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Updated: June 27, 2025
In our progress to 'tree-structure, we come to 'leaf aspects. Then perhaps the object of this elaborate teaching transpires, and Mr. Paint a leaf indeed! the above-named Titian has done it. Corregio, moreover, and Giorgione and Leonardo, very nearly, trying hard. Holbein three or four times, in precious pieces, highest wrought. Raphael, it may be, in one or two crowns of Muse or Sibyl.
The several schools of the old masters were represented by a Madonna of Raphael, a Virgin of Leonardo da Vinci, a nymph of Corregio, a woman of Titan, an Adoration of Veronese, an Assumption of Murillo, a portrait of Holbein, a monk of Velasquez, a martyr of Ribera, a fair of Rubens, two Flemish landscapes of Teniers, three little "genre" pictures of Gerard Dow, Metsu, and Paul Potter, two specimens of Gericault and Prudhon, and some sea-pieces of Backhuysen and Vernet.
My Lord Corke, who was at Parma in 1754, says nothing of fountains, and Richard Lasells, Gent., who was there a century earlier, merely speaks of the fountains in the Duke's gardens, which, together with his Grace's "wild beasts" and "exquisite coaches," and "admirable Theater to exhibit Operas in," "the Domo, whose Cupola was painted by the rare hand of Corregio," and the church of the Capuchins, where Alexander Farnese is buried, were "the Chief thing to be seen in Parma" at that day.
Avoid discourtesy, but avoid still more a hollow, insincere, merely outward, gracefulness. If the feelings be correct, the manner will usually be so. Corregio painted three furies, represented by as many young women, with beautiful forms and regular features.
His own taste, however, ran on singular extremes. On Salvator Rosa in his most savage and solitary scenes; on Raphael, Titian, and Corregio in their softest delineations of female beauty. On these he would occasionally gaze with transient enthusiasm. But this seemed only a momentary forgetfulness.
Now, here it may be remarked, that even for the first essential agreeability of colouring, that is, of the substance of the paint it is necessary that it should be rich, really a substance, not a merely thin wash: such was the positive depth of even the shadowy parts in the back grounds of Corregio; the paint itself is a rich substance, with the lustrous depth of precious stones.
Furniture of all epochs heterogeneously clumped together, here a sofa a la renaissance in Gobelin; there a rosewood Console from Gillow; a tall mock-Elizabethan chair in black oak, by the side of a modern Florentine table of Mosaic marbles; all kinds of colours in the room, and all at war with each other; very bad copies of the best-known pictures in the world in the most gaudy frames, and impudently labelled by the names of their murdered originals, "Raphael," "Corregio," "Titian," "Sebastian del Piombo."
Fifty years' toning does the same thing to a picture. He is happier when he is writing about Watteau and Lancret, about Rubens and Giorgione, about Rembrandt, Corregio, and Michael Angelo; happiest of all when he is writing about Greek things. What is Gothic touched him very little, but classical art and the art of the Renaissance were always dear to him.
On either side of the door leading to the hall hung a painting, the one a Turner, the other a Corregio. There was a fireplace a huge fireplace wherein might lie a four-foot log; above it a mirrored mantel; before it the skin of a jaguar. Across from this, a narrow flight of stairs led to the private apartments of the owner. It was early fall now.
'Tis a melancholy daub! my lord; not one principle of the pyramid in any one group! and what a price! for there is nothing of the colouring of Titian the expression of Rubens the grace of Raphael the purity of Dominichino the corregiescity of Corregio the learning of Poussin the airs of Guido the taste of the Carrachis or the grand contour of Angelo. Grant me patience, just Heaven!
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