DOI Heft:
No. 238 (January 1913)
DOI Artikel:Melani, Alfredo: The Layard collection in Venice
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0326
The Layard Collection
archaeological rema:ns. The various objets dbart
harmonise admirably with the pictures and charm
the eye without undue insistence upon their num-
ber or their preciousness. By this I mean to
imply that the residence of Sir Henry Layard has
none of that character which demands the hushed
voice and silent tread as in a museum, but remains
the home of a gentleman of good taste, to whom
perhaps the great picture galleries do not give
a sufficiently convincing proof of their utility.
Nevertheless, Sir Henry Layard, as every one
knows, bequeathed his collection to the National
Gallery in London, leaving the enjoyment of it and
of his residence during her lifetime to Lady Layard.
By the recent death of this lady the bequest now
becomes operative.
I have referred to the most important works
in the collection. Among these, especially from
the historical point of view, the portrait by Gen-
tile Bellini of Mohammed II is of quite excep-
tional significance, and bears the value of a real
treasure. It was painted by the younger son of
Jacopo Bellini when on a visit to the Ottoman
Court in 1479. The famous conqueror of Con-
stantinople lives upon this canvas of Gentile,
although the master-portraitist of the Layard
Collection speaks here only with the voice of his
first period ; but this is in truth a merit in a picture
that will henceforward find a home in the National
Gallery, for besides the portrait supposed to be
of Girolamo Malatini, this gallery at present pos-
sesses no other example of the work of Gentile.
Visitors to that great collection will be particularly
impressed by the colour of this fine portrait, which
Venice gives up with the greatest regret. This re-
gret is more than natural, for the Mohammed II of
the Layard Collection has very intimate associations
with the history of the locality, quite apart from its
artistic value.
In a similar degree the picture by Carpaccio, An
“AN INCIDENT IN' THE LIFE OF S. URSULA”
3°4
( Photo. Alinari)
BY VITTORE CARPACCIO
archaeological rema:ns. The various objets dbart
harmonise admirably with the pictures and charm
the eye without undue insistence upon their num-
ber or their preciousness. By this I mean to
imply that the residence of Sir Henry Layard has
none of that character which demands the hushed
voice and silent tread as in a museum, but remains
the home of a gentleman of good taste, to whom
perhaps the great picture galleries do not give
a sufficiently convincing proof of their utility.
Nevertheless, Sir Henry Layard, as every one
knows, bequeathed his collection to the National
Gallery in London, leaving the enjoyment of it and
of his residence during her lifetime to Lady Layard.
By the recent death of this lady the bequest now
becomes operative.
I have referred to the most important works
in the collection. Among these, especially from
the historical point of view, the portrait by Gen-
tile Bellini of Mohammed II is of quite excep-
tional significance, and bears the value of a real
treasure. It was painted by the younger son of
Jacopo Bellini when on a visit to the Ottoman
Court in 1479. The famous conqueror of Con-
stantinople lives upon this canvas of Gentile,
although the master-portraitist of the Layard
Collection speaks here only with the voice of his
first period ; but this is in truth a merit in a picture
that will henceforward find a home in the National
Gallery, for besides the portrait supposed to be
of Girolamo Malatini, this gallery at present pos-
sesses no other example of the work of Gentile.
Visitors to that great collection will be particularly
impressed by the colour of this fine portrait, which
Venice gives up with the greatest regret. This re-
gret is more than natural, for the Mohammed II of
the Layard Collection has very intimate associations
with the history of the locality, quite apart from its
artistic value.
In a similar degree the picture by Carpaccio, An
“AN INCIDENT IN' THE LIFE OF S. URSULA”
3°4
( Photo. Alinari)
BY VITTORE CARPACCIO