DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0215
Letter XXVI. LORD NORTHWICK'S COLLECTION.
203
merly in the church of S. Domenico at Bologna. Vasari mentions
it as his best work. From the Solly collection.
Titian.—1. Portrait of Pope Paul III., so often met with
under the name of Titian. This appears to me one of the few
genuine examples.
2. Portrait of a woman, of very artless conception, of about the
same time as the portraits of the Duke and Duchess of Urbino in
the Uffizii at Florence ; painted in a very delicate, but, for Titian,
cool tone.
Bontfazio.—The Exposure of Romulus and Remus, conceived
in the idyllic taste of Giorgione ; broadly and lightly sketched,
and in a warm, light colouring.
Schiavone.—Venus and Cupid; here called Pordenone, but
to my view a very beautiful picture by this master.
I am also reminded of Schiavone, in many respects, by a repe-
tition of the Venus of Titian in the Tribune, which is here also
attributed to Titian. But the form of the head is too hard, and the
background too heavy and dark in tone, for that master. On the
other hand, the greater depth of colour, the stronger shadows, the
deep golden hair, and the impasto have much of Schiavone.
Giacomo Bassano.—The penitent St. Jerome, carefully treated
in his warmest and clearest tones.
Pietro della Vecchia.—1 and 2. A male head with plumed
bonnet; here called Salvator Rosa, but decidedly the work of this
late imitator of Giorgione, to whom another male head also belongs,
bearing the name of Giorgione.
Lucatelli.—A large, and for him excellent landscape, in the
taste of Gaspar Poussin.
Bernardo Bellotto.—-A very rich architectural view, and
another less important picture—both called Canaletto—are good
works by this scholar of his.
Neapolitan School.
Salvator Rosa.—-1. A picture bearing the name of " l'umana
fragilita" is a thorough specimen of his dark and gloomy mode of
thought. A beautiful girl with a child, holding a pen, on which
are the following words, " Conceptio culpa, nasci pena, labor vitse,
necesse mori," is held by a frightful skeleton with wings, whose
features express a malicious joy. Also, as symbol of the nothing-
ness of all earthly things, a child blowing soap-bubbles, and
another setting fire to flax. In the background a terminal figure,
203
merly in the church of S. Domenico at Bologna. Vasari mentions
it as his best work. From the Solly collection.
Titian.—1. Portrait of Pope Paul III., so often met with
under the name of Titian. This appears to me one of the few
genuine examples.
2. Portrait of a woman, of very artless conception, of about the
same time as the portraits of the Duke and Duchess of Urbino in
the Uffizii at Florence ; painted in a very delicate, but, for Titian,
cool tone.
Bontfazio.—The Exposure of Romulus and Remus, conceived
in the idyllic taste of Giorgione ; broadly and lightly sketched,
and in a warm, light colouring.
Schiavone.—Venus and Cupid; here called Pordenone, but
to my view a very beautiful picture by this master.
I am also reminded of Schiavone, in many respects, by a repe-
tition of the Venus of Titian in the Tribune, which is here also
attributed to Titian. But the form of the head is too hard, and the
background too heavy and dark in tone, for that master. On the
other hand, the greater depth of colour, the stronger shadows, the
deep golden hair, and the impasto have much of Schiavone.
Giacomo Bassano.—The penitent St. Jerome, carefully treated
in his warmest and clearest tones.
Pietro della Vecchia.—1 and 2. A male head with plumed
bonnet; here called Salvator Rosa, but decidedly the work of this
late imitator of Giorgione, to whom another male head also belongs,
bearing the name of Giorgione.
Lucatelli.—A large, and for him excellent landscape, in the
taste of Gaspar Poussin.
Bernardo Bellotto.—-A very rich architectural view, and
another less important picture—both called Canaletto—are good
works by this scholar of his.
Neapolitan School.
Salvator Rosa.—-1. A picture bearing the name of " l'umana
fragilita" is a thorough specimen of his dark and gloomy mode of
thought. A beautiful girl with a child, holding a pen, on which
are the following words, " Conceptio culpa, nasci pena, labor vitse,
necesse mori," is held by a frightful skeleton with wings, whose
features express a malicious joy. Also, as symbol of the nothing-
ness of all earthly things, a child blowing soap-bubbles, and
another setting fire to flax. In the background a terminal figure,