- Museum number
- 1859,0514.304
- Description
-
Sketchbook, bound in vellum, containing drawings of Old Masters and sculpture, made on the journey from Florence to Venice (for full description by Binyon, see Comment field)
Black chalk, with some notes in pen and brown ink, on pages sewn in quires in vellum binding with a cover flap
[Binyon lists the pages as 'obverse' and 'reverse'; on the images attached to this record they are listed as 'recto' and 'verso'. The page or folio numbers are clearly visible in the upper corners of each page.]
SKETCHBOOK containing Sketches and Notes in MS. made at Venice and on the journey thither from Florence. Reynolds travelled by way of Bologna, Modena, Parma, Mantua, Ferrara, and Padua. The majority of the Venetian notes have been printed in Leslie & Taylor's ' Life.' But among the other notes the interesting evidence of Reynolds' admiration for the frescoes by Mantegna at Padua seems to have been overlooked by all writers on the subject.
f. 1. Ob. Sketch of a girl with a loose shawl over her dress. The veil may be
black gauze, the breast seen through. Both sketch and memorandum are in
pen-and-ink, over some rough notes in black chalk.
Rev. Direct to Consul. See Zuceherelli, pay him Palate. Send the
flowers and Portrait to Wagner. Write to Wilson.Pay the Horse. Hat.
These memoranda are written in ink over a very slight sketch of a figure,
with notes appended, by Paulo in a Monastry at Verona, a Banquet. St.
Justina, Padua, Benedetti del Monte Cassino. In scola St. Antonio, Picture
of Titian.
f. 2. Ob. Sketch from the marble group of a warrior supporting a wounded comrade (Ajax and Diomed) in the Loggia dei Lanzi, Florence. Gioseppe Marci fecit.
Giuseppe Marchi was a young Italian whom Reynolds had discovered in Rome at the age of fifteen. He accompanied Reynolds to England, and became well known as a mezzotint engraver. In spite of the signature, the sketch on this page has all the appearance of being by Reynolds' hand.
1 Apparently the Ajax and Patroclus in the Loggia dei Lanzi.
Rev. Sketch from a picture. Padua.
f. 3. Ob. Two riders fighting. Sketch from a picture.
Rev. A woman praying ; slight sketch.
f. 4. Ob. Modena. The Domo. The 1st Altar on the right hand the circumcision, the Virgin kneeling in the Middle of the Picture, a little figure simple and beautifull. A Little boy looking at the Doves, another sweet figure, indeed the whole is admirable. Guido.
Sketch of a woman walking on tip-toe, her shawl blown by the wind, leading a child by the hand.
Rev. Sketch of a man attacking another who is on horseback.
f. 5. Ob. Sketch from a picture of the Marriage at Cana (?).
Rev. Virgin, Christ, Many Saints, Tint. [Tintoretto].—Jupiter & Semele. —A copy after the notte [of Correggio].—Pieta, Guercino.—Roman Charity, Andrea Sacci.—Marriage of St. Katherine, Guercino. Lo [word illegible],
f. 6. Ob. Copy Supper, P. Veronese—the supper with Magdalen. Battles, Julio Romano.— Vault, Tintoretto.—Garofalo, V. B. with J. B. [John Baptist] &c. —St. Rock & Dog & Angel with a crown above, Guido.—A young man & his Mistress heads [word illegible] in comparison. Magdalen, Caracci, the same as that in Zampieri; this Best.—A Minerva with another figure in Armour.
—4 Elements, Ludovico.—An old man crowned with ivy, and a glass in his hand, behind a muse-like head by Dossi of ferara.
The last-named picture by Dosso Dossi is still in the gallery at Modena. Rev. Slight rough sketch of three figures.
f. 7. Ob. St. Peter going to be tied to the Cross, Guercino, great size.—St. Peter & Paul, heads, Guido.—Do. of Guercino.—A fine Magdalen, Guido.— Caniacci V. & B. holding a dove.—Holy Family by Titian in a Landskip.— Adultry, Titian.—V. Christ with an Apple, he falling forward. — St. Paul.— Many Draw. of Pictures of Dossi. St. Francis' Head, Guercino.
Rev. Sketch of two warriors fighting over a fallen horse.
f. 8. Ob. Chiesa Maria at Modena.—A Pieta, Guercino. The Virgin interceding with Christ. A Plague below ; a Tast between Guido & Guercino. Sketch from a figure of a woman.
Rev. Sketch of a soldier thrusting back a man with his spear from the fresco by Mantegna of ' St. James on the road to Martyrdom' in the Church of the Eremitani, Padua. Opus Ansoine. This last is the inscription on the fresco of St. Christopher by Ansuino da Forli in the same chapel.
f. 9. Ob. Parma. St. Joanne. In a chapel on the right hand, Pieta by Corregio the Magdalen in the Colonna. Opposite, the Martyrdom of two Saints [Placidus & Flavia], the ex[pression?] of the woman as that of an Angel in Bliss, the colouring divine, white and oil transparent, shadows greyish.—A Copy of the Notte better than in the Palace at Modena.—A fine copy of Holy Family & St. Jerom by Corregio.—The Cupolo Angles & freeze quite round the church is by Corregio's scholars, the mezzo Cupolo Christ Crowning Virgin. St. John Baptist (of which a Copy in the Palazzo Piti) and John Evangelist with many Angels all by Parmegiano.—A St. John over the door by Corregio with the Eagle picking his wings.
Rev. The Eagle of St. John, Corregio, cleaning his feathers. Sketch from the eagle. Sketch from a figure by Correggio. One of the boys in Chiaroscuro around Corregio Cupola, Parma.
f. 10. Ob. In the Garden house of the Palace just by the Great one [Palazzo del Giardino at Parma], a room painted by Tiarini in fresco from Tasso. There are some fine figures particularly the writing.—Another room by Carlo Cignani, the history of Baccus & Ariadne, &c; that of Apollo & Daphne is fine, as are all.—A Sea Triumph by Agostino. 3 Boys above, ditto, one bending his bow by the help of his foot in a very commodious manner, another dipping his torch in a lake, another wetting his arrow on a rock.—Some Frescos said to be Parmegiano.
Rev. Sketch from the figure of the Soldier in the centre of Mantegna's fresco, ' St. James on the Road to Martyrdom,' in the Church of the Eremitani, Padua.
f. 11. Ob. Sketch from a picture of Apollo and Daphne. A Gignani in Parma at the palace in the garden.
Rev. Sketch from the figure of the horseman at the r. of Mantegna's fresco,' The Martyrdom of St. James,' in the Eremitani, Padua. Also a separate sketch from the horse's head. Housing, A Lion's skin on the brest. Andrea Mantegna.
f. 12. Ob. Dome at Parma. Cupola by Corregio, Angels in stone colour by Do. you must ask to see the Holy Family with St. Jerom. It gave me as great a pleasure as ever I receiv'd from looking on any Picture, the airs of the heads expression and colouring are in the utmost perfection; 'tis very highly finished, no Giallo in the flesh, the shadows seem to be added after by a thin colour made of oil and ultramarine, and sometime oil and red, no outline scar[c]e to the Face especially the Virgins, the lips, &c. The red mixt with the white of the face almost imperceptably—all broad.
Rev. Sketch of a Cupid flying and blowing a trumpet; below, a woman at a door. A Picture representing a young woman hiding her sweetheart and putting her handkerchief in order, the husband knocking at the door.
f. 13. Ob. Palace T at Mantua. 6) Giants. 5) Julius Caesar with his Lictor on each side in medalions—the continence of Scipio & Alexand. concealing the books of Homer—in different partitions. 6 whole length figure in Roman dresses as large as life—4 Marches in Plaster, d. Portico, not seen.—Historys in Medalions.—Cupid & Psyche.
Rev. Sketch from the picture of Venice with Peace & Justice, by Paolo Veronese, in the Ducal Palace, Venice. See the observations [on f. 65, 06.].
f. 14. Ob. Sketch from Giulio Romano; two Cupids & Satyr; Palazzo T. Sketch of naked boy. Paulo.
Rev. Sketch from ' The Finding of Moses' by Paolo Veronese (? a copy from the picture at Madrid).
f. 15. Ob. Sketch of a figure from the same picture as the last. Finding of Moses in little in the Palace.—A mass of light.
Rev. Sketch from a reclining female figure by Veronese. Paulo in Little in the Palace.
f. 16. Ob. A fallen giant; sketch from Giulio Romano. P.T. [Palazzo del Te',
Mantua].
Rev. Rough sketch from a picture or decoration, three figures on a floating shell.
f. 17. Ob. Sketches from Giulio Romano (Bacchus & Ariadne). A girl with cymbals ; head of a Satyr drinking. P.T.—white whiskers; this would serve for a fountain.
Rev. Sketch from a picture, Incredulity of Thomas (?).
f. 18. Ob. Two sketches from Giulio Romano (Story of Cupid and Psyche); river gods. P.T.
Rev. Sketch of a group from G. Romano; Satyr and sleeping nyrnph, adapted. Serve for Time Discovering Truth.
f. 19. Ob. Sketch from a female figure, by G. Romano. In T.
Rev. Sketch from G. Romano; Satyr and Nymph.
f. 20, Ob. Sketch from G. Romano, a floating female figure. In T. Below sketch of a lake and distant campanile, probably the lake at Mantua.
Rev. Two sketches, a man on horseback and a man on foot fighting, and a warrior on horseback.
f. 21, Ob. Sketch from G. Romano; Bacchus and Ariadne, Satyr and Cupid. In Palazzo T.
Rev. Warrior on horseback striking a foot soldier.
f. 22. Ob. Sketch of a mother and child, the lower part Julio Romano in T., the upper part invention.—Sketch of the breech end of a cannon. A Canon at Mantua.
Rev. Sketch from the fresco by Tiepolo, the Embarkation of Cleopatra, in the Palazzo Labia, Venice. Tiepoli.
f. 23. Ob. Sketch of a boy's head, by Bernardo Strozzi. Prete Genoese in Sti. Apostili, Venice; the Guardian Angel with this boy in his hand. Two slight sketches of warriors.
Rev. Sketch of a boy wrapped in a shawl. Winter, a little Boy in the coming of a chorus.
f. 24. Ob. Sketch of Venus and Cupid in a chariot. In P.T.
Rev. Sketch of an Apostle (?).
f. 25. Ob. Sketch of a man and woman standing by a pillar. Slight sketch of a church and trees above.
Rev. Two sketches; an old man leaning on a stick; two men talking
together.
f. 26. Ob. Figure of Christ from a ' Resurrection' by Leandro Bassano. L.
Bassano. Sketch from an ' Entombment.' Palma.
Rev. Time and a genius flying through the air and catching up a woman by the hand and hair.
f. 27. Ob. Sketches of figures from a ' Crucifixion' by Palma Giovane. Palma in Justina.
Rev. Sketch from a picture: group of man, woman and child under trees. The Wastcoat red like St. Mark's at St. Gregory, by Titian, and Mars in the palace, by Paulo.
f. 28. Ob. Sketch from the figure of Christ in the Crucifixion by Palma Giovane. Palma in Justina.
Rev. Sketch from a picture; a king on a high throne under a canopy.
f. 29. Ob. Sketch of a soldier seated. Palma in St. Justina, a statue in a Picture. Sketch of drapery on an arm.
Rev. Sketch of a gondola.
f. 30. Ob. Sketch from Veronese; the Almighty and Cherubim. Paulo. The flying on the wings of the wind.
Rev. Sketch of a winged figure standing on a globe.
f. 31. Ob. Landscape sketch, gardens and buildings, probably at Padua, Below sketch of a sculptured pillar. Ignoto.
Rev. Sketch of the figure of a philosopher, from a picture.
f. 32. Ob. Sketch of a boy with a dog. Varotarii in St. Maria Maggiore.
Sketch from a landscape, by Bassano. Bassan Do.
Rev. Sketch from the ' Diogenes' of Tintoret in the Library of St Mark,
Venice.
f. 33. 06. Sketch of a lady on horseback. Varotario Do., white apron ; a light red petticoat. Sleeves white Satin striped with green. Shoe strip'd.
Rev. Sketch from a figure of Victory. Victoria in St. Antonio di Padoa.
f. 34. Ob. Sketch from painting by Veronese in S. Sebastiano, Venice, of a column with caryatid and festoon. Paulo in St. Sebastian.
Rev. Slight sketch of a female figure.
f. 35. Ob. Sketch from Niccolo Bambini's ' Conversion of St. Paul.' Caduta di St. Paulo in St. Polo Cav. Bambini.
Rev. Sketch of an angel inscribing a shield.
f. 36. Ob. Sketch from a picture; scene in a temple. Cav. Bambini.
Rev. Sketch from a ceiling decoration.
f. 37. Ob. Sketch from a figure with hands extended. Cav. Bambino.
Rev. Sketch from a picture by Veronese. Paolo.
f. 38. Ob. Slight sketch of drapery. Cav. Bambino.
f. 39. Ob. Sketch of the fainting Virgin supported by St. John. Salviati at Pietro Martire in the Isola Murani.
Rev. Sketch from Tintoret's ' Baptism of John.' School of St. Rock—Tint.
f. 40. Ob. Sketch of a man in armour. Salviati Do.
Rev. Sketch from ' The Last Supper,' by Tintoret.
f. 41. Ob. Slight sketch of a figure and architectural background.
Reversing the volume, we find :—
f. 78. Rev. Sketch of an old man looking up. Memorandum for an account for a p. of velvet Britches—he gave Carlo for my Acct., etc.
Ob. Sketch of a head. Crucifix by Pietro Vechia. God by Christ, Devils about the bad. An Angel directing the good to Christ: fine heads and the whole well composed. A Figure on horseback. a wonderfull Expression. A boy corers the legs. The horse's head, &c, in the light, one mass. A whole-length figure another. [A fuller note on this picture is on f. 48, Rev.]
f. 77. Rev. Anatomical study of a male figure.
Ob. Study of costume, over an anatomical study : A figure in a slash'd jacket tuck'd in his breeches, another.
f. 76. Rev. Two slight sketches of heads. Chiesa Carmelitani Scalzi, is a fine church, colourd glass rays.—Chiesa Marcuo or Ermagora. Last Supper by Tintoret The Napkin the Principal Light, divided by a Dark figure. A Figure at one End of the Table in white satin divided from the white Principal Mass by a dark figure; a light figure at each end of the Picture. A dog sitting on his tail as begging. A fine picture.
Opposite, ' Washing the Feet.' Do. The Ground and background white.
Ob. The manner of the fingers snatching at the fruit. When he spits he talks as if a Nurse was talking to a Child. Hem hard, tire, tire, draw your breath, knok oneself on the back. Cut a man's button off as the Frenchman. In the Carmelitani Scalzi at Venice an Artificial light that is let in at the top of an altar and rays made of yellow tubes of Glass has an extraordinary effect. Below, Sketch of a man with a pole, probably bringing a gondola to land.
f. 75. Rev. Slight sketch of a seated figure. Gregorio. The birth, Assumption & presentation of Virgin by Jordano. In the choir, the Manna. Daniel. Another, where an Angel awaking an old man. The Descent, by Titian. A figure dressed in white, flowered with gold lightly; a fine effect. In ' The Descent' of Ti: all the colours broken; no strong ones ; the 3 Maries make the Principal light. Sacristy : Supper. The woman that leans over the table, strong drapery to borough [borrow] form: but her handk, is shadowy, strong blue, lights quite white to harmonise with the Tablecloth.
Ob. Shadows of Table Blue. The Colours are like those of a colourd drawing except those on the foreground. One sees a little red here & there at a Distance. The ground on which they stand light (not as the figures at table)—the shadows of the figures strong on them; the ground a little inclinable to Grey but rather mellow oily yellow. Some of the Dark figure[s] on this ground have white lights stronger than the ground, tho the shadows are as dark as can be to hinder instead . . . [This note is broken off and was afterwards crossed out.]
f. 74. Rev. Study of drapery, from a picture.
Ob. Observation on S. Pietro Martire di Titiano.—Pietro Martirio in the Church of St. Giovanni & Paolo. The Trees harmonise with the sky, that is, are lost in it some place, at other places relieved smartly by means of white clouds. The angels' hair, wings, and dark part of their shadoivs, being the same colour as the trees, harmonise.—The Trees of a Brown Tint. The shadows of the white drapery the colour of the light ground; the lights the colour of the face of the saint. The landskip dark. Trees opposed to campo of light; behind that dark trees; behind that, Blue scumbled Ult. [ultramarine] mountains. The Drawing in general, Noble, particularly of the right leg of him that flyes.—His head, &c, the shadows of his eyes and nostrils determined, and a beautiful shape.
f. 73. Rev. Diary of Reynolds' journey to and from Venice. July 21 arrived at Mantua, July 22 departed from Mantua and arriv'd at Ferrara the same day. 23rd departed from thence. 24th arrived at Venice, 25th Enter'd my Lodgings, 26 the Boy [Giuseppe Marchi ?] began to Eat at my Lodgings, and two boys pay'd to for me. Aug. 16 parted from Venice, the same day arrived at Padua, slept at Torre Confini. 20, past Peschiera & Lago di Garda, slept at Osteria del Papa. 21, Brescia. 22, Bergamo. 23, Milano. 23, arrived at Milan ; 27, parted from Milan.
Ob. Obser. on the Marriage of Cana by Paolo. The principal light in the middle, Paolo himself, dresst in white, and light yellow stockings, playing on a violino; the next is his brother going to tast liquor : he is drest in white but flowered with various colours. The table-cloth, the end on the other side, with the lady, makes a large mass of light. Almost all the other figures seem to be in Mezzotint; here and there a little brightness to hinder it from looking heavy. All the banisters are mezzotint; between some of them, on the right side is seen the light building to hinder the line of shadow so as to make the picture look half shadow & half light. The sky Blue, with white clouds. The lower in the middle white as the clouds; and so all the distant architecture, which grows darker and darker as it approaches the fore figures; between the dark Architecture in the foreground and the light behind, are placed figures to join them as it were together.
f. 72. Rev. Church of St. Georgio Maggiore.
By the great altar, two pictures of Tintoret: one Last Supper, the other The Manna.
On the right hand, as you enter, A Nativity, by Bassan. The child painted in the greatest stile. ' It seems to be painted first without shadows at all, and after the shadows are made, by washing lake made very thin with oil. The colour of the child is laky and oily.
In the Refettorio, the famous Banquet by Paolo, representing the marriage of Cana in Galilee. Amongst the musicians the principal is Paolo himself, with a viola; the second, with a violonone, is Titian ; the third, with a violine, is Tintoret, he with the flute, Bassan Vecchio.
[Church] of St. John & Paul, St. Pietro Martire di Titiano.
In the Refettorio Vecchio, the famous ' Banquet' of Paolo. The Master of the feast, in Red, under the middle arch, looking at the figure drawn from Vetellius. He on the left using his knife and fork, is the father which employed Paolo. A Print.
Ob. Observations on the Marriage at Cana in Galilee by Tintoret.
One sees by this Picture the great use Tintoretto made of his Pasteboard houses and wax figures for the distribution of his Masses. This Picture has the most natural light and shadow that can be imagined. All the light conies from the several Windows over the table. The woman, who stands and leans forward to have a Glass of liquor, is of great service : she covers part of the Table cloth, so that there is not too much white in the Picture, and by means of her strong shadows she throws back the table, and makes the perspective more agreeable; but, that her figure might not appear like a dark inlaid figure on a light Ground, her face is light her hair masses with the ground, and the light of her handkerchief is whiter than the table cloth. The shadows blue Ultr., strong. Shadows of the Table-cloth Blueish, all the other colours of the draperies are like those of a washed drawing. One sees indeed a little lake drapery here and there, and one strong yellow, he that receives the liquor.
f. 71. Ob. [In this and other cases, the precise order of the pages has been departed from, in order that the notes may be read continuously.] This Picture has nothing of mistiness: the floor is light, an oily Grey;
the Table cloth in comparison is blue; and the figures are releiv'd from it
strongly by being dark, but of no colour scarce. The figure of the woman who
poures out liquor, tho' her shadows are very dark, her lights, particularly on the knee, is lighter than the Ground. All the women at the Table make one mass of light.
The Last Supper of him [Tintoret] in S. Georgio, is managed something in the same, only the Apostles are all on one side. The light is behind them, and throws their shadows on the table.
f. 71. Rev. Salute.
The Descent of the Holy Ghost by Titian.—In the Suffitto of the high Altar, three fine Pictures of Salviati. The middle one the Manna in the Desert, the other represents the Angel which conducts Abaduch to help Daniel in the den, the other the Angel giving Succour to Elias; are printed by Lovisa.
Around these are the Evangelists, in Tondo, by Titian.
Three pictures of Luca Jordano, the Birth, Presentation, and Assumption of the Virgin.
In the Sagristy, the Marriage of Cana in Galilee, by Tintoretto: a print by Odoardo Fialetti, painter and disciple of Tintoret.
On each side is one of three pictures, which ought to make but one. Saul throwing the leftance at David, by Salviati; other works of Salviati, as David
f. 70. Rev.] with Goliah's head in Triumph met by young women playing on musical instruments. Do. The Supper of Christ. Do. Samson and Jonas by Palma. Aaron and Giosue, by Salviati.—St. Mark, and below St. Sebastian, Rocco, Cosmo, & Damiano, by Titian.—In the Suffitto Three most admirable Pictures of Titian, the Death of Abel, the Sacrifice of Abraham, and David cutting off the head of Goliah. All three in print by Febre.
Scuola di S. Girolamo near St. Fau[s]tino.
Above stairs the altar, Virgin above and angels below. St. Jerom looking up, by Tintoret; a print by Agostino Carracci.
f. 69. Rev. Ob: Scola of St. Marco.
Where St. Marco relieves one of his followers. The hands of some of the figures fine. The buildings behind quite light, the shadows oily yellow scumbled on it. The upper part of the sky dark, the lower white, to mass with the Building. Trees by the side pretty dark, to mass with the figures, which are dark; but little lights here and there. The dead figure principal light, being in the middle of this darkish Mass. Some of the Draperies painted black and white, & then Oil scumbled on it; has a rich effect. Hatchet and other thing[s] lying on the ground, are only scumbled, as it were, and sometimes only Outlines. A light pedestal and Pillar, but broke by a figure on the left; behind them darker pillars, and then the distant light ones. Every here
f. 70. Ob.] and there the mezzotint mass enters into the light ground, by means of white Turbans strip'd, flesh, light reds, &c. No Mistiness. The light buildings at a distance have likewise some dark doors, so as to mass with the foreground.
The dark building on the left hand, the upper part is lost in as dark a sky-The Tirant's drapery on the other side the same.
Sometimes on a dark dead colour white scumbled, and the ground left here & there for the partitions between stone, bricks, &c. Flesh, the whole laid in soft and broad in the dead colour, and then the shadows added by scumbling.
f. 69. Ob. Obs. on that [of] the carrying away the body of St. Mark. Lightish ground. A group of mezzotinto figure[s], a Camel, &c, which indeed receive a light on one side, but in the middle is the body, light, all soft against the ground. The Camel, oil. The body of the figure recovering himself, fine: This light body issues out of a Mezzo Tint mass, which masses with the ground at the bottom, which is dark; the ground to upper part of the figure is light.—In painting Architecture, &c, after having dead-coloured it blue, when you would have it shine, scumble white and much oil.
f. 68. Rev. S. Zaccheria, not far from St. Mark.
In the sagristy, a most admirable Picture of Paolo Veronese. The Virgin and Bambino on a pedestal with St. John Baptist; below, SSt. Jerom, Francis, and Chattarine. A print by Ant. Luciani, drawn by Tiepolo. The V. and B. make one mass, St. John another. The Pedestal is light and the fluted pillar. Tliis picture is painted in a very large manner, large bold features, and wonderfully well coloured. It looks very much as if it were painted on a Jess priming, and then smoothed with the finger. 'Tis the best preserved of any picture I know of his. The flesh of an Indian red, purply. A print by Wagner. —A fine picture of Salviati, representing a miracle of St. Cosmo and Damiano.
St. Maria Giubenicco. Christ in the air ; below, St. Giustina and Francesco di Paolo. Tintoret.— Over the door, Conversion of St. Paul; Tintoret.—The Suffito, and many others by Palma.
f. 67. Rev. Redentore.
Ascension of Christ, Tintoretto; and another by F. Bassan. The Christ of the latter has a fine sweep.—Christ carrying to the Sepulchre, a fine Picture by Palma. Scourging of Christ, by Tintoret; the Baptism of Christ, begun by Palma, finished by somebody else.
St. Anna Monache. A St. Francis, by Guido; the same as that in the Colonna, and Pallio [?] at Bolognia in the Publick Palace.
School of St. Rock, by Tintoret. In the ground floor, The Annunciation. A print of it by Sadeler. The angel has just entered in at the window; a whole troop of boy angels are likewise just entered. The Magi. Flight.
f. 67. Ob. St. Agnes, of Tintoret, in Madonna del Orto. She in the Middle in white. The lamb's head on the white. This mass is surrounded with figures in dark colours, but on each side towards the edges is a little light—a white cap or a shoulder with a bit a linnen : and, that the bottom of the picture might not be heavy, the legs of the figure lying are lightish. Two women's heads and breast over St. Agnes are light, to join the Architecture behind, which is light on a light sky. A Mass of dark Architecture on one side near the Eye. The Angels above are dressed only in sky blue ; lights white, the same as the sky, which is white and blue.—On the presentation of the Virgin. She is drest in a dark Colour on a light ground ; but her flesh, and some lights on the drapery, harmonise with the ground she stands on harmonises with the dark drapery, as the upper part, being light, harmonises with the light ground.
f. 66. Rev. Sketch from the St. Agnes of Tintoret in Santa Maria dell' Orto.
Ob. A general Rule. Ven.—
A Figure or Figures on a light ground; the upper part should be as light if not lighter than the ground, the lower part dark, having lights here and there, the ground (properly) dark. When the second mass of light is too great, interpose some dark figure, to divide it in two. A white Drapery edged and striped, or flowered with blue, as the bride in the Marriage of Cana or the Venus in the Colonna, on a mellow oily ground.—Gondiliers [ ' Gondoliers' seems intended, though the meaning is obscure. The word begins a fresh note, written in ink (the last being in pencil), and the sentence appears to be broken off and never completed. Leslie and Taylor read Goddiliers, a supposed corruption of Cordeliers. This hardly illuminates the difficulty.] are so . . . Zuccarelli says Paulo and Tinloret painted on a Gess ground. He does not think Titian did. I am firmly of opinion that all did. A portrait,—-putting on a morning gown, one sleeve on only, the figure of Paulo in the Library at Venice.—The figure relieved on one side only. If dark figures on a light ground, not relieved quite all round.
f. 65. Rev. Sketch from the figure called ' Religion,' by Tintoret. This is a light figure ; all the linnen in Mezzo Tint; the upper part of the Picture and on this side [i.e. the r.] the Ground Lighter. [Edges] Scumbled & Lost, etc. In Madonna dell' Orto, Religion by Tint.
Ob. Obs.— Venice on the Throne, &c. [by P. Veronese, in the Doges' Palace]. Her face, &c, in mezzotint shadow with reflexions. The white peticoat with gold flowers, and piece of white ermine, make the white mass against a light blue sky with flesh colour clouds. The figure under her, Peace —upper garments very dark, the under light, being flesh-colour heightened with yellow. The curtain soft against the ground; no strong shadows at all. Justice rather darkish; hands, linnen, head lighter than Ground. Some touches of the Drapery Do., Lion dark. The light drapery of Venice darker towards the edges than the ground.
f. 64. Rev. Sketch from the upper part of the figure of S. Lorenzo Giustiniani, in the picture by Pordenone, now in the Academy, Venice. St. Giustiniani by Pordenone in Madonna dell' Orto. In white. Mouth shut. General Rule.—
A light sky of Angels; the light by means of clouds, &c, goes off by degrees: but on one side a dark figure must come smart against the light to give the Picture a spirit. Titian's Salutation.—If two figures, one overshadowed on a light ground, the other must be light on a dark ground. Laky garments, the lake scumbled on the Gess Ground, warm the lights, and if need glazed afterwards.
Ob. Ascension of the Virgin, in Giesu, by Tintoret. The sepulchre white marble surrounded with dark figures, but flesh, &c, little lights here and there. The Virgin above; a dark mass on light ground: her head, hands, and some of the angels, light to mass with the ground. The Marriage of St. Katharine in her Church. [By Paul Veronese.] A gay, light picture. The upper part of the figures, light on a light ground. Pillar light, St. Kat. rather light; the Angel light under the light pillar. 'Tis not in his very best tast of Colouring.
f. 63. Rev. Sketch from a picture of an old man seated, holding a book, on a garden terrace.
f. 62. Rev. Sketch from an altarpiece.
Ob. Refettorio of St. Sebastian.
Obs.—The Woman washing Christ's Feet: Paulo. The Table-cloth the Principal light, divided by means of dark figures into many compartments. The nearer Pillars oiled till they are yellow. Dogs, &c, painted, on a gess ground.
The Purification. Do., on the organ.—The Principal light is a changeable piece of silk, flesh colour, hightened with yellow.—A boy with a yellow Drapery on his breast comes on it. No other lights but what the flesh makes—and indeed a dog, which is inclinable to flesh colour. A pillar square light.
The Principal light of the Picture, where the two saints are going down
steps to be martyr'd, is the same colour on a woman kneeling. This is a very
f. 61. Ob.) good manner; it makes the principal of the flesh. If the Drapery was
flesh colour, like that in the Transfiguration, it might be still better. The
buildings of this last picture are all white.
Obs.—St. Sebastian before the Tirant. All dark figures on a light ground (a pretty building) except him who holds a Horse; he is pink colour, sleeves of the same tone as the ground; the sky originally was blue with white clouds, the blue is now turned black. The St. Sebn. a fine figure. The buildings behind are only two tones, one lightish, the other a degree lower to smart shadows.
f. 61. Rev. S. Maria dell' Orto.
St. Agnes praying for the recovery of the Son of a Profet [Tintoret] ; this picture is said to have been much admired studied & copied, by Pietro da Cortona : 'tis a fine painted Picture. See Obs. [supra, f. 67, Ob.].—A Palla with S. Lorenzo Giustiniani, St. J. Baptist, Francis & Agost., by Pordenone. St. Giust: is a fine figure; see sketch [f. 64, Rev.]. Print by Lovisa.— Capella Maggiore, two large Pictures by [word illegible] by Tintoret. One, the Last Judgment. The masses are not very carefully observed; neither the masses of light nor the masses of shadow are of a beautiful shape. A deal of fury. The River is finely painted and invented. It is a sort of waterfall, in which are tumbling figures in various attitudes.—The other is the bringing forward of the Calf. At the top of the Picture is Moses, but not seen by the people below on account of the Clouds which fly below the mountain.
f. 60. Rev. Around the Altar under the cupoly are 5 figures, representing Vertues, some of them very fine, particularly Religion.—The folding Doors of the Organ Inside; on one side, St. Peter contemplating the Cross held in the air by Angels; on the other the beheading of St. Christopher. On the outside, the presentation to the Temple. He [Tintoret] has supposed a long set of stairs at the top of which at a distance is the Priest with other figure'^] and, the little virgin almost arrived [at] them. The Temple through a shadow on part of the steps. Within the shadow are many figure[s,], one in the light—the shadow is his ground—another sitting at the bottom of the steps, another standing in the Middle. All by Tintoret. Prints of these three by Lovisa.
Scuola grande di S. Gio. Evangelista.
In the Albergo a Suffito by Titian. St. John looking up to heaven. A Print by Lovisa. The Symbols of the Evangelists & the Angels heads are likewise of him.
Ob. St. Geminiano.
An Angel foretelling to Sta Catterine of her martyrdom, the whele held in the air by other Angels. Tintoret. The old men behind are sweetly Painted in a large manner, tho' very small figures. Print by Lovisa.—St. Mena & St. John Baptist one on each side the organ and two Bishops above by Paulo ; prints by Lovisa.—St. Giuliano. On the right side the high Altar, a Last Supper by Paulo and other Pictures.—Palace of the Procuratie.
59. Rev. Sketch from a picture.
Ob. [Church of San Rocco]. Piscina mirabilis [Pool of Bethesda, by Tintoret]. Between the Christ and the figure he looks at [is] a mass of Shadow. Part of that figure and a woman receive the Principal light. Another wo[rnan's] head over hers, the figure lying at one end light, other little light, & strong reflections. With a Glass Eye one sees no colours scarce. The Christ is red; catches light smart.—St. Rock curing in Hospital. The Ground principal light; to that is joind a group of figures, some getting out of bed, some lying; a woman Entering; on the other side the figures are shadoivd toward the ground but smart lights here & there.
58. Rev. Church of S. Rocco.—In the Capella maggiore 2 Pictures on each side by Tintoret. On the left side, the uppermost [is] St. Rock curing the Animals; under it the Saint curing people in a Hospital is a fine Picture. On the right side above is where represented when he is taken prisoner, and under in Prison with many other prisoners comforted by an angel.—On the left Chapel of the high altar is a little Picture, three . . . figures, Christ with the manigoldi [executioners] by Titian. On the left side in the middle of the church is the Piscina probatica by Tintt, painted in a most brave manner. A print by Febre.— On the other side St. Martin giving part of his cloak to the devil with many other figures; a fine Picture by Pordenone. On each side the door a Picture of Tintoret which formerly belong'd to the shutters of the organ. A Salutation, and a Pope under a canopy at the top of a flight of steps receiving some one.
Ob. St. Rock in Prison.—A Figure lying; his dark knee comes on his light body, his foot & small of leg light, his head in Mezzotint looking up talking to a woman who is in white, a handkerchief a little inclinable to a yellow. No colour in the Picture but the Angel blue draperie, the lights white, a little lake here & there.
The Ascension of the Virgin by Jordano. The upper part of the Apostles light on a bright ground, the lower dark. The Virgin the same,
57. Rev. Sketch of a floating cherub.
Chiesa dell' Umilta.—
Pieta with the three Maries, Angels by Tintoret, large Carracesco manner. A print by Sadeler.
St. Peter and Paul; admirable Picture by Bassan, superior to anything I ever saw of his; more grace; the background and the whole enlightened, and the feet of the figure are seen.
The soffito is all painted by Paolo. The Assumption of the Virgin, with steps, the Adoration of the Shepherds, The Annunziata, Ornaments likewise by him.
Ob. Sketch of a garland. Notes to a sketch on the following page: the tree lighter, a clear sky like Rubens behind the bishop.
56. Rev. Sketch from a ' Presentation of the Virgin.'
Ob. John Baptist; Titian, in St. Maria Maggiore [now in the Venice Academy]. The flesh on a Blue sky with white clouds, the Breast a principal mass of light, the mass of the face separated by a Black beard, the thigh by the skin he holds in his hand, the legs of a low tint, the right thigh quite lost, shadow of the Draperie D°- Veins marked but not Blue; have the same effect as those in the Laocoon. The whole finely drawn, a squareness and divided in plans— broad flatnesses. The Lamb another mass, the white clouds another, waterfall another; scarce anything seen but the white of the waterfall, three or four Trees, those behind the gess ground oil'd with touches of shadow, those before dotted dark, the bark the light gess.
55. Ob. The body, the linnen low tint the same colour as the lamb, the gess ground a grey scumbled over it for the light part. Sketch of a pillar (?) wreathed with a scroll.
55. Rev. Chiesa de' Frari.
On the right as you enter the great door, after you are past the altar of the Crucifix, is the Presentation, with many saints; below, an admirable picture of Salviati, as fine as Titian or Paulo; 'tis in their style.
The Martyrdom of St. Katharine, by Palma.
The great altar, The Assumption of the Virgin, by Titian. Most terribly dark; I saw it near; 'tis nobly painted.
The Virgin, with Christ, on a pedestal; below St. Peter and St. Francis directly under, and under him many portraits profile most incomparably well painted, without shadow. On the side St. Peter is, lower, is a warrior with a standard, perhaps St. George. This picture [the Pesaro Madonna, by Titian] is very dark, except the heads of the portraits, and those are almost covered with pots of artificial flowers and candles. A print by Fevre.
St. Agostino.—
Ecce Homo, with Pilate and others, a good picture, by Paris Bordone, in the style of Titian.
f. 54. Rev. Chiesa di San Nicolo de' Frari.
The high Altar.—The Virgin with Angels above; below, St Nicolas, Chaterine, Antony of Padua, Francis, and St. Sebastian. [By Titian; now in the Vatican.] 'Tis so dark that you see nothing but the body of the St. Sebastian, and he looks as if he had lost his head, 'tis so dark. No doubt it was painted a little so at first to preserve the mass of his body of a beautiful shape. St. Nicolo is said to be from the head of Laocoon, which Titian much admired. A print by Febre; another in wood by Titian himself, a little different from this picture.
On the right hand of this Chapel is the Last Supper, by Benedetto Caliari, according to Boschini. Ridolfi says 'tis Paulo, under the Baptism of Christ, and at a distance, the Temptation, by Paulo. The other side, the Resurrection, by Carletto. Ridolfi says Paulo. Under, Christ in Limbo, by Palma. Two Profets and two Sibils, by Paulo. The Resurrection and Christ before Pilate, by Benedetto. Ridolfi says Paulo. Christ on the Cross, Paulo.
f. 53. Rev. Soffito, all by Paulo. In the middle the Visit of the Wise Kings, St. Nicolas, St. Francis receiving the Stimata. A print by Lovisa. In the corners the four Evangelists; two of which, Matthew and Luke, prints by Febre.
St. Maria Formosa.—
The door of the church pretty architecture; an Altar, by Palma Vecchio, divided into many compartements; in the Middle Sta Barbara, a very good figure.
St. Francesco della Vigna.—
The Virgin and Bambino with many saints below, as St. Joseph, John, Chaterine, and Ant. Abbate, by Paulo. A print by Agostino Caracci.
In the Sacristy, painted in oil on the wall, the colours seal'd off in several places, and otherwise much damaged, The Virgin and Christ, and two Angels below playing on Musical Instruments.
St. J. Baptist and Girolamo, by Paulo. Opposite is a copy, in little, of the Supper of Paulo, where the woman is drying Christ's feet, and a Man offers a napkin. The original is in France.
f. 54. Ob. Obs. The Banquet of Paulo, a little Copy in the Sagresty at Francesco della Vigna.
The distant building, white on a Blue sky, with white clouds. The shadows of the buildings the same tone as the blue sky, the lights the same as the white clouds. The figures, in strong colours, encompass the two Table cloths; that on the right side is the principal, and is enlarged by some of the furthermost figures at the table being clothed in white and another in light yellow. A Man with a Table cloth, the white Cloth hinders the Two Table-cloths from
f. 53. Ob.] appearing spots. The other Table is broke by a Boy, which comes very soft upon it. Another figure light towards the cloth, to make the light go off by degrees. The near Pillar light, a woman's head and back light on it, lower part red, darkish.
The Christ in the White Sheet, in the school of St. Mark [San Rocco], will serve extremely well for the apparition that comes to Brutus; the upper part may be kept in shadow, like those fryars at the Church of St. Gregorio. The Brutus, the Man holding the possess'd child in the Transfiguration.
f. 52. Rev. Santa Giustina.—A Crucifixion by Palma; the Christ a fine Figure and fine Chiaroscuro, the Thieves are fine also.
Church of the Mendicanti.—St. Elena and St. Lazzero (the only Picture in Venice of Guercino crossed out) not extraordinary.
St. Severn.—A Crucifixion, large, by Tintoret.
Tutti li Santi.—Resurrection of Christ by Palma. The shutters of the Organ, by Paulo. Outside, the visit of the Wise Kings; within, the four doctors of the Church, with Angels sounding musical instruments. Under the organ the Padre Eterno riding on angels; a fine figure, by Paulo.—High Altar, all the Saints by Paulo.—An Imitation of the Marriage of Paulo at Georgio Maggiore di Andrea Vicentino. There is a large print of this, & a little one in the Book of Madonnizella Patina.
Ob. Obs.—Conviti di Paulo, in John and Paul.—
The mass of light is the Table-cloth in the Middle; the Christ with the figures on each side tender. The whole distant building and sky light, as usual. The Building on the foreground, light and dark. Two pedestals on each side the table cloth, a little distant, light; the flesh of none of the figures lighter than its ground, at the most 'tis only the same tone, sometimes darker. No broad light, but this middle tablecloth, unless you will except the two pedestals before mentioned,
f. 51. Rev. Sketch of a female figure kneeling on one knee. Ignoto. With numbers to indicate Linnen and Draperie.
Ob. Scola di Carita.—
Adam and Eve aple. [Tintoret.] His back a Mass of light, his thigh lost in the ground ; the shadows in general of all the Pictures are the colour of the ground, sometimes a little greyer, sometimes warmer. The Landskips all Mellow, except a little blue, distant hills and sky; black trees; on others more yellow. The nearer hills are painted slap-dash with white and grey and flesh tints. The leaves of the trees do., then scumbled over with a mellow colour. The Shadow of Eve grey, a mellow colour scumbled over, or oil.
Cain and Abel. The shadows of Abel a grey colour, without white, scumbled. The shadows painted last.
f. 50. Ob. An Old Man's Portrait. All the shadows, the marking of the Nose, the Eyes, the mouth, entirely painted af[ter] the flesh was dry.
They all appear to be painted on a gess priming, at least a white one. A very light figure on a light ground, with dark, hair, &c., and, other little strengths, must have a fine effect.
Rev. Sketch from a ' Supper at Emmaus.'
f. 49. Rev. Sketch from a picture. Ignoto in St. Maria Formosa.
Santa Maria Mater Domini.
The Finding the Cross, by Tintoret. A print by Giuseppe Maria Metelli, commonly on red Paper.
St. Salvatore.
High Altar.— Transfiguration, by Titian.
Christ in white-, oily, on the same-colourd ground, relievd by his hair being black, and shadow on thigh, which goes off by degrees. The figures on each side enlightened.
Salutation, Do. On it is writ, Titianus pinxit pinxit [sic].
The Angel a mass of light. The glory, dove, and Angels, the principal. The white of the Angels seems to be painted grey, and then run over with very yellow oily white in the lights; the Virgin nothing light, but head, breast and hands.
f. 48. Rev. Tutti li Santi.
The Salutation of Mary and Elizabeth, by Cavalier Bidolfi. An imitation of Paulo.
A large Crucifixion, by Pietro Vecchia ; an admirable Picture; the whole is well composed, and the particularities are nobly painted, a large, broad Manner. There are heads in this Picture equal to any masters whatsoever. Over Christ on the Cross is the Padre Eterno. An Angel directs the good Thief to Christ, whilst Devils are very busy with the Other. A figure on a white horse, on the fore-ground, leans forwards and looks up with great expression. The Horse's head light, darker and darker towards his breast. A dark boy covers his legs. A whole-length figure another mass of light; dark figures about them; some have breeches and stockings all in one, striped with red—(yellow crossed out) slashes for sleeves.
Ob. Sketch from 'The Procession to Calvary,' by Tintoret. Scool Rock. Tint.
f. 47. Rev. S. Gervaso.
The Last Supper, by Tintoret; fine picture. Prints by Sadeler and Lovisa.
Opposite is N.S. washing his disciples' feet, dark manner [now in the National Gallery]. A print by Lovisa.
St. Anthony tempted by the Devil and some handsome women. N.S. descending to succour him. A good picture, by Tintoret. The upper part of the saint the same colour the ground. Christ descending comes dark on the light ground ; his legs, &c, lost in the dark sky.
The Great Altar : A most pompous Slaughter of the Innocents. A deal of merit, but the subject does not require so much magnificence. In the sacristy a Madonna, Portrait-like, in Craions, by Rosalva.
Near this church is Casa Toffetti. Painted in fresco by Tintoret, with freezes of boys and naked figures, admirably drawn and colourd. Below, Aurora and. Titan; on the other side, Cibelle in a Car. Prints of these 2 last by Lovisa. This is estemed the best fresco in Venice; much decayed.
Ob. Sketch of the man in armour at the left. of Tintoret's ' Ecce Homo.' In the Scool of St. Rock. Tintoret.
f. 46. Rev. S. Maria Maggiore.
A large Picture: a woman who is deliver'd in the sea. A woman on horseback, a fine figure. A boy with a Dog of [which] I have seen a drawing in England. Varottari.
Altar maggiore; An Assumption, by Paulo. The Principal light is very strong. A kneeling figure in the middle of the Picture, his back towards you, a white loose drapery on him.
On the sides are the Visit of the Wise Kings, by Tintoret. The two opposite by Domenico Tintoret.
The Chapel on the left, the fine St. Jo. Baptist by Titian; in perfect preservation, admirably drawn and colourd.
Hung up in the church, a Picture of Noah's Ark, the 4 Seasons, and others by Bassan. Christ in the Garden, little, by Paulo; fine Clair-oscure : An Ecce Homo, by Paris Bordone. A Madonna, on board, with Cherubims and Angels; a picture of a great deal of merit, by Bellino.
Pantaleone.
St. Pantaleone, that recovers a boy supported by a priest; and a portrait by Paulo.
The soffito of all the Church is by Fumiani.
The Saint curing in a Hospital, by Paulo.
St. Bernardine Do. Paul Do.
f. 45. Rev. Scola della Santa Trinita (Carita crossed out) by the Salute.
Thirteen Pictures of Tintoret. II Padre Eterno creating the World. The Formation of Eve is a fine Picture, as is Eve tempting Adam and Cain and Abel: all finely drawn, and colourd and composed. Prints by Lovisa. The Coronation of the Madonna, and the Trinity are not by him. Two portraits, fine, by Tintoret.
Giovanne Elemosinario di Rialto.
The high altar representing St. Gio. Elemosinario giving to the poor, is a fine Picture of Titian.
f. 46. Ob. Obs.—The white Rocket shadows dark to mass with the ground, the short cloak being dark, the upper part of the rocket is likewise so, to mass with it The left arm in shadow. The Cuppola by Pordenone, but damaged so as scarce anything to be seen.
f. 45. Rev. S. Polo.
The Marriage of the Virgin (on the left), by Paolo. The lower part of St. Joseph catches a little light, otherwise they are both in a mezzotint on a light sky. High Altar: The ' Conversion of St. Paul,' but half covered by things before it; by Palma. Four Pictures on the sides of this Altar, by Palma.
The chapel on the left, four Pictures by Salviati; the History of Christ. Assumption, by Tintoret, covered by a jointed baby.
f. 44. Rev. On the left of the Principal Door is the Last Supper of Tintoret, where there is a figure leaning back, reaching bread to beggar, who lyes along ; Christ with both hands giving bread to the Apostles. In the middle Isle the two middle Pictures above are very good ones of Cav. Bambini. On one side, the Conversion of St. Paul, on the other Preaching at Athens. There are many other good pictures dispersd about.
f. 45. Ob. Sketch of two figures, a woman and a beggar. Woman in black, white Handkerchief; he before her in Bed; light catches on his left leg, left shoulder & tips of his fingers. Tint, in Scool of St. Mark.
f. 44. Rev. S. Sebastiano.
Paolo's monument in this Church. The Soffito is painted by Paolo, in three compartiments, and, some long slips with boys and festoons of fruit. The first compartment is Easter in the presence of King Ahasuerus, and Mordecai by: in the middle, the same Queen : in the 3rd the Triumph of Mordecai.
The High Altar: the Virgin and Bambino, above; below, St. Sebastian, Catherine, J. Baptist, Pietro, and St. Fra[n]cis ; and a Padre, a countryman of Paolo, and promoter of this work.
A print by Alessandro della Via. By Paolo.
f. 43. Rev. On each side is a fine picture of Paolo; on the right St. Mark and Marcelliano condemn'd, and going to suffer death. They are met by their father, who is sustaind by servants, who prays him to live. The Mother follows in tears. The wife meets him with her little children ; St. Sebastian, on their side, encourages them, showing them an Angel with the book of life. This is one of Paolo's best Pictures.
On the other side is Sebastian about being [bound] to a Piece of Wood to be martyrd with Clubs. Their are many heathen Priests about him, endeavouring to persuade him to Idolatry. A print by Metelli. Over the pulpit, a little Holy Family, of Paolo. The Organ : outside, the Purification ; a print by Febre. Within, the Paralitic Healed, by Do. In the Pergolato (or body of the Organ), Nativity, Do. In the Sagristy, some of his first works, a ceiling, but indifferent: Moses, serpent, &c. A Prt., Patina. In the Coro, St. Sebastian before the Tirant: fine. Do. Opposite, in fresco, his Martyrdom ; no dogs; fine ornaments, columns & about these. . . .
f. 42. Rev. In the Refettorio.—The Banquet of Simon Leproso. This is the second Picture he made in Venice of this subject; the woman washing Christ's feet at the end of the Picture, the right side; 'tis decayd. A Print in two sheets by Metelli.
f. 44. Ob. Isola Murano.—Pietro Martire.
The high Altar; A most capital Picture of Salviati, the Descent from the Cross. As well as I remember, the Christ is a good deal the same as that (in St. Croce I think it is) in Florence. The Crist crosses the Picture, the Virgin swoons, and in as fine an Attitude as was ever invented; the figures around her are all fine.
4 pictures by Paulo, 2 on each side the door.
Burano.—St. Mauro Monache.
The high Altar: The Martyrdom of that St. by Paulo.
Torcello.—St. Antonio.
The right side of the church, looking toward the high altar, is all painted by Paulo. The high Altar, three saints sitting; by Do.
f. 43. Ob. The organ is the best part of this work; Inside is a fine Salutation; on the outside, the Adoration of the Magi, all the little ornaments in chiaroscuro are likewise of him.
St. Angela.
On the right of the High Altar, a Pieta, with St. John Evangelist, St. Jerom, two statues, a sepulchre in the Middle. This was begun by Titian and finished by Palma. The statues are entirely of Titian, and are very fine and Mellow, the lightest part is little more than the colour of Jess.
S. Stefano.
The Cloister, by Pordenone, much decay'd.
St. Cassiano.
St. J. Baptist, Jerom, Mark, Peter and Paul, the best Picture I ever saw of old Palma. The Organ by Tintoret.
Capella Maggiore, all by Tintoret. The Altar, Resurrection; one side, Crucifixion; other, Limbo.
f. 42. Rev. Padri Gesuiti.
The Martyrdom of St. Lorenzo at Night [Titian].
'Tis so very dark a Picture, that, at first casting my eyes on it, I thought there was a black Curtain over. This same subject for Philip King of Spain, different from this; this having in the background Architecture and figures, particularly one with a Torch coming out from between the Pillars; the other has smoak clouds, and two boys above: of this latter is a print, Cornelio Cort.
The Assumption of the Virgin by Tintoret. A Print, Lovisa.
Scool of Carita.
The Presentation of Titian. Principal light is the profile woman in the middle, the old woman under nothing light but the linnen on her head and breast; the woman holding the child light.
f. 41. Rev. St. Ermagora, detto S. Marcuola.
The High Altar :—on one side, the Last Supper, by Tintoret: Opposite, ' Washing the Feet,' Do.
f. 42. Ob. Obs. on the Last Supper of Tintoret—The Table-cloth, as usual, the principal light, but divided by a dark figure, so as to make a secondary light ; then comes a dark figure which covers entirely the end of the Table; then comes a figure in white Satin. At the other end of the table there is likewise another light on one of the figures, in this manner [slight small sketch in illustration], and a light figure on each end of the picture. On the steps a dog sitting on his tail, as begging.
Washing the Feet.—The ground and background white; a dark colonade with Banisters runs across the picture.
f. 41. Rev. Corpus Domini.
St. Domenico throwing the book in the fire. A good picture of Sebastian Ricci. St. Lucia.—The Architect Palladio.
Marcilian.
In the Sacristy is an admirable Picture of Titians and well preserved only too yellow, of Tobias and the Angel; the heads are remarkably fine. A print by Lovisa.
St. Eustacio.
The flagellation of Christ by Georgione : another Picture joined to it of another hand.
School of St.Rock.
Near 40 Picture of Tintoret. The Salutation where a whole string of Angels are rushing in at the window; fine effect.
- Production date
- 1752
- Dimensions
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Height: 210 millimetres (each folio)
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Height: 225 millimetres (vellum cover (flap not included in dimensions))
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Width: 155 millimetres
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Width: 175 millimetres
- $Inscriptions
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- Curator's comments
- Two of Reynolds' Italian sketchbooks are in the BM. This sketchbook contains notes and sketches, mainly from paintings and sculpture, made in the second half of 1752 on the journey from Florence to Venice and in Venice. Reynolds travelled by way of Bologna, Modena, Parma, Mantua, Ferrara and visited Padua after Venice. His sketchbook covering Florence and Rome is also in the BM (1859,0514.305). Two others are in a private collection (see Reynolds exh. RA, ed. N. Penny, 1986, nos. 158, 159 - there is a set of photographs of the former in the BM at 176.a.13/14) and there are others in the Morgan Library, NY (from Rome, 1750) and the Fogg (Harvard), the Met (NY) and the Soane Museum.
L Binyon listed all the pages in the BM sketchbooks and transcribed the inscriptions in them in his Catalogue of Drawings by British Artists in the BM, vol. III (1902). There is a complete set of excellent B/W photographs of both BM sketchbooks available for consultation in the Department Student's Room (see 176.a.26).
For the most relevant publications on the sketchbooks see various articles by Giovanna Perini: Sir Joshua Reynolds and Italian Art and Art Literature - A Study of the Sketchbooks in the British Museum and Sir John Soane's Museum, in 'The Journal of the Warburg and Courtauld Institutes', 1988, pp. 141-168; Sir Joshua Reynolds a Bologna (1752). Considerazioni preliminari ad un'edizione critica dei taccuini di viaggio, basate sul taccuino conservato al Sir John Soane's Museum di Londra, in «Storia dell'arte», 1991 pp. 361-412; On Reynolds's Art of Borrowing: Two More Italian Sources, in «The Burlington Magazine», 1994 pp. 26-29; The Publication of Sir Joshua Reynolds' Sketchbooks, in Center 18 - Record of Activities and Research Reports at CASVA, 1997-1998, Washington DC, The National Gallery - Center for Advanced Study in the Visual Arts, 1998, pp. 172-176; the other sketchbook, of Florence, (reg. no. 1859,0514.305) has been published in full by Perini Folesani, Giovanna: 'Sir Joshua Reynolds in Italia (1750 - 1752) : passaggio in Toscana ; il taccuino 201 a 10 del British Museum', (Florence : Leo S. Olschki, 2012. - 511 Pages (including the notes (in English) and facsimile of the drawings) ISBN 978-88-222-5999-8)
For detailed mentions in more general studies see also: Renate Prochno, 'Joshua Reynolds', Weinheim, 1990; John Ingamells, 'Dictionary of British and Irish Visitors to Italy', entry on Reynolds, pp. 808-10; Martin Postle, Sir Joshua Reynolds the Subject Pictures, CUP, 1995; David Mannings, 'Reynolds in Venice', Burlington Magazine, CXLVIII, Nov. 2006, pp. 754-63
The following entry is from 'Gainsborough and Reynolds in the BM', London 1984:
Reynolds spent two very profitable years in Italy, returning not only with a hugely enriched repertory of motifs, ideas, and poses stored in his memory and in his sketchbooks, but also with a far deeper understanding than most of his contemporaries of the principles underlying the works of the Old Masters. He studied them all, noting their excellencies and their characteristics, but his paintings after his return to England are of no school but his own.
His approach to the 'great masters' can be best summed up in his own words from Discourse XI: "Whoever should travel to Italy and spend his whole time there only in copying pictures ... would return with little improvement ... It is not by laying up in the memory the particular details of any of the great works of art, that any man becomes a great artist, if he stops without making himself master of the general principles ... he must consider their works as the means of teaching him the true art of seeing nature. When this is acquired, he may then be said to have appropriated their powers ... the great business of study is to acquire a mind ... to which all nature is laid open, and which may be said to possess the key of her inexhaustible riches."
- Location
- Not on display
- Exhibition history
-
1934 BM, Exhibition of English Art, no.319
1961, Feb-Mar Birmingham City AG, Sir Joshua Reynolds PRA, no. 90B
1978-79, 19 Oct - 14 Jan., BM P&D, Gainsborough/Reynolds, No.85
- Acquisition date
- 1859
- Acquisition notes
- The two sketch-books, Nos. 12 and 13, were purchased May, 1859, from Miss Gwatkin ; formerly purchased by Mr. Gwatkin at Lady Thomond's sale, 1821 for 100 guineas (see Carpenter's report 27 October 1858).
- Department
- Prints and Drawings
- Registration number
- 1859,0514.304