DOI Page / Citation link:
https://doi.org/10.11588/diglit.22424#0275
Letter IV.
ITALIAN SCHOOL.
261
time of the master, and distinctly shows the influence of his master
Fra Filippo Lippi. It is of unusual power of colouring.
Bernardltsto Luini.—The Virgin and Joseph kneeling and
adoring the Child. A simple but good composition ; the head of
the Virgin very noble, the colouring particularly powerful, the
execution throughout careful.
Luca Longhi.—The Virgin and Child enthroned, with an
angel at their feet playing on the lute. On the right St. Francis,
on the left St. Anthony of Padua ; quite below, as bust pictures, the
donor and his wife. This is the best picture I know by the so-called
Raphael of Ravenna. The heads are serious and noble, the angel
of great beauty, the portraits true and animated, the colouring
warm, and the execution in a good impasto and very careful.
Julio Romano.—A female portrait. Of great animation and
very powerful colouring. The position of one hand is, however,
not happy.
Primaticcio.—Portrait of the Cardinal de Chatillon. Signed
and dated 1548. JEt. 31. The portraits by this master are so
rare, that this is an important specimen. The conception is earnest
and noble, the drawing strict, the colouring warm, and the execu-
tion solid.
Scipio Gaetano.—1. A male portrait. Another master not
often seen oat of Italy, who unites animated conception with pow-
erful colouring.
2. Portrait of an old man of somewhat Jewish appearance.
Smaller than the foregoing. Of a warmth and depth of colour
approaching Rembrandt.
Annibale Carracci.—The figure of Venus sleeping, larger
than life, and surrounded by numerous amorini. A landscape
background. This picture has the character of monumental art,
recalling the grand forms, graceful motives, and deep colouring of
the best frescoes of this master in the Farnese Palace at Rome.
This, and the four separate figures of amorini, the bold but grace-
ful foreshortenings of which show the happy influence of Correggio,
doubtless originally formed the decoration of a room.
Two other allegorical figures also, Aurora and the winged figure
of Night, with Sleep and Death in her arms, of very earnest
character and powerful colouring, may probably have belonged to
the same seriea
ITALIAN SCHOOL.
261
time of the master, and distinctly shows the influence of his master
Fra Filippo Lippi. It is of unusual power of colouring.
Bernardltsto Luini.—The Virgin and Joseph kneeling and
adoring the Child. A simple but good composition ; the head of
the Virgin very noble, the colouring particularly powerful, the
execution throughout careful.
Luca Longhi.—The Virgin and Child enthroned, with an
angel at their feet playing on the lute. On the right St. Francis,
on the left St. Anthony of Padua ; quite below, as bust pictures, the
donor and his wife. This is the best picture I know by the so-called
Raphael of Ravenna. The heads are serious and noble, the angel
of great beauty, the portraits true and animated, the colouring
warm, and the execution in a good impasto and very careful.
Julio Romano.—A female portrait. Of great animation and
very powerful colouring. The position of one hand is, however,
not happy.
Primaticcio.—Portrait of the Cardinal de Chatillon. Signed
and dated 1548. JEt. 31. The portraits by this master are so
rare, that this is an important specimen. The conception is earnest
and noble, the drawing strict, the colouring warm, and the execu-
tion solid.
Scipio Gaetano.—1. A male portrait. Another master not
often seen oat of Italy, who unites animated conception with pow-
erful colouring.
2. Portrait of an old man of somewhat Jewish appearance.
Smaller than the foregoing. Of a warmth and depth of colour
approaching Rembrandt.
Annibale Carracci.—The figure of Venus sleeping, larger
than life, and surrounded by numerous amorini. A landscape
background. This picture has the character of monumental art,
recalling the grand forms, graceful motives, and deep colouring of
the best frescoes of this master in the Farnese Palace at Rome.
This, and the four separate figures of amorini, the bold but grace-
ful foreshortenings of which show the happy influence of Correggio,
doubtless originally formed the decoration of a room.
Two other allegorical figures also, Aurora and the winged figure
of Night, with Sleep and Death in her arms, of very earnest
character and powerful colouring, may probably have belonged to
the same seriea