The early work of Raphael . ltat a cost, according to a contemporary, of 100,000 scudi. For thismagnificent abode Claude painted in 1658 the picture now in theNational Gallery, variously known as David at the Cave of Adullamand Sinon brought before Priam (Nat. Gal. 6, L. V. 145). For thegrand simplicity of composition and for the rendering of atmospherethis canvas ranks as one of the artists best. Even Mr. Ruskin, while criticising the foreground of this picture forits false and monotonous colouring, has pronounced it a really fine workof Claude. The year following the election of Alexander VI
The early work of Raphael . ltat a cost, according to a contemporary, of 100,000 scudi. For thismagnificent abode Claude painted in 1658 the picture now in theNational Gallery, variously known as David at the Cave of Adullamand Sinon brought before Priam (Nat. Gal. 6, L. V. 145). For thegrand simplicity of composition and for the rendering of atmospherethis canvas ranks as one of the artists best. Even Mr. Ruskin, while criticising the foreground of this picture forits false and monotonous colouring, has pronounced it a really fine workof Claude. The year following the election of Alexander VII. was marked by avisitation of the plague which decimated Rome. Many fled the and Poussin remained, painting on serenely, the latter busy on acommission for the Due de Crequy, the new French ambassador, theformer working for Signor Cardello and a certain illmo Sigr the three pictures mentioned in the Liber Veritatis under thisdate, one, a landscape with Jacob bargaining for Rachael (Z,. V. 134),. St. Paula leaving Ostia. Dulwich Gallery. 42 CLAUDE LORRAIN remarkable for a peculiar silvery quality of light, deserves specialmention. It is now one of the chief treasures of Petworth. Claude and Poussin were neighbours, living at the time, as it wouldappear from a census taken immediately after the plague, in the StradaPaolina, the modern Via Paola, running from the Ponte St. Angelo tothe Church of S. Giovanni dei Fiorentini. How then account for the tradition which ascribes to Claude as hisdomicile the Tempietto on the Trinita de Monti, and to Poussin aneighbouring house, No. 9 of the same piazza ? Perhaps both artists may have sought refuge in the lower town fromthe miasmas. There is no documentary evidence in support of the * Tempietto theory. Traditions however die hard. Harder in Rome, perhaps, wherethey have wound their roots in and out among the stones, than one nurtured in the belief that Claude and Poussin lived on theTrinita de Mon
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
