DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0411
Letter VIII.
CORSHAM COURT.
397
execution, but not, as here stated, his own portrait. From the
Ricci collection in Florence.
No. 9. Guido Reni.—Portrait of his patron, Paul V. From
the Casa Torrigiani in Florence. Spiritedly conceived, and of
masterly treatment.
No. 13. Giotto (?).—A small altar with wings. Interesting in
parts, but only a picture of the school.
No. 15. Sebastian del Piombo.—Portrait of Francesco Albizzi.
This picture, which is mentioned by Vasari, has quite the grand
conception of his later time, but also the pale and unattractive
colouring of that period.
No. 17. Tintoretto.—Portrait of a Procurator of St. Mark's,
said to be of the Pesaro family. Cleverly composed, and warmly
coloured, but somewhat loose in treatment.
No. 18. Justus Sustermans.—Portrait of Galileo. From the
Pandolfmi family, for whom it was painted. Of lively conception
and broad treatment.
No. 23. A replica of Raphael's Madonna dell' Impannata.
The subdued light in which this was placed, and the glass over it,
rendered a close inspection impossible. At all events it is a fine
picture, of careful execution and uncommon force of colour.
No. 24. A good cotemporary replica of the picture, by Luini, in
the Sciarra Colonna Palace at Rome, known by the title of
" Modesty and Vanity."
No. 25. Daniel da Volterra.—A Mater Dolorosa. The
pale features very noble in character, and of deep sentiment.
No. 28. Gentile da Fabriano.—The Coronation of the
Virgin. A careful work of his earlier time.
No. 29. Fiesole.—Death of the Virgin. Formerly the altar-
piece of a chapel near Leghorn. In richness of composition, and
variety of the most refined and beautiful heads, this is one of the
most admirable works I know of the master, and at the same time
in marvellous preservation.
No. 30. Fra Bartolommeo.—The Virgin and Child. This
picture looks very promising, but in the absence of light, and with
the glass over it, I venture no decided opinion.
No. 31 and 32. Ubertini, called II Bacchiacca. — The
History of Joseph. From the Gaddi collection. In point of rich-
ness of invention, happy motives, power of colouring, and solidity
CORSHAM COURT.
397
execution, but not, as here stated, his own portrait. From the
Ricci collection in Florence.
No. 9. Guido Reni.—Portrait of his patron, Paul V. From
the Casa Torrigiani in Florence. Spiritedly conceived, and of
masterly treatment.
No. 13. Giotto (?).—A small altar with wings. Interesting in
parts, but only a picture of the school.
No. 15. Sebastian del Piombo.—Portrait of Francesco Albizzi.
This picture, which is mentioned by Vasari, has quite the grand
conception of his later time, but also the pale and unattractive
colouring of that period.
No. 17. Tintoretto.—Portrait of a Procurator of St. Mark's,
said to be of the Pesaro family. Cleverly composed, and warmly
coloured, but somewhat loose in treatment.
No. 18. Justus Sustermans.—Portrait of Galileo. From the
Pandolfmi family, for whom it was painted. Of lively conception
and broad treatment.
No. 23. A replica of Raphael's Madonna dell' Impannata.
The subdued light in which this was placed, and the glass over it,
rendered a close inspection impossible. At all events it is a fine
picture, of careful execution and uncommon force of colour.
No. 24. A good cotemporary replica of the picture, by Luini, in
the Sciarra Colonna Palace at Rome, known by the title of
" Modesty and Vanity."
No. 25. Daniel da Volterra.—A Mater Dolorosa. The
pale features very noble in character, and of deep sentiment.
No. 28. Gentile da Fabriano.—The Coronation of the
Virgin. A careful work of his earlier time.
No. 29. Fiesole.—Death of the Virgin. Formerly the altar-
piece of a chapel near Leghorn. In richness of composition, and
variety of the most refined and beautiful heads, this is one of the
most admirable works I know of the master, and at the same time
in marvellous preservation.
No. 30. Fra Bartolommeo.—The Virgin and Child. This
picture looks very promising, but in the absence of light, and with
the glass over it, I venture no decided opinion.
No. 31 and 32. Ubertini, called II Bacchiacca. — The
History of Joseph. From the Gaddi collection. In point of rich-
ness of invention, happy motives, power of colouring, and solidity