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It is thus described by Kugler: "A picture in the Brera in Milan, very deserving of notice, is perhaps one of Giorgione's most beautiful works; it is historic in subject, but romantic in conception. The subject is the finding of Moses; all the figures are in the rich costume of Giorgione's time.
Ruisdael's work may be well studied in the six examples at Hertford House, and the fourteen in the National Gallery. Among his finer works in Continental collections the following are some of those selected by Kugler for description.
The figures are ill-proportioned; the faces consist of lines without any attempt at form or expression. The draperies, however, have a certain amplitude; "and the character of a few accessories, for example, the crown on the Virgin's heads instead of the invariable Byzantine veil, betrays," says Kugler, "a northern and probably a Frankish influence." The attendant saints, generally St.
Kügler, “the style of art already existing attained its most peculiar and its highest perfection. He became the representative of German art at this period.” To himself and his works, therefore, must we look for a true knowledge of the German school; and to Nürnberg, as it was in his epoch, for an acquaintance with the characteristics of the refined life of the German people.
In the Paduan School it now came to be very differently developed, namely, by the study of the masterpieces of antique sculpture, in which the common forms of nature were already raised to a high ideal of beauty. This school has consequently the merit, as Kugler points out, of applying the rich results of an earlier, long-forgotten excellence in art to modern practice.
In portraits Giorgione has only been exceeded by Titian. In the National Gallery there is an unimportant 'St Peter the Martyr, and a finer 'Maestro di Capella giving a music lesson, which Kugler assigns to Giorgione, though it has been given elsewhere to Titian.
This approach to dramatic reality sometimes assumes a character which, as Kugler puts it, oversteps the strict limits of the higher ecclesiastical style.
Kugler recites the description of the case of an arrow-wound of the thorax, complicated by frightful dyspnea and blood in the pleural cavity and in the bronchi, with recovery. Smart extracted a hoop-iron arrow-head, 1 3/4 inches long and 1/2 inch in breadth, from the brain of a private, about a month after its entrance. About a dram of pus followed the exit of the arrow-head.
Raphael and his scholars painted and drew about nine hundred pictures and sketches, including a hundred and twenty Madonnas, eight of which are in private collections in England. Of Raphael's greatness, Kugler writes that 'it is not so much in kind as in degree.
Hence the necessity for taking the knife into consideration in judging such work. This is not the place for any fraction of that hot debate which Kugler ironically styles "the great question of the sixteenth century"; the debate as to whether Holbein himself did or did not cut any of his own blocks. Assuredly he could do so.
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