Hampton Court ... Illustrated with forty-three drawings by Herbert ...

LORENZO LOTTO -■95
though injured portrait — not Alessandro de' Medici —
(No. 149) is one of his finest works. With this may
be compared the No. 113, indeed a noble face nobly
rendered, which is by ' Mary Logan ' considered to be
a Titian, but which has been identified with a portrait
declared in Charles I.'s catalogue to be by Tintoretto.
It is a more personal picture, and more advanced in
style. Copies or works of his school which are worth
consideration are the pretty Holy Family with S.
Bridget (No. 79), an exquisite group, of which the
original is at Madrid.
Mr. Berenson's new and elaborate book * has given
a fresh interest to the study of Lorenzo Lotto. He
has traced his artistic origin, his history, his development,and
the surviving examples of his work, with the
patience and the acutenessof a true critic. He places
first among the pictures of this master at Hampton
Court No. 114, bust of a young man — a full face,
personal and expressive, painted when he was still
under the influence of Alvise Vivarini. It is certainly
one of the finest of his portraits, the pose so striking,
the face so firm and unconventional. Interesting
though this is, it bears no comparison with the
magnificent Andrea Odoni, which is not fully sympathetic
perhaps, but in its technical qualities is
superb. Many minor masters, who felt the same influence
as Lotto, here claim attention — Savoldo, Palma
Vecchio (a fine Madonna and Saints, No. 115), and
a " Shepherd's Offering " (No. 163), Cariani (No. 135,
1"Lorenzo Lotto," Putnam, 1896.