DOI Page / Citation link:
https://doi.org/10.11588/diglit.63299#0094
84 THE PICTURE GALLERT OF CHARLES I.
was in Charles’s collection as an Andrea del Sarto, and is now catalogued
in the Vienna Gallery, as a piece of his school, No. 28, is in reality
by his fellow-student Franciabigio. It is a picture identical in style
though not in design with the Madonna del Pozzo, by the same
Florentine painter, in the Tribuna of the Uffizi, where until quite
recently it usurped the name of Raphael. Another Florentine picture
is the Contest of Pae Muses and Pier ides, by Giambattista Rosso (No. 352
in the Louvre-—brought by Charles from Madrid). Manifestly Floren-
tine, too, in its origin is the Lady in a Green Dress, of Hampton Court
(No. 70), attributed by Vanderdoort to Bartolommeo del Piombo (yif,
but in the Commonwealth Inventory entered as A Woman in Green,
by Andrea del Sarto, and sold to Mr. Bass, December 19th, 1651, for
^fioo.”1 The painter, whoever he may be, is an artist bred if not born
in Florence ; he has a good deal of the hard sculptural style and the
dignity of Bronzino, yet is clearly not that master.
Raphael’s pupil Giulio Romano was supremely well represented in
Charles’s collection, and he received there, as afterwards from the
Commonwealth valuers, the honours of a master of the very first rank.
Apart from his preponderant share in La Perla, he was represented by
that ugly, mannered, yet in its way imposing, composition of the artist’s-
post-Raphaelite time The Nativity, originally in St. Andrea at Mantua,
and on the dispersion of Charles’s collection, bought by the dealer
Jabach and sold to Louis XIV. This was estimated at and sold for
^500. Another Giulio Romano which from the Royal collection has
found its way into the Louvre is the Triumph of Titus and Vespasian
(No. 293). Then we have the Eleven Caesars, estimated by the
Commonwealth at f 1100, and sold for that sum. As is shown by the
two examples of this series still preserved at Hampton Court (Nos. 257
and 290) these were equestrian figures.2 With the other pictures by
and ascribed to this artist—not of the first order even as Giulio Romanos-
which have found their way back to Hampton Court, it is impossible
1 Law’s Historical Catalogue.
2 They are described in the Mantua Inventory of 1627 as “Dieci altri quadri
dipintovi un Imperatore per quadro a cavallo—opera di mano di Giulio Romano
(D’Arco—Delle Arti et degli Artefici in Mantova—Inventario della Galleria di quadri,.
&c., della Corte dei Duca (,7?) di Mantova).
was in Charles’s collection as an Andrea del Sarto, and is now catalogued
in the Vienna Gallery, as a piece of his school, No. 28, is in reality
by his fellow-student Franciabigio. It is a picture identical in style
though not in design with the Madonna del Pozzo, by the same
Florentine painter, in the Tribuna of the Uffizi, where until quite
recently it usurped the name of Raphael. Another Florentine picture
is the Contest of Pae Muses and Pier ides, by Giambattista Rosso (No. 352
in the Louvre-—brought by Charles from Madrid). Manifestly Floren-
tine, too, in its origin is the Lady in a Green Dress, of Hampton Court
(No. 70), attributed by Vanderdoort to Bartolommeo del Piombo (yif,
but in the Commonwealth Inventory entered as A Woman in Green,
by Andrea del Sarto, and sold to Mr. Bass, December 19th, 1651, for
^fioo.”1 The painter, whoever he may be, is an artist bred if not born
in Florence ; he has a good deal of the hard sculptural style and the
dignity of Bronzino, yet is clearly not that master.
Raphael’s pupil Giulio Romano was supremely well represented in
Charles’s collection, and he received there, as afterwards from the
Commonwealth valuers, the honours of a master of the very first rank.
Apart from his preponderant share in La Perla, he was represented by
that ugly, mannered, yet in its way imposing, composition of the artist’s-
post-Raphaelite time The Nativity, originally in St. Andrea at Mantua,
and on the dispersion of Charles’s collection, bought by the dealer
Jabach and sold to Louis XIV. This was estimated at and sold for
^500. Another Giulio Romano which from the Royal collection has
found its way into the Louvre is the Triumph of Titus and Vespasian
(No. 293). Then we have the Eleven Caesars, estimated by the
Commonwealth at f 1100, and sold for that sum. As is shown by the
two examples of this series still preserved at Hampton Court (Nos. 257
and 290) these were equestrian figures.2 With the other pictures by
and ascribed to this artist—not of the first order even as Giulio Romanos-
which have found their way back to Hampton Court, it is impossible
1 Law’s Historical Catalogue.
2 They are described in the Mantua Inventory of 1627 as “Dieci altri quadri
dipintovi un Imperatore per quadro a cavallo—opera di mano di Giulio Romano
(D’Arco—Delle Arti et degli Artefici in Mantova—Inventario della Galleria di quadri,.
&c., della Corte dei Duca (,7?) di Mantova).