The Stones Of Venice

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1891 edition. Excerpt: ...all appearance of intense feeling. Titian.--St. Catherine of Genoa. The genuine edition of this is in the Louvre. This looks like good, but uncompleted work. Guebcino.--Andromeda, very poor, but interesting as being an example of the same treatment as the Cleopatra, next noticed, purple drapery heightening fle»h colour. Palazzo Bbignolb. On the right hand in the Strada Nuova. The effect, to me, imperfect, from its being stucco over bricks. Only doors and balconies of stone. Guercino.--Cleopatra. A singular melody of two colours only, with warm white. The figure lying under curtains of pure purple, or lilac, the flesh, almost the same tint as the curtains, but paler, and the bed white. Very fine. Ruhens.--Himself and his wife, a figure of Envy behind with torch, and a Bacchus, apparently typical of the felicity which excites the former. The whole picture is in warm greys, heightened with red and black, yellow hinted in the golden brown dress of the woman. All brought into full value by a little piece of pure blue, which appears at the knee through the crimson slashed doublet. Vale Rio Castello.--(Genoese) Rape of Sabines. Very wild and fine, but colours faded; probably never very good. The shades brown and heavy, as if worked on a dark ground. Paul Veronese.--Judith. A very grand picture. The group would be pyramidal, but is carried to the top of the picture by an enormous mass of dark green curtain, which comes against a bright lilac and blue sky. The figure of the negress who stoops and holds the bag to receive the head, is grand and broad in the highest degree, generally dark, but relieved by white high lights on crimson dress, and by a white fillet round the arm; the head dress, russet and green, connects the warm tones of the figure with...