The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1898-03-05
CITIES OF NORTHERN ITALY
Continued From Tenth Page.)

one of Beggarelli's characteristic
groups, 1t represents the scene which
the Italians call Presepio Presepio
means, literally, a stable, q manger or
even a crib. The stable where an OK
and an ass are standing is in cleft of
the rocks, of which the entrance is
partially rooted over. In the fore
ground lies the infant Saviour. To
the right kneels the Virgin, in wonder
ing alteration. In the cave stands Jo-
seph, with his arms folded in stolid
wonder. The other figures are shep-
herds, who approach from each side
and kneel as they draw near. The
composition is picturesque, and re-
minds one of the paintings of the Bel
lini family. Beggarelli had painters
talent, and applied 1t to the grouping
of his terra Gotta figures The erect
figures at either end, while closing the
scene satisfactorily, give to the whole
composition mathematical and stud
led air that impairs its solemn i'm
press. The grouping is, however very
good and sufficiently varied. The cat
tie are rather too conspicuous and the
infant Saviour not sufficiently so. The
kneeling Mary is beautiful picture Of
tenderness and grace.
"A far more important work is in the
old church of San Agostino, at the
western end of the town. The group is
pieta, the. term the Italians have Civ
en- to the scene of the Virgins grief
over the dead body of her son. The
figures are all life-size and are as real
as If they had just taken their places
in the scene from daily life. The cross
towering above the group and the two
lamenting angels impart monumental
dignity to the composition. A nearer
view shuts out the cross. but shows the
group more clearly. In the center the
Virgin bears in her lap the dead body
of her son. His head is held by Joseph
of Arimathea. To the Virgins left is
st. John, with his right arm stretched
in sympathy. or for support. Then
follows Mary Magdalene, on her knees.
loudly expressing her grief. The figure
next to the Magdalene is called Nico-
denus. At the other end of the group,
beyond Joseph. are the two other Ma
rvs, variously named by various au-
thors. These six persons almost inva-
riably support the Virgin in the pietas
of Italian art The scene is very real.
The grief Of the Virgin is expressed
with but little artistic toning, but in
accordance with the temperament Of
the Italians, who, like the Homeric
Greeks, give full and loud expression
to every sentiment and passion. Many
days might be passed with pleasure
and profit at Modena in studying the
works of this excellent but compare
lively unknown artist. There are but
few of his works outside of Modena.
His simple groups may be more easily
appreciated. This Holy Family is quite
up to the high lever established by the
sculptors of Florence. According to
vasari, Michel Angelo said of Begga-
relli that if his works were in marble
antique sculpture would have to look
out for itself-an odd compliment, not
worthy of Michel Angelo, and of doubt
full origin.
The other Modenese sculptor men
toned, Guido Mazzoni, whose Modena
pieta is in the view, was still more
realistic and tragic in both conception
and execution. He carries his realism
so far that 1t approaches the grotesque,
1t needs reverent sympathy with the
subject to prevent regarding some OF
the faces as caricatures and as proper
objects of mirth. If ever present. how
ever, at an Italian peasants funeral
you will realize that at least truth has
not been overstepped nor action exag-
gerated though the limits of art, as we
', 10, n opc fhaYl1
may have been disregarded. What
may be the true limits of true art has
not as yet been revealed. Mazzoni
worked for those about him. His idea
was to make the crucifixion as real tc
citizens as If it had taken place yester-
day, and in Modena. Every beholder
who had lost a friend or a relative
would view the scene with personal
sympathies. Whatever there may be
of grace or beauty in Mazzoni's works
must have been taken directly from
the peasant life about him, for it is ev-
ident that he was no idealist, and that
his imagination never led him away
from strict and minute copying of
nature. His figures are clothed with
the same cut and color as were the
citizens of Modena Of his day. Their
hair is arranged in the same manner.
They wear the same hats and bonnets.
Flemish art of che period was equally
realistic. The pictures of Van Eyck,
Memling, and Van der Heyden show
forth scenes from the New Testament
with the same contemporaneousnes
of costume and portraiture.
We left Ferrara in a hurry, to estab-
lish knowledge of Lombard architect
ure Now hurry back to see the most
realistic and characteristic of all MAJ
zoni's work It is in little church
Santa Maria della Rosa it is called
a church not large enough to attract
attention. Your driver, a to-day
ratinoalist, may wonder at your vast
| ing time on so modest an edifice. In
the first chapel on the left is the group
1t resembles the Modena pieta, but
there is something In its intense real
ism that captures and holds attention
as do few works of art of classic
medieval or modern production.
The scene is the same, the person
ages are the same, but there is q
savageness of expression and q force
of natural passion unsurpassed in any
| work of the kind of the day. The sub
| ject has been treated by artists of ev.
cry period in accordance with their
capacities and impulses, and with the
taste Of the time and place of their &C.