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Updated: June 13, 2025
Among the pleasantest pictures are a Lippo Lippi Madonna and Child, a Filippino Lippi Madonna and Child with Angels, and a similar group by Botticelli; but one has a feeling that Carlo Dolci and Guido Reni are the true heroes of the house.
And the longer he meditated the more anxiously did he long to be back in the cave beside his Reni his humble-minded loving little mother and beside yes, he made no attempt to conceal it from himself beside the beautiful queen-like sister of Laihova. The more he meditated, however, the more hopeless did his case seem to become. To lie he would not not even to gain Ramatoa.
"Signer Rivarez," interposed Gemma, coming forward, "my lodgings are quite close. Let us take the child in there. Then, if you cannot find a vettura, I will manage to put it up for the night." He turned round quickly. "You don't mind?" "Of course not. Good-night, Mme. Reni!"
Guido Reni, Watteau, Leighton were they not perhaps somewhat pure romanticists; Rembrandt, Hogarth, Manet mainly realists; Botticelli, Titian, Raphael, a blend. Dumas pere, and Scott, surely romantic; Flaubert and Tolstoy as surely realists; Dickens and Cervantes, blended. Keats and Swinburne romantic; Browning and Whitman realistic; Shakespeare and Goethe, both. The Greek dramatists realists.
Guido Reni, Carlo Maratti, and Murillo, are distinguished by a gentler character; by the expression of tenderness and sweetness of disposition: and the subjects which they have chosen are, for the most part, those which were fitted for the display of this predominant expression the Holy Family, the flight into Egypt, the youth of St John, the penitence of the Magdalene.
The jovial Barabbas seems imperfectly impressed by these transcendental fancies, and at this moment Mary comes in dressed like a Madonna of Guido Reni, and soon after St. Joseph and his staff. They ask each other where is the Child, a scene of alarm and bustle, which ends by the door of the Temple flying open and discovering, shrined in ineffable light, Jesus teaching the doctors.
The large room No. 63 shows a Venetian sunset by Turner, two portraits by Goya, another attributed to Velasquez, a splendid Raffaelesque altar-piece by Tiepolo, the like of which rarely leaves Italy, and canvases by Guido Reni, Ribera, and Van Dyke.
And there is, too, the work of the painters Niccolo Rondinelli, Cotignola, Luca Longhi and his sons, Guido Reni, and others. Later the papal government undertook many great public works.
The foregoing extract shows something of the kind of reading in which the little Brontës were interested; but their desire for knowledge must have been excited in many directions, for I find a "list of painters whose works I wish to see," drawn up by Charlotte Brontë when she was scarcely thirteen: "Guido Reni, Julio Romano Titian, Raphael, Michael Angelo, Coreggio, Annibal Carracci, Leonardo da Vinci, Fra Bartolomeo, Carlo Cignani, Vandyke, Rubens, Bartolomeo Ramerghi."
Our ancestors, or rather those cardinals and superb lords with whom we have neither spiritual nor temporal relationship, who made the great collections of the seventeenth and eighteenth centuries, placing statues under delicate colonnades and green ilex hedges, and hanging pictures in oak-panelled corridors and tapestried guard-rooms, were occasionally mistaken in thinking that a Roman emperor much restored, or a chalky, sprawling Guido Reni, could afford lasting æsthetic pleasure; but, bating such errors, were they not nearer good sense than we moderns, who arrange pictures and statues as we might minerals or herbs in a museum, and who, for instance, insist that poor tired people, longing for a little beauty, should carefully examine the works of Castagno, of Rosselli, and of that artist, so interesting as a specimen of the minimum of talent, Neri di Bicci?
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