850. A MAN'S PORTRAIT.
Rembrandt (Dutch: 1606-1669). See 45.
Dated 1635. The sitter wears the typical "Rembrandt collar."
851. VENUS SLEEPING.
Sebastiano Ricci (Venetian: 1659-1734).
An unimportant work by a painter who worked for several years in this country, and covered many walls and ceilings with his facile compositions. Examples of his religious and mythological pictures may be seen at the Dulwich Gallery. Ricci, says Dr. Richter in his catalogue of that collection, "is one of the most attractive painters of the Italian decadence. His compositions are lively and ingenious, without, however, being profound." There are also several of his works at Hampton Court. He was born at Belluno in the Venetian State, and before coming to England was employed by the Duke of Parma and at the Viennese court in decorating the palace of Schoenbrunn. He left England in disgust on finding that the work of decorating the cupola of St. Paul's was to be entrusted to a native artist, Sir James Thornhill. "Ricci had great facility in imitating the style of other masters. His picture of the 'Apostles adoring the Sacrament' in the church of S. Giustina at Padua is painted in imitation of the cupola of S. Giovanni at Parma by Correggio; and his 'S. Gregorio' at Bergamo recalls the works of Guercino. But his most successful imitations were those of Paul Veronese, many of which he is said to have sold as by that master. He deceived the French painter La Fosse, who avenged himself by the sarcastic remark, 'For the future, take my advice and paint no more Ricci's'" (Bryan).
852. THE CHAPEAU DE POIL.
Rubens (Flemish: 1577-1640). See 38.
One of the best known and most be-copied pictures in the Gallery. Its fame among artists "depends to no slight extent on its being a tour de force. The head is painted in reflected light, so as to come as near as may be to Queen Elizabeth's shadowless ideal" (Armstrong: Notes on the National Gallery, p. 31). "No one who has not beheld this masterpiece of painting can form any conception," says Dr. Waagen, "of the transparency and brilliancy with which the local colours in the features and complexion, though under the shadow of a broad-brimmed hat, are brought out and made to tell, while the different parts are rounded and relieved, with the finest knowledge and use of reflected lights." The expression of the subject is as much a tour de force as the technical treatment—
I know a maiden fair to see,
Take care!...
She gives a side-glance and looks down,
Beware! beware!...
She has a bosom as white as snow,
Take care!
She knows how much it is best to show,
Beware! beware!
Trust her not,
She is fooling thee!