DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22422#0044
32
BRIDGEWATER HOUSE.
Letter XIII.
and breadth of the treatment, and by the poetical landscape with
blue mountains. Titian painted this picture at an advanced age,
and was evidently influenced by Paul Veronese in the more slender
proportions of the figures, and in the use of striped draperies.
Unfortunately it has become, by cleaning, rather lighter in the
tone of the flesh than it originally was, and the threads of the
dark-coloured canvas frequently appear, especially in the half-
shadows, where the colour has less body.
4 The fable of Calisto (No. 18). Companion to the preceding,
a composition of eleven figures. Upon a pedestal is in like manner
Titianvs F. inscribed. This picture has on the whole the same
properties as the preceding; the figure of Diana is particularly
slender and noble. A glowing setting sun makes a more striking
contrast with the dark blue mountains of the landscape, and ren-
ders the reflections of many parts, for instance on a nymph near
Calisto, still deeper and more effective. This masterpiece is even
still more injured ; the black threads are visible in all the half-
shadows ; and in the figure of Diana, and of the nymph in front,
all keeping is so lost, that the original colour looks like insulated
spots. Only a few parts—for instance, a portion of the neck of the
nymph quite on the left hand—still give an idea of the warm,
deep golden tone, which the whole picture formerly had. The
shadow on the leg of the same nymph is coarsely painted over.
These two pictures were in the Orleans Gallery, and are said to
be those which Titian, according to Vasari's account, painted for
Philip II., King of Spain. Though I do not doubt their origin-
ality, I must however observe that there is a duplicate at Madrid,
formerly in the Euen Retiro Palace, and which now adorns the
Royal Gallery.
5. Portrait of Pope Clement VII.-—This appears to me to be
too feeble for Titian (No. 57).
Sebastian del Piombo.—The Entombment. After a compo-
sition by Michael Angelo, from the Orleans Gallery. This has
been so much repainted, that no opinion can be given of it
(No. 31).
Paris Bordone.—Repose of the Holy Family (No. 89), in a
rich poetical mountainous landscape. An uncommonly carefully
executed and glowingly-coloured picture, by this very unequal
follower of Titian.
BRIDGEWATER HOUSE.
Letter XIII.
and breadth of the treatment, and by the poetical landscape with
blue mountains. Titian painted this picture at an advanced age,
and was evidently influenced by Paul Veronese in the more slender
proportions of the figures, and in the use of striped draperies.
Unfortunately it has become, by cleaning, rather lighter in the
tone of the flesh than it originally was, and the threads of the
dark-coloured canvas frequently appear, especially in the half-
shadows, where the colour has less body.
4 The fable of Calisto (No. 18). Companion to the preceding,
a composition of eleven figures. Upon a pedestal is in like manner
Titianvs F. inscribed. This picture has on the whole the same
properties as the preceding; the figure of Diana is particularly
slender and noble. A glowing setting sun makes a more striking
contrast with the dark blue mountains of the landscape, and ren-
ders the reflections of many parts, for instance on a nymph near
Calisto, still deeper and more effective. This masterpiece is even
still more injured ; the black threads are visible in all the half-
shadows ; and in the figure of Diana, and of the nymph in front,
all keeping is so lost, that the original colour looks like insulated
spots. Only a few parts—for instance, a portion of the neck of the
nymph quite on the left hand—still give an idea of the warm,
deep golden tone, which the whole picture formerly had. The
shadow on the leg of the same nymph is coarsely painted over.
These two pictures were in the Orleans Gallery, and are said to
be those which Titian, according to Vasari's account, painted for
Philip II., King of Spain. Though I do not doubt their origin-
ality, I must however observe that there is a duplicate at Madrid,
formerly in the Euen Retiro Palace, and which now adorns the
Royal Gallery.
5. Portrait of Pope Clement VII.-—This appears to me to be
too feeble for Titian (No. 57).
Sebastian del Piombo.—The Entombment. After a compo-
sition by Michael Angelo, from the Orleans Gallery. This has
been so much repainted, that no opinion can be given of it
(No. 31).
Paris Bordone.—Repose of the Holy Family (No. 89), in a
rich poetical mountainous landscape. An uncommonly carefully
executed and glowingly-coloured picture, by this very unequal
follower of Titian.