Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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pic-tures with only one interest. In many, the eye canpick out various separate bits of equal importance,practically each a picture in itself. Here is remark-able unity and limit of subject. A wonderful ex-pression is concentrated in the eyes. One sees themfirst and last; the reverent upturned face claims allthe attention of the observer. Ribera died in Naplesin 1656. There is but one picture by Francesco Zurbaranin Dresden. He was one of the best artists of theearly seventeenth century in Spain. Born in thecountry, his father had designed him for the plough,but when a marked talent for art asserted itself, hevery wisely sent the boy to Seville to study withJuan de Roelas. He painted many monastic sub-jects, being employed by the Carthusians on severaloccasions. While for a short time he painted atthe Court of Philip IV., the monarch did him thehonour to clap him on the back and congratulatehim upon being a painter of kings and a king ofpainters. Probably this was Philips little stock
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RIBERA. ST. AGNES Spanisb /iDasters 119 pleasantry by means of which he usually won thepersonal affection of artists who appeared at Court.For no matter how sovereign a personage a manmay be, — no matter how absolute may be his powerover the very lives of his subjects, — he is seldomwithout that human trait of longing to be loved forhimself; which proves how much stronger love isthan temporal power, when even Kings will strivefor it, and queens will jeopardize crown and statefor it! Zurbarans picture here is a characteristic one,as to subject, although the finish of it is rather morepolished than some of his more striking figures,notably the Praying Monk in London. St. Bona-ventura is seen kneeling before the Papal Crown,offering prayers that he may be inspired to assist theCardinals, as he has been requested by them, innaming the next Pope. The picture was originallybelieved to represent St. Francis refusing the PapalTiara, but this latter interpretation has been putupon it by th

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