DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0311
Letter XXVIII. DUKE OF HAMILTON'S COLLECTION. 299
enough for this great master. The dresses are painted with gold ;
armorial bearings are on the black ground.
Tintoretto.—1. Moses striking the rock. A rich composi-
tion of animated but sketchy execution.
Pietro da Cortona.—1. The Adoration of the Shepherds.
A pleasing and careful picture for him.
Tintoretto.—2. A male portrait. Looks promising, but
hangs in too dark a place.
The chimney-piece is here of beautiful black Irish marble.
The picture-gallery, properly speaking, is divided into a suite
of four rooms, which I now proceed to describe.
First Room.
Luca Signorelli.—The Circumcision of Christ. A large
altar-piece with ten figures, life-size. In the centre, before the
altar-apse, is the priest looking up to heaven ; in the angles of the
semicircular picture are two circles with two prophets. This is
one of the most important pictures by this great master, who was
the precursor of Michael Angelo. The artistic richness of the
composition, the understanding of the forms, which are of masterly
modelling and great truth of nature, the deep warm colouring,
and the solid execution, all prove that this admirably-preserved
picture belongs to Luca Signorelli's maturest time. It bears the
inscription, "Lucas Cortonensis pinxit."
Bergiiem.—Landscape, with a herd of cattle in the water, and
a herdswoman carrying her child on her back. A picture of
careful and fine composition, but somewhat heavy in general tone.
Titian.-—Philip II. with the figure of Fame kneeling before
him. This picture has suffered so much that it is difficult to form
an opinion of it. It appears to me, however, to have been origin-
ally too feeble for him.
Tintoretto.—3. Portrait of an admiral. The back a red cur-
tain and the sea, on which is a vessel. Grandly conceived, and of
full marrowy painting, in his clear brownish tones.
Pietro da Cortona.-—2. Christ appearing to the Magdalen,
and Eleazar with Rachel at the well. Two very good pictures by
the master.
Ubertini.—A rich allegory, of careful execution, called Pon-
tormo, but decidedly by that rare master Ubertini.
Cornelius de Vos.—2. A female portrait, which, in warmth
and transparency of colouring, approaches Rubens.
enough for this great master. The dresses are painted with gold ;
armorial bearings are on the black ground.
Tintoretto.—1. Moses striking the rock. A rich composi-
tion of animated but sketchy execution.
Pietro da Cortona.—1. The Adoration of the Shepherds.
A pleasing and careful picture for him.
Tintoretto.—2. A male portrait. Looks promising, but
hangs in too dark a place.
The chimney-piece is here of beautiful black Irish marble.
The picture-gallery, properly speaking, is divided into a suite
of four rooms, which I now proceed to describe.
First Room.
Luca Signorelli.—The Circumcision of Christ. A large
altar-piece with ten figures, life-size. In the centre, before the
altar-apse, is the priest looking up to heaven ; in the angles of the
semicircular picture are two circles with two prophets. This is
one of the most important pictures by this great master, who was
the precursor of Michael Angelo. The artistic richness of the
composition, the understanding of the forms, which are of masterly
modelling and great truth of nature, the deep warm colouring,
and the solid execution, all prove that this admirably-preserved
picture belongs to Luca Signorelli's maturest time. It bears the
inscription, "Lucas Cortonensis pinxit."
Bergiiem.—Landscape, with a herd of cattle in the water, and
a herdswoman carrying her child on her back. A picture of
careful and fine composition, but somewhat heavy in general tone.
Titian.-—Philip II. with the figure of Fame kneeling before
him. This picture has suffered so much that it is difficult to form
an opinion of it. It appears to me, however, to have been origin-
ally too feeble for him.
Tintoretto.—3. Portrait of an admiral. The back a red cur-
tain and the sea, on which is a vessel. Grandly conceived, and of
full marrowy painting, in his clear brownish tones.
Pietro da Cortona.-—2. Christ appearing to the Magdalen,
and Eleazar with Rachel at the well. Two very good pictures by
the master.
Ubertini.—A rich allegory, of careful execution, called Pon-
tormo, but decidedly by that rare master Ubertini.
Cornelius de Vos.—2. A female portrait, which, in warmth
and transparency of colouring, approaches Rubens.