DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.49608#0018
with ermine. His under vestment is white, and full of small plaits, or
folds.
This head is remarkable for an expression of cunning and penetra-
tion, and with the hands, is correctly drawn and highly finished ; though
the picture, upon the whole, cannot boast that richness and transparency
of effect, generally displayed in the best works of Titian.
This picture is on canvas, and measures 3 feet li inch in height, by
2 feet 4j inches in width, and was purchased from the Orleans collection.
No. 10. TIZIANO,
DIANA AND ACTJEON.
This picture is a noble effort of Titian’s genius, and was painted at
an advanced period of his life, when his attachment for the ideal, but
vigorous and sanguine tone of colour in the naked parts of his figures,
which he acquired in his emulation of Giorgione, had given place to the
desire of accomplishing a more difficult task, in the faithful represen-
tation of the delicacy of the female complexion. A fountain of a cir-
cular form, ornamented with sculpture, and overshadowed by ruined
arches, and some fine trees, is the sequestered spot where the Goddess
has retired to bathe after the fatigues of the chase. The miserable
Actaeon, followed by his dog, has just entered the retreat; he views
with astonished gaze the charms of Diana. His bow has fallen from
his hand. The Goddess is seated on the right of the picture, supported
by a black female, whilst her feet are wiped by one of her attendant
nymphs. Surprise has already given way to indignation at the ap-
proach of the intruder, and his doom is fixed irrevocably in her coun-
tenance. The other attendant nymphs, four in number, are beautifully
disposed, and express with great vivacity the different feelings natural
to them at the appearance of the unexpected visitor. One accuses;
another, whose head and shoulders only are seen, eyes him with girlish
folds.
This head is remarkable for an expression of cunning and penetra-
tion, and with the hands, is correctly drawn and highly finished ; though
the picture, upon the whole, cannot boast that richness and transparency
of effect, generally displayed in the best works of Titian.
This picture is on canvas, and measures 3 feet li inch in height, by
2 feet 4j inches in width, and was purchased from the Orleans collection.
No. 10. TIZIANO,
DIANA AND ACTJEON.
This picture is a noble effort of Titian’s genius, and was painted at
an advanced period of his life, when his attachment for the ideal, but
vigorous and sanguine tone of colour in the naked parts of his figures,
which he acquired in his emulation of Giorgione, had given place to the
desire of accomplishing a more difficult task, in the faithful represen-
tation of the delicacy of the female complexion. A fountain of a cir-
cular form, ornamented with sculpture, and overshadowed by ruined
arches, and some fine trees, is the sequestered spot where the Goddess
has retired to bathe after the fatigues of the chase. The miserable
Actaeon, followed by his dog, has just entered the retreat; he views
with astonished gaze the charms of Diana. His bow has fallen from
his hand. The Goddess is seated on the right of the picture, supported
by a black female, whilst her feet are wiped by one of her attendant
nymphs. Surprise has already given way to indignation at the ap-
proach of the intruder, and his doom is fixed irrevocably in her coun-
tenance. The other attendant nymphs, four in number, are beautifully
disposed, and express with great vivacity the different feelings natural
to them at the appearance of the unexpected visitor. One accuses;
another, whose head and shoulders only are seen, eyes him with girlish