DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0405
ment are contrasted poetically, on the other side of the picture,
with an extended view where the sultry afternoon sun strongly
lights the ruin of an old castle ; in the distance is a seaport town
extending along a bay. It is seldom that Claude has introduced
figures from mythology so perfectly in harmony with the landscape
as in this picture. The execution is very careful, but the colour-
ing much weakened by the coat of dirt which covers the picture.
Liber Veritatis, No. 77. From the Delme collection. On canvas,
3 ft. 1 in. high, 3 ft. 11 in. wide. (Sir George Beaumont.)
6 & 7. Two small pictures—the one representing Hagar with
Ishmael and the Angel* (No. 61; Liber Veritatis, No. 106), and
the other a goatherd with his flock (No. 58)—are of the most poetic
charm of nature. The chief subject consists of noble trees, which
in the middle distance have entirely the appearance of studies
from nature. These pictures differ much from his usual manner,
both in the execution, which is much in detail, and in the general
tone. The figures are by another hand, and far better than Claude
was able to paint them. Each 1 ft. 8 in. high, 1 ft. 4^- in. wide.
(Sir George Beaumont.)
8. A small picture, with the death of Procris (No. 55). This
is very fine in the effect of the warm light, but also of an
unusual character. On canvas, 1 ft. 3 in. high, 1 ft. 7 in. wide.
(Sir George Beaumont.)
9. The Marriage of Isaac and Rebecca (No. 12). I had formerly
considered this to be a copy of Claude's celebrated Mill in the
Doria Palace. The editor of the catalogue of the National Gal-
lery has proved, however, that this picture has many points of
difference, and especially in the figures. Having since then
closely examined each, I have come to the conclusion that the
one here is also by Claude, though only to be ranked as a replica,
and is far heavier and duller in colour, and gaudier in the figures,
than the picture in the Doria collection.
On the other hand repeated examinations have left me doubtful
whether the landscape with Cephalus and Procris (No. 2) be really
painted by Claude. For though the composition, which is very
beautiful, is in the Liber Veritatis (No. 91), and also bears the
name and date 1645, yet I never saw a Claude of so slight a body,
of such dull colouring in the middle ground, and so feeble in
* Also called the Annunciation.
with an extended view where the sultry afternoon sun strongly
lights the ruin of an old castle ; in the distance is a seaport town
extending along a bay. It is seldom that Claude has introduced
figures from mythology so perfectly in harmony with the landscape
as in this picture. The execution is very careful, but the colour-
ing much weakened by the coat of dirt which covers the picture.
Liber Veritatis, No. 77. From the Delme collection. On canvas,
3 ft. 1 in. high, 3 ft. 11 in. wide. (Sir George Beaumont.)
6 & 7. Two small pictures—the one representing Hagar with
Ishmael and the Angel* (No. 61; Liber Veritatis, No. 106), and
the other a goatherd with his flock (No. 58)—are of the most poetic
charm of nature. The chief subject consists of noble trees, which
in the middle distance have entirely the appearance of studies
from nature. These pictures differ much from his usual manner,
both in the execution, which is much in detail, and in the general
tone. The figures are by another hand, and far better than Claude
was able to paint them. Each 1 ft. 8 in. high, 1 ft. 4^- in. wide.
(Sir George Beaumont.)
8. A small picture, with the death of Procris (No. 55). This
is very fine in the effect of the warm light, but also of an
unusual character. On canvas, 1 ft. 3 in. high, 1 ft. 7 in. wide.
(Sir George Beaumont.)
9. The Marriage of Isaac and Rebecca (No. 12). I had formerly
considered this to be a copy of Claude's celebrated Mill in the
Doria Palace. The editor of the catalogue of the National Gal-
lery has proved, however, that this picture has many points of
difference, and especially in the figures. Having since then
closely examined each, I have come to the conclusion that the
one here is also by Claude, though only to be ranked as a replica,
and is far heavier and duller in colour, and gaudier in the figures,
than the picture in the Doria collection.
On the other hand repeated examinations have left me doubtful
whether the landscape with Cephalus and Procris (No. 2) be really
painted by Claude. For though the composition, which is very
beautiful, is in the Liber Veritatis (No. 91), and also bears the
name and date 1645, yet I never saw a Claude of so slight a body,
of such dull colouring in the middle ground, and so feeble in
* Also called the Annunciation.