DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0395
Letter X.
VENETIAN SCHOOL.
331
it was purchased by M. Durno, and afterwards came into the
possession of Mr. Hart Davis, who paid 6000?. for it. For size
(11 ft. 6 in. high, by 4 ft. 11 in. wide) and subject it is one of the
chief works of the master. There is something grand and poet-
ical in the design, representing the Virgin in glory with the
infant Christ; below them, St. John the Baptist, with his back
turned towards the spectator, and, pointing upwards with the most
fervent enthusiasm, as announcing Christ. The beautiful head
of the infant Christ is worthy of Correggio, and the figure ap-
proaches that master in delicacy of relief. St. John, on the other
hand, is most solidly painted in glowing golden tones, and is of
prodigious effect. In the affected and extravagant attitudes we
clearly see the vain endeavour to combine the grandeur of Michael
Angela, in form and motion, with the graceful flow and the relief
of Correggio. The least satisfactory part of the picture is St.
Jerome asleep — a figure very ungracefully foreshortened—who
is supposed to behold all that we have above described in a vision :
some parts, too, which have been badly retouched, injure the
effect. This picture is, notwithstanding, worthy of admiration for
the astonishing perfection of execution, especially when we consider
that Parmigianino was only twenty-four years of age when he
painted it. On panel; presented by the British Institution.
Of the Venetian school,* which surpassed all others in Italy in
individuality of conception, and truth of nature in the colouring,
here are also some admirable works.
Titian.—Bacchus and Ariadne (No. 35), one of the three
pictures so highly extolled by Vasari, painted about the year
1514, for Alphonso Duke of Ferrara. How much more poet-
ical in conception, noble in expression, and ideal in forms, does
Titian appear in this picture, painted in his thirty-seventh
year, in the full vigour of his powers, than in many of his later
works! The hurried step, and the expression of surprise with
which Ariadne, hastening along the sea-shore, looks round at Bac-
chus, are extremely graceful and animated, and form an admirable
contrast to the god, who, glowing with youth and strength, boldly
* The National Gallery has recently ohtained a Giorgionesque picture at the sale
of Mr. Samuel Woodburn's collection, June, 1853. " The Adoration of the Virgin. The
Virgin seated with the Infant, St. Joseph at her side ; his arm resting on a stone plinth
a Venetian general, in steel and chain armour, kneeling, a page holding his horse
a convent seen in the landscape background."—Catalo'jue of Mr. Woodburns sale.
VENETIAN SCHOOL.
331
it was purchased by M. Durno, and afterwards came into the
possession of Mr. Hart Davis, who paid 6000?. for it. For size
(11 ft. 6 in. high, by 4 ft. 11 in. wide) and subject it is one of the
chief works of the master. There is something grand and poet-
ical in the design, representing the Virgin in glory with the
infant Christ; below them, St. John the Baptist, with his back
turned towards the spectator, and, pointing upwards with the most
fervent enthusiasm, as announcing Christ. The beautiful head
of the infant Christ is worthy of Correggio, and the figure ap-
proaches that master in delicacy of relief. St. John, on the other
hand, is most solidly painted in glowing golden tones, and is of
prodigious effect. In the affected and extravagant attitudes we
clearly see the vain endeavour to combine the grandeur of Michael
Angela, in form and motion, with the graceful flow and the relief
of Correggio. The least satisfactory part of the picture is St.
Jerome asleep — a figure very ungracefully foreshortened—who
is supposed to behold all that we have above described in a vision :
some parts, too, which have been badly retouched, injure the
effect. This picture is, notwithstanding, worthy of admiration for
the astonishing perfection of execution, especially when we consider
that Parmigianino was only twenty-four years of age when he
painted it. On panel; presented by the British Institution.
Of the Venetian school,* which surpassed all others in Italy in
individuality of conception, and truth of nature in the colouring,
here are also some admirable works.
Titian.—Bacchus and Ariadne (No. 35), one of the three
pictures so highly extolled by Vasari, painted about the year
1514, for Alphonso Duke of Ferrara. How much more poet-
ical in conception, noble in expression, and ideal in forms, does
Titian appear in this picture, painted in his thirty-seventh
year, in the full vigour of his powers, than in many of his later
works! The hurried step, and the expression of surprise with
which Ariadne, hastening along the sea-shore, looks round at Bac-
chus, are extremely graceful and animated, and form an admirable
contrast to the god, who, glowing with youth and strength, boldly
* The National Gallery has recently ohtained a Giorgionesque picture at the sale
of Mr. Samuel Woodburn's collection, June, 1853. " The Adoration of the Virgin. The
Virgin seated with the Infant, St. Joseph at her side ; his arm resting on a stone plinth
a Venetian general, in steel and chain armour, kneeling, a page holding his horse
a convent seen in the landscape background."—Catalo'jue of Mr. Woodburns sale.