DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0323
Letter IX. COLLECTION OF ENGRAVINGS. 259
Faith and Charity (No. 15). This plate coincides in conception
and forms so entirely with Sandro Botticelli's well-known Venus
and other figures, that it may be safely supposed to have been
taken from a drawing by that master. The same may be said of
the Ceres, No. 16, and of the Venus with the four amorini, No. 18,
in which latter plate, belonging to Eobetta's earlier time, the some-
what monotonous style of Sandro Botticelli's children is apparent.
Hercules combating the Hydra (No. 21); one of Robetta's
later and more finished engravings, indicating in the character
of the heads, and in the slenderer and more graceful style of the
forms, a drawing by Filippino Lippi. In the work called " La
real Galleria di Firenze," the original drawing for this engraving
is in my opinion erroneously ascribed to Pollajuolo.
Hercules and Antaeus (No. 22) ; of Robetta's earlier time, and
much feebler in drawing. This, judging from the energy of the
action and the heavier forms, may be attributed to an original
drawing by Sandro Botticelli.
Leda and the Swan. The head of Leda of a noble character
and well drawn. In character of composition, in richness of land-
scape, and in the blackly treated shadows, this plate, both in in-
vention and execution, indicates a North Italian origin.
Two female figures, one playing the lyre (No. 23). This plate
is equally as fine in composition as clever in execution. I was
formerly disposed to attribute it to the invention of Luca Sig-
norelli; but I am now convinced that Ottley (p. 472) is correct in
asserting that it was engraved from a drawing by Filippino Lippi
for a fresco by him in chiaroscuro in the Capella Strozzi in
S. Maria Novella at Florence. I must also retract a similar mis-
nomer with regard to an engraving —
The pangs of Love and Jealousy (No. 25), of which here is an
excellent impression ; and the original drawing of which also
belongs to Filippino Lippi, though of his earlier time, when the
influence of his master, Sandro Botticelli, was still apparent.
A print of an old woman, with two loving couples (No. 24), for
the same reasons that I have expressed in No. 15, may be attri-
buted to a drawing by Sandro Botticelli. In the background the
influence of Albert Durer's style of engraving is apparent.
Mutius Scsevola (No. 26), engraved in Robetta's early and hard
manner, is also from a drawing by Sandro Botticelli.
. / - s 2
Faith and Charity (No. 15). This plate coincides in conception
and forms so entirely with Sandro Botticelli's well-known Venus
and other figures, that it may be safely supposed to have been
taken from a drawing by that master. The same may be said of
the Ceres, No. 16, and of the Venus with the four amorini, No. 18,
in which latter plate, belonging to Eobetta's earlier time, the some-
what monotonous style of Sandro Botticelli's children is apparent.
Hercules combating the Hydra (No. 21); one of Robetta's
later and more finished engravings, indicating in the character
of the heads, and in the slenderer and more graceful style of the
forms, a drawing by Filippino Lippi. In the work called " La
real Galleria di Firenze," the original drawing for this engraving
is in my opinion erroneously ascribed to Pollajuolo.
Hercules and Antaeus (No. 22) ; of Robetta's earlier time, and
much feebler in drawing. This, judging from the energy of the
action and the heavier forms, may be attributed to an original
drawing by Sandro Botticelli.
Leda and the Swan. The head of Leda of a noble character
and well drawn. In character of composition, in richness of land-
scape, and in the blackly treated shadows, this plate, both in in-
vention and execution, indicates a North Italian origin.
Two female figures, one playing the lyre (No. 23). This plate
is equally as fine in composition as clever in execution. I was
formerly disposed to attribute it to the invention of Luca Sig-
norelli; but I am now convinced that Ottley (p. 472) is correct in
asserting that it was engraved from a drawing by Filippino Lippi
for a fresco by him in chiaroscuro in the Capella Strozzi in
S. Maria Novella at Florence. I must also retract a similar mis-
nomer with regard to an engraving —
The pangs of Love and Jealousy (No. 25), of which here is an
excellent impression ; and the original drawing of which also
belongs to Filippino Lippi, though of his earlier time, when the
influence of his master, Sandro Botticelli, was still apparent.
A print of an old woman, with two loving couples (No. 24), for
the same reasons that I have expressed in No. 15, may be attri-
buted to a drawing by Sandro Botticelli. In the background the
influence of Albert Durer's style of engraving is apparent.
Mutius Scsevola (No. 26), engraved in Robetta's early and hard
manner, is also from a drawing by Sandro Botticelli.
. / - s 2