DOI Page / Citation link:
https://doi.org/10.11588/diglit.52801#0094
90
MR. GORDON’S COLLECTION.
Shortly after Mr. Irvine had written this letter
an opportunity occurred to him of purchasing for
Mr. Gordon three pictures, by Guido, of the first
consideration, and probably of the more import-
ance in so far as they were in the three different
manners of that elegant master. Two of these
were the Judith and Holophernes, and the Lucretia
from the Spada palace at Rome, pictures above
seven feet high by a proportionate breadth.
These pictures are painted in his strong and
powerful manner, the first evidently in rivalship
with the manner of Domenichino, possessing much
more carnation than his own works in general
contain, and which might pass, in the eye of the
world, and even of connoisseurs, as a capital work
by Domenichino, in his florid manner, were the
history of it as being one of Guido’s fine works
not so well authenticated.
The companion to this, the Lucretia by Guido,
is, on the other hand, painted in a manner which
is purely and solely his own; and while it possesses
all the force of his most powerful manner, as in
the well-known picture of Lot and his Daughters
above-mentioned, it also presents those delightful
pearly tints for which the finest works of this
master are so celebrated, and in which no other
master has so well succeeded in giving such
breadth and lustre in that particular manner. It is
MR. GORDON’S COLLECTION.
Shortly after Mr. Irvine had written this letter
an opportunity occurred to him of purchasing for
Mr. Gordon three pictures, by Guido, of the first
consideration, and probably of the more import-
ance in so far as they were in the three different
manners of that elegant master. Two of these
were the Judith and Holophernes, and the Lucretia
from the Spada palace at Rome, pictures above
seven feet high by a proportionate breadth.
These pictures are painted in his strong and
powerful manner, the first evidently in rivalship
with the manner of Domenichino, possessing much
more carnation than his own works in general
contain, and which might pass, in the eye of the
world, and even of connoisseurs, as a capital work
by Domenichino, in his florid manner, were the
history of it as being one of Guido’s fine works
not so well authenticated.
The companion to this, the Lucretia by Guido,
is, on the other hand, painted in a manner which
is purely and solely his own; and while it possesses
all the force of his most powerful manner, as in
the well-known picture of Lot and his Daughters
above-mentioned, it also presents those delightful
pearly tints for which the finest works of this
master are so celebrated, and in which no other
master has so well succeeded in giving such
breadth and lustre in that particular manner. It is