Identifier: artoflouvreconta00pott (find matches)
Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists
Year: 1905 (1900s)
Authors: Potter, Mary Knight, d. 1915
Subjects: Musée du Louvre Painting
Publisher: Boston, L.C. Page & company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ve those of thesecond, and thus has a unique position, by its very separa-tion more human, more appealing, more knowable. All of his pictures in the Louvre have suffered greatlyfrom restoration. So much indeed have they been re-painted, that often, instead of being Italian in the char-acter of the heads, they have a distinctly French aspect,as if Lucrezia had lost her Italian beauty in an effort toacquire the style of the French capital. The Charity, oneof his most noble works, has, in some respects, beenruined by this treatment. Originally it was upon wood.In 1550 it was transferred to canvas by Picault, and thenin 1842, having become hurt from dampness, it was oncemore put upon a new canvas. The result, so far ascolour goes, has been disastrous in the extreme. Notless lamentable is the change that has taken place in theface of Charity. As usual, the model for this majesticfigure was his wife, and there is still enough left of theoriginal work to show the well-known oval of cheek and
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CHARITYBy Andrea del Sarto ©ran&e ©alette Si chin, the high brow and the deep eyes. But over it allan insidious something has spread, giving a most extra-ordinarily French character to the whole face. Thegeneral lines of the picture, however, the fall of thedraperies, the scheme of the chiaroscuro, are presumablypractically as the painter left them. And they are all ofwonderful beauty. The picture was painted for FrangoisI. sometime about 1518, soon after Andrea arrived in theFrench capital. It belongs, then, to what is called hissecond period. In a charming hilly landscape, seated on a rock in theforeground, is Charity, clad in a rose-pink gown and aturquoise blue mantle. In her lap she holds and nursesone small, naked boy, while her right arm encirclesanother who kneels beside her and offers her a bunch offlowers. Below, at the left, a third has flung himself overon to a bit of the drapery from her robe, and, with faceburied in his arms, is fast asleep in an oblivion thatspeak

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