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PURVES CARTER r/ LAFLAMME & PROULX Printers Quebec ii ijrl m ^rVf, ^S 1 » A SHRINE OF ART Some time ago I noticed in the columns of The Gazette a paragraph referring to the National Gallery at Ottawa. Not being previously aware of the conditions surround- ing that collection, I paid a visit to the Capital, anticipating a mental treat. But— - I will say no more, further than to express the hope that the appointment of the com- mittee, headed, I beleive, by Sir George Drummond, to superintend t^ ^ creation of a real national gallery, will soon be followed by a better state of affairs. I may, however, express a doubt as to whether Ottawa is the best place for the establishment of a Na- ^- »^d i. [8] tional Gallery of Art. In my humble judg- ment it should be in some great centre of population and city of importance and con- tribute to the advancement of a School of Art. But I was told that, notwithstanding the poverty of Ottawa in relation to art, there was really a splendid gallery, not national or even provincial in the strict sense of the term, but available for all who love and wish to study art, and to Laval I turned my steps. I can only say that I was not only surprised, but delighted, and I have endeavored briefly to put on paper my impressions of a visit to that great seat of learning. I was afforded every facility by the authorities in making my examination of their superb collection. My attention was first drawn to a paint- ing of the utmost interest to the connaisseur of art, entitled a « Head of Christ « numb- ered in the catalogue, N« 148, but without any name attached thereto. This is a work on panel of the earliest Sienese school, and I at once arrived at the conclusion that it was the work of Simone Memi, one of 1 [9] the rarest and most prized of the early masters of Italy, as well as one of the first painters of the post-Byzantine era, 1283- 1344. This picture is painted on Italian walnut on a prepared stucco ground and is a striking example of the best mastership of the period, containing, as it does, the higher traits of even much later masters. And certainly it may be said that no living man hath the power to draw as did these great masters of the past. With them it was a cult, an innate strength, which cul- minated a century later and originated with the Greeks long anterior to the Christian era. Although the manner or impression is archaic, the drawing as perfect line exhibits the power due to character. The taste is immaculate and inimitable, thus breath- ing the purest poetry withal. It is in this direction wherefor, is impelled the deep and developpiug appreciation of the trecentists and quatrocentists today. Unfortunately it is somewhat difficult to see this picture sufficiently well to critically analyse the work on account of the height at which it [ 10] is hung. It must be painted in tempera, a medium known before the invention of oil painting. Pictures of this period have a peculiar interest of their own owing to the romantic history of the times, and Siena affords a remarkable illustration of this charm, of history in relation to art. Siena was the first born of the schools of Italian painting. Its earliest works may be dated from the first quarter of the thirteenth cen- tury, and it retained its pre-eminence and stood higher than any other school in the first half of the fourteenth century. It may be noted that Florence produced only Giocto. Siena produced many masters, Berna, de Tomine, di Mino and others. The old and the new Byzantine schools were both represented at Siena. Simcne, born in 1284, was not a Giottoese painter, but purely of the Sienese school. Of him it has been well written that ((the beings he creates live and move naturally in a world of their own, a world of subtle beauty, of grace and restful- ness where there is no pain, nor sin, nor ugli- ness : where nothing offends the most sen- iiili1H»in[j I li [ II ] sitive eye, where brave knights pure as Sir Galahad move to and fro in burnished armor, where strength pays homage to saintship, where prelates richly vested kneel in adoration : where holy women bearing trophies of their work or their pain, stand wrapt in contemplation. . . The proof of Simone's genius is that he makes in spite of everything, the world very real to us. Living at a time when in Siena, as through- out Christendom, all tha. was noblest in the ideals of the middle ages Sv.^emed to be dying, he expressed through the medium of his art the ideals of the late middle ages and above all the knightly ideal of the Guelf nobles and princes. And yet Simone was not an artistic reactionary. » The next work which called for particu- lar attention is that numbered i8, and des- cribed as an « Italian Landscape », and ascribed to Salvator Rosa. I had heard much about this picture and was much sur- prised to find that it is not by Salvator Rosa, but by Zucarelli, Mdiose works resem- ble those of Salvator Rosa, and who, I may u / [ 12 ] note in passing, is represented at Windsor Castle by a special chamber, bearing -is name. I, however, discovered other works in the gallery by Salvator Rosa not men- tioned in the catalogue. Zucarelli's works lack the force and tragical power natural to Salvator Rosa. His paintings have more of a peaceful and rural calm of nature and tranquil aspect. His coloring is comparatively iusipid, and his touch lacks that which del :£hts in Salvator Rosa. Fran- cisco Zucarelli was born in Tuscany, about the year 1 702,and studied under Morandi and Nelli. After studying historical painting he devoted himself to decorative landscapes, and, travelling to England, became an ori- ginal member of the Royal Academy. He died in Florence in 1778. The example of his work under notice is a fine specimen of his decorative work. The ccShepherd and his Flock«, numbered 24, is a fine example of the Italian school, and is the work of Rosa di Tivoli, but the name of the painter is not given in the ca- talogue. The proper name of this artist "***."".7'.'J,liJI.Iij>wti il [ ^3 ] was Peter Philip Roos, and he was born at Frankfort in 1657. He had natural talen and was sent to Italy to study, and he soon became well-known as a painter of nature. He lived in the country at Tivoli, where he kept a kind of menagerie, so as to be able to study animals with greater intimacy. His coloring is good and his dexterous touch exhibits great strength. There are two paintings in the collection, both fine specimens of the work of this master. The ((Interior of a Church », N° 33, described as by Peter Neefs, the Flemish painter of interiors of churches, may be by that artist, but it is not a striking example of his power, the perspective being faulty. The figures, by far the best part of the work, are by Palamedes, neither by Breughel or Te- niers, as suggested in the catalogue. Neefs works vary in quality, the smaller being very fine, and the larger more coarse, but they are found in the greatest galleries. He died about the year 1661. The next painting of peculiar interest I examined is that described as (( Wine and 11 [ H] Grapes.)) N° 36. No name is ascribed. This painting I identified as a genuine work by Campidoglio, whose proper name was Michael Angelo Pace, born at Rome in 1610. He was a scholar of the famous painter Floravanti, the great Italian painter of still life and musical instruments. He was called Campidoglio, because of an office he held in Rome. There is a room containing a large number of his works at Hampton Court Palace. The ((Adoration of the Shepherds)>, N° 28, attributed to Carreno, is not by that artist, who was a Spaniard, but by the Italian painter Pietro Beretini, called Cortona, as is also N° 112, described as the ((Adoration of the Shepherds)), and also as being by Carreno. Beretini, the well-known and prolific pain- ter, was born in Cortona in 1596. He had great inventive power, and he is classed as a decorative painter of the early decadence. One of his pupils was the famous lyucca Giordano. Beretini's coloring is florid and occasionally rich, and essentially of a decor- ¥'■■ I.I' [15] ative character, though his drawing was often faulty. He was also an architect. These two pictures are both excellent exam- ples of his usual characteristics. A very fine flower piece, N° 65, is des- cribed in the catalogue as being by Jean- Baptiste Monnoyer, commonly known as Baptist. He was employed by I^ebrun, studied in Antwerp, and went to Paris, where he devoted himself to painting flowers and fruit. He worked under Lebrun, and decorated many great palaces in France and England. He died in London. This is a very fine specimen of his work, but is so obscured by dirt and discolored varnish that its beau- ties cannot be seen. The two small paintings, N°^ 72-3, des- cribed at (( Marine », and as being by « Lingle- back », a Dutch painter, are certainly not by him, but by Salvator Rosa. Though small, they are characteristic of the precision of his touch as well as the coloring, and the material evidence of his work. Moreover, the scenery is Italian, representing a mount- ainous country, with Italian ships. If [ i6 ] U The painting N" 77, « Vase with Flowers », is correctly described as being painted by De Heem, and is a very fine specimen of this Dutch painter's still life. His works are to be found in the best col- lections, and represent all kinds of still life — vases, ornaments of gold and silver, musical instruments and other objects of still life. They have always been highly valued. His best works are on panel, and he may be said to embody all the best qualities demanded in the higher technique and other branches of painting. The « Toilet of a Flemish Woman », N° 80, and ascribed to Schalken, a « candle- light » painter, is certainly not by him, but by the more refined painter, Gerard Terberg, who was born in 161 7 and was sent to Haarlem and also visited Italy. He chiefly painted cabinet pictures, representing his- tory, portraits and « conversations. » His coloring n-d general ensemble is distinctly refined and his works reflect the greatest mastership and state. A small panel, N° 81, « A School in iiiiir irrfniT T ] I, >^V, Hollands, is by Cornelius Droogsloot, a painter of Dortrecht. He painted land- scapes with numerous figures, such as fairs, merrymakings, etc. He was born at Utrecht and flourished from 1616 to 1660. A very rare painting on canvas, N° 83, « Vase and Fruit «, by Kalff, is a splendid specimen of that great master of decorative -still life, but it is in a most deplorable con- dition and sadly needs restoring. It is a superbly painted work, containing all the breadth of handling and fine technique found in the best painters of this class, with a coloring obtained through skilful glaz- ing, which produces the effect of enamel, through a most remarkable finish. Another extremely interesting work to the art scholar, N° 86, is ascribed to the German school of the seventeenth century. This is, however, a palpable error, as it evidently belongs to the great Milanese school of the early sixteenth century. Judg- ing under difficulties, I should say the painting is by Bernardino Luini or his im- mediate school. I happen to have a pho- ii.Ril 1. 1 Wii| i mm^^i,"-:'p:--'- ■ L i8 ] tograph of the same subject, but the original is differently colored, which is accepted by art learning as a genuine Luini. The origi- nal painting was in the Doetch collection and was life size. It represents « Ecce Homo)) and the design is certainly that of Luini, of glorious association with Leonardo da Vinci. A very interesting painting is N° 94, described as « Disciples at Emmaus. » It is on wood, oak, and rightly ascribed to Paul Brill, who, though a Dutchman, was em- ployed by Pope Clement VIII, contrary to Italian usage. He was born in Antwerp, 1555, and, after his preliminary studies, went to Italy to learn Italian art. He assist- ed his brother in his works at the Vatican, where he was employed, and, on the death of the latter, he was given important works to carry out. His celebrated picture painted for Pope Clement VIII, was a grand land- scape, sixty-eight feet wide, into which he introduced St. Clement as the subject. Brill died in Rome 1626. A very striking painting, « Madonna » wearing a hooded mantle, N° 99, and des- I'l [ 19] cribed as of the French school is, on the contrary, most certainly Italian, and painted by Sasso Ferratta, whose proper name was Giovanni Batista Salvi, but who was called by the former name because he was boru at the Castle Ferratta. He was sent early to • Rome and afterwards went to Naples, where it is beleived, he studied under Domenichio Zampieri. His style varied on those of Guido, Albano and Baroccio. His paintings are invariably (( Madonnas «, of which the present is a typical example. He died at Rome. The picture in question "is a very characteristic example of this late Italian master. A small panel, N^ 115, described as « The Mythical marriage of Ste. Catherine Byzantine School of the fourteenth Cen- tury)), is painted by that rare early mas- ter, Margaritone, who was born at Arezzo in 1 2 16. He was painter, sculptor, and arch- itect, and may be considered the earliest transition painter, marking the period when Italian art succeeded the Byzantine. An altarpiece by him is in the I^ondon National . fc<i i i-« i i i »i 'iif *j ii p [y\ I [ 20] Gallery. His works, which are painted in tempera, two hundred years before the in- vention of oil painting, are characterized by the child-like simplicity which marks the beautiful works immediately succeding this period. There is not much idea of model- ling or light and shade, and his figures and objects are out-lined with a black line, giving them an archaic and distinctive character. * * Leaving the main gallery and passing to the Lecture H?ll, I was anxious to see the painting styled « Supper at Emmaus », and attributed to Titian, and described in the catalogue as being the original. I was deeply disappointed on finding that it was not by that great master, but a late school work. It is a small painting, about 2 feet by 18 inches. It may be remarked that Titian very seldom painted small pictures, and that his figures were usually life size. The ((Martyrdom of Sebastian)), N^ 3, and attributed to Salvator Rosa, I was de- 4 i i h" [ 21 ] lighted to recognize as an undoubted work of that great painter. « The Holy Family », N** 8, ascribed to Carlo Maratta, I would certainly give to the greater master, Schi- done. Two paintings on copper, N^^ i6 and 21, and representing a Return from Egypt » and ff Tobias and the Angel «, are without any name given. These appear to be the origi- nal work of Adam Elsheimer, the celebrated landscape and figure painter. His pictures were for the most part small and finished with the greatest attention to detail. He was one of the last painters who introduced gold into his paintings. He might be termed a classical painter, one of the last of the Gothic masters. In the first ante-chamber, I found a large canvas painting, described as the « Appari- tion of the Angels to the Shepherds,» Flemish School, 17*^ century, and ascribed to Palamedes. It is certainly not by that painter, but by one of the pupils of Rem- brandt, probably Vanden Eeckhout, some of whose works were painted in a loose and "--i.'S'JSWK Ji;*St*f4>-5ri* .f u [ " ] free manner, like this picture, although it calls to mind a painting I saw in the Clarke collection which was supposed to be a <( freak » work of the celebrated Gerald Dou whose signature it bore. This is a picture of great interest belonging to this school. Another very interesting painting is N° 16, described as « St. Jerome studying the Scriptures)', Italian School. It is a splendid original work, but in a terrible condition, by that painter who Sir Joshua Reynolds ranked with Raphael, viz., Mazzuolo, called Parmegianino, one of whose greatest works is in the National Gallery, London, also representing St. Jerome. The characteris- tics of this master's works are great breadth of handling with a rich impasto, roseate hues permeating the flesh and marked by vigorous drawing. The picture « St. Joseph and the Infant Jesus «, N° 27, and ascribed to the German school in the catalogue, is distinctly Italian and painted by Jose Ribera who, though Spanish by birth, lived long iu Italy, and is classed as Italian. The early works of A Mi [ 23] this master are essentially Spanish in character, and true to life, emphasizing nature literally. His second manner, that formed upon the Italian, after his arrival in Italy, is marked by a rich impasto and depth of chiaroscaro incident, with the school of the period, but latterly he embraced the finer qualities of the greater men,[;of the past especially Andrea del Sarto so that his best late works might at a distance be easily taken for the works of that great master himself. There is a magnificent picture by this artist of this late period, purchased by the museum of the Wilstach gallery, Phila- delphia, representing the death of St. Sebastian, considered one of his masterpieces which might be taken at first sight to be a chef-d'oeuvre by Andrea del Sarto himself. I noticed two fine paintings of birds, N°« 19 and 20, the latter being painted by David de Heem, but both are badly repain- ted and disfigured, but if properly cleaned would prove to be very fine works. A simi- lar painting, and by the same artist, namely Rosa de Tivoli, N° 24, already described. ^ [ H ] is also « Shepherd and his Flock », and make capital pendants by this richly decorative master of liberal brush. It is also much repainted. In the Reception Hall I notice a small painting wEcce Homo» described as a panel of Byzantine school, XW^ century, but as a matter of fact it is a work by a Flemish master and painted on oak (which Byzantine pictures never were), and is by the hand of the celebrated Jan Van Schoorel, who was born at Schoorel in the Netherlands, 1495, making it a century older than described. The flesh painting of the nude figure of Christ, is remarkable for its perfect model- ling and finish, amounting almost to that of enamel and distinctly quasi-classical gothic. A painting of a man, and described as a «Portrait«, is correctly assigned to Gainsbo- rough, and is a very interesting and valuable work. It is rather slightly painted, but bears the evidences of his work. Returning to the main gallery, I would refer to N° 147, a very large painting, des- i (i t 1 J [ 25 ] cribed as « A Fair >.. It represents an Italian seaport, v-ith classical ruins, buildings and mountains standing out against the golden sky effect. It is a composition of numerous f ?ures variously engaged. The painting is facile, the coloring rich and altogether con- stitutes quite an important work of the Bambocciate school. As the catalogue states, it has been ^spoiled by unskilful retouching)),' but it is not irreparable, as careful and judi' cious cleaning, to remove the wholesale repaints, as well as skilful relining, would restore this valuable work to its pristine condition. There are two interesting pictures, crack- ed and dirty, N«« 145-6, described as « A Monk Studying )», and « An Aged Monk Meditating ..>, both by torchlight and both as belonging to the . Spanish school.)) They are not of the Spanish school, but by the celebrated « candle-light ). painter, Gotftied Schalken, Dutch school. Schalken was born in Holland at Dordrecht, and studied under Hoogstraaten, and afterwards under Gerard Douw, until he had afterwards applied him- i r] [ 26 ] self to the style of Rembrandt. He was essentially, and almost entirely, a painter of candle-light effects, in which he was un- surpassed. Both are very fine works and in a sound condition, but need relining to eradicate their terribly cracked condition, which prevents their being clearly seen and their beauties appreciated. The painting of « St. John the Evangelist » N° 144, is a well painted and carefully modelled head and coincides with the work of Agnese Dolci, one of whose paintings was in th-^ Doetsch collection, signed and dated. There are two noble paintings represent- ing the « Purification » and the « Presentation of the B. V. M.,« by Domenica Feti. Both are splendid compositions of figures set in fine architectural surroundings, and richly colored, with masterly chiariscuro. Another painting, N° 126, entitled ((The Holy Family)), is a painting of particular interest, inasmuch as it is in the style of Pietro da Cortona, but it is signed on a fallen entablature in the foreground. L,. 1 i I [ 27 ] GramicciaP. Pin (pinxt) Vedezia. h. 1771. Ev'dently the D is repainted by some in- competent restorer, as there was a hole in the place where the N must have been, as It is, of course, Venezia, that was originally written. I am unable in the absence of full reference books to identify this master. A painting near the foregoing, N« 129 representing « A Monk in Meditation », is a small copy of the original life size in the National Gallery in I^ondon. A painting described as ((Italian Scenery,)) Milanese School, is distinctly Dutch, and a )) Scene in the French Colonies)) is rightly attri- buted to Vernet. Another painting, « St. John the Evangelist)), No 127, is evidently the work of Artimisia Gentileschi, 1590 1642, ((Jesus Meeting St. Veronicas, a large composition, N« 6, and ascribed to Vargas, is magnificent, but sadly needs cleaning before its great beauties can be clearly seen. The four historical portraits, N«s 104-5- lo-ii, and representing Madame I^ouise (a Carmelite;, Madame Victoire, Madame Ade- laide, daughters of I^ouis XV, and Marie [28] Josephe de Saxe, Dauphiness, mother of Louis XVI, are all very fine works, by Francois Boucher, and of great value, but are in a neglected condition, and if they were properly restored would prove fasci- nating and beautiful works. «A Landscape in France «, N** loo, no painter's name given, is by Salvator Rosa, and really represents a scene in Italy. A painting on panel, of particular interest, representing «St. Jerome Studying the Scriptures)), and given to the Flemish school is distinctly Dutch, and by one of the great men very near to Rembrandt, the impasto and handling, as well as its rich mellow coloring, bearing evidence of its very close proximity to that master. It is a work of the utmost interest to art scholars as well as being of great value. « Elias Throwing His Mantle to Elisha,)) N° 87, by Albert Ouwater, is a splendid composition of fine coloring and most masterly execution. «The Daughters of JethroM, N<* 11, by G. F. Romanelli, is a fine brightly colored and well executed !i -?* [ 29] work by this pupil of Cortono, and being signed and dated 1656, makes it of especial interest. Another painting, N« 10, representing « The Martyrdom,), of Robert Longe is also of great interest. The full inscription at the bottom of the painting is barely discernible, owing to the decayed and discolored varnish which almost entirely obscures it. A small painting on panel, N« 22, a « Vase of Flowers », is by a Dutch painter. It is signed, but it is impossible to clearly decipher the signature on account of the light in which it is hung. There is no name known in the domain of art as that recorded in the catalogue : « Fiesne ». It evidently belongs to the school of Cornelius Kick and Matthew Wilthous. i< Angels adoring the Infant Jesus «, by Mignard, is a very beautiful work of great charm, and is in a fine original condition. The painting entitled ((St. Louis Bertrand>), by Pisano, is a portrait of interest. The full inscription is on the parapet below, but it has been painted over, and although just .=" ft 11 [ 30] discernible, is not legible. It should be cleaned to reveal the inscription as well as the original beauties of the work. The portrait hanging near, N» 42, « Diana of Poictiers>), is a fine work, by Jean Goujon, alike of historic interest and a beautiful work of art of the period and is of great value. A small painting, N« 44, described as u A young woman playing a guitar,)) Italian school, is Dutch, painted on an oak panel, and is a genuine work of David Teniers, the younger, but is too obscured by decayed and discolored varnish to admit of critical examination. It is, however, a valuable work. The fine paintings of life sized figures, N"" 49-53) representing ((Sloth, Pride, Anger, Avarice and Gluttony)), by Gerard Hont- horst, are superbly painted and works of great value. The (( Portrait of George Bilogui, Nuncio at Paris, XVP'^ Century,)) in the Lecture Hall is a very fine work and very like that of Pompes Batoni. In the same room are two ■f J' I r 31 ] small landscapes, N° 6, with no paint- ers names j^iven, fine examples of the French painter Caspar Poussin, the great landscapist of the French school. Passing to the first ante-chamber of the Reception Hall, I was first attracted by two pamtings, Nos 28-32, designated as « Harem Scenes., as of the Flemish school. These are by Victor Honorius Janssens, 1664-17.0 a painter of interiors and .Conversation pieces « of small size, whose works are very rare and very highly prized. « A Landscape in Italy., Italian school, N 15, I identified as the work of Salvator Ro^a but It is considerably repainted over. It is his favorite subject, viz, « Italian Ban- ditti>. among their mountain fastnesses one with whi<:h he was necessarily familiar haying been, if not actually, a bandit him- self, at least a protege of these unpleasant but romantic characters. Another work by Salvator Rosa, N^ 57, is described as a « Landscape Mountain and Ruins, Italian school. » lu the first ante-room, N° 5, the land- [ 3^ ] ' I I scape described as « Rural Scene »,• Italian school, is by the same hand as N° i8, in the main gallery, and referre 1 to above, na- mely, as being by Zuccarelli, though, as I said before, referring to that picture, wrong- ly ascribed to Salvator Rosa. « St. Jerome ^), N° 28, described as of the Milanese school, is distinctly Dutch. In the first ante chamber the painting «0n the Way to the Cross «, N° 10, des- cribed as Modenese, is from the brush of that prolific painter, Pietro del la Vecchia, the Venetian, and not as stated. It was the works of this master that were largely at- tributed to Giorgone before the advent of Morelli, the Hercules of modern art criti- cism, who disillusionized the powers that were and changed chaos into order. In concluding this brief sketch of the contents of this noble collection, my visit to which was « a feast of nectared sweets », I would call attention to the painting N® 34, in the second ante-chamber, described as (cThe Blessed Virgin, Infant Jesus and St. John the Baptist, a panel of the XVP^ 1 ti I 33] century, Italian school.,, This is a fine and most mteresting work by that great paintei Andrea Sch.avone, whose name was Mel- dolla, and who was born in Dalmatia in 152a and died in 1582. His style ;as founded on that of Titian and Giorgone It IS even said, significantly, that Titian res- cued hnn from obscurity. This painting of Mo her and Child is soiled by the accre tion of ages, so much so that I heard some one remark m sarcasm that it was a colored Madonna and child; little knowing that they were in the presence of such a thing of beauty ,t being literally buried and em browned by discolored varnish, made opaque by . is French, equivalent to « II Bronzino >., as the painter is commonly called, goincr to show that in the catalogue the names « Bronzin « and « Brownzig,> are mixed, but for this the poor proof reader the >, N° 40, I noticed briefly before but omitted to state that it cannot possibly be by Pissano as stated, as he was a master of the North Italian school of the XIV*'* century. The work is inscribed beneath, but it is so obscure as to be indecipherable. •I m ft f- [45] The same remarks apply to an admirable work, described as « Robert Longe, 1764.)) The magnificent work entitled « Religion and Time J), Spanish school, is Italian, and the master is Francesco Albano, who was born at Bologna in 1578 and died 1660. He belonged to the School of Carracci and Guido, and was celebrated as a painter of Historical, Religious, Allegorical and My- thological subjects. The Angelini are su- perb, as are also other figures. Albano de- lighted in painting children, his own serving him as delightful models. Coming to a very important work, the fame of which has extended beyond the limits of Quebec, is the painting N° 74 and described as « Mater Dolorosa », Van Dyke. I have given a deal of attention to this painting on several occasions and have ap- proached it with a feeling of trepidity, inas- much as I had at first misgivings as to the originality and authorship. I have now found out the reason and cause of this act of apprehension at first acquaintance. It is because it had been badly disfigured by i i: [46] some incompetent restorer who has cruelly bedaubed u ni n.any important places. The heads and hands have suffered greatly so that the true beauty is sadly n.arred. These disfigurements can be safely retnoved, leav- ing the original work of the m ;t.r intact and perfect. As to the painting itself, I am certain that , ,s really the genuine work of the great luminary of the Flemish school Sir Amhony Van Dyke, but it was painted long before he was Sir Knight. The ex pression of the features of the dead Christ IS most impressive, as is also that upon the sorrowings Mother and the attendant A„- »els. The painter had evidently at heart that wonderful and mysterious poem „Sta. bat Mater Dolorosa, a hymn which has influenced all people, even those differing in creed fron. the author. As D^ Philip Schaff. a Lutheran Protestant, has said i„ the cour.se of an eloquent tribute to this won- derful cou,position : „ It is Chri.fs sufferings which were reflected in Mary's ao-ony As It IS th. heavenly beauty of the Christian t%l rt [ 47 ] ■'im Child which shines on the face of the Ma- donnas of Raphaeb), and in the course of a further reference to the subject of this hymn he quotes a German contemporary as saying with reference to it : « The loveliness of sorrow in the depth of pain, the smiling in tears, the childish simplicity which touches the highest heaven had to me never before risen so brightly to my soul. I had to turn away my tears, especially at the place : yidei suum Duke natum. Saw her son's meek resignation As he died in desolation Yielding »p his soul to God. * But while I am now convinced that it is undoubtedly an original work by the great master, only, not as we are wont or apt to look for in him or associate him in our minds, but as an early work, the work of a very young man, still studying in the studio of the great Rubens, and exhibiting all the evidences of the faithful enthusiast seeking for the truth or perfection, for absolute? ■fcaM [48 ] beauty. For overpoweringly striking is the sculpture-like adamautine hardness and chiselled precision of the dead body of the Savior, exhibiting actually rigor mortis in all the painful gruesomeness of reality, but, to make amends, however, allowing the display of a marvellous kn«^wledge of anat- omy, of a power of drawing and wonderful modelling, as wonderful a coloring and chiaroscuro and all the equally wonderful technique that should make possible the greater man yet to be when he should grow and develop in wisdom and become « The man whom the King delighted to honour » as well as dearly love. But even in this early work, which is even earlier than the fine « Venus and Cupid J) I discovered in the celebrated Lam- bert collection, in which the same critical remarks apply, but always only forecasting the greater men yet lo be, as a rainbow in the brighter day to come, when his guiding star should lead him to another tt acher, who spoke in woids mightier than in letters of lead, because the painter's ait can de- I i I: *M M: \ [49] i scribe feelings and thoughts subtler than words, more subtle than the sweetest music, and reveal the otherwise indescribable mys- teries of the psyshic being. And, as, there- fore, kindred minds wend on and meet together attracted to the goal of the All Beautiful as by a magnet, or impelled as rivers to the ocean. So he saw in Titian the mighty, the grand, the sublime, and, following him into his kingdom of eloquent thought and more eloquent feeling- where he might fathom the depths of sorrow and grasp the pearl of truth so as to reveal it as a divine message unto eternity in the nobility of the repressed expression of the beauty and holiness of abnegation or sacrifice. For it is in this hat Van Dyke learned from Titian all that is noblest in art, and all that the power of art can reach in the innermost dephts of the mystery of the soul, and which was consummated in the miracle of art, known as the Entomb- ment, in the Louvre, wherein the perfect and absolute have been vouchsafed. Whilst referring to Van Dyke, I might 4 [ 50 ] incidentally remark that the painting of the Crucifixion in the Basilica is a work of the same early period, but the beautiful work of life-sized figures, representing the Imma- culate Conception in the same noble and historical edifice,is a specimen of the painters art, to be identified with his later manner where softness, mellowness and grace, golden colouring and loveliness evt-n in death, marked his advance. The painting N° 20, described as « The Coronation of the Virgin », Tintoretto, is not by that master but by Sebastiano Ricci, or, as he is sometimes called, Rizzi. He was born in the Venetian State. Several of his finest work^, which are of enormous proportions, adorn the royal palace at Hampton Court in England. He emulated the style of Paul Veronese, and his sketches and smaller works might be t;iken for those of Veronese, but for a certain heaviness and redness of color which he acquired from his early association with the Bolognese school. He was essentially a painter of grand deco rations, of which the present painting is a [51 ] sWzo for a larger work to be carried o„t either on a wall, for an alur or for a ceiling. folTr '?^ "?^^°^'^ "y ^°y«"y ""d the nobility of England. Ano.her work by this master is that des- cr,bed as „ Simon Majus, XVII* century, Italian school ». ^' A .Flight into Egypt », N" 6.s, on panel described as » Allegory » Sardinian school, is really a genuine and very fine work by baivator Rosa. . ^ to r ^i' ^^"^'^ "' ^'- ^"^^°"y preaching to the Fishes ,,,s a work by that charming mas er and p„p,l of Albona, Pietro Frances CO Mo la, who was born near Milan, but went to Bologna and studied under Albano, whose sweet style he emulated. A very fine work represen.in? „St. Peter " "°";' ^j^" '"'' ^° 46 r.second ante- room) and described as Italian, XVII'' ceim^y, is by Jose Ribera,r588..656, called influenced by the best Italian masters. This [52 ] picture is an early work in his Spanish manner. N° 48 is described as « A Portrait" and is evidently a mistake, as it represents in a composition of six figures, «St. Peter in Prison » with our Lord appearing. It is a magnificent composition of the Florentine school, and painted by Jacopo Catrucci called Pontormo, who is also the painter of the fine Assumption of the Blessed Virgin, which hangs in the second ante-room and which is a most superb work although it is unnamed. N° 55, described as «The reading woman », Flemish school, is a mo^t interesting work of the finest quality, as well as of great value. As far as its obscure condition will permit, I should identify it as a work of Van der Meer, of Delft, born 1632 and died 1675. He is ranked as one of the best masters of that school. Another work of particular interest is N° 6«On the way to Calvary", described as ojesus meeting the St. Veronica », Vargas. This is a most magnificent work of the T f.f [S3] deepest eloquence and sublimity. The ex- tremely fine coloring and the draperies and several of the figures can, however, hardly be seen, but the face of Orr Lord, who is bent beneath the weight of the cross, wears the most eloquent expression of suppressed sorrow which, together with the general pose, the hands and the exprf^s- sion of St. Veronica and the Blessed Virgii make this one of the noblest works tc be found in any gallery. It is a very large painting and evidently designed for an altar. Louis Vargas was born in Seville in 1502, and died in 1568. He studied in Italy especially the works of the great Venetians. A large painting in the first ante-room, N° I, described as « Apparition of the Angels to the Shepherds », Flemish school, X VII*** century (Palamedes) I mentioned before. It is distinctly Dutch and of Rembrandt's school. It calls to mind a very magnificent work dealing with the same subject belong- ing to Captain Evans of Monteegl, wherein the scene is illustrated by the light emanat- [ 54 ] in^ from the Divine Infant. The work is a fine example of Van der Eckghout, Rem- brant's favorite pupil and assistant whose works are extn mely rare and much prized. N° 47, described as ((A Fairw, by Monnix, and mentioned in my last article, is one of those large compositions representing Italian seaports in which Jan Weenix excelled. The name is evidently a mistake. N° 36, a large landscape, described as « A landscape in Italy », Italian school. I identify as a fine work by Zucarrelli. A painting of extreme interest is N° 87 described as « Elias throwing his Mantle to Klisha « (Ouwater), I mentioned before, but omitted to state that it cannot possibly be b> that master, as he was living in 1480, whereas the painting is that of the XVII*^ century. Moreover Bryan says, « No picture can certainly be pointed to as his. » After carefully examining the work, I feel certain it is a fine original painting by no less a master than Philip de Champagne, who was born in Brussels, 1602 and died in 1674. The characteristics of de Champagne's [ 55 ] works are generally light decorative coloring with a sweeping action and masterly com- position and a charming sense of atmosphere. His flesh painting is as dexterous as it is inimitable. He went to Paris at the age of 19 and became intimate with Nicholas Poussin, whose works he emulated though he did not imitate. He painted a full length portrait of Cardinal Richelieu as well as that of Louis XIH crowned by Victory. He was celebrated for his fine rendering of hands, and, in the collection of the Earl of Spencer at Althorp, there is a portrait of an Ecclesiastic where the hand is a most remarkable piece of painting. The painting in this gallery contains all the traits of this superb master. It is a happy discovery, as several of his fine works were destroyed in the most lamentable fire which consumed the Chapel of the Seminary some years ago. Another really important discovery is that of N° 128, described as ccThe Adora- tion of the Shepherds », but no name given. It is undoubtedly a fine and genuine work by that great old Venetian, Jacopo Bassano. [56] The figure of St. Joseph seated is extrem- ely fine, and there is a breath of handling and a splendor of color which gives gran- deur to this fine work. Bassano was so named from his birth-place, his proper name being Jacopo da Ponte. He studied under Titian and Bonifazio at Venice and devel- oped his own peculiar style which is always large and decorative. The dates of his birth and death being 15 10-1582. * Many paintings of great value are con- tained in the Chapel of the Seminary, and among them I found one of extreme interest and value which is not mentioned. It is painted on panel (a tondo) round. It repre- sents the Holy Family and hangs in the fourth chapel near the sanctuary. It is paiiiced by Giovanni Antonio de Jacopo Tisoni, better known as Bazzi. His works are invested with an atmosphere of most solemn poetry, and his coloring, whilst being rich and pure, is at the same time [ 57 ] de^ghtfuUy subtle. Leonardo da Vinci's influence upon him when still young, deep- ened and strengthened by contact with the great Florentine and his pupils ; and his biographer, speaking of him, says : « The first scene of the series depicting the swoon- ing of St. Catherine is well realized and finely painted. Artists ard physiologists have united in praising the figure of the fainting Saint Catherine. Outside the works of Michel Angelo and of the great Venetians, there are few figures more finely modelled in the whole range of Italian art. He was a friend of Raphael and his por- trait appears beside Raphael's in the latter's famous work, the School of Athens.)) Another extraordinary work in the chapel is that representing St. Hilaire, by Salvator Rosa, a truly magnificent work. I also noticed an « Assumption » described as being by « Le Brun ». But the work is engraved as a well-known Rubens, but it is in too dark a situation to speak with certainty as to its being an original. Other works there include several magni- \ It 1. [ 58 ] ficent U Brun's, a Carlo Dolci, at least two Ciuidos, and many others. * * * Although far from having exhausted this magnificent field of art, I would not miss referrmg to another painting which is of extreme interest. Unfortunately it is so obscure that one can hardly distinguish some of the details, and its great beauty of color is entirely veiled. It is that numbered 17, and described as « Matyrdom of St. Stephen », school of Padua. I am sorry to have to differ again, but it is certainly not Italian, but distinctlv Flemish and by a master of the RubensVandyke school, most probably Van Balan, who was the master of Vandyke and painted the same subject. It is well designed and the coloring, could it he seen, must be rich and superb. The dramatic posture of the Saint who is kneeling, wearing a crimson dalmatic! with clasped hands and face inclined heaven- wards, IS very fine. He sees the Eternal if [ 59] Father and Son, in Glory, whilst behind him stands an unclothed frenzied figure holding in both hands a huge stone, about to hurl It at him, whilst others are scramb- ling wildly for stones to aid in the murderous tragedy. In contrast, on the other side stands a stately figure, probably meant to represent Saul, with his back to the spect- ator, pointing out the crime to a mother and child and a group of scribes who are horror stricken. On contemplating this magnificent work, one instinctively thinks of the grand lines of Tennyson in « The Two Voices « m which, referring to St. Stephen, he says.' « He heeded not reviling tones, Nor sold his heart to idle moans Tho- cursed and scorned and bruised with stones. But, looking upward full of grace, He prayed, and from a happy place God's glory smote him on the face. >. Finally although there are still many works remaining that deserve mention and due appreciation, I have omitted none of [6o] the most important from what I feel to be a fair criticism and eulogy. It has been a labor of the keenest interest as well as of the greatest delight to have been given the privilege of making so* exhaustive an ex- amination of this fine gallery and I trust the result of my research has thrown at least some new light upon a collection of such importance, as it is of universal in- terest, and claiming as it justly may, by its natural right, to stand henceforth not only as one of the oldest art collections in the American continent, but as the most his- torical, shrouded in the romantic and stir- ring events of the past, as well as it truly is one of the finest yet extant. And out of which, like an old orchaid still bearing good fruit, let us pray this source of intel- lectual enlightenment and refinement will ever continue as a perpetual fountain, whereat the tired pilgrim may continue to slake his thirst as well as to rest in the rapt contemplation of the beautiful. For it hath been said that the life of a nation ma- nifests itself in its art. For art is morality. .»' \ [6i ] and that which is not moral is, therefore, not art. Here are exhibited priceless treasures, destined to probable destruction, should a conflagration take place in or around the University. These masterpieces, products of some of the greatest painters, if destroyed, would be an irreparable and national loss. Immediate measures shonld be adopted to prevent a possible calamity. Fifteen years ago we know what ruin was wrought when fire destroyed the Semi- nary Chapel, with all its artistic treasures. Why not obviate the recurrence of such a mournful catastrophe, by prompt and active cooperation? Surely there is. enough and more than enough, of public spirit in this City and Province, if once aroused, to help the University Authorities to build a fire- proof museum where these magnificent paintings could be safely installed and remain on view for the benefit of artists, students and visitors.