DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.49608#0024
38
No. 15. PARIS BORDONE. Nat. 1500, ob. 1570.
THE HOLY FAMILY, WITH ST. JOHN.
To the right of the picture the Virgin is represented in a graceful
posture, reclining on her left arm. Her attention is diverted from a
book which she has been reading by the Saviour, who, with infantine
playfulness, has quitted her lap, eager to receive an apple presented to
him by Joseph. St. John the Baptist, here represented at an advanced
age, supports the child, and forms the centre of the group. The land-
scape in the background displays a rich country, variegated with hill
and wood, and is painted with great vigour. The whole picture is of
a deep mellow tone of colour, and may justly be termed a very fine
specimen of the abilities of one of Titian’s best scholars.
It is painted on canvas, measures 3 feet 3 inches in height, by 4 feet
Ilf inches in width, and was purchased from the Orleans collection.
No. 16. GIO. ANTONIO LICINIO, called PORDENONE.
Nat. 1484, ob. 1540.
THE WOMAN TAKEN IN ADULTERY.
The figure of the woman is particularly graceful, and unaffectedly
expressive of humility and contrition. The accusing Pharisee, eagerly
pointing to the severe sentence in the Book of the Law, is likewise an
excellent figure; it connects the two principal figures of the composi-
tion, and tells the story with great simplicity and clearness. Upon the
whole, this is a good picture, though it may admit of some doubt how
far it is with justice ascribed to the pencil of Pordenone. In the work
termed the “ Teniers Gallery,” there is a print from a similar composi-
tion, in the collection at Vienna, attributed to Padovanino. Ridolfi
indeed records, that Pordenone painted the subject in fresco in the
church of St. Stephen at Venice; and the Orleans collection contained
an oil picture by his hand from the same passage of scripture, differently
treated.
No. 15. PARIS BORDONE. Nat. 1500, ob. 1570.
THE HOLY FAMILY, WITH ST. JOHN.
To the right of the picture the Virgin is represented in a graceful
posture, reclining on her left arm. Her attention is diverted from a
book which she has been reading by the Saviour, who, with infantine
playfulness, has quitted her lap, eager to receive an apple presented to
him by Joseph. St. John the Baptist, here represented at an advanced
age, supports the child, and forms the centre of the group. The land-
scape in the background displays a rich country, variegated with hill
and wood, and is painted with great vigour. The whole picture is of
a deep mellow tone of colour, and may justly be termed a very fine
specimen of the abilities of one of Titian’s best scholars.
It is painted on canvas, measures 3 feet 3 inches in height, by 4 feet
Ilf inches in width, and was purchased from the Orleans collection.
No. 16. GIO. ANTONIO LICINIO, called PORDENONE.
Nat. 1484, ob. 1540.
THE WOMAN TAKEN IN ADULTERY.
The figure of the woman is particularly graceful, and unaffectedly
expressive of humility and contrition. The accusing Pharisee, eagerly
pointing to the severe sentence in the Book of the Law, is likewise an
excellent figure; it connects the two principal figures of the composi-
tion, and tells the story with great simplicity and clearness. Upon the
whole, this is a good picture, though it may admit of some doubt how
far it is with justice ascribed to the pencil of Pordenone. In the work
termed the “ Teniers Gallery,” there is a print from a similar composi-
tion, in the collection at Vienna, attributed to Padovanino. Ridolfi
indeed records, that Pordenone painted the subject in fresco in the
church of St. Stephen at Venice; and the Orleans collection contained
an oil picture by his hand from the same passage of scripture, differently
treated.