer, as now, neighboured by the lesser men. Lorenzodi Credi for example would disappear from Room I, where
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2 s o A WH i-) ao w OSH X BRONZING 87 Michael Angelo and Botticelli and Cosimo and Bronzinoand Filippino Lippi and Andrea del Sarto hang; Beltraffioand several of his companions would recede from Room IX,with its Leonardo and its Correggios. Lorenzo di Crediand Beltraffio were both masters; but they are far fromthe highest rank. The official catalogue is by no means an easy one tofollow. It is in two volumes, one for Foreign Schools andone for British, and each is alphabetical. For the pur-poses of quiet study at home it is excellent, a model of itskind; but in the gallery it is a vexation, especially as itoften happens that the painter is catalogued under hisless-known name. I propose to consider the pictures asone comes to them in a walk through the Gallery fromroom to room in numerical order. Entering Room I — dedicated to the Tuscan School —the first picture on which the eye will probably rest is insome ways the most remarkable picture in the gallery,Bronzinos Allegory, Venus,

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