DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0369
Letter XXI.
MISCELLANEOUS SCHOOLS.
357
77. A warrior; not indeed by Giorgione, but by some excel-
lent painter of the Venetian school.
78. Artemisia Gentileschi.—Her own portrait. Powerful
and vivid; in the style of Michael Angelo Caravaggio.
79. Titian.—1. A male portrait; erroneously called Alex-
ander de' Medici, Duke of Florence. The nobleness of the
conception and the admirable execution in subdued golden tones
are worthy of the great master.
80. Vandyck.—2. Charles I. on horseback ; an old copy from
the picture in Windsor Castle.
81 and 82. Velasquez.—Philip IV. of Spain and his Queen.
These pictures do not agree with the authentic works by Velasquez
known to me, but show a far greater affinity to Rubens.
83. Filippo Lauri.—Jacob fleeing from Laban. A careful
picture, and unusually warm and transparent for him.
92. Schiavone.—5. Tobit with the angel. Genuine, but very
mannered.
93. Guercino.—His own portrait. Very lively, but much
darkened in the shadows.
96. Carlo Maratti.—The Virgin and St. Francis. Pleasing.
97. Van Somer.-—Christian IV., King of Denmark, full-length.
Very animated, but crude and hard in the flesh-tones.
99. Guido Cagnacci.—Jacob with Rachel and Leah. A care-
ful and delicate picture, executed in harmoniously broken tones.
100. Giacomo Bassano.—4. Jacob and his household wan-
dering. An excellent picture, carried out in his silver tones.
The heads also more attractive than usual.
102. Portrait of a Dutch gentleman. Good, but too feeble for
Bartholomew van der Heist.
Audience Chamber.
Sebastian Ricci.—Here are five pictures by this master.
Three of them—No. 107, the Magdalen washing the feet of
Christ; No. 108, the Healing of the Lame Man; and No. 109,
the Woman taken in Adultery—show, in power and harmony of
colour and careful completion, a happy study of Paul Veronese,
and prove how long the feeling for colour was maintained in
Venice in comparison with any of the other Italian schools. Sebas-
tian Ricci died 1734.
The pictures attributed to Giulio Romano—the Nursing of
MISCELLANEOUS SCHOOLS.
357
77. A warrior; not indeed by Giorgione, but by some excel-
lent painter of the Venetian school.
78. Artemisia Gentileschi.—Her own portrait. Powerful
and vivid; in the style of Michael Angelo Caravaggio.
79. Titian.—1. A male portrait; erroneously called Alex-
ander de' Medici, Duke of Florence. The nobleness of the
conception and the admirable execution in subdued golden tones
are worthy of the great master.
80. Vandyck.—2. Charles I. on horseback ; an old copy from
the picture in Windsor Castle.
81 and 82. Velasquez.—Philip IV. of Spain and his Queen.
These pictures do not agree with the authentic works by Velasquez
known to me, but show a far greater affinity to Rubens.
83. Filippo Lauri.—Jacob fleeing from Laban. A careful
picture, and unusually warm and transparent for him.
92. Schiavone.—5. Tobit with the angel. Genuine, but very
mannered.
93. Guercino.—His own portrait. Very lively, but much
darkened in the shadows.
96. Carlo Maratti.—The Virgin and St. Francis. Pleasing.
97. Van Somer.-—Christian IV., King of Denmark, full-length.
Very animated, but crude and hard in the flesh-tones.
99. Guido Cagnacci.—Jacob with Rachel and Leah. A care-
ful and delicate picture, executed in harmoniously broken tones.
100. Giacomo Bassano.—4. Jacob and his household wan-
dering. An excellent picture, carried out in his silver tones.
The heads also more attractive than usual.
102. Portrait of a Dutch gentleman. Good, but too feeble for
Bartholomew van der Heist.
Audience Chamber.
Sebastian Ricci.—Here are five pictures by this master.
Three of them—No. 107, the Magdalen washing the feet of
Christ; No. 108, the Healing of the Lame Man; and No. 109,
the Woman taken in Adultery—show, in power and harmony of
colour and careful completion, a happy study of Paul Veronese,
and prove how long the feeling for colour was maintained in
Venice in comparison with any of the other Italian schools. Sebas-
tian Ricci died 1734.
The pictures attributed to Giulio Romano—the Nursing of