A history of painting (1911) (14597066607)

FILIPPINO LIPPI 1457 - 1504 THE VIRGIN AND CHILD, WITH ST. JEROME AND ST. DOMINIC (National Gallery)
Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: Painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive



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beautifulwoman died. Giovanna degli Albizzi, at the time shewas married to Lorenzo Tornabuoni, had been painted byBotticelli, and her features immortalised thereby in superb 112 XIV FILIPPINO LIPPI 1457 - 1504 TUSCAN SCHOOL THE VIRGIN AND CHILD, WITH ST. JEROME ANDST. DOMINIC (National Gallery) This, the centre panel, shows the Virgin seated in the midst of a land-scape, with the Infant Christ at her breast. On the left kneels St. Jeromeclasping in his upraised hands a stone, with which he is about to beat hisbare breast; on the right kneels St. Dominic reading in a book and holdinghis emblem the lily. In the background are various incidents from the lifeof St. Jerome. The predella is a Pieta with half figures of the Magdalenand St. Francis at either side. At the extreme ends are the arms of theRucellai family, for whom the picture was painted. Painted in tempera on wood. Centre panel 6 ft. 9 in. h. x 6 ft. 1 in. w. (2-056 x 1-853). Predella 8 in. h. x 7 ft. 9 in. w. (0-203 x 2-361).
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OF PAINTING frescoes wrought by him for the Villa Lemmi, and passed OF AN out of sight under the whitewash of neglect until some EXQUISITE thirty years or so ago, when they were discovered, on the MAKER OF whitewash being taken away, and were removed to the -AK.LAiN Ub Louvre, where they are now one of Frances most prized treasures. Giovanna Tornabuoni was fortunate indeed in her limners, for her portrait by Ghirlandaio, that used to hang on loan in the National Gallery in London, and has now passed into the possession of Mr. J. Pierpont Morgan, is one of the supreme achievements in the whole portraiture of the Italian Renaissance. The pure and exquisite profile, marked with all that strange grace and haunting distinction so inherent to the age, shows the ideal lady of quality who called forth the Florentine poets praises when the fourteen- hundreds were at their full. Amongst what were destined to be the last works fromGhirlandaios hand, was the large panel of the Visitation atthe Lo



The Visitation is a scene in the New Testament that depicts the meeting between Mary, the mother of Jesus, and her cousin Elizabeth, who was pregnant with John the Baptist. According to the Gospel of Luke, Mary visited Elizabeth after the angel Gabriel had informed her that she was to become the mother of Jesus. When Mary arrived, Elizabeth was filled with the Holy Spirit, and she declared that Mary was blessed among women and that the child within her was the son of God.

The Visitation is often depicted in Christian art, particularly in paintings and sculptures, as a tender and intimate moment between two expectant mothers. Mary is typically shown with a child-like expression of joy and wonder, while Elizabeth is often depicted as being filled with the Holy Spirit, with gestures or symbols that reflect her state of grace.

The Visitation is significant for several reasons. It highlights the close relationship between Mary and Elizabeth, and their shared experience as mothers-to-be. It also emphasizes the divine nature of the child within Mary, and the role that John the Baptist would play in preparing the way for Jesus' ministry. The scene is often interpreted as a symbol of the coming together of the old and new covenants, as Elizabeth, who was a descendent of Aaron, represents the old covenant, while Mary, who is carrying the son of God, represents the new covenant.