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The original Picture of London (1826) (14591367327)
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Identifier: originalpictureo00felt (find matches)
Title: The original Picture of London
Year: 1826 (1820s)
Authors: (Feltham, John) (from old catalog) Britton, John, 1771-1857
Subjects:
Publisher: London, Longman, Rees, Orme, Brown and Green
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress
Text Appearing Before Image:
me of thefinest works of Vandyke, Claude Lorraine, Parmegiano,Rembrandt, Annibal Caracci, Titian, Correggio, Rubens,and other celebrated masters, together with HogarthsMarriage-a4a-Mode. In March, 1824, the Earl of Liver-pool, on the part of his Majestys Government, purchasedfrom the executors of Mr. Angerstein, for the sum of57,000/., nearly the whole of this very valuable collec-tion, to form the foundation of a National Gallery ofArt; and a small but beautiful picture, by Correggio, hasrecently been added to it. The pictures at present areopen for inspection at the residence of the late proprie-tor ; but a handsome and appropriate gallery is intendedto be erected for their reception, and for other pic-tures, &c. PRIVATE COLLECTIONS AND EXHIBITIONS OF PAINTINGS,&C. The Royal Collections at Carlton Palace, Bucking-ham House, and Kensington Palace, have already beenmentioned, but under the present head it will be desirableto give some additional particulars of each assemblage.
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7^ \ V -fJiutuhri -land I/f >ns( PICTURES IN THE ROYAL PALACES. 519 Carlton Palace, in the splendour of its decorations,probably exceeds every other royal residence in Eu-rope. The pictures are all of the very- highest order,and distributed through the apartments with so much at-tention to propriety, that the general effect of the roomsis particularly impressive. The chief parts of the col-lection are of the Flemish and Italian schools, and theirexcellency is such, that almost every picture may be re-garded as the finest specimen of the great artist by whomit was executed. From the want of extent in this palace,his Majesty has been necessarily confined more to cabinetand small pieces, than to grand historical compositions;but those which his taste and munificence have selected,are perfect chefs-d^ceuvre of art. Among them, are pic-tures by Vandyke, Rembrandt, Rubens, Teniers, Cuyp,Bercham, P. Wouvermans, Ostade, Vandervelde, PaulPotter, Mieris, Gerard Douw, and Karel du Jardin. Nop
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
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