DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22422#0145
Letter XV.
ITALIAN SCHOOLS.
133
repast. In the adjacent wood are flocks and herds. A quiet
and pleasing evening effect pervades this picture, which is care-
fully painted in all the details, and dates from the early time of
the master, in which the influence of Tassi is still apparent.
2. A landscape, with Philip baptizing the Eunuch, the fore-
ground in deep and transparent chiaroscuro ; a bridge in the
middle distance, the sea beyond. This beautiful and very careful
picture, which is treated in the tenderest silver tones, belongs to
the middle period of the master.
Gaspar Poussin.—A landscape with buildings in the middle
distance ; in the foreground a loving couple. This picture is lighted
by the evening sun, which is of rare occurrence with this master,
and is as poetical in feeling as careful in execution.
Lombard School.
Parmigianino.—An angel teaching the infant Christ to read ;
the Virgin looking on. Incomparably more natural in feeling
than usual.
Venetian School.
Giorgione.—1. The Holy Family in a landscape, the Virgin
inclining her cheek to that of the Child; Joseph on the other side
of a tree. A picture as fervent and poetic in feeling as it is deep
and transparent in its golden tones. In this collection it bears the
name of Titian.
2. The infant Saviour in the lap of the Virgin, who is drawing
the kneeling St. John with animated action towards her. With
the exception of the St. John, a most poetic head, the heads are
not meaning, but the colouring is of the fullest golden tone.
3. A male portrait in profile with a dagger; warmly coloured,
but hung too high to admit of an opinion.
Titian.—1. The Virgin nursing the Child, with St. John and St.
Joseph ; a spirited but slight sketch of the master's early time : very
warm in colouring and decidedly realistic in conception.
2. Venus ; identical with the celebrated Florence picture in
head and position, but with another background. The local tones
of the flesh are of such singular delicacy of gradation and of such
transparency, that I cannot doubt the originality of this picture.
Generally speaking, Titian's free repetitions have not that unsatis-
factory look which characterises those of other masters. Taking into
ITALIAN SCHOOLS.
133
repast. In the adjacent wood are flocks and herds. A quiet
and pleasing evening effect pervades this picture, which is care-
fully painted in all the details, and dates from the early time of
the master, in which the influence of Tassi is still apparent.
2. A landscape, with Philip baptizing the Eunuch, the fore-
ground in deep and transparent chiaroscuro ; a bridge in the
middle distance, the sea beyond. This beautiful and very careful
picture, which is treated in the tenderest silver tones, belongs to
the middle period of the master.
Gaspar Poussin.—A landscape with buildings in the middle
distance ; in the foreground a loving couple. This picture is lighted
by the evening sun, which is of rare occurrence with this master,
and is as poetical in feeling as careful in execution.
Lombard School.
Parmigianino.—An angel teaching the infant Christ to read ;
the Virgin looking on. Incomparably more natural in feeling
than usual.
Venetian School.
Giorgione.—1. The Holy Family in a landscape, the Virgin
inclining her cheek to that of the Child; Joseph on the other side
of a tree. A picture as fervent and poetic in feeling as it is deep
and transparent in its golden tones. In this collection it bears the
name of Titian.
2. The infant Saviour in the lap of the Virgin, who is drawing
the kneeling St. John with animated action towards her. With
the exception of the St. John, a most poetic head, the heads are
not meaning, but the colouring is of the fullest golden tone.
3. A male portrait in profile with a dagger; warmly coloured,
but hung too high to admit of an opinion.
Titian.—1. The Virgin nursing the Child, with St. John and St.
Joseph ; a spirited but slight sketch of the master's early time : very
warm in colouring and decidedly realistic in conception.
2. Venus ; identical with the celebrated Florence picture in
head and position, but with another background. The local tones
of the flesh are of such singular delicacy of gradation and of such
transparency, that I cannot doubt the originality of this picture.
Generally speaking, Titian's free repetitions have not that unsatis-
factory look which characterises those of other masters. Taking into