DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0142
98
THE BRIDGEWATER GALLERY.
individuality of feeling, a want of spiritual elevation; and while their
productions are often delicate, graceful, majestic, they seldom appeal
to the higher faculties of the soul.]
CARRACCI (Ludovico), b. 1555 ; d. 1619.
10 The Descent from the Cross.—-Six figures, life size.
The dead Saviour extended in front, Mary Magdalen
supports his right arm; the Virgin is fainting in the
arms of a woman, another is behind; St. John stands
opposite; above the whole a glory. Landscape background.
In this picture, one of the most important of the Carracci
school, the figure of the dead Saviour is most admirable.*
The other figures, particularly the St. John, are academic
and theatrical. The management of the light on the head
of the Magdalen, is in imitation of Correggio, whom Ludo-
vico Carracci studied and idolised; and the hands of the
Virgin recal, in their peculiar attitude and expression,
the hands of the Virgin in Correggio’s “ Ecce Homo,” in
the National Gallery. Formerly in the possession of the
Dukes of Modena; in the Orleans collection since 1721.
Purchased by the Duke of Bridgewaterfor 400 guineas. C. 7 ft. 9|in.
by 5 ft. 1J D-
11 The Dream of St. Catherine.—Five figures, life
size. The Saint is asleep, reclining her face on her left
hand. The Virgin with the infant Christ appear to her
in a vision. Two angels are behind St. Catherine; one
gazes up at the Virgin, the other adores the infant Christ.
Sky background, with cherubs. An admirable picture.
In the character and attitude of St. Catherine, we recog-
nise the studied imitation of Correggio. 4 ft. 3 in. by 3 ft. 5 in.
12 St. Francis.—The saint, in an ecstasy of devotion, is
* “ The shadows on the thighs and other parts, are too dense, sooty, and
black, and in many places so much confounded with the background, as to be
absolutely lost; but for everything else, for whatever is of the highest import-
ance, and gives the least value in the adaptation of form and expression, for
the taste of the form, the happy chiaroscuro, the extreme and almost unique
verity, the head, body, arms, nay, indeed, the whole Christ, is of the utmost
conceivable perfection, whether unitedly or separately considered; in like man-
ner, the foot also, and beautiful head of the Magdalen.”—Barry.
THE BRIDGEWATER GALLERY.
individuality of feeling, a want of spiritual elevation; and while their
productions are often delicate, graceful, majestic, they seldom appeal
to the higher faculties of the soul.]
CARRACCI (Ludovico), b. 1555 ; d. 1619.
10 The Descent from the Cross.—-Six figures, life size.
The dead Saviour extended in front, Mary Magdalen
supports his right arm; the Virgin is fainting in the
arms of a woman, another is behind; St. John stands
opposite; above the whole a glory. Landscape background.
In this picture, one of the most important of the Carracci
school, the figure of the dead Saviour is most admirable.*
The other figures, particularly the St. John, are academic
and theatrical. The management of the light on the head
of the Magdalen, is in imitation of Correggio, whom Ludo-
vico Carracci studied and idolised; and the hands of the
Virgin recal, in their peculiar attitude and expression,
the hands of the Virgin in Correggio’s “ Ecce Homo,” in
the National Gallery. Formerly in the possession of the
Dukes of Modena; in the Orleans collection since 1721.
Purchased by the Duke of Bridgewaterfor 400 guineas. C. 7 ft. 9|in.
by 5 ft. 1J D-
11 The Dream of St. Catherine.—Five figures, life
size. The Saint is asleep, reclining her face on her left
hand. The Virgin with the infant Christ appear to her
in a vision. Two angels are behind St. Catherine; one
gazes up at the Virgin, the other adores the infant Christ.
Sky background, with cherubs. An admirable picture.
In the character and attitude of St. Catherine, we recog-
nise the studied imitation of Correggio. 4 ft. 3 in. by 3 ft. 5 in.
12 St. Francis.—The saint, in an ecstasy of devotion, is
* “ The shadows on the thighs and other parts, are too dense, sooty, and
black, and in many places so much confounded with the background, as to be
absolutely lost; but for everything else, for whatever is of the highest import-
ance, and gives the least value in the adaptation of form and expression, for
the taste of the form, the happy chiaroscuro, the extreme and almost unique
verity, the head, body, arms, nay, indeed, the whole Christ, is of the utmost
conceivable perfection, whether unitedly or separately considered; in like man-
ner, the foot also, and beautiful head of the Magdalen.”—Barry.