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  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[A whole-length Portrait of Don John of Austria. This portrait represents the Prince in a suit of armour, equipped for the field of battle, in the midst of which he stands in the attitude of command. His dress is eminently picturesque and characteristic. On his head is a broad black beaver, shaped in military fashion, with a bright crimson plume which drops upon the shoulder. From the neck, covering a good portion of the chest and shoulders, hangs a lace frill of rich and curious workmanship, the lightness of which is in powerful and pleasing contrast with the steel corslet upon which it rests. The same remark will apply to the light and elegant scarf with which some "lady love," as was wont in the days of chivalry, has adorned the manly form of the warrior. The rest of the figure is steel clad, with the exception of the legs below the knee, which are closely embraced by thick leather hose. The attitude is one in which military ease and a dignified air of command are happily blended. The right arm is extended, pointing to the lines of the enemy, against whom the army under the orders of Don John are seen in the middle distance carrying on offensive operations. The left rests upon the hip near the hilt of his sword. A fine soldierly countenance, an expansive forehead, with an open intelligent eye full of meaning, and a mouth which seems about to speak, distinguish this performance of one of the most powerful Masters that ever wielded a pencil. In this production, the art of portraiture seems to have been carried to its utmost limits. The Spanish Painters were indeed, a race of giants in their Art. Grandeur of conception with a corresponding power of execution, distinguish all the works of the Spanish School. Velasquez had so wonderful an eye for relief, both in colouring and chiaro scuro, that he could bring his portraits nearer to the living model than any of his compeers, and many anecdotes are recorded of his successful imposition of the image for the original, when he was disposed to be humourous with his friends. In the present instance the steel clad warrior seems actually starting from the canvas. This Master possessed the singular art of giving motion and life to whatever he chose to make the subject of his pencil. His armour is not merely a piece of inanimate mechanism made up of a series of metal plates, it possesses the muscularity of the living body beneath it. The huge glove on the right hand of the portrait here has evidently a living hand within it. There is no tameness: neither is there any straining after individual effect; nothing is brought prominently forward in detail; but the whole picture is composed with an eye to its effect as a whole. This, which is a primary quality in an Artist, was a chief excellence in Velasquez. He did not put forth his powers in any one branch of his Art at the expence of any other, but being equally skilled in drawing, colouring, and designing, employed all in good keeping with each other, and subordinate to the main object of his work. Thus had his productions of much the air of nature. He was, however, no timid copier of nature. Confidence in his own powers gave him a boldness for which his compositions are remarkable above all others. He greatly indulges in a rich and lively tone of colour, his works possessing an eclipsing spendour, which renders the near approach to them of the works of other masters, not always desirable. Don John of Austria was the natural son of the Emperor Charles V. He was a most distinguished commander, and was appointed Governor of the Low Countries on the part of Spain during a period of great troubles and warfare. he conducted several sieges in person, and judging from the park of artillery in the middle ground, it seems to have been the pleasure of the painter to represent him as engaged in directing operation against some of the numerous fortresses which he subdued. In person he is said to have resembled his father, and in persevering activity and military enterprise, to have equalled that extraordinary Potentate. He fell a sacrifice to the ardour of campaigning in the 32nd year of his age, being carried off after a few days illness in his camp before Namur (Velasquez)|A whole-length Portrait of Don John of Austria. This portrait represents the Prince in a suit of armour, equipped for the field of battle, in the midst of which he stands in the attitude of command. His dress is eminently picturesque and characteristic. On his head is a broad black beaver, shaped in military fashion, with a bright crimson plume which drops upon the shoulder. From the neck, covering a good portion of the chest and shoulders, hangs a lace frill of rich and curious workmanship, the lightness of which is in powerful and pleasing contrast with the steel corslet upon which it rests. The same remark will apply to the light and elegant scarf with which some "lady love," as was wont in the days of chivalry, has adorned the manly form of the warrior. The rest of the figure is steel clad, with the exception of the legs below the knee, which are closely embraced by thick leather hose. The attitude is one in which military ease and a dignified air of command are happily blended. The right arm is extended, pointing to the lines of the enemy, against whom the army under the orders of Don John are seen in the middle distance carrying on offensive operations. The left rests upon the hip near the hilt of his sword. A fine soldierly countenance, an expansive forehead, with an open intelligent eye full of meaning, and a mouth which seems about to speak, distinguish this performance of one of the most powerful Masters that ever wielded a pencil. In this production, the art of portraiture seems to have been carried to its utmost limits. The Spanish Painters were indeed, a race of giants in their Art. Grandeur of conception with a corresponding power of execution, distinguish all the works of the Spanish School. Velasquez had so wonderful an eye for relief, both in colouring and chiaro scuro, that he could bring his portraits nearer to the living model than any of his compeers, and many anecdotes are recorded of his successful imposition of the image for the original, when he was disposed to be humourous with his friends. In the present instance the steel clad warrior seems actually starting from the canvas. This Master possessed the singular art of giving motion and life to whatever he chose to make the subject of his pencil. His armour is not merely a piece of inanimate mechanism made up of a series of metal plates, it possesses the muscularity of the living body beneath it. The huge glove on the right hand of the portrait here has evidently a living hand within it. There is no tameness: neither is there any straining after individual effect; nothing is brought prominently forward in detail; but the whole picture is composed with an eye to its effect as a whole. This, which is a primary quality in an Artist, was a chief excellence in Velasquez. He did not put forth his powers in any one branch of his Art at the expence of any other, but being equally skilled in drawing, colouring, and designing, employed all in good keeping with each other, and subordinate to the main object of his work. Thus had his productions of much the air of nature. He was, however, no timid copier of nature. Confidence in his own powers gave him a boldness for which his compositions are remarkable above all others. He greatly indulges in a rich and lively tone of colour, his works possessing an eclipsing spendour, which renders the near approach to them of the works of other masters, not always desirable. Don John of Austria was the natural son of the Emperor Charles V. He was a most distinguished commander, and was appointed Governor of the Low Countries on the part of Spain during a period of great troubles and warfare. he conducted several sieges in person, and judging from the park of artillery in the middle ground, it seems to have been the pleasure of the painter to represent him as engaged in directing operation against some of the numerous fortresses which he subdued. In person he is said to have resembled his father, and in persevering activity and military enterprise, to have equalled that extraordinary Potentate. He fell a sacrifice to the ardour of campaigning in the 32nd year of his age, being carried off after a few days illness in his camp before Namur]] réalisée par Velasquez, vendue par [[[Josiah Taylor]]]. [1]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Rape of Europa The subject of this picture is treated in a manner highly poetical and pleasing, and the landscape portion of it, in feeling as well as in brilliancy of tone and graceful drawing, bears strong resemblance to the compositions of the great Claude. The fair Europa surrounded by her hand-maids, who present to her flowers wreathed in garlands, is seated upon the seductive animal, who, according to the fable, is to bear her through the flood. One of her attendants is about to place upon her head a floral crown; others hand festoons about the treachrous animal. Some little winged cupids are fondling the bull, others are sportively engaged in reining in a goat, upon which one of their companions in mounted en cavalier. Female figures in the foreground are occupied in forming into wreaths flowers, which others in the middle distance are culling. Above the head of the centre group rises a cluster of trees gracefully pencilled, and coloured with great force and sweetmess. Concealed in the foliage is Mercury, who seems to superintend the furtive exploit of his master. The dark blue ocean extends itself to the distant horizon, as far as the eye can reach; and a back ground rising to a gentle eminence, crowned by Claude-like buildings with a bright azure sky, complete the picture. Taken altogether, this is a classical and fascinating composition, with an enamel brilliancy and solidity of colour of which few pictures can boast. The figures are gracefully designed and coloured in the impasto style of Sir Joshua (Zuccarelli)|The Rape of Europa The subject of this picture is treated in a manner highly poetical and pleasing, and the landscape portion of it, in feeling as well as in brilliancy of tone and graceful drawing, bears strong resemblance to the compositions of the great Claude. The fair Europa surrounded by her hand-maids, who present to her flowers wreathed in garlands, is seated upon the seductive animal, who, according to the fable, is to bear her through the flood. One of her attendants is about to place upon her head a floral crown; others hand festoons about the treachrous animal. Some little winged cupids are fondling the bull, others are sportively engaged in reining in a goat, upon which one of their companions in mounted en cavalier. Female figures in the foreground are occupied in forming into wreaths flowers, which others in the middle distance are culling. Above the head of the centre group rises a cluster of trees gracefully pencilled, and coloured with great force and sweetmess. Concealed in the foliage is Mercury, who seems to superintend the furtive exploit of his master. The dark blue ocean extends itself to the distant horizon, as far as the eye can reach; and a back ground rising to a gentle eminence, crowned by Claude-like buildings with a bright azure sky, complete the picture. Taken altogether, this is a classical and fascinating composition, with an enamel brilliancy and solidity of colour of which few pictures can boast. The figures are gracefully designed and coloured in the impasto style of Sir Joshua]] réalisée par Zuccarelli, vendue par [[[Taylor]]]. [2]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Salmacis and Hermaphroditus. The fabled son of Mercury and Venus is bathing in the transparent fountain obviously unconcious of any other presence in the retired scene which he has selected. Salmacis lies in ambush upon the bank. With one arm she gently removes the impending branch of a tree, which, whilst it partially impedes her view of the object of her adoration, serves as a screen for herself. The outline of her figure as she lies extended upon the ground intently watching the churlish youth, combines all that is pictorially lovely in the female form. The ideal grace, which in all subjects in which the nude is freely introduced, so peculiarly distinguishes the Italian from the Flemish and Dutch school, may be favourably remarked in this pleasing composition. The colouring is in the Titian school, harmonious and natural; and the prominent lights are disposed with singular judgment and felicity. The landscape is in excellent keeping with the subject, and the whole composition breathes a classical and poetic spirit (Cervelli)|Salmacis and Hermaphroditus. The fabled son of Mercury and Venus is bathing in the transparent fountain obviously unconcious of any other presence in the retired scene which he has selected. Salmacis lies in ambush upon the bank. With one arm she gently removes the impending branch of a tree, which, whilst it partially impedes her view of the object of her adoration, serves as a screen for herself. The outline of her figure as she lies extended upon the ground intently watching the churlish youth, combines all that is pictorially lovely in the female form. The ideal grace, which in all subjects in which the nude is freely introduced, so peculiarly distinguishes the Italian from the Flemish and Dutch school, may be favourably remarked in this pleasing composition. The colouring is in the Titian school, harmonious and natural; and the prominent lights are disposed with singular judgment and felicity. The landscape is in excellent keeping with the subject, and the whole composition breathes a classical and poetic spirit]] réalisée par Cervelli, vendue par [[[Taylor]]]. [3]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Christ Bound This picture is painted almost entirely in shadow. The strong light which proceeds from the glare of a torch, is in the centre, and falls with great propriety upon the figure of Christ. In the face and figure of the Redeemer, the Painter has embodied all the sublimity of expression which we are accustomed to connect with the idea of the divine original. That perfect equinimity of temper, and resignation to his fate, which distinguished the Son of God in this trying moment, are here admirable depicted. He turns to the scoffer and mildly rebukes him in words of divine wisdom, unmoved by anger at his own wrongs, and mindful only of his great task upon earth to instruct and correct what is evil in others. Nothing can be finer in painting than the contrast which the unperturbed demeanour, and dignified suavity, of the Saviour presents to the storm of malignant passion that rages around him (Leonardo da Vinci)|Christ Bound This picture is painted almost entirely in shadow. The strong light which proceeds from the glare of a torch, is in the centre, and falls with great propriety upon the figure of Christ. In the face and figure of the Redeemer, the Painter has embodied all the sublimity of expression which we are accustomed to connect with the idea of the divine original. That perfect equinimity of temper, and resignation to his fate, which distinguished the Son of God in this trying moment, are here admirable depicted. He turns to the scoffer and mildly rebukes him in words of divine wisdom, unmoved by anger at his own wrongs, and mindful only of his great task upon earth to instruct and correct what is evil in others. Nothing can be finer in painting than the contrast which the unperturbed demeanour, and dignified suavity, of the Saviour presents to the storm of malignant passion that rages around him]] réalisée par Leonardo da Vinci, vendue par [[[Josiah Taylor]]]. [4]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Noah discovered by his three Sons in a state of Ebriety. A grand specimen, in the historical line, of this great Master. The first care of Noah, having survived the destruction of the whole human race by water, was to plant a vineyard, and introducing a new liquid, a kind of antidote to that of whose dire effects he had witnessed so much, tried the first experiment of its powers upon himself, and for awhile he drowned in the bowl all human care and vexation of spirit. One of his sons, Ham, makes an irreverent jest of his aged parent in his state of temporary stupor. His other sons, Shem and Japheth, cover their father with a garment, and in the composition before us are evidently rebuking Ham for his levity. The venerable patriarch, the regenerator of the human race, has made a couch of the bare ground, and has his cup and his tankard beside him. The same characteristics of vigorous conception in the design, splendour of colouring, and breadth in the execution, already observed upon as the attributes of the master, distinguish this rich and classical composition. The cold tones of the sky form an effective contrast to the bright and warm colours which prevail in the picture. It will be observed that the whole party are attired in the Spanish costume, an anachronism which probably does not exceed the just limits of a Painter's licence. This subject was painted by Velasquez druing his visit to Italy. It was brought to England from Florence (Velasquez)|Noah discovered by his three Sons in a state of Ebriety. A grand specimen, in the historical line, of this great Master. The first care of Noah, having survived the destruction of the whole human race by water, was to plant a vineyard, and introducing a new liquid, a kind of antidote to that of whose dire effects he had witnessed so much, tried the first experiment of its powers upon himself, and for awhile he drowned in the bowl all human care and vexation of spirit. One of his sons, Ham, makes an irreverent jest of his aged parent in his state of temporary stupor. His other sons, Shem and Japheth, cover their father with a garment, and in the composition before us are evidently rebuking Ham for his levity. The venerable patriarch, the regenerator of the human race, has made a couch of the bare ground, and has his cup and his tankard beside him. The same characteristics of vigorous conception in the design, splendour of colouring, and breadth in the execution, already observed upon as the attributes of the master, distinguish this rich and classical composition. The cold tones of the sky form an effective contrast to the bright and warm colours which prevail in the picture. It will be observed that the whole party are attired in the Spanish costume, an anachronism which probably does not exceed the just limits of a Painter's licence. This subject was painted by Velasquez druing his visit to Italy. It was brought to England from Florence]] réalisée par Velasquez, vendue par [[[Josiah Taylor]]]. [5]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[David with the Head of Goliath. Here we have this celebrated Painter in his grand style. The youthful victor is represented with a leopard's skin about his loins, bearing the grizly head of the giant upon his shoulder. In one hand he carries the sling from which the destructive missile was hurled with such deadly certainty, whilst with the other he bears up his gory trophy. The wound on the forhead is seen, and the pallor of death spreads itself over the ghastly features of the severed head of the giant. A divine expression seems to animate the countenance of David. Le Brun, the well-known French connoisseur, considered this picture as the production of Coreggio; a close inspection, by the best judges, on this side the channel, has pronounced it as more properly attributeable to Parmegiano. The colouring is of that sombre character so well suited to the subject; a meretricious glare of colour would have been sadly misplaced in a composition of this kind (Parmegiano)|David with the Head of Goliath. Here we have this celebrated Painter in his grand style. The youthful victor is represented with a leopard's skin about his loins, bearing the grizly head of the giant upon his shoulder. In one hand he carries the sling from which the destructive missile was hurled with such deadly certainty, whilst with the other he bears up his gory trophy. The wound on the forhead is seen, and the pallor of death spreads itself over the ghastly features of the severed head of the giant. A divine expression seems to animate the countenance of David. Le Brun, the well-known French connoisseur, considered this picture as the production of Coreggio; a close inspection, by the best judges, on this side the channel, has pronounced it as more properly attributeable to Parmegiano. The colouring is of that sombre character so well suited to the subject; a meretricious glare of colour would have been sadly misplaced in a composition of this kind]] réalisée par Parmegiano, vendue par [[[Josiah Taylor]]]. [6]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Lucretia It would be difficult, through so poor a medium as the pen, to do justice to the merits of this extraordinary and sublime production. The fatal blow appears to have been just struck, and the moment selected by the Artist is that at which the victim of self-destruction sinks under physical exhaustion, and loses all consciousness of the world and its wrongs. The head is thrown back exposing the throat, neck, and bosom, prominently to view. The arms are extended as by the movement of a falling person instintively grasping at some object to hold by, the figures separated, and to their extremities glowing with a rich ruby tint -- an appearance alledged to be anatomically true, and consequent upon the rush of blood which follows any sudden stoppage of the circulation. The mouth is sweetly open, and in a manner which bespeaks the inability of the possessor again to close it. The eyes are all but closed in death. All the loveliness of living beauty still animates the person of the expiring matron. There is a truth and perfection in the uncovered bosom, which Art cannot surpass, and Nature even seldom reveals. The flesh tints, and that wonderful chiaro scuro which enabled the Master, by an infinite variety of hues of various degrees of light, to give a perfect rotundity without the apparent aid of shadow, are here conspicuous in thier excellence. There is a wondrous and charming vitality in the chest and neck of the Lucretia. Edmund Burke in the following illustration of his theory respecing "gradual variation," (Treatise on the Sublime and Beautiful. Sect. XV.) must have had this picture in his view: "Observe," says that eloquent writer, "that part of a beautiful woman, where she is perhaps the most beautiful, about the neck and breasts, the smoothness; the softness; the easy and insensible swell; the variety of the surface, which is never for the smallest space the same; the deceitful maze, through which the unsteady eye slides giddily, without knowing where to fix, or whither it is carried, -- is not this a demonstration of that change of surface, continual and yet hardly perceptible at any point, which forms one of the great constituents of beauty?" The draperies are nobly designed, and coloured with exquisite taste and judgment, so as powerfully to aid the general tone of colouring and character of the composition. The following allusion to the powers of Coreggio, by the great Fuseli, seems too applicable to the subject under review to be omitted: -- "Another charm was yet wanting to complete the round of art -- harmony. It appeared with Antonio Leti, called Coreggio, whose works it attended like an enchanted spirit. The harmony of Coreggio, though assisted by exquisite hues, was entirely independent of colour: his great organ was chiaro scuro, in its most extended sense. Compared with the expanse in which he floats, the efforts of Leonardo da Vinci are little more than the dying rays of evening, and the concentrated flash of Giorgione, discordant abruptness. The bland central light of a globe, imperceptibly gliding through lucid demi-tints into rich reflected shades, composes the space of Coreggio, and affects us with the soft emotions of a delicious dream." (Coreggio)|Lucretia It would be difficult, through so poor a medium as the pen, to do justice to the merits of this extraordinary and sublime production. The fatal blow appears to have been just struck, and the moment selected by the Artist is that at which the victim of self-destruction sinks under physical exhaustion, and loses all consciousness of the world and its wrongs. The head is thrown back exposing the throat, neck, and bosom, prominently to view. The arms are extended as by the movement of a falling person instintively grasping at some object to hold by, the figures separated, and to their extremities glowing with a rich ruby tint -- an appearance alledged to be anatomically true, and consequent upon the rush of blood which follows any sudden stoppage of the circulation. The mouth is sweetly open, and in a manner which bespeaks the inability of the possessor again to close it. The eyes are all but closed in death. All the loveliness of living beauty still animates the person of the expiring matron. There is a truth and perfection in the uncovered bosom, which Art cannot surpass, and Nature even seldom reveals. The flesh tints, and that wonderful chiaro scuro which enabled the Master, by an infinite variety of hues of various degrees of light, to give a perfect rotundity without the apparent aid of shadow, are here conspicuous in thier excellence. There is a wondrous and charming vitality in the chest and neck of the Lucretia. Edmund Burke in the following illustration of his theory respecing "gradual variation," (Treatise on the Sublime and Beautiful. Sect. XV.) must have had this picture in his view: "Observe," says that eloquent writer, "that part of a beautiful woman, where she is perhaps the most beautiful, about the neck and breasts, the smoothness; the softness; the easy and insensible swell; the variety of the surface, which is never for the smallest space the same; the deceitful maze, through which the unsteady eye slides giddily, without knowing where to fix, or whither it is carried, -- is not this a demonstration of that change of surface, continual and yet hardly perceptible at any point, which forms one of the great constituents of beauty?" The draperies are nobly designed, and coloured with exquisite taste and judgment, so as powerfully to aid the general tone of colouring and character of the composition. The following allusion to the powers of Coreggio, by the great Fuseli, seems too applicable to the subject under review to be omitted: -- "Another charm was yet wanting to complete the round of art -- harmony. It appeared with Antonio Leti, called Coreggio, whose works it attended like an enchanted spirit. The harmony of Coreggio, though assisted by exquisite hues, was entirely independent of colour: his great organ was chiaro scuro, in its most extended sense. Compared with the expanse in which he floats, the efforts of Leonardo da Vinci are little more than the dying rays of evening, and the concentrated flash of Giorgione, discordant abruptness. The bland central light of a globe, imperceptibly gliding through lucid demi-tints into rich reflected shades, composes the space of Coreggio, and affects us with the soft emotions of a delicious dream."]] réalisée par Coreggio, vendue par [[[Josiah Taylor]]]. [8]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Equestrian Portrait of a Spanish Grandee. A fine Castillian portrait, executed with all that breadth and boldness and perfect similitude to nature, for which this Master stands unrivalled in his school. It is impossible to look upon this picture without being reminded of the celebrated equestrian portrait, by Vandyck, of Charles the First, and it is by no means improbable, that that eminent Painter had this composition in his mind at the time of his designing it. The same hand and mind minifest themselves in this production as in the portrait of Don John of Austria, No. 51; and in the treatment of the subject there is the same lofty bearing, the same easy dignity, and the same force and nature. The cavalier followed by a serf, and accompanied by a favourite dog, who is actually leaping out of the canvas, seems to be taking his departure for the chace. He is in the act of saluting another party met on the ground probably for the same purpose. The horse is admirable drawn, full of life and spirit (Velasquez)|Equestrian Portrait of a Spanish Grandee. A fine Castillian portrait, executed with all that breadth and boldness and perfect similitude to nature, for which this Master stands unrivalled in his school. It is impossible to look upon this picture without being reminded of the celebrated equestrian portrait, by Vandyck, of Charles the First, and it is by no means improbable, that that eminent Painter had this composition in his mind at the time of his designing it. The same hand and mind minifest themselves in this production as in the portrait of Don John of Austria, No. 51; and in the treatment of the subject there is the same lofty bearing, the same easy dignity, and the same force and nature. The cavalier followed by a serf, and accompanied by a favourite dog, who is actually leaping out of the canvas, seems to be taking his departure for the chace. He is in the act of saluting another party met on the ground probably for the same purpose. The horse is admirable drawn, full of life and spirit]] réalisée par Velasquez, vendue par [[[Josiah Taylor]]]. [9]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[St. Roch. This is one of those old devotional pictures patronised by the ancient monks, and which marked the revival of the Arts in Italy. The Saint is represented in a landscape communing with the Divine Being who appears in the regions above. The boldness of this introduction of the Creator on the scene cannot be denied, neither can it be said that the Artist has not adequately sustained the dignity of his subject. there is a sublime and sacred character in the composition worthy of the school of Raphael, a high finish, and delicate style of colouring (F. Francia)|St. Roch. This is one of those old devotional pictures patronised by the ancient monks, and which marked the revival of the Arts in Italy. The Saint is represented in a landscape communing with the Divine Being who appears in the regions above. The boldness of this introduction of the Creator on the scene cannot be denied, neither can it be said that the Artist has not adequately sustained the dignity of his subject. there is a sublime and sacred character in the composition worthy of the school of Raphael, a high finish, and delicate style of colouring]] réalisée par F. Francia, vendue par [[[Taylor]]]. [10]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of Frank Hals. For sweetness and power it would be difficult to find a head more admirably painted than this. It has all the breadth, vigour, and fire of the Master in his best moments. It was the work of a moment of enthusiasm, when the great Painter tasked his power of expression, and of rapid execution, to the utmost. The story runs as follows: "Vandyck had conceived so high an opinion of the merit of Hals, by seeing several of his performances, that he went to Haerlem, where he then lived purposely to pay him a visit, but introduced himself as a gentleman on his travels, who wished to have his portrait painted, and had only two hours to spare. Hals, who was hurried away from the tavern, took the first canvas that lay in his reach, and sat down to work in a very expeditious manner. In a short time he had proceeded so far that he desired the sitter to look at what he had done, but though Vandyck seemed much pleased, he told Hals that such work seemed so very easy, he was persuaded he could do it himself. Immediately he took the palette and pencils, made Frank sit down, and spent a quarter of an hour in painting his portrait; But the moment Hals cast his eyes on it he cried out in astonishment, 'You must be Vandyck or the Devil.' The two Painters immediately embraced as old friends, and continued ever after upon terms of the most familiar friendship." The portrait of Vandyck by Hals, painted at this sitting, would be a proper companion to the present (Vandyck)|Portrait of Frank Hals. For sweetness and power it would be difficult to find a head more admirably painted than this. It has all the breadth, vigour, and fire of the Master in his best moments. It was the work of a moment of enthusiasm, when the great Painter tasked his power of expression, and of rapid execution, to the utmost. The story runs as follows: "Vandyck had conceived so high an opinion of the merit of Hals, by seeing several of his performances, that he went to Haerlem, where he then lived purposely to pay him a visit, but introduced himself as a gentleman on his travels, who wished to have his portrait painted, and had only two hours to spare. Hals, who was hurried away from the tavern, took the first canvas that lay in his reach, and sat down to work in a very expeditious manner. In a short time he had proceeded so far that he desired the sitter to look at what he had done, but though Vandyck seemed much pleased, he told Hals that such work seemed so very easy, he was persuaded he could do it himself. Immediately he took the palette and pencils, made Frank sit down, and spent a quarter of an hour in painting his portrait; But the moment Hals cast his eyes on it he cried out in astonishment, 'You must be Vandyck or the Devil.' The two Painters immediately embraced as old friends, and continued ever after upon terms of the most familiar friendship." The portrait of Vandyck by Hals, painted at this sitting, would be a proper companion to the present]] réalisée par Vandyck, vendue par [[[Josiah Taylor]]]. [11]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Queen Mary when a Child There is an extraordinary simplicity and finish in this miniature specimen of the great Master. Every part of it is executed with a delicacy which can be only appreciated properly by the use of a lens. The young queen is regally attired in a dress of white satin, with golden ornaments (Holbein)|Queen Mary when a Child There is an extraordinary simplicity and finish in this miniature specimen of the great Master. Every part of it is executed with a delicacy which can be only appreciated properly by the use of a lens. The young queen is regally attired in a dress of white satin, with golden ornaments]] réalisée par Holbein, vendue par [[[Josiah Taylor]]]. [12]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Duke of Burgundy This little picture, judging by the date upon its front with the inscription "Le Duc Carlen, 1434," has this year completed its fourth century. The Prince whose portrait it is, married Isabella, the daughter of the King of Portugal, and upon that occasion instituted the Order of the Golden Fleece, the collar of which, depicted in beautifully bright and clear colours, he wears around his neck. Matsys is held in high estimation in Germany. He is chiefly known in this country for the inestimable picture of the two Misers in the Royal Collection at Windsor. The present head seems to have been a favourite with the late President of the Royal Academy, Fuseli. On the back of the picture in his own hand-writing is the following, "Charles the Bold, slain by the Swiss at Nancy, a man in the bloom of manhood," with the President's opinion subjoined, that it is the productuion of Quintin Matsys (Quintin Matsys)|The Duke of Burgundy This little picture, judging by the date upon its front with the inscription "Le Duc Carlen, 1434," has this year completed its fourth century. The Prince whose portrait it is, married Isabella, the daughter of the King of Portugal, and upon that occasion instituted the Order of the Golden Fleece, the collar of which, depicted in beautifully bright and clear colours, he wears around his neck. Matsys is held in high estimation in Germany. He is chiefly known in this country for the inestimable picture of the two Misers in the Royal Collection at Windsor. The present head seems to have been a favourite with the late President of the Royal Academy, Fuseli. On the back of the picture in his own hand-writing is the following, "Charles the Bold, slain by the Swiss at Nancy, a man in the bloom of manhood," with the President's opinion subjoined, that it is the productuion of Quintin Matsys]] réalisée par Quintin Matsys, vendue par [[[Josiah Taylor]]]. [13]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of St. Charles Borromeo There can be no question as to the hand that traced this picture on the canvas. In his minute pencilling and elaborate finish, Carlo Dolci was the Gerard Douw of Italian Art, superadding to the excellencies of the Flemish Painter a rich and tender colouring, and an Italian grace of outline and expression, never attained by the disciples of any of the Northern Schools. there is a quiet and modest repose and harmony in this as in most of the heads of this painter. St. Charles Borromeo was a Cardinal of Milan; he was a powerful preacher, and reputed the head of learning in his day. The celebrated Noctes Vaticanae, were the written proceedings of a society whereof he was the founder and chief ornament. During the plague at Milan in 1756, he was conspicuous for his intrepid humanity in venturing among the sick to administer medical relief and the consolations of religion. The head of this eminent prelate, as here presented to us, is full of intellectuality. The forehead is finely expressive and fraught with intelligence, and there is a character of piercing scrutiny in the eye which is pourtrayed with great power and strength. The Cardinal holds in his hand a crucifix with an exquisitely modelled figure of Christ, so delightfully painted, in strong but natural relief, as to seem quite lifted from the canvas. The colouring of the whole is singularly rich and deep, and so minute is the pencilling, that the veins of the forehead may be traced beneath the skin. The hands are charmingly drawn and coloured. It would be scarcely possible to find a more exquisite specimen of the Master. It was brought to this country in 1789, from the Negri collection (Carlo Dolci)|Portrait of St. Charles Borromeo There can be no question as to the hand that traced this picture on the canvas. In his minute pencilling and elaborate finish, Carlo Dolci was the Gerard Douw of Italian Art, superadding to the excellencies of the Flemish Painter a rich and tender colouring, and an Italian grace of outline and expression, never attained by the disciples of any of the Northern Schools. there is a quiet and modest repose and harmony in this as in most of the heads of this painter. St. Charles Borromeo was a Cardinal of Milan; he was a powerful preacher, and reputed the head of learning in his day. The celebrated Noctes Vaticanae, were the written proceedings of a society whereof he was the founder and chief ornament. During the plague at Milan in 1756, he was conspicuous for his intrepid humanity in venturing among the sick to administer medical relief and the consolations of religion. The head of this eminent prelate, as here presented to us, is full of intellectuality. The forehead is finely expressive and fraught with intelligence, and there is a character of piercing scrutiny in the eye which is pourtrayed with great power and strength. The Cardinal holds in his hand a crucifix with an exquisitely modelled figure of Christ, so delightfully painted, in strong but natural relief, as to seem quite lifted from the canvas. The colouring of the whole is singularly rich and deep, and so minute is the pencilling, that the veins of the forehead may be traced beneath the skin. The hands are charmingly drawn and coloured. It would be scarcely possible to find a more exquisite specimen of the Master. It was brought to this country in 1789, from the Negri collection]] réalisée par Carlo Dolci, vendue par [[[Josiah Taylor]]]. [14]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Legend of the Golden Apple. This distinguished Artist belonged to the Modenese School. He was cotemporary with Michelangelo and Coreggio, and it is still a disputed point amongst critics of which of these two eminent characters he was the pupil: or whether, indeed, he was the pupil of either, but merely imbibed the spirit of their style from their works. The conjectures on the subject are chiefly founded upon the character of his compositions. Such a controversy is in itself a certificate of genius; for a style which fluctuates between the sublimity of Michaelangelo and the exquisite grace and expression of Coreggio, giving employment to learned commentators on Art to determine on which side the scale preponderates, can be no mean or ordinary style. Lanzi, in his elaborate and excellent "History of Painting in Italy," comparing Orsi to Coreggio, says, "He has admirably succeeded in attaining the same grace in his chiaro scuro, in the spreading of his colours, and in the beauty and delicacy of his youthful heads;" and undoubtedly the design under consideration is so decidedly Coreggiesque in its tone and character, that it might be assigned with much plausibility to the pencil of that master (Lelio Orsi)|The Legend of the Golden Apple. This distinguished Artist belonged to the Modenese School. He was cotemporary with Michelangelo and Coreggio, and it is still a disputed point amongst critics of which of these two eminent characters he was the pupil: or whether, indeed, he was the pupil of either, but merely imbibed the spirit of their style from their works. The conjectures on the subject are chiefly founded upon the character of his compositions. Such a controversy is in itself a certificate of genius; for a style which fluctuates between the sublimity of Michaelangelo and the exquisite grace and expression of Coreggio, giving employment to learned commentators on Art to determine on which side the scale preponderates, can be no mean or ordinary style. Lanzi, in his elaborate and excellent "History of Painting in Italy," comparing Orsi to Coreggio, says, "He has admirably succeeded in attaining the same grace in his chiaro scuro, in the spreading of his colours, and in the beauty and delicacy of his youthful heads;" and undoubtedly the design under consideration is so decidedly Coreggiesque in its tone and character, that it might be assigned with much plausibility to the pencil of that master]] réalisée par Lelio Orsi, vendue par [[[Josiah Taylor]]]. [15]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[View of Pilas, the Birth-place of the Artist. The peculiarity of this production is that union of the sublime and the simple which the actual scenery of nature can alone present, and which a great Master of the Art can alone transfer to canvas without exaggeration. We have here combined all the wild and romantic grandeur of Salvator Rosa, with the unaffected rusticity of Gainsborough. From the wooden bridge with mules and figures laden with market produce, and the peasant's hut in the immediate fore-ground, to the ruined chateau with its bridge over a fearful ravine, surmounted by perpendicular rocks, and the mountain torrent which rushes impetuously from ledge to ledge, until it reaches the black pool of still water beneath, all is in natural gradation. Cumberland says of Murillo, "It is in the close and lively imitation of nature he principally excels: all his forms have a national peculiarity of air, habit, and countenance; nothing of the academy is to be discovered in his groups; though he often-times adopts a beautiful expression of nature, there is generally a peasant-like simplicity in his ideas, holding a middle place between the vulgarity of the Flemings, and the elegant gusto of the Italian. In his rustics we behold the life itself, with a minute observance of costuma." How fully verified is this description of the powers of this artist by the sweet little pastoral scene which occupied the fore-ground of this composition! (Murillo)|View of Pilas, the Birth-place of the Artist. The peculiarity of this production is that union of the sublime and the simple which the actual scenery of nature can alone present, and which a great Master of the Art can alone transfer to canvas without exaggeration. We have here combined all the wild and romantic grandeur of Salvator Rosa, with the unaffected rusticity of Gainsborough. From the wooden bridge with mules and figures laden with market produce, and the peasant's hut in the immediate fore-ground, to the ruined chateau with its bridge over a fearful ravine, surmounted by perpendicular rocks, and the mountain torrent which rushes impetuously from ledge to ledge, until it reaches the black pool of still water beneath, all is in natural gradation. Cumberland says of Murillo, "It is in the close and lively imitation of nature he principally excels: all his forms have a national peculiarity of air, habit, and countenance; nothing of the academy is to be discovered in his groups; though he often-times adopts a beautiful expression of nature, there is generally a peasant-like simplicity in his ideas, holding a middle place between the vulgarity of the Flemings, and the elegant gusto of the Italian. In his rustics we behold the life itself, with a minute observance of costuma." How fully verified is this description of the powers of this artist by the sweet little pastoral scene which occupied the fore-ground of this composition!]] réalisée par Murillo, vendue par [[[Josiah Taylor]]]. [16]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Duchess of Richmond This full-length portait of Frances, the first Duchess of Richmond, came out of the Orleans Gallery. A fac-simile engraving of it appears in the well-known catalogue of that celebrated collection, in which it is inserted as a "Princesse Veuve. -- Portrait Inconnu." It was originally one of King Charles's Pictures, and probably went, upon the dispersion of the unhappy Monarch's collection, direct to the Orleans Gallery. When it came into the possession of the present owner it was marked on the back the the letters C. R. surmounted by a Crown, and numbered in white chalk "436." A new lining which it became necessary to put on, has obliterated these marks. A three-quater portrait minutely corresponding with this in feature, dress, and accessories, under the title of the Duchess of Richmond, by Vandyck, appears in Lodge's Memoirs, engraved by Voisaud. The dress is singular, but is evidently that of a person of opulence and distinction. It consists of a black silk gown, the bodice of which is adorned with costly rows of pearls. A white ruff sets off the neck and bosom, and the bead bears a capuchin, after the fashion of the times in which the Duchess lived. She carries a long cane by way of walking-staff in her right hand; her left, holding a white handkerchief, rests upon a table. The colouring of this picture is softened and subdued by time. It exhibits all that simplicity and breadth in the execution, glowing warmth of colour, and steady sober brilliance, which captivates without dazzling, and which, in their union, constituted the fascinating style of the Master. The hands are sweetly drawn (Vandyck)|The Duchess of Richmond This full-length portait of Frances, the first Duchess of Richmond, came out of the Orleans Gallery. A fac-simile engraving of it appears in the well-known catalogue of that celebrated collection, in which it is inserted as a "Princesse Veuve. -- Portrait Inconnu." It was originally one of King Charles's Pictures, and probably went, upon the dispersion of the unhappy Monarch's collection, direct to the Orleans Gallery. When it came into the possession of the present owner it was marked on the back the the letters C. R. surmounted by a Crown, and numbered in white chalk "436." A new lining which it became necessary to put on, has obliterated these marks. A three-quater portrait minutely corresponding with this in feature, dress, and accessories, under the title of the Duchess of Richmond, by Vandyck, appears in Lodge's Memoirs, engraved by Voisaud. The dress is singular, but is evidently that of a person of opulence and distinction. It consists of a black silk gown, the bodice of which is adorned with costly rows of pearls. A white ruff sets off the neck and bosom, and the bead bears a capuchin, after the fashion of the times in which the Duchess lived. She carries a long cane by way of walking-staff in her right hand; her left, holding a white handkerchief, rests upon a table. The colouring of this picture is softened and subdued by time. It exhibits all that simplicity and breadth in the execution, glowing warmth of colour, and steady sober brilliance, which captivates without dazzling, and which, in their union, constituted the fascinating style of the Master. The hands are sweetly drawn]] réalisée par Vandyck, vendue par [[[Josiah Taylor]]]. [17]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of a Florentine Nobleman A splendid piece of colouring and expression. This great Painter was not only the inventor of the chiaroscuro, but carried it to a point of excellence as high as any subsequent professor of the art. He was the first also to set the example of that breadth of execution which has ever since been esteemed among the perfections of painting, and to reduce the principles of harmony in colouring to a system. His shadows possess a wonderful transparency, and he is not less happy in his masses of warm colour, and those half lights by which he imparts so much tenderness to his pictures. In the present instance the warm and harmonious colouring of the head is delightfully relieved by the cool and lucid tints of the sky and back ground, the necessary gradation being observed by the wall of red brick which ranges the whole breadth of the panel at the back of the figure. The mellow tone of this part of the composition also contrasts happily with the black dress of the portrait, and that again is relieved and heightened in effect by the little patches of bright red and blue which encircle the wrist, and are repeated in the slashings of the sleeve higher up, about the shoulder. Taken as a whole theis production offers a study worthy the attention of our modern Painters of portraits (Lionardo da Vinci)|Portrait of a Florentine Nobleman A splendid piece of colouring and expression. This great Painter was not only the inventor of the chiaroscuro, but carried it to a point of excellence as high as any subsequent professor of the art. He was the first also to set the example of that breadth of execution which has ever since been esteemed among the perfections of painting, and to reduce the principles of harmony in colouring to a system. His shadows possess a wonderful transparency, and he is not less happy in his masses of warm colour, and those half lights by which he imparts so much tenderness to his pictures. In the present instance the warm and harmonious colouring of the head is delightfully relieved by the cool and lucid tints of the sky and back ground, the necessary gradation being observed by the wall of red brick which ranges the whole breadth of the panel at the back of the figure. The mellow tone of this part of the composition also contrasts happily with the black dress of the portrait, and that again is relieved and heightened in effect by the little patches of bright red and blue which encircle the wrist, and are repeated in the slashings of the sleeve higher up, about the shoulder. Taken as a whole theis production offers a study worthy the attention of our modern Painters of portraits]] réalisée par Lionardo da Vinci, vendue par [[[Josiah Taylor]]]. [18]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Holy Family. A severe grace marks the style of this celebrated Master. It was this quality in his compositions that earned for him at Rome, the flattering observation that the spirit of the divine Raffaelle had passed into Parmigiano. The latter was in his seventeenth year, and had already distinguished himself in a community enraptured by the performances of Raffaelle, when that great Painter died, bequeathing according the contemporaneons judgment, the sublime spirit which animated his pencil, to Parmigiano. He particularly devoted himself to the delineation of scriptural subjects, his fancy leading him that way, because in them he found occupation of that sublime character suited to his taste. The Holy Family was a subject of which he was peculiarly fond, and of which he has left many pictures behind him, although of the cabinet size they are very rare. The little production before us consists of five figures. The Virgin is the prominent figure of the group; she is seated with the infant Christ in her lap, St. John is affectionately kissing his brother, who seems to suffer rather than return the fraternal embrace. There is an extreme beauty of form and expression in these two boys. They are drawn in with a pencil full of delicacy, accuracy, and expression. The Virgin Mother herself is an abstraction of modesty and female loveliness, possessing a beauty which is purely ideal. The other figures are introduced with great skill. Joseph has a fine patriarchal head presented nearly in profile. He carries a book under his arm, which we may reasonably presume to be the sacred volume. A female figure, whose head is also in profile, is introduced on the left. Over her head is clustering vine, which gives the Artist an opportunity of bringing a vivid patch of green into his picture, affording a fine relief to the other colours. Parmegiano always held the art of colouring as a strictly subordinate branch of his art. He chose to captivate by the grace of form rather than by the glare of colour. His chiaro scuro was formed upon the justest principles of harmony and relief; and in the present composition he has been more than usually brilliant in his tone of colouring. A delightful background landscape richly composed, with trees and buildings which lay claim to architectural distiction, and exhibiting a city in the distance, coloured with great tenderness and brilliance, complete the composition of this little picture, upon which the Master seems to have exercised his best powers (Parmigiano)|Holy Family. A severe grace marks the style of this celebrated Master. It was this quality in his compositions that earned for him at Rome, the flattering observation that the spirit of the divine Raffaelle had passed into Parmigiano. The latter was in his seventeenth year, and had already distinguished himself in a community enraptured by the performances of Raffaelle, when that great Painter died, bequeathing according the contemporaneons judgment, the sublime spirit which animated his pencil, to Parmigiano. He particularly devoted himself to the delineation of scriptural subjects, his fancy leading him that way, because in them he found occupation of that sublime character suited to his taste. The Holy Family was a subject of which he was peculiarly fond, and of which he has left many pictures behind him, although of the cabinet size they are very rare. The little production before us consists of five figures. The Virgin is the prominent figure of the group; she is seated with the infant Christ in her lap, St. John is affectionately kissing his brother, who seems to suffer rather than return the fraternal embrace. There is an extreme beauty of form and expression in these two boys. They are drawn in with a pencil full of delicacy, accuracy, and expression. The Virgin Mother herself is an abstraction of modesty and female loveliness, possessing a beauty which is purely ideal. The other figures are introduced with great skill. Joseph has a fine patriarchal head presented nearly in profile. He carries a book under his arm, which we may reasonably presume to be the sacred volume. A female figure, whose head is also in profile, is introduced on the left. Over her head is clustering vine, which gives the Artist an opportunity of bringing a vivid patch of green into his picture, affording a fine relief to the other colours. Parmegiano always held the art of colouring as a strictly subordinate branch of his art. He chose to captivate by the grace of form rather than by the glare of colour. His chiaro scuro was formed upon the justest principles of harmony and relief; and in the present composition he has been more than usually brilliant in his tone of colouring. A delightful background landscape richly composed, with trees and buildings which lay claim to architectural distiction, and exhibiting a city in the distance, coloured with great tenderness and brilliance, complete the composition of this little picture, upon which the Master seems to have exercised his best powers]] réalisée par Parmigiano, vendue par [[[Josiah Taylor]]]. [19]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Assumption of the Virgin Here we have the same subject treated in a different, but still in sublime and delightful manner. The virgin is here ascending, her arms crossed over her bosom in a devotional attitude, sustained or rather borne upwards by seaphim. Her feet rest upon a globe, typical probably of the influence of the Christian faith, destined ultimately to subject the whole world to its dominion. A choir of Angels circling round the throne of grace appear above her head. These heads are charmingly composed, and have a divine expression. The drapery of the Virgin is gracefully disposed, and the colouring throughout is a rare and delightful union of bright and tender hues. The Spanish School claims the honour of this original and accomplished Painter (Zurbaran)|Assumption of the Virgin Here we have the same subject treated in a different, but still in sublime and delightful manner. The virgin is here ascending, her arms crossed over her bosom in a devotional attitude, sustained or rather borne upwards by seaphim. Her feet rest upon a globe, typical probably of the influence of the Christian faith, destined ultimately to subject the whole world to its dominion. A choir of Angels circling round the throne of grace appear above her head. These heads are charmingly composed, and have a divine expression. The drapery of the Virgin is gracefully disposed, and the colouring throughout is a rare and delightful union of bright and tender hues. The Spanish School claims the honour of this original and accomplished Painter]] réalisée par Zurbaran, vendue par [[[Josiah Taylor]]]. [20]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Assumption of the Virgin The works of this distinguished Master are rarely to be met with beyond the confines of Italy, where they are held in great esteem. In his best pictures there is a remarkable sublimity of design, and a rich and varied colouring laid on in broad and bold masses, and great power. From the figure of the Deity above, surrounded by the celestial choir, down to the kneeling Virgin, the same tone of dignified conception pervades the composition. The following animated description of the qualities of Ferrari's style seems warranted by the production before us. It is from Lanzi's History of Painting in Italy: -- "He appears truly unequalled in his expression of the divine majesty, the mysteries of religion, and the feeling of piety, of which he himself offered a laudable example, receiving the title of Eximie pius in one of the Novarese assemblies. He was excellent in strong expression; if we examine into further particulars of his style, we shall find ferrar's warm and lively colouring so superior to that of the Milanese artists of his day, that there is no difficulty in recognizing it in the churches where he painted; the eye of the spectator is directly attracted towards it; his carnations are natural, and varied according to the subjects; his draperies display much fancy and originality, as varied as the art varies it draperies; with middle tints, blended so skilfully as to equal the most beautiful produced by any other artists. And if we may so say, he represented the minds even better than the forms of his subjects. He particularly studied this branch of the art, and we seldom observe more marked attitudes or more expressive countenances. Where he adds landscape or architecture to his figures, the former chiefly consists of very fanciful views of cliffs and rocks, which are calculated to charm by their novelty; while his edifices are constructed on the principles of the best perspective." (Gaudenzio Ferrari)|Assumption of the Virgin The works of this distinguished Master are rarely to be met with beyond the confines of Italy, where they are held in great esteem. In his best pictures there is a remarkable sublimity of design, and a rich and varied colouring laid on in broad and bold masses, and great power. From the figure of the Deity above, surrounded by the celestial choir, down to the kneeling Virgin, the same tone of dignified conception pervades the composition. The following animated description of the qualities of Ferrari's style seems warranted by the production before us. It is from Lanzi's History of Painting in Italy: -- "He appears truly unequalled in his expression of the divine majesty, the mysteries of religion, and the feeling of piety, of which he himself offered a laudable example, receiving the title of Eximie pius in one of the Novarese assemblies. He was excellent in strong expression; if we examine into further particulars of his style, we shall find ferrar's warm and lively colouring so superior to that of the Milanese artists of his day, that there is no difficulty in recognizing it in the churches where he painted; the eye of the spectator is directly attracted towards it; his carnations are natural, and varied according to the subjects; his draperies display much fancy and originality, as varied as the art varies it draperies; with middle tints, blended so skilfully as to equal the most beautiful produced by any other artists. And if we may so say, he represented the minds even better than the forms of his subjects. He particularly studied this branch of the art, and we seldom observe more marked attitudes or more expressive countenances. Where he adds landscape or architecture to his figures, the former chiefly consists of very fanciful views of cliffs and rocks, which are calculated to charm by their novelty; while his edifices are constructed on the principles of the best perspective."]] réalisée par Gaudenzio Ferrari, vendue par [[[Josiah Taylor]]]. [21]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[St. Jerome This is the production of one of that race of giants in art, the Spanish Painters, the distinguishing characters of whose works may be expressed by the single word, power. It is written of Spagnoletto, that after seeing the works of the Caracci and Coreggio, he altered his style, endeavouring to introduce into it greater tenderness. Instead of producing works full of grace and tenderness, however, tameness and insipidity characterised his efforts. He then returned to his original style, imparting to his designs a greater degree of vigour and energy than before. Powerful expression, a bold chiaro scuro, displaying itself in broad masses of light and shade, and great force of colouring, with anatomical correctness, are the usual marks by which the pictures of this Artist may be known. His real name was Ribeira. Il Spagnoletto, (the little Spaniard), was an appellation with which he was honoured at Rome. The Saint is introduced to our notice in his rocky retreat, engaged in composing some of those theological disquisitions of which he has left so many behind him. An angel has just burst upon his solitude, and is blowing the blast of immortal fame in his ear. The attitude of the Saint is one of listening, delight, and surprise. The name of the Artist appears in the right-hand corner (Spagnoletto)|St. Jerome This is the production of one of that race of giants in art, the Spanish Painters, the distinguishing characters of whose works may be expressed by the single word, power. It is written of Spagnoletto, that after seeing the works of the Caracci and Coreggio, he altered his style, endeavouring to introduce into it greater tenderness. Instead of producing works full of grace and tenderness, however, tameness and insipidity characterised his efforts. He then returned to his original style, imparting to his designs a greater degree of vigour and energy than before. Powerful expression, a bold chiaro scuro, displaying itself in broad masses of light and shade, and great force of colouring, with anatomical correctness, are the usual marks by which the pictures of this Artist may be known. His real name was Ribeira. Il Spagnoletto, (the little Spaniard), was an appellation with which he was honoured at Rome. The Saint is introduced to our notice in his rocky retreat, engaged in composing some of those theological disquisitions of which he has left so many behind him. An angel has just burst upon his solitude, and is blowing the blast of immortal fame in his ear. The attitude of the Saint is one of listening, delight, and surprise. The name of the Artist appears in the right-hand corner]] réalisée par Spagnoletto, vendue par [[[Josiah Taylor]]]. [22]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Venus and Adonis The ill-fated youth lies extended on the ground, the purple stream of life still gushing from his death-wound. The Queen of Love throws herself in despair upon the lifeless body, and Cupid appears weeping by her side. A pleasing landscape, richly designed and coloured in the warm and natural tints, with dogs of the chase, and other appropriate accessories of the story, constitute the remaining portion of the picture. The whole composition is treated with power and sweetness, and bears undoubted testimony to the hand of the Master (Vandyck)|Venus and Adonis The ill-fated youth lies extended on the ground, the purple stream of life still gushing from his death-wound. The Queen of Love throws herself in despair upon the lifeless body, and Cupid appears weeping by her side. A pleasing landscape, richly designed and coloured in the warm and natural tints, with dogs of the chase, and other appropriate accessories of the story, constitute the remaining portion of the picture. The whole composition is treated with power and sweetness, and bears undoubted testimony to the hand of the Master]] réalisée par Vandyck, vendue par [[[Josiah Taylor]]]. [23]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Holy Family and St. John This Master was a great light of the Genoese School. He was the author of a Treatise upon the Art of Painting, and his school was resorted to by all the principal Painters of his day. An elevated character of design, a competent chiaro scuro, the principles of which he derived from the lessons of that master of light and shade, Cambiaso, and graceful composition and colouring, are the characteristics of Batista Paggi in all his works. The heads of Joseph and the Virgin in this example of his powers are singularly fine (Paggi)|Holy Family and St. John This Master was a great light of the Genoese School. He was the author of a Treatise upon the Art of Painting, and his school was resorted to by all the principal Painters of his day. An elevated character of design, a competent chiaro scuro, the principles of which he derived from the lessons of that master of light and shade, Cambiaso, and graceful composition and colouring, are the characteristics of Batista Paggi in all his works. The heads of Joseph and the Virgin in this example of his powers are singularly fine]] réalisée par Paggi, vendue par [[[Josiah Taylor]]]. [24]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Jacob stealing the Blessing intended for his Brother Esau, from his blind Father This distinguished Artist painted in the style of Raffaelle, and was the favourite of all the painters selected by Pope Pius IV. to finish the work left incomplete by Raffaelle in the Vatican. Vasari in his "Lives of the most excellent Painters," &c. gives the palm to Zuccaro. He also painted many pictures for the Farnese Palace of Capravola, all of which have been engraved, and are reckoned among his chefs-d'oeuvres. Lanzi says, "He is most pleasing in his small cabinet pictures, which are finished in the first style of excellence." We have here one of those small cabinet pictures, which are so rare from the hand of the Master, and which fully justifies the commendations of the eminent critic quoted. A clear and brilliant tone of colouring combines with great freedom and precision of touch, an elevated character of design, and correct anatomical drawing, are the distinguishing merits of the style. The composition is evidently that of a mind accustomed to design upon a grand scale. If enlarged to the size of the Cartoons of Rafaelle, it would appear to the greater advantage (Taddeo Zuccaro)|Jacob stealing the Blessing intended for his Brother Esau, from his blind Father This distinguished Artist painted in the style of Raffaelle, and was the favourite of all the painters selected by Pope Pius IV. to finish the work left incomplete by Raffaelle in the Vatican. Vasari in his "Lives of the most excellent Painters," &c. gives the palm to Zuccaro. He also painted many pictures for the Farnese Palace of Capravola, all of which have been engraved, and are reckoned among his chefs-d'oeuvres. Lanzi says, "He is most pleasing in his small cabinet pictures, which are finished in the first style of excellence." We have here one of those small cabinet pictures, which are so rare from the hand of the Master, and which fully justifies the commendations of the eminent critic quoted. A clear and brilliant tone of colouring combines with great freedom and precision of touch, an elevated character of design, and correct anatomical drawing, are the distinguishing merits of the style. The composition is evidently that of a mind accustomed to design upon a grand scale. If enlarged to the size of the Cartoons of Rafaelle, it would appear to the greater advantage]] réalisée par Taddeo Zuccaro, vendue par [[[Josiah Taylor]]]. [25]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Head of a Monk reflected in a Mirror This singular production appears to have been intended in the first instance as a mere sketch, or reminiscence of the Artist. It is painted on paper. Nothing can be more vigorous or true to nature. It is executed in bold relief, and bears a strong resemblance in style and power to the so much esteemed head of Gevartius in the National Gallery (Vandyck)|The Head of a Monk reflected in a Mirror This singular production appears to have been intended in the first instance as a mere sketch, or reminiscence of the Artist. It is painted on paper. Nothing can be more vigorous or true to nature. It is executed in bold relief, and bears a strong resemblance in style and power to the so much esteemed head of Gevartius in the National Gallery]] réalisée par Vandyck, vendue par [[[Josiah Taylor]]]. [26]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Marriage of St. Catherine An oval picture classifically composed with great judgment and effect upon true principles of taste. St. Catherine kneels to the infant Savour, who is putting a ring upon the matrimonial finger. This head would seem to be a portrait. The face of the infant possesses an intelligence beyond his years. Joseph and the Virgin Mother look on with complacency. The draperies are disposed with propiety, and the colouring is clear and harmonious (Sassoferrata)|Marriage of St. Catherine An oval picture classifically composed with great judgment and effect upon true principles of taste. St. Catherine kneels to the infant Savour, who is putting a ring upon the matrimonial finger. This head would seem to be a portrait. The face of the infant possesses an intelligence beyond his years. Joseph and the Virgin Mother look on with complacency. The draperies are disposed with propiety, and the colouring is clear and harmonious]] réalisée par Sassoferrata, vendue par [[[Josiah Taylor]]]. [27]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portia swallowing Burning Coals This singular composition by an early Master is painted upon a piece of leather, which has evidently formed part of the binding of a book. The Roman matron is pursued by her attendants, but they are too late. A series of pictures representing the triumph of Julius Caesar, by Andrea Mantegna, had an honourable place in the Hampton Court Gallery (A. Mantegna)|Portia swallowing Burning Coals This singular composition by an early Master is painted upon a piece of leather, which has evidently formed part of the binding of a book. The Roman matron is pursued by her attendants, but they are too late. A series of pictures representing the triumph of Julius Caesar, by Andrea Mantegna, had an honourable place in the Hampton Court Gallery]] réalisée par A. Mantegna, vendue par [[[Josiah Taylor]]]. [28]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Head of Charles the Ninth of France Evidently a cotemporary portrait of the Royal hero of the Massacre of St. Bartholomew, executed with considerable force and truth. He has a Spanish cast of countenance. A velvet cap with a white feather, and a bandeau of pearls and clasps of gold adorn his head. Other portions of his dress are similarly ornamented (Zuccaro)|Head of Charles the Ninth of France Evidently a cotemporary portrait of the Royal hero of the Massacre of St. Bartholomew, executed with considerable force and truth. He has a Spanish cast of countenance. A velvet cap with a white feather, and a bandeau of pearls and clasps of gold adorn his head. Other portions of his dress are similarly ornamented]] réalisée par Zuccaro, vendue par [[[Josiah Taylor]]]. [30]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Landscape A fine specimen of the style of this powerful Painter of the sublime and beautiful in the landscape department of the Art. The subject here seems to be banditti on the look out. Hard by is their cavern. Pilkington's description of the general syle of the Master is so applicable to the present example of his works, that we cannot resist the temptation to refer to it. He says, "His great excellence lay in landscape; and he delighted in representing scenes of desolation, solitude, and danger; gloomy forests, rocky shores, lonely dells, leading to caverns of banditti, Alpine bridges, trees scathed by lightning, and skies lowering with thunder. His figures are wandering peasants, forlorn travellers, shipwrecked sailors, or robbers intent upon prey." This picture is painted in the brown manner of the Master, but it is full of all the poetry and witchery of his syle (Salvator Rosa)|Landscape A fine specimen of the style of this powerful Painter of the sublime and beautiful in the landscape department of the Art. The subject here seems to be banditti on the look out. Hard by is their cavern. Pilkington's description of the general syle of the Master is so applicable to the present example of his works, that we cannot resist the temptation to refer to it. He says, "His great excellence lay in landscape; and he delighted in representing scenes of desolation, solitude, and danger; gloomy forests, rocky shores, lonely dells, leading to caverns of banditti, Alpine bridges, trees scathed by lightning, and skies lowering with thunder. His figures are wandering peasants, forlorn travellers, shipwrecked sailors, or robbers intent upon prey." This picture is painted in the brown manner of the Master, but it is full of all the poetry and witchery of his syle]] réalisée par Salvator Rosa, vendue par [[[Josiah Taylor]]]. [31]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[David and Bathsheba This picture is executed with a free and chaste pencil. The amorous monarch is seen on the terrace of his palace, at a modest and respectful distance from the object of his desires. The figure of the fair Bathsheba kindling with the glow of health, youth, and beauty, is displayed in the immediate foreground (An. Caracci)|David and Bathsheba This picture is executed with a free and chaste pencil. The amorous monarch is seen on the terrace of his palace, at a modest and respectful distance from the object of his desires. The figure of the fair Bathsheba kindling with the glow of health, youth, and beauty, is displayed in the immediate foreground]] réalisée par An. Caracci. [32]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of Cosmo the second A fine stately portrait, executed with considerable force, and giving evidence of a pencil of great power and beauty. Pordenone was the rival of the great Titian, and during his life-time, the award of superiority was given in his favor: posterity has reversed the decree; but the best works of the Master bear an indisputable resemblance to the productions of the Prince of the Venetian Painters. The jealousy of the two Painters was so great, that it is recorded of Pordenone, when he worked in the same town with Titian, that he carried arms for his protection. The portrait before us is conceived in a grand style, and there is a lucid depth of colour about it highly pleasing (Pordenone)|Portrait of Cosmo the second A fine stately portrait, executed with considerable force, and giving evidence of a pencil of great power and beauty. Pordenone was the rival of the great Titian, and during his life-time, the award of superiority was given in his favor: posterity has reversed the decree; but the best works of the Master bear an indisputable resemblance to the productions of the Prince of the Venetian Painters. The jealousy of the two Painters was so great, that it is recorded of Pordenone, when he worked in the same town with Titian, that he carried arms for his protection. The portrait before us is conceived in a grand style, and there is a lucid depth of colour about it highly pleasing]] réalisée par Pordenone, vendue par [[[Josiah Taylor]]]. [33]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of the Earl of Bedford The simplicity and truth of style, and the delicacy of colouring, and chaste drawing of the Master, are conspicuous in this specimen of his powers. A broad white frill upon a full and flowing robe of black, very pleasingly contrasts and gives force to the carnations (Vandyck)|Portrait of the Earl of Bedford The simplicity and truth of style, and the delicacy of colouring, and chaste drawing of the Master, are conspicuous in this specimen of his powers. A broad white frill upon a full and flowing robe of black, very pleasingly contrasts and gives force to the carnations]] réalisée par Vandyck, vendue par [[[Josiah Taylor]]]. [34]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Meeting of Jacob and Esau This magnificent picture is not only one of the most powerful ever painted by the Master, but is in itself as proud a specimen of the Art as is to be found in any collection. Murillo is mostly known in this country by his single figures, which for expression and highly wrought colouring, are very justly held in high repute by connoisseurs. His landscapes are rarely to be seen in English collections, and still more rarely his historical compositions. So highly are these esteemed in Spain, that they are guarded with as watchful a jealousy as the inmates of the Sultan's Seraglio in another country, and have been made the subject of special edicts from the crown, condemning to heavy punishments those who venture to part with them to strangers. In Cumberland's celebrated work upon the Spanish masters, after his visit to that country, the series of which this identical picture is one, is particularly and honourable mentioned. Indeed, that eminent judge, whose mind was a store-house of Art, from his intimate acquaintance with the efforts of every School, and his nice discrimination and taste, goes the length of saying, that for his own personal gratification he should prefer these to all other known productions, one only excepted, a replica of which is in the possession of the owner of the present Gallery. In his own words, after having intimated a doubt "whether any historical group or composition of Murillo's was in English hands," he says, "The great historical paintings of the Life of Jacob, in the possession of the Marquis de Santiago, at Madrid, are the finest compositions which I have seen of Murillo, and was I to follow no better authority than the impression left on my feeling by those wonderful representaions of nature, and put to make at once an unstudied choice, I am inclined to think I should take those canvases before any I have ever seen, one miracle of Art excepted, the Venus of Titiano." (Page 101, Cumberland's Anecdotes of Spanish Paintings, Vol. I. 1782. The The miracle of Art here spoken of is, or a replica by the great Master, in the possession of the proprietors of this Gallery.) Two of the series of five thus mentioned by Cumberland, are known now to be in this country. Although guarded by a special entail in the family of the Marquis de Santiago, they made their escape from the close custody of that family during the troubles to which Spain has been a victim within the last quarter of a century. The companion picture to the "History of Jacob and Esau" is in the princely collection of the Marquis of Westminster; and in the engraved catalogue of his lordship's gallery, No. 69, is stated to have been taken from the house of the Marquis of Santiago by General Sebastiani when he entered Madrid with the French army. No one possessed of a spark of feeling for the Arts can look upon this production without having his mind kindled into admiration of the same fervid character as that described by the author above quoted. All the powers of the Artist are here gathered into one example. In the drawing and grouping of the figures nothing is forced or capricious. A sublime simplicity, and a severe adherence to the outward forms of nature, speaking the language of truth in the most minute details, reign throughout the composition. The rich, mellow, and sombre lines for which the Painter is celebreated are here distinguishable, in every variety and harmonious combination. of which the art of colouring seems to be susceptible. It is by no means the least remarkable part of this production, that, although painted upon the largest scale of easel pictures, (being in size 12 ft. by 8 ft.) and intended of course to be viewed at a certain distance, the more close and minute the inspection, the more do its real charms discover themselves. For the purpose of aiding this inspection, and enabling the beholder to enjoy the high finish, and appreciate the delicacy and tenderness of the pencilling and colouring, the picture has been placed upon the line. The meeting of Jacob and Esau was a principal incident in the life of Jacob. To escape the vengeance of his brother, who had resolved to slay him, in return for the fraud whereby he had obtained from his blind father the blessing intended for Esau, Jacob had fled to Laban, his maternal uncle, in the land of Haran. Having tarried with Laban for the space of twenty years, and married his two daughters, Leah and Rachel, and grown rich, he leaves his house that the prophecy of his future greatness and command may be fulfilled. But being afraid of the anger of Esau, he sends messengers to tell that he is journeying to see him, and to bespeak his favour. Esau sends word that he will meet him on the road with 400 armed men. Jacob fearing that his brother intended to execute his former threat of vengeance sends forward numerous droves of cattle, "Two hundred she-goats and twenty he-goats, two hundred ewes and twenty rams, thirty milch camels with their colts, forty kine and ten bulls, twenty she-asses and ten foals," as a present or peace offering, saying, "I will appease him with the present that goeth before me, and afterward I will see his face; peradventure he will accept of me." He then divided his chidren and their mothers into two bands, placing the hand-maidens and their children first, Leah and her children next, and Rachel with her only son, Joseph, whom he most loved, last conceiving that to be the safest place in case Esau came with hostile intentions. "And Esau ran to meet him, and embraced him, and fell on his neck, and kissed him: and they wept. Then the hand-maidens came near, they and their children, and they bowed themselves. And Leah also with her children came near and bowed themselves: and after came Joseph near and Rachel, and they bowed themselves." In the picture, the foremost of the female figures being more lovely than the others, and the handsome youth in her hand, would seem to be Rachel and her son Joseph, a portion of whose subsequent history has furnished the Artists of every school with a favourite theme for the exercise of their powers. The affectionate greeting of the two brothers had probably dissipated all apprehension of danger from Esau, and changed that relative positon of the parties which caution had dictated. At all events the pictorial licence of the Painter will entitle him to place his pricipal figures in the most prominent places on his canvas, and under his brightest lights, even where the mere letter of historic narrative may not warrant such a treatment of his subject. In all other respects, if we except the introduction of the chest with gold and silver vessels, and rich stuffs and fabrics of the East, in the immediate fore-ground in the corner, (also a pardonable licence of the Art), the composition seems to be a strict and literal adherence to the Divine text. The figure of Esau, clad in his warlike habiliments, is represented as graciously and eagerly bending forward to embrace his brother, whose attitude and features admirable express the ardour of natural affection and a growing sense of security, mastering the previous emotions of fear with which his mind had been filled. The officer in the immediate background, with his outstretched hand, commanding the halt of the armed followers of Esau, extending by a long line into the middle distance of the left; the interesting group of women and children clustering in the centre, so exquisitely pencilled and coloured; and the troops of camels, and oxen, and sheep, with their mounted herdsmen descending the ravine from the rocky eminence on the right -- all these are strictly consonant with the text, and are treated with an imposing simplicity, sweetness, and solemnity, in singular harmony with the affecting and unadorned style of the Divine narrative. The landscape which forms the back-ground is slightly laid in, but it exhibits a fine perspective, and in tone and compostion is in excellent keeping with the principal group in the fore-ground. Cumberland has an anecdote worth recording, respecting this portion of the picture. "The first design" he says, "was to have had the life of David painted by Murillo, and the back-ground by Ignacio Iriarte of Seville, who excelled in that branch of the Art. Murillo desired Iriarte to paint the landscapes, and he would afterwards place the figures. Iriarte, on the other hand, contended for Murillo painting the figures, before he filled up the back-ground. To remedy this difficulty, Murillo executed the whole without Iriart's assistance, taking Jacob's history intead of David's; and thus it came to pass, that these extraordinary pictures remain a monument of Murillo's genius in every branch of the Art, and a treasure truly inestimable in the possession of a family, which, by the precaution of an absolute entail, has guarded against any future possiblity of alienation." In his catalogue of "future possibilities" the critic omitted the presence of an invading army, by whom "absolute entails" are held in very little reverence. In Mr. Young's illustrated catalogue of the splendid gallery of the Marquis of Westminster, it is stated, that the companion picture to the present, the "Meeting of Jacob and Laban," was the centre one of the series of five in the Marquis of Santiago's collection. This picture being two feet wider than that in the possession of the moble Marquis, although in height they are the same to an inch, and relating to a more important passage in the life of Jacob, is more likely to have been the centre of the group. Mr. Buchanan, in his "Memoirs of Painting," (Ackermann, 1834.) mentions the meeting of Jacob and Laban as one of his own importations. The following is the passage in his work relating to that picture: -- "Another was the great picture of the story of Jacob and Laban, where they have pitched their tents in a fine open country, and which combines that happy union of historical composition with fine landscape, which may always be considered as the perfection of Art. This picture was highly prized in Spain, and ranked among the best works of that Master. It was estimated at 3000 guineas, and the Earl of Grosvenor afterwards gave for it two pictures, by CLaude Lorrain, and a Nicholas Poussin, with £1200. in money (Murillo)|The Meeting of Jacob and Esau This magnificent picture is not only one of the most powerful ever painted by the Master, but is in itself as proud a specimen of the Art as is to be found in any collection. Murillo is mostly known in this country by his single figures, which for expression and highly wrought colouring, are very justly held in high repute by connoisseurs. His landscapes are rarely to be seen in English collections, and still more rarely his historical compositions. So highly are these esteemed in Spain, that they are guarded with as watchful a jealousy as the inmates of the Sultan's Seraglio in another country, and have been made the subject of special edicts from the crown, condemning to heavy punishments those who venture to part with them to strangers. In Cumberland's celebrated work upon the Spanish masters, after his visit to that country, the series of which this identical picture is one, is particularly and honourable mentioned. Indeed, that eminent judge, whose mind was a store-house of Art, from his intimate acquaintance with the efforts of every School, and his nice discrimination and taste, goes the length of saying, that for his own personal gratification he should prefer these to all other known productions, one only excepted, a replica of which is in the possession of the owner of the present Gallery. In his own words, after having intimated a doubt "whether any historical group or composition of Murillo's was in English hands," he says, "The great historical paintings of the Life of Jacob, in the possession of the Marquis de Santiago, at Madrid, are the finest compositions which I have seen of Murillo, and was I to follow no better authority than the impression left on my feeling by those wonderful representaions of nature, and put to make at once an unstudied choice, I am inclined to think I should take those canvases before any I have ever seen, one miracle of Art excepted, the Venus of Titiano." (Page 101, Cumberland's Anecdotes of Spanish Paintings, Vol. I. 1782. The The miracle of Art here spoken of is, or a replica by the great Master, in the possession of the proprietors of this Gallery.) Two of the series of five thus mentioned by Cumberland, are known now to be in this country. Although guarded by a special entail in the family of the Marquis de Santiago, they made their escape from the close custody of that family during the troubles to which Spain has been a victim within the last quarter of a century. The companion picture to the "History of Jacob and Esau" is in the princely collection of the Marquis of Westminster; and in the engraved catalogue of his lordship's gallery, No. 69, is stated to have been taken from the house of the Marquis of Santiago by General Sebastiani when he entered Madrid with the French army. No one possessed of a spark of feeling for the Arts can look upon this production without having his mind kindled into admiration of the same fervid character as that described by the author above quoted. All the powers of the Artist are here gathered into one example. In the drawing and grouping of the figures nothing is forced or capricious. A sublime simplicity, and a severe adherence to the outward forms of nature, speaking the language of truth in the most minute details, reign throughout the composition. The rich, mellow, and sombre lines for which the Painter is celebreated are here distinguishable, in every variety and harmonious combination. of which the art of colouring seems to be susceptible. It is by no means the least remarkable part of this production, that, although painted upon the largest scale of easel pictures, (being in size 12 ft. by 8 ft.) and intended of course to be viewed at a certain distance, the more close and minute the inspection, the more do its real charms discover themselves. For the purpose of aiding this inspection, and enabling the beholder to enjoy the high finish, and appreciate the delicacy and tenderness of the pencilling and colouring, the picture has been placed upon the line. The meeting of Jacob and Esau was a principal incident in the life of Jacob. To escape the vengeance of his brother, who had resolved to slay him, in return for the fraud whereby he had obtained from his blind father the blessing intended for Esau, Jacob had fled to Laban, his maternal uncle, in the land of Haran. Having tarried with Laban for the space of twenty years, and married his two daughters, Leah and Rachel, and grown rich, he leaves his house that the prophecy of his future greatness and command may be fulfilled. But being afraid of the anger of Esau, he sends messengers to tell that he is journeying to see him, and to bespeak his favour. Esau sends word that he will meet him on the road with 400 armed men. Jacob fearing that his brother intended to execute his former threat of vengeance sends forward numerous droves of cattle, "Two hundred she-goats and twenty he-goats, two hundred ewes and twenty rams, thirty milch camels with their colts, forty kine and ten bulls, twenty she-asses and ten foals," as a present or peace offering, saying, "I will appease him with the present that goeth before me, and afterward I will see his face; peradventure he will accept of me." He then divided his chidren and their mothers into two bands, placing the hand-maidens and their children first, Leah and her children next, and Rachel with her only son, Joseph, whom he most loved, last conceiving that to be the safest place in case Esau came with hostile intentions. "And Esau ran to meet him, and embraced him, and fell on his neck, and kissed him: and they wept. Then the hand-maidens came near, they and their children, and they bowed themselves. And Leah also with her children came near and bowed themselves: and after came Joseph near and Rachel, and they bowed themselves." In the picture, the foremost of the female figures being more lovely than the others, and the handsome youth in her hand, would seem to be Rachel and her son Joseph, a portion of whose subsequent history has furnished the Artists of every school with a favourite theme for the exercise of their powers. The affectionate greeting of the two brothers had probably dissipated all apprehension of danger from Esau, and changed that relative positon of the parties which caution had dictated. At all events the pictorial licence of the Painter will entitle him to place his pricipal figures in the most prominent places on his canvas, and under his brightest lights, even where the mere letter of historic narrative may not warrant such a treatment of his subject. In all other respects, if we except the introduction of the chest with gold and silver vessels, and rich stuffs and fabrics of the East, in the immediate fore-ground in the corner, (also a pardonable licence of the Art), the composition seems to be a strict and literal adherence to the Divine text. The figure of Esau, clad in his warlike habiliments, is represented as graciously and eagerly bending forward to embrace his brother, whose attitude and features admirable express the ardour of natural affection and a growing sense of security, mastering the previous emotions of fear with which his mind had been filled. The officer in the immediate background, with his outstretched hand, commanding the halt of the armed followers of Esau, extending by a long line into the middle distance of the left; the interesting group of women and children clustering in the centre, so exquisitely pencilled and coloured; and the troops of camels, and oxen, and sheep, with their mounted herdsmen descending the ravine from the rocky eminence on the right -- all these are strictly consonant with the text, and are treated with an imposing simplicity, sweetness, and solemnity, in singular harmony with the affecting and unadorned style of the Divine narrative. The landscape which forms the back-ground is slightly laid in, but it exhibits a fine perspective, and in tone and compostion is in excellent keeping with the principal group in the fore-ground. Cumberland has an anecdote worth recording, respecting this portion of the picture. "The first design" he says, "was to have had the life of David painted by Murillo, and the back-ground by Ignacio Iriarte of Seville, who excelled in that branch of the Art. Murillo desired Iriarte to paint the landscapes, and he would afterwards place the figures. Iriarte, on the other hand, contended for Murillo painting the figures, before he filled up the back-ground. To remedy this difficulty, Murillo executed the whole without Iriart's assistance, taking Jacob's history intead of David's; and thus it came to pass, that these extraordinary pictures remain a monument of Murillo's genius in every branch of the Art, and a treasure truly inestimable in the possession of a family, which, by the precaution of an absolute entail, has guarded against any future possiblity of alienation." In his catalogue of "future possibilities" the critic omitted the presence of an invading army, by whom "absolute entails" are held in very little reverence. In Mr. Young's illustrated catalogue of the splendid gallery of the Marquis of Westminster, it is stated, that the companion picture to the present, the "Meeting of Jacob and Laban," was the centre one of the series of five in the Marquis of Santiago's collection. This picture being two feet wider than that in the possession of the moble Marquis, although in height they are the same to an inch, and relating to a more important passage in the life of Jacob, is more likely to have been the centre of the group. Mr. Buchanan, in his "Memoirs of Painting," (Ackermann, 1834.) mentions the meeting of Jacob and Laban as one of his own importations. The following is the passage in his work relating to that picture: -- "Another was the great picture of the story of Jacob and Laban, where they have pitched their tents in a fine open country, and which combines that happy union of historical composition with fine landscape, which may always be considered as the perfection of Art. This picture was highly prized in Spain, and ranked among the best works of that Master. It was estimated at 3000 guineas, and the Earl of Grosvenor afterwards gave for it two pictures, by CLaude Lorrain, and a Nicholas Poussin, with £1200. in money]] réalisée par Murillo, vendue par [[[Josiah Taylor]]]. [35]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of a Cardinal This is a grand portrait in profile, executed with surprising breadth and relief, and possessing a fine elevation of character which the mind only of a great Painter could impart. The dark brown which the Artist has exclusively imployed for the face and hands, the bright mass of pink in the garments, and the back-ground of a dull leaden hue, form a most singular, but at the same time effective aggregate of colour. The partiality of the Master for the brown tints is conspicuous in his great work of the "Raising of Lazarus," which forms a prominent object of attraction in the National Gallery. That dignity of composition which was the characteristic of Sebastiano, and which made him the competitor of Raphael in his day, is the chief merit of this production. From the position of the hand, the fore-finger uplifted, as in the act of impressing some truth upon his hearers, and from other indications in the countenance, the original seems to be expounding some text in Scripture, or enforcing some moral doctrine (Sebastiano del Piombo)|Portrait of a Cardinal This is a grand portrait in profile, executed with surprising breadth and relief, and possessing a fine elevation of character which the mind only of a great Painter could impart. The dark brown which the Artist has exclusively imployed for the face and hands, the bright mass of pink in the garments, and the back-ground of a dull leaden hue, form a most singular, but at the same time effective aggregate of colour. The partiality of the Master for the brown tints is conspicuous in his great work of the "Raising of Lazarus," which forms a prominent object of attraction in the National Gallery. That dignity of composition which was the characteristic of Sebastiano, and which made him the competitor of Raphael in his day, is the chief merit of this production. From the position of the hand, the fore-finger uplifted, as in the act of impressing some truth upon his hearers, and from other indications in the countenance, the original seems to be expounding some text in Scripture, or enforcing some moral doctrine]] réalisée par Sebastiano del Piombo, vendue par [[[Josiah Taylor]]]. [36]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of Philip II. of Spain Coello was a native of Portugal, but his chief productions are to be found in Spain, where he was in great esteem with the monarch whose likeness he has here presented to us, being for the greater part of his life domiciled in the Escurial at Madred. The monarch is represented in a dress more costly and singular than becoming; it appears to be composed of white silk or satin profusely decorated with golden embroideries. The dress reaches to the chin, and seems throughout to imprison the royal person in a manner that cannot be agreeable, however accordant with the dictates of state policy and etiquette. A velvet hat with the rim turned up is worn upon the head. In the right hand Philip holds a sceptre -- his left rests upon the golden hilt of his sword. The hands are very finely drawn, and the face is full of character, and painted with a minute and delicate pencil, and in point of colouring bearing considerable resemblance to the style of Titian, to whom he was thought to approach so nearly as to have acquired the honorable appellation of the Portugueze Titian. Cumberland, in his Memoirs of Spanish Painters, gives the following account of CLoello: -- "Amongst the prinipal Artists employed by Philip in the paintings of the Escurial, the elder Coello was one in chief favour and esteem with that sovereign, who, in his letters, styles him Titiano Portuguez, (for he was of that nation), and addresses him by the affectionate appellation of my beloved son, Alonzo Sanchez Coello. He studied at Rome in the school of Rafael de Urbino, and complete himself in his art under the instruction of Antonio Maro in Spain; he passed from Spain into Portugal, and was in the service of Don Juan, and afterwards of his widow Donna Juana, sister of Philip the Second. Upon the retirement of Antonio Maro, the King of Spain solicited his sister to supply the loss of that Artist, by sending him Coello. Upon his arrival at the Court, Philip lodged him in an apartment near at hand, with which he had a private communication, the the purpose of visiting him whilst he was at work: on these occasions he treated Coello with great familiarity and condescension. He was in such favour with all the Royal Family, that his apartment became, at times, their general rendezvous; and in these visits Coello made several portraits of Philip on foot and horseback, and of all the Royal and distinguished personages that composed the Court. In short, he became considered as a man in such high degree of favour, that his protection was looked up to by the courtiers and grandees, and his house and table frequented by the first persons in the nation." In the left-hand corner of the picture are emblazoned the Royal Arms, a practice more consonant with the pride of heraldry, than with the true principles of Art (Alonzo Sanchez Coello)|Portrait of Philip II. of Spain Coello was a native of Portugal, but his chief productions are to be found in Spain, where he was in great esteem with the monarch whose likeness he has here presented to us, being for the greater part of his life domiciled in the Escurial at Madred. The monarch is represented in a dress more costly and singular than becoming; it appears to be composed of white silk or satin profusely decorated with golden embroideries. The dress reaches to the chin, and seems throughout to imprison the royal person in a manner that cannot be agreeable, however accordant with the dictates of state policy and etiquette. A velvet hat with the rim turned up is worn upon the head. In the right hand Philip holds a sceptre -- his left rests upon the golden hilt of his sword. The hands are very finely drawn, and the face is full of character, and painted with a minute and delicate pencil, and in point of colouring bearing considerable resemblance to the style of Titian, to whom he was thought to approach so nearly as to have acquired the honorable appellation of the Portugueze Titian. Cumberland, in his Memoirs of Spanish Painters, gives the following account of CLoello: -- "Amongst the prinipal Artists employed by Philip in the paintings of the Escurial, the elder Coello was one in chief favour and esteem with that sovereign, who, in his letters, styles him Titiano Portuguez, (for he was of that nation), and addresses him by the affectionate appellation of my beloved son, Alonzo Sanchez Coello. He studied at Rome in the school of Rafael de Urbino, and complete himself in his art under the instruction of Antonio Maro in Spain; he passed from Spain into Portugal, and was in the service of Don Juan, and afterwards of his widow Donna Juana, sister of Philip the Second. Upon the retirement of Antonio Maro, the King of Spain solicited his sister to supply the loss of that Artist, by sending him Coello. Upon his arrival at the Court, Philip lodged him in an apartment near at hand, with which he had a private communication, the the purpose of visiting him whilst he was at work: on these occasions he treated Coello with great familiarity and condescension. He was in such favour with all the Royal Family, that his apartment became, at times, their general rendezvous; and in these visits Coello made several portraits of Philip on foot and horseback, and of all the Royal and distinguished personages that composed the Court. In short, he became considered as a man in such high degree of favour, that his protection was looked up to by the courtiers and grandees, and his house and table frequented by the first persons in the nation." In the left-hand corner of the picture are emblazoned the Royal Arms, a practice more consonant with the pride of heraldry, than with the true principles of Art]] réalisée par Alonzo Sanchez Coello, vendue par [[[Josiah Taylor]]]. [37]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portraits of the Marchioness of Veren and her Infant. Pilkington says, "the chef-d'oeuvre of Mabuse is the Virgin with the Infant, which he finished while in the service of the Marquis of Veren; and in that subject he contrived to pay an extraordinary compliment to his patron, by making the heads of his lady and son the models for both his figures." In the present cabinet picture of the marchioness and her child, there is too obvious a resemblance to the model usually followed by Painters in treating the sacred subject, above-mentioned, to be mistaken. This picture, hovever, was probably intended only as a piece of domestic portraiture. There is no glory round the head of the infant. It is very sweetly coloured and executed (Mabuse)|Portraits of the Marchioness of Veren and her Infant. Pilkington says, "the chef-d'oeuvre of Mabuse is the Virgin with the Infant, which he finished while in the service of the Marquis of Veren; and in that subject he contrived to pay an extraordinary compliment to his patron, by making the heads of his lady and son the models for both his figures." In the present cabinet picture of the marchioness and her child, there is too obvious a resemblance to the model usually followed by Painters in treating the sacred subject, above-mentioned, to be mistaken. This picture, hovever, was probably intended only as a piece of domestic portraiture. There is no glory round the head of the infant. It is very sweetly coloured and executed]] réalisée par Mabuse, vendue par [[[Josiah Taylor]]]. [38]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Angel delivering St. Peter from Prison The production of a Spanish Artist in good repute in his own country. The aged captive seems to have been in the act of devotion at the moment chosen by the Angel for his release. He is still on his knees, his chains have already fallen from his limbs, and he looks round with wondering surprise to learn the cause of the miracle. The figure of the Angel is radiant with celestial beauty. The expression the the face, the form, and the light flowing drapery gracefully disposed, are all well suited to the divine character of the liberating Angel. The flesh tints are peculiarly delicate and true to nature, and the lights and shadows are distributed upon a just and scientific principle, producing perfect harmony in their combination. the name of the Master appears upon a broken tablet inserted in the wall (Antolinez)|The Angel delivering St. Peter from Prison The production of a Spanish Artist in good repute in his own country. The aged captive seems to have been in the act of devotion at the moment chosen by the Angel for his release. He is still on his knees, his chains have already fallen from his limbs, and he looks round with wondering surprise to learn the cause of the miracle. The figure of the Angel is radiant with celestial beauty. The expression the the face, the form, and the light flowing drapery gracefully disposed, are all well suited to the divine character of the liberating Angel. The flesh tints are peculiarly delicate and true to nature, and the lights and shadows are distributed upon a just and scientific principle, producing perfect harmony in their combination. the name of the Master appears upon a broken tablet inserted in the wall]] réalisée par Antolinez, vendue par [[[Josiah Taylor]]]. [39]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[A Bacchanal and his Children Here we have one of the sylvan brood quite en famille. One of the urchins is making his first essay in the musical art upon the `tenuis avena.' The other is boisterously rushing forth into the adjoining fields, in obedience to some Satyric impulse, in quest of prey or sport. The parent, holding his chin in his hand is abstracted in thought, and from the compound of the grave and the ludicrous in the expression of his countenance, seems meditating some scheme of humourous mischief such as Bacchanals delight in. There is something singularly eccentric in this composition. Either it was a study for a portion of a larger picture, or, it was some troublesome idea or mental image which the Artist could no way get rid of but by dashing it off upon canvas. Be that as it may, every part of the production bespeaks the hand of a Master, and that Master Nicoco Poussin. The breadth and freedom of his execution, his inventive genius, the ease and gaiety of his pencil, and the remarkable anatomical accuracy of his drawings of the human figure, are all congregrated in this specimen of his powers. The figure of the Satyr is particularly worthy of remark for the appearance of muscular flexibility and nature which the Painter has contrived to impart to it -- a common excellence with N. Poussin, although sufficiently rare in others (N. Poussin)|A Bacchanal and his Children Here we have one of the sylvan brood quite en famille. One of the urchins is making his first essay in the musical art upon the `tenuis avena.' The other is boisterously rushing forth into the adjoining fields, in obedience to some Satyric impulse, in quest of prey or sport. The parent, holding his chin in his hand is abstracted in thought, and from the compound of the grave and the ludicrous in the expression of his countenance, seems meditating some scheme of humourous mischief such as Bacchanals delight in. There is something singularly eccentric in this composition. Either it was a study for a portion of a larger picture, or, it was some troublesome idea or mental image which the Artist could no way get rid of but by dashing it off upon canvas. Be that as it may, every part of the production bespeaks the hand of a Master, and that Master Nicoco Poussin. The breadth and freedom of his execution, his inventive genius, the ease and gaiety of his pencil, and the remarkable anatomical accuracy of his drawings of the human figure, are all congregrated in this specimen of his powers. The figure of the Satyr is particularly worthy of remark for the appearance of muscular flexibility and nature which the Painter has contrived to impart to it -- a common excellence with N. Poussin, although sufficiently rare in others]] réalisée par N. Poussin, vendue par [[[Josiah Taylor]]]. [40]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[The Dead Christ This grand and affecting composition bears all the marks of the school from which it emanates. An elevated tone in design and colouring, scrupulous anatomical accuracy in the drawing of the human figure, strength of expression, and a masterly chiaro scuro are the characteristic excellencies of the "Academy of Caracci." Speaking of Ludovico Caracci, Sir Joshua Reynolds says, "His breadth of light and shadow, the simplicity of his colouring, and the solemn effect of that twilight, which seems diffused over his pictures, is better suited to the grave and dignified subjects he generally treated, than the more artificial brilliancy of sunshine which enlightens the pictures of Titian." The "solemn effect of twilight" mentioned by Sir Joshua in terms of commendation, is particularly remarkable in this picture. The mortal agonies of death are still impressed upon the face and figure of the Redeemer, whose stiffened corpse has just been taken down from the Cross. The Maries bend over the body in an excess of grief, which is touchingly exhibited in their different attitudes and expressions. The draperies are admirably managed, and in colouring there is a subdued tone throughout in excellent keeping with the subject (L. & A. Caracci)|The Dead Christ This grand and affecting composition bears all the marks of the school from which it emanates. An elevated tone in design and colouring, scrupulous anatomical accuracy in the drawing of the human figure, strength of expression, and a masterly chiaro scuro are the characteristic excellencies of the "Academy of Caracci." Speaking of Ludovico Caracci, Sir Joshua Reynolds says, "His breadth of light and shadow, the simplicity of his colouring, and the solemn effect of that twilight, which seems diffused over his pictures, is better suited to the grave and dignified subjects he generally treated, than the more artificial brilliancy of sunshine which enlightens the pictures of Titian." The "solemn effect of twilight" mentioned by Sir Joshua in terms of commendation, is particularly remarkable in this picture. The mortal agonies of death are still impressed upon the face and figure of the Redeemer, whose stiffened corpse has just been taken down from the Cross. The Maries bend over the body in an excess of grief, which is touchingly exhibited in their different attitudes and expressions. The draperies are admirably managed, and in colouring there is a subdued tone throughout in excellent keeping with the subject]] réalisée par L. & A. Caracci, vendue par [[[Taylor]]]. [41]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of one of the Roman Pontiffs in his Robes The aged Pontiff is seated in his chair, and bent by the weight of years, seems supporting himself by one of his hands. The lamp of entellect still illumines a countenance palpably stricken with the feebleness and debility of years. The hands are beautifully drawn, and in the flesh tints there is that variety and gradation of hues for which the Master is celebrated, and which constitute the great secret of his Art, whereby he was enabled to produce effects so striking and natural. The disposition of the Pontifical garments, and the distribution of light and shade, are conceived and executed in a masterly spirit (Titian)|Portrait of one of the Roman Pontiffs in his Robes The aged Pontiff is seated in his chair, and bent by the weight of years, seems supporting himself by one of his hands. The lamp of entellect still illumines a countenance palpably stricken with the feebleness and debility of years. The hands are beautifully drawn, and in the flesh tints there is that variety and gradation of hues for which the Master is celebrated, and which constitute the great secret of his Art, whereby he was enabled to produce effects so striking and natural. The disposition of the Pontifical garments, and the distribution of light and shade, are conceived and executed in a masterly spirit]] réalisée par Titian, vendue par [[[Josiah Taylor]]], achetée par [[N[orthwick]]]. [42]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of William Trumbull, Esq. This is by the same hand as No. 3, and bears resemblance to it in many points. The Artist does not seem to have used so much of his favourite untramarine in his flesh tints in this as in the head of Milton. Trumbull was a distinguished diplomatist, and represented James the First and Charles the First, at the Court of Brussells. His son was afterwards a Secretary of State (C. Janssen)|Portrait of William Trumbull, Esq. This is by the same hand as No. 3, and bears resemblance to it in many points. The Artist does not seem to have used so much of his favourite untramarine in his flesh tints in this as in the head of Milton. Trumbull was a distinguished diplomatist, and represented James the First and Charles the First, at the Court of Brussells. His son was afterwards a Secretary of State]] réalisée par C. Janssen, vendue par [[[Josiah Taylor]]]. [43]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of the Duke D'Urbino The City of Urbino was the birth place of the great Painter, and the Duke who derived his title from the name was one of his earliest patrons. The attributes which Montesquieu assigned to the style of Raphael, saying, that in all his works he was "sublime, easy, natural, and majestic," may all be traced in this example of his powers. In the head here presented to us there is a serene composure of the features, a senatorial dignity of aspect, a brow of thought, and a certain air of severe study in the dark piercing and intellectual eye, making up in the ensemble a portraiture of mind such as it was the peculiar province of this unrivalled Master to produce. Like all the oil pieces of the Master, this portrait is elaborately finished in its most minute details (Raphael)|Portrait of the Duke D'Urbino The City of Urbino was the birth place of the great Painter, and the Duke who derived his title from the name was one of his earliest patrons. The attributes which Montesquieu assigned to the style of Raphael, saying, that in all his works he was "sublime, easy, natural, and majestic," may all be traced in this example of his powers. In the head here presented to us there is a serene composure of the features, a senatorial dignity of aspect, a brow of thought, and a certain air of severe study in the dark piercing and intellectual eye, making up in the ensemble a portraiture of mind such as it was the peculiar province of this unrivalled Master to produce. Like all the oil pieces of the Master, this portrait is elaborately finished in its most minute details]] réalisée par Raphael, vendue par [[[Josiah Taylor]]]. [44]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[A Landscape Landscapes by the hand of this Master are rare. They have the same impress of nature, and are executed with the same breadth, and with the same bold and dashing pencil which distinguish his portraits and historical compositions. A navigable stream in perspective, with boats laden with various articles of traffic, figures, and buildings in the foreground and distance, form the materials of this production. The gradations of distance are well marked, and there is an airiness and animation in the scene highly pleasing and natural (Velasquez)|A Landscape Landscapes by the hand of this Master are rare. They have the same impress of nature, and are executed with the same breadth, and with the same bold and dashing pencil which distinguish his portraits and historical compositions. A navigable stream in perspective, with boats laden with various articles of traffic, figures, and buildings in the foreground and distance, form the materials of this production. The gradations of distance are well marked, and there is an airiness and animation in the scene highly pleasing and natural]] réalisée par Velasquez, vendue par [[[Josiah Taylor]]]. [45]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of Milton The characteristics of the style of this Artist are a lively and transparent colouring, a peculiar delicacy and sweetness in his carnations, which are always natural, and a light and graceful pencil. His works are in general exquisitely finished. In the inspired author of Paradise Lost, his pencil found a subject worthy of all its powers. Cornelius Janssen was a native of Amsterdam. He was born in 1590, and came over to England when twenty eight years of age, and in the meridian of his powers. He made several portraits of James the First and his family, and was a great favourite with all the leading nobility who sat to him for their likenesses. In his own country he is esteemed as second only to Vandyke, and some of his productions come very near the best works of that celebrated master. In the left hand corner is the following, "J. Milton, An. AEt. suae. 20." and in the right, "C.J. fecit. 1627." (C. Janssen)|Portrait of Milton The characteristics of the style of this Artist are a lively and transparent colouring, a peculiar delicacy and sweetness in his carnations, which are always natural, and a light and graceful pencil. His works are in general exquisitely finished. In the inspired author of Paradise Lost, his pencil found a subject worthy of all its powers. Cornelius Janssen was a native of Amsterdam. He was born in 1590, and came over to England when twenty eight years of age, and in the meridian of his powers. He made several portraits of James the First and his family, and was a great favourite with all the leading nobility who sat to him for their likenesses. In his own country he is esteemed as second only to Vandyke, and some of his productions come very near the best works of that celebrated master. In the left hand corner is the following, "J. Milton, An. AEt. suae. 20." and in the right, "C.J. fecit. 1627."]] réalisée par C. Janssen, vendue par [[[Josiah Taylor]]]. [46]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Portrait of Himself A fine portrait of this Florentine Painter, whose works are justly held in very high estimation in Italy. Judging by this specimen, he would seem to have possessed a highly delicate pencil and a very pleasing style of design, somewhat similar to our celebrated countryman Sir A. More (Salviati)|Portrait of Himself A fine portrait of this Florentine Painter, whose works are justly held in very high estimation in Italy. Judging by this specimen, he would seem to have possessed a highly delicate pencil and a very pleasing style of design, somewhat similar to our celebrated countryman Sir A. More]] réalisée par Salviati, vendue par [[[Josiah Taylor]]]. [47]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[An Allegorical Picture of the Triumph of Charity The full scope and magnificence of this great master's conceptions can only be estimated by his large pictures. It appears by his private letters that he always made the selection of his subjects dependant upon the dimenstions of his canvas. "Le choix," says he, "doit surtout dependre de la grandeur du tableaux ; car çertains argumens sont plus proportions." Sir Joshua Reynolds, speaking of Rubens, says "It is only in large compositions that his powers seem to have room to expand themselves: they really seem to increase in proportion to the size of the canvas on which they are to be displayed. This superiority is not seen in easel pictures, nor even in detached parts of his greater works, which are seldom eminently beautiful. It does not lie in an attitude, or in any peculiar expression, but in the general effect, and in the genius which pervades and animates the whole." Pilkinton bears similar testimony to the peculiar powers of Rubens in large compositions. He observes, "the greatest excellence of Rubens appeared in his grand compositions; for, as they were to be seen at a distance, he laid on a proper body of colour, with an uncommon freedom of hand, and fixed all his different tints in their proper places; by which method he never impaired their lustre by breaking or torturing them, but touched them only in such a manner as to give them a lasting force, beauty and harmony." The distinguished painter who is the subject of these encomiums, has left few works behind him which more fully justify the praise bestowed upon his genius than the splendid composition before us. It is executed in his boldest style, with a free and flowing outline, a rich glow of colour, such as Rubens only could impart, and a unity, or correspondence and harmony between all the separate parts tending to one grand object, such as the designs even of this great master seldom present. Every part of the picture is equally sustained, the whole composition appearing as a single emanation of mind, rather than as an elaborate series of efforts. Charity is personated by a female possessing more dignity and grace than the female figures usually introduced by Rubens in his composition. It is obviously a likeness of Marie de Medicis. She has more of the Italian than the Flemish air. In consonance with her attributes and character, the painter has endowed her with a matronly form and aspect. On her right arm is an infant who is affectionately clinging to her neck, round which its little arms are folded. She inclines her head to meet and return the kiss of infantine love. Her left hand is extended to a child who is eagerly pressing near her for protection, and another child a little more advanced in the car partakes her care. A pelican piercing her breast to feed her young with her heart's blood is introduced in the car. These figures constitute the group in the car. They are most appropriate to the subject, and are designed and executed with remarkable freedom and an accurate attention to minute details. The figure of Charity is clothed; her drapery hangs naturally in broad and ample folds, affording the painter an opportunity which he has not neglected of filling up the centre of his canvas with a mass of bold colouring which gives tone and contrast to every other object. Blue and crimson are the colours employed in this part of the picture. A light drapery borne up by a passing zehpyr, floats gracefully over the head of the principal figure, giving relief to the heavier folds of the garments. The car is of light and elegant construction, and decked out with ornaments which seem to denote that it is devoted to triumphal purposes. Two winged boys attend the car; one with a blazing flambeau is in the act of destoying two serpents, introduced in the foreground as emblematic of the human spirit of envy and detraction which ever lies in the path of virtue. The other is armed with a bow, and holds up a flaming heart, indicating the celestial origin and quality of Charity. Two noble lions are harnessed to the car. On the near lion is seated a cherubim which a glory round his head, whilst in his hand is an arrow, with which he is in the act of spurring forward the animal on which he is mounted. The monarch of the forest bends his head in token of submission, and the painter has succeeded in giving a gracious and benignant art to his countenance without at all departing from the true character of the animal. Rubens peculiar power in delineating the brute creation is conspicuous in these animals. A far-extending landscape, apparently seen from an elevation, touched with great delicacy and truth, and displaying a very fine perspective, forms the back-ground of the picture. A great portion of the picture, however, is a sky; and this brings us to the most important and commanding feature of this grand and unrivalled composition. The group of cherubim circling above the head of Charity is one of the greatest triumphs of Art to be found in the whole range of its treasures. It consists of eleven figures, presented in every variety of attitude, and disposed with singular art, and a most charming affect of aërial buoyance and movement so difficult to accomplish, and the failure in which is the destruction of so many otherwise fine porductions. The fine anatomical drawing, the exquisite fore-shortening exhibited in some of the figures, the delicate roseate hues of the flesh, the power and fancy displayed both in the conception and execution of this group of hovering angels, may challenge comparison with any known effort of similar character. It is remarkable that this composition is not disfigured by any of that carlessness of design, and sometimes coarseness of expression, which too often blemish the productions of this great master. The heads have all the ideal beauty of the Italian School, and there is nothing outré or exaggerated in the attitudes. This grand work came out of the Dominican Convent at Loeches, near Madrid. It was painted by order of Philip the Fourth of Spain, being one of a series expressly executed for that Convent, which was founded in 1623, by the Conde Duque de Olivarez, then Prime Minister to the Spanish Monarch. Rubens had been shortly before at Madrid on a special diplomatic mission from the Low Countries. It is most probable that this picture was painted at Madrid, under the eye of Phillip, which as well as the greater leisure the Artist must have had during the period of his embassy, may account for the elaborate and scrupulous care with which every part of it has been finished (Rubens)|An Allegorical Picture of the Triumph of Charity The full scope and magnificence of this great master's conceptions can only be estimated by his large pictures. It appears by his private letters that he always made the selection of his subjects dependant upon the dimenstions of his canvas. "Le choix," says he, "doit surtout dependre de la grandeur du tableaux ; car çertains argumens sont plus proportions." Sir Joshua Reynolds, speaking of Rubens, says "It is only in large compositions that his powers seem to have room to expand themselves: they really seem to increase in proportion to the size of the canvas on which they are to be displayed. This superiority is not seen in easel pictures, nor even in detached parts of his greater works, which are seldom eminently beautiful. It does not lie in an attitude, or in any peculiar expression, but in the general effect, and in the genius which pervades and animates the whole." Pilkinton bears similar testimony to the peculiar powers of Rubens in large compositions. He observes, "the greatest excellence of Rubens appeared in his grand compositions; for, as they were to be seen at a distance, he laid on a proper body of colour, with an uncommon freedom of hand, and fixed all his different tints in their proper places; by which method he never impaired their lustre by breaking or torturing them, but touched them only in such a manner as to give them a lasting force, beauty and harmony." The distinguished painter who is the subject of these encomiums, has left few works behind him which more fully justify the praise bestowed upon his genius than the splendid composition before us. It is executed in his boldest style, with a free and flowing outline, a rich glow of colour, such as Rubens only could impart, and a unity, or correspondence and harmony between all the separate parts tending to one grand object, such as the designs even of this great master seldom present. Every part of the picture is equally sustained, the whole composition appearing as a single emanation of mind, rather than as an elaborate series of efforts. Charity is personated by a female possessing more dignity and grace than the female figures usually introduced by Rubens in his composition. It is obviously a likeness of Marie de Medicis. She has more of the Italian than the Flemish air. In consonance with her attributes and character, the painter has endowed her with a matronly form and aspect. On her right arm is an infant who is affectionately clinging to her neck, round which its little arms are folded. She inclines her head to meet and return the kiss of infantine love. Her left hand is extended to a child who is eagerly pressing near her for protection, and another child a little more advanced in the car partakes her care. A pelican piercing her breast to feed her young with her heart's blood is introduced in the car. These figures constitute the group in the car. They are most appropriate to the subject, and are designed and executed with remarkable freedom and an accurate attention to minute details. The figure of Charity is clothed; her drapery hangs naturally in broad and ample folds, affording the painter an opportunity which he has not neglected of filling up the centre of his canvas with a mass of bold colouring which gives tone and contrast to every other object. Blue and crimson are the colours employed in this part of the picture. A light drapery borne up by a passing zehpyr, floats gracefully over the head of the principal figure, giving relief to the heavier folds of the garments. The car is of light and elegant construction, and decked out with ornaments which seem to denote that it is devoted to triumphal purposes. Two winged boys attend the car; one with a blazing flambeau is in the act of destoying two serpents, introduced in the foreground as emblematic of the human spirit of envy and detraction which ever lies in the path of virtue. The other is armed with a bow, and holds up a flaming heart, indicating the celestial origin and quality of Charity. Two noble lions are harnessed to the car. On the near lion is seated a cherubim which a glory round his head, whilst in his hand is an arrow, with which he is in the act of spurring forward the animal on which he is mounted. The monarch of the forest bends his head in token of submission, and the painter has succeeded in giving a gracious and benignant art to his countenance without at all departing from the true character of the animal. Rubens peculiar power in delineating the brute creation is conspicuous in these animals. A far-extending landscape, apparently seen from an elevation, touched with great delicacy and truth, and displaying a very fine perspective, forms the back-ground of the picture. A great portion of the picture, however, is a sky; and this brings us to the most important and commanding feature of this grand and unrivalled composition. The group of cherubim circling above the head of Charity is one of the greatest triumphs of Art to be found in the whole range of its treasures. It consists of eleven figures, presented in every variety of attitude, and disposed with singular art, and a most charming affect of aërial buoyance and movement so difficult to accomplish, and the failure in which is the destruction of so many otherwise fine porductions. The fine anatomical drawing, the exquisite fore-shortening exhibited in some of the figures, the delicate roseate hues of the flesh, the power and fancy displayed both in the conception and execution of this group of hovering angels, may challenge comparison with any known effort of similar character. It is remarkable that this composition is not disfigured by any of that carlessness of design, and sometimes coarseness of expression, which too often blemish the productions of this great master. The heads have all the ideal beauty of the Italian School, and there is nothing outré or exaggerated in the attitudes. This grand work came out of the Dominican Convent at Loeches, near Madrid. It was painted by order of Philip the Fourth of Spain, being one of a series expressly executed for that Convent, which was founded in 1623, by the Conde Duque de Olivarez, then Prime Minister to the Spanish Monarch. Rubens had been shortly before at Madrid on a special diplomatic mission from the Low Countries. It is most probable that this picture was painted at Madrid, under the eye of Phillip, which as well as the greater leisure the Artist must have had during the period of his embassy, may account for the elaborate and scrupulous care with which every part of it has been finished]] réalisée par Rubens, vendue par [[[Josiah Taylor]]]. [48]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[Sophonisba In grace and sublimity of design the works of this Painter have been held by the best judges of Art, to contest the palm of excellence with Raffaelle himself: in expression, and especially in depicting the soft and tender passions, he surpassed that great Master. The emotions of grief and despair are admirably Pourtrayed in the faces of Sophonisba and her attendant. The attitudes are full of dignity and grace, and the general management of the details, the breadth of effect, and delightful tone of colouring, are worthy of the high fame of the Master (Domenichino)|Sophonisba In grace and sublimity of design the works of this Painter have been held by the best judges of Art, to contest the palm of excellence with Raffaelle himself: in expression, and especially in depicting the soft and tender passions, he surpassed that great Master. The emotions of grief and despair are admirably Pourtrayed in the faces of Sophonisba and her attendant. The attitudes are full of dignity and grace, and the general management of the details, the breadth of effect, and delightful tone of colouring, are worthy of the high fame of the Master]] réalisée par Domenichino, vendue par [[[Josiah Taylor]]]. [49]
  • 1834.05.28/ maison de ventes : St. James's Gallery. Vente de l'œuvre décrite comme [[St. Mary of Egypt The saint in a kneeling posture with her hands clasped in prayer, and her eyes gently turned upwards in adoration, is represented in the act of ascent to the realms of disembodied spirits. A group of cherubim seem charged with the duty of aiding the transit from a mortal to an immortal state. The whole composition breathes a devotional spirit, and the colouring is of subdued, unearthly tone, suited to the subject; every gay colour seems carefully excluded from the canvas. The real name of the Painter was Baccio della Porta; he acquired the title by which he has been handed down to posterity, Fra, or Il Frate Bartolomeo di St. Marco, from his having in a moment of religious fervour, abandoned the world, and entered himself as a Brother in the Convent of St Mark. From that time he seems to have forsworn all the blandishments of his Art, and to have dedicated his powers to the exclusive service of religion. His latter pieces were painted chiefly for the walls of ecclesiatic edifices, and hence, whether it was to inspire with reverence, or move the human affections to love and gratitude towards the Divine Being, his mode of treating his subject was strictly subordinate to the object he had in view in making the selection. The figures in this production are drawn with masterly accuracy, but the singular merit of the performance is the airiness and appearance of motion given to the ascending group. Fra Bartolomeo was a cotemporary and friend of Raffaelle and Michel Angelo, and a devoted admirer of their works. He was of Florentine birth, but visited Rome, and there perfected his style (Fra Bartolomeo)|St. Mary of Egypt The saint in a kneeling posture with her hands clasped in prayer, and her eyes gently turned upwards in adoration, is represented in the act of ascent to the realms of disembodied spirits. A group of cherubim seem charged with the duty of aiding the transit from a mortal to an immortal state. The whole composition breathes a devotional spirit, and the colouring is of subdued, unearthly tone, suited to the subject; every gay colour seems carefully excluded from the canvas. The real name of the Painter was Baccio della Porta; he acquired the title by which he has been handed down to posterity, Fra, or Il Frate Bartolomeo di St. Marco, from his having in a moment of religious fervour, abandoned the world, and entered himself as a Brother in the Convent of St Mark. From that time he seems to have forsworn all the blandishments of his Art, and to have dedicated his powers to the exclusive service of religion. His latter pieces were painted chiefly for the walls of ecclesiatic edifices, and hence, whether it was to inspire with reverence, or move the human affections to love and gratitude towards the Divine Being, his mode of treating his subject was strictly subordinate to the object he had in view in making the selection. The figures in this production are drawn with masterly accuracy, but the singular merit of the performance is the airiness and appearance of motion given to the ascending group. Fra Bartolomeo was a cotemporary and friend of Raffaelle and Michel Angelo, and a devoted admirer of their works. He was of Florentine birth, but visited Rome, and there perfected his style]] réalisée par Fra Bartolomeo, vendue par [[[Josiah Taylor]]]. [50]
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