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Waagen, Gustav Friedrich
Treasures of art in Great Britain: being an account of the chief collections of paintings, drawings, sculptures, illuminated mss., etc. (Supplement): Galleries and cabinets of art in Great Britain — London, 1857

DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0343
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Letter VI.

BEECH WOOD.

329

Andrea del Sarto (?).—Portrait of a young man in black
dress, and with a black hat—his right hand on his hip, his left
holding by his girdle. The ground green. Almost to the knees.
Of serious and elevated conception, and masterly drawing, and
admirably modelled in a broken flesh-tone. The general style,
however, and especially the somewhat heavy colouring, are indica-
tive rather of Feanciabigio, the fellow-labourer with Andrea
del Sarto.

Gioegione (?).—Portrait of a man of powerful and decided
physiognomy, in armour, holding a spear in his left hand. The
circumstance of his hand being too large, and the whole feeling of
the picture, are opposed to the probability of its being by Giorgione.
It is, however, by some very skilful master of the Venetian school.

Annibale Caeeacci.—The Virgin holding the Child on her
lap, who has an apple in his left hand. On the right, by a cradle,
is St John; on the left St. Joseph, pointing to a book. A land-
scape background. A powerfully and clearly coloured and care-
fully carried out specimen of this well-known composition.

Bourguignon.—A subject of horsemen, of unusual warmth and
transparency, and also very powerful.

SxVLVATOE Rosa.—3. A male head, bound round with a kind
of cloth. Powerful, but very dark.

Pabmigianino.—St. John the Baptist, as a bust picture, of
colossal proportions. The ground dark. Of fine forms and spirited
treatment, but very dark in the shadows.

dining-EOOM.

Rubens.—A male portrait, in an outlandish dress. The right
hand supported on a staff, with the left hand holding a gold chain.
A key at the girdle. Almost to the knees. Very animated, and
the head admirably treated in a golden tone.

Leonabdo da Vinci (?).—The Battle of the Standard, known
to all lovers of art by Edelinck's engraving from the famous car-
toon executed for the republic of Florence. The figures about
a third life-size. On wood. Although in a very darkened and
dirty condition, yet it is evident that the forms are too empty and
too little understood tu justify the master's name. Also in an
historical sense, it is highly improbable that the over-occupied
Leonardo should have had time to execute this picture. As an
 
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