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Updated: May 22, 2025
See Guide to the Italian Pictures at Hampton Court, by Mary Logan, 1894. Official Catalogue, and Crowe and Cavalcaselle, ii. 502. Pater: The Renaissance, p. 158. ii. 219. The execution of this grotesque picture is probably due to Girolamo da Carpi, or some other assistant of Dosso. The subject is derived from a passage in the De Divinitate of Cicero, as Herr Wickhoff has pointed out.
Gold and untouched to poetry or piety by scenes that ought to blend the spirit in ourselves with spirit in the world without, we can but wonder how this phantom show of mystery and beauty will pass away from us how soon and we be where, see what, use all our sensibilities on aught or nought? In the picture-gallery at Modena there is a masterpiece of Dosso Dossi.
Although the Dosso Faiti positions were completely destroyed, they were strenuously defended by the Italians. The latter also resisted determined attacks from Castagnievizza to the ridges north of Jamiano and by counterattacks and heavy hand-to-hand fighting succeeded in maintaining their positions and even in occupying new advanced positions near Castagnievizza and Versic.
In addition to them, Cesare da Sesto, likewise a Milanese, imitated him very well; and, besides what has been mentioned in the Life of Dosso, he painted a large picture that is in the house of the Mint in Milan, a truly abundant and beautiful work, in which is Christ being baptized by John.
Another picture in the Pitti was also recognised by Morelli as Giorgione's work "The Nymph pursued by a Satyr." Modern criticism seems undecided on the justice of this view, some writers inclining to the belief that this is a Giorgionesque production of Dosso Dossi, others preserving a discreet silence, or making frank avowal of their inability to decide.
Her feet rested on a meadow sprinkled with minute wild-flowers, and her attitude of smiling majesty recalled that of Dosso Dossi's Circe. She wore a red robe, flowing in closely fluted lines from under a fancifully embroidered cloak.
They do not represent, the Assumption, nor yet the reception of Mary in Heaven, as is usually supposed; but the election or predestination of Mary as the immaculate vehicle or tabernacle of human redemption the earthly parent of the divine Saviour. I have described such a picture by Dosso Dossi, and another by Cottignola.
In the Sala della Giustizia we come again to the Venetians: a noble Piombo, No. 409; the fine Aretino and Tommaso Mosti by Titian; Tintoretto's portrait of a man, No. 410; and two good Moronis. But I am not sure that Dosso Dossi's "Nymph and Satyr" on the easel is not the most remarkable achievement here. I do not, however, care greatly for it.
Three-quarters of the way up we stopped and got a drink of water from the Infantrymen in charge of the water barrels. There are no springs or streams on the Volconiac or on Dosso Faiti.
The frame is old and richly carved; and the painting, bordered by its beautiful dull gold, shines with the lustre of an emerald. In his happy moods Dosso set colour upon canvas, as no other painter out of Venice ever did; and here he is at his happiest. The picture is the portrait of a jester, dressed in courtly clothes and with a feathered cap upon his head.
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