Ventes d'œuvres le 1778.03.27

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  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Virgin and Child. This is certainly a Raphael in his first manner, when he followed the style of Pietro Perugino, who was himself very excellent and a graceful painter. The air of the countenance of the Virgin proves its originality sufficiently. Besides, it carries every mark of its being of the age of Pietro -- From the collection of Cardinal Polignac (Raphael)|Virgin and Child. This is certainly a Raphael in his first manner, when he followed the style of Pietro Perugino, who was himself very excellent and a graceful painter. The air of the countenance of the Virgin proves its originality sufficiently. Besides, it carries every mark of its being of the age of Pietro -- From the collection of Cardinal Polignac]] réalisée par Raphael. [6]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Bath of Diana. The joint production of these three excellent masters. The spectator will presently observe the parts painted by each, and at the same time authenticate the piece. The most perfect pictures have been executed in this manner.- From the cabinet of the Abbe Peroux (Snyders)|The Bath of Diana. The joint production of these three excellent masters. The spectator will presently observe the parts painted by each, and at the same time authenticate the piece. The most perfect pictures have been executed in this manner.- From the cabinet of the Abbe Peroux]] réalisée par Snyders. [17]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape with Figures and Cattle. This picture is really capital, which every one will readily allow who considers the beautiful choice, happy execution and finishing, which is exquisite. It is every way worthy of its author. -- From the same cabinet (Vanderveldt)|A Landscape with Figures and Cattle. This picture is really capital, which every one will readily allow who considers the beautiful choice, happy execution and finishing, which is exquisite. It is every way worthy of its author. -- From the same cabinet]] réalisée par Vanderveldt. [18]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Delights of the Bottle. The sight of this picture will always inspire festivity and jollity: it suggests a method for chasing away care of much surer efficacy than all the aqueous potations of Bath and Spa. The idea is strongly and pleasingly expressed. 'Tis an excellent production, and seems to have been painted con amore. -- From the cabinet of the Duke de Choiseul-Pralin (Sal. Rosa)|Delights of the Bottle. The sight of this picture will always inspire festivity and jollity: it suggests a method for chasing away care of much surer efficacy than all the aqueous potations of Bath and Spa. The idea is strongly and pleasingly expressed. 'Tis an excellent production, and seems to have been painted con amore. -- From the cabinet of the Duke de Choiseul-Pralin]] réalisée par Sal. Rosa. [19]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Cecilia, Inventress of the Organ, in the Clouds, surrounded with Cherubims. The saint has her eyes directed upwards to signify that the subject of the piece she is playing is divine. Independently of the harmony of colours, and the beauty of forms, such is the angel-like sweetness expressed in her countenance, as to inspire the specatator with the love of divine things. -- From the collection of the Duke de Salas (Guercino)|St. Cecilia, Inventress of the Organ, in the Clouds, surrounded with Cherubims. The saint has her eyes directed upwards to signify that the subject of the piece she is playing is divine. Independently of the harmony of colours, and the beauty of forms, such is the angel-like sweetness expressed in her countenance, as to inspire the specatator with the love of divine things. -- From the collection of the Duke de Salas]] réalisée par Guercino. [20]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Scene of the same Nature Domestic Life, representing a Kitchen. Few pieces come up to this in sweetness, truth, neatness and high finishing. It is a great curiosity on account of this last quality, hardly any of the Venetian painters having painted in this neat and finished manner. -- From the same cabinet of the Abbé Peroux (Paris Bordone)|A Scene of the same Nature Domestic Life, representing a Kitchen. Few pieces come up to this in sweetness, truth, neatness and high finishing. It is a great curiosity on account of this last quality, hardly any of the Venetian painters having painted in this neat and finished manner. -- From the same cabinet of the Abbé Peroux]] réalisée par Paris Bordone. [22]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Concert between Love and Beauty; and a heavenly one it is when they join in harmony as in this picture. The thought is happy and well executed Domenichini was ever esteemed the painter of the graces. It is in excellent preservation. -- From the collection of the Marquis de Gravelle (Domenico Zampieri)|A Concert between Love and Beauty; and a heavenly one it is when they join in harmony as in this picture. The thought is happy and well executed Domenichini was ever esteemed the painter of the graces. It is in excellent preservation. -- From the collection of the Marquis de Gravelle]] réalisée par Domenico Zampieri. [26]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Triumph of Judith. A noble, rich, expressive picture. Few artists have united so many parts in so eminent a degree. The tints of Titian and Paul Veronese with the drawing, beauty and grace of Dominichino. It is a capital compositoin, and will bear the severest examination. -- From the cabinet of Mons. Villeneuve (Coypel)|The Triumph of Judith. A noble, rich, expressive picture. Few artists have united so many parts in so eminent a degree. The tints of Titian and Paul Veronese with the drawing, beauty and grace of Dominichino. It is a capital compositoin, and will bear the severest examination. -- From the cabinet of Mons. Villeneuve]] réalisée par Coypel. [28]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Capital Landscape, with the Fable of Argus. The beams of the setting sun warm and enliven the beauteous scene, and authenticate the piece beyond contradiction. What an aerial vapour, transparency and lightness! It is admirable! -- From the cabinet of Mons. Girard (Claude Lorrain)|A Capital Landscape, with the Fable of Argus. The beams of the setting sun warm and enliven the beauteous scene, and authenticate the piece beyond contradiction. What an aerial vapour, transparency and lightness! It is admirable! -- From the cabinet of Mons. Girard]] réalisée par Claude Lorrain. [29]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Reposo with Angels adoring the Infant Jesus. This is certainly a capital and faultless picture of that favourite artist's. The figures are most elegant and graceful, and the air of the angels paying homage to the Saviour, divine. The landscape and other accompaniments are equally excellent in their kind. It is one of the most engaging pictures ever painted. -- From the cabinet of Mons. Aved (S. Bourdon)|A Reposo with Angels adoring the Infant Jesus. This is certainly a capital and faultless picture of that favourite artist's. The figures are most elegant and graceful, and the air of the angels paying homage to the Saviour, divine. The landscape and other accompaniments are equally excellent in their kind. It is one of the most engaging pictures ever painted. -- From the cabinet of Mons. Aved]] réalisée par S. Bourdon. [30]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Entombing of our Saviour. This picture, in point of force and effect, comes up to Rembrandt; in the designing part, and in the decorum it far surpasses him. The manner is judiciously adapted to the subject, which requires a dismal and gloomy tone of colouring, so that what might be reprehensible in a chearful composition, is here a virtue. The figures are both correct and elegant. -- From the cabinet of the Bishop de Lizieux (Zick)|The Entombing of our Saviour. This picture, in point of force and effect, comes up to Rembrandt; in the designing part, and in the decorum it far surpasses him. The manner is judiciously adapted to the subject, which requires a dismal and gloomy tone of colouring, so that what might be reprehensible in a chearful composition, is here a virtue. The figures are both correct and elegant. -- From the cabinet of the Bishop de Lizieux]] réalisée par Zick. [33]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape with Figures and Cattle. In this piece, the spectator will remark, with pleasure, the respective merit of each particular part, as well as the pleasing and beautiful effect of the whole. There is good drawing, expression and humour in the figures; 'tis pure unsophisticated nature. The landscape, cattle, architecture, &c. are proportionably excellent (Weeninx)|A Landscape with Figures and Cattle. In this piece, the spectator will remark, with pleasure, the respective merit of each particular part, as well as the pleasing and beautiful effect of the whole. There is good drawing, expression and humour in the figures; 'tis pure unsophisticated nature. The landscape, cattle, architecture, &c. are proportionably excellent]] réalisée par Weeninx. [34]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape, with Figures, Cattle &c. This is one of the best works of this favourite master, an eleve, as appears on the first inspection of the picture, of Berghem, who would have been pleased to have had it pass for his own performance. It is, indeed, a gem of great value, and is from the cabinet of Mons. d'Arvalle (Carlo Du Jardin)|A Landscape, with Figures, Cattle &c. This is one of the best works of this favourite master, an eleve, as appears on the first inspection of the picture, of Berghem, who would have been pleased to have had it pass for his own performance. It is, indeed, a gem of great value, and is from the cabinet of Mons. d'Arvalle]] réalisée par Carlo Du Jardin. [35]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Bal Champetre. Painted with all that truth, harmony, sweetness, gaiety and variety which charm in the works of this pleasing painter. It may be safely affirmed, that his colouring is no way inferior to the first artists of the Venetian or Flemish achools. -- Purchased from the cabinet of Mons. de Salas (Watteau)|A Bal Champetre. Painted with all that truth, harmony, sweetness, gaiety and variety which charm in the works of this pleasing painter. It may be safely affirmed, that his colouring is no way inferior to the first artists of the Venetian or Flemish achools. -- Purchased from the cabinet of Mons. de Salas]] réalisée par Watteau. [38]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin and Child. The Saviour is asleep, the Virgin is in the act of covering him, yet fears to disturb him; she views him with all that celestial complacency and silent joy which might be expected from the mother of the infant deity. It is, unquestionably, a genuine and most capital performance of that favourite of the graces. None but Guido or an angel could have drawn on canvas those beauties, grace, and those heavenly sentiments which are visible in the countenance and attitude of the mother of our Saviour, nor the divine air of the infant Jesus, who, even in slumber, is always a God. -- This invaluable piece is from the cabinet of the Duke d'Auzezune sic (Guido)|The Virgin and Child. The Saviour is asleep, the Virgin is in the act of covering him, yet fears to disturb him; she views him with all that celestial complacency and silent joy which might be expected from the mother of the infant deity. It is, unquestionably, a genuine and most capital performance of that favourite of the graces. None but Guido or an angel could have drawn on canvas those beauties, grace, and those heavenly sentiments which are visible in the countenance and attitude of the mother of our Saviour, nor the divine air of the infant Jesus, who, even in slumber, is always a God. -- This invaluable piece is from the cabinet of the Duke d'Auzezune sic]] réalisée par Guido. [39]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Sacrifice. The graces and beauties in this picture prove the hand it comes from. So much expressed within such limits is a certain proof of an artist's genius: such a variety of forms, characters, actions and expression, have, it is presumed, seldom been known in a composition of this extent. Were there not other work of Le Seuer existing, this alone would show posterity the greatness of his character, and evince him one of the first painters, not only of France, but in the world. -- From the cabinet of Mons. L'Empereur (Le Sueur)|A Sacrifice. The graces and beauties in this picture prove the hand it comes from. So much expressed within such limits is a certain proof of an artist's genius: such a variety of forms, characters, actions and expression, have, it is presumed, seldom been known in a composition of this extent. Were there not other work of Le Seuer existing, this alone would show posterity the greatness of his character, and evince him one of the first painters, not only of France, but in the world. -- From the cabinet of Mons. L'Empereur]] réalisée par Le Sueur. [40]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape, with Figures and Ruins, &c. This is certainly one of the finest, and most perfect pieces which Lucatelli ever painted, and even is superior to most of Claude or Gasper, whether we consider the choice, delicacy and beauty of the situation, or the happy facility of execution. The figures, a merit which neither Claude nor Gasper could boast, are drawn with correctness and spirit, not is it possible to see a richer or nobler scene. In fine, it is most admirable! (Lucatelli)|A Landscape, with Figures and Ruins, &c. This is certainly one of the finest, and most perfect pieces which Lucatelli ever painted, and even is superior to most of Claude or Gasper, whether we consider the choice, delicacy and beauty of the situation, or the happy facility of execution. The figures, a merit which neither Claude nor Gasper could boast, are drawn with correctness and spirit, not is it possible to see a richer or nobler scene. In fine, it is most admirable!]] réalisée par Lucatelli. [41]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[This piece is one of the greatest curiosities, as well as most valuable pieces of painting, in the world. Abstracted from its merit as a picture, it is the production of the concurring labours of four of the first artists in the world, each in his particular province, and favourite branch. No mortal ever painted flesh and blood like Vandyke: no man produced by the magic of his pencil such sweetness, force, harmony and effects as his master Rubens; nor in representing animals, and what is preposterously called still-life, came up to Snyders and Teniers. To be convinced of the share which each had in the production of this miracle, the spectator will doubtless prevent the following remarks. The Cupid sitting on a kind of trophy, or pile, composed of the insignia of the polite arts, declares itself to be the work of Vandyke. The figure seen reflected from the mirror is the handy work of Rubens; the animals are indisputably the creation of Snyders, as are the arms and emblems of art, of Teniers. All is perfect, all is harmonious; no object eclipses another. To keep within bounds in our just admiration of this piece of magic or incantation, rather than painting, the figure of Cupid alone, cut from the picture, might have sold for a very large sum: But the proprietor chose rather to sacrifice his own interest, than deface a monument which forms an epocha in the annals of art. -- It belonged to Mons. Aved (Rubens)|This piece is one of the greatest curiosities, as well as most valuable pieces of painting, in the world. Abstracted from its merit as a picture, it is the production of the concurring labours of four of the first artists in the world, each in his particular province, and favourite branch. No mortal ever painted flesh and blood like Vandyke: no man produced by the magic of his pencil such sweetness, force, harmony and effects as his master Rubens; nor in representing animals, and what is preposterously called still-life, came up to Snyders and Teniers. To be convinced of the share which each had in the production of this miracle, the spectator will doubtless prevent the following remarks. The Cupid sitting on a kind of trophy, or pile, composed of the insignia of the polite arts, declares itself to be the work of Vandyke. The figure seen reflected from the mirror is the handy work of Rubens; the animals are indisputably the creation of Snyders, as are the arms and emblems of art, of Teniers. All is perfect, all is harmonious; no object eclipses another. To keep within bounds in our just admiration of this piece of magic or incantation, rather than painting, the figure of Cupid alone, cut from the picture, might have sold for a very large sum: But the proprietor chose rather to sacrifice his own interest, than deface a monument which forms an epocha in the annals of art. -- It belonged to Mons. Aved]] réalisée par Rubens. [43]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Good Samaritan. It is impossible to look on this picture without becoming better for it. While sentiments of humanity, sympathy and commiseration of the sufferings of our fellow-creatures shall find any esteem among mankind, the piece before us will ever be most valuable. The condition of the wounded man lying on the ground, dyed with the blood which flowed from so many wounds, and is not yet staunched, would melt a hear sic. of flint. The pious tenderness of the good Samaritan is a lecture of humanity more powerful than any words. How eloquent! how moral! -- From the cabinet of the Abbé Peroux (Rembrandt)|The Good Samaritan. It is impossible to look on this picture without becoming better for it. While sentiments of humanity, sympathy and commiseration of the sufferings of our fellow-creatures shall find any esteem among mankind, the piece before us will ever be most valuable. The condition of the wounded man lying on the ground, dyed with the blood which flowed from so many wounds, and is not yet staunched, would melt a hear sic. of flint. The pious tenderness of the good Samaritan is a lecture of humanity more powerful than any words. How eloquent! how moral! -- From the cabinet of the Abbé Peroux]] réalisée par Rembrandt. [44]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Madonna and Child. It is not easy to say any thing likely to add to the merit of this picture. All description is beggared the instant you cast your eyes on it. On recovering from the trance into which the sight of it cannot fail to throw the spectator, he at length collects himself sufficiently to enquire what can occasion such ineffable pleasure. This he finds to be nothing less than the union of all the charms which constitute a consummate piece. Drawing, colouring, beauty, grace, expression, life itself. But what need of any encomium when such a piece is before our eyes. Whoever sees it must necessarily say to himself that the man who could endure the thoughts of parting with so much beauty, or rather divinity, without the most pressing and invincible necessity, must either be blind, or a savage. And he who has seen this, may say of all other pictures, Taedet harum formarum quotidianarum. -- The Bishop of Lizieux cherished it as a most previous jewel, and parted not with it till death interfered (Vandyke)|Madonna and Child. It is not easy to say any thing likely to add to the merit of this picture. All description is beggared the instant you cast your eyes on it. On recovering from the trance into which the sight of it cannot fail to throw the spectator, he at length collects himself sufficiently to enquire what can occasion such ineffable pleasure. This he finds to be nothing less than the union of all the charms which constitute a consummate piece. Drawing, colouring, beauty, grace, expression, life itself. But what need of any encomium when such a piece is before our eyes. Whoever sees it must necessarily say to himself that the man who could endure the thoughts of parting with so much beauty, or rather divinity, without the most pressing and invincible necessity, must either be blind, or a savage. And he who has seen this, may say of all other pictures, Taedet harum formarum quotidianarum. -- The Bishop of Lizieux cherished it as a most previous jewel, and parted not with it till death interfered]] réalisée par Vandyke. [45]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Roch succouring the afflicted with the plague. A capital repetition of the famous picture at Venice, belonging to the fraternity under the invocation of this saint, with whom are his noblest compositions. It possesses an advantage which will ever stamp a value on a picture, when supported, as in the present, by just, designing, and excellent colouring: It is not only a fine, but a moral painting. It is undoubted, and proves the propriety of the epithets bestowed on him of, Il furioso Tintoretto, un Fulmine de Pinello. -- From the cabinet of Mons. St. Germaine (Tintoret)|St. Roch succouring the afflicted with the plague. A capital repetition of the famous picture at Venice, belonging to the fraternity under the invocation of this saint, with whom are his noblest compositions. It possesses an advantage which will ever stamp a value on a picture, when supported, as in the present, by just, designing, and excellent colouring: It is not only a fine, but a moral painting. It is undoubted, and proves the propriety of the epithets bestowed on him of, Il furioso Tintoretto, un Fulmine de Pinello. -- From the cabinet of Mons. St. Germaine]] réalisée par Tintoret. [46]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Prometheus chained to Mount Caucasus, the Vulture gnawing his Side. In the foregoing, Guido has employed his skill in pleasing and chearful subjects, in the sublime and beautiful. This picture is a standing proof of the universality of his genius. Here he surprizes in the sublime and terrible: It is said of a Grecian tragic poet that it was not safe for a big-bellied woman to be present at a tragedy of his composing. This was carrying things too far. It was converting what was meant to produce pleasure into punishment. Our happier artist has hit the true mark, where the terrible is only attended with agreeable effects: And if the imitation should appear too powerful for delicate nerves, let it be remembered that it is but a picture, and represents a mere fable or allegory, and no real event. This is not a place to enter on an explanation of the moral or political truth it was intended to convey. Nor is it necessary to offer any arguments to prove it to be of Guido's painting, and a master-piece of that sublime and enchanting artist. -- It is from the cabinet of the Duke de Tallard (Guido)|Prometheus chained to Mount Caucasus, the Vulture gnawing his Side. In the foregoing, Guido has employed his skill in pleasing and chearful subjects, in the sublime and beautiful. This picture is a standing proof of the universality of his genius. Here he surprizes in the sublime and terrible: It is said of a Grecian tragic poet that it was not safe for a big-bellied woman to be present at a tragedy of his composing. This was carrying things too far. It was converting what was meant to produce pleasure into punishment. Our happier artist has hit the true mark, where the terrible is only attended with agreeable effects: And if the imitation should appear too powerful for delicate nerves, let it be remembered that it is but a picture, and represents a mere fable or allegory, and no real event. This is not a place to enter on an explanation of the moral or political truth it was intended to convey. Nor is it necessary to offer any arguments to prove it to be of Guido's painting, and a master-piece of that sublime and enchanting artist. -- It is from the cabinet of the Duke de Tallard]] réalisée par Guido. [47]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Venus Anadyomene. The goddess of Love and Beauty rising from the sea, presses the water from her hair, and reveals those heavenly and resistless charms which subdue all hearts, and even the celestials themselves. This divine piece is enriched with the Graces sic which perfects the idea, since without grace, beauty wants that inexpressible something, that je ne sçai quoi, which is its quintessence, and is preferred even to beauty. It would be paying an ill compliment to the public taste to presume to offer any thing by way of recommending this piece, chosen by this most extraordinary genius, on purpose to display the extent of his talents as an artist: An artist , the sight of whose works opened the eyes of Raphael himself and wrought a total revolution in the ideas and manner of that divine painter. -- Brought from Parma by Cardinal Polignac (Leonardo da Vinci)|Venus Anadyomene. The goddess of Love and Beauty rising from the sea, presses the water from her hair, and reveals those heavenly and resistless charms which subdue all hearts, and even the celestials themselves. This divine piece is enriched with the Graces sic which perfects the idea, since without grace, beauty wants that inexpressible something, that je ne sçai quoi, which is its quintessence, and is preferred even to beauty. It would be paying an ill compliment to the public taste to presume to offer any thing by way of recommending this piece, chosen by this most extraordinary genius, on purpose to display the extent of his talents as an artist: An artist , the sight of whose works opened the eyes of Raphael himself and wrought a total revolution in the ideas and manner of that divine painter. -- Brought from Parma by Cardinal Polignac]] réalisée par Leonardo da Vinci. [48]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Sacrifice. A noble, rich and capital painting, equal in every respect to that universally admired artist Pietro da Cortona. It might easily have been produced as the work of Pietro, if it had been intended to take any advantage from inadvertance. In reality, such a conduct would have been productive of no useful consequence. Ciro's reputation is deservedly on a par with that of his master, of which this very picture is an ocular proof. It is the excellence of a piece which must recommend it, and not the secondry sic. consideration of who painted it. This is left to assert its own and its author's merit. -- It is from the cabinet of Mons. de St. Germain (Ciro Ferri)|A Sacrifice. A noble, rich and capital painting, equal in every respect to that universally admired artist Pietro da Cortona. It might easily have been produced as the work of Pietro, if it had been intended to take any advantage from inadvertance. In reality, such a conduct would have been productive of no useful consequence. Ciro's reputation is deservedly on a par with that of his master, of which this very picture is an ocular proof. It is the excellence of a piece which must recommend it, and not the secondry sic. consideration of who painted it. This is left to assert its own and its author's merit. -- It is from the cabinet of Mons. de St. Germain]] réalisée par Ciro Ferri. [49]
  • 1778.03.27/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape. -- A rich and beautiful composition, filled with animation and a variety of pleasing objects. There is in it a harmony and mellowness of tone in the colouring which exhibits Nature embrowned with the warm Italian sun-shine, a distinguishing character in the works of those great masters of landscapes, Titian, Giorgione, and the rest of the Venetian school. It is this character of Truth and Nature, such as she appears in the finest climates which renders their performances so valuable and pleasing beyond all others. -- From the collection of the Marquis de Gravelle (Tempesta)|A Landscape. -- A rich and beautiful composition, filled with animation and a variety of pleasing objects. There is in it a harmony and mellowness of tone in the colouring which exhibits Nature embrowned with the warm Italian sun-shine, a distinguishing character in the works of those great masters of landscapes, Titian, Giorgione, and the rest of the Venetian school. It is this character of Truth and Nature, such as she appears in the finest climates which renders their performances so valuable and pleasing beyond all others. -- From the collection of the Marquis de Gravelle]] réalisée par Tempesta. [50]
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