DOI Page / Citation link:
https://doi.org/10.11588/diglit.22424#0370
356 LORD FOLKESTONE'S COLLECTION: Letter VII.
Albert Dueee (?).—(51 and 50.) The Annunciation, and
the Adoration of the Kings. By a good master of the Nether-
landish school of about 1520.
Carlo Maratti (?).—(54.) The Holy Family. A very suc-
cessful work by Pietro da Cortona.
Johann Rothenhammer.—(56.) The Descent from the Cross.
A very choice picture by the master.
Lodovico Carracct.—(58.) The Holy Family. Well com-
posed, and fine in feeling. It has unfortunately much darkened.
Cornelis Jansen.—(60.) Flis own portrait. Animatedly
conceived, clear in colour, and soft in touch.
Jan Breughel.—(61.) A landscape. Unusually good.
*Rubens.—(62.) 2. Diana and her Nymphs. (See vol. ii. p.
141.) On wood. A very spirited sketch for the picture in the
Dresden Gallery, of which there is another example in North-
umberland Flouse.
Velvet Breughel (?).—(65.) Flower-piece. Decidedly by
Van Kessel.
Holbein (?).—Portraits of Calvin (66), (Ecolampadius (71),
and Beza (70). These are too coarse for him.
Wynants.—(75.) A landscape in his ordinary style, warm and
clear in tone, and adorned with figures of a sportsman and three
dogs by Adrian van de Velde. (See vol. hi. p. 142.)
Hans Holbein.—(76.) 2. Portrait of Erasmus, mentioned vol.
iii. p. 139, and alone worth a pilgrimage to Longford Castle. Sel-
dom has a painter so fully succeeded in bringing to view the whole
character of so original a mind as in this instance. In the mouth
and small eyes may be seen the unspeakable studies of a long life,
to which the painter has drawn attention by the inscription upon
the gilt edges of a book bound in red, and. elegantly decorated, on
which Erasmus is leaning, and which runs thus:—HPAKAEOI
770 NO I Erasmi Rodero. i.e. the Flerculsean labours of Erasmus of
Rotterdam. The face also expresses the sagacity and knowledge
of life gained by long experience. Beneath the black cap are seen
scanty white locks. According to the custom of the time he is
richly attired; his dress consisting of a coat bordered with brown
fur, and a dress lined with black fur, with a large violet cape with
a broad projecting border of black fur. The accessories also are
rich. The head is relieved by a green curtain fastened to an iron
Albert Dueee (?).—(51 and 50.) The Annunciation, and
the Adoration of the Kings. By a good master of the Nether-
landish school of about 1520.
Carlo Maratti (?).—(54.) The Holy Family. A very suc-
cessful work by Pietro da Cortona.
Johann Rothenhammer.—(56.) The Descent from the Cross.
A very choice picture by the master.
Lodovico Carracct.—(58.) The Holy Family. Well com-
posed, and fine in feeling. It has unfortunately much darkened.
Cornelis Jansen.—(60.) Flis own portrait. Animatedly
conceived, clear in colour, and soft in touch.
Jan Breughel.—(61.) A landscape. Unusually good.
*Rubens.—(62.) 2. Diana and her Nymphs. (See vol. ii. p.
141.) On wood. A very spirited sketch for the picture in the
Dresden Gallery, of which there is another example in North-
umberland Flouse.
Velvet Breughel (?).—(65.) Flower-piece. Decidedly by
Van Kessel.
Holbein (?).—Portraits of Calvin (66), (Ecolampadius (71),
and Beza (70). These are too coarse for him.
Wynants.—(75.) A landscape in his ordinary style, warm and
clear in tone, and adorned with figures of a sportsman and three
dogs by Adrian van de Velde. (See vol. hi. p. 142.)
Hans Holbein.—(76.) 2. Portrait of Erasmus, mentioned vol.
iii. p. 139, and alone worth a pilgrimage to Longford Castle. Sel-
dom has a painter so fully succeeded in bringing to view the whole
character of so original a mind as in this instance. In the mouth
and small eyes may be seen the unspeakable studies of a long life,
to which the painter has drawn attention by the inscription upon
the gilt edges of a book bound in red, and. elegantly decorated, on
which Erasmus is leaning, and which runs thus:—HPAKAEOI
770 NO I Erasmi Rodero. i.e. the Flerculsean labours of Erasmus of
Rotterdam. The face also expresses the sagacity and knowledge
of life gained by long experience. Beneath the black cap are seen
scanty white locks. According to the custom of the time he is
richly attired; his dress consisting of a coat bordered with brown
fur, and a dress lined with black fur, with a large violet cape with
a broad projecting border of black fur. The accessories also are
rich. The head is relieved by a green curtain fastened to an iron