DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0304
292
GAESCUBE.
Letter XXVIII.
interrupted by,lunch. His collection, which was chiefly formed by
his grandfather, contains a moderate number of pictures, with very
good works of the Netherlandish school; its chief strength consists,
however, of pictures of the Italian schools, by masters of the
highest excellence, and which are seldom found in Great Britain.
Drawing-room.
Albert Cuyp.—A grey horse watered by a boy, and a man
upon a brown horse ; in the background vessels. A very good
picture, of warm and clear colour, of his first period.
Annibale Carracci.—1. The Virgin and Child, St. John the
Baptist near a cradle, and Joseph. A good example of this often
repeated picture.
Claude Lorraine.—A seaport, in unusually red lighting. A
good picture of his later time.
Michael Angelo Caravaggio.—The Woman taken in
Adultery. A rich and peculiar composition, telling the story well;
less vulgar than usual in the heads, and of careful execution.
Annibale Carracci.—2. The Virgin and Child adored by St.
Peter, St. Paul, and John the Evangelist; also two angels. Ani-
mated and graceful in the motives, clear in the colouring, and
careful in treatment.
I must here mention a bowl of oval form of majolica, of unusual
size and beauty, supported by two Tritons ; outside are two Silenus
masks; the inside is adorned with a beautiful arabesque border,
the centre with a subject of chariot-races and spectators.
Staircase.
Jordaens.—Mercury about to kill the sleeping Argus. Not
so glowingly coloured as the picture in the Dresden Gallery, but
still a good original picture.
Pynaker.—A landscape; carefully executed, and unusually
warm in colour.
Titian.—St. Jerome, in a landscape. A spirited picture, look-
ing like the master, but hanging too high for me to decide.
An animated and very clear portrait of a woman, by a Dutch-
woman, with the name upon it, but too high for me to read it.
Erroneously ascribed to My tens.
BiLLIARD-ROOM.
Vandyck.—1. Portrait of a woman seated; to the knees. The
dark tone and the slight treatment of the drapery are in the style
GAESCUBE.
Letter XXVIII.
interrupted by,lunch. His collection, which was chiefly formed by
his grandfather, contains a moderate number of pictures, with very
good works of the Netherlandish school; its chief strength consists,
however, of pictures of the Italian schools, by masters of the
highest excellence, and which are seldom found in Great Britain.
Drawing-room.
Albert Cuyp.—A grey horse watered by a boy, and a man
upon a brown horse ; in the background vessels. A very good
picture, of warm and clear colour, of his first period.
Annibale Carracci.—1. The Virgin and Child, St. John the
Baptist near a cradle, and Joseph. A good example of this often
repeated picture.
Claude Lorraine.—A seaport, in unusually red lighting. A
good picture of his later time.
Michael Angelo Caravaggio.—The Woman taken in
Adultery. A rich and peculiar composition, telling the story well;
less vulgar than usual in the heads, and of careful execution.
Annibale Carracci.—2. The Virgin and Child adored by St.
Peter, St. Paul, and John the Evangelist; also two angels. Ani-
mated and graceful in the motives, clear in the colouring, and
careful in treatment.
I must here mention a bowl of oval form of majolica, of unusual
size and beauty, supported by two Tritons ; outside are two Silenus
masks; the inside is adorned with a beautiful arabesque border,
the centre with a subject of chariot-races and spectators.
Staircase.
Jordaens.—Mercury about to kill the sleeping Argus. Not
so glowingly coloured as the picture in the Dresden Gallery, but
still a good original picture.
Pynaker.—A landscape; carefully executed, and unusually
warm in colour.
Titian.—St. Jerome, in a landscape. A spirited picture, look-
ing like the master, but hanging too high for me to decide.
An animated and very clear portrait of a woman, by a Dutch-
woman, with the name upon it, but too high for me to read it.
Erroneously ascribed to My tens.
BiLLIARD-ROOM.
Vandyck.—1. Portrait of a woman seated; to the knees. The
dark tone and the slight treatment of the drapery are in the style