DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0157
THE BRIDGEWATER GALLERY.
113
particularly in sacred and poetical subjects. From tlie
Orleans Gallery. P. 1 ft. 4 in. by 1 ft. 8 in.
PIETRO DA CORTONA (Berettini), b. 1596 ; d. 1669. Roman S.
[One of the latest and worst painters of the Roman school, who
may be said to have completed its degradation by his florid meretri-
cious compositions, and a sort of mechanical dexterity in the manage-
ment of light and colour. Without style or feeling, he was the
great, the fashionable painter of his day, patronised by popes and
princes.]
77 The Adoration of the Shepherds.—A pretty little
bright picture. Oval, on slate. 8 in. by lOj in.
POLIDORO (da Caravaggio), b. 1495 ; d. 1543. Roman school.
[He began life as a poor boy, employed to carry the prepared mortar
to the fresco painters. In this situation Raphael noticed him, and took
him under his tuition. He was afterwards distinguished as a painter
of groups, friezes, and arabesques, a Vantique, in which he displayed
a most elegant and classical taste. Charles I. had a series of small
friezes in chiaroscuro by him, which are now at Hampton Court.
Polidoro was murdered by robbers, while yet in the prime of life and
powers.]
78 The Passage of the Red Sea.—While the Egyptians
are overwhelmed, the Hebrews return thanks to Moses;
the figure of Moses being taken from that of St. Paul
preaching at Athens, in Raphael’s cartoon.*
P. 11 in. by 21 in.
[In the style of Polidoro, and certainly of the Roman school, is the
t following.]
79 A Frieze—divided into two compartments by a temple in
* Upon a brown ground, the outlines and lights of the figures are marked
with a brighter colour, so that the whole picture looks like that coarse style of
exterior fresco painting, called by the Italians “ Sgraffitto,” in which Polidoro
excelled. For this purpose the wall was covered with a dark colour, and when
that was dry, a lighter colour was laid over it. Now, as we draw with chalk
on coloured paper, so the artist took a pointed iron tool, and with that scratched
his figures in such a manner that the upper coat, where he had made a stroke,
was removed, and the lower dark colour appeared in his outlines and hatchings,
and shewed them very distinctly.—Dr. Waagen.
113
particularly in sacred and poetical subjects. From tlie
Orleans Gallery. P. 1 ft. 4 in. by 1 ft. 8 in.
PIETRO DA CORTONA (Berettini), b. 1596 ; d. 1669. Roman S.
[One of the latest and worst painters of the Roman school, who
may be said to have completed its degradation by his florid meretri-
cious compositions, and a sort of mechanical dexterity in the manage-
ment of light and colour. Without style or feeling, he was the
great, the fashionable painter of his day, patronised by popes and
princes.]
77 The Adoration of the Shepherds.—A pretty little
bright picture. Oval, on slate. 8 in. by lOj in.
POLIDORO (da Caravaggio), b. 1495 ; d. 1543. Roman school.
[He began life as a poor boy, employed to carry the prepared mortar
to the fresco painters. In this situation Raphael noticed him, and took
him under his tuition. He was afterwards distinguished as a painter
of groups, friezes, and arabesques, a Vantique, in which he displayed
a most elegant and classical taste. Charles I. had a series of small
friezes in chiaroscuro by him, which are now at Hampton Court.
Polidoro was murdered by robbers, while yet in the prime of life and
powers.]
78 The Passage of the Red Sea.—While the Egyptians
are overwhelmed, the Hebrews return thanks to Moses;
the figure of Moses being taken from that of St. Paul
preaching at Athens, in Raphael’s cartoon.*
P. 11 in. by 21 in.
[In the style of Polidoro, and certainly of the Roman school, is the
t following.]
79 A Frieze—divided into two compartments by a temple in
* Upon a brown ground, the outlines and lights of the figures are marked
with a brighter colour, so that the whole picture looks like that coarse style of
exterior fresco painting, called by the Italians “ Sgraffitto,” in which Polidoro
excelled. For this purpose the wall was covered with a dark colour, and when
that was dry, a lighter colour was laid over it. Now, as we draw with chalk
on coloured paper, so the artist took a pointed iron tool, and with that scratched
his figures in such a manner that the upper coat, where he had made a stroke,
was removed, and the lower dark colour appeared in his outlines and hatchings,
and shewed them very distinctly.—Dr. Waagen.