DOI Page / Citation link:
https://doi.org/10.11588/diglit.52801#0278
LUCIEN BUONAPARTE’S COLLECTION.
of Endymion, the shepherd of Mount Latinos, with
whom it is said that Diana became enamoured, and
often visited. The drawing of the principal figure
is in a very correct and great manner, and the
smaller figures are touched with lightness and deli-
cacy. The cabinet pictures of this master are in
general more to be prized than his larger produc-
tions, from the manner of his colouring in these last
being sometimes hard and dark, while the former,
with a greater degree of delicacy and lightness of
touch, may be said to contain all that is excellent in
his works.
73. Schidone.—St. Sebastian. This capital picture af-
fords another fine example of this master in his Cor-
regiac manner of painting, and where the most
powerful effect has been produced by the judicious
management of his clair obscure. In this picture
the light in the horizon and upon the figures in the
middle ground is very striking and quite novel.
75, 76. Julio Romano.—Two Frescos. These frescos,
representing angels, each holding a flambeau, were
taken from the walls of the church of the Trinity at
Rome, where, before their removal, the colours had
much faded ; but by a process being secured upon
canvas, they have, with the assistance of varnish,
returned to their original freshness. They are
painted in a very grand style, and will remind the
connoisseur of the works of Raphael, especially in
his cartoons. Palmaroli of Rome first discovered
this new process.
89> Rubens.—The Triumph of Silenus. This splendid
picture was formerly in the collection of Mons, de
Tartre, already mentioned. In it will be found
all that variety of colouring which distinguishes the
of Endymion, the shepherd of Mount Latinos, with
whom it is said that Diana became enamoured, and
often visited. The drawing of the principal figure
is in a very correct and great manner, and the
smaller figures are touched with lightness and deli-
cacy. The cabinet pictures of this master are in
general more to be prized than his larger produc-
tions, from the manner of his colouring in these last
being sometimes hard and dark, while the former,
with a greater degree of delicacy and lightness of
touch, may be said to contain all that is excellent in
his works.
73. Schidone.—St. Sebastian. This capital picture af-
fords another fine example of this master in his Cor-
regiac manner of painting, and where the most
powerful effect has been produced by the judicious
management of his clair obscure. In this picture
the light in the horizon and upon the figures in the
middle ground is very striking and quite novel.
75, 76. Julio Romano.—Two Frescos. These frescos,
representing angels, each holding a flambeau, were
taken from the walls of the church of the Trinity at
Rome, where, before their removal, the colours had
much faded ; but by a process being secured upon
canvas, they have, with the assistance of varnish,
returned to their original freshness. They are
painted in a very grand style, and will remind the
connoisseur of the works of Raphael, especially in
his cartoons. Palmaroli of Rome first discovered
this new process.
89> Rubens.—The Triumph of Silenus. This splendid
picture was formerly in the collection of Mons, de
Tartre, already mentioned. In it will be found
all that variety of colouring which distinguishes the