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indeed, but has a very sensible black and yellow face. -A Virgin, an Infant Jesus, and a St. John, an angel descending with a great quantity of fowers; the little Jesus grasps at a white rose. Here is a fine glow of colouring and freshness, as if lately finished, although by Dionysius Caloari, Guido's first master; its date 1579. It hangs in its original frame of silver, clumsily wrought.-- A Holy Family, and a St. Jerome in the same piece, by Andrea del Sarto. The colouring of this antique painter is very remarkable ; he was fatisfied with spreading over all the flesh a soft carnation; but never introduced, in his shadowing, the teints of violet, yellow, nor even pea-green, which has so fine an effect in the complexion of young and fair persons. · The eyes of all his figures are black, like a spot' made with "charcoal ; nor is there in any of them, the white speck, so necessary and now so universal even in the worit pictures of the worst matters. Nevertheless the works of this masier have a peculiar foftness, and so much ease and gracefulness, that they are universally admired, and his faults forgot. - A picture, mentioned by Lalande thus : 66 Parmi les tableaux qui doivent le plus exciter la curiosité des connoisseurs, il y a un Prêtre confefant une bonne feinme, un Penitente qui atterd, Ege. On dit qu'il eft de l'Espagnolet." Pardonnez moi, Micnfieur, on ne dit pas telle chose à Iurin. This picture is by no means in high estimation, nor does it merit lo to be. It is cold and insipid; even its subject does - not prevent its being totally uninteresting. A
grotesque painter might have made a satyrical representation of the above groupe ; buç. Espagnolet had no turn that way; and probably, had he been absurd enough to have attempted to turn into ridicule any part of their religion, he would have been in that day thrust into the inquisition for hủs wit, and his picture burnt by the hands of the executioner. I do not know where Monf. La. lande discovered that it was supposed to have been painted by Espagnolet. Mons. Grosso Cavallo, upon my inquiring particularly for this picture (from the account given of it by Lalande) shewed some surprise; for till then he had been so obliging as to express himself in terms the most flattering to me, upon the justness of my observations, &c. on most of the pictures ; but I was too vain of the good opinion of Grosso Cavallo, to let him remain in an error; and upon my producing my authority, he smiled, Ihrugged his shoulders, and said, Thąt Mons. de Lalande passed but a very few days at Turin; that he had but Nightly run over the pictures in the palace; and that it was sufficient for an Italian to disike a picture, to give it perfe&ion in the eyes of a Frenchman; adding, il faut laissée causée & jasée, les Mefieurs François. I fear your modesty begins to be alarmed, as I am now arrived at the indecent collection. The first objects that strike one's eye on entering, are our firit parents, in their birth-dav suits. Aş Adam and Eve were not born, I should have said (with more propriety) in puris naturalibus. Very indif
ferently done. One of Ovid's metamorphoses, representing Selmacis and Hermaphroditus. Poorly executed; their limbs appear lame, from the ill preservation of their proportions. Three Venuses, by Guido. The largest just sprung from the sea; the other two in supine postures. They are as large as life. One is finely done; the face, neck, and shoulders, perfectly beautiful : the rest of their persons, we may suppose, were as full of merit as might be expected, being the production of so great a master; but that is left to the imagination, the good old King having caused all these goddesses to be cut in two, and from the breast downward burnt, by hịs order.– A sketch in little, by Correggio, from his large picture of lo. Perfect of its kind, and universally admired by all connoifseurs, excepting Monf. Lalande, who believes it a bad copy.- A Cleopatra, by Guido, large as life, applying the asp to her bosom. Much faded; but the air of the head perfectly graceful.--A Diana and Acteon, author unknown. The figure of the goddess is noble, and beautiful in every respect, both as to the truth of the anatomy, and the juftness of the colouring ; the bubbles and circles formed by the water are surprisingly well imitated; her foot and part of her leg appears through the bath, and is finely done ; her face betrays a tumult of different paffions; her dignity offended, her indignation and rage, gathered into a storm, seem ready to burst on the too presumptuous Acteon, who is swimming towards her with all his might.
A Venus and a hepherd, in little, by Wanderwerf. This picture might pass for a Diana and Endymion, The shepherd is reclined in a sleeping poiture; the Venus moft exquisitely finihed, her countenance, her attitude, and her colouring are charming; her face and figure animated only by the softest passions. She seems to approach (with the most tender anxiety, the shepherd, whose doubtful repole is finely expressed. This delicate colouring, and excessive high finish, is to be met with in no painter of his country to the same degree, as in Wanderwerf. His painting is smooth as ivory, and is not varnited. His dark shadows have been objected to; bui they give a softness that no picture which is highly finished with a very strong opposition of clair obfcure can never attain. - A Medea ga. thering simples by night. This picture pleased me much, but, by fome mistake in my notes, I am doubtful of the painter's name.--A portrait of a Lady, by Titian; and of a man who is offering her a chain of gold. It is but indifferently done, though afferted to be the work of such a matter. It wants character, precision, and fails even in colouring.-Three Graces; much spoiled by damp, or accident.--Six paintings, or rather sketches, by Raphael, on wood. They represent facrifices and processions ; but have been so much injured and abused, that were it not for the enthusiastic admi. ration that every performance of this greatest of painters excites in all lovers of the art, one should be at a loss to discover the genius and native touch of Raphael in these paintings. However, le compte de Grolo Cavallo looks upon thein as of inestimable value; he says, they were found amongst rubbish in the Vatican, and prefers them to any pictures in the palace.-Three fine Etruican vases, of delicate texture, with human figures, in two colours.-Two Mosaic pictures; one represents Moses. This manner of painting is wonderfully curious; it is a composition of coloured glass. You say, you know that already; but as this style of painting is peculiar to Rome, it is reasonable to forbear giving my opinion of ic until I Mall have reached that famous city, when I may be able to form a better judgment of it perhaps, and be less. liable to speak of what I do not understand.
The Theatre, the chapel of the St. Suaire, &c. I must defer mentioning to another opportunity. Mean time, I hope you are not tired by this long letter ; but why this to you. *** I am, &c.
P. S. Hurried as I am, I must add, that I think there is too much gilding and carving in this palace; which abounds so much in every apartment, that the eye is fatigued with gaudineis. It is remarkable, that in this collection of pictures, there is no Raphael, except those defaced sketches I mentioned; but one Titian, and that not a good one; a single portrait by Michael Angelo; one Scalken ; and not one of Salvator Rosa, nor Correggio.