DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0237
THE SUTHERLAND GALLERY. 193
branch in the other.* Painted in Murillo’s softest and
lightest manner.
These two saints, the virgin patronesses of Seville, were
sisters, and suffered martyrdom in that city, about a.d. 304.
They were daughters of a potter, and maintained them-
selves by the same trade. They are frequently represented
by the painters of Seville: Murillo, in another picture, in
the church of the Capuchins, has represented them full
length, holding the Giralda (the tower of Seville) between
them.
55 St. Francis.—The saint holding the lily, as the emblem
of purity, caresses the infant Saviour. About 15 in. by 12 in.
NICCOLO DELL’ ABATE, b. at Modena, 1512 ; d. at Paris, 1572.
[He formed himself in the Roman school, and was one of the
painters invited to France to assist Primaticcio and Rosso in painting
the palace of Fontainebleau. Hence these painters and their scholars
are frequently distinguished in the history of art as the “ Fontaine-
bleau school,” characterised generally by free and vigorous drawing,
great fertility of invention, a predilection for mythological subjects,
and a certain want of purity of taste and simplicity of feeling.
The pictures of Niccold dell’ Abate are rare in England. I know
of two only, and this is considered the finest.f ]
56 The Rape of Proserpine.—The story is represented
in a rich, fanciful landscape; in the foreground, a wild
solitude-
“ That fair field
Of Enna, where Proserpine gathering flowers,
Herself a fairer flow’r, by gloomy Dis
Was gathered.”
A group of six nymphs in front; and Cyane, transformed
to a fountain, weeps herself away beneath a rock. In the
middle distance, Pluto is seen in the act of seizing Pro-
serpine; and, farther off, he is again seen, ascending the
* Cean Bermudez relates, that Murillo painted the saints Justina and Rufina,
half length, for the Council-chamber, or rather Chapter-house, at Seville, in
1668; perhaps these pictures.
t Nicolo dell’ Abate was much admired and imitated by the Carracci. See
the Sonnet of Agostino Carracci (p. 88), in which the aspirant to perfection
is recommended to study and imitate Jiis works. The compliment is somewhat
extravagant.
K
branch in the other.* Painted in Murillo’s softest and
lightest manner.
These two saints, the virgin patronesses of Seville, were
sisters, and suffered martyrdom in that city, about a.d. 304.
They were daughters of a potter, and maintained them-
selves by the same trade. They are frequently represented
by the painters of Seville: Murillo, in another picture, in
the church of the Capuchins, has represented them full
length, holding the Giralda (the tower of Seville) between
them.
55 St. Francis.—The saint holding the lily, as the emblem
of purity, caresses the infant Saviour. About 15 in. by 12 in.
NICCOLO DELL’ ABATE, b. at Modena, 1512 ; d. at Paris, 1572.
[He formed himself in the Roman school, and was one of the
painters invited to France to assist Primaticcio and Rosso in painting
the palace of Fontainebleau. Hence these painters and their scholars
are frequently distinguished in the history of art as the “ Fontaine-
bleau school,” characterised generally by free and vigorous drawing,
great fertility of invention, a predilection for mythological subjects,
and a certain want of purity of taste and simplicity of feeling.
The pictures of Niccold dell’ Abate are rare in England. I know
of two only, and this is considered the finest.f ]
56 The Rape of Proserpine.—The story is represented
in a rich, fanciful landscape; in the foreground, a wild
solitude-
“ That fair field
Of Enna, where Proserpine gathering flowers,
Herself a fairer flow’r, by gloomy Dis
Was gathered.”
A group of six nymphs in front; and Cyane, transformed
to a fountain, weeps herself away beneath a rock. In the
middle distance, Pluto is seen in the act of seizing Pro-
serpine; and, farther off, he is again seen, ascending the
* Cean Bermudez relates, that Murillo painted the saints Justina and Rufina,
half length, for the Council-chamber, or rather Chapter-house, at Seville, in
1668; perhaps these pictures.
t Nicolo dell’ Abate was much admired and imitated by the Carracci. See
the Sonnet of Agostino Carracci (p. 88), in which the aspirant to perfection
is recommended to study and imitate Jiis works. The compliment is somewhat
extravagant.
K