DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0446
402
COLLECTION OF MR. ROGERS.
In the upper part is seen the Trinity, surrounded by Che-
rubim. The Virgin, in adoration, is to the left, and
behind her, St. John the Baptist. On the opposite side,
Charles V. and his Empress, in a supplicatory attitude,
their crowns lying at their feet; farther down is Philip II.;
and below them Titian has introduced his own portrait.
The centre figure is Noah, holding up the ark. Moses,
with the tables of the law; St. John the Evangelist, sup-
ported on his eagle; David, with his harp; and a female
figure, representing “ the Church,” is extending her arms
towards the emperor, as if appealing to him for protection;
others of the evangelists and martyrs make up part of the
composition. Ridolfi says, that these last figures were
studied from the antique. A beautiful landscape at the
bottom of the picture.
The great picture was painted by order of Charles V.,
who carried it with him into Spain, after his abdication,
and placed it in the Monastery of St. Geronimo de Juste,
to which he had retired. After his death, Philip II.
caused it to be removed to the Escurial, and it is now in
the Museum at Madrid.
This fine original sketch was for some time lost; and it
is said, that it was discovered, about 1808, in a gambling-
house at Madrid, begrimed with dirt and lamp-oil. Pur-
chased from the proprietor, (who was then in prison, either
for debt or for some political offence,) for a sum far beneath
its value, and brought or sent to England by Mr. Wallis,
to whom we owe the possession of many pictures acquired
during the Peninsular war. The dream is quite worthy
of an imperial and orthodox despot, and as a piece of
imaginative poetry and rich colour, this pictorial inter-
pretation of it is quite worthy of Titian. The female figure
of the Church, with outspread arms, is, in particular, of
wonderful animation and beauty.
4 ft. 3 in. by 3 ft. 4 in.
Engraved, large, 1566, and there are three smaller en-
gravings. The picture seems to have derived the title by
which it is chiefly known, from the inscription, “ Gloria
in excelsis Deo,” which is on the engraving.*
* Charles I. possessed a carving of this, entered in his Catalogue as a “high
square piece, being carved after Titian’s piece, which is called Titian's Glory,
being the heavens.”
COLLECTION OF MR. ROGERS.
In the upper part is seen the Trinity, surrounded by Che-
rubim. The Virgin, in adoration, is to the left, and
behind her, St. John the Baptist. On the opposite side,
Charles V. and his Empress, in a supplicatory attitude,
their crowns lying at their feet; farther down is Philip II.;
and below them Titian has introduced his own portrait.
The centre figure is Noah, holding up the ark. Moses,
with the tables of the law; St. John the Evangelist, sup-
ported on his eagle; David, with his harp; and a female
figure, representing “ the Church,” is extending her arms
towards the emperor, as if appealing to him for protection;
others of the evangelists and martyrs make up part of the
composition. Ridolfi says, that these last figures were
studied from the antique. A beautiful landscape at the
bottom of the picture.
The great picture was painted by order of Charles V.,
who carried it with him into Spain, after his abdication,
and placed it in the Monastery of St. Geronimo de Juste,
to which he had retired. After his death, Philip II.
caused it to be removed to the Escurial, and it is now in
the Museum at Madrid.
This fine original sketch was for some time lost; and it
is said, that it was discovered, about 1808, in a gambling-
house at Madrid, begrimed with dirt and lamp-oil. Pur-
chased from the proprietor, (who was then in prison, either
for debt or for some political offence,) for a sum far beneath
its value, and brought or sent to England by Mr. Wallis,
to whom we owe the possession of many pictures acquired
during the Peninsular war. The dream is quite worthy
of an imperial and orthodox despot, and as a piece of
imaginative poetry and rich colour, this pictorial inter-
pretation of it is quite worthy of Titian. The female figure
of the Church, with outspread arms, is, in particular, of
wonderful animation and beauty.
4 ft. 3 in. by 3 ft. 4 in.
Engraved, large, 1566, and there are three smaller en-
gravings. The picture seems to have derived the title by
which it is chiefly known, from the inscription, “ Gloria
in excelsis Deo,” which is on the engraving.*
* Charles I. possessed a carving of this, entered in his Catalogue as a “high
square piece, being carved after Titian’s piece, which is called Titian's Glory,
being the heavens.”