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Rh Psyche, by L. Giordano; to the broad decorative pictures of Ricci in the audience-chamber.

Dosso Dossi has the "S. William taking off his Armour" (No. 183), a fine, pathetic, impressive half-length, with flashes of colour across the steel; and the fine and characteristic Holy Family (No. 97), and the quieter portrait No. 80. They are not unworthy examples of the greatest master of the Ferrarese school, a colourist who in his way is fitly compared to Titian.

Correggio was an artist whom Charles particularly affected; and here we have his early Holy Family, suggestive of Dosso, and with an exquisite charm in the face of the Madonna (No. 276); and beside it (No. 281) is the late S. Catherine. These are, of course, but small examples of Charles's collection, and of a master who can be studied most satisfactorily in the great gallery of his native Parma. But the taste for Correggio, with all his modernness, is a special one, and in such a gallery as that at Hampton Court two specimens are enough. In the Holy Family the artificiality and affectation so prominent in his later works are but slight. Parmegianino, his exaggeration, may be seen in Nos. 174 and 306, the latter a charming picture. Allori's "Judith" (No. 99), I think a copy, is impressive.

Italy furnished by far the largest proportion of Charles's collection, but there still remain at Hampton Court some significant examples of the art of other nations. The fine, cold, "red-faced man, without a beard" (No. 589) is a genuine Albrecht Dürer, with