Studio: international art (28.1903)

Le Bloiis Three-Colour Prints

less of blue in it, the second worked for a yellow at the Well, after a scholar of A. Carracci (there

inking, the third for a red. These were printed, ex- is an enlarged repetition of this plate); St. Catherine,

actly registered, one on top of the other in the order after Allegri (now at Hampton Court); Madonna,

given. Where especially dark shadows were needed, after R. Santi (in a round); Narcissus, after Le

he occasionally added lines engraved by the burin. Blon himself (a sort of companion piece to the

The early work shows more of this than the later. Diana; these two and the Rebecca, are not so

The earlier plates show also less strict parading of large as most of the others); Jesus on the Mount

the three-colour theory in which he entangled him- of Olives, after A. Carracci; The infant Jesus and

self later on. The Parisian plates, which are the St. John, after Vandyke ; Cupid, after Carracci's

latest, show most line-work of all; but that is copy of Mazzuoli's picture (now at Hampton

merely because he found no one to do pure mezzo- Court) ; The Temptation of Our Lord, after

tint work for him there. C. Maratti ; The three Children of Charles I., after

At present forty-one colour-prints of Le Blon's Vandyke (probably the Windsor picture, but

are known :—Sleeping Nymph watched by a Satyr ; only half-lengths) ; Venus Recumbent, after the

and the Portrait of W. van Salisch; these are both so-called T. Vecelli (now at Hampton Court) ;

of moderate size, and were done in Holland. Most Madonna with Tobit, etc., after the so-called T.

copies were probably printed on vellum. King Vecelli (now at Hampton Court); The Entombment,

George I. ; Madonna, after Baroccio ; A Sudarium; after T. Vecelli; Galathea, after C. Maratti.

An Anatomical Plate, published by W. H. Toms, Now comes a set not named in the prospectus,

in Holborn, with a folio sheet of explanations; but well authenticated. Possibly these were the

Prince Frederick as a child; these were the first plates produced under Guine's direction, after

five plates done in England, and are likewise Le Blon had been removed from his position?

small, except the Madonna. Now, probably, They are The Chastity of Joseph, after Canlassi;

the " Picture Office " began in earnest, and St. Agnes, after D. Zampieri; The same, head and

turned out pictures " grande comme la Nature," bust only; St. Mary of Egypt, after Zampieri (?);

as the prospectus had it. Here follows the list in Endymion Asleep, after Berrettini(?); Modesty and

the order of the prospectus, being probably the Liberality, after G. Reni; The Carondolet portrait,

order in which they appeared. A Magdalen, after after S. Luciano (in the possession of the Duke of

A. Allegri; A Diana, after Allegri (i.e. a poor Grafton); William LLP. and Queen Mary, after

copy of the Venus in the Education of Jupiter, now Kneller; Rubens, after his own portrait (now at

in the National Gallery. Some of these attribu- Windsor); Spenser (often misnamed Shakspere, on

tions to painters are, of course, dubious); The account of a slight resemblance); Vandyke, after

infant Tesus and St. John, after L. da Vinci; his own portrait (now at Windsor). All these

Susanna and the Elders, after G. Chiari; Rebecca are large plates, the St. Agnes, for example, measur-
ing about 35 inches by

"galathea" (after maratti) from the three-colour Magdalen (possibly ident-

print by j. c. le blon ical with the St. Mary

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