DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0176
164
THE GROSVENOR GALLERY.
Letter XVI.
often enough very deficient in regard to form, yet these are more
clumsy, awkward, and heavy than any that can be with certainty
ascribed to him ; the treatment is too spiritless, rude, and me-
chanical ; the colouring too uniformly brick-red and too little
transparent for him. lie even seems to have assigned this work
to some of his inferior pupils, for the better ones, such as Jordaens,
Diepenbeke, and Van Thulden, approached in many respects
nearer to himself.
These, as well as almost all the other large pictures, hang in a
magnificent apartment, built on purpose. As the light enters from
above, and the apartment is very lofty, only a subdued light
reaches the lower part, so that the pictures which hang there, and
are most of them dark, do not appear to advantage.
The following pictures by Rubens are also here :—
Pausias the painter, and his mistress Glycera, the beautiful
flower-girl, who passed among the ancients for the inventress of
garlands. She is holding a wreath of flowers ; he is holding her
portrait, a work of his, much celebrated in antiquity. Other
flowers in great abundance are in a vase and a basket. The
head of Glycera is very delicate and beautiful. On canvas, 7 ft,
high, 6 ft, 2 in. wide. This picture is here erroneously called the
portraits of Rubens and his first wife.
Ixion embracing the Cloud. Juno herself, with the peacock,
turns her back on the group, before which a winged female figure,
characterised by a fox's skin as Deceit, is holding a piece of
drapery. In the background is Jupiter on Mount Olympus, to
whom Cupid is carrying news of the affair. Very carefully
executed, and in the clear colouring both delicate and subdued.
The difference between the phantom and Juno herself is not,
however, strongly enough marked. On panel, 5 ft. 7 in. high,
8 ft. 1 in. wide.
Sarah sending away llagar. The subject is treated as a scene
of familiar life. Sarah, standing before the door, enjoys her tri-
umph, and follows the banished Hagar with threats and reproaches.
The execution in the solid impasto is very careful and masterly,
the colouring glowing. On canvas, 2 ft, 4 in. high, 3 ft. 4 in. wide.
From the fine collection of Welbore Agar Ellis, Esq.
A hilly landscape, with an extensive distance ; country people
getting in harvest, and a cart with two horses. Rubens' poetical
THE GROSVENOR GALLERY.
Letter XVI.
often enough very deficient in regard to form, yet these are more
clumsy, awkward, and heavy than any that can be with certainty
ascribed to him ; the treatment is too spiritless, rude, and me-
chanical ; the colouring too uniformly brick-red and too little
transparent for him. lie even seems to have assigned this work
to some of his inferior pupils, for the better ones, such as Jordaens,
Diepenbeke, and Van Thulden, approached in many respects
nearer to himself.
These, as well as almost all the other large pictures, hang in a
magnificent apartment, built on purpose. As the light enters from
above, and the apartment is very lofty, only a subdued light
reaches the lower part, so that the pictures which hang there, and
are most of them dark, do not appear to advantage.
The following pictures by Rubens are also here :—
Pausias the painter, and his mistress Glycera, the beautiful
flower-girl, who passed among the ancients for the inventress of
garlands. She is holding a wreath of flowers ; he is holding her
portrait, a work of his, much celebrated in antiquity. Other
flowers in great abundance are in a vase and a basket. The
head of Glycera is very delicate and beautiful. On canvas, 7 ft,
high, 6 ft, 2 in. wide. This picture is here erroneously called the
portraits of Rubens and his first wife.
Ixion embracing the Cloud. Juno herself, with the peacock,
turns her back on the group, before which a winged female figure,
characterised by a fox's skin as Deceit, is holding a piece of
drapery. In the background is Jupiter on Mount Olympus, to
whom Cupid is carrying news of the affair. Very carefully
executed, and in the clear colouring both delicate and subdued.
The difference between the phantom and Juno herself is not,
however, strongly enough marked. On panel, 5 ft. 7 in. high,
8 ft. 1 in. wide.
Sarah sending away llagar. The subject is treated as a scene
of familiar life. Sarah, standing before the door, enjoys her tri-
umph, and follows the banished Hagar with threats and reproaches.
The execution in the solid impasto is very careful and masterly,
the colouring glowing. On canvas, 2 ft, 4 in. high, 3 ft. 4 in. wide.
From the fine collection of Welbore Agar Ellis, Esq.
A hilly landscape, with an extensive distance ; country people
getting in harvest, and a cart with two horses. Rubens' poetical