DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0437
COLLECTION OF MR. ROGERS.
393
This grand composition should be considered with a re-
ference to its allegorical and poetical significance. The
subject thus treated always typified the triumph of the
Christian religion, of which the Holy Virgin is generally
the emblem. There is a sublime simplicity in the arrange-
ment of the principal figures, a fertility of fancy, and rich-
ness of effect in the management of the accessories, a unity
in the midst of variety, which renders this picture very
remarkable, and one of the most truly poetical ever painted
by Annibal Carracci. It displays, more than any single
picture of his with which I am acquainted, his study of
Correggio, whom he has imitated throughout in sentiment
and treatment. This is particularly apparent in the two
angels playing the viol and the flageolet, on the left, both
of which (especially the former) are delicious; also in the
management of light and shadow, and the deep luminous
background. It would be worth while to contrast the rich
artistic treatment of the subject here, with the divinely
chaste and spiritual treatment of the same subject in the
11 Coronation of the Virgin,” by Frate Angelico.* For-
merly in the Palazzo Aldobrandini, at Rome, and brought
to England, by Mr. Day, about 1800.
C. 3 ft. 10 in. by 4 ft. 7 in.
CESARE D’ARPINO (Guiseppe), b. 1560; d. 1640. [A painter
of the later Roman school. More dashing and superficial than ele-
vated or correct.]
8 A Warrior on Horseback.—A small and very spi-
rited sketch. Formerly in the possession of Sir Joshua
Reynolds.
CLAUDE DE LORRAINE, b. 1600; d. 1682. Seep. 101.
9 The Mill.—A small landscape, of an octagon form. A
shepherd piping to his flock; two goats playfully butting;
in the background a river and mill. Delicious for its soft,
tranquil, Arcadian character. From the collection of
Benjamin West. Bought in 1831, for 91 gs. {Liber
Veritatis, 11.) P. 12 in. by 18 in.
* Louvre, Dessins, 253.
s 3
393
This grand composition should be considered with a re-
ference to its allegorical and poetical significance. The
subject thus treated always typified the triumph of the
Christian religion, of which the Holy Virgin is generally
the emblem. There is a sublime simplicity in the arrange-
ment of the principal figures, a fertility of fancy, and rich-
ness of effect in the management of the accessories, a unity
in the midst of variety, which renders this picture very
remarkable, and one of the most truly poetical ever painted
by Annibal Carracci. It displays, more than any single
picture of his with which I am acquainted, his study of
Correggio, whom he has imitated throughout in sentiment
and treatment. This is particularly apparent in the two
angels playing the viol and the flageolet, on the left, both
of which (especially the former) are delicious; also in the
management of light and shadow, and the deep luminous
background. It would be worth while to contrast the rich
artistic treatment of the subject here, with the divinely
chaste and spiritual treatment of the same subject in the
11 Coronation of the Virgin,” by Frate Angelico.* For-
merly in the Palazzo Aldobrandini, at Rome, and brought
to England, by Mr. Day, about 1800.
C. 3 ft. 10 in. by 4 ft. 7 in.
CESARE D’ARPINO (Guiseppe), b. 1560; d. 1640. [A painter
of the later Roman school. More dashing and superficial than ele-
vated or correct.]
8 A Warrior on Horseback.—A small and very spi-
rited sketch. Formerly in the possession of Sir Joshua
Reynolds.
CLAUDE DE LORRAINE, b. 1600; d. 1682. Seep. 101.
9 The Mill.—A small landscape, of an octagon form. A
shepherd piping to his flock; two goats playfully butting;
in the background a river and mill. Delicious for its soft,
tranquil, Arcadian character. From the collection of
Benjamin West. Bought in 1831, for 91 gs. {Liber
Veritatis, 11.) P. 12 in. by 18 in.
* Louvre, Dessins, 253.
s 3