DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.49608#0017
33
the man forms a fine contrast to that of the female figure; his left leg
continues the mass of light, which is again carried on by his right knee
and thigh, without interruption, to his body. This group is thrown out
with prodigious force and judgment, by the dark mass of foliage and
stems of trees which rise to the top of the canvas behind the male
figure; at the same time, by omitting to continue this mass behind the
head of the woman, the artist has been enabled to keep up a connexion
between the several lights in his picture; thereby producing a breadth
of effect otherwise unattainable. At some distance from the principal
group, on the right, two infants are introduced sleeping beneath the
trunk of a decayed tree, which a third, who is represented with wings,
is about to climb. These form the second light, and are finely con-
trasted by the dark stump, which, rising high in the composition, is
relieved with great boldness and effect by the light middle tint of the
sky behind it. The landscape is exquisite. A calm rich effect, as when,
on a fine summer’s evening, the rays of the sun are intercepted by a
transparent cloud. Here a venerable old man appears, profoundly
meditating upon two skulls, one of which he holds in his hand ; and at
a greater distance a shepherd is seen driving his flock.
This picture is in Titian’s second manner: it is painted on canvas,
measures 2 feet 104 inches in height, by 4 feet lOf inches in width, and
was purchased from the Orleans collection.
No. 9- TIZIANO.
THE PORTRAIT OF CLEMENT THE SEVENTH.
The artist seems, when painting this portrait, to have called to mind
that of Pope Giulius the Second by Raffaello. The pontiff is seated,
his hands resting on the two arms of the chair, which is covered with
crimson velvet. His robe and cap are likewise crimson, the latter lined
the man forms a fine contrast to that of the female figure; his left leg
continues the mass of light, which is again carried on by his right knee
and thigh, without interruption, to his body. This group is thrown out
with prodigious force and judgment, by the dark mass of foliage and
stems of trees which rise to the top of the canvas behind the male
figure; at the same time, by omitting to continue this mass behind the
head of the woman, the artist has been enabled to keep up a connexion
between the several lights in his picture; thereby producing a breadth
of effect otherwise unattainable. At some distance from the principal
group, on the right, two infants are introduced sleeping beneath the
trunk of a decayed tree, which a third, who is represented with wings,
is about to climb. These form the second light, and are finely con-
trasted by the dark stump, which, rising high in the composition, is
relieved with great boldness and effect by the light middle tint of the
sky behind it. The landscape is exquisite. A calm rich effect, as when,
on a fine summer’s evening, the rays of the sun are intercepted by a
transparent cloud. Here a venerable old man appears, profoundly
meditating upon two skulls, one of which he holds in his hand ; and at
a greater distance a shepherd is seen driving his flock.
This picture is in Titian’s second manner: it is painted on canvas,
measures 2 feet 104 inches in height, by 4 feet lOf inches in width, and
was purchased from the Orleans collection.
No. 9- TIZIANO.
THE PORTRAIT OF CLEMENT THE SEVENTH.
The artist seems, when painting this portrait, to have called to mind
that of Pope Giulius the Second by Raffaello. The pontiff is seated,
his hands resting on the two arms of the chair, which is covered with
crimson velvet. His robe and cap are likewise crimson, the latter lined