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Updated: June 13, 2025
The portrait is called sometimes the Duke of Norfolk, sometimes the "Young Englishman". I reproduce it in this volume, but it wants its colour. This work is no favourite of mine, but one cannot deny it power and richness. The Guido Reni opposite, in which an affected fat actress poses as Cleopatra with the asp, is not, however, even tolerable.
Even the great Annibale interested himself in the neglected boy, and I have the happiness to be able to say I am a pupil of Guido Reni." "Well, good Antonio," said Salvator, a little sharply, as his manner sometimes was. "If that is so, you have had great teachers; so, no doubt, in spite of your surgical skill, you may be a great pupil of theirs too.
Guido Reni lived long enough to outlive his good painting, but among his early works are some that may really be called the masterpieces of this school; such as the Aurora and the St. Michael which you saw in Rome." "What do you mean by his outliving his good painting?" asked Margery.
She stared at him blankly "Mme. Reni? Has she come back, then, sir?" "What do you mean?" he asked with a frown, stopping short on the mat. "She went away quite suddenly, just after you did, and left all her things behind her. She never so much as said she was going." "Just after I did? What, a f-fortnight ago?" "Yes, sir, the same day; and her things are lying about higgledy-piggledy.
Everywhere he found boldness in conception, and correctness in drawing; and the freshness of the colouring, the good taste in the arrangement of the drapery, the uncommon delicacy of the extremities, the exquisite grace of the heads, were all so many evidences that he was no unworthy pupil of the great Reni.
A line from Toultcha to Odessa, passing by Reni and joining the Russian telegraph at Ismail. The subaqueous cable from Toultcha to Reni, on the Danube, is the sixth in the Ottoman Empire. This line, which will place Constantinople in direct communication with Odessa, will not only have the advantage of increasing and accelerating the communications, but will very considerably reduce their cost.
At the theatre door they found only a few cabs waiting, and these were all engaged. The performance was over, and most of the audience had gone. Zita's name was printed in large letters on the wall-placards; she had been dancing in the ballet. Asking Gemma to wait for him a moment, the Gadfly went round to the performers' entrance, and spoke to an attendant. "Has Mme. Reni gone yet?"
Here you may see two fine Rubens, a portrait of Philip IV of Spain, and a Silenus with Bacchantes, a great picture of James I of England with his family, painted by some "imitator" of Vandyck, though who it was in Genoa that knew both Vandyck and England is not yet clear; a Ribera, a Reni, a Tintoretto, a Domenichino, and above all else Vandyck's Boy in White Satin, in the midst of these ruined pictures which certainly once would have given us joy.
Up-stairs familiar names such as Domenichino, Bassano, Cortona, Crespi, Bellino, Pietra della Vecchia, Allori, Veronese, Maratta, Guido Reni, Romano need not detain us. The catalogue numbers of the Italian school go as high as 628. The Titians, however, are the glory of the Prado. The Spanish school begins at 629, ends at 1,029.
Although there is a scattered collection including the names of Van Dyke, Guido Reni, Tiepolo, Ribera, Velasquez, Goya, and Turner, on walls A and B, the important thing is the fine collection of the English portraitists. Here are examples, many of them among the finest, by Hogarth, Reynolds, Gainsborough, Romney, Lawrence, and Hoppner.
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