DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0079
Letter II.
LORD YABBOROUGH'S COLLECTION.
65
quite on one side of the picture, with a quantity of grey hair.
For astonishing power of chiaroscuro and freedom of handling, this
is one of the best examples of a composition which the master fre-
quently repeated in various scales of size.
Ventura Salimbeni.—St. Catherine, seated, a palm-branch in
her hand. Pictures signed with the name of this pleasing but not
profound master of the later Sienese school are seldom seen out of
Italy. The head is of a pretty, but very worldly character. The
clear, warm, and delicate colouring shows the study of Correggio.
Tintoretto.—1. Consecration of a Bishop. A rich and for-
tunate composition ; whole-length figures, the size of life. Full of
animated heads, and of very careful execution.
Sofonisba Angusciola.—A nun, in the white robes of her
order. A signed picture. This is a nobly conceived and deli-
cately coloured specimen of this rare female artist, who is justly
praised by Vasari.
Titian.—1. The repentant Magdalen. Among the various
repetitions of this composition which I have met with in European
galleries, this may be considered as an original. With few excep-
tions it surpasses all others, not only in transparency and warmth
of colouring and spirited treatment, but also in elevation of
expression. The landscape background is also of great beauty.
Annibale Carracci.—1. John the Baptist, whole-length figure,
seated. Very dramatic in action, but forcibly recalling an Aca-
demy figure, and rather dark in the shadows.
Sir Anthony More.—2. Portrait of Catholic Queen Mary.
Companion to the foregoing, and in the delicacy and rendering of
all portions certainly one of his best female portraits.
Tintoretto.—2. The dead body of the Saviour mourned by
the disciples. Of his later time. Spirited, but sketchy, and treated
in a uniform brown tone.
Salvator Rosa.—1. St. Jerome, in a rocky landscape. The
conception of the saint is far more elevated than usual with this
master; to which is added a peculiarly powerful, warm, and trans-
parent colouring, and a proportionably careful treatment.
Domenichino.—The Martyrdom of St. Stephen, treated as a
landscape. This little picture is genuine, but belongs to those by
the master in which a cold red, and a generally heavy tone of
colour predominates.
vol. iv. f
LORD YABBOROUGH'S COLLECTION.
65
quite on one side of the picture, with a quantity of grey hair.
For astonishing power of chiaroscuro and freedom of handling, this
is one of the best examples of a composition which the master fre-
quently repeated in various scales of size.
Ventura Salimbeni.—St. Catherine, seated, a palm-branch in
her hand. Pictures signed with the name of this pleasing but not
profound master of the later Sienese school are seldom seen out of
Italy. The head is of a pretty, but very worldly character. The
clear, warm, and delicate colouring shows the study of Correggio.
Tintoretto.—1. Consecration of a Bishop. A rich and for-
tunate composition ; whole-length figures, the size of life. Full of
animated heads, and of very careful execution.
Sofonisba Angusciola.—A nun, in the white robes of her
order. A signed picture. This is a nobly conceived and deli-
cately coloured specimen of this rare female artist, who is justly
praised by Vasari.
Titian.—1. The repentant Magdalen. Among the various
repetitions of this composition which I have met with in European
galleries, this may be considered as an original. With few excep-
tions it surpasses all others, not only in transparency and warmth
of colouring and spirited treatment, but also in elevation of
expression. The landscape background is also of great beauty.
Annibale Carracci.—1. John the Baptist, whole-length figure,
seated. Very dramatic in action, but forcibly recalling an Aca-
demy figure, and rather dark in the shadows.
Sir Anthony More.—2. Portrait of Catholic Queen Mary.
Companion to the foregoing, and in the delicacy and rendering of
all portions certainly one of his best female portraits.
Tintoretto.—2. The dead body of the Saviour mourned by
the disciples. Of his later time. Spirited, but sketchy, and treated
in a uniform brown tone.
Salvator Rosa.—1. St. Jerome, in a rocky landscape. The
conception of the saint is far more elevated than usual with this
master; to which is added a peculiarly powerful, warm, and trans-
parent colouring, and a proportionably careful treatment.
Domenichino.—The Martyrdom of St. Stephen, treated as a
landscape. This little picture is genuine, but belongs to those by
the master in which a cold red, and a generally heavy tone of
colour predominates.
vol. iv. f