A Popular Handbook to the National Gallery, Volume I, Foreign Schools. National Gallery (Great Britain)

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      "Whether it can be supposed to resemble the ancient Aricia, now La Riccia, close to Albano, I will not take upon me to determine, seeing that most of the towns of those old masters are quite as much like one place as another; but, at any rate, it is a town on a hill, wooded with two-and-thirty bushes, of very uniform size, and possessing about the same number of leaves each. These bushes are all painted in with one dull opaque brown, becoming very slightly greenish towards the lights, and discover in one place a bit of rock, which of course would in nature have been cool and grey beside the lustrous hues of foliage, and which, therefore, being moreover completely in shade, is consistently and scientifically painted of a very clear, pretty, and positive brick red, the only thing like colour in the picture. The foreground is a piece of road which, in order to make allowance for its greater nearness, for its being completely in light, and, it may be presumed, for the quantity of vegetation usually present on carriage-roads, is given in a very cool green grey; and the truth of the picture is completed by a number of dots in the sky on the right, with a stalk to them, of a sober and similar brown.94

      "Not long ago, I was slowly descending this very bit of carriage road… The noonday sun came slanting down the rocky slopes of La Riccia, and their masses of entangled and tall foliage, whose autumnal tints were mixed with the wet verdure of a thousand evergreens, were penetrated with it as with rain. I cannot call it colour: it was conflagration. Purple and crimson and scarlet, like the curtains of God's tabernacle, the rejoicing trees sank into the valley in showers of light, every separate leaf quivering with buoyant and burning life; each, as it turned to reflect or to transmit the sunbeam, first a torch and then an emerald. Far up into the recesses of the valley, the green vistas arched like the hollows of mighty waves of some crystalline sea, with the arbutus flowers dashed along their flanks for foam, and silver flakes of orange spray tossed into the air around them, breaking over the grey walls of rock into a thousand separate stars, fading and kindling alternately as the weak wind lifted and let them fall. Every glade of grass burned like the golden floor of heaven, opening in sudden gleams as the foliage broke and closed above it, as sheet-lightning opens in a cloud at sunset; the motionless masses of dark rock – dark though flushed with scarlet lichen, casting their quiet shadows across its restless radiance, the fountain underneath them filling its marble hollow with blue mist and fitful sound; and over all, the multitudinous bars of amber and rose, the sacred clouds that have no darkness, and only exist to illumine, were seen in fathomless intervals between the solemn and orbed repose of the stone pines, passing to lose themselves in the last, white, blinding lustre of the measureless line where the Campagna melted into the sea. Tell me who is likest this, Poussin or Turner?" (vol. i. pt. ii. sec. ii. ch. ii. §§ 1-3).

      "Therefore we see at once that the stem of Gaspard Poussin's tall tree, on the right of the 'La Riccia,' is the painting of a carrot or a parsnip, not of the trunk of a tree" (see further, ibid., vol. i. pt. ii. sec. vi. ch. i. § 6; and cf. vol. ii. pt. iii. sec. ii. ch. ii. § 18).

      Lancret, a painter of the "fêtes galantes" school, was an imitator of Watteau, but his productions lack the airy grace and touch of poetry which elevate even the most frivolous pictures of that "prince of court painters" into works of fine art. Examples of Watteau are now included among the National treasures in the Wallace collection at Hertford House. Lancret was the son of humble parents, and received his early training as an engraver. Entering subsequently the studio of Claude Gillot he came under the influence of Watteau, but his friendship with that painter was short-lived. A rivalry appears to have sprung up between them, and they remained estranged until the closing year of Watteau's life. "Lancret was a thorough bourgeois, and passed his time chiefly in Paris. He was a regular frequenter of the opera and the 'Comique,' and was a friend of the dancers La Camargo and La Sallé, whom he frequently represented in his works" (Bryan's Dictionary of Painters). In 1719 he was admitted into the Academy, and in 1735 was elected Councillor. In 1840 he married a grand-daughter of the comic poet Boursault.

      Huysman was one of the many foreign artists who settled in England under the Stuarts. He obtained considerable employment as a portrait painter, in spite of Sir Peter Lely's rivalry; one of the portraits among the "Windsor Beauties," now at Hampton Court, was painted by him.

      Antonio Canale, commonly called Canaletto,95 was born in Venice, lived in Venice, and painted Venice. His pictures (of which the one before us is among the best) СКАЧАТЬ