the high altar in the church, but is now dismembered, the centre portion being in the left hand aisle, the wings in the right hand aisle. The conception and composition of the subject are common to Van der Goes and Van der Weyden. The Virgin Mary kneels in adoration before the Infant Christ, whom St. Joseph and the shepherds likewise worship. A choir of angels fills the heavens, the scene being lighted by the rays which emanate from the Infant. Two kneeling angels pray upon one side, whilst five upon the other sing the Sanctus, of which the verses are depicted on their splendid raiment. An ox and ass are in the stable, from whose manger the Infant has been taken, and in the distance is an angel appearing to the shepherds. Nothing can surpass the finish and delicacy of portions of this pleasantly composed and effective picture. The Virgin and the angels have clear and brilliant lights with cool blue shadows, contrasted with dark tones and brown shadows in the faces of St. Joseph and the shepherds. In parts the hands and heads are delicately painted, but the ornamental portion is overcharged. A vase and cups with flowers, besides a number of minutiæ, are finished with the care and cleverness of John Van Eyck; the gems, the diamonds, and embroideries with the patience of a Fleming. The splendid preservation of the picture renders it the best example of Hugo's style. The wings are not so perfect. On one of them appear St. Matthew and St. Anthony, with Portinari and his sons before them. On the other, St. Margaret and Mary Magdalen, with Portinari's wife and daughters. Numerous small figures crowd the landscape in both these wings, the outer sides of which represent the Annunciation in chiaro-'scuro. The Pitti palace contains a portrait of the same Thomaso Portinari who figures in the altar-piece of Santa Maria, called by local guide-books Folco Portinari. Florence is the only city where the works of Hugo Van der Goes can be studied with effect. His pictures have been also found in Germany, but not a single one of them remains in Belgium, his native country; another proof, if it were wanted, that Belgian art cannot be studied in the Netherlands. The sweetest and most delicate of Hugo's works is the Virgin and Child of the Uffizi, where St. Catherine kneeling before the Infant, sitting upon his mother's knee, enthroned beneath a splendid dais, offers him a flower; and another female saint, decked out in all the splendid ugliness of the dresses of the period, appears in adoration. Two beautiful angels hold a crown above the Virgin's head. St. Catherine wears a coronet like that of Hubert's Virgin, and the Infant Christ is clothed in Van der Weyden's manner. Although somewhat hard in its outlines, this picture in some parts exhibits the painter's best attainments. The beauty and delicate shape of the hands and arms, the comparatively simple folds of the drapery, are worthy of the masters of the Flemish school; whilst nothing can be finer than the ornaments of the carpet and the dais, the collars of pearls and diamonds, and the splendid and crowded landscape.1 A Virgin and Child in the Puccini palace, at Pistoia, is 1 Gallery of the Uffizi; 2 feet 6 inches 10 lignes by 2 feet 1 inch 8 lignes. also a favourable example of the master. The Virgin, adored by the donor and donatrix, is surrounded by a glory of angels. As usual with Van der Goes, the Annunciation in chiaro-'scuro is painted on the outer surface of the wings, and the monogram H. G. is on the panel. St. John the Baptist in the Desert, a solitary figure, signed by the artist and executed in 1472, is the only authentic panel now to be found at Munich.' It is in the painter's dark and vigorous manner; the attitude of the body and the draperies being not unlike Hubert, whilst the landscape by its wildness reminds one of the Agnus Dei of St. Bavon. The drawing of many portions of this figure is far from the careful style of Hugo in the pictures of the Florence gallery and church. Mary lamenting, surrounded by Holy Women, and St. John, in the same gallery, is a dark, displeasing, and doubtful panel. Still less good is the Annunciation,3 somewhat in the manner of the master. 4 A Virgin and Child, enthroned beneath a portico, is of the same character. The panels at Berlin attributed to Hugo may all be classed as doubtful; for though they bear some traces of his hand, their cold grey shadows and opaque and clouded lights are not unlike attempts at imitating and exag 1 No. 105, Cab. VI. Munich Cat. Signed "Hugo V. d. Goes, 1472." Wood, 11" 6"" by 9", Bavarian measure. 2 No. 66, Cab. IV. Munich Gal. Cat. Wood, 1' 6" by 1′ 2′′, Bavarian measure. 3 No. 43, Cab. III. Munich Gal. Cat. Bavarian measure. Wood, 3' 8" by 3′ 5′′, 4 No. 119, Cab. VI. Munich Cat, Wood, 2' 2" by 1' 7", Bavarian measure. "the Annun gerating his style. Such, in general, are the characteristics of the "Virgin and naked Child;"1 ciation," twice repeated; "St. Augustine and the donor, with St. John the Baptist ;"3" Christ in a purple mantle," "St. John the Evangelist ;" and a "Head of Christ." 7 5 994 The Saviour, enthroned with the Virgin, and St. John the Baptist, have no likeness to his works in manner, design, or colour; and in the latter especially the figures are long and thin, which is unlike Van der Goes, and rather after the manner of the pupils of Petrus Cristus. The Crucifixion of the Cour d'Appel in Paris, depicts the Saviour crucified, and Mary fainting; St. John the Baptist and St. Louis in contemplation on one side, and St. John the Evangelist, St. Denis, and St. Charlemagne standing on the other. A mountainous landscape, with numerous figures in the distance, completes a clever composition, in which the attitudes of the various actors exhibit the style and character of Van der Goes, with a portion of that severity which he gained from Hubert. The outline has the firmness of the latter with the hardness of the pupil. The vestments are covered, as was customary, with quantities of ornaments. A half figure of God the Father is painted in a niche above the crucifix. 1 No. 529, Berlin Cat. Wood, 2 f. 7 z. by 1 f. 94 z., Prussian measure. Wood, 3 f. by 1 f. 114 z., Prussian measure. Wood, 6 z. by 34 z., Prussian measure. 2 No. 530, Berlin Cat. No. 548, Berlin Cat. 3 No. 540, Berlin Cat. 4 No. 541, Berlin Cat. 5 No. 549, Berlin Cat. 6 No. 553, Berlin Cat. 7 No. 600, Berlin Cat. measure. Wood, 2 f. by 1 f. 5 z., Prussian measure. In colour this painting is powerful and red, and somewhat lacks chiaro-'scuro. The Saviour on the Cross is one of the finest portions of it, and may well be called a masterpiece. It is curious to note upon the foreground a dog, a death's head and cross-bones.' The Belvedere Museum contains two figures of Adam and Eve, apparently copies from those of the Agnus Dei of St. Bavon. They are attributed to Van der Goes, although below the standard of his powers. His name is also given, without sufficient evidence, to a Virgin and Child, adored by a figure holding a viol.3 This composition, in the Belvedere Gallery, is very much in the spirit of Memling's picture representing the same subject in the gallery of the Uffizi, at Florence. The panel is not remarkable for the delicacy characterising Memling, and appears to be a copy by a pupil of that master. The wings of the picture are separated from the centre composition, and confirm the supposition of these panels being by a pupil of Memling. St. John the Baptist holding the Lamb, and St. John the Evangelist carrying the Chalice, are copied from the Mystic Marriage of St. Catherine at Bruges, or the Chiswick altar-piece. 4 A picture by Van der Goes of the Madonna and Child s described as being in the Bologna Gallery. 1 Wood, 3 m. 30 by 2 m. 28, French measure. 2 No. 3, second room, Vienna, Belvedere Cat. Wood, 2' 2" by 1' 7", Austrian measure. 3 No. 9, second room, Belvedere Cat. Wood, 2' 2" by 1' 5", Austrian measure. 4 No. 13, second room, Belvedere Cat. Wood, 2′ 2′′, together 1' 5", Austrian measure. 5 No. 282, Bologn. Pinak. |
