DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0070
58
OXFORD.
Letter XXIV.
103. Study from figure of a kneeling young man, probably a
St. Stephen ; silver point on tinted paper, and admirably drawn.
Judging from forms and motives, it appears to me to belong to the
Florentine period ; about 1506.
104. Nymphs and tritons, eight in number ; of the most ani-
mated motives ; for a silver vessel. Broadly and fully drawn with
the pen and most masterly in character; about 1514.
108. Two monks with books, and two lion's heads. Lightly and
spiritedly drawn with silver point on tinted paper; about 1505.
109. Two studies for the Virgin and Child. Of the latter part
of the Florentine period; therefore about 1508. The Child in
one of them shows affinity in motive with that outstretched on
the lap of the Virgin in Raphael's picture in Lord Ellesmere's
collection.
110. The Coronation of the Virgin ; doubtless a sketch, though
altered in some respects in the cartoon, whence the tapestry was
executed which, on occasions when the tapestries were hung in the
Sistine Chapel, took the place of the altar-piece. A masterly pen-
drawing, of 1515 or 1516.
113. The Virgin reading a book; the Infant standing before
her. A very feelingly executed drawing, showing affinity in form
and feeling with the Madonna picture before mentioned in the
Belvedere, and therefore executed probably about 1505.
115. Hercules Gaulois, or Eloquence. The discoursing of
Flercules in the centre, and its effect upon his hearers, are very
dramatically expressed. A pen and bistre drawing, heightened
with white, and most carefully drawn. It may possibly belong to
the later Roman period, about 1515-16. I am not disposed to
agree with Passavant that it is by one of Raphael's scholars—■
perhaps Francesco Penni.
116. Christ with the Woman of Samaria. A very spirited
drawing, which, judging from the freedom of the motive and the
fulness of the forms, may possibly belong to the earlier Florentine
period, about 1505.
117. The Adoration of the Shepherds. A rich and admirably
drawn, but somewhat cold composition ; probably, as Passavant
surmises, by a scholar of Raphael—perhaps Francesco Penni.
118. David giving his last directions to Solomon. A beautiful
pen-drawing, perhaps originally intended for one of the illustra-
tions of his Bible.
OXFORD.
Letter XXIV.
103. Study from figure of a kneeling young man, probably a
St. Stephen ; silver point on tinted paper, and admirably drawn.
Judging from forms and motives, it appears to me to belong to the
Florentine period ; about 1506.
104. Nymphs and tritons, eight in number ; of the most ani-
mated motives ; for a silver vessel. Broadly and fully drawn with
the pen and most masterly in character; about 1514.
108. Two monks with books, and two lion's heads. Lightly and
spiritedly drawn with silver point on tinted paper; about 1505.
109. Two studies for the Virgin and Child. Of the latter part
of the Florentine period; therefore about 1508. The Child in
one of them shows affinity in motive with that outstretched on
the lap of the Virgin in Raphael's picture in Lord Ellesmere's
collection.
110. The Coronation of the Virgin ; doubtless a sketch, though
altered in some respects in the cartoon, whence the tapestry was
executed which, on occasions when the tapestries were hung in the
Sistine Chapel, took the place of the altar-piece. A masterly pen-
drawing, of 1515 or 1516.
113. The Virgin reading a book; the Infant standing before
her. A very feelingly executed drawing, showing affinity in form
and feeling with the Madonna picture before mentioned in the
Belvedere, and therefore executed probably about 1505.
115. Hercules Gaulois, or Eloquence. The discoursing of
Flercules in the centre, and its effect upon his hearers, are very
dramatically expressed. A pen and bistre drawing, heightened
with white, and most carefully drawn. It may possibly belong to
the later Roman period, about 1515-16. I am not disposed to
agree with Passavant that it is by one of Raphael's scholars—■
perhaps Francesco Penni.
116. Christ with the Woman of Samaria. A very spirited
drawing, which, judging from the freedom of the motive and the
fulness of the forms, may possibly belong to the earlier Florentine
period, about 1505.
117. The Adoration of the Shepherds. A rich and admirably
drawn, but somewhat cold composition ; probably, as Passavant
surmises, by a scholar of Raphael—perhaps Francesco Penni.
118. David giving his last directions to Solomon. A beautiful
pen-drawing, perhaps originally intended for one of the illustra-
tions of his Bible.