It is impossible to overrate the historical importance of the juxtaposition of this work of MANTEGNA with that of CORREGGIO. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.
B-46. Adoration of the Kings. (19X14.) _Andrea Mantegna._
B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) _Correggio._
Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of _Correggio_. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."
This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of ST. JEROME; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the _Crucifixion_ by _Mantegna_ (No. B-45).
There can be no doubt that this picture is the finished sketch for the well-known _St. Jerome_, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.
B-48. Virgin and Child. (34X27.) _Correggio._
In support of the authenticity of this picture, we have the first authority in England,--that of Mr. Woodburn. The donor thinks it may be SCHIDONE.
[Illustration: B-22. ADORATION OF THE INFANT CHRIST.
B-49. Virgin and Child. (10X8.) _Bernardino Luini._
B-50. Virgin and Child, with St. John. (32X25½.) _Giulio Romano._
This picture was attributed to CÆSARI DA SESTO, but is now believed by the donor to be by GIULIO ROMANO. It is from the collection of Bishop Luscomb, Paris.
B-51. Portrait of a Princess of Florence. (52X41½.) _Agnolo Bronzino._