DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0315
Letter XXVIII. DUKE OF HAMILTON'S COLLECTION.
303
Jan Van Eyck remained in his works. For although executed
thirty-three years after the death of that master, his style is seen
both in the mode of conception and in the colouring.
Franz de Paula Ferg.—A charlatan preaching to a set of
beggars ; very animated and careful.
Teniers.—3. View of his country house. A small picture of
very clear colouring and tender treatment.
Job Berkheyden.—Exterior of a church; admirably carried
out in a clear sunny effect.
Sebastian del Piombo.—1. Pope Clement VII. seated, and
taken in profile. This picture shows not only his elevated and
animated conception, but his warm Venetian colouring, which
proves that this picture was painted not long after the elevation of
Clement VII. to the papal chair; therefore about 1523. The
right hand is particularly excellent.
William Van de Velde.—A quiet sea ; both water and sky
of the utmost transparency and delicacy. One of the most beau-
tiful pictures I know of this master. Inscribed.
Philip Wouvermans.—A barren country, with a huntsman on
a brown horse, a man watering his horse, and some other figures.
The landscape, which is of very delicate aerial perspective, recalls,
in composition and coolness of tone, his master Wynants ; although
the delicately executed figures prove this picture to be of his
second manner. 1 ft. 11 in. high, 2 ft. 4 in. wide.
Mabuse.—An Adoration of the Kings, from the Beckford
collection, bears this name, with which I am not disposed to con-
cur. This otherwise good picture is most probably by Patenier.
Adrian van Ostade.—Interior of a peasant's house, with the
owner ; of uncommon warmth of tone, but it hangs too high for
a more precise opinion.
I now proceed to consider the pictures in other apartments of
this extensive palace.
Sitting-room near the Library.
Tintoretto.—5. The Ascension; very dramatic, and very
animated in the single figures.
Palma Giovane.—An allegorical subject unknown to me; a
careful work of warm tone.
Giorgione. — Hippomenes and Atalanta, accompanied by
Cupid, in a landscape. Both the conception and glow of colour
are true to Giorgione and of great charm.
303
Jan Van Eyck remained in his works. For although executed
thirty-three years after the death of that master, his style is seen
both in the mode of conception and in the colouring.
Franz de Paula Ferg.—A charlatan preaching to a set of
beggars ; very animated and careful.
Teniers.—3. View of his country house. A small picture of
very clear colouring and tender treatment.
Job Berkheyden.—Exterior of a church; admirably carried
out in a clear sunny effect.
Sebastian del Piombo.—1. Pope Clement VII. seated, and
taken in profile. This picture shows not only his elevated and
animated conception, but his warm Venetian colouring, which
proves that this picture was painted not long after the elevation of
Clement VII. to the papal chair; therefore about 1523. The
right hand is particularly excellent.
William Van de Velde.—A quiet sea ; both water and sky
of the utmost transparency and delicacy. One of the most beau-
tiful pictures I know of this master. Inscribed.
Philip Wouvermans.—A barren country, with a huntsman on
a brown horse, a man watering his horse, and some other figures.
The landscape, which is of very delicate aerial perspective, recalls,
in composition and coolness of tone, his master Wynants ; although
the delicately executed figures prove this picture to be of his
second manner. 1 ft. 11 in. high, 2 ft. 4 in. wide.
Mabuse.—An Adoration of the Kings, from the Beckford
collection, bears this name, with which I am not disposed to con-
cur. This otherwise good picture is most probably by Patenier.
Adrian van Ostade.—Interior of a peasant's house, with the
owner ; of uncommon warmth of tone, but it hangs too high for
a more precise opinion.
I now proceed to consider the pictures in other apartments of
this extensive palace.
Sitting-room near the Library.
Tintoretto.—5. The Ascension; very dramatic, and very
animated in the single figures.
Palma Giovane.—An allegorical subject unknown to me; a
careful work of warm tone.
Giorgione. — Hippomenes and Atalanta, accompanied by
Cupid, in a landscape. Both the conception and glow of colour
are true to Giorgione and of great charm.