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232 GALLERY OF ILLUSTRIOUS ITALIAN WOMEN...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Ii.—Female Aetists. By An" Itaxi-Ajst.
_Caravaggio , Albert Durer , Paul Veronese , Raphael , Passerotti , from tlie antique cameosfrom the Venus of the Mediciand from the
_Niobe , he so combined , and transformed them , as to g , ive to his own style an air of originalityto which he added a noble conception of
, beauty , particularly evident in his women and youths , such as no painter before or sincehas ever excelled . Even in those of his
works which are least labored , or unfinishedor full of errors in perspective , we notice the softness , and grace of , the heads .
Especially is this the case in his later style , to which belonged the Assumption in Genoamentioned abovethe S . Giobbe in Bologna
and several others . , In his early style , he adhered to the Caracci , and to Passerotti , painted strongly and coarsely , and took special
pains with the development of the muscles . In his later works we note the tenderness , sweetness , and delicacy of the features ,
and the inimitable perfection of the hands and feet , though he invariablfails in the wrists . It was to Guido ' s second style
y that Sirani religiously adhered , particularly in her chefs d ' ceuvre _, the Magdalens and Madonnas which are to be seen in Rome
in the palaces of the Bolognetti and the Corsini , and in Bologna in the CapraraZampieri and Zambeecari palaces ; in the picture
called Love asleep , , ( which was stolen with so many other monuments of Italian art , by the French under Buonaparte , and
deposited in the Louvre , but which they were compelled to restore in 1815 ;) in the Amor Divinoexpressed by a lovely childnude
seated on a red cloth , holding in , its left hand a laurel crown , and a , sceptre , while with the right it points to the quiver and some books
lying at its feet ; ( 30 ) in the S . Antonio of Padua ; in S . Filippo Neri ; in Grief contemplating Passion ; in the Holy Family ; in the Saviour
standing on the Globe , ( all in the Pinacoteca of Bologna ) : in the Crucifixion of the ten thousand Martyrs , ( in the Duomo of Milan ) :
in the S . Teresa , done for Caterina Farnese ; in the painting representing Justice , Prudence , and Charity , done for Leopoldo dei
Medici ; and in the historical picture of the Baptism of Christ , in the Church of Certosa in Bolognaa painting thirty feet in heighta
grand work , worthy of her masters , . Many of the other paint , - ings are remarkable for the grandeur of proportion , and all
deserve notice for their accurate drawing , and the scrupulous finish of The every envious portion artists . ( 31 ) of her time took occasion from the number of
her paintings to insinuate that it was her father who , to obtain a higher price for his own works , gave them out for Elizabeth ' s . But
the stupid calumny soon fell to the ground , for every one had free exquisi ( 30 ) te " It in is finish impossible than this to conceive lovelchild anything " Bolognini more beautiful idParte in form _Y , or more
( 31 ) In Malvasia , ' s—Felsina Pittrice y —we . find the catalogue . of all her . pictures arranged " In the Royal in years Institution by own , " says hand Wagen amounting , " * is to a one St . John hundred , by thi and s admirable sixty five . scholar of Gkridoalso notes two other ictin the ridt
gallery , and at Lowther . " He castle . pures Bgwaer
232 Gallery Of Illustrious Italian Women...
232 GALLERY OF ILLUSTRIOUS ITALIAN WOMEN .
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Citation
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English Woman’s Journal (1858-1864), Dec. 1, 1858, page 232, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01121858/page/16/
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