DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22422#0046
34
BEIDGEWATEK HOUSE.
Letter XIII.
brilliant picture ; all the parts very carefully rounded; but, as
usual, motley and mannered. From the Orleans Gallery.
Bolognese School.
Lodovico Carracci.—1. The Descent from the Cross, figures
as large as life ; from the collection of the Duke of Mo den a.
Though this picture is admirably drawn, as, for instance, in the
foreshortened figure of the Christ, and very clear and warm in the
colouring, particularly in the St. John, yet it is so theatrical in
composition, and many of the attitudes—for example, that of the
Virgin fainting—are so ill chosen, that it leaves an unpleasant
impression (No. 9).
2. The Virgin with the Child appearing to St. Catherine in a
dream (No. 48). From the Orleans Gallery ; the figures nearly
the size of life. In the clear colouring, as well as in the character
of the Saint, we recognise the imitation of Correggio, otherwise
the composition is not happy, the drapery too massy, and the
shadows too dark
3. A Pieta, A study for an altar-piece : combining with beau-
tiful composition, fine drawing, and striking effect, that refined
feeling which this master often evinces (No. 22).
Annibale Carracci.—1. St. Gregory at prayer (No. 76), sur-
rounded by eight Angels ; figures as large as life. This picture,
painted for Cardinal Salviati, for a chapel in the church of S.
Gregorio in Rome, and, according to the old method, on panel,
proves with what success A. Carracci devoted himself to the study
of Correggio. Not only have the angels a similar gracefulness of
attitude, but, in the soft gradation, in the reflections, and in the
general clearness and careful blending of the lively colouring, a
happy imitation of Correggio is apparent.
2. St. Francis adoring the infant Christ (No. 81), from the
Orleans Gallery. Flere, too, we see a diligent imitation of those
darker pictures of Correggio where he aimed at effect.
3. Danae receiving the golden shower; from the Orleans Gal-
lery ; full life-size. A comparison of this with the preceding pic-
tures enables us clearly to perceive the eclectic character of this
master. Here there is no trace of the influence of Correggio ;
but, in the whole conception, it is evident that he had before him
the great Venetian painters, Titian, Paul Veronese, &c. In the
BEIDGEWATEK HOUSE.
Letter XIII.
brilliant picture ; all the parts very carefully rounded; but, as
usual, motley and mannered. From the Orleans Gallery.
Bolognese School.
Lodovico Carracci.—1. The Descent from the Cross, figures
as large as life ; from the collection of the Duke of Mo den a.
Though this picture is admirably drawn, as, for instance, in the
foreshortened figure of the Christ, and very clear and warm in the
colouring, particularly in the St. John, yet it is so theatrical in
composition, and many of the attitudes—for example, that of the
Virgin fainting—are so ill chosen, that it leaves an unpleasant
impression (No. 9).
2. The Virgin with the Child appearing to St. Catherine in a
dream (No. 48). From the Orleans Gallery ; the figures nearly
the size of life. In the clear colouring, as well as in the character
of the Saint, we recognise the imitation of Correggio, otherwise
the composition is not happy, the drapery too massy, and the
shadows too dark
3. A Pieta, A study for an altar-piece : combining with beau-
tiful composition, fine drawing, and striking effect, that refined
feeling which this master often evinces (No. 22).
Annibale Carracci.—1. St. Gregory at prayer (No. 76), sur-
rounded by eight Angels ; figures as large as life. This picture,
painted for Cardinal Salviati, for a chapel in the church of S.
Gregorio in Rome, and, according to the old method, on panel,
proves with what success A. Carracci devoted himself to the study
of Correggio. Not only have the angels a similar gracefulness of
attitude, but, in the soft gradation, in the reflections, and in the
general clearness and careful blending of the lively colouring, a
happy imitation of Correggio is apparent.
2. St. Francis adoring the infant Christ (No. 81), from the
Orleans Gallery. Flere, too, we see a diligent imitation of those
darker pictures of Correggio where he aimed at effect.
3. Danae receiving the golden shower; from the Orleans Gal-
lery ; full life-size. A comparison of this with the preceding pic-
tures enables us clearly to perceive the eclectic character of this
master. Here there is no trace of the influence of Correggio ;
but, in the whole conception, it is evident that he had before him
the great Venetian painters, Titian, Paul Veronese, &c. In the