DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0447
COLLECTION OF MR. ROGERS.
403
36 Charles V. on Horseback.—Study for the great pic-
ture now in the Royal collection at Madrid.*
37 A “ Noli me tangere,”—i. e. Christ appearing to
Mary Magdalen in the Garden. She is prostrate at his
feet, and leans forward, as if she would clasp his knees,
looking up, at the same time, with passionate longing,
mingled with surprise and awe. The Saviour, drawing
his linen shroud around him, shrinks back:—“ Touch me
not, for I am not yet ascended to the Father.”
There is a fine bit of landscape in the background, with
the morning breaking over the dark blue distance, which
throws out the figures with singular effect, without de-
tracting from the solemnity of the subject.
Titian is characterized by the poetical style in which he
treated sacred subjects—a style not always so happily in
harmony with the sentiment of the subject, as in the in-
cident here represented, which is more poetical than spi-
ritual. In refinement, in truth, and tenderness, and pathos
of expression, in rich, harmonious colour, this picture is
not exceeded by any of Titian’s most celebrated works.
It is one of his earlier productions, about the same date
with the “Four Ages,” in the Bridgewater Gallery, that is,
about 1515.
Formerly in the cabinet of the Muselli family, at Verona;
afterwards in the collections of the Marquis de Seignelai,
and M. Bertin; and last from the Orleans Gallery, j
C. 3 ft. 6 in. by 3 ft.
38 A Small Copy—from the great picture of the Cornaro
Family, now at Northumberland House.
VELASQUEZ (Don Diego), b. 1599 ; d. 1660.
[There is something in the history of this painter which fills the
imagination like a gorgeous romance. In the very sound of his
name—Don Diego Roderigo Velasquez de Silva—there is something
* “ The general effect of this picture is weak, but on a close inspection, nothing
can be more ably and beautifully made out than all the details of it. The finesse
and maestria of its execution have all the grace, ease, and finish of Teniers,
without his vulgarity.”—Barry, vol. ii. p. 96.
t “ This mellow and glorious union of landscape and history, of the Poussin
size, is the completest I have seen, for all and for each part.”—Barry, vol. ii.
p. 90.
403
36 Charles V. on Horseback.—Study for the great pic-
ture now in the Royal collection at Madrid.*
37 A “ Noli me tangere,”—i. e. Christ appearing to
Mary Magdalen in the Garden. She is prostrate at his
feet, and leans forward, as if she would clasp his knees,
looking up, at the same time, with passionate longing,
mingled with surprise and awe. The Saviour, drawing
his linen shroud around him, shrinks back:—“ Touch me
not, for I am not yet ascended to the Father.”
There is a fine bit of landscape in the background, with
the morning breaking over the dark blue distance, which
throws out the figures with singular effect, without de-
tracting from the solemnity of the subject.
Titian is characterized by the poetical style in which he
treated sacred subjects—a style not always so happily in
harmony with the sentiment of the subject, as in the in-
cident here represented, which is more poetical than spi-
ritual. In refinement, in truth, and tenderness, and pathos
of expression, in rich, harmonious colour, this picture is
not exceeded by any of Titian’s most celebrated works.
It is one of his earlier productions, about the same date
with the “Four Ages,” in the Bridgewater Gallery, that is,
about 1515.
Formerly in the cabinet of the Muselli family, at Verona;
afterwards in the collections of the Marquis de Seignelai,
and M. Bertin; and last from the Orleans Gallery, j
C. 3 ft. 6 in. by 3 ft.
38 A Small Copy—from the great picture of the Cornaro
Family, now at Northumberland House.
VELASQUEZ (Don Diego), b. 1599 ; d. 1660.
[There is something in the history of this painter which fills the
imagination like a gorgeous romance. In the very sound of his
name—Don Diego Roderigo Velasquez de Silva—there is something
* “ The general effect of this picture is weak, but on a close inspection, nothing
can be more ably and beautifully made out than all the details of it. The finesse
and maestria of its execution have all the grace, ease, and finish of Teniers,
without his vulgarity.”—Barry, vol. ii. p. 96.
t “ This mellow and glorious union of landscape and history, of the Poussin
size, is the completest I have seen, for all and for each part.”—Barry, vol. ii.
p. 90.