DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0156
112
THE BRIDGEWATER GALLERY.
73 The Virgin, with Christ, St. John, and the
Magdalen.—St. John caresses the infant Christ, whois
seated on the knee of the Virgin. Grace is one of the
characteristics of Parmigiano, yet in this picture the Virgin
is stiff, and almost ugly. P. 2 ft. 5| in. by 2 ft. 2 in.
PAUL VERONESE (Paolo Cagliari), b. 1530; d. 1588. Venetians.
[In that scenic and decorative representation of historical and
sacred subjects, which Sir Joshua Reynolds called the “ornamental
style,” this painter had no equal. Magnificence is his characteristic;
but with a luxury of fancy in design and colour, which only Rubens
has emulated, there is more dignity than in the Flemish painter. The
pictures here do not fully illustrate his most striking characteristics.]
74 The Judgment of Solomon.—Composition of
twenty-one figures. From the Orleans Gallery; 60
guineas. C. 6 ft. by 8 ft. 9 in.
75 Venus bewailing the Death of Adonis.™-Figures,
life size. From the Orleans Gallery, formerly in the col-
lection of Queen Christina ; purchased by the Duke of
Bridgewater at 150 guineas. C. 4 ft. 9j in. by 5 ft. 7.
PERUZZI (Baldassare), b. 1481 ; d. 1536. School of Raphael.
[He was a famous painter in fresco and perspective. His archi-
tectural and scenic effects were perfect illusions, and deceived even
Titian. His small easel pictures are very rare.]
76 The Wise Men’s Offering.—Small composition ;
nineteen figures in front, others in the background. In
the centre, a Corinthian portico, through which we per-
ceive a mountainous landscape ; the Virgin seated, holding
the infant Christ; St. Joseph near her, on the left; the
three kings, with their attendants, occupy the foreground;
one of the magi is kneeling and presenting gifts. On a
mountain in the background, the three kings are seen re-
turning, and to the left, the shepherds are approaching ;
thus uniting the three periods of time in the same picture.
This is a licence on which much criticism has been ex-
pended; but it appears to me, on just grounds, admissible,
THE BRIDGEWATER GALLERY.
73 The Virgin, with Christ, St. John, and the
Magdalen.—St. John caresses the infant Christ, whois
seated on the knee of the Virgin. Grace is one of the
characteristics of Parmigiano, yet in this picture the Virgin
is stiff, and almost ugly. P. 2 ft. 5| in. by 2 ft. 2 in.
PAUL VERONESE (Paolo Cagliari), b. 1530; d. 1588. Venetians.
[In that scenic and decorative representation of historical and
sacred subjects, which Sir Joshua Reynolds called the “ornamental
style,” this painter had no equal. Magnificence is his characteristic;
but with a luxury of fancy in design and colour, which only Rubens
has emulated, there is more dignity than in the Flemish painter. The
pictures here do not fully illustrate his most striking characteristics.]
74 The Judgment of Solomon.—Composition of
twenty-one figures. From the Orleans Gallery; 60
guineas. C. 6 ft. by 8 ft. 9 in.
75 Venus bewailing the Death of Adonis.™-Figures,
life size. From the Orleans Gallery, formerly in the col-
lection of Queen Christina ; purchased by the Duke of
Bridgewater at 150 guineas. C. 4 ft. 9j in. by 5 ft. 7.
PERUZZI (Baldassare), b. 1481 ; d. 1536. School of Raphael.
[He was a famous painter in fresco and perspective. His archi-
tectural and scenic effects were perfect illusions, and deceived even
Titian. His small easel pictures are very rare.]
76 The Wise Men’s Offering.—Small composition ;
nineteen figures in front, others in the background. In
the centre, a Corinthian portico, through which we per-
ceive a mountainous landscape ; the Virgin seated, holding
the infant Christ; St. Joseph near her, on the left; the
three kings, with their attendants, occupy the foreground;
one of the magi is kneeling and presenting gifts. On a
mountain in the background, the three kings are seen re-
turning, and to the left, the shepherds are approaching ;
thus uniting the three periods of time in the same picture.
This is a licence on which much criticism has been ex-
pended; but it appears to me, on just grounds, admissible,