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The angel has one knee on the ground : with her hand she points to heaven in order to attest her mission. In her hand she holds a lily, symbol of the purity of Mary. The Virgin, standing with downcast eyes, listens with much reverence to the envoy of the Lord. Behind her is a bed, the ornaments of which exhibit the Grecian style of architecture, and perhaps are too fine to accord with historical truth. One window is open, and we behold the Holy Ghost placed in the centre of a luminous glory, the rays of which reflect upon Mary.

This picture, from the hand of a painter but little known, is worthy of particular attention. If the design be not perfectly correct, it is not wanting in elegance. The expression of the Virgin is true and well imagined. The chiar-oscuro gives the work a very fine effect. The colours display a strength and harmony suitable to the style of history. The mantle of the Virgin is blue, and her robe red. The upper drapery of the Angel varies in appearance according to the point of light; the tunic is yellow. The execution of the picture is laboured and bold. It was removed from the gallery at Turin.

Horace Gentileschi, the author of this work, is not so well known as his merits deinand. He was born a;

Pisa, in 1563. He worked some time at Rome with his friend, Augustine Tassi, from whence he repaired

England. He died in London, it is said, in the

year 1646.

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Printed by T. Hood and Co. St. John's Square, London.

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A family, from the lower class of society, after having indulged themselves in the pleasures of the table, form a concert, which may be considered somewhat in harmonious, if we may judge from the age of the party. An union of an old man and his wife, of their children and grandchildren, the youngest of whom are blowing the flageolet, can only produce discordant music. The figures of this picture are of the natural size.

Incidents of this kind suited infinitely better the genius of Jordaëns than historical subjects, of which this painter presented nothing but compositions of heavy design and ignoble character. These defects, far from being misplaced in a trivial scene, render the expression the more natural. It must, however, be admitted, that Jordaëns, in all his pictures, has manifested a vigour of effect, a truth of colouring, and an energy of pencil, which will ever place him on a distinguished rank.

Rubens conceived for Jordaëns, who was his disciple, a peculiar esteem. He endeavoured to bring him forward, and committed to his genius several of his productions; among others the Cartoons in distemper, destined for the king of Spain, to be worked in tapestry, of which Rubens had given the outline.

Although the works of Jordaëns were not so highly appreciated as those of Rubens, his fortune was far from

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