DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0045
Letter XIII.
VENETIAN SCHOOL.
33
Palma Vecchio.—Portrait of a Doge, on a red seat, to the
knees (No. 60). The head very animated and well conceived; the
hands feeble, the execution careful, the colouring, for him, less
striking than usual. From the Orleans Gallery.
Two Holy Families in landscapes, which are ascribed to Palma
Vecchio (Nos. 3 and 29), are pleasing pictures, by another Venetian
master, not known to me. The colouring of No. 3, in particular,
is remarkably brilliant.
Tintoretto.—1. The Entombment (No. 40), from the Orleans
Gallery; figures three-quarters the size of life. Far more noble
and true in action than usual; the group of the Virgin fainting,
with two women, is especially dignified and full of feeling, careful
in the execution, but less warm and clear in the tints than his
pictures frequently are.
2. Portrait of a Venetian nobleman (No. 106), from the Orleans
Gallery. Noble and powerful in conception, and admirably mo-
delled ; the tone of the flesh a warm red; the hands injured by
cleaning ; painted in 1588.
3. Portrait of a man with a large open book (No. 104). With
the exception of the face—most powerfully coloured in a reddish
brown tone—a mass of black.
4. Portrait of a Venetian Senator (No. 15), from the Coning-
ham collection ; most animatedly conceived, and treated in a style
of masterly breadth.
Lorenzo Lotto.—The Virgin and Child, and four Saints (No.
90). The attitude of the Child is ungraceful. We have here the
delicacy of heads and tone peculiar to this master.
Andrea Sciiiavone.—1. Christ before Pilate (No. 4), from the
collection of Queen Christina, afterwards in the Orleans Gallery.
Though this painter, more than most of the Venetians, has a cer-
tain feeling for the beauty of lines, and though his pictures are very
effective by contrasts of warm lights and dark shadows, yet these
qualities cannot make amends for the poorness of the heads, the
coarseness of the execution, and the heaviness of the colouring. I
found this observation again confirmed in this picture.
2. The Marriage of St. Catherine has the same faults and
excellences (No. 108).
Alessandro Turchi, called Alessandro Veronese.—Joseph
and Potiphar's wife, on grey marble (No. 82). A remarkably
vol. ii. d
VENETIAN SCHOOL.
33
Palma Vecchio.—Portrait of a Doge, on a red seat, to the
knees (No. 60). The head very animated and well conceived; the
hands feeble, the execution careful, the colouring, for him, less
striking than usual. From the Orleans Gallery.
Two Holy Families in landscapes, which are ascribed to Palma
Vecchio (Nos. 3 and 29), are pleasing pictures, by another Venetian
master, not known to me. The colouring of No. 3, in particular,
is remarkably brilliant.
Tintoretto.—1. The Entombment (No. 40), from the Orleans
Gallery; figures three-quarters the size of life. Far more noble
and true in action than usual; the group of the Virgin fainting,
with two women, is especially dignified and full of feeling, careful
in the execution, but less warm and clear in the tints than his
pictures frequently are.
2. Portrait of a Venetian nobleman (No. 106), from the Orleans
Gallery. Noble and powerful in conception, and admirably mo-
delled ; the tone of the flesh a warm red; the hands injured by
cleaning ; painted in 1588.
3. Portrait of a man with a large open book (No. 104). With
the exception of the face—most powerfully coloured in a reddish
brown tone—a mass of black.
4. Portrait of a Venetian Senator (No. 15), from the Coning-
ham collection ; most animatedly conceived, and treated in a style
of masterly breadth.
Lorenzo Lotto.—The Virgin and Child, and four Saints (No.
90). The attitude of the Child is ungraceful. We have here the
delicacy of heads and tone peculiar to this master.
Andrea Sciiiavone.—1. Christ before Pilate (No. 4), from the
collection of Queen Christina, afterwards in the Orleans Gallery.
Though this painter, more than most of the Venetians, has a cer-
tain feeling for the beauty of lines, and though his pictures are very
effective by contrasts of warm lights and dark shadows, yet these
qualities cannot make amends for the poorness of the heads, the
coarseness of the execution, and the heaviness of the colouring. I
found this observation again confirmed in this picture.
2. The Marriage of St. Catherine has the same faults and
excellences (No. 108).
Alessandro Turchi, called Alessandro Veronese.—Joseph
and Potiphar's wife, on grey marble (No. 82). A remarkably
vol. ii. d