DOI Page / Citation link:
https://doi.org/10.11588/diglit.22421#0413
Letter X.
NETHERLANDISH SCHOOL.
349
circular mirror, but represents on the frame of the mirror the ten
moments from the life of Christ, which notwithstanding their ex-
ceeding diminutiveness, are very clearly rendered. The picture
also presents a fine general effect and a deep and rich chiaro-
scuro, which is the more remarkable considering the period.
On wood, 2 ft. 9. in. high, 2 ft. 0^ in. wide. (Purchased from
Major-General Hay, in 1842.)
A portrait (No. 193) here ascribed to a contemporary of Hol-
bein is, in my opinion, attributable rather to Nicholas Luvidel,
called Neufchatel, a native of Mons (Bergen) in Belgium. I re-
cognise the same feeling in the disposition of forms, and in the
colouring, especially in the grey shadows, as in the certainly finer
picture by this master in the gallery at Munich (No. 124), which
is inscribed with the name of the artist, and 1561. On wood, 3 ft.
2 in. high, 2 ft. 5? in. wide. (Purchased in 1845.)
Rubens.—We are here enabled to form a just idea of the
universal genius of this great master, in subjects from the sacred
writings, from mythology, in allegory, and landscape.
1. The Brazen Serpent (No. 59), one of Rubens' chefs-d'oeuvre.
This subject has given scope to his momentary and forcible action
in those who are suffering from the bite of the serpents. The
rich composition, which belongs to his earlier time, and displays
his excellences in the most spirited way, by the warm and bril-
liant harmony of colours and bright golden flesh-tones, is entirely
executed by himself. On canvas, 6 ft. 2 in. high, 8 ft. 10 in. wide.
(Formerly in the Marana Palace at Genoa, and purchased of
B. H. Owen, Esq., in 1837.)
2. The Judgment of Paris (No. 194) is another chef-d'oeuvre
by the master in the department of mythology. The composition
is well balanced, and the forms unusually free from exaggeration.
The colouring as powerful in its warm harmony, as it is clear and
true. The allusion to the evils which ensued from this judgment
is given quite in the spirit of Rubens, by the figure of Discord in
the air. This picture belongs to the middle time of the master.
On wood, 4 ft. 9 in. high, 6 ft. 3 in. wide. (Formerly in the
Orleans Gallery, and purchased from the Penrice collection in
1844.)
3. Peace and War; the celebrated picture which Rubens
painted for Charles I. (No. 46) when residing at the court of
NETHERLANDISH SCHOOL.
349
circular mirror, but represents on the frame of the mirror the ten
moments from the life of Christ, which notwithstanding their ex-
ceeding diminutiveness, are very clearly rendered. The picture
also presents a fine general effect and a deep and rich chiaro-
scuro, which is the more remarkable considering the period.
On wood, 2 ft. 9. in. high, 2 ft. 0^ in. wide. (Purchased from
Major-General Hay, in 1842.)
A portrait (No. 193) here ascribed to a contemporary of Hol-
bein is, in my opinion, attributable rather to Nicholas Luvidel,
called Neufchatel, a native of Mons (Bergen) in Belgium. I re-
cognise the same feeling in the disposition of forms, and in the
colouring, especially in the grey shadows, as in the certainly finer
picture by this master in the gallery at Munich (No. 124), which
is inscribed with the name of the artist, and 1561. On wood, 3 ft.
2 in. high, 2 ft. 5? in. wide. (Purchased in 1845.)
Rubens.—We are here enabled to form a just idea of the
universal genius of this great master, in subjects from the sacred
writings, from mythology, in allegory, and landscape.
1. The Brazen Serpent (No. 59), one of Rubens' chefs-d'oeuvre.
This subject has given scope to his momentary and forcible action
in those who are suffering from the bite of the serpents. The
rich composition, which belongs to his earlier time, and displays
his excellences in the most spirited way, by the warm and bril-
liant harmony of colours and bright golden flesh-tones, is entirely
executed by himself. On canvas, 6 ft. 2 in. high, 8 ft. 10 in. wide.
(Formerly in the Marana Palace at Genoa, and purchased of
B. H. Owen, Esq., in 1837.)
2. The Judgment of Paris (No. 194) is another chef-d'oeuvre
by the master in the department of mythology. The composition
is well balanced, and the forms unusually free from exaggeration.
The colouring as powerful in its warm harmony, as it is clear and
true. The allusion to the evils which ensued from this judgment
is given quite in the spirit of Rubens, by the figure of Discord in
the air. This picture belongs to the middle time of the master.
On wood, 4 ft. 9 in. high, 6 ft. 3 in. wide. (Formerly in the
Orleans Gallery, and purchased from the Penrice collection in
1844.)
3. Peace and War; the celebrated picture which Rubens
painted for Charles I. (No. 46) when residing at the court of