DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0129
INTRODUCTION.
85
school so often wanted—depth and simplicity of feeling,
and elevation of purpose. The same observations apply to
the “ Danae,” by the same master, most admirable as a
picture—as an example of design and colour ; but surely
a very prosaic version of a subject which, if it be not very
poetical, is very disagreeable—a subject which, in the more
refined treatment of Titian and Correggio, is only too
attractive. The fourth great picture, Guido’s “ Assumption
of the Virgin,” is a perfect example of those beauties by
which he is usually characterised—elegance in the forms,
grace and sentiment in the heads and expression, and pearly
delicacy of tone. It is of his best time, also, for in his
later pictures his grace became mannered, and his delicacy
faded into coldness and insipidity. Guercino’s “ David
and Abigail,” the fifth great example of this school, is
one of the most important pictures of this master, whom I
can often praise sincerely without ever liking heartily.
The historical pictures by Domenichino are unimportant,
but characteristic. By Elizabeth Sirani there is here a
“ Magdalen,” life size. I am not aware that there is any
more important picture from her hand to be found out of
Bologna, her native place ; though the Duke of Suther-
land has also several of her graceful works.
In the year 1836, Lord Francis Egerton added to his
collection one hundred and fifty original drawings by the
three Carracci, and eighty by Giulio Romano, which formed
part, and only a small part, of Sir Thomas Lawrence’s
glorious cabinet of drawings, perhaps unequalled in the
world.*
* The price set upon the Carracci drawings was 1500/., and on those of
Giulio Romano, 800/., and the sale was announced to the public in the following
advertisement:—“The proprietors of the Lawrence gallery have the honour of
announcing the sale of the sixth exhibition, and also of the Giulio Romano
part of the fifth, to a nobleman equally renowned for his splendid gallery of
pictures, and his consummate knowledge of the arts. This sale is particularly
satisfactory to Messrs. Woodbum, as the drawings are very likely to be placed
in a locality where at convenient days they will be accessible to artists and
amateurs, and thus fulfil the desire of the late highly-talented possessor of this
splendid cabinet.—S. and A. Woodburn, April, 1836.”
85
school so often wanted—depth and simplicity of feeling,
and elevation of purpose. The same observations apply to
the “ Danae,” by the same master, most admirable as a
picture—as an example of design and colour ; but surely
a very prosaic version of a subject which, if it be not very
poetical, is very disagreeable—a subject which, in the more
refined treatment of Titian and Correggio, is only too
attractive. The fourth great picture, Guido’s “ Assumption
of the Virgin,” is a perfect example of those beauties by
which he is usually characterised—elegance in the forms,
grace and sentiment in the heads and expression, and pearly
delicacy of tone. It is of his best time, also, for in his
later pictures his grace became mannered, and his delicacy
faded into coldness and insipidity. Guercino’s “ David
and Abigail,” the fifth great example of this school, is
one of the most important pictures of this master, whom I
can often praise sincerely without ever liking heartily.
The historical pictures by Domenichino are unimportant,
but characteristic. By Elizabeth Sirani there is here a
“ Magdalen,” life size. I am not aware that there is any
more important picture from her hand to be found out of
Bologna, her native place ; though the Duke of Suther-
land has also several of her graceful works.
In the year 1836, Lord Francis Egerton added to his
collection one hundred and fifty original drawings by the
three Carracci, and eighty by Giulio Romano, which formed
part, and only a small part, of Sir Thomas Lawrence’s
glorious cabinet of drawings, perhaps unequalled in the
world.*
* The price set upon the Carracci drawings was 1500/., and on those of
Giulio Romano, 800/., and the sale was announced to the public in the following
advertisement:—“The proprietors of the Lawrence gallery have the honour of
announcing the sale of the sixth exhibition, and also of the Giulio Romano
part of the fifth, to a nobleman equally renowned for his splendid gallery of
pictures, and his consummate knowledge of the arts. This sale is particularly
satisfactory to Messrs. Woodbum, as the drawings are very likely to be placed
in a locality where at convenient days they will be accessible to artists and
amateurs, and thus fulfil the desire of the late highly-talented possessor of this
splendid cabinet.—S. and A. Woodburn, April, 1836.”