DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0043
Letter XIII.
VENETIAN SCHOOL.
31
lover. In both, but especially in the profile of the girl, the holy
feeling1 of youthful innocence and affection is most charmingly
expressed; forming one of the most beautiful idyllic groups that
art has produced. The charm of this picture is enhanced by the
spirited and yet careful execution, and by the light and marvel-
lously transparent gold tone. On the other side of the picture are
some children asleep, among whom Cupid steps without at all
disturbing their repose. In the distance is an old man, who pays
no regard to Cupid, but is engaged in contemplating two skulls
which lie on the ground, and remind him of the vicissitudes of
human life. The artist with refined tact places this moral in the
background The landscape, with its deep green, its light blue
distance, and its bright sky, breathes, like the main group, the
most cheerful freshness of life. Titian painted this fine picture
for Giovanni di Castelli, in the early period of his life, when the
example of Giorgione had a very powerful and beneficial influence
upon him. Giorgione was properly the inventor of such allegories
and imaginative pieces ; so that another example of this picture,
which has passed through the collection of Queen Christina and
the Orleans Gallery, was ascribed to him in the collection of the
King of France.
2. La Venus a la Coquille (No. 19). This picture, from the
collection of Queen Christina, was known by this name in the
Orleans Gallery. Venus, rising from the sea, which reaches her
knee, is wringing the water out of her brown hair. Near her,
upon the water, is a shell. The elevated beauty of the Venus
Anadyomene of the ancients is out of the question, yet this bathing
figure is very pleasing, and for Titian uncommonly graceful in
the attitude. It was painted rather later than the preceding
picture, and therefore the lights are less glowing, and the shadows
of a paler brown. All the parts appear rounder, but less bright
and clear.
3. Diana and Actaeon (No. 17.) A composition of eight figures,
two-thirds the size of life. On canvas. Titianvs F. is inscribed
in letters of gold upon a pilaster. This picture, as is so often
the case with Titian, is not very happy in the lines, especially in the
Actaeon. The heads, too, which are mostly seen in profile, are not
expressive, nor the drawing delicate ; but the picture enchants the
eye by the large masses of warm chiaroscuro, the astonishing skill
VENETIAN SCHOOL.
31
lover. In both, but especially in the profile of the girl, the holy
feeling1 of youthful innocence and affection is most charmingly
expressed; forming one of the most beautiful idyllic groups that
art has produced. The charm of this picture is enhanced by the
spirited and yet careful execution, and by the light and marvel-
lously transparent gold tone. On the other side of the picture are
some children asleep, among whom Cupid steps without at all
disturbing their repose. In the distance is an old man, who pays
no regard to Cupid, but is engaged in contemplating two skulls
which lie on the ground, and remind him of the vicissitudes of
human life. The artist with refined tact places this moral in the
background The landscape, with its deep green, its light blue
distance, and its bright sky, breathes, like the main group, the
most cheerful freshness of life. Titian painted this fine picture
for Giovanni di Castelli, in the early period of his life, when the
example of Giorgione had a very powerful and beneficial influence
upon him. Giorgione was properly the inventor of such allegories
and imaginative pieces ; so that another example of this picture,
which has passed through the collection of Queen Christina and
the Orleans Gallery, was ascribed to him in the collection of the
King of France.
2. La Venus a la Coquille (No. 19). This picture, from the
collection of Queen Christina, was known by this name in the
Orleans Gallery. Venus, rising from the sea, which reaches her
knee, is wringing the water out of her brown hair. Near her,
upon the water, is a shell. The elevated beauty of the Venus
Anadyomene of the ancients is out of the question, yet this bathing
figure is very pleasing, and for Titian uncommonly graceful in
the attitude. It was painted rather later than the preceding
picture, and therefore the lights are less glowing, and the shadows
of a paler brown. All the parts appear rounder, but less bright
and clear.
3. Diana and Actaeon (No. 17.) A composition of eight figures,
two-thirds the size of life. On canvas. Titianvs F. is inscribed
in letters of gold upon a pilaster. This picture, as is so often
the case with Titian, is not very happy in the lines, especially in the
Actaeon. The heads, too, which are mostly seen in profile, are not
expressive, nor the drawing delicate ; but the picture enchants the
eye by the large masses of warm chiaroscuro, the astonishing skill