DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0146
102 THE BRIDGEWATER GALLERY.
24 A Landscape.— Morning, A little picture, painted
with the utmost delicacy and feeling. One of his finest in
point of execution: although the herd of cattle is, as usual
with him, ill drawn, it contributes to the pastoral effect of
the composition.
15 in. by 18 in. (Liber Veritatis, 101.)
25 Landscape.—Morning ; with the story of Apuleus,
who, having intruded on the dances of the wood-nymphs,
is transformed into a wild olive. Painted rather later
than the preceding picture, and with rathei' less detail of
execution. Most exquisite for the classical and poetical
character of the scenery, and soft, cool harmony of the
morning effect. Painted, 1657, for M. de la Garde. Pur-
chased in Italy, by Sir Paul Methuen, for the Duke of
Bridgewater.
C. 3 ft. 4 in. by 4 ft. 4j in. (Liber Veritatis, 142.)
26 Landscape.—Evening. Moses before the burning bush.
The incident, however awful, is here, of course, subor-
dinate, and merely serves to give a name to a most lovely
landscape, representing a rich diversified scene, with flocks
and herds, wooded and rocky in the foreground, and
stretching far away into immeasurable distance. It is
considered one of Claude’s masterpieces.
C. 3 ft. 4 in. by 4 ft. 4| in. (Liber Veritatis, 161.)
27 Landscape.—Morning. The companion. The beams
of the morning sun illumine the dark blue sea, broken
only by some distant islands, and gently rippled by the
breeze; two vessels are riding at anchor; in the foreground,
the ruins of a magnificent Greek portico. The mingled
grandeur and beauty of this scene is heightened by the
feeling of solitude conveyed by the lonely figure of an old
man, pacing along the shore, as if in meditation. The
figure is supposed to represent Demosthenes studying by
the sea-shore, and hence the picture has been called “ De-
mosthenes.” One of the finest works of Claude, in the
poetry of the conception, and magical beauty of the exe-
cution and colouring.
U.B. HEIDELBERG
24 A Landscape.— Morning, A little picture, painted
with the utmost delicacy and feeling. One of his finest in
point of execution: although the herd of cattle is, as usual
with him, ill drawn, it contributes to the pastoral effect of
the composition.
15 in. by 18 in. (Liber Veritatis, 101.)
25 Landscape.—Morning ; with the story of Apuleus,
who, having intruded on the dances of the wood-nymphs,
is transformed into a wild olive. Painted rather later
than the preceding picture, and with rathei' less detail of
execution. Most exquisite for the classical and poetical
character of the scenery, and soft, cool harmony of the
morning effect. Painted, 1657, for M. de la Garde. Pur-
chased in Italy, by Sir Paul Methuen, for the Duke of
Bridgewater.
C. 3 ft. 4 in. by 4 ft. 4j in. (Liber Veritatis, 142.)
26 Landscape.—Evening. Moses before the burning bush.
The incident, however awful, is here, of course, subor-
dinate, and merely serves to give a name to a most lovely
landscape, representing a rich diversified scene, with flocks
and herds, wooded and rocky in the foreground, and
stretching far away into immeasurable distance. It is
considered one of Claude’s masterpieces.
C. 3 ft. 4 in. by 4 ft. 4| in. (Liber Veritatis, 161.)
27 Landscape.—Morning. The companion. The beams
of the morning sun illumine the dark blue sea, broken
only by some distant islands, and gently rippled by the
breeze; two vessels are riding at anchor; in the foreground,
the ruins of a magnificent Greek portico. The mingled
grandeur and beauty of this scene is heightened by the
feeling of solitude conveyed by the lonely figure of an old
man, pacing along the shore, as if in meditation. The
figure is supposed to represent Demosthenes studying by
the sea-shore, and hence the picture has been called “ De-
mosthenes.” One of the finest works of Claude, in the
poetry of the conception, and magical beauty of the exe-
cution and colouring.
U.B. HEIDELBERG