DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.63299#0099
THE PICTURE GALLERT OF CHARLES I. 87
the Alps from Leonardesque models—so smooth and fused is the
handling, so enamel-like the texture, so little spontaneous, so little
thought-out from within, is the conception.
When we come to Venice and the Venetian territory the embarras de
richesses is so great that it is impossible to touch upon more than a
certain number of the most celebrated pieces.
Apart from all the doubtful Giorgiones, which were many in the
catalogues of King Charles and the Duke of Buckingham, but innu-
merable in that of King James II., we find from the catalogue of the
Louvre pictures (though not, it must be owned, in the inventories of
the English King’s possessions) that the famous Concert Champetre of
Giorgione was purchased by Jabach from the sale of Charles I. and
sold to Louis XIV. This exquisite work, which has suffered many
attacks from the critics, as have, indeed, almost all the pictures
formerly accepted as Barbarelli’s, now at last stands forth practically
accepted on all hands as the typical Giorgione pastoral ; and impaired
though its radiance is by time and restoration, it must be ranked
as one of the most splendid examples of his later manner (Louvre,
No. 39). As Giorgione’s was catalogued among Charles’s posses-
sions, and is still nominally catalogued in the Louvre, the much-
discussed Holy Family ‘with St. Catherine of Alexandria and St. Sebastian
(No. 38). It is, however, beyond reasonable doubt an example of
Cariani in his Giorgionesque-Palmesque mood, and one boasting, not-
withstanding the hotness of the splendid colour, undeniable pictorial
attractions.1 Another Cariani in Charles I.’s collection formerly ascribed
to Giorgione, and like the foregoing a Mantua piece, is the Shepherds'
Offering (No. 135 at Hampton Court), an example of the variable
Bergamesque master almost as indifferent as the Holy Family in the
National Gallery, which, however, possesses a finer example of his art in
the Leath of St. Peter Martyr, a dramatic performance in which Cariani
appears to have undergone the influence of Romanino. In the Hampton
Court picture a certain Veronese influence is apparent.’2 A Shepherd with
a Pipe (No. 101 at Hampton Court) is catalogued both in Charles I.’s
1 Appraised at XIO° and sold for
2 Can this be the Madonna Circondata da Angeli e Pastori di mano di Dosso of the
Mantuan Inventory (D’Arco, op. citi) ?
the Alps from Leonardesque models—so smooth and fused is the
handling, so enamel-like the texture, so little spontaneous, so little
thought-out from within, is the conception.
When we come to Venice and the Venetian territory the embarras de
richesses is so great that it is impossible to touch upon more than a
certain number of the most celebrated pieces.
Apart from all the doubtful Giorgiones, which were many in the
catalogues of King Charles and the Duke of Buckingham, but innu-
merable in that of King James II., we find from the catalogue of the
Louvre pictures (though not, it must be owned, in the inventories of
the English King’s possessions) that the famous Concert Champetre of
Giorgione was purchased by Jabach from the sale of Charles I. and
sold to Louis XIV. This exquisite work, which has suffered many
attacks from the critics, as have, indeed, almost all the pictures
formerly accepted as Barbarelli’s, now at last stands forth practically
accepted on all hands as the typical Giorgione pastoral ; and impaired
though its radiance is by time and restoration, it must be ranked
as one of the most splendid examples of his later manner (Louvre,
No. 39). As Giorgione’s was catalogued among Charles’s posses-
sions, and is still nominally catalogued in the Louvre, the much-
discussed Holy Family ‘with St. Catherine of Alexandria and St. Sebastian
(No. 38). It is, however, beyond reasonable doubt an example of
Cariani in his Giorgionesque-Palmesque mood, and one boasting, not-
withstanding the hotness of the splendid colour, undeniable pictorial
attractions.1 Another Cariani in Charles I.’s collection formerly ascribed
to Giorgione, and like the foregoing a Mantua piece, is the Shepherds'
Offering (No. 135 at Hampton Court), an example of the variable
Bergamesque master almost as indifferent as the Holy Family in the
National Gallery, which, however, possesses a finer example of his art in
the Leath of St. Peter Martyr, a dramatic performance in which Cariani
appears to have undergone the influence of Romanino. In the Hampton
Court picture a certain Veronese influence is apparent.’2 A Shepherd with
a Pipe (No. 101 at Hampton Court) is catalogued both in Charles I.’s
1 Appraised at XIO° and sold for
2 Can this be the Madonna Circondata da Angeli e Pastori di mano di Dosso of the
Mantuan Inventory (D’Arco, op. citi) ?