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Had it been executed by native artists we should not entirely miss the billet moulding which was so favourite a mode of decoration with all the nations of the north." Kugler, the great art historian, also thinks it continental in style, and compares it with the architecture of the south-west of France.
Kleebaum is supposed to be in New York trying to make some arrangements with his creditors. Later in the day a petition in bankruptcy was filed against him by Kugler, Jacobi and Henck representing the following New York creditors: Klinger & Klein, $2500; Sammet Brothers, $1800; Lapidus & Elenbogen, $750. Morris handed the paper back to his partner.
In his own country no picture of his, till the year 1750, ever sold for more than thirty florins. Indeed, Kugler was informed by a Dutch friend, that in past times, when a picture found no bidder, the auctioneer would offer to throw in "a little Cuyp" in order to induce a sale.
His off-hand style, as Kugler calls it, is always full of grand and significant detail, and with a few patches of colour he sometimes achieves the liveliest forms and expressions. But he fails in that artistic arrangement of the whole and in that nobility of motives in the parts which are necessary exponents of a really high ideal.
Kugler argues, that the long winter, with its short dark days, of Northern Europe produces in its inhabitants instinctive delight in hearth-warmth and light, and that the pleasure in looking at Rembrandt's pictures is traceable to this influence.
The works of Titian are very seldom sold. One subject which he oftentimes repeated was that of "Danäe" with the shower of gold falling about her; one of these was purchased by the Emperor of Russia for six hundred thousand francs. One of the most important of his religious pictures was that of "St. Peter Martyr;" this was burned in the Church of SS. Giovanni e Paolo in Venice in 1868. An excellent copy of it had been for a long time in the Museum of Florence, and this was presented to the Venetians in order to repair their loss as far as possible. Victor Amadeus of Sardinia presented nine pictures by Titian to the Duke of Marlborough, and these were all destroyed in 1861 when the château of Blenheim was burned. Kugler says: "In the multifariousness of his powers Titian takes precedence of all other painters of his school; indeed, there is scarcely a line of art which in his long and very active life he did not enrich." His last work was not quite completed by himself, and is now in the Academy of Venice. It is a Piet
I must have heard the loudest lamentations concerning this cancer of society at this time, for they are the most deeply imprinted in my memory. Even such men as the Gepperts, Franz Kugler, H. M. Romberg, Drake, Wilcke, and others, with whose moderate political views I became acquainted later, used to join us.
Veronese, even more than Titian, whom in colouring he sought to emulate, and Tintoretto, whom in this respect he certainly excelled, expresses the spirit of the Venetians of his time a powerful and noble race of human beings, as Kugler calls them, elate with the consciousness of existence, and in full enjoyment of all that renders earth attractive.
With the utmost life and truth to nature, which brings these kneeling figures actually into our presence, says Kugler, there is combined in a most exquisite degree an expression of great earnestness, as if the mind were fixed on some lofty object.
With regard to this noble masterly picture, Kugler has written, 'Well might the artist now close his eyes. He had in this picture attained the summit of art; here he stands side by side with the greatest masters known in history.
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