DOI Page / Citation link:
https://doi.org/10.11588/diglit.22423#0397
Letter XXXI. EAEL OF SHREWSBURY'S COLLECTION.
385
3. The Entombment. A small picture, noble in the motives,
and carefully finished.
4. Portrait of himself. Spirited in the conception, warm and
clear in the tone.
Gennari.—By this chief scholar of Guercino is the portrait of
Count Palliotti; a picture of remarkable spirit and power in the
colouring.
Domenichino.—The portrait of a boy ; and a dark landscape,
are genuine, though by no means attractive pictures of this master.
Il Gobbo dai Frutti.—1 and 2. Two large pictures, with a
profusion of beautifully-arranged fruits, of broad and masterly
treatment, proving that the Carracci employed him as successfully
in this line as Raphael did Giovanni da Udine.
Claude Lorraine.—A landscape of his later period, grey and
pale in the colouring, with Tobit and the AngeL
Neapolitan School.
Ribera, called Lo Spagnoletto.—1. Archimedes, of powerful
effect and great excellence in the execution ; and—2, his own
portrait, of equal merit.
Of the Genoese School, a caravan by Castiglione.
Spanish School.
Murillo.-—1. St. Theresa praying, in a beautiful landscape.
A picture of astonishing effect.
2. The preaching of St. John the Baptist. Treated in a
sketchy, though masterly manner.
Alonzo Cano.—St. Anthony of Padua, with the infant Christ
and the Virgin ; whole-length figures, the size of life. A devout
feeling pervades this picture, which is painted in a warm, power-
ful tone.
Pedro de Moya.—A jovial party. Full of spirit; painted in a
clear tone, but, as is so generally the case in the Spanish school,
entirely devoid of style.
Don Pedro Nunez de Villavicencio.—Joseph caressing the
infant Jesus, while the Virgin is occupied in sewing. An instance
of the manner, so frequent in Spain, of representing Scripture his-
tory like ordinary domestic life. The picture, which is very dark
in the shadows, aims at striking effect.
French School.
Le Sueur.—A Crucifixion, with the mourning disciples. With
vol. nr. 2 c
385
3. The Entombment. A small picture, noble in the motives,
and carefully finished.
4. Portrait of himself. Spirited in the conception, warm and
clear in the tone.
Gennari.—By this chief scholar of Guercino is the portrait of
Count Palliotti; a picture of remarkable spirit and power in the
colouring.
Domenichino.—The portrait of a boy ; and a dark landscape,
are genuine, though by no means attractive pictures of this master.
Il Gobbo dai Frutti.—1 and 2. Two large pictures, with a
profusion of beautifully-arranged fruits, of broad and masterly
treatment, proving that the Carracci employed him as successfully
in this line as Raphael did Giovanni da Udine.
Claude Lorraine.—A landscape of his later period, grey and
pale in the colouring, with Tobit and the AngeL
Neapolitan School.
Ribera, called Lo Spagnoletto.—1. Archimedes, of powerful
effect and great excellence in the execution ; and—2, his own
portrait, of equal merit.
Of the Genoese School, a caravan by Castiglione.
Spanish School.
Murillo.-—1. St. Theresa praying, in a beautiful landscape.
A picture of astonishing effect.
2. The preaching of St. John the Baptist. Treated in a
sketchy, though masterly manner.
Alonzo Cano.—St. Anthony of Padua, with the infant Christ
and the Virgin ; whole-length figures, the size of life. A devout
feeling pervades this picture, which is painted in a warm, power-
ful tone.
Pedro de Moya.—A jovial party. Full of spirit; painted in a
clear tone, but, as is so generally the case in the Spanish school,
entirely devoid of style.
Don Pedro Nunez de Villavicencio.—Joseph caressing the
infant Jesus, while the Virgin is occupied in sewing. An instance
of the manner, so frequent in Spain, of representing Scripture his-
tory like ordinary domestic life. The picture, which is very dark
in the shadows, aims at striking effect.
French School.
Le Sueur.—A Crucifixion, with the mourning disciples. With
vol. nr. 2 c