Painter/Artist: Da Messina Antonello

Netherlandish and Venetian Schools. After studying in Rome and Sicily he is said to have visited Flanders, and then to have settled in Venice and introduced the practice of painting in oils instead of in tempera.

LONDON, NATIONAL GALLERY

SALVATOR MUNDI Lust length, full face. The Saviour wears a dark crimson tunic, with blue drapery on the left shoulder. His right hand is raised in benediction, the fingers of the left resting on the edge of a parapet, below which, on a cartellino, is a Latin inscription with the name of the painter and the date I465.

Purchased in Genoa from the Cavaliere Isola in 1861.

THE CRUCIFIXION. The Saviour hangs on a high cross, at the foot of which are the Virgin on the left and St. John on the right. In the middle distance is seen a fortified town with many small figures and, beyond, a hilly landscape. Below, on a cartellino, is written: ” 1477, Antonellus Mlessaneus me pinxit.”

Purchased from Louisa, Marchioness of Waterford, in 1884.

ST. JEROME IN HIS STUDY The subject is enclosed by a stone archway which admits light into a vaulted room paved with tiles. St. Jerome sits at a desk on a wooden platform. In a corridor on the right is seen his lion, and through a window at the end of a corridor on the left a landscape and buildings. On a step in the foreground are a peacock and a partridge.

Mentioned by the Anonimo as being in the possession of Antonio Pasqualino in Venice in 1529. Purchased from the Earl of Northbrook in 1894.

DRESDEN

ST. SEBASTIAN. In the foreground of a public square the martyr stands fronting us in a loin cloth, his hands bound behind him to a bare tree-trunk which rises through the chequered pavement. He is pierced by five arrows. Behind him is a gap in the buildings filled by an arcade of two round arches, through which are seen figures and buildings by the waterside. This is considered a masterpiece of the artist.

ANTWERP

THE CRUCIFIXION From the foreground of a landscape falling to the sea rises, in the centre, a very tall cross, reaching almost to the top of the canvas. On the extreme right and left are two slender tree-trunks, lopped of their boughs, to the upper parts of which are bound the two thieves, the three figures being seen against a clear sky far above the horizon. The body of the Saviour is treated conventionally, but those of the thieves, contorted by pain, are extremely realistic. At the foot of the tree on the left, Mary is seated on the ground, facing us; and on the right St. John kneels on one knee, adoring the Saviour with clasped hands.