DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0214
170
THE SUTHERLAND GALLERY.
well known in the history of art, the “ Muleteers” of Cor-
reggio; and the great picture of Delaroche, “ Lord Strafford
going to Execution.” At the north end, I will merely point
out the “ Rape of Proserpine,” by Nicolo dell’ Abate, the
painter celebrated in Agostino Carracci’s sonnet,* and of
whom I know but one other example in England. It is
interesting, as a specimen of a rare and celebrated master,
and as illustrating the bold drawing, the poetical fancy,
the pagan taste, and altogether mannered style of his par-
ticular school, the followers of Giulio Romano. At this
end of the Gallery are several Spanish pictures—a small
one by Alonzo Cano, four by Zurbaran, and one by Ribera
—to these I shall return presently. Meanwhile the reader
or visitor will do well to consider them attentively, or look
forward to the description in the catalogue.
The examples of the Dutch paysagistes are few, but
first-rate. I can only point out here, the Wood Scene, by
Hackert, and an inimitable little Landscape by Van Goyen;
there is no first-rate example of Rubens, and no Rembrandt.
Not the least attraction of this collection, is the number
of beautiful pictures by modern English artists, several
of which rank as master-pieces of the respective painters;
as, for instance, the full-length of the present Duchess of
Sutherland with her daughter, by Sir Thomas Lawrence,
which, for the dignity and elegance of the subject, and
the harmonious beauty of the treatment and colouring,
stands beyond comparison the first of his works. The
Bacchanalian scene, by Etty, is as full of vigorous fife and
colour as Titian himself; the “ Day after the Battle of
Chevy Chase,” by Edward Bird, is one of the best and
most expressive pictures left by that painter; while to the
picture of “ Lord Stafford and Lady Evelyn Gower,” by
Edwin Landseer, I might merely refer as the original of
* See the Introduction to the Bridgewater Gallery.
THE SUTHERLAND GALLERY.
well known in the history of art, the “ Muleteers” of Cor-
reggio; and the great picture of Delaroche, “ Lord Strafford
going to Execution.” At the north end, I will merely point
out the “ Rape of Proserpine,” by Nicolo dell’ Abate, the
painter celebrated in Agostino Carracci’s sonnet,* and of
whom I know but one other example in England. It is
interesting, as a specimen of a rare and celebrated master,
and as illustrating the bold drawing, the poetical fancy,
the pagan taste, and altogether mannered style of his par-
ticular school, the followers of Giulio Romano. At this
end of the Gallery are several Spanish pictures—a small
one by Alonzo Cano, four by Zurbaran, and one by Ribera
—to these I shall return presently. Meanwhile the reader
or visitor will do well to consider them attentively, or look
forward to the description in the catalogue.
The examples of the Dutch paysagistes are few, but
first-rate. I can only point out here, the Wood Scene, by
Hackert, and an inimitable little Landscape by Van Goyen;
there is no first-rate example of Rubens, and no Rembrandt.
Not the least attraction of this collection, is the number
of beautiful pictures by modern English artists, several
of which rank as master-pieces of the respective painters;
as, for instance, the full-length of the present Duchess of
Sutherland with her daughter, by Sir Thomas Lawrence,
which, for the dignity and elegance of the subject, and
the harmonious beauty of the treatment and colouring,
stands beyond comparison the first of his works. The
Bacchanalian scene, by Etty, is as full of vigorous fife and
colour as Titian himself; the “ Day after the Battle of
Chevy Chase,” by Edward Bird, is one of the best and
most expressive pictures left by that painter; while to the
picture of “ Lord Stafford and Lady Evelyn Gower,” by
Edwin Landseer, I might merely refer as the original of
* See the Introduction to the Bridgewater Gallery.