DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0022
xviii
GENERAL INTRODUCTION.
portraits contained in the several collections included in
this volume. A volume, containing a similar analysis
of the collections of the Duke of Devonshire, the Duke
of Wellington, Lord Ashburton, Mr. Hope, Mr. Neeld,
Mr. Munroe, and some others, would complete the work.
There can be no doubt of the value and convenience of
such a register, not only for present, but for future pur-
poses; but its value must consist mainly in its accuracy as
a register, and not on its attractions as a critical work, and
I have at least endeavoured to be accurate. I say, endea-
voured, for as to achieving complete accuracy, those alone
can tell who have tried how difficult is the mere attempt;
those alone can tell who have tried what it is to hunt a
fact, mis-stated, through a dozen volumes—to trace a name
mis-spelt—to ascertain a date—to decide between opposing
authorities—to compare disputed points—or, hardest task
of all! to knock down a charming theory or a pretty story
with a dry row of figures—to take from some favourite
picture its pretensions to authenticity, and stick a doubt
or a lie on the face of it. I have had the courage to do
this, in some flagrant instances, where I could have no
doubt. Where there was a doubt in my mind, I acted
on the principle of legal justice and mercy—I gave the
benefit of that doubt. We must take it for granted
that in many cases, a Titian, a Paul Veronese, &c., means
simply a Venetian picture, of the style and time of Titian
or Veronese. I firmly believe, for instance, that half the
pictures which bear Titian’s name, were painted by Boni-
fazio, or Girolamo de Tiziano, or Paris Bordone, or some
other of the Capi of the Venetian schoo?, which produced
such a swarm of painters in the sixteenth century. An
approach to accuracy is all I can pretend to; and if the
reader but knew all, it is some merit.
Another matter of difficulty and delicacy may be here
alluded to. Nothing can exceed the kindness, the polite
GENERAL INTRODUCTION.
portraits contained in the several collections included in
this volume. A volume, containing a similar analysis
of the collections of the Duke of Devonshire, the Duke
of Wellington, Lord Ashburton, Mr. Hope, Mr. Neeld,
Mr. Munroe, and some others, would complete the work.
There can be no doubt of the value and convenience of
such a register, not only for present, but for future pur-
poses; but its value must consist mainly in its accuracy as
a register, and not on its attractions as a critical work, and
I have at least endeavoured to be accurate. I say, endea-
voured, for as to achieving complete accuracy, those alone
can tell who have tried how difficult is the mere attempt;
those alone can tell who have tried what it is to hunt a
fact, mis-stated, through a dozen volumes—to trace a name
mis-spelt—to ascertain a date—to decide between opposing
authorities—to compare disputed points—or, hardest task
of all! to knock down a charming theory or a pretty story
with a dry row of figures—to take from some favourite
picture its pretensions to authenticity, and stick a doubt
or a lie on the face of it. I have had the courage to do
this, in some flagrant instances, where I could have no
doubt. Where there was a doubt in my mind, I acted
on the principle of legal justice and mercy—I gave the
benefit of that doubt. We must take it for granted
that in many cases, a Titian, a Paul Veronese, &c., means
simply a Venetian picture, of the style and time of Titian
or Veronese. I firmly believe, for instance, that half the
pictures which bear Titian’s name, were painted by Boni-
fazio, or Girolamo de Tiziano, or Paris Bordone, or some
other of the Capi of the Venetian schoo?, which produced
such a swarm of painters in the sixteenth century. An
approach to accuracy is all I can pretend to; and if the
reader but knew all, it is some merit.
Another matter of difficulty and delicacy may be here
alluded to. Nothing can exceed the kindness, the polite