DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22422#0183
Letter XVI.
ITALIAN SCHOOLS.
171
8. The three Marys at the Sepulchre, by the same master, is a
piece of effect, in which very dark shadows contrast with yellow
lights. In one of the Marys there is a feeling for grandeur of
lines : the action of the angel is too dramatic.
Carlo Dolce.—The daughter of Herodias, in a silk dress,
ornamented with jewels, holding the head of John the Baptist in a
charger, from which she is turning away with an expression of
pity. Purchased by the Marquis of Westminster from the collec-
tion of Lord Ashburnham ; a very careful original repetition of
the picture in the Dresden Gallery.
Claude Lorraine.—-1 and 2. A morning and an evening land-
scape ; the first inscribed 1651. Both have great depth and ful-
ness of colour, and represent the particular time of the day with
his usual skill. They mark the transition between his middle
manner, in which the impasto was stronger and the local tone in
some respects more lively, and his later manner, in which he
aimed more at general keeping and harmony.
3 and 4. Two smaller pictures, one of which is dated 1661,
are duller in the green, cooler in general tone, and more loose
and free in treatment. The tone in the evening landscape is
peculiarly fine.
5 and 6. Two of the largest pictures that Claude ever painted
are perhaps of a rather later date. In the one he has introduced
the Sermon on the Mount, in the other the Adoration of the
Golden Calf. The harmony, and the tender aerial gradation, are
wonderfully fine ; but the precision of form and the clearness of
colour which distinguish his earlier pictures are wanting, and
there is too great a disproportion between the figures and the
landscape.
7. A picture, with two shepherds dancing, in a soft evening
light, is of the same period ; only, with all the harmonious delicacy
of the gradations, the forms are still more indefinite and confused,
and the tone still less clear.
Gaspar Poussin.—1. A landscape, which combines with the
finest lines a tender warm light, and an extraordinary liveliness
and clearness of colour.
2. A view of Tivoli; very carefully executed, and with remark-
able freshness of tone.
ITALIAN SCHOOLS.
171
8. The three Marys at the Sepulchre, by the same master, is a
piece of effect, in which very dark shadows contrast with yellow
lights. In one of the Marys there is a feeling for grandeur of
lines : the action of the angel is too dramatic.
Carlo Dolce.—The daughter of Herodias, in a silk dress,
ornamented with jewels, holding the head of John the Baptist in a
charger, from which she is turning away with an expression of
pity. Purchased by the Marquis of Westminster from the collec-
tion of Lord Ashburnham ; a very careful original repetition of
the picture in the Dresden Gallery.
Claude Lorraine.—-1 and 2. A morning and an evening land-
scape ; the first inscribed 1651. Both have great depth and ful-
ness of colour, and represent the particular time of the day with
his usual skill. They mark the transition between his middle
manner, in which the impasto was stronger and the local tone in
some respects more lively, and his later manner, in which he
aimed more at general keeping and harmony.
3 and 4. Two smaller pictures, one of which is dated 1661,
are duller in the green, cooler in general tone, and more loose
and free in treatment. The tone in the evening landscape is
peculiarly fine.
5 and 6. Two of the largest pictures that Claude ever painted
are perhaps of a rather later date. In the one he has introduced
the Sermon on the Mount, in the other the Adoration of the
Golden Calf. The harmony, and the tender aerial gradation, are
wonderfully fine ; but the precision of form and the clearness of
colour which distinguish his earlier pictures are wanting, and
there is too great a disproportion between the figures and the
landscape.
7. A picture, with two shepherds dancing, in a soft evening
light, is of the same period ; only, with all the harmonious delicacy
of the gradations, the forms are still more indefinite and confused,
and the tone still less clear.
Gaspar Poussin.—1. A landscape, which combines with the
finest lines a tender warm light, and an extraordinary liveliness
and clearness of colour.
2. A view of Tivoli; very carefully executed, and with remark-
able freshness of tone.