A descriptive catalogue of the pictures in the Fitzwilliam museum, comp largely from materials supplied by Sidney Colvin .. . Ovid, Metam. II. 707—832. The particular lines illustratedare 814—832, in which it is told how Hermes sought to enter the chamber of Herse, andhow Agraulos in her jealousy declared she would not stir from the threshold; whereupon thegod opened the door with his magic rod and turned her into a black stone as he passed are few pictures of Veronese more carefully finished or more pleasing in colour thanthis, which probably belongs to his early period, and notwiths
A descriptive catalogue of the pictures in the Fitzwilliam museum, comp largely from materials supplied by Sidney Colvin .. . Ovid, Metam. II. 707—832. The particular lines illustratedare 814—832, in which it is told how Hermes sought to enter the chamber of Herse, andhow Agraulos in her jealousy declared she would not stir from the threshold; whereupon thegod opened the door with his magic rod and turned her into a black stone as he passed are few pictures of Veronese more carefully finished or more pleasing in colour thanthis, which probably belongs to his early period, and notwithstanding a certain stiffness indrawing and composition it must pass for one of his best works out of Venice. It is omittedfrom the list of the masters works given byBerensonin his Venetian Painters. II. 181. Martyrdom of St George [after Paul Veronese]. Atthe bottom of the picture, St George is being stripped of his armourby the executioners; he looks up with spread hands and an ex-pression of ecstasy; a monk administers consolation, standing 1.; theexecutioner leans on his great sword r. Many accessory figures to 43 Canale.] CATALOGUE OF PICTURES 35 and 1.; high up r., thev-proconsul Dacian on his charger; opposite,other mounted figures beside a bronze statue on a pedestal. Above,in heaven, a vision of the Virgin, with various male and female saintskneeling before her, and cherubs flying between heaven and earthcarrying palms for the martyr. Canvas, 13 10 by 9 g\. Cambridge. A faithful but feeble copy of the celebrated original by Paul Veronese painted for, andstill to be seen at, the church of S. Giorgio in Braida at Verona. The splendour of theoriginal colouring is almost entirely lost in this copy, which has been usually attributed toCarlo Caliari, but is probably the work of a later and weaker hand. CANALE. ANTONIO Canale (nicknamed Canaletto). Vene-tian School, 1697—1768. Architectural and landscape painter. Born Venice, 1697. Pupil of his father BernardoCanale,
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Keywords: ., bookcentury1900, bookdecade1900, booksubject, booksubjectpainting
