THE- ART- OF THE 
 VIENNA- GALLERIES 
 
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 'Bv- 
 
 DAVID C. PREYER 
 

 
 
 
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 Publishers, Boston, Mass. 
 
DVRER 
 
 MADONNA OF THE CUT PEAR 
 (See page 138) 
 
 Imperial 
 
 Museum 
 
fje ^rt oi ^ ^ 
 
 Giving a Brief History of the Public and 
 Private Galleries of Vienna v^ith a Crit- 
 ical Description of the Paintings Therein 
 Contained. 
 
 By 
 David C. Preyer, A.M. 
 
 Author of " The Art of the Netherland Galleries," 
 " The Art of the Metropolitan Museum," etc. 
 
 Illustrated 
 
 Boston 
 L. C. Page & Company 
 
 MDCCCCXI 
 
P7 
 
 Copyright^ igii 
 By L. C. Page & Company 
 
 (incorporated) 
 All rights reserved 
 
 First Impression, May, 191 1 
 
 
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 Electrotyped and Printed by 
 THE COLONIAL PRESS 
 C, H. Simonds <Sr» C<?., Boston, U.S.A. 
 
preface 
 
 If this book should induce art lovers to visit 
 Vienna and view its museums, my devout desire 
 would be fulfilled; but also — which is of far 
 greater importance — a distinct service would have 
 been rendered to these art lovers. 
 
 For the Vienna Galleries of paintings are, with 
 the exception of the Hermitage Gallery in St. 
 Petersburg, the least known of those in Europe; 
 but it may be said without exaggeration that they 
 are among the most important. They are especially 
 rich in the works of masters not generally known 
 to art lovers, but of equal rank and often higher 
 merit than those whose names are more familiar. 
 
 The wealth of these Galleries may be estimated 
 when we consider that the Imperial Museum shows 
 over twenty-six hundred paintings; the Academy 
 Collection, twelve hundred; the Liechtenstein, over 
 eight hundred; the Czernin, three hundred and 
 fifty; the Harrach, almost four hundred; the 
 Schonbrunn, one hundred and fifty ; and the Lower 
 Belvedere Gallery, one hundred, or about five thou- 
 sand five hundred paintings in all. Many of these 
 
 22?i988 
 
vi preface 
 
 are priceless jewels. Titian, Palma, Giorgione, 
 Tintoretto, and some Flemish artists, notably Pieter 
 Breughel, the Elder, are nowhere so abundantly 
 represented. The older German school, so difficult 
 to appreciate because its masterworks are distributed 
 over so many Germanic museums, may here be 
 reviewed almost completely. The famous Rubens 
 Gallery of the Louvre is rivalled by a collection 
 in the Vienna Imperial Museum of almost fifty 
 undoubted examples of the master's work, in which 
 he may be studied more comprehensively than any- 
 where else. Although there is a noticeable lack 
 of the 18th century French artists, or of the Italian 
 Quattrocenti, there are many interesting Trecenti, 
 and an unrivalled display of the minor Dutch and 
 Flemish painters. 
 
 Waagen has well said that Vienna surpasses all 
 cities of Germany in the importance of its art 
 collections, and may in Europe be compared only 
 with those of London, Rome, Paris, and St. 
 Petersburg. 
 
 Since the majority of the artists represented in 
 the different galleries are frequently mentioned in 
 the book, the dates of their births and deaths have 
 been omitted from the text to avoid unnecessary 
 repetition. These dates, however, are given in the 
 Index. 
 
 David C. Preyer, 
 
Contents 
 
 « 
 
 PAGE 
 
 Preface v 
 
 CHAPTEK 
 
 I. The Museums and Galleries of 
 
 Vienna i 
 
 11. The Imperial Museum — The Italian 
 
 Paintings 13 
 
 III. The French and Spanish Paintings . 71 
 
 IV. The Flemish and Dutch Paintings . 81 
 V. The Early German Painters . . 131 
 
 VI. The Nineteenth Century Paintings. 151 
 VII. The Gallery of the Imperial Academy 
 
 OF Fine Arts 165 
 
 VIII. The Collection of the Prince von 
 
 Liechtenstein 208 
 
 IX. The Collection of Count Czernin . 255 
 X. The Collection of Count von Har- 
 
 rach 271 
 
 XL The Collection of Count Schonborn- 
 
 BucHHEiM 284 
 
 XII. The Collection of Modern Paintings 
 
 IN THE Lower Belvedere . . . 292 
 
 Bibliography 319 
 
 Index 321 
 
Xist of irUuattattons 
 
 PLATE PAGE 
 
 DiJRER. — Madonna of the Cut Pear ' . Frontispiece 
 I Benozzo Gozzoli. — Adoration . . . . . 14 
 II Ambrogio de Predis. — Portrait of Emperor Maxi- 
 milian 1 25 
 
 III Raphael. — Madonna of the Meadow ... 28 
 
 IV Francesco Parmigianino. — Cupid trimming his 
 
 Bow 35 
 
 V Palm A Vecchio. — Portrait of a Lady ... 44 
 
 VI Titian. — Madonna with the Cherries . . . 48 
 
 VII Alessandro Bonvicino. — St. Justina . . . 57 
 VIII Francois Clouet. — Portrait of Charles IX. of 
 
 France 71 
 
 IX Velasquez. — Laughing Boy 78 
 
 X Hugo van der Goes. — Lamentation of Christ . 85 
 
 XI PiETER Breughel, the Elder. — Winter . . 95 
 XII Rubens. — Portrait of Helene Fourment. (The 
 
 Pelise) 99 
 
 XIII Van Dyck. — Portrait of Prince Rhodokanakis . in 
 
 XIV Adriaen Brouwer. — Drinking Peasant . . .116 
 XV MiEREVELT. — Man's Portrait 119 
 
 XVI Rembrandt. — Portrait of his Mother . . .121 
 
 XVII Jacob van Ruisdael. — The Great Forest . .125 
 
 XVIII Martin Schongauer. — Holy Family . . . 135 
 
 XIX Hans Burckmair. — Double Portrait . . .143 
 
 XX Leonhard Beck. — St. George 144 
 
 XXI Hans Holbein, the Younger. — Jane Seymour . 146 
 
 XXII Titian. — Cupid 176 
 
 XXIII MuRiLLO. — Dice-playing Boys 179 
 
 jdii 
 
XIV 
 
 Xist of iFllttstrattons 
 
 PLATB 
 
 XXIV 
 
 XXV 
 
 . XXVI 
 
 XXVII 
 
 XXVIII 
 
 XXIX 
 
 XXX 
 
 XXXI 
 
 XXXII 
 
 XXXIII 
 
 XXXIV 
 XXXV 
 
 XXXVI 
 XXXVII 
 
 XXXVIII 
 XXXIX 
 
 XL 
 XLI 
 
 XLII 
 XLIII 
 XLIV 
 
 XLV 
 
 XLVI 
 XLVII 
 
 Hans Baldung Grien. — Rest on the Flight to 
 
 Egypt i8i 
 
 LuKAS VAN Leyden. — The Sibyl of Tibur and 
 
 the Emperor Augustus 184 
 
 PiETER DE Hooch. — Family Group . . . 187 
 
 Dirk Hals. — Cello Player 189 
 
 Jan van Goyen. — View of Dordrecht . . 197 
 
 Rubens. — Tigress and Her Young . . . 199 
 
 Jacob Gerritsz. Cuyp. — Portrait of a Lady . 200 
 
 Sandro Botticelli. — Portrait of a Young Man 209 
 
 Van Dyck. — Portrait of Maria Luisa van Tassis 222 
 Frans Hals. — Portrait of Willem van Huyt- 
 
 huysen 224 
 
 Jacob Jordaens. — The Glutton . . . .229 
 
 Chardin. — The Cook 235 
 
 Portrait of a Man 
 Elder. — Abraham's 
 
 Heinrich Aldegrever. - 
 Lucas Cranach, the 
 
 Sacrifice 
 
 Jean Fouquet. — Portrait of a Man . 
 Hans Memlinc. — Madonna and Donor 
 Gerard Terborch. — Double Portrait 
 Jan Vermeer van Delft. — Artist in his 
 
 Studio 
 
 Gerard Dou. — Self-Portrait .... 
 
 Paul Potter. — Morning 
 
 Murillo. — Sleeping Child 264 
 
 Master of the Female Half-Figures. — The 
 
 Concert 272 
 
 Carlo DoLa. — St. Catharine .... 286 
 Max Klinger. — Christ in Olympus . . .316 
 
 247 
 
 249 
 250 
 252 
 255 
 
 257 
 258 
 260 
 
W^t art of tt)t 
 
 CHAPTER I 
 
 THE MUSEUMS AND GALLERIES OF VIENNA 
 
 The principal collection of paintings in Vienna 
 is the property of the Emperor of Austria, and 
 housed in a magnificent building erected by Emperor 
 Francis Joseph. 
 
 The earliest beginning of this Imperial collection 
 was under the Emperor Charles IV, the art-loving 
 Luxemburg-Bohemian monarch who ruled in the 
 middle of the 14th century. Other portions of the 
 collection reach back to the time of Emperor Maxi- j 
 milian I, at the end of the ISth century. Several 
 family portraits now in the museum were painted 
 by his orders. 
 
 In the time of Emperor Ferdinand I there was 
 a Kunstkammer in Vienna, but at his death in 1 564 
 the paintings were inherited by the archdukes 
 
2 Ube Hrt of tbe IDtenna ©alleties 
 
 Ferdinand and Karl, and transferred to Innsbruck/; 
 Graz, and Ambrass, to be returned, centuries later, 
 to Vienna. 
 
 During the reign of Emperor Maximilian II 
 (1564-1576) a second Kunstkammer was started 
 in the Vienna Ho f burg, which was further en- 
 riched by his son Rudolph II. Among the additions 
 made by Rudolph is the famous Rosenkranz Altar- 
 piece, by Diirer, which came from Venice in 1602. 
 He obtained also in Spain paintings by Correggio, 
 the ** lo " and the " Ganymede,'' still in Vienna, and 
 the '* Leda,'' now in Berlin. Karel van Mander, in 
 his " Schildersboek," already called Rudolph a 
 Breughel-collector, but the Emperor also acquired 
 works by Lange-Pier, Patinir, Massys, Pordenone, 
 Giovanni Bellini, Raphael, Titian, Caravaggio, 
 Diirer, and others. When the Court moved to 
 Prague the Imperial collection of paintings was 
 taken thither, and during the disturbances of the 
 Thirty Years War, when the city was plundered 
 by the Swedes in 1648, over five hundred of the 
 pictures were carried away as booty. 
 
 The collection, thus sadly depleted, came next 
 into the possession of the art loving Archduke 
 Leopold Wilhelm, who from 1647 until 1656 had 
 been Governor of the Southern, or Austrian, 
 Netherlands. Even before his departure for 
 Brussels this prince had already bought paintings 
 
xrbe /iDuseums an& ©alleties ot Vienna 3 
 
 in Venice, and surrounded himself in Vienna with 
 local artists, among whom Franz Leux, although 
 a mediocre painter, was still the most prominent. 
 As soon as Leopold was settled in Brussels he took 
 David Teniers, the Younger, as his court-painter 
 and adviser, while many other Flemings, including 
 Gonzales Coques, the two van den Hoecke, Peter 
 Snayers, and Erasmus Quellinus, were drawn 
 around him. 
 
 The indefatigable collector had soon an oppor- 
 tunity to add to his collection, for in 1648 the 
 sale took place in Antwerp of the famous Buck- 
 ingham collection, of which, old records tell us, 
 the Archduke bought the greatest part. Among 
 the paintings thus acquired were the Bassanos, three 
 by Rubens, two by Guido Reni, Titian's " Ecce 
 Homo,'' and many others. Another addition was 
 made at the sale of the collection of King Charles 
 I, which took place after 1649, when works by 
 Franciabigio, Palma Vecchio, Parmigianino, Giulio 
 Romano, and others were acquired. 
 
 The Archduke possessed in Brussels over thir- 
 teen hundred paintings, the importance of which 
 is indicated by the famous Theatrum Picto- 
 rum, which appeared in 1660, a work prepared 
 by Teniers, in which two hundred and twenty- 
 three paintings, including forty Titians, are repre- 
 sented. 
 
4 XCbe art of tbe \Dienna Oallertes 
 
 Another result of Teniers' connection with the 
 Archduke's collection are the paintings which 
 Teniers made of the Archducal gallery, in which 
 the pictures, in miniature, are seen hanging on the 
 walls. Leopold loved to have these so-called 
 " Painted Galleries '' made to send to friendly 
 Courts as gifts. They give a clear idea of the 
 treasures of this early collection. Thus we see in 
 the principal one, now in the Munich Pinakothek, 
 the Archduke himself portrayed, while the so-called 
 *' Cherry Madonna," by Titian, and paintings by 
 Feti, Giorgione, and Paolo Caliari are being shown 
 to him. Another one of these Painted Galleries 
 is now in the Imperial Museum. 
 
 When Leopold returned to Vienna in 1658 he 
 brought all his pictures with him, and the catalogue 
 then made enumerated five hundred and seventeen 
 Italian paintings and eight hundred and eighty of 
 German and Netherland masters, of whom the 
 Flemish naturally were in the vast majority. This 
 is the reason that in no collection in Europe are 
 the Flemish painters, even those of second and 
 third rank, so substantially represented as in the 
 Imperial Museum at Vienna. The entire collection 
 passed, at Leopold Wilhelm's death, in 1662, to 
 the Emperor Leopold. 
 
 In the next generation, notably under Charles 
 VI, a large number of 18th century Vienna art- 
 
TLbc /IDuseums an& Galleries of IPienna s 
 
 ists contributed their work to the Imperial collec- 
 tion. 
 
 Under Maria Theresia the collection suffered \ 
 severe losses when more than one hundred valuable \ 
 paintings from the Prague gallery were transferred 
 to the King of Saxony to make up the indemnity 
 imposed for the Silesian war. The Dresden Gallery 
 owes many of its most important possessions to this 
 occurrence. Another inroad was made in 1753, 
 when the Empress ordered the paintings of the 
 nude to be removed from the collection and sold. 
 But about this time the presence in Vienna of the 1 
 Italian Canaletto and the Geneva artist Liotard ! 
 added important works. 
 
 About 1772 the influence of the great connoisseur, [ 
 Prince Kaunitz, was exerted to bring the Imperial 
 collections together in a worthy home, for which 
 the summer palace of Prince Eugene of Savoy, 
 called the Belvedere, was designated. The transfer, 
 under direction of the curator Josef Rosa, took place 
 in May and June, 1776. The next year a large 
 purchase was made in the Netherlands of Rubens' 
 paintings, now forming one of the priceless sections 
 of the Museum. The occasion was the sequestration 
 and sale of the effects of the Jesuit Order in the 
 Southern Netherlands. Over fifty paintings, in- 
 cluding many of the large Rubens' from the Jesuit 
 Church of Antwerp, and from their colleges in 
 
6 XTbe Brt of tbe Dienna (Ballerfea 
 
 Brussels, Namur, Aloist, Bruges, and Mecheln, were 
 purchased for the paltry sum of forty thousand 
 florins. 
 
 In 1806 the famous so-called Ambrasser collection 
 was added to the Imperial Gallery, and displayed 
 in the Lower Belvedere, a building at the foot of 
 the terraces facing the higher castle. This collection, 
 consisting principally of arms, but with a large 
 number of paintings of small size and some of 
 larger dimensions, had been made by the Archduke 
 Ferdinand of Tyrol (1529-1595), and gathered in 
 his castle at Ambrass, a few miles from Innsbruck. 
 Among the more valuable paintings were Raphael's 
 *' Madonna of the Meadow," Moretto's " Justina,'' 
 and many Carracci. There were three hundred 
 and forty paintings, all told, to enrich the Imperial 
 collection. 
 
 The French wars of the early 19th century made 
 sad commotion in the Belvedere. The paintings 
 were packed and sent down the Danube. Still, 
 many had to be left behind to fall into the hands 
 of the French when they entered Vienna. These 
 were shipped to Paris, and not all were returned 
 at the Restoration. 
 
 During the past century constant purchases have 
 been made. In 1816 there were fourteen paintings 
 acquired in Venice, among these the magnificent 
 Cima de Conegliano. In the thirties an addition 
 
Zbc /iDuseums an& Galleries ot IDtenna 7 
 
 was made of over a hundred paintings, principally 
 of contemporary Viennese artists. 
 
 In the scheme for the beautifying of Vienna, 
 which Emperor Francis Joseph originated, the build- 
 ing of worthy homes for the Imperial collections 
 was included. A beginning of this was made in 
 1872, and after long delay the Museum on the 
 Ring Strasse received the entire Imperial collection 
 of paintings, which were well hung, and have been 
 catalogued with considerable scholarly acumen. 
 
 The Collection of the Akademie der Bildenden 
 Kiinste, the Academy of Fine Arts, had its origin 
 in the 18th century. It contains many paintings 
 gathered in Venice from now demolished churches 
 and f rater-houses ; even from the Doge's Palace 
 have canvases come to enrich the collection. 
 Famous old Flemings and Dutchmen represent 
 their respective schools, notably by the wealth of 
 colour of their paintings of still life. A few 
 Spaniards, an excellent Murillo, a Carreiio, and 
 a few Frenchmen may be added, while a complete 
 survey of Vienna artists of the 18th and 19th 
 centuries may be had. 
 
 The first acquisitions were made in 1731, when 
 the annual prize pictures of the Academy were 
 acquired, many of which are still shown. In 1750 
 a beginning was made with the collecting of the 
 paintings that had to be donated by new mem- 
 
8 TLbc Hrt of tbe li)ienna (Ballerfes 
 
 bers of the Academy. The Empress Maria 
 Theresia, besides giving some paintings, estabHshed 
 a fund the interest of which produced the means 
 for the purchase of paintings to this day. 
 
 The most important addition was the famous 
 collection of some eight hundred paintings brought 
 together by Count Anton Lamberg-Sprinzenstein, 
 a noted collector, who in the last years of the 18th 
 century gathered a magnificent collection of Italian 
 and Dutch paintings. After his death in 1822 some 
 dispute arose whether the Imperial Gallery or the 
 Academy should be the legatee, which question was 
 at last in 1824 decided in favour of the latter, but 
 not until 1835 was the collection placed on exhi- 
 bition. The Lamberg collection had already in 1800 
 a European reputation, as may be seen in Kiittner's 
 Reisen durch Deutschland, published in 1801, in 
 which many of the Dutch paintings belonging to 
 Count Lamberg are regarded as the finest works 
 of the artists. 
 
 In 1838 Emperor Ferdinand purchased a col- 
 lection of Venetian paintings, some of which were 
 placed 'in his own gallery in the Belvedere, while 
 others, to the number of eighty-eight, were donated 
 to the Academy. 
 
 The Academy has always been unfortunate in 
 its exhibition rooms. The collection wandered 
 about from place to place until the present building 
 
Ube /iDuseums an& ©alleries of IDienna 9 
 
 on the Schiller Platz was completed in 1876. There 
 the twelve hundred paintings cover the walls from 
 floor to ceiling in a series of rooms in the second 
 story of one of the wings, with poor light and 
 the most apologetic hanging arrangement. If the 
 numerous copies and unimportant works were re- 
 moved, some improvement would be made. 
 
 The principal private gallery of Vienna is the 
 world-famous Liechtenstein Gallery, the origin of 
 which goes back to the end of the 16th century, but 
 which did not become of special interest until Prince 
 Josef Wenzel, in 1760, added many valuable can- 
 vases. The collection is still housed in the summer 
 palace, built by Domenico Martinelli in 1703, the 
 grounds of which are now entirely surrounded by 
 the city's growth. The rooms are decorated with 
 frescoes by Belucci, Franceschini, Andrea Pozzo, 
 and Rothmayr. The present Prince Johann is still 
 frequently adding to his collection of over eight 
 hundred paintings which stands unrivalled among 
 the world's private galleries. 
 
 Some thirty years ago the Liechtenstein gallery 
 was visited by a wave of prudery, and all paintings 
 of nude figures were packed off to be sold at auction 
 in Paris. 
 
 The three hundred and fifty pictures which con- 
 stitute the Count Czernin collection hang together 
 in three large rooms in the Count's private resi- 
 
lo Ube Htt of tbe Dienna ©alleries 
 
 dence. The collection was founded over one hun- 
 dred years ago by the great-grandfather of the 
 present Count, and contains several masterpieces. 
 
 The founding of the collection of Count von 
 Harrach goes back to the second half of the 17th 
 century, when Count Ferdinand Bonaventura 
 Harrach, Imperial Ambassador at Madrid, acquired 
 the magnificent Spanish paintings which form the 
 nucleus of the collection, and added thereto a score 
 of works which he bought from the early Viennese 
 collector Pilat. In the next century Count Alois 
 added most of the Italian pictures during his resi- 
 dence in Naples; and Count Friedrich Harrach 
 gathered the Dutch section while travelling in the 
 Netherlands. Since the death of Count Johann, in 
 1829, there have been no important additions made. 
 
 The beginning of the 18th century laid the 
 foundation of the collection of Count Schonborn- 
 Buchheim, although few of the paintings enumerated 
 in the first catalogue of 1746 are at present to be 
 found. Later exchanges, the sale of important 
 paintings, and the purchase of new canvases have 
 wrought a great change. At present we find the 
 collection especially rich in Dutch pictures. It fills 
 several of the private apartments of the Count's 
 palace. 
 
 Many of the paintings in the Lower Belvedere 
 are the canvases by the later masters of the 19th 
 
XLbc jflDuseums an& ©allertes of IDienna n 
 
 century which belonged to the Imperial collection, 
 and were originally hung in the Upper Belvedere. 
 They are principally from the brushes of Viennese 
 artists; but there are a few foreign canvases. 
 Several modern paintings belonging to the Academy, 
 and a number of State purchases have been added, 
 whereby an interesting collection of 19th century 
 art may be seen. 
 
Spanish 
 
 French - 
 
 u-soKviaaHxaj^-* 
 
 IZ 
 
CHAPTER II 
 
 THE IMPERIAL MUSEUM THE ITALIAN PAINTINGS 
 
 In looking at the ground plan of the Imperial 
 Museum we note that four large galleries and four 
 cabinets to the right of the entrance are filled with 
 the examples of the Italian schools, comprising some 
 six hundred paintings. The vast majority of these 
 belong to the North Italians, and specifically to the 
 Venetian masters of the 16th century. The hanging 
 arrangement is but slightly conducive to a chrono- 
 logical survey, although the local origin of the paint- 
 ings has been more or less kept in mind, and the 
 different works of various artists have been kept 
 together as much as wall-spacing, or what artists 
 call " wall-spotting," would allow. Since the cata- 
 logue numbers follow each other consecutively on 
 the wall it will be easy for those who visit the 
 Museum to locate the paintings described. 
 
 We enter then the First Gallery. Although 
 the earlier Renaissance painters are but sparsely 
 represented, we find nevertheless some noteworthy 
 examples. Of the Florentine Quattrocento there is 
 
 13 
 
14 lEbe art of tbe IDienna (Salleties 
 
 but one example — a work of wonderful beauty 
 and charm. It is an early work by Benozzo Gozzoli, 
 and represents an "Adoration'' (No. 26 of the 
 Catalogue. Plate I). On a throne, the back- 
 drapery of which is upheld by angels, is the 
 Madonna seated, worshipping the Child that lies 
 on her knees. St. Bernard kneels on her left, while 
 St. Francis on her right presents a diminutive 
 Franciscan monk. 
 
 Benozzo Gozzoli, although a pupil of Fra 
 Angelico, presents a marked contrast to the mystic 
 tendencies, the lofty seriousness, the asceticism of 
 the Dominican painter. His was a joyous nature, 
 with lively imagination, exuberant fancy, and love 
 of nature. No one, indeed, was less disposed than 
 Benozzo to look on the dark side of things, or to 
 take life tragically. To him belongs the credit of 
 having restored in art the episodic element, too 
 often sacrificed in the ISth century to the con- 
 templative element, whereby his art became more 
 cheerful and pleasing, and more expressive of the 
 sentiments. Dogmatic painting was not for him; 
 his spontaneous fancy required freer range. What 
 he lacked was depth of feeling, the sense of noble 
 form; but the poetry of his invention has the 
 charm and grace of improvisation. Thus, although 
 his claim to rank with the great artists of his country 
 may be disputed, he yet stands among the painters 
 
^^ 
 
 o 
 
 < 
 
 o 
 
 Q 
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 9*^ 
 
 N O 
 O N 
 
 tq O 
 
Ube Umpettal /iDuseum is 
 
 of the early Renaissance as one of the most talented, 
 and certainly the most fascinating. In the painting 
 before us we m^ay still note the quiet piety and the 
 delicacy of colour of the pre-Renaissance period. 
 
 Many years later, in 1516, Fra Bartolommeo 
 painted for the Dominican monastery in Prato, of 
 which at one time he had been a novitiate, a large 
 panel showing " The Presentation in the Temple '' 
 (No. 41). 
 
 No work by Fra Bartolommeo is characterised 
 by a more tender and simple beauty. Upon the 
 steps of an altar the High-priest Simeon, in a red 
 mantle and white undergarment, receives the infant 
 Jesus from the hands of the Virgin, who is clad 
 in a long blue cloak, the folds of which almost 
 conceal her red robe underneath. The holy women 
 are grouped on the other side of the picture in that 
 easy and lifelike arrangement in which the master 
 excelled all. Fra Bartolommeo had the full mas- 
 tery of unison in composition not met with in 
 the work of any Italian painter who preceded him. 
 His grouping possessed a rare vivifying power. 
 Although his serious nature was not suited to 
 idyllic themes, and the sublimities of tragic passion 
 lay beyond his scope, since he lacked boldness of 
 imagination, he still created a new art, by establish- 
 ing laws of composition which raised the ordinary 
 and commonplace to the monumental. He aban- 
 
i6 Xtbe Hrt of tbe Dtenna ©alleries 
 
 doned the decorative paraphernalia of the 15th cen- 
 tury, and counted upon a rhythmical arrangement 
 of the masses. With him commence the academic, 
 but grand compositions which may almost be reduced 
 to a geometrical figure. But as he developed in 
 this magnificent ordering of the lines and masses, 
 there came a carelessness in the types ; his drawing 
 became less studied, and the faces were rarely indi- 
 vidual. He appears to have relied too much upon 
 the lay-figure, which he is said to have invented. 
 But despite this careless generalising of what, 
 indeed, must be important, we cannot fail to admire 
 his beauty and sweep of line, and the architectonic 
 solidity of his grouping, which makes all the figures 
 interdependent and necessary to each other. 
 
 Fra Bartolommeo's pupil, Andrea del Sarto, is 
 represented by a " Pieta " (No. 39). This artist's 
 impressionable temperament is well reflected in the 
 expression of woe depicted on Mary's face. The 
 beautiful transparency of the olive-green tones 
 shows his strong colour sense, for which the later 
 Florentines, indeed, were noted, but in which, so 
 early, Andrea excelled. No. 42, '' Tobias and the 
 Angel," is a work by one of his pupils, although 
 possibly touched by the master. 
 
 Andrea del Sarto, whom his contemporaries 
 called il pittore sensa errori, or the faultless painter, 
 should come in critical estimate of the Tuscan 
 
XTbe irmperial /iDuseum 17 
 
 school immediately after Leonardo, Michelangelo, 
 and Raphael — yet he cannot be ranked with these. 
 It may be difficult to convince many of this, who 
 are at first impressed with his ** Elysian beauty, 
 melancholy grace,'' as Swinburne in poetic fervour 
 has epitomised his work. 
 
 To enumerate the excellencies of his achieve- 
 ments is not difficult. His workmanship is solid, 
 his brush unerring, with never a trickery in his 
 method. Difficulties of technique did not exist for 
 him. The base of his artistic greatness lay surely 
 in the integrity of his drawing; the details being 
 neither unduly emphasised nor avoided, being al- 
 ways part of a greater whole, where the balance 
 is true and the impression indelible. His colour 
 has infinite gradation and depth, being gay and 
 rich ; and as a colourist Andrea holds a first rank 
 for his harmony and strength of tone. Nor has 
 he ever been surpassed in the rendering of flesh, 
 which has all the round, elastic quality through 
 his morbidezza. 
 
 Yet one thing is lacking, the most precious gift 
 that makes the great artist — inspiration, depth of 
 emotion, energy of thought, conviction. He was 
 .one of the greatest painters — yet he falls short 
 of being a great artist, using the word in its high- 
 est sense. His very cleverness made things seem 
 too easy. The graceful lines that flow so readily 
 
i8 XCbe Hrt of tbe IDienna ©allertes 
 
 lack firmness and boldness and imposing grandeur. 
 The invariably beautiful faces of his women, that 
 lack the characterisation of types, become soft and 
 pretty; and the gestures become even artificial and 
 frivolous. His striving for effect is seen in the 
 overloading of his figures with draperies, which 
 he knows how to paint so admirably — and does 
 it for that reason. His best pictures give us the 
 sense that they were designed with a view to solv- 
 ing an aesthetic problem to the admiration of the 
 beholders. 
 
 Del Sarto's pictures exercise a potent spell, which 
 Paul Mantz attempted to define when he wrote, 
 *' Andrea has the despotism of charm '' — but 
 Andrea del Sarto was the first great painter who 
 walked the road, facilis descensus, which led 
 to the ultimate ruin of Italian art, as it has been 
 the ruin of all schools that followed it. The road 
 to please, without sincerity, without spiritual aspira- 
 tion. 
 
 Andrea's friend and collaborator, Franciabigio, 
 by no means equalled him. There is a " Holy 
 Family'' (No. 46), originally from the collection 
 of Charles I, which is beautifully impressive. It 
 reminds one of a painting in the Tribuna at 
 Florence, the " Madonna del Pozzo," which used 
 to be ascribed to Raphael. 
 
 There are still three other Florentines of the 
 
Ubc Ifmperial /iDuseum 19 
 
 16th century represented by excellent works. Giu- 
 liano Bugiardini, — to whom Miindler, and also 
 Waagen, ascribe No. 46, — has here an indubitable 
 ** Abduction of Dinah'' (No. 36) — the sons of 
 Jacob deliver their sister from the house of Sichem, 
 and wreak their vengeance on the inhabitants of 
 Salem. The group of women on the left is beau- 
 tifully composed. By Jacopo de Pantormo we find 
 three portraits, two of elderly women, and one of 
 a young man (Nos. 45, 48 and SO). This last 
 painting is good enough to be thought, by Crowe 
 and Cavalcaselle, an early work of Bronzino, from 
 whose hand we have a " Holy Family '' (No. 49), 
 and several portraits (No. 44, and, in Cabinet I, 
 Nos. 94 and 97). Bronzino was court-painter to 
 Cosimo, the first Archduke of Tuscany. His feel- 
 ing for the plastic presentation of form and gran- 
 diose composition, as well as his lack of colour- 
 sense, may be recognised in these examples. 
 
 To complete our survey of the Tuscan painters 
 we will for the present leave the First Gallery and 
 enter Cabinet I, where we are at once impressed 
 by a magnificent work of the earlier Andrea Man- 
 tegna, one whose influence was felt in all northern 
 Italy. It is a small panel (No. 81), showing the 
 holy Sebastian bound to a pillar, and pierced by 
 arrows. There is a classic monumentality in this 
 entire composition, a sculpturesque solidity of the 
 
20 TLbc Hrt ot tbe IPienna Galleries 
 
 youthful body that harks back to the antique — 
 but the spiritual feeHng in the martyr's dying look 
 announces the new service in which art had en- 
 gaged. 
 
 That Mantegna, however, was equally well versed 
 in the esoterics of paganism is seen in the series 
 called "Csesar's Triumphal March'' (Nos. 72-80), 
 copies made by Andrea Andreani, the originals of 
 which are now in Hampton Court, in England. 
 
 It is a gorgeous grouping of pagan splendour. 
 First we see the vanguard of tubablowers, soldiers, 
 and bearers of banners; then images of the gods 
 are being carried; then follows the war-booty, 
 loaded on wagons drawn by oxen. A large herd 
 of animals, wreathed for sacrifice, precedes a num- 
 ber of elephants, the newest of war-trophies; be- 
 hind them walk the captives, with sunken heads, 
 yet proudly stepping. Then come musicians and 
 buffoons; and Julius Caesar, the Triumphator, 
 calmly seated on his high chariot, closes the pro- 
 cession. 
 
 This great series was painted by Mantegna be- 
 tween 1484 and 1492 for his patron Francesco 
 Gonzaga, to adorn a long gallery in the marquis' 
 palace of San Sebastiano, at Mantua. In 1627 the 
 entire set of nine paintings was bought for King 
 Charles I, and forms the chief treasure of the Royal 
 Gallery at Hampton Court. They were, however, 
 
Ubc irmperial /IDuseum 21 
 
 barbarously "restored" in the 18th century, so 
 that to-day but Httle remains of Mantegna's splen- 
 did work save the composition and general forms. 
 
 Our copies here give a far truer impression of 
 this, one of the greatest achievements of the early 
 Renaissance. It is a superb expression of the 
 marvellous genius of this great creator of the science 
 of composition, who was, besides, the greatest 
 draughtsman of all time. The overwhelming 
 masses of rioting pageantry are subdued into a 
 rhythmic procession of monumental majesty. It 
 shows how the artist's powerful imagination was 
 ennobled by the most finished self-restraint. 
 
 Although Mantegna did not leave any direct 
 pupils who attained celebrity, his fame and in- 
 fluence were widely extended. We see it in Ra- 
 phael's " Entombment," the motif of which is bor- 
 rowed from the Mantuan master. Sodoma derived 
 his inspiration for his decorations in the Stanza 
 della Segnatura, in the Vatican, from Mantegna's 
 circular ceiling fresco in the Castello at Mantua. 
 He influenced Correggio, Paolo Veronese, Albrecht 
 Diirer, Holbein, and many others. 
 
 One who owed to Mantegna all that is best in 
 his art was Cosimo Tura. Of this painter we find 
 "The Body of Christ" (No. 90), supported by 
 two weeping angels. The catalogue rightly queries 
 its attribution of this painting to Marco Zoppo, for 
 
22 Zbc Hrt of tbe IPienna (Ballertes 
 
 the somewhat larger painting of similar grouping, 
 by Tura, now in the Louvre, fully establishes our 
 painting as a second version. The artist's peculiar 
 mannerism of excessive mobility, which sometimes 
 degenerated into the grotesque, together with his 
 delicate technique and individual colour-sense, are 
 plainly manifest. He was much employed by the 
 art loving Duke Borso d'Este. 
 
 That same Ferrarese colour scheme is found in 
 the work of his pupil Lorenzo Costa. A beautiful 
 female portrait (No. 85) shows, however, also the 
 influence of the Bolognese Francesco Francia in 
 a softened and more poetic feeling. A stronger 
 work is that of Dosso Dossi, the ablest of the 
 Ferrarese before Correggio. 
 
 He pictures "St. Jerome" (No. 68) sitting 
 before his cave and holding a crucifix. His lion 
 is just crawling into the dark cavern. The right 
 half of the canvas is filled with a conventional 
 landscape, where in the distance we see the devout 
 entering a church. A strong light reflects from 
 the naked torso of the saint, silhouetted against 
 the rock background. This is a standard work, 
 used at all times for comparison with pretended 
 examples of the artist as being the most character- 
 istic of Dosso Dossi's paintings. 
 
 Let us, then, draw the characteristics of this 
 Ferrarese painter, who owed everything that gives 
 
XCbe Ifmpetial /ftuseum 23 
 
 him consideration to Giorgione and Titian, from 
 the picture before us. We note that the drawing 
 of the figure is here sHpshod, there over-accen- 
 tuated, the modelHng being puffy and hollow. His 
 talent comes out best in a feeling for poetic effects 
 of light and colour, which he must have caught 
 from Giorgione's haunting magic. His painting 
 spells the ease of his performance, but its glamour 
 and richness of tone and the maze of his alluring 
 lights cannot hide the shallowness of his mean- 
 ing. He was a romantic illustrator par excel- 
 lence. 
 
 A few Milanese paintings are also found in this 
 cabinet. A ''Madonna with a Lily" (No. 84), 
 and the portrait of a "Young Man'' (No. 83), 
 cannot with certainty be attributed, although the 
 Milanese school must have produced them. More 
 assured are we of a '' Christ bearing the Cross " 
 (No. 82), with its porcelain finish, which belongs 
 to Andrea Solario, the devoted follower of Leonardo 
 da Vinci, who went with his master into exile in 
 France, after the overthrow of the Sforzas in 
 Milan. 
 
 Bernardino Luini is shown by an early painting, 
 "St. Jerome" (No. 87), which cannot be com- 
 pared with Dossi's stirring work. A better example 
 of Luini's hand is his " Daughter of Herodias " 
 (No. 86), where a beautiful Salome offers on a 
 
24 Ube Hrt of tbe IPienna ©alleries 
 
 silver dish the head of the Baptist, with its calm, 
 peaceful face, and long, dark, curling locks. 
 
 This subject has been treated by Luini at least 
 four times. One of these works is in Florence, 
 another in Milan, a third in Paris, and the fourth 
 is before us. Salome differs in features in each 
 version of the subject, but her style of dress, her 
 full bosom, only partially hidden by the under- 
 garment, her long, rippling, golden hair, confined 
 by a fillet, are similar in each picture. She is a 
 beautiful, sensuous, and voluptuous woman, devoid 
 of sympathy or tenderness, strongly contrasting 
 with the tragic spectacle offered by the severed 
 head of John the Baptist. 
 
 Bernardino Luini has been called the Raphael 
 of Lombardy, although he is closer affiliated to 
 Leonardo da Vinci. Without being a pupil of 
 Leonardo he was a distant, but faithful follower 
 of the Milanese master. Indeed, so closely did he 
 adapt his style to that of da Vinci that their works 
 have, until recently, been commonly confounded, 
 most of Luini's pictures having at one time or 
 another been attributed to the other master. Still 
 with all this adaptation Luini never lost his own 
 natural and sympathetic expression. From Leo- 
 nardo he took his gracious types, and simpified 
 them; his severe types, and softened, often weakened 
 them; but in many a picture, particularly those 
 
AMBROGIO 
 
 DE 
 
 PREDIS 
 
 PORTRAIT OF EMPEROR MAXIMILIAN I 
 
 Plate II 
 
 Imperial 
 Museum 
 
• • • */ • * 
 
Ubc imperial /iDuseum 25 
 
 in which he painted the Virgin and the Child, or 
 the Saints in moments of fervour or repentance, 
 he shows himself spiritually superior to Leonardo. 
 His intense faith, his deep devotion, the truth of 
 his religion, and his intimate knowledge of the 
 mystery, alike of joy and of bitter sorrow, are 
 revealed by his pictures. Ruskin has well said 
 that *' he joins the purity and passion of Fra 
 Angelico to the strength of Veronese. But,'' he 
 goes on to say, " the two elements, poised in per- 
 fect balance, are so calmed and restrained each 
 by the other that most of us lose the sense of 
 both." 
 
 The work of Ambrogio de Predis is of unequal 
 merit, but his *' Portrait of Emperor Maximilian 
 I'' (No. 69. Plate II) is among the best of his 
 works. It is scarcely plausible that this straight- 
 forward, dignified portrait should come from the 
 brush of one who at other times lost himself in 
 the sugariness and perfume of insipid women's 
 heads and effeminate lads' faces. It shows the 
 overtowering and unavoidable influence which 
 Leonardo da Vinci exercised over the men who 
 came in contact with him. Where Leonardo suc- 
 ceeded in painting beauty, intensified in character, 
 to mysticism, as in his Mona Lisa, his followers, 
 less capable, unhappily swung through greater pret- 
 tiness to sweetness, sickliness and affectation. This 
 
26 Ube Htt ot tbe IDienna Galleries 
 
 momentum to the other side — from the sterHng 
 character-portrait of MaximiHan to the weak por- 
 trayal of a charming woman, is seen in No. 70, 
 a " Portrait of Bianca Maria Sforza/' the second 
 wife of Emperor MaximiHan. Although not by 
 his own hand, it is a faithful and excellent copy 
 of an original by de Predis, which until recently 
 was owned in Berlin but is now in a private col- 
 lection in Philadelphia. 
 
 A more slavish imitator of Leonardo was Cesare 
 da Sesto, of whom we have also a '^ Daughter of 
 Herodias " (No. 91), which, naturally, excels in 
 loveliness of form and coloratura. 
 
 A painting by Giorgio Vasari, better known as 
 the artists' biographer, still attracts us here. It 
 represents a *' Holy Family" (No. 93). Several 
 works by pupils of Michelangelo, breathing the 
 spirit of the great Florentine master, complete our 
 survey of this cabinet, and of the Florentine school. 
 
 Returning to the First Gallery we note that 
 the Umbrians, closely related to the Tuscan paint- 
 ers, are even more sparsely represented, and that 
 by only two artists. Maestro Pietro Perugino, and 
 his most famous pupil, Raphael Sanzio. 
 
 Of Pietro Perugino we find four examples. No. 
 
 27 is a large picture, somewhat roughly painted, 
 of " Mary with the Child and Four Saints.'' This 
 must be one of the examples for which Michel- 
 
TLbc IFmpetial /Duseum 27 
 
 angelo criticised Pietro, saying that ** his art was 
 rude." No. 32 shows the " Madonna and Two 
 Saints " and is a typical work of Perugino, note- 
 worthy also because it has his own undoubted 
 signature in light brown on the left at the bottom. 
 These two examples are further interesting because 
 of the renewed presentation of this subject in half- 
 figures. The ** St. Jerome" (No. 25) is not as 
 important as a small ''Baptism of Christ" (No. 
 24), with charming angel figures and a beautiful 
 landscape. 
 
 Perugino was a strong enough painter to impress 
 his pupil Raphael to such an extent that Raphael's 
 first manner of painting is commonly called his 
 Peruginesque manner. This personal style con- 
 sisted especially in the painting of draperies which 
 fall in deep, easy folds. His brushwork, also, was 
 usually clean and close-finished, sometimes affect- 
 ing the use of gold in the light-painting, as the 
 earlier painters had done. 
 
 But the greater master followed — Raphael. 
 Only one example is shown in the Museum, but 
 one that ranks among the most beautiful of Ra- 
 phael's Madonnas, and is regarded by many as the 
 most valuable art treasure in Vienna. This is the 
 famous "Madonna of the Meadow" (No. 29. 
 Plate III), painted in 1506, in Florence, for his 
 friend Taddeo Taddei. 
 
28 XTbe Hrt ot tbe Dienna Galleries 
 
 The date, which is on the hem of the dress at 
 the breast, places this magnificent painting in the 
 year before the '' Belle Jardiniere," of the Louvre, 
 which was painted* in 1507. Unlike this latter 
 painting, which was left unfinished by Raphael 
 when he left Florence, and was completed by Ghir- 
 landajo, our Madonna is entirely by Raphael's own 
 hand. With all his youthful enthusiasm he pro- 
 duced a work that is perfect in every detail. The 
 composition is wonderful in its sense of space; 
 there is moderation, a divine purity in the colour; 
 and the whole presents that essence of beauty which 
 marked him the greatest of all artists since the 
 Greeks. 
 
 The genius of Raphael was assimilative. He 
 absorbed all that was excellent in Perugino's work 
 and rendered it with greater delicacy and spon- 
 taneity. From Fra Bartolommeo, in Florence, he 
 learned the secrets of composition and brought this 
 to architectural perfection. Under the influence of 
 Michelangelo, in Rome, he drank in the classic 
 spirit through the study of the antique — yet in 
 no sense at any time sacrificing his individual- 
 ity. The masterpieces that impressed him only 
 served to teach him how to comprehend his own 
 ideal. 
 
 A comparison of the '' Madonna of the Meadow '' 
 with *' La Belle Jardiniere '' is pertinent, because 
 
'RAPHAEL 
 
 MADONNA OF THE MEADOW 
 Plate III 
 
 Imperial 
 Museum 
 
Ube flmperial /ftuaeum 29 
 
 they were painted so nearly at the same time, and 
 are so nearly alike in composition. Both have the 
 pyramid style of composition favoured by Fra 
 Bartolommeo, but the Vienna picture is superior 
 in almost every respect. The landscape has a 
 greater space and more the breath of out-of-doors. 
 The children are perfect in their charm of natural 
 pose and expression, while those in the Paris pic- 
 ture are less free, more constrained, and the head 
 of the little John is scarcely pleasing — if we should 
 care to say so much. There is also more graceful 
 ease and dignity in the pose of our Madonna, whose 
 features, slightly more mature, are also more beau- 
 tiful — in the Paris painting they are somewhat 
 too girlishly beautiful for motherhood. 
 
 When we stand before this '' Madonna of the 
 Meadow,'' so spiritual in its ethereal beauty, painted 
 when the master was but twenty-three years old, 
 and then gaze forward to that majestic theophany, 
 the Disputa, in the Stanza della Segnatura of the 
 Vatican, finished before he was thirty, we are 
 astounded and impressed with the serene supremacy 
 of one who, dying young, still gave the world the 
 most complete expression of every beauteous form, 
 ranging from the tender to the sublime. 
 
 Of Raphael's pupils there are a few excellent 
 examples. Giulio Romano, his most favoured pupil, 
 who completed the ''Transfiguration/' left unfin- 
 
30 xrbe Htt ot tbe IDienna ©allerfes 
 
 ished at the master's death, painted the " St. Mar- 
 garetha '' (No. 31). The martyr, by the power 
 of faith, looks down undaunted upon the threaten- 
 ing dragon at her feet. The colour of the thin, 
 blue garment that covers her, and the play of 
 shadows in the dark grotto, are exquisitely ren- 
 dered. 
 
 Romano's own pupil, Polidoro da Caravaggio, 
 who also worked in Raphael's studio, and who must 
 not be confounded with the half century later 
 Amerighi Caravaggio, is best known for his large 
 decorations on fagades, and but few of his easel 
 pictures are known to exist. The Museum pos- 
 sesses a grisaille painting (grey on grey), repre- 
 senting the classic story of '* Cephalus and Procris " 
 (No. 33), which excels in sculpturesque drawing. 
 This applies especially to the figure of Cephalus, 
 who stands with outstretched arms, horror-stricken, 
 before the dying Procris, whom unwittingly he has 
 pierced with the never-failing javelin she herself 
 had given him. 
 
 An earlier member of the Raphael circle was 
 the Bolognese Francesca Francia, who was a friend 
 of the great Urbinate, and who exercised great in- 
 fluence on the young genius. We find here a 
 "Madonna and Child" (No. 47). The Madonna 
 is seated on a high throne, holding the Child stand- 
 ing on her lap, while St. Catharine of Alexandria 
 
XTbe Imperial /iDuseum 31 
 
 and the little John surround her. The painting 
 displays the great naturalism of this highly gifted 
 artist, whose work forms a sort of link between 
 the incomplete productions of the Primitives and 
 the finished and perfect work of Leonardo and 
 Raphael. His types are homely, his snub-nosed, 
 heavy-chinned Madonnas rather dull, but yet with 
 a naive sincerity of expression. 
 
 Giovanni Antonio Bazzi, called Sodoma, was a 
 friend of Raphael, although a pupil of Leonardo 
 da Vinci, and properly belonging to the Lombard 
 or Sienese school. His *' Holy Family '' (No. 51), 
 of half -figures, is not, however, so good a painting 
 to give as high a standing to the artist as his works 
 in other galleries would give him, notably those 
 in Siena. It shows the slovenly carelessness to 
 which this jovial, pleasure-loving, almost licentious 
 painter often descends. By nature one of the most 
 talented and gifted of men, this whimsical scatter- 
 brain disdained to follow the road to all attain- 
 ment — hard work. No painter was more richly 
 dowered — facility, elegance, remarkable powers of 
 assimilation, and a fertile fancy were his; but wil- 
 ful negligence, careless lassitude, and a frivolous 
 character spoiled his chances. Most of what he 
 left in a long, productive life is showy and trivial; 
 only occasionally did he reach a height of inspira- 
 tion that can produce a noble emotion, but even his 
 
32 XTbe art ot tbe Dienna Galleries 
 
 best work is full of inconsistencies and contradic- 
 tions. 
 
 The greatest of all Ferrarese painters was An- 
 tonio Allegri da Correggio. This artist is the only 
 one who has represented those mythological sagas, 
 wherein the Greeks symbolised the impregnation 
 of humanity with the divine power, and who suc- 
 ceeded in picturing this symbol of love with an 
 intimate union of sweet innocence and naive clear- 
 ness. He has done so in the '' lo," and in the 
 Berlin " Leda." 
 
 With pure and marvellous fecundity of imagina- 
 tion has Correggio here represented the embrace 
 of lo by a cloud in which the form of Zeus is 
 mystically seen (No. 64). There is scarcely a nude 
 painting in existence that can compare with the 
 magnificent morbidezza, the illuminating surface, 
 the suggestive abandon in the drawing of lo's figure. 
 
 We cannot accuse Correggio of conscious im- 
 morality, or what is stigmatised as sensuality. The 
 ardour of his love for physical life made him seek 
 for life and movement in his figures, and present 
 them with intoxicating beauty of form. He painted 
 purely beautiful dreams of beautiful things in per- 
 petual movement, with the laughter of never-fail- 
 ing lightsomeness. His was a search for beauty 
 rendered with joyful emotion, stimulating the finest 
 thrills of nervous life. His soft and flowing con- 
 
xrbe irmperial /iDuseum ss 
 
 tours, his harmonious and scintillating splendour of 
 colour-scheme, his all-pervading lightrays, his art- 
 less grace and melodious tenderness, work as by 
 magic on the spectator to the intoxication of the 
 senses. 
 
 It is true that Correggio lacked self-restraint. 
 Thus his fatal faculty in the presentation of move- 
 ment leads to attitudinising and nervous restless- 
 ness; his sweetness often lapses into mawkishness 
 and affectation; and the feebleness of his composi- 
 tion often produces emptiness of meaning or melo- 
 dramatic attitudes. His expression is the same 
 whether he paints heavenly or earthly love; for 
 his Madonnas and Magdalenes exhibit the same 
 type of face, the same dewy, melting, tenderly lan- 
 guishing eyes, the same small nose, and the same 
 over-delicate, smiling mouth as his Danae, his Leda, 
 or his lo. But these are faults of his excellences 
 and need not disturb us. He was the painter of 
 joy and beauty, and may be said to represent the 
 feminine side of the life of the senses, as later 
 Rubens, who owes much to him, depicted the mascu- 
 line. To no artist more truthfully can be applied 
 the old saying: *' The style is the man." 
 
 The head of lo was entirely repainted by 
 Prudhon, the French artist of the end of the 18th 
 century. 
 
 As a pendant to the lo hangs Correggio's well- 
 
34 XCbe Hrt of tbe IDfenna ©alleries 
 
 known ''Ganymede'' (No. 59), where Jupiter's 
 eagle is carrying off the boy, whose dog barks 
 after his disappearing master. Many experts have 
 questioned the authenticity of this canvas, and 
 assert that a pupil of Correggio copied a Putto in 
 one of the frescoes in the Dome at Parma, which 
 copy gradually changed into our picture. But 
 there are, on the other hand, too many evidences 
 in favour to deny the authorship of the great Lom- 
 bard master by whose name the painting was 
 ^ known as early as 1579, when it was in the posses- 
 sion of one of the courtiers of Philip II of Spain. 
 
 The " Crossbearing Christ" (No. 60), which 
 hangs next to the Ganymede, only giVen to Cor- 
 reggio with a query, has by Berenson been attrib- 
 uted to Cariani, whom we will meet in the next 
 gallery. 
 
 Correggio's closest follower, Francesco Parmi- 
 gianino, is exceptionally well represented. A self- 
 portrait (No. 58), painted from a concave mirror, 
 shows a youthful man with somewhat effeminate 
 features. This last of the real Renaissance paint- 
 ers in North Italy had sufficient individuality to 
 change the sensuous femininity of his master into 
 a sterner and more sincere trait of elegance. His 
 strongest portrait here is one which by tradition 
 is said to represent Malatesta Baglione (No. 67), 
 but has been suggested with more reason to portray 
 
CUPID TRIMMING HIS BOW 
 FRANCESCO Imperial 
 
 PARMIGIANINO ^^^^^ ^^ Museum 
 
Ube irmperfal jflDuscum ss 
 
 Lorenzo Cibo, the Chief of the Papal Bodyguard. 
 Although the catalogue queries its own attribution 
 we must fully accredit this beautiful portrait to 
 Francesco. It is far more energetic than the por- 
 trait of another man (No. 61), dressed in black, 
 and holding a black barret in his right hand. The 
 "St. Catharine" (No. 57), seated under a palm- 
 tree, has the graceful slenderness of a Tanagra 
 figurine; while the "Cupid trimming his Bow" 
 (No. 62. Plate IV) has that same delicacy of a 
 terra-cotta statuette. This is a famous painting, 
 and was originally held to be the work of Cor- 
 reggio. 
 
 The remaining paintings to be noticed in this 
 gallery are Venetian. 
 
 The earliest Venetians received their inspiration 
 in the first half of the 15th century from the 
 Muranese painters who had been taught by Fran- 
 cesco Squarcione of Padua and the great Mantegna. 
 This influence is manifest in a "Crucifixion" (No. 
 9), by Andrea da Murano, and in an altarpiece 
 (No. 10), consisting of five arched panels with 
 gold background. This is by Bartolommeo Viva- 
 rini, and is preserved in its original frame, richly 
 carved by Jacopo da Faenza. St. Ambrose on 
 a throne, before whom ecclesiastics are kneeling, 
 is shown in the middle panel. On the two wings 
 to the right are St. Peter and St. Louis; to the 
 
36 Zbc Hrt of tbe tDienna Galleries 
 
 left St. Paul and St. Sebastian. This work has 
 still the Byzantine trait, which longest survived 
 in Venice. 
 
 The Venetians were very slow in developing 
 their art, for the rise of the art of painting in 
 Venice, about the middle of the 15th century, 
 occurred not until more than a century and a half 
 after its rise in Florence. It took the Venetians 
 a long time to break through mediaeval trammels 
 and forego the antiquated, somewhat rustic style 
 of their work. 
 
 With the sons of Jacopo Bellini, — himself not 
 sufficiently appreciated — with Giovanni and Gen- 
 tile Bellini, the Venetian school may be considered 
 to have been established. No little credit, how- 
 ever, should be accorded to Antonello da Messina, 
 who introduced the method of oil painting of the 
 Flemish brothers van Eyck to Italian artists. In 
 Antonello's "Christ in the Grave" (No. 5), with 
 three weeping angels, is shown the curious com- 
 bination of Italian and Flemish method which is 
 to be noted in most of this artist's work. 
 
 While Giovanni Bellini laid the foundation of 
 that rich colour-scheme with its warm, golden glow, 
 which was to become the chief characteristic of 
 the Venetian school. Gentile Bellini saw these rich 
 colours under light-problems which the later Dutch- 
 men brought to perfection. There is unfortu- 
 
Ubc ITmpetial /iDuseum 37 
 
 nately no example of Gentile's work in the Museum 
 to show this tendency, but of Giovanni Bellini we 
 find a "Baptism of Christ" (No. 4), which has 
 been so terribly restored that little remains of 
 Bellini's rich palette. The figures are enveloped 
 by the twilight of a southern sky, faintly illumi- 
 nating the far-off mountains. Only the Christ and 
 the figure of John are touched by the warm eve- 
 ning light. 
 
 That Diirer after his visit to Venice pronounced 
 Bellini to be " the best painter of Venice," although 
 he had seen the work of Titian, only proves that 
 artists are generally poor critics. Still Giovanni 
 Bellini, with the single exception of Titian, must 
 be regarded as the greatest master the Venetian 
 school has produced. In all his long life of ninety 
 years he painted under the inspiration of a genius 
 that seemed to have owed little to scientific or 
 theoretical knowledge. His sense of colour was 
 inborn, as the muse is with the poet or the musi- 
 cian; and he played with the colour gamut as a 
 great composer with the scales. He discovered the 
 romance of colour as well as the secrets of har- 
 mony and of transitions, and the mode of employ- 
 ing single tones with the greatest effect of beauty. 
 In his work colour attained, if not its highest truth 
 of nature, at all events its greatest intensity and 
 transparency. But with all the pomp of beauty 
 
38 Ubc Hrt of tbc IDtenna Galleries 
 
 and voluptuous luxury of his colour he never left 
 the splendid severity and the generous austerity of 
 earlier traditions. 
 
 It is unfortunate that the catalogue casts doubt 
 upon another panel, a '' Young Woman arranging 
 her Hair'' (No. 13), signed by Bellini, which it 
 credits to his pupil Francesco Bissolo, accusing 
 him of having forged the signature. This beauti- 
 ful Venus is far too exquisite, both in modelling 
 and colour, to have come from the hand of this 
 insignificant pupil. It is known that Bellini, even 
 after he had passed his eightieth year — and this 
 painting is dated 1515 — executed work that was 
 filled with the fire of his youth. 
 
 Bellini's younger rival, Alvise Vivarini, could not 
 quite reach the talents of the older master, although 
 he exercised great influence on the younger men, 
 especially on his most talented pupil Lorenzo Lotto. 
 In Alvise's " Mary and the Child" (No. 12), with 
 two angels playing musical instruments, we find 
 the colours lighter and louder, while the sitting 
 angels are also less restful than we note in Bellini's 
 manner. The work is by no means as important 
 as Alvise's large altarpieces that are found in 
 Venice. Religious severity and asceticism marked 
 the school of Alvise, even after the Bellini had 
 become paganised. 
 
 A magnificent work, in tempera, is found here 
 
XCbe Umperial /iDuseum 39 
 
 by Cima de Conegliano, who was influenced by 
 both his predecessors. His " Madonna under the 
 Orange-tree'' (No. 19) is a significant composi- 
 tion. Mary is seated on a rocky throne; on her 
 right stands St. Louis, and on her left St. Jerome, 
 while Joseph with a donkey is visible at the foot 
 of a hill crowned by a castle. The finely pencilled 
 landscape displays the artist's love for animated 
 nature in picturing fowls, hare and deer, plants 
 and trees. It was an altarpiece which the artist 
 painted for the Church of Santa Chiara in Murano. 
 
 Trained in the same school was the Greek Marco 
 Basaiti, from whom we find a smaller replica of 
 the artist's large painting which is now in the 
 Academy at Venice. It represents " The Call of 
 the Sons of Zebedaeus " (No. 1), where Christ, 
 surrounded by his first disciples, finds James and 
 John ready to follow Him, as they hurriedly step 
 from their vessel on the shore of the Galilean 
 lake. 
 
 Another of the more talented pupils of Giovanni 
 Bellini — we need not tarry before the work of 
 Francesco Bissolo (No. 15), or of Andrea Pre- 
 vitali (No. 14) — was Vincenzo Catena, who later 
 became strongly influenced by Giorgione. We find 
 here a characteristic portrait of an " Old Man with 
 a Book " (No. 20). A much finer work by Catena 
 is found, however, in the Berlin Museum. 
 
40 XLbc art of tbe IDienna ©alleries 
 
 Although the Museum does not possess a work 
 of Gentile Bellini, as has been stated, still we find 
 his most prominent pupil, Vittore Carpaccio, repre- 
 sented by a painting that clearly indicates the 
 diverging tendencies of the Bellini brothers. Car- 
 paccio shows a "Risen Christ'' (No. 7), adored 
 by virgin-like angels. If we compare this work 
 with Giovanni Bellini's *' Baptism of Christ," of 
 which I have spoken, we see there the glow of 
 jewels in the gloom of twilight — here we see 
 bright sunshine wherein the colours blend them- 
 selves. 
 
 Carpaccio may be considered as the earliest 
 Italian master of genre; and as the minstrel, the 
 tale-teller he has had no superior in the school of 
 Venice. He delighted to depict the Venice he 
 loved so much, its external aspects, as well as its 
 more intimate relations, the splendour of its fetes, 
 and the varied, vivid, luxurious and glowing life 
 of its people. He was essentially a romantic 
 painter, and even in his religious subjects he charms 
 with the liveliness of his fancy. Yet is his piety 
 unaffected and his gaiety is steadied by a flavour 
 of sincere earnestness. 
 
 Two other canvases, marked in the catalogue 
 as by Carpaccio (Nos. 8 and 11), have with good 
 reason been assigned by Berenson to Gentile's 
 weaker pupil, Lazzaro Bastiani. 
 
Ube irmperial jflDuseum 41 
 
 With the beginning of the 16th century a de- 
 cided change is taking place in what may best be 
 called the art-motif of the Venetian painters. It 
 is no longer religion, although the religious sub- 
 ject is still largely used. But the object of art 
 becomes now frankly the representation of material 
 beauty, the seeking for effects of line, light and 
 colour for mere sensuous and pictorial purpose. 
 
 The most positive in influence upon his contem- 
 poraries in this direction was Giorgio Barbarelli 
 da Castelfranco, called Giorgione. He is repre- 
 sented here by two fine paintings, and a third, 
 which the catalogue surmises to belong to Correggio, 
 has by Dr. Gustav Ludwig been also ascribed to 
 the Castelfranco master. 
 
 No. 16 bears the title of ''The Three Eastern 
 Sages," but Wickhoff sees in it a scene from the 
 VIII Book of Virgil's Aeneid — with great proba- 
 bility, for this canvas hung with a pendant, called 
 " Aeneas in Purgatory," in the house of Taddeo 
 Contarini in Venice in 1525. According to Wick- 
 hoff, then, we see here the Trojan Aeneas in 
 oriental costume, with white turban and purple 
 coat, showing to King Evander, in amber-coloured 
 mantle with ruby-coloured hood, the place where 
 the Capitol was to be erected; while the King's 
 son, Pallas, in green drapery and white shirt, is 
 seated not far off, already with geometric figures 
 
42 XEbe Htt of tbe IDienna ©alleties 
 
 making calculations for the foundations. The 
 characterful bearing of the men, the beautiful land- 
 scape with its great moss-grown rock and dark 
 tree-trunk in the foreground, and the warm har- 
 mony of colour with a golden tone, make this a 
 painting of striking significance. 
 
 Nothing is known of Giorgione but that he loved 
 music and women; and only a few paintings, not 
 a score in all, are absolutely known to be from 
 his hand, the best of which is a magnificent Ma- 
 donna with Saints, in the church of Castel franco. 
 Our canvas, however, supported by oldest pro- 
 venance, is among the most authoritatively ascribed 
 paintings of the great master. 
 
 We find likewise his hand in No. 63, which the 
 catalogue surmises to be by Correggio, as already 
 stated. It bears the title " St. Sebastian," but 
 Ludwig and Wickhoff call it an Apollo. No other 
 Venetian but Giorgione — and Palma Vecchio, 
 Lorenzo Lotto, and Cariani have been named — 
 could have painted this dreamish head, surrounded 
 by its rich haircovering. Also No. 23, an " Adora- 
 tion of the Shepherds," if indeed a studiowork, 
 bears traces of the master's own hand. 
 
 Giorgione's place in Venetian art is one of transi- 
 tion from the older manner of the deeply relig- 
 ious, even austere painting of Giovanni Bellini 
 to the final, humanistic manner of the most com- 
 
XEbe irmperfal /IDuseum 43 
 
 plete master of all, Titian. He influenced both 
 his master Bellini and his pupil Titian by the re- 
 fined poetry of his style. Without much grasp of 
 the intellectual, and with Httle of the devotional 
 spirit, he surcharged his contemporaries in the few 
 years of his active life with a subtle feeling of 
 beauty for its own sake. Notably in his land- 
 scape with figures, already advanced by Bellini, did 
 he succeed in giving a perfect blend of nature and 
 human nature in which few have equalled him and 
 none, excepting perhaps Titian, has ever surpassed 
 him. And no man, not even Leonardo, Raphael, 
 Titian, or Michelangelo, has stamped his spirit, the 
 Giorgionesque, so markedly upon the works of 
 those that came after him as the poet-painter of 
 Castel franco. 
 
 The greatest of the masters of the first half of 
 the 16th century owe much to Giorgione's influence. 
 The youngest of these, Sebastiano del Piombo, who 
 left Venice to go over to the Roman artist-circle, 
 shows here a bust of "Cardinal Pucci " (No. 17) 
 in middle age. It is a strong, speaking portrait, 
 and one of the finest likenesses of men the artist 
 has produced. 
 
 The "Portrait of a Youth" (No. 22), which 
 has had many attributions — the catalogue suggests 
 Jacopo de' Barbari — has more recently been cred- 
 ited as an early work by Lorenzo Lotto, of whom 
 
44 XCbe Hrt of tbe IDienna (Balletfes 
 
 I will speak when we see his greater work in the 
 next gallery. It bears a strong resemblance in 
 style to an early work by Lotto, now in the Naples 
 Museum, the portrait of Fra Bernardo dei Rossi. 
 
 Entering now the Second Gallery we find no 
 less than twelve examples by Palma Vecchio, six of 
 which are bust portraits of young women. Palma 
 obtained a characteristic individuality in these al- 
 most ideal heads. Plate V presents one of these 
 (No. 143), a lady with ash-blond hair, her volumi- 
 nous dress of brownish striped stuff with a bro- 
 caded front. Equally important is No. 137, the 
 so-called " Violante,'' who was a favoured model 
 of the day in Venice, as her features frequently 
 occur on the canvases of both Palma and Titian. 
 The face is delicately drawn, her complexion is of 
 dazzling purity, her eyes dark, and her flowing, 
 wavy hair, confined by a narrow ribbon, is of that 
 peculiar golden hue affected by the beautiful women 
 of Venice, and which Palma's brush was so skilful 
 in rendering. The other portraits are fully as in- 
 teresting, with varying poses and colour schemes. 
 Some of these, however, are much damaged by 
 over-zealous cleaning, so that their beautiful glazes 
 are for ever lost. 
 
 Jacopo Palma Vecchio, signifying the old, or 
 elder, to distinguish him from his grand-nephew 
 of the same name, who is known as Palma Giovine, 
 
PALM A 
 VECCHIO 
 
 PORTRAIT OF A LADY 
 Plate V 
 
 Impefial 
 Museum 
 
Zbc IFmperial /IDuseum 4S 
 
 or the younger, was born in Bergamo, but went to 
 Venice when very young, and spent there the re- 
 mainder of his life. With Titian he was a pupil 
 of Giovanni Bellini, but his work bears stronger 
 evidence of the influence of both Titian and Gior- 
 gione, as well as of Lorenzo Lotto, whom he in 
 turn influenced. 
 
 Judicious criticism cannot place Palma beside the 
 giants of Venetian art, Giorgione, Titian, Tinto- 
 .retto, Veronese; although he did much to popu- 
 larise the new thought in painting. This was, 
 however, more as a follower than as an initiator. 
 His landscapes are of an exquisite beauty, and a 
 serene and cheerful, though never a very animated, 
 spirit pervades his scenes. His drawing is, how- 
 ever, less correct, as is especially seen when he 
 essayed the nude, which was rarely the case. Still, 
 his conception of the nude was quite as elevated 
 as with the greater masters. As a colourist Palma 
 has his own position. He laid his colours on thinly 
 — only in the light-places are they loaded — and, 
 having obtained his effects by means of glazing, 
 he obliterated all strokes of the brush accord- 
 ing to the delicate manner of Titian in his early 
 youth. 
 
 Of the genre pieces by Palma which we find 
 here. No. 140, in which Mary with the Child is 
 surrounded by John the Baptist, St. Barbara, St. 
 
46 XTbe Hrt ot tbe IDienna ©alleries 
 
 Catharine, and St. Celestine, excels above all. It 
 is a presentation of the sacra conversazione which 
 became peculiar to Venetian art. Slightly less har- 
 monious in colour is the " Homecoming of Mary " 
 (No. 139), although the vivacity of movement of 
 the meeting women must be regarded. 
 
 A follower of Giorgione's mythological genre is 
 found in Bonifacio Veronese, witnessed by No. 
 156, "The Triumph of Purity over Love,'' and 
 by No. 201, '*The Triumph of Love.'' In the 
 first we see a wagon, drawn by four unicorns, 
 on which are seated Laura, Penelope, and Lu- 
 cretia, with Cupid bound at their feet. The 
 wagon is surrounded by persons who withstood 
 the enticements of love, as Socrates, Scipio, 
 Joseph, the son of Jacob, and Judith, carry- 
 ing the head of Holofernes. The pendant to this 
 canvas, it must be said, is given with greater ani- 
 mation. The blind god of love is enthroned on 
 a chariot, drawn by four white horses. Even 
 Jupiter sits captive at his feet, while those who 
 were wounded by the amorous darts surround the 
 chariot. Orpheus holds gently the fainting Eu- 
 rydice, Ganymede looks up to Father Zeus, Mars 
 and Venus, Apollo and Daphne, Medea and Jason, 
 Helen and Paris, even Aristoteles with Phryne 
 fail not. 
 
 A "Daughter of Herodias " (No. 145), also by 
 
XEbe llmperial /iDuseum 47 
 
 Bonifacio, presents Salome in conventional atti- 
 tude. A *' Portrait of a Young Woman'' (No. 
 157), catalogued as by Bonifacio, has by Berenson 
 been ascribed to F. Beccaruzzi, who painted in the 
 style of Pordenone, often also imitating Titian and 
 Lotto. 
 
 The Vienna Museum excels in its presentation 
 of the work of Tiziano Vecellio. No other museum 
 can boast of as wide a survey of this master's 
 work in all his periods. Almost a score of un- 
 doubted works of the great Venetian are found 
 here, and as many more that were finished by his 
 hand and go by his name, or are faithful copies 
 of his composition. Truly this Second Gallery is 
 dominated by his genius. 
 
 Titian's earliest work here, still in the style of 
 Giorgione, who greaty influenced him after he left 
 Giovanni Bellini's studio, is the so-called " Gypsy 
 Madonna" (No. 176). This painting of Mary 
 and the Child, both with down-cast eyes, already 
 foreshadows the wonderful splendour that is to 
 come. On the left, forming a background to the 
 figures, is a silken curtain, to the right a rolling 
 landscape. 
 
 Also comparatively early is No. 180, the " Ma- 
 donna with the Cherries" (Plate VI). It is a 
 Bellini composition, when we compare it with 
 paintings in the Venetian Academy and in the 
 
48 Ube Hrt of tbe IDienna ©alleries 
 
 Prado, but carried out to marvellous perfection. 
 Over the golden tone of Bellini lies a purple shim- 
 mer. It seems as if rubies, emeralds and turquoises 
 glow through the colours. The Madonna has 
 handed the Child some ripe cherries, but Jesus will 
 first have his mother taste. Joseph on the one 
 side is interested in the artless play, while Zacharias 
 looks down on the cherubic John who wants to 
 take part 
 
 Titian painted the *' Ecce Homo" (No. 178) 
 when he had arrived at the full maturity of his 
 power, in 1543. He himself considered it one of 
 his masterpieces, for he proudly signed it in full, 
 Titianus Eques fet — he had been knighted by the 
 Emperor Charles V. The composition is master- 
 ful in its cutting loose from geometric rules, to 
 which Bellini always adhered. The principal figure, 
 the Christ, stands on the extreme left, only sub- 
 sidiary figures in the middle, on the right the 
 embittered mob of his enemies; yet all is so drawn 
 together by the play of light and shade, by the 
 colour-harmony, that nothing disturbs the unity of 
 the ensemble. 
 
 Famous among the mythological compositions of 
 Titian is the " Danae " (No. 174), receiving in 
 her lap the golden rain of Jupiter — an unrivalled 
 nude-painting of supple richness and splendour. 
 The authenticity has been attacked by Berenson, 
 
Ube Umperial /iDuseum 49 
 
 but with little reason. The signature is, however, 
 a forgery. 
 
 The charming Httle ''Tambourine Player" (No. 
 181), and the gracious Allegories (Nos. 173 and 
 187) — their meaning is not quite clear — are de- 
 lightful genre pieces. These may well have been 
 first studies for the larger Allegories in Munich 
 and Paris. One of the latest works is his " Nymph 
 and Shepherd'' (No. 186), where the half-draped 
 nude figure lies on a panther skin, slightly turning 
 her head to listen to the pipe-playing shepherd 
 seated behind her. Here we find a peculiarity 
 which is seen also in Rembrandt's latest work — 
 a slight sketchiness in detail, notably here in the 
 landscape; a feeling as if all need not be said if 
 the power of life, the vital elements of light and 
 movement are assured. 
 
 Titian stands among the first of portrait paint- 
 ers. Only Hals and Velasquez, Rubens and Rem- 
 brandt can be compared with him in the rendering 
 of the human countenance as vital presentments. 
 No less than ten portraits are found here. 
 
 Who does not know that wonderful portrait of 
 the "Girl in Fur" (No. 197)? It represents 
 Eleanora, the beautiful daughter of Isabella d'Este, 
 of whom there is also a portrait (No. 163), which 
 Titian painted in 1534, after an earlier sketch. 
 Eleanora, later Duchess of Urbino, excelled in 
 
so Ube art of tbe IDienna Galleries 
 
 physical beauty and mental qualities, and frequently 
 inspired the master, for portraits of her are also 
 in the Pitti, in the Uffizi, and in the Tribuna at 
 Florence as Venus. The striking appearance of 
 the delicate body from the folds of the enshroud- 
 ing dark mantle, the chaste girlishness of the 
 features, and the subdued splendour of the colour- 
 scheme, make this a portrait of lasting impression. 
 
 But while the master infuses the delicacy, the 
 charm of femininity in his female portraits, he sig- 
 nalised the strength of character in his male counter- 
 feits. Look at his Jacopo de Strada (No. 182), the 
 Imperial antiquary; at the Filippo Strozzi (No. 
 154), the proud Florentine patrician; at the Elector 
 Johann Friedrich of Saxony (No. 191), a hero 
 through his unbending will — all these proclaim the 
 power of dominion. With gentler brush he depicted 
 Benedetto Varchi (No. 177), the renowned poet 
 and historian of Florence. " St. James " (No. 162) 
 and a " Young Priest '' (No. 165) are supposed by 
 Crowe and Cavalcaselle to have been originally a 
 double portrait of Ranuccio Farnese with his teacher 
 Leoni. Also the portraits of Fabrizio Salvaresio 
 (No. 150) and of Titian's physician Parma (No. 
 167) are characteristic and representative of the 
 painter's mastery over life. 
 
 There is no greater name in Italian art than that 
 of Titian. Rounded completeness, teres at que ro- 
 
Ube Umperfal /iDuseum 51 
 
 fundus, as Vasari expressed it, is what stamps Titian 
 as a master among masters. Other painters may- 
 have equalled him in single qualities; personal 
 preference may even vaunt the peculiar perfections 
 of different favourites above the master in some 
 special branch — we must, after all is said, still turn 
 to Titian and accord him the palm for excellence 
 in all. Whether we take his portraits, his land- 
 scapes, his religious subjects, or his drawing, his 
 colour, his light-management, in all he is the legiti- 
 mate master of the brush, second to none. 
 
 It remains yet to point out the works which be- 
 long to Titian's studio, either finished by him, or 
 copies of his work. The '' Mary with the Child 
 and Sts. Jerome, Stephen and George" (No. 166) 
 is a studio-copy of the famous original in the 
 Louvre; and the "Holy Family with the little St. 
 John and St. Catharine" (No. 149) is a changed 
 repetition of a painting now in the National Gallery 
 in London, possibly by Andrea Schiavone. Although 
 the "Christ and the Adulteress" (No. 161) is an 
 unfinished work, and presumably only painted after 
 Titian's design, it still bears this mark of the mas- 
 ter's inventive genius, and also indubitable traces 
 of his own handiwork. So is " Christ with the 
 Earth-globe" (No. 164) after Titian's design, but 
 not well enough painted to have been executed by 
 him. His own carrying out of this conception is 
 
52 TLbc Hrt ot tbe IDienna (Balleries 
 
 found in the Hermitage at St. Petersburg. The 
 "Burial of Christ" (No. 179), although signed 
 by Titian, can only have received his finishing 
 touches. It is a replica of an original in the 
 Louvre. The "Self-portrait'' (No. 196) is a copy 
 after the original in Dresden. And still a half 
 score of other paintings in this gallery bear the 
 impress of the master's workshop. 
 
 Titian's pupil and closest imitator, although by 
 no means of surprising talent, v^as Andrea Meldolla, 
 called Schiavone, by v^hom a score of paintings 
 are found here. The smaller ones were decorations 
 for cassone fronts. Many of these are interesting 
 because they give a genre-like presentation of con- 
 temporary Venetian life. 
 
 Paris Bordone, another one of Titian's pupils, 
 was of greater importance, but four mythological 
 scenes and two female portraits still proclaim him 
 to be of secondary rank. His " Venus and Adonis " 
 (No. 253), in which Venus holds the weapons of 
 her lover, as they sit under the tree, being crowned 
 by a floating Cupid, is a better treatment of the 
 subject than that found in the London National 
 Gallery under the title " Daphnis and Chloe." A 
 large "Conflict of Gladiators" (No. 238) reminds 
 one of Titian's composing, and was, as Vasari states, 
 painted for the city of Augsburg in Germany. 
 
 A painter who was as unique in his way as Titian, 
 
Ubc Ifmperial /©useum 53 
 
 or Michelangelo, or Rubens, was Jacopo Robusti, 
 called Tintoretto, the son of a dyer of silk (tintore), 
 whose only known schooling was for ten days in 
 Titian's studio; after which he developed himself 
 under the device which he blazed in his studio, "" il 
 disegno di Michelangelo, il colorito di Tizianof' 
 His was the most vigorous and most prolific 
 artistic temperament that has ever existed. He be- 
 came an improvisator by the very force of his 
 impetuosity; and the phenomenal energy with 
 which he painted gave him the name '' il furioso/' 
 
 The volume of Tintoretto's work far exceeds 
 that of any other Italian. Huge canvases hang in 
 the church of II Redentore, in the Scuola di San 
 Rocco, in the church of Santa Maria dell' Orto, in 
 the Academy and the Doge's Palace in Venice, as 
 well as in numberless other places. And in all these 
 we see facility and luxuriousness of invention, bold- 
 ness and ease, a natural impulsiveness of tempera- 
 ment, instant and spontaneous creation forced by 
 the necessity of expression and satisfaction in the 
 rendering of ideas. 
 
 Yet, his very facility has injured his reputation. 
 His genius seems to have urged him on to produce 
 so much that he often neglected to bring his work 
 to the perfection of which he was capable. Too 
 often his aim seems merely to fill his enormous 
 canvases without much care as to how he filled 
 
54 ^be Hrt of tbe IDienna Galleries 
 
 them; and Annibale Carracci truly said of him, 
 " Tintoretto is often inferior to Tintoretto." 
 
 The most striking quality of his work is the 
 turbulent, often convulsive movement of the figures 
 by which he renders the instantaneousness of mo- 
 tion, even the swiftness of flight, as no one, save 
 Rubens, has ever done. But thereby they lack the 
 magisterial quality of the figures of Titian, or the 
 imposing force of those of Michelangelo. This 
 irregular, almost spasmodic explosiveness is also 
 seen in his colour, where violent contrasts of light 
 and dark are given with impassioned audacity. 
 The variety, brilliancy, and indescribable glamour 
 of his light as juxtaposed to the tormenting gloom 
 of his shade shows an excess of exuberance which, 
 however dramatic, is somewhat fatiguing, often 
 even painful. The treatment of chiaroscuro is with 
 Tintoretto a most powerful, dramatic accessory; 
 yet, it cannot compare with the handling of those 
 greatest masters of chiaroscuro, Correggio and 
 Rembrandt. With Correggio light is an irradiating 
 presence, with Rembrandt it is a penetrating mys- 
 tery — with Tintoretto a pictorial adjunct. 
 
 But sometimes Tintoretto forewent the region of 
 the vast, tempestuous, and tragic, and then we find 
 that this fiery genius could with equal mastery pierce 
 and irradiate the placid and tender secrets of the 
 soul, and give in pure and limpid flow a gentle 
 
XCbe Ifmperial jflDuseum 55 
 
 scene of sensuous delight. In this spirit he painted 
 the " Bacchus and Ariadne/' in the Doge's Palace, 
 " Adam and Eve/' in the Venice Academy, and 
 here in the Vienna Museum *' Susannah and the 
 Elders" (No. 239), a most perfect lyric of the 
 sensuous fancy from which sensuality is absent. 
 Rarely has the play of light on the softly modelled 
 body, without any half -shadows, been given with 
 such wonderful virtuosity. Susannah is just leav- 
 ing her bath, and has not detected the elders — one 
 grey-head bending around the rosehedge that shields 
 her. She is still unconscious of their nearness, and 
 is ornamenting herself with rich jewels. 
 
 Of his many mythological subjects we find here 
 *' Apollo and the Muses" (No. 241), somewhat 
 sketchy, but full of charm and expression. The 
 nine Muses are gathered at the border of the 
 Hippokrene, playing on musical instruments, while 
 Apollo, with lyre and bow, floats above in the hol- 
 low of a cloud. The Dresden Gallery has a some- 
 what similar composition. "Lucretia" (No. 234) 
 was formerly ascribed to Titian, but it is doubtful 
 whether it even belongs to Tintoretto, to whom it 
 is now given, as it lacks that vital expression which 
 we always find in his work. 
 
 The drawbacks which I have enumerated against 
 an unqualified approval of Tintoretto's art do not 
 refer to his portraiture. There is no question made 
 
56 Ube Hrt ot tbe Dienna ©allertes 
 
 of his high rank as a portrait painter. While in 
 Titian's portraits we are to recognise the type of 
 the persons he depicts, in Tintoretto's we find more 
 the individuaHty of the sitter portrayed, in which 
 respect he may well be ranked with Diirer and 
 Rembrandt. * A half dozen of these portraits are 
 hanging in this gallery and claim our admiration. 
 No. 250, a knee-piece of a man of thirty-five years, 
 with dark hair and beard, standing at a table, is 
 the most impressive with its fiery mien, high fore- 
 head and sunken eyes. The portrait of a young 
 man (No. 258) is an early work. 
 
 Jacopo's son, Domenico Tintoretto, closely fol- 
 lowed his father's footsteps and their paintings are 
 often confused. But he failed to reach the height 
 of his father's management of light, colour, and 
 form. Over a dozen of his paintings, some large 
 figure compositions, others portraits, are indicated 
 on the tablets, but need not occupy us further. 
 
 In the second half of the 16th century there were 
 a number of painters who found their training in 
 Venice, but, settling in their native places, retained 
 local characteristics. From this have resulted 'the 
 schools of Brescia, of Vicenza, of Bergamo. We 
 may not tarry before the large number of canvases 
 which represent here these numerous artists, but 
 must confine ourselves to the principal works. 
 
 One of the leading artists of the school of Brescia 
 
i ' 
 
 
 4 / ' 
 
 *^ ^fWlt 
 
 
 
 ^^L ^$<^* 
 
 
 
 
 iM 
 
 
 HK^WB^P 
 
 K^^^BH 
 
 
 
 ^^^Hjf^^= '^ 
 
 
 1 
 
 
 ^^^K^^fl 
 
 
 H 
 
 
 
 
 1 
 
 
 ALESSANDRO 
 BONVICINO 
 
 ST. JUSTINA 
 Plate VII 
 
 Imperial 
 
 Museum 
 
Ubc IFmpetial /IDuseum 57 
 
 in the beginning of the 16th century was Giovanni 
 Girolamo Savoldo, an interesting personality, be- 
 cause we find in his work the experiments of the 
 juxtaposition of light and shade, which were brought 
 to perfection by Rembrandt. This is evident in 
 his imaginative portrait of " Aristoteles '' (No. 
 213), where the face, the hands, and the green 
 blouse of the middle-aged man are artfully lighted. 
 An early work, possibly a study for the larger 
 painting in the church of S. Rocco, at Venice, is his 
 "Burial of Christ" (No. 208). Here the artist 
 surrounds the figures of Joseph of Arimathea, the 
 Maries, and John with a soft, mysterious light that 
 plays tenderly over the body as it lies on the stone 
 slab. 
 
 The greatest artist of this provincial school of 
 Brescia was undoubtedly Alessandro Bonvicino, 
 called Moretto, although not all of his works are 
 of equal strength. The "St. Justina " (No. 218. 
 Plate VII) is, however, the finest known example 
 of his brush. The picture has been much written 
 about, and has even been the foundation of a 
 German novel. The Saint, whose features are of 
 a distinguished and delicate beauty, looks with 
 gentle benevolence down upon the donor who is 
 kneeling at her left. At her feet lies a white 
 unicorn as an emblem of maidenly purity. There 
 is nothing more to be desired in this painting — 
 
58 XTbe Hrt ot tbe IDienna Galleries 
 
 so perfectly composed, of such beautiful colour 
 harmony, and in which pure, human characteristics 
 are so tenderly depicted. 
 
 The curious thing about Moretto is that, despite 
 the Venetian influences that had surrounded him 
 in his schooldays, he chose to go back to his Brescia 
 in the hills and paint quite in his own manner, in 
 cool, silvery tones, entirely different from the hot 
 gold of Venice. This personal colour was arrived 
 at by his underpainting with a cool grey, made of 
 black and white — a technical peculiarity which he 
 seems to have in common with the great Dutchman 
 Vermeer van Delft, but the latter also used a bluish 
 undercolour. 
 
 Girolamo Romanino was another Brescian of 
 whom we find here a female "Portrait" (No. 
 219). His style was softer and less incisive than 
 that of Moretto, and his figures are heavier, with 
 less of that aristocratic charm which Bonvicino 
 conveyed. 
 
 The painters of Bergamo had less of local char- 
 acter than those of Brescia. Their works are more 
 closely related to those of their Florentine or 
 Venetian masters, ofttimes resulting in confusion. 
 Thus we find some works of Giovanni Busi, called 
 Cariani, ascribed to Giorgione, others to Carpaccio. 
 His "Bravo'' (No. 207) is considered one of his 
 best works. A young man, crowned with vine 
 
TLbc irmpedal /iDuseum 59 
 
 leaves, is being attacked from behind by an assassin 
 who conceals his weapon behind his back. Two 
 other figure-pieces (Nos. 205 and 206) are also 
 from his hand. 
 
 A far deeper and more talented artist was 
 Giambattista Moroni, the gifted pupil of Mo- 
 retto. Two portraits, of a sculptor (No. 217), 
 and of a bearded man in a black dress (No. 216), 
 are worth noticing, although neither is as powerful 
 as his magnificent '* Tailor " of the National 
 Gallery. 
 
 Moroni had the marvellous talent to present in 
 their natural union, with no indiscretion of over- 
 emphasis, the spiritual and physical elements which 
 go to make tip that mystery of mysteries, the human 
 individuality. He was a portrait painter pure and 
 simple, for he never succeeded in the few sacred 
 pictures which he essayed to reach the finest qualities 
 of his master. His best altarpiece, the Last Supper, 
 at Romano, is only redeemed from stupid mediocrity 
 by the portrait-like treatment of some of the heads. 
 
 The greatest painter of Bergamo was Lorenzo 
 Lotto, for although born in Venice he spent most 
 of his life at Treviso and Bergamo. 
 
 With few exceptions all Lotto's works are re- 
 ligious pictures or portraits. The religious pictures 
 are not, however, of any type that had been seen 
 before — they are more the revelations of an inner 
 
6o xcbe art ot tbe IDtenna ©alleriea 
 
 consciousness, not ecstatic but devout, of self- 
 conscious reflection, often with episodic pathos. 
 
 That subjectiveness is also seen in his portraiture. 
 While Lotto was able to search the heart with 
 psychological skill, and depict his sitters so that 
 their thoughts are written in their features, still he 
 reflected in these faces some of his own melan- 
 cholic views of life, imparting to them an air of 
 oppressive sadness which cannot always have been 
 the sitter's condition. 
 
 The "Madonna and Child with Saints'' (No. 
 214), in the Imperial Museum, is one of the most 
 cheerful and buoyant of his religious works. It 
 has exuberance, unusual with the master, a rush 
 of life, and a brilliant, joyous colouring. This 
 sacra conversazione is one of the finest of Lotto's 
 works, charming in its grouping and movement, 
 with harmony and sparkle in its transparent tint- 
 ing. 
 
 The portrait shown here, a " Man with a Claw 
 in his Hand" (No. 215), is also one of his finest 
 and most characteristic works. It represents a 
 Venetian nobleman, wearing a dark, flowing gown, 
 brought into relief by the scarlet curtain that forms 
 the background of the picture. The head is full of 
 subtlety, intellect, and distinction. We have already 
 seen in the first gallery an early work of the artist 
 (No. 22). The three- fold portrait of a man (No. 
 
Ube ITmpetial /IDuseum 6i 
 
 220), which MorelH considers to be a German work, 
 is by Crowe and Cavalcaselle given to Lotto. 
 
 In Cabinet II, which we now enter, as well 
 as in Cabinet III, we find principally the works 
 of the da Ponte family, called after their home 
 Bassano. Three generations of painters lived there. 
 The elder Francesco is not represented. Of his 
 son, Giacomo Bassano, there are some good sacred 
 pictures and an excellent portrait, the " Procurator 
 of San Marco" (No. 309). Giacomo's eldest son, 
 Francesco II, was the most prominent of the family. 
 His execution, which to us must seem quite modern, 
 and his fertile invention, are displayed in thirty 
 canvases of religious and mythological subjects and 
 portraits. There is a distinct Flemish flavour about 
 them which the meagre biography of the artist has 
 not, as yet, made clear. His brother Leandro 
 Bassano is far less important, with a harder 
 technique. 
 
 The Bassani occupy a prominent place in the 
 Italian art of the 16th century. Their work was 
 exceedingly popular in Venice because it responded 
 in its jewel-like brilliancy to the opulent taste of 
 the Venetians, while at the same time the scenes 
 of every-day life around the markets of the artists' 
 little country town was novel and interesting. 
 Giacomo must also be considered as the first modern 
 landscape painter. Titian and Tintoretto and 
 
62 XEbe art ot tbe IDienna ©allertes 
 
 Giorgione, and even Bellini and Cima before them, 
 had painted beautiful landscapes, but they were 
 seldom direct studies from nature, rather decorative 
 backgrounds, or fine harmonising accompaniments 
 to the religious or human elements of the picture. 
 Bassano's studies of rural life present the coun- 
 try as it really is, and not arranged to look like 
 scenery. 
 
 We must also note in the second cabinet a work 
 by Domenico Theotocopuli, called El Greco, of 
 whom we shall find another example among the 
 Spanish paintings in the sixth cabinet. The canvas 
 before us was evidently painted when El Greco 
 was still a pupil of Titian. It shows an '' Adoration 
 of the Kings" (No. 272), in which El Greco^s 
 peculiar tendency to elongated features is already 
 noticeable. 
 
 The decadence of the Venetian school may be 
 witnessed in the Third Gallery. Still promi- 
 nent, and with all the excellences is Paolo Caliari, 
 called Veronese; but already in him we find the 
 seed of decay. For no longer does his work show 
 spiritual depth, but rather a desire for display in 
 form and colour. With many works that have come 
 from Paolo's studio, on some of which he has evi- 
 dently worked, we find here only two that are 
 indubitably his own. The magnificent " Christ be- 
 fore the House of Jairus *' (No. 396) is the most 
 
XCbe IFmperial /IDuseum 63 
 
 important, although the " Annunciation '' (No. 404) 
 is also rich and impressive. 
 
 The art of Paolo Veronese is the most gorgeous 
 of the Venetian school, and the sense of splendour 
 in his work is overpoweringly pompous, so much 
 so that his sacred themes are "of the earth, earthy,'* 
 and his Christs and Maries and Martyrs are sur- 
 rounded with all the equipage of wealth and 
 worldliness, the lust of the flesh, and the pride of 
 life. In the " Marriage at Cana,'' in the Louvre, 
 for instance, we find the startling anachronism of 
 a superb palace of noble architecture, a vast hall, 
 and beneath marble porticoes numerous illustrious 
 personages, from Soliman, Sultan of Turkey, to 
 the Emperor Charles V, together with many of 
 the famous artists of the day playing on musical 
 instruments. It is one blaze of worldly pomp — 
 thus religious art had toward the end of the Re- 
 naissance become a paradox. 
 
 But with all his astonishing pageantry, his over- 
 whelming pictorial masses, his full-blooded luxurious 
 colouring, we must rank Veronese higher than 
 Tintoretto, with whom he is nearest allied, because 
 of the solidity of his workmanship and the apparent 
 command to sobriety he put upon his imagination, 
 which in Tintoretto is often unbridled. Although 
 he loved strong, deep colours, they always remained 
 heroic harmonies produced by the perfect accord 
 
64 Ube Hrt of tbe IDienna Oalleries 
 
 of opposites. By the introduction of neutral tones, 
 above all of the beautiful, silvery greys which per- 
 meate his architectural motives, he subdues his 
 pictures so that nothing obtrudes, and they attain 
 the distinction of reserve. 
 
 Of Paolo's teacher, Antonio Badile, of Verona, 
 we find two good female portraits (Nos. 395 and 
 397). Many of Paolo's own pupils are represented, 
 the most individual of whom was Battista Zelotti, 
 with two Biblical scenes, *' Judith holding the Head 
 of Holofernes'' (No. 391), and ^* The Anointing 
 of King David" (No. 393). 
 
 Reminiscent of earlier, and greater men is the 
 grand-nephew of Palma Vecchio, Palma Giovine, 
 of whom a dozen canvases are found here. His 
 imitative faculty was so great that one picture, repre- 
 senting "St. Jerome" (No. 417), is still by many 
 critics claimed to be by Tintoretto — a no mean 
 compliment to its credit. 
 
 Imitation, the sure sign of decay and death in 
 art, set its stamp of insipidity and insignificance on 
 most of the works that were produced during the 
 17th century. But with the beginning of the 18th 
 century a man appeared who added some strength 
 of his own to what he had learned. This man was 
 Giovanni Battista Tiepolo, perhaps the greatest of 
 all painters of pure decoration. He founded him- 
 self on the study of Veronese, but was great enough 
 
Ube llmpetial /iDuseum 6$ 
 
 to teach more than he had been taught. He gave 
 a new impulse to art — not so much in his own 
 country, but, while in Spain, he was the inspiration 
 of Goya, whose work became a moving impulse to 
 many later Frenchmen. Thus it has been truly said, 
 *' Tiepolo was the last of the old painters and the 
 first of the moderns." 
 
 His art, however, cannot be rightly judged in the 
 Imperial Museum, where we find only a single ex- 
 ample, a bust-piece showing *' St. Catharine of 
 Siena'' (No. 446). But the extravagances of ex- 
 pression — these earmarks of decadence — are 
 apparent. 
 
 One of the best painters of the 18th century 
 in Northern Italy was Bernardo Belotto, called 
 Canaletto, who received a commission from the 
 Emperor Charles VI to execute a number of works 
 that show us the castles of Schonbrunn and Schloss- 
 hof, and various sights in old Vienna. These were 
 executed from 1758 to 1760, and are of some local 
 and antiquarian interest. They are in the finely 
 brushed manner of his better-known Venetian views, 
 and full of feeling for space and atmosphere. 
 
 Cabinet IV contains works of the less im- 
 portant artists of the Milanese and Florentine 
 schools. A "Pieta'' (No. 342), by Giulio Cesare 
 Procaccini ; a '' Christ appearing to the Apostles " 
 (No. 335), by Battista Crespi, called il Cerano; and 
 
66 XTbe Hrt of tbe Dienna ©alleries 
 
 *' Joseph's Dream'' (No. 336), by his son Daniele 
 Crespi, best represent the Milanese painters. 
 
 Among those from Florence we must note the 
 two presentations of the " Weeping Magdalene " 
 (Nos. 340 and 369), by Francesco Furini, and the 
 sweetly cloying works by Carlo Dolci. Nos. 374 to 
 376 are excellent examples of how sentiment may 
 precipitate to sentimentality, and become lost in 
 insipidity. 
 
 While art in Italy was decaying towards the end 
 of the 16th century, there flourished a slight tem- 
 porary revival in Bologna, principally owing to the 
 work of the Carracci family. The paintings dis- 
 played in the Fourth Gallery belong to this 
 period. 
 
 A forerunner was Pellegrino Tibaldi, also famous 
 as an architect. His "St. Cecilia" (No. 467), 
 accompanied in her song by two angels playing 
 lute and harp, is still a return to nature. 
 
 The Carracci owe their importance to this nature 
 study, and to their refusal of the bald imitation 
 of their predecessors. They saw clearly enough 
 that the old methods and traditions had lost force, 
 and they proposed to substitute new ones of their 
 own devising. It was the theory of their teaching 
 to revive the great qualities of the masters of the 
 beginning of the century, and to achieve, by selection 
 and amalgamation, a combination of all excellences. 
 
XCbe IFmpettal /IDuseum 67 
 
 Lanzi has pointed out how Annibale Carracci thus 
 strove to exemplify his teachings by imitating in 
 a single work Veronese in one figure, Correggio in 
 another, and Titian and Parmigianino in the 
 remainder. 
 
 Lodovico Carracci was the originator of this 
 movement of Eclecticism, being soon supported by 
 his two cousins, Agostino and Annibale. Also 
 Agostino's son, Antonio, joined himself to this 
 group. 
 
 Among the works of this family shown here 
 those by Annibale, the most gifted member, are 
 superior. His " Christ and the Samaritan Woman '' 
 (No. 475) is a noble composition, painted with a 
 colourful, yet subdued palette. 
 
 A large number of works by the contemporaneous 
 Guido Reni indicate his important place in this late 
 Bolognese school. Important, because of the popu- 
 lar interest which his pseudo-Raphaelesque creations 
 have always excited. Guido Reni was a man of 
 great talent, who in his earlier pictures displayed 
 beauty, artistic feeling, and high accomplishment 
 of manner, even though we find also a certain core 
 of commonplace. To this early period belongs his 
 famous " Aurora '' of the Rospigliosi Palace in 
 Rome. But his passion for gambling forced him 
 to use his brush to recoup his losses, and led him 
 to become the greatest " pot-boiler '' that ever lived. 
 
68 Tlbc Hrt ot tbe Dienna Oalleries 
 
 Having invented pleasing types he reproduced these 
 ad nauseam, with afifectation, poverty of expression, 
 monotony of gesture, insipid ideaHty, and mere 
 empty, banal grace. His most accompHshed trick 
 was to portray upturned faces with eyes Hfted to 
 heaven, that become almost unbearable to modern 
 eyes. Still, his work bears the impress of the age 
 of which he became a complaisant reflector, satis- 
 fying the popular taste of his day. His works 
 have through reproductions become more generally 
 known than those of perhaps any other of the 
 ItaHans. The '^Baptism of Christ'' (No. 551) is 
 one of the best, and has a fine motif. The heads 
 of the Christ, crowned with thorns (Nos. 548 and 
 554) are better known. 
 
 In many ways related to him is Francesco Albani, 
 also of the Carracci school, who excelled in mytho- 
 logical scenes. One, and that only a studio paint- 
 ing, is shown here, the " Triumph of Galatea '* 
 (No. 530). 
 
 The Carracci revival was carried to Rome by 
 Albani's pupil, Andrea Sacchi, by whom we have 
 "Juno on the Peacock Chariot'' (No. 537) — 
 wrongfully ascribed to his pupil Andrea Camassei. 
 Later still came the more important Carlo Maratta, 
 whose Madonnas (Nos. 540 and 541) are very 
 attractive. Giovanni Battista Sassoferrato was en- 
 tirely under the influence of Guido Reni. His 
 
XCbe irmperial /iDuseum 69 
 
 "Mary with the ChiW (No. 539) is a repHca 
 of a painting that hangs in the Academy of Milan. 
 
 Giovanni Francesco Barbieri, called Guercino, 
 although originally of the Carracci school, de- 
 veloped himself later independently, and enjoyed 
 fame during his lifetime. His bust of " St. 
 Sebastian '' (No. 532), and his '' John the Baptist " 
 (No. 521), are characteristic works. 
 
 Michelangelo da Caravaggio, the Neapolitan, 
 studied in Venice with Giorgione. Later he left 
 the Eclectic tendencies of his contemporaries and 
 became in Rome the leader of the so-called Natu- 
 ralists, who forsook the finesse of technique for 
 broader treatment and greater realism. His method 
 embodies a reaction against the Carracci school, 
 and displays great strength and sincerity. He held 
 the Bolognese masters in utmost disdain, loudly 
 and emphatically inveighing against their system, 
 demanding that nature, and not the older masters, 
 should be followed. And if the artist, pursuing 
 nature, should encounter ugliness, triviality, and 
 baseness, he should not shut his eyes, but should 
 record them unflinchingly. He fell, however, into 
 the usual error of extremists for, by choice, he took 
 as his models types of vulgar mould, criminals and 
 vagabonds, drunkards and profligates. 
 
 An important work is his "Madonna'' (No. 
 496), who distributes by the hands of St. Dominic 
 
70 XCbe Hrt of tbe IDienna ©alleries 
 
 and Peter Martyr rose wreaths among the people. 
 The painting shows strength in the sharp char- 
 acterisation of movement and expression, strongly 
 demarked by a one-sided light-effect. A company 
 of Antwerp artists, among them Rubens, Breughel, 
 van Balen and others, bought this painting for the 
 Dominican church of their city, where it hung as 
 an altarpiece until 1786. Also "David with the 
 Head of Goliath " (No. 485) and " Mary with the 
 Child and St. Anne'' (No. 486) are of his brush. 
 
 The puzzling question as to which school an 
 emigrated artist belongs — one which to-day might 
 be raised as to many Americans residing abroad — 
 has been decided by the Vienna Museum authorities 
 in the case of the Spanish-born Giuseppe de Ribera, 
 called Spagnoletto, by placing him with the Italian 
 school, since he received his final training under 
 Caravaggio's influence, and lived at Rome and at 
 Naples, where he died. The " Crossbearing Christ '' 
 (No. 501), as well as "Christ and the Doctors'' 
 (No. 507), are strongly realistic in expression; 
 while Nos. 508 and 509, showing a " Philosopher " 
 and a " Mathematician," supposed to represent 
 Archimedes, are typical in expression. 
 
 Ribera's most gifted pupil, Salvator Rosa, may 
 be studied both in his landscapes and figure work, of 
 which his "Warrior's Portrait" (No. 516) is the 
 most striking. 
 
PORTRAIT OF CHARLES IX OF FRANCE 
 FRAXCOIS Imperial 
 
 CLOUET PJ^te VIII Museum 
 
CHAPTER III 
 
 THE FRENCH AND SPANISH PAINTINGS 
 
 The French school in its development from 
 Gothic art to the latest Impressionistic vagaries 
 may not be studied in the Imperial Museum. Only 
 a meagre number of paintings, indicating a few of 
 the periods through which French art has passed, 
 are found in the Fifth Cabinet. These are, 
 however, generally interesting. 
 
 Two portraits of *' Charles IX of France " are 
 by Frangois Clouet, called Jehannet, one of the 
 earliest of French easel painters. No. 571 is a bust 
 portrait of the King at the age of eleven years; 
 No. 572 (Plate VIII) presents him in Hfe-size at 
 the age of twenty. These portraits excel in light- 
 ness of touch, learned precision of line, and con- 
 tempt for unnecessary detail. 
 
 Three interesting little portraits (Nos. 572, a. b. 
 c. ) , long lost in store-rooms, have lately been placed 
 in this Cabinet. One of these bears the date 1535. 
 They belong' to an unknown group of French- 
 German portrait painters of Clouet's time. A great 
 
 71 
 
72 Ubc Htt ot tbe Wienna ©allertes 
 
 many of these small heads are found in various 
 museums, and form material for interesting study- 
 by future critics. The names of Amberger, of 
 Corneille de Lyon, and others are now promiscu- 
 ously attached to these well-painted little panels. 
 
 The 17th century, so important in France be- 
 cause it gave birth to real landscape art in Claude 
 Lorrain, is only represented here by the men who 
 bore the Italian collar. Full of this trans- Alpine 
 schooling was Laurent de la Hire, of whom we 
 have a conventional "Ascension of Mary" (No. 
 574). The classicism of Nicolas Poussin, founded 
 on the Italian Cinquecento, is seen in *' The De- 
 struction of Jerusalem" (No. 583). This is also 
 evident in the two landscapes (Nos. 585 and 586), 
 by his brother-in-law and pupil, Gaspard Dughet, 
 called Gaspard Poussin. Another pupil of Nicolas 
 was Jacques Stella, whose " Judgment of Solomon " 
 (No. 582) must not be passed by. Valentin de 
 Boulogne modelled himself entirely on Caravaggio, 
 although his "Moses giving the Law" (No. 589) 
 displays individual strength. Of the same school 
 was Pierre Mignard, appropriately called le Romain, 
 whose " St. Anthony" (No. 584) has more of the 
 Italian manner. 
 
 Of the Elder Charles le Brun, the founder of 
 the French Academic des Beaux Arts, we find here 
 an "Ascension of Mary" (No. 591), that is 
 
TCbe ffrencb an5 Spanisb ipatntings 73 
 
 reminiscent of Annibale Carracci; while the battle 
 scenes of Jacques Courtois, called Bourguignon, find 
 their prototype in the works of Salvator Rosa. 
 
 A small landscape (No. 592), by Jean Frangois 
 Millet, called Francisque, is quite modern and most 
 interesting. It does not bear any resemblance to 
 the studio work of the Poussins where he received 
 his training, although its artistic qualities cannot 
 compare with the work of his namesake of a century 
 and a half later. 
 
 The portrait painter of the end of the 17th cen- 
 tury, Hyacinthe Rigaud, and his later confrere 
 Joseph S. Duplessis, are worthily shown by por- 
 traits that made them popular in their day. The 
 portrait of the composer von Gliick (No. 588), by 
 Duplessis, lacks, however, any personal character, 
 although characterisation is hard striven for by 
 pose and gesture. Indeed, the hand floating over 
 the keyboard, and the uplifted eyes, are a species 
 of affectation that does not enhance the charm of 
 the picture. 
 
 An interesting little panel is by Antoine Watteau, 
 a " Guitar-player " (No. 577) ; such a figure as this 
 most charming of painters loved to draw with his 
 caressing touch. Watteau's art was the breath of 
 French life of the 18th century — an era of fantastic 
 romance, full of frivolous and trivial graces, peopled 
 by the children of elegant amusement and vivacious 
 
74 XCbe Hrt of tbe IDienna Oalleries 
 
 desires. The reaction from the grand and pompous 
 style of the time of Louis XIV had Hberated art 
 and made it free, gay and joyous. Pomposity was 
 done away with, and, after the huge wigs and 
 voluminous draperies of Rigaud, came the powder 
 and satin coats of Nattier and Tocque, and Watteau 
 with his stage of gallantry and masquerade. 
 
 One whose delicacy of touch was formed in that 
 French period of elegance was Jean Etienne Liotard, 
 whose best-known work is the pastel Chocolate Girl, 
 of Dresden. As characteristic a figure, painted on 
 porcelain, is found here in an " Old Woman " (No. 
 590), who has fallen asleep while reading her Bible. 
 Three marines by Adrien Manglard, and a view of 
 Rome by his pupil Claude Vernet conclude our 
 survey of the French paintings. 
 
 In the next, the Sixth Cabinet, are the Spanish 
 paintings. 
 
 With a shorter period of art expression — only 
 covering the 17th century — we find more indi- 
 vidual characteristics in the works of the Spanish 
 school than in the majority of the French painters. 
 
 In the first painter whose work is shown here, 
 Alonzo Coello, we do not yet discover any measure 
 of nationalist expression. This pupil of the Dutch 
 Antonis Mor — who taught Coello during his tem- 
 porary residence in Spain — painted entirely in the 
 style of his master, as is plainly seen in the " Por- 
 
Ube yrencb an& Spanisb paintings 75 
 
 trait of a Lady '' (No. 597), in a red dress. Also 
 his '' Portrait of Queen Anne of Spain '' (No. 602), 
 and one of a boy with a falcon (No. 608), presum- 
 ably the Archduke Wenzel, a son of Emperor 
 Maximilian II, favour the Dutch method. The 
 same may be said of the four portraits of royalty 
 (Nos. 598-601), by Coello's pupil, Juan de la 
 Cruz. 
 
 Still another Spaniard — this time with Italian 
 training, for he was an imitator of the Bassani — 
 was Pedro Orrente. His "John the Baptist'* (No. 
 610) is the best of his three works displayed here. 
 The wilderness — or rather the lonely place, which 
 is the meaning of the original Greek word — is 
 shown here as a beautiful landscape where we see 
 the Baptist, still a young man, kneeling forward 
 to drink from a spring in the rocks. The lamb 
 at his feet is a fine piece of painting. " Jacob's 
 Dream" (No. 604) and ''Christ Healing the 
 Sick" (No. 623) are reminiscent of his Italian 
 tutelage. 
 
 The Museum authorities, who displayed some 
 decision of critical judgment in assigning Ribera to 
 the Italian school, left the question unsettled in 
 regard to El Greco, of whom we saw an " Adoration 
 of the Kings " among the Italian paintings in 
 Cabinet 11. Another of his works is found here 
 among the Spaniards, a " Portrait of a Man " 
 
76 Zbc art ot tbe IDienna ©alleries 
 
 (No. 596), which is an independent canvas of ex- 
 cellent execution. 
 
 El Greco, Greek by birth, Italian by training, and 
 Spanish by adoption, is least mannered in his por- 
 traits. That curious, pulled-out quality of arms and 
 heads which we have come to associate with him 
 does not always obtrude itself when he strives more 
 for characterisation of his sitters. This portrait, 
 painted in 1600, in his Spanish period, is one of the 
 most successful of his single heads. The eyes, 
 especially, are well painted, and an advance on 
 Titian's convention, with whom eyes often look like 
 buttonholes. There is a flavour of modernity about 
 the simply and frankly stated light and shade, and 
 in the direct manner of painting his edges, which 
 his Venetian masters generally painted more or less 
 sharp and then achieved their soft edge by glazings 
 and retouchings. 
 
 The greatest of the Spaniards, Diego Rodriguez 
 de Silva y Velasquez, is well represented. Since 
 the name of Velasquez is used more carefully than 
 a hundred years ago we may not accept indisputably 
 all of the thirteen paintings that hang here under his 
 name. The *' Portrait of Queen Maria Anna '' (No. 
 605), for instance, does not in the least satisfy as 
 far as colour and execution are concerned. Further, 
 the " Portrait of the Infanta Margaretha Theresia '' 
 (No. 609) is, according to C. Justi, a work of 
 
Xlbe ifrencb an& Spanfsb paintings 77 
 
 Mazo, under the guidance of Velasquez; and the 
 "Portrait of Queen Isabella of Spain" (No. 622) 
 is manifestly a studio copy, like the majority of this 
 queen's portraits, now found outside the country. 
 
 The *' Portrait of the Infanta Margaretha 
 Theresia" (No. 621), at the age of twelve, has 
 a curious interest. While it was formerly called 
 the Infanta Maria Theresia, it was observed by 
 Justi that the double eagle on her breast and the 
 features indicate her to have been Margaretha, the 
 bride of Emperor Leopold I. But since in the 
 year of her engagement to the Emperor, in 1664, 
 Velasquez had been dead three years, it is surmised 
 that on an earlier portrait of the princess the 
 features have been changed by a pupil to correspond 
 with her slightly advanced age. 
 
 Four other portraits are undoubtedly by 
 Velasquez' own hand. These are the bust por- 
 trait of "Philip IV" (No. 607); the "Portrait 
 of the Infante Philip Prosper" (No. 611), as a 
 child of two years, standing by an armchair on 
 which a small white dog lies; the "Portrait of 
 the Infanta Margaretha Theresia" (No. 615), as 
 a child of three or four years, in a pale red robe, 
 holding in her left hand a fan, and leaning against 
 a low table; and the "Portrait of the Infanta 
 Maria Theresia" (No. 617), her half-sister, at the 
 age of fifteen. 
 
78 xrbe Hrt ot tbe IDfenna ©allerics 
 
 The other portraits (Nos. 612, 616, 618 and 
 619) are either studio works or copies from origi- 
 nals that are lost. One picture, disputed by Justi, 
 must still be regarded as an original work by 
 Velasquez. Frimmel, although acknowledging Justi 
 as the greatest Velasquez authority, still claims that 
 *' it is impossible to say who else could have 
 painted it." 
 
 This picture is the "Laughing Boy'' (No. 613. 
 Plate IX), one of those strongly characteristic types 
 which the master loved to paint when not occupied 
 with his royal commissions. 
 
 The portraits by Velasquez baffle description and 
 praise. When we gaze upon these paintings we 
 look into a room, into the reflection of a mirror, into 
 open space — and we see a human being, alive, 
 breathing, real. This genius among painters owed 
 little to the example of any man. From the first 
 he was a realist, seeing with his own eyes, going 
 his own way. Even when Rubens was in Madrid 
 and painted in the studio of Velasquez where the 
 Spaniard must have watched the great Fleming a 
 number of times — Rubens even, notwithstanding 
 his resplendent and overwhelming power, did not 
 have the least influence upon him. He remained 
 true to his own originality, gradually and quietly 
 maturing his power of execution, running a simple 
 course of evolution from beginning to end, without 
 
VELASQUEZ 
 
 LAUGHING BOY 
 
 Plate IX 
 
 Imperial 
 
 Museum 
 
c e 
 
 € * * • • « e e • 
 
Zbc Jfrencb an& Spanisb paintings 79 
 
 ever seeking to alter his style, or to improve the 
 quality of his realism. 
 
 The four portraits by his own hand which I have 
 pointed out have that striking relief and perfect 
 solidity of real beings; and the marvellous en- 
 velopment of air with which he surrounds them 
 gives a peculiar intensity of illusion and appearance 
 of life. His cardinal quality may also be studied 
 in these portraits. Velasquez was the supreme 
 master of values — that is, painting the same colour 
 under varying intensity of light. And he does this 
 so unobtrusively, with such precision and certainty, 
 as no man ever had done, or has done since. The 
 question will never be settled, who was the greatest 
 portrait painter who ever lived — a futile question 
 at any rate. But it must be conceded that the palm 
 lies between two — Frans Hals and Velasquez. 
 
 And when Velasquez left the court-circle, and 
 painted beggars and urchins and our " Laughing 
 Boy," he did it with the same serious sincerity that 
 makes him the most objective of all painters. 
 
 The son-in-law of Velasquez, Juan Battista del 
 Mazo, his pupil and helper, is represented by a por- 
 trait group (No. 603), that probably shows the 
 artist's own family, for his heraldic device, a mailed 
 arm holding a hammer (mazo), is in the upper left 
 corner. His colouring was somewhat more sombre 
 and flatter than that of his master. 
 
So Zbc Hrt ot tbe IDienna (Balleties 
 
 A portrait by Carrefio de Miranda, of King 
 Charles II of Spain, the last of the Spanish Habs- 
 burgs, does not flatter his royal sitter — it has a 
 peculiar ghostly appearance. Still we must recog- 
 nise in the technique a highly talented brush. 
 
 Next to Velasquez in importance to Spanish art 
 stands Bartolome Esteban Murillo. The only paint- 
 ing catalogued under his name, " John the Baptist 
 as a Child" (No. 614), was already disputed by 
 Waagen almost a hundred years ago. But a view 
 of Murillo's art may be had when we come to the 
 Academy collection, which possesses one of his 
 masterpieces. 
 
CHAPTER IV 
 
 THE FLEMISH AND DUTCH PAINTINGS 
 
 We will now retrace our steps through the Italian 
 section to enter the left wing of the Museum where 
 in five galleries and seven cabinets the numerous 
 works are displayed that come from the Nether- 
 lands. Almost a complete survey may be had of 
 the art of Flanders and Holland, from the van 
 Eycks with whom the 15th century commenced 
 until the end of the 18th century. Indeed, some 
 of these painters are far more richly shown in 
 Vienna than in any museum of the Netherlands. 
 
 Flemish and Dutch art found its origin, as with 
 the Italians, in the religious life of the people; but 
 in the North art had a broader expression. It did 
 not confine itself to the churchliness of religious 
 life, but embraced soon the humanistic side of life, 
 its interest in all things created. Thus the painters 
 depicted the scenes of daily life, even not neglecting 
 to delineate plants and animals and inanimate ob- 
 jects that could add to the truth of these scenes. 
 
 We will first enter Cabinet XVIII (see Plan). 
 8i 
 
82 Ubc Hrt of tbe Vienna ©alleries 
 
 The first important masters of painting outside 
 of Italy, in point of time, were the brothers Hubert 
 and Jan van Eyck, of Flanders. They are the re- 
 puted discoverers of painting with oil as a medium 
 to mix and apply pigments ; or, if not the originators 
 of this method, they at least perfected the process 
 so that it was thenceforth universally adopted. 
 
 But they were further pioneers in another most 
 important aspect. Up to the 15th century art was 
 universally in the employ of the Church, and ecclesi- 
 astical in its aim and tendency; but, although 
 Hubert van Eyck, the elder brother, always re- 
 mained faithful to the traditions of mediaeval times, 
 Jan was the first to give expression to the restless, 
 half -conscious, half -unconscious spirit of resistance 
 to the powers of ecclesiasticism, and he turned with 
 a kind of joyous conviction, and in all sincerity, to 
 the higher revelation which he found in nature 
 itself. His interest in the outward aspect of ma- 
 terial things, no matter what they were, asserted 
 Itself with irresistible force. Jan van Eyck must 
 be regarded as the first liberator of art from the 
 yoke of the Church, and with him we find the birth 
 of that great Flemish art which in its own way 
 faithfully pictured the life around. 
 
 It is as a painter of portraits that he has given 
 us the greatest proofs of his genius. His men and 
 women seem to be living realities, so strongly does 
 
XTbe iflemisb anC) S)utcb paintings S3 
 
 the personality of each appeal to us; for he not only 
 correctly delineated the features of his sitters, but 
 studied them until he grasped and could transfer 
 to his panel the characteristics of each one. In 
 fact, his Madonnas and saints are nothing but por- 
 traits of the homely or comely Flemish women 
 whom he chose as his models. And though this 
 may show a lack of imaginative quality in his work, 
 it was a distinct departure. 
 
 The Imperial Museum possesses two works by 
 Jan van Eyck. His " Portrait of Jan de Leeuwe " 
 (No. 625) is magnificent, showing all the finesse 
 of his delicate brush without in the least belittling 
 its vitality and expressiveness. This Bruges gold- 
 smith, according to the inscription then thirty-five 
 years old, shows a strong, beardless face, and is 
 dressed in a dark, fur-bordered garment. As an 
 emblem of his trade he holds between his thumb 
 and forefinger a small ring. A strong light falls 
 on the face accentuating the physiognomic lines. 
 
 The other portrait seen here is of equal im- 
 portance. It shows the likeness of '' Cardinal della 
 Croce " (No. 624), a grey man in a wide, red 
 tabard, hemmed with white fur. It is painted with 
 excessive care and exactitude, and with exquisite 
 finish in the delineation of detail, while it shows 
 at the same time the directness and simplicity which 
 characterise Jan van Eyck's work. 
 
84 Ube Hrt of tbe IDienna Galleries 
 
 Rogier van der Weyden, his contemporary, de- 
 veloped himself independently, although surely 
 receiving significant impressions from the van 
 Eycks. His was a different, even a dissimilar 
 genius. Where the van Eycks aimed at calm and 
 serene grandeur, van der Weyden strove for pathos. 
 He had the religious and dramatic instinct, the gifts 
 of tenderness and emotion, a taste for sinuous, even 
 tortuous and dislocated lines, which express the 
 strong emotions of the soul. 
 
 The fine altarpiece with two wings (No. 634) 
 is an undoubted example of the great Tournai mas- 
 ter. The centre shows Christ on the cross, before 
 which Mary is kneeling, with St. John standing at 
 her side. On the left kneel the donors, and four 
 angels in black robes flutter in the sky. The left 
 wing shows St. Veronica, with the sweatcloth; on 
 the right stands St. Magdalene with the cup of 
 balsam. An impressive, soulful expression is found 
 on the different faces; the colour is beautiful in 
 its harmony; while the landscape shows the great 
 naturalistic advance of the North over the work 
 of the Italian artists. Nos. 632 and 633 are minia- 
 turelike paintings of the " Madonna " and of " St. 
 Catharine," which, if not by Rogier, are very near 
 to his manner. 
 
 Rogier van der Weyden divided honours with the 
 van Eycks as the inspirer of those who worked 
 

 LAMENTATION OF CHRIST 
 
 
 HUGO 
 VAN DER 
 GOES 
 
 Plate X 
 
 Imperial 
 Museum 
 
Ubc iflemisb an& Wwtcb paintings 85 
 
 in the second half of the 15th century. Among 
 the most important of his followers was Hugo van 
 der Goes, of whose sorrowful life, ending in mental 
 aberration, little is known. We find here three 
 small panels, parts of a relic shrine, which are 
 characteristic of his work. On the outside of the 
 little door is the statuette of '' St. Genoveva " (No. 
 630), painted in white, standing in a Gothic frame- 
 work. The reverse of the door, sawed off from the 
 front, presents " Adam and Eve in Paradise '' (No. 
 631), which is an exquisite piece of painting of 
 original conception. The form of the tempter, part 
 woman, part serpent, shows the independent spirit 
 in which these old Flemings worked. What was 
 the background of the little reliquary shows a 
 "Lamentation of Christ" (No. 629. Plate X). 
 This composition also illustrates the divergence of 
 conception from the Italian mind. There is a 
 greater mobility, more realistic expression, purer 
 humanism than in any Italian work that presents 
 this subject. 
 
 And that these Flemings did not copy each other, 
 but had their own way of doing things, is seen in 
 the work of Hans Memlinc. He was called the 
 Northern Beato Angelico, but only because of the 
 loveliness and innocence of his female figures, in 
 which he excelled all his contemporaries. He did 
 not, however, express the character and force of 
 
ss Ubc Hrt of tbe ll)ienna ©alleries 
 
 We shall be unable in our review of this section 
 to separate the Flemish paintings from those of the 
 North Netherlands or Dutch school, since the 
 Museum authorities have not drawn a distinction 
 between these so often diverging tendencies of art 
 expression. This is especially the case with the 
 Primitives, for further on we will find a more logi- 
 cal, and historically more correct arrangement. 
 
 We note then a work of the typical North 
 Netherlander Geertgen van Sint Jans van Haarlem. 
 It is the remaining wing of an altarpiece which 
 the artist painted for the St. John church in 
 Haarlem, the other two parts having been destroyed 
 by fire. Having been sawed through we see here 
 both sides of this wing (Nos. 644 and 645). On 
 one side is shown a " Descent from the Cross," 
 characteristic for its detailed description of the 
 whole scene. In one part, for instance, we note how 
 the body of one of the thieves, taken from the cross, 
 is put, head foremost, into a hole in the ground by 
 the Roman soldiers. The other side shows the 
 legend of St. John the Baptist, whose bones were 
 burned by order of the Emperor Julian the Apostate. 
 The distinctly new departure of managing the light 
 effect, which originated in the North and was 
 brought to its full glory by Rembrandt, is here seen 
 for the first time. 
 
 Another Hollander, Jacob Cornelisz van Oost- 
 
Ube fflemisb an5 Butcb paintiuQS 89 
 
 sanen, comes next with a four-winged altarpiece, 
 dated 1511. Dedicated to St. Jerome, shown in 
 a cardinal's dress, it displays various groups of 
 saints and other personages, with an interesting and 
 original arrangement wherein animals play a role. 
 
 Nearby hangs a new acquisition of the Museum, 
 not yet catalogued but numbered 643a. The tablet 
 ascribes it to the Master of the Death of Mary, a 
 very prolific painter, thoroughly imbued with Italian- 
 ism, who has lately been identified as one Joost 
 van Cleve. This remarkable artist was active in 
 Cologne, but had his training in Flanders or Hol- 
 land. His most important painting, '' The Death 
 of Mary,'' which gave him his name, hangs in the 
 Munich Pinakothek. 
 
 The picture before us is a small portrait of Queen 
 Eleanore of France, the sister of Emperor Charles 
 V. The enamel-like pencilling of the fur-bordered, 
 silver-stitched dress points to the artist's Flemish 
 training. 
 
 One of the most original and fantastic personali- 
 ties of that time was Hieronymus Bosch, called in 
 the North where he properly belongs, Jeroen Bosch. 
 He was the forerunner of Breughel and Teniers in 
 their grotesque presentations of the nether- world ; 
 nor did these followers ever surpass the chimeralike 
 fantasy of Jeroen. On an altarpiece (No. 615), a 
 triptychon, we see St. Jerome, in a red mantle, 
 
90 XEbe Hrt of tbe IDfenna ©allertes 
 
 kneeling before a crucifix; a sidewing depicts St. 
 Anthony, in a hairy coat, being tempted; the other 
 wing has St. Aegydius with his emblems, the arrow 
 and the little doe who unafraid has sought refuge 
 with him. Especially in the temptation of St. 
 Anthony — a subject which Bosch constantly re- 
 peated with endless variety of presentation — do we 
 find those weird little figures of scarcely imaginable 
 form wherewith he filled his scenes. A delicate 
 brushing, an exquisite sense of colour, and an 
 admirable handling of the light-eflfects among the 
 numerous details of his compositions are his most 
 prominent characteristics. That with all his racy 
 and spirited imagination he was also able to por- 
 tray deep feeling is shown in another triptychon 
 (No. 653), on which the martyrdom of St. Julia 
 is depicted. Two other panels (Nos. 650 and 652) 
 are excellent copies of the work of Bosch. They 
 show even more fully his favourite topics — the 
 temptation of St. Anthony and the torments of 
 hell. 
 
 Still another Hollander is the famous Lukas van 
 Ley den, one of the greatest painters of the early 
 Dutch school, and equally famous as an etcher. 
 Neither one of the two examples found here under 
 his name — one a portrait of " Maximilian I '' (No. 
 659), the other a "Temptation of St. Anthony'' 
 (No. 658) — gives, however, the right impression 
 
XTbe jflemtsb anb Dutcb paintings 91 
 
 of his work. Their attribution may well be 
 doubted. 
 
 We should note that these northern painters show 
 less susceptibility to those trans-Alpine influences 
 which were commencing to prove pernicious to 
 their Flemish contemporaries. 
 
 One of the first landscape painters of note was 
 the Flemish Joachim Patinir. He was in the habit 
 of painting from an eminence, whereby he succeeded 
 in giving a wide sweep and stretch to his undulating 
 landscapes, aided therein by a transition from soft 
 green and brown tones in the foreground to a blue 
 green and light blue shimmering tone in the far 
 distance. Thus he produced a light-perspective of 
 peculiar luminance. The *' Baptism of Christ '' 
 (No. 666) may well be regarded as one of his 
 masterpieces, while the "Flight into Egypt'' (No. 
 664), despite its miniaturelike execution, is of 
 almost equal importance. 
 
 Of great interest are a half dozen pictures by 
 Hendrik met de Bles, a follower of Patinir and of 
 Jeroen Bosch, who had, nevertheless, a personal 
 talent. He signed his pictures with an owl, where- 
 fore he was called Civeta by the Italians when he 
 visited Italy. Three " Temptations of St. Anthony " 
 (Nos. 655-657) and a representation of hell (No. 
 654) are in the style of Bosch, while in Nos. 
 670-672 we find more an echo of Patinir's landscape 
 
92 Ube Hrt of tbe IDienna Galleries 
 
 art. *'John the Baptist" (No. 671), where the 
 herald is seated in a hollow tree preaching to the 
 people, is especially interesting. Four other panels 
 are also labelled as in his manner, but probably not 
 of his hand. 
 
 A picture, of which replicas are found in Antwerp 
 and in the Munich Pinakothek, represents a " Flight 
 into Egypt'' (No. 676), and is catalogued as of 
 the Master of the Seven Sorrows of Mary. The 
 painter should, however, be identified with Adriaen 
 Isenbrant, who was active in Brussels in the first 
 half of the 16th century. 
 
 We will now enter Gallery XV. 
 
 What Patinir did for landscape in his search for 
 realism, Quentin Massys did for the human figure. 
 In portraits, and by his novel grouping in religious 
 and genre pictures, he proved himself a master 
 whom even Diirer was delighted to honour. Only 
 in one example here, but that a typical one, can we 
 study his work. This is " St. Jerome " (No. 691), 
 seated at a table in a study, reading a large book, 
 with his left hand resting on a skull. The face 
 shows more character and strength than has yet been 
 seen among the Flemish. By his son, Jan Massys, 
 there are three panels, fully in his father's manner. 
 
 A few other 16th century Antwerp painters are 
 shown, whose works we may, however, only pass- 
 ingly notice. These are Jan Sanders, called after 
 
Ube 3f lemisb an& S)utcb paintings 93 
 
 his native place van Hemessen — of whom the 
 Berlin Gallery possesses a magnificent example, 
 although he is nowhere represented in the Dutch 
 galleries — and Marinus van Roymerswale. In the 
 latter's "St. Jerome" (No. 698) we can easily 
 recognise the influence of Massy s. 
 
 Turning again to the North Netherlands we 
 meet with the work of Pieter Aertsen, called Lange 
 Pier, of Amsterdam, the first one of the painters 
 who dignified peasant life with a scenic presentation 
 of realistic joy — although this had already been 
 done in miniatures and etchings in the 15th century. 
 His figures, many of them lean and lanky in imita- 
 tion of his own, display an abandon of social in- 
 souciance which must have been startling to Italians 
 when first they beheld these pictorial scenes of 
 harmless riotous living. His " Peasant Festival " 
 (No. 704) is the best of the three examples shown 
 here. It has many figures and a complicated mise- 
 en-scene, perfectly harmonious in all its apparent 
 disorder, such as was to become a characteristic 
 of the Netherland school. No. 703 represents a 
 peasant-couple making love in their rustic way; 
 while in No. 705 we see a farmer with a basket of 
 fowls, and a peasant woman bringing her eggs and 
 butter to market. The still life in these pictures 
 becomes already noteworthy. 
 
 His pupil, Joachim Bueckelaer, has two single 
 
94 XEbe Hrt of tbe IDienna ©alleries 
 
 figures of excellent types in the genre of his 
 master. 
 
 This Museum is the only place where a remarka- 
 ble painter can be fully studied who is elsewhere, 
 even in Flanders and Holland, insufficiently shown. 
 This is Pieter Breughel, the Elder, called Peasant 
 Breughel. Fourteen magnificent examples, eleven 
 of these of ample size, display his art to perfection. 
 The earliest of these paintings is dated 1559, when 
 the artist was thirty-four years old, the latest dated 
 picture is of 1567, two years before his early death 
 in Brussels, at the age of forty-four. 
 
 The work dated 1559 is called "The Struggle 
 between Carnival and Fasting" (No. 716), and 
 shows the Flemish masquerade of Shrove Tuesday. 
 The principal figures are a well-rounded boniface, 
 sitting astride a beer-barrel and holding a toasting- 
 spit like a lance before him, and a doleful looking 
 person sitting on a chair on rollers, which is being 
 pulled and pushed by monks and nuns. The on- 
 slaught which the merry crew that pushes the beer- 
 barrel will make on the order of the bread-shovel 
 may be imagined. There is an inexhaustible fund 
 of humour in this picture, and as much in the array 
 of "Playing Children'' (No. 708), painted the 
 year following. This seems to contain a complete 
 catalogue of all the joys of child-life — but the 
 almost confusing medley of details is so harmoni- 
 
Zbc fflemisb an& Dutcb paintings 95 
 
 ously brought together by the colour scheme that 
 the most orderly arranged mosaic cannot be more 
 restful to the eye. The little panel called '' The 
 Bird-thief" (No. 718) is a jewel of execution. 
 On a space of 23 x 28 inches a scene is portrayed 
 in a landscape that seems to stretch for miles. A 
 husky farmer has detected a boy in one of his trees, 
 and points threateningly towards him with a stick. 
 Still smaller in size, but with an equal sweep of 
 landscape, is the '' Battle between the Israelites and 
 Philistines'' (No. 721), where the two hosts are 
 depicted in an inextricable mass, while Saul and 
 his armour-bearer fall on their swords. The '* Way 
 to the Cross" (No. 712) is of larger size, again 
 with a mixed multitude of people, and an exquisite 
 landscape. And so we might go on. All the num- 
 bers, from 708 to 721, present features that arouse 
 our astonishment and demand our admiration. 
 
 The painting which I have selected to illustrate 
 Breughel's work is called "Winter" (No. 713. 
 Plate XI), one of a series on the four seasons of 
 which "Spring" (No. 711) and "Autumn" (No. 
 709) are also found here, while " Summer " hangs 
 in the Louvre. This set belongs to the last years 
 of the painter's life, and shows how he gradually, 
 advanced in simplifying his fantastic masses of 
 people, although he never could forego the ideal 
 invention of his landscape composition, which rarely 
 
96 Ubc Hrt ot tbe IDienna ©alleties 
 
 IS completely Flemish. Yet, how full of life is the 
 scene. Note the far-off figures skating on the pond 
 — never has the spirit of winter in Flanders been 
 so vividly portrayed. And equal praise belongs to 
 "Spring'' and "Autumn.'' 
 
 When Peasant Breughel died he left a four 
 years old son who was to be called Pieter Breughel, 
 the Younger, and became known as " Hellish 
 Breughel." The " Winter Landscape " (No. 722), 
 by the younger Pieter, seems empty compared with 
 the great work of his father. The fantastic com- 
 positions which gave him his unsavoury appella- 
 tion, and in which he equalled Jeroen Bosch, are 
 not represented here. The landscapes (Nos. 729- 
 739), by Lucas van Valckenborch, are praise- 
 worthy; some, notably No. 738, impressive — still 
 they savour too much of the work of the Elder 
 Breughel, his teacher. 
 
 We must not overlook the architectural paintings 
 of Hans Vredeman de Vries, who was court- 
 painter to the Emperor Rudolph H. These church 
 interiors and open spaces surrounded by magnifi- 
 cent fagades (No. 723-727) are extremely meri- 
 torious. 
 
 We will turn to the adjoining Cabinet XVH 
 to follow the later development of Flemish art; 
 and we find an interesting array of men, many of 
 whom are scarcely known, even by name, to many 
 
Ubc iflemisb an& 2)utcb paintings 97 
 
 art lovers. They all bear, however, visible traces 
 of what was to cause the early decay of Flemish 
 art — an undue following of Italian example. 
 These are hybrid, though often fascinating works, in 
 which Italian idealism, the imitation of the antique, 
 and Flemish realism are associated, but not assimi- 
 lated. 
 
 Thus we note in the work of Jan Gossaert, 
 called Mabuse, besides a following of his master 
 Quentin Massy s, also the distinct influence of his 
 study of Leonardo da Vinci, as may be seen in 
 ''St. Luke" (No. 754), and in a ''Madonna" 
 (No. 755). His contemporary, Barent van Orley, 
 active in Brussels, where he died in 1542, retained 
 more of the colour and handling of the earlier 
 Gerard David; especially does his "Rest on the 
 Flight to Egypt" (No. 766) recall the primitive 
 master. His pupil, Michiel van Cocxie, called the 
 Flemish Raphael, has to his credit two panels rep- 
 resenting scenes connected with the loss of Paradise 
 (Nos. 770 and 771), which prove his right to the 
 name given him by his admirers. The same ener- 
 vating Italian influence is found in the works of 
 Frans Floris, Marten van Cleve, and some others, 
 among whom the flower painters Jan van Thielen 
 and Daniel Seghers excelled. 
 
 The portraits in the Cabinet are more original 
 in handling. From the Master of the Female 
 
98 Ubc art of tbe IDienna ©alleries 
 
 Half-figures, an unknown Flemish painter of the 
 early part of the 16th century, we find here two 
 portraits, of a young man, and of a young woman 
 (Nos. 763 and 764), which furnish some ground 
 for the identification of this unknown with Frangois 
 Clouet, the Flemish-born Frenchman whose work 
 we saw in Cabinet V. Two members of the 
 Antwerp St. Lukas Guild of the middle of the 
 century were named Key — Adriaen Thomas and 
 his cousin Willem. The portraits which are shown 
 from these men, each represented by two, are of 
 marked interest. The best portrait painter of this 
 period was Antonis Mor, who had a deserved repu- 
 tation in England as well as in Spain. None of 
 his portraits shown here (Nos. 786-791) can, 
 however, compare with his famous '' Goldsmith '' 
 of the Mauritshuis of The Hague. The work of 
 the three painters named Pourbus, Pieter, Frans, 
 the Elder, and his nephew Frans, the Younger, is 
 in comparison with that of Mor of less account. 
 
 There are also in this cabinet some examples of 
 a few North Netherland painters of secondary 
 rank. A mythological subject (No. 775) is by 
 Antonis van Montfoort, called van Blokland, who 
 belonged to the Utrecht Guild; as did Joachim 
 Wtewael, with Nos. 798 and 799. The Haarlem 
 painter Cornelis Cornelisz. van Haarlem was de- 
 cidedly the most talented, with a presentation of 
 
RUBENS 
 
 PORTRAIT OF HELENE FOURMENT 
 (The Pelise) 
 
 Plate XII 
 
 Imperial 
 Museum 
 
Ube iflemisb an5 2)utcb paintings 99 
 
 Kadmus, whose people are being devoured by the 
 Dragon (No. 802). 
 
 The last picture that will keep us in this Cabinet 
 will also lead us to the next Gallery, which may 
 well be called the Rubens Room, since fifty of 
 the sixty paintings displayed there are by this 
 greatest of the Flemish masters, or came from 
 his studio. 
 
 This painting by Peter Paul Rubens, which hangs 
 in Cabinet XVII, because a sidelight is better for 
 its display than a toplight, is the master's famous 
 portrait of his second wife, Helene Fourment, gen- 
 erally called "The PeHse " (No. 829. Plate XII). 
 Rubens never wearied of reproducing her, as he 
 seemed to worship in her the perfection of fem- 
 ininity, and apostrophised her in his paintings as 
 his ideal of beauty. Here we find her coming 
 from her bath, holding a dark fur coat loosely 
 around her. It is a masterpiece of exquisite flesh- 
 tints, treated in a series of delicate white and 
 ivory tones, with the blood just under the skin, 
 that glows in contrast with the black of the 
 cloak. 
 
 Gallery XIV is magnificent in the display of 
 the rich, voluptuous art of the greatest of all 
 Flemings. It shows the unparalleled fecundity of 
 the man, as a portrait painter, landscape painter, a 
 painter of religious, historical, allegorical and do- 
 
loo Ubc Hrt of tbe Dienna (Balledes 
 
 mestic subjects, of hunting scenes, fetes and battle- 
 pieces. 
 
 With all this diversity of subjects we are not 
 confused by a perplexity of impressions. In fact, 
 such a complete array of the master's work enables 
 us, after a little while of patiently assimilating 
 all the messages these many canvases bring to us, 
 to have a very clear conception of the art and the 
 man. We see that the principal thing with Rubens 
 was the general effect; and though he painted the 
 details with the greatest truth, he contented him- 
 self with making them subordinate to the whole. 
 
 There is a total absence of apparent effort. 
 There is an ease and fluency in the painting that 
 does not call a halt when our eyes run along the 
 conglomerating lines of his figures. Even when 
 he portrays the most violent and furious gestures, 
 impetuous and impulsive, the universal commotion 
 is still like the full sonorous harmony of a mighty 
 orchestra, without jar or discord — it makes our 
 blood tingle and rush, but we are not shocked. 
 
 The same applies to his colours. However bril- 
 liant, luminous and sparkling they may be, form- 
 ing a scintillating prism of light, the luxuriant 
 contrasts form an harmonious relation of glowing 
 tints. The colouring of his flesh in particular is 
 marvellous in its vivid transparency of tone and 
 glow of life. 
 
XCbe JFlemisb an& H)utcb paintings loi 
 
 The master heightens the general effect of com- 
 position and colour by the opulence of accessories, 
 which fit so completely in his scheme that they 
 do not seem to be accessories at all but very signifi- 
 cant parts of the whole. Thus the magnificence of 
 lustrous silks, embroideries and golden brocades, 
 modern costumes and antique draperies, arms, 
 standards, colonades, canopies, ships, animals, and 
 every imaginable detail of the richest nature — the 
 irresistible outflow of a surfeited brain, add to the 
 heroic grandeur of his creations. 
 
 It is difficult to know where to commence or 
 how to select the best from such wealth as is offered 
 to us in this Gallery. We will view the most im- 
 portant works, generally in the order of the cata- 
 logue, which is also the order in which the paint- 
 ings are displayed on the walls. 
 
 The ''Feast of Venus'' (No. 830) takes a first 
 place among the mythological subjects painted by 
 Rubens. The centre of the large composition is 
 a statue of Venus softly emerging from the half- 
 shadows, and like another Galatea feeling the first 
 pulsations of life as her devotees, putti and maidens, 
 joyously whirl around the altar at her feet. More 
 impassioned is the throng of satyrs and nymphs 
 which comes crowding through the landscape, while 
 in the far distance the temple of Aphrodite is 
 visible. 
 
I02 XTbe Hrt of tbe tDienna Oallerfes 
 
 No. 832 is the magnificent portrait of '' Emperor 
 Maximilian I," in armour, which was found in 
 the master's studio after his death. MaximiHan 
 was the famous Emperor of Germany who with 
 Henry VIII of England won the brilliant Battle 
 of the Spurs against the French. Since he died 
 fifty-eight years before Rubens was born this por- 
 trait is to be considered only as a pure work of 
 art. The Emperor, clad in complete steel, em- 
 bossed with golden ornaments, his morion set with 
 gems, his jerkin emblazoned with heraldic designs, 
 his hand lightly resting on the pommel of his sword, 
 stands at the entrance of his tent, of which a heavy 
 red curtain is visible. The lightly clouded sky 
 serves as a background. 
 
 No. 833 is also a work entirely by Rubens' own 
 hand, of his later years. It shows a '' Repentant 
 Magdalene," wringing her hands in anguish as 
 with her foot she pushes away a casket with jewels. 
 The juxtaposition of her sister Mary in a black 
 nun's habit at her side is a coup, whereby the 
 master powerfully portrays the swinging of the 
 pendulum in female character — from a full- 
 blooded abandon to the wiles of life to a deep 
 religious spirit. 
 
 No. 834 is one of the principal religious works 
 of Rubens. It is the famous altarpiece of the St. 
 Ildefonso Brotherhood, and was ordered by the 
 
Ube if lemisb anO 2)utcb paintings 103 
 
 Archduchess, the Infanta Isabella, for the church 
 at Coudenberge as a votive offering to the memory 
 of her husband Albert, who had been dead ten 
 years. This number concerns the middle panel and 
 the wings opened. The front of these wings have 
 been sawed off and united in one painting which 
 we shall see under No. 871. 
 
 The enthroned Madonna, surrounded by her 
 women, offers to the kneeling Ildefonso a chasuble, 
 which he fervently kisses as he receives it from 
 her hands. A soft, golden light fills the high can- 
 opied space, and bathes the luminous figures and 
 resplendent draperies and the angels floating in the 
 upper part of the picture. On the one wing is 
 seen the Archduke Albert, with his patron St. 
 Albert in the costume of a cardinal, who seems 
 to present him to the Madonna; and on the oppo- 
 site wing St. Clara offers her protegee, the Arch- 
 duchess, a golden crown intertwined with roses. 
 In the background of each sidepanel a majestic 
 crimson curtain hung between marble columns gives 
 the dominant touch of colour. Many critics de- 
 clare this to be one of the most admirable works 
 of the master. The Empress Maria Theresia 
 bought this altarpiece from the church of Couden- 
 berge for forty thousand florins, after which it 
 came to Vienna in 1777. 
 
 Nos. 835, 836 and 838 are possibly studio paint- 
 
I04 Ubc Hrt of tbe IDienna Galleries 
 
 ings, the last two being portraits of old men, lack- 
 ing somewhat the brilliancy of Rubens' colour. 
 
 No. 837 displays the freshness of nature in the 
 ** Castle Park '' — the summer place of Rubens, 
 " de Steen '' — wherein a gallant conversation takes 
 place among the aristocratic visitors. No. 839 is 
 a *' Pieta/' in which the magnificent drawing and 
 foreshortening of the body of Christ give the 
 artistic pleasure that accompanies the impressive- 
 ness of the sorrowing figures. No. 864 shows the 
 same subject in a different composition. No. 841 
 may be a companion piece to the Maximilian I 
 which we have noticed. It is a harnessed portrait 
 of Charles the Bold, of Burgundy — a masterful 
 performance. No. 842, an " Annunciation," is an 
 early work in which the painter's transparency of 
 colour and of light in the shadows only commences 
 to assert itself. 
 
 We know that Rubens, never considering him- 
 self a master but always a student, assiduously 
 applied himself in copying the works of other mas- 
 ters while in Italy and Spain, notably those of 
 Titian. Two of these copies are here (Nos. 844 
 and 845), in which we note how Rubens could not 
 suppress his individuality, for the gentle, modest 
 Venetian lady, of Titian, which is now in Dresden, 
 presents under his hand a far more worldly ap- 
 pearance. 
 
Ubc iflemisb anO 2)utcb paintinos 105 
 
 A number of portraits of intense vitality and 
 force now claim our attention. The bust of *' St. 
 Jerome'' (No. 848), as a cardinal; the heroic size 
 portraits of Ferdinand, King of Hungary (No. 
 849), and of the Cardinal Infante Ferdinand (No. 
 851); the so-called "Old Levite " (No. 852); the 
 magnificent, sketchy head of the '' Man in a Fur 
 Coat" (No. 853); another elderly man's head, 
 with a fur coat and a white neck-ruff (No. 855) ; 
 and one of a middle-aged man (No. 856) — all 
 these portraits display marvellous . power of in- 
 dividualisation. Further on we will see the profile 
 of Queen Isabella of Spain (No. 873), the first 
 wife of Philip IV, of which No. 872 is a weak 
 studio copy. Also the portrait of a young woman, 
 in a black silk dress (No. 874) ; and the head of 
 a greybeard (No. 875), one of the finest old man's 
 heads Rubens has painted. We will dismiss his 
 portraiture with the well-known *' Self-portrait " 
 (No. 859), a vigorous presentation, the hand rest- 
 ing on the rapier handle, pulsating with fife. 
 
 His wonderful power of composition, the fer- 
 tility of his invention, and his prodigal force of 
 presentation is further to be seen in three large 
 paintings which Rubens made for the Jesuit church 
 of Antwerp, and which were bought for the Im- 
 perial Gallery in 1776. One shows " St. Xavier 
 preaching and working Miracles in India" (No. 
 
io6 XTbe Hrt of tbe IDienna (Balleries 
 
 860) ; another, " St. Loyola curing the Insane " 
 (No. 865). Both these paintings were produced 
 with the assistance of pupils, as may be seen by 
 comparing them with the original sketches from 
 Rubens' own hand (Nos. 862 and 863). Entirely 
 autographic is the third painting from the Jesuit 
 church, the "Ascension of Mary'' (No. 861). 
 The ascending figure, drawn up, as it were, by sur- 
 rounding putti, is far different from those we know 
 by Raphael or Murillo. There is also a dramatic 
 eclat in the enthusiastic wonder of the apostles and 
 the fearful regret of the women who place their 
 own loss above the glorification of the Madonna. 
 No. 850, " Bishop Ambrose denies to Emperor 
 Theodosius Entrance to the Church," also a large 
 composition, is of equal magnificence and resonance 
 of colour. 
 
 Mythological in character, and perhaps painted 
 with greater gusto, are the " Four parts of the 
 World" (No. 857), which are being divided by 
 the rivergods Maranhon, Nile, Danube and Ganges. 
 "The Hermit and the Sleeping Angelica" (No. 
 868) gives us another view of Rubens' marvellous 
 nudepainting. The " Hunt of the Calydonian 
 Boar" (No. 858) contains some of the work of 
 the great animal painter Frans Snyders; and one 
 of the last works of the master " A Landscape 
 in a Thunderstorm" (No. 869) combines the 
 
xrbe iflemfsb an5 Dutcb paintings 107 
 
 mythological figures of Jupiter, Mercurius, Phile- 
 mon and Baucis in a magnificent display of the 
 tossing elements. 
 
 The sawed-of5f fronts of the wings of the Ilde- 
 fonso altarpiece have been united as No. 871, and 
 present a scene called " The Holy Family under 
 an Apple-tree." The brightness and brilliancy of 
 the colour of this painting, the liquid energy of 
 the lines, present significant phrases for visual 
 rapture. 
 
 Besides a half dozen school pictures from 
 Rubens' studio we find further in this gallery the 
 work of the two van Balens, Hendrik and his son 
 Jan, and of Theodoor van Tulden, who frequently 
 colaborated with Rubens. An " Anointing of Solo- 
 mon " (No. 887), by Cornelis de Vos, does not 
 give us as high an appreciation of his talent as do 
 his better-known portraits, especially those of 
 children. 
 
 Before we enter the next Gallery, where we shall 
 see the work of Rubens' only Flemish rival, van 
 Dyck, we will pass through Cabinets XVI, XV, 
 and XIV, where the work of minor artists is dis- 
 played. Some pieces of special interest will, how- 
 ever, attract our attention. 
 
 In Cabinet XVI we find four landscapes by 
 Paul Bril, and a large number of Roelant Savery 
 — both declaring their Italian predilection. The 
 
io8 XCbe art ot tbe IDienna (Balleries 
 
 most attractive works here are those by Jan Breu- 
 ghel, the Elder, called Velvet Breughel. Nos. 904- 
 914 show that this famous flower painter was 
 equally successful in other genre. His son, Jan 
 Breughel the Younger, was inferior in talent. The 
 architectural paintings by Hendrik van Steenwyck, 
 the Elder, and the Younger, and by Pieter Neeffs, 
 the Elder, and the Younger, show, often in small 
 pictures, the vast spaces of the Netherland cathe- 
 drals. 
 
 In Cabinet XV we halt before an entire wall 
 covered by the paintings of Peeter Snayers, whose 
 battle pieces are fraught with all the turmoil and 
 confusion of the sanguinary conflicts of his day, 
 where hand to hand combat and equestrian charges 
 formed the principal features. Here also we make 
 the interesting discovery of the work of the van 
 den Hoeckes, father and two sons, Antwerp paint- 
 ers of the 17th century. Their work is scarcely 
 known, but displays in genre, landscape, and por- 
 traiture uncommon talent. And still better are 
 two landscapes by Joost de Momper, which well 
 deserve our attention. 
 
 A recent acquisition, not yet catalogued, has been 
 hung in this Cabinet. It is the portrait of a 
 Canonicus in white choir robe, with the Almutium 
 on his arm. This very interesting portrait, which 
 has yet some primitif qualities, is ascribed to Fran- 
 
XTbe jflemisb an& Dutcb paintings 109 
 
 Qois Denys, a Flemish painter who Uved in Antwerp 
 in 1610 but disappears after 1655. 
 
 Cabinet XIV contains Httle of special interest. 
 Here also hangs a new acquisition, a Dutch interior 
 in the style of van Ostade, by Gillis Tilborch. The 
 best work in this Cabinet is by the two brothers 
 Peeters, Bonaventura and Jan, whose seapieces are 
 among the first in a genre in which the Nether- 
 lands were to excel. 
 
 We will return now to Gallery XIII. This 
 may be called the van Dyck Room, since twenty- 
 five of this master's works, in all his various ex- 
 pressions, dominate the Gallery. 
 
 Anton van Dyck, the greatest of the pupils of 
 Rubens, showed distinct and clearly marked 
 changes in his style, which may be divided into 
 three periods. When he was influenced by Rubens 
 we find deeper colour and rounder form. When 
 on the advice of Rubens he visited Italy he came 
 under the spell of the genius of Titian and Veronese, 
 and then a greater spirituality and less dominance 
 of the material side of existence become apparent. 
 His last period coincides with his residence in 
 England, when his portraiture, to which he had 
 already devoted considerable time, engrossed him 
 almost completely, and gave him his greatest fame. 
 
 The magnificent *' Holy Family'' (No. 1047) 
 belongs to the early Rubens period; as does the 
 
no XTbe Hrt ot tbe IDienna ©alleries 
 
 '' Crucifixion " (No. 1033), which has noble pathos. 
 Less dramatic than his master's are van Dyck's 
 passion scenes. The "Pieta" (No. 1051) has a 
 gentler spirit, deeper feeling of sorrow, more spir- 
 ituality, if less force, than the work of Rubens. 
 This lack of exuberant strength is also manifest 
 in the only mythological presentation we have here 
 by van Dyck, his " Venus in Vulcan's Smithy " 
 (No. 1035), where the goddess receives armour 
 and weapons for Aeneas. No. 1043 is a para- 
 phrase of one of Rubens' own compositions, and 
 shows the struggle between Samson and the Philis- 
 tines, after Delilah has taken his strength from 
 him. 
 
 Most of van Dyck's Madonnas belong to his 
 second period. The large altarpiece, *' St. Rosalie 
 receives a Wreath from the Christ-child" (No. 
 1039), reflects Titian's inspiration. This painting, 
 as well as " The Blessed Herman Joseph kneeling 
 before the Virgin" (No. 1039), was painted for 
 the Celibate Brotherhood of Antwerp. In the same 
 style is the ''St. Franciscus Seraphicus " (No. 
 1036), with more mystic sentiment, such as the 
 gentle nature of van Dyck could feel. It shows 
 the saint seated in his grotto; in his right hand 
 he holds a skull, while the left arm embraces a 
 crucifix. With closed eyes he listens to a lute- 
 playing angel. This same spirit is shown in the 
 
VAN 
 DYCK 
 
 PORTRAIT OF PRINCE RHODOKANAKIS 
 Plate XIII 
 
 Imperial 
 Museum 
 
XTbe jFlemisb ant) Dutcb paintings m 
 
 study-head of a young woman (No. 1030). Pure 
 ecstacy has scarcely ever been portrayed so finely, 
 as she looks upward with opened lips and ravished 
 eyes, the face framed in long blond hair. 
 
 Van Dyck's portraiture was also at first inspired 
 by Titian, whom he followed therein in prefer- 
 ence to Rubens. The latter's portraits were too 
 realistic, too much revealing the inner character of 
 the sitter to suit the exacting taste of the time, 
 which demanded more the erabellishment of out- 
 ward appearance, and the dignity of position and 
 office, whether the patron showed it or not. There- 
 in did van Dyck reach the acme of his art. The 
 best example of this characteristic, which per- 
 force has become the qualification of his style, is 
 No. 1032, the '' Portrait of Prince Rhodokanakis '' 
 (Plate XIII). It is the personification of stately 
 grace and charm, not without manliness in its at- 
 tractive beauty. 
 
 There are here full-length portraits of Prince 
 Karl Ludwig von der Palz (No. 1038), when he 
 was fifteen years old, and of Prince Ruprecht 
 (No. 1042), when twelve. Several knee-pieces rep- 
 resent notabilities of the Southern Netherlands. 
 There is also a portrait of Countess Amalia van 
 Solms, Princess of Orange (No. 1028), and of 
 a young General (No. 1034), which is full of 
 energy. A more intimate presentation is the *' Por- 
 
112 xrbe art ot tbe IDIenna Galleries 
 
 trait of a Man'' (No. 1050), of middle age, with 
 blond beard and mixed-grey hair, which formerly 
 was supposed to be the likeness of his fellow- 
 painter Frans Snyders. 
 
 The name of van Dyck can hardly be placed 
 among the masters who shine in the first rank in 
 the Pantheon of art. He lacks the creative genius, 
 the dramatic instinct. He was not original. He 
 followed the example of those whom he selected 
 to imitate with timid steps, betraying his own lack 
 of intuition. Even in his portraits he only copied 
 his sitters, acquiring later the trick of increasing 
 their appearance of distinction. But he could not 
 read their character, nor portray it as Titian had 
 done; nor infuse his own subjectivity as we find 
 it in the work of Lorenzo Lotto. He was an ex- 
 pert workman, with a superficial sheen of bril- 
 liancy. That he served later as a model to some 
 English portrait painters, as Leiy and Lawrence, 
 accounts for their artistic insignificance. 
 
 Van Dyck's own portrait (No. 1060) was 
 painted by Adriaen Hanneman, an artist who was 
 not without merit. 
 
 Among the other paintings in Gallery XHI we 
 must note a " Pieta '' (No. 1089), by Caspar de 
 Crayer, a pupil of Rubens, whose style is easily 
 recognised. Another pupil, and often his co- 
 worker, was Frans Snyders, famous as an animal 
 
TLbc iflemfsb an^ H)utcb paintings 113 
 
 painter. Nos. 1080-1085 display qualities in this 
 class of subjects that have rarely been excelled. 
 The human figures in the " Fishmarket '' (No. 
 1082) were painted by Cornelis de Vos. 
 
 The strongest one of Rubens' contemporaries 
 was Jacob Jordaens. As human as Rubens, this 
 master portrays the manners and morals of his 
 time with greater naivete and humour. Only one 
 example by Jordaens hangs in this Gallery; but it 
 is a masterpiece of his brush. It is his famous 
 '' Feast of the Bean-king'' (No. 1087), which por- 
 trays the revelry of one of the Yule-tide gather- 
 ings of Flanders. The glorious, colourful tumult 
 of the many figures, golden in the light that fills 
 the room, gives rich satisfaction to all artistic 
 demand. 
 
 Two portraits by Joost Sustermans, both of the 
 Archduchess Claudia, the wife of the Archduke 
 Leopold V of Austria (Nos. 1075 and 1088), are 
 in the conventional manner of the period, such as 
 we have already become acquainted with in the 
 Pourbus portraits. Peter van der Faes, better 
 known as Sir Peter Lely, and generally classed 
 with the English school, is here housed with the 
 Flemings. Two gentle ladies, gently pictured 
 (Nos. 1093 and 1094), are by the brush of this 
 imitator of van Dyck. No. 1093 is even a copy 
 of van Dyck's Portrait of Frances Howard, Duchess 
 
114 XCbe art of tbe Dienna (Balleries 
 
 of Richmond and Lenox, which is now in a pri- 
 vate collection in England. 
 
 Gallery XII partly shows the work of second 
 rate artists, but also the genre scenes of the great 
 peasant painters. Among the former we must 
 give credit to the allegorical representation of the 
 months, and some mythological compositions (Nos. 
 1110-1123), by Jan van den Hoecke, by whom 
 we saw already good work in Cabinet XV. The 
 month allegories were designs for tapestries which 
 are now in the possession of the King of Sweden. 
 
 More prominent was David Teniers, the Elder, 
 of whom we have here four examples (No. 1137- 
 1144). His style is related to that of the Breu- 
 ghels, although Italy and the Rubens studio taught 
 him much. The landscape part of his mythological 
 compositions forms the most attractive portion of 
 his work. Of his four sons — who were all artists 
 — David Teniers, the Younger, is the most re- 
 nowned. Seventeen paintings here display the 
 versatility of this remarkable man, the last repre- 
 sentative of the great traditions of the 17th century. 
 
 The younger Teniers stands in a peculiar, inti- 
 mate relation to the Imperial Museum, because of 
 his influence in the choice of so many of the pic- 
 tures which are now on its walls, as has been ex- 
 plained in the first chapter. No. 1161 is the 
 " Gallery Picture " which is mentioned there. We 
 
XEbe jflemisb an& 2)tttcb paintings us 
 
 see the miniature copies of fifty of the pictures 
 now in the Museum hanging on the wall of the 
 large Brussels Gallery. Others are leaning against 
 chairs on the floor, and before a Catena, No. 20 
 in the present collection, we see the Archduke 
 standing in conversation with his court-painter. 
 
 A biblical scene, "Abraham's Sacrifice" (No. 
 1155), shows that such subjects were not congenial 
 to the artist. It is rather mediocre, and an evident 
 imitation of Rubens, wanting in all elevation of 
 feeling and devoid of interest. His favourite sphere 
 was the illustration of subjects of e very-day Hfe, 
 the animated delineation of the peasant- world under 
 the most varying forms, while his delicate feeling 
 for nature enabled him to give his landscapes the 
 true rural flavour. A number of such subjects are 
 found here, as ** Dancing Peasants" (No. 1156), 
 a rustic "Wedding Party" (No. 1160), and other 
 scenes. The most important example is his " Bird- 
 shooting at Brussels" (No. 1158), an annual cele- 
 bration in the capital, here witnessed by the Arch- 
 duke. A large multitude is gathered, and is de- 
 picted with great animation and minute care. It 
 has the golden tone to which Teniers reverted after 
 having for a half dozen years most successfully 
 experimented with a silvery undertone. 
 
 His scenes from the realms of fancy, such as 
 witches and incantations, especially in the Tempta- 
 
ii6 XCbe art of tbe IDienna ©alleries 
 
 tion of St. Anthony, are not found here. Teniers 
 was influenced in painting such through the example 
 of his uncle " Hellish " Breughel. 
 
 David Ryckaert, the Younger, is closely related 
 to Teniers, for he was his pupil — but one of orig- 
 inal and individual conception. The turbulent 
 scene in his " Kirmess " (No. 1127), the strength 
 and energy in his '* Plundering of a Village '' (No. 
 1133), or the " Scholar in his Study " (No. 1131), 
 the " Kitchenmaid " (No. 1129), the "Witch" 
 (No. 1128) — they all denote no mean talent. 
 
 Only one small panel represents the work of 
 Adriaen Brouwer, a Fleming by birth, but a pupil 
 of the Haarlem Frans Hals. This is a " Drinking 
 Peasant" (No. 1135. Plate XIV). This simple 
 figure is a characterisation full of vitality, beauti- 
 fully painted. It is splendid in drawing, without 
 the carelessness often seen in the figures in his 
 interiors of the pothouse. 
 
 In Gallery XI we find grouped the later Flem- 
 ings with some Dutchmen. The loss of national, 
 racial characteristics by the Flemings, and their 
 submission to French-Italian influences becomes 
 painfully apparent. 
 
 Still retaining the old traits are the animal 
 paintings of Jan Fyt, whose still lives of game and 
 fruit (Nos. 1171-1174) are often to be favourably 
 compared with the work of Frans Snyders. Animal 
 
ADRIAEN 
 BROUWER 
 
 DRINKING PEASANT 
 Plate XIV 
 
XTbe iflemisb an& Dutcb paintings 117 
 
 life, generally in deadly combat, is rendered by 
 Jan van Kessel; while his son, Ferdinand van 
 Kessel, has comic portrayals of monkeys and cats 
 in human actions, quite natural and without making 
 the humour too broad or obvious. The two pic- 
 tures ascribed to him (Nos. 1182 and 1183), 
 painted on copper, are by Frimmel thought to be 
 the work of Abraham Teniers, whose fancy often 
 found a like humourous expression. The two 
 brothers, von Hamilton, Philip Ferdinand and 
 Johann George, both employed as court-painters 
 in Vienna, also rendered the trophies of the hunt. 
 
 In Philippe de Champaigne we find an echo of 
 the French Academy, which was in his time assu- 
 ming some prominence. '' The Death of Abel " 
 (No. 1170) plainly shows the Academy's leaning 
 towards classicism from the very beginning of its 
 existence. The large romantic landscapes (Nos. 
 1167-1169), by Jacques d'Arthois, despite all their 
 abundance of colour, cannot hide a certain empti- 
 ness of motif; while the Italian landscapes (Nos. 
 1215-1217), by Frans van Bloemen, called Orizonte, 
 are but poor imitations of Gaspard Poussin. 
 
 The presence in this Gallery of the Fyts and 
 Hamiltons has probably led to the placing here 
 of the still lives by the Hollanders Melchior d'Hon- 
 decoeter and Jan Weenix, which offers us an 
 opportunity for critical examination of their 
 
ii8 XCbe Hrt ot tbe IDienna ©allerfes 
 
 method of execution, and of comparison between 
 those Flemish and Dutch masters. 
 
 A number of other Dutchmen complete our sur- 
 vey of this Gallery. Some are later men than 
 those we shall study further on, and all are of 
 secondary importance. 
 
 Cornelis yan Poelenburgh followed the minute 
 technique of the German Adam Elsheimer, the idol 
 of so many Holland painters, but who lacked 
 breadth and force. Poelenburgh's most character- 
 istic works are little panels with bathing women 
 in a charming landscape, of which No. 1251 is a 
 representative example. 
 
 All the pupils of the Utrecht artist Abraham 
 Bloemaert, of whom Poelenburgh was one, were 
 advised by their master to go to Italy. Gerard 
 van Honthorst went, and became fully oriental- 
 ised. For his night-scenes with burning candles 
 he was called Gherardo della Notti — a good exam- 
 ple of this genre is his " St. Jerome " (No. 1243). 
 
 Another Hollander who received an Italian name 
 was Pieter van Laer, called Bamboccio. By him 
 we have a peasant's festival on the Roman Cam- 
 pagna (No. 1240). The best of these artists, per- 
 haps, was Cornelis Herman Saftleven, but he also 
 preferred scenes beyond the borders of his own 
 country, as his passages from the Rhine valley 
 show (No. 1224-1228). 
 
MIEREVELT 
 
 MAN'S PORTRAIT 
 Plate XV 
 
 Imperial 
 Museum 
 
XTbe iflemisb an& 2)utcb Ipaintings 119 
 
 Cabinet XIII offers much of far greater im- 
 portance. We meet at once two men whose work 
 is exceedingly rare. The one, Jacob Willemsz Delff, 
 painted "Esau and Jacob" (No. 1256), in which 
 the posing attitude of the figures is forgotten in 
 the portraitHke quaHties of the faces. The other 
 rare work is by Hendrik Avercamp, of whom only 
 one example is found in all of the Netherland Gal- 
 leries. Here we find a *' Winter Landscape " (No. 
 1267) that possesses the same striking qualities of 
 naturalism as the one in Amsterdam. Of the three 
 landscapes by Aert van der Neer, only two are 
 characteristic examples, especially the *' Moonlight " 
 (No. 1261). A "Watery Landscape" (No. 1260) 
 seems to me of doubtful attribution. 
 
 One of the forerunners of the great 17th century 
 portrait school was Michiel Jansz. Mierevelt. Plate 
 XV shows his "Man's Portrait" (No. 1258), of 
 strong characterisation and excellent painting 
 quality. Only one example is found here (in the 
 third division of the Cabinet) of Frans Hals. 
 It is the " Portrait of a Young Man " (No. 1297) 
 which, although it bears his cachet, does not belong 
 to his best works. 
 
 The greatest genius of that century is represented 
 by seven canvases, all portraits — for the " Apostle 
 Paul " (No. 1270) is more of a portrait of a model 
 than an ideal representation. 
 
I20 TEbe Hrt of tbe IDIenna ©alledea 
 
 Rembrandt combines the highest quahties of a 
 painter, an artist, and a man. He was a genius 
 of supreme power, in technical execution, briUiancy 
 of colour-sense, and elevation of thought. He was 
 the Beethoven of the brush. 
 
 Two self-portraits here are physiognomic reve- 
 lations of the master's character. One (No. 1274), 
 painted about 1658, bears the traces of the economic 
 struggles through which he had passed; the other 
 (No. 1268) shows him in his last years, with the 
 deep furrow between the eyes of painful thought. 
 His had been an eventful life, in which he saw the 
 sun of popularity sink beneath the clouds of neglect, 
 and the prosperity which his genius brought him 
 melt away through the overwhelming debts of his 
 careless management. And we can never forget 
 how the devotion of his friend Hendrikje Stofifels 
 comforted him in his declining years, and enabled 
 him to illuminate his works with the power of his 
 genius until the end came. 
 
 At the very beginning of his Amsterdam career, 
 when but thirty years old, he painted the magnificent, 
 regal portraits of a man and a woman (Nos. 1271 
 and 1272). Here we find still the attention to de- 
 tail in which his brush plays caressingly with the 
 articles of finery, without neglecting that soulfulness 
 of expression which he never omitted. Only a few 
 years later, in 1639, came that portrait which to 
 
REMBRANDT 
 
 PORTRAIT OF HIS MOTHER 
 Plate XVI 
 
 Imperial 
 
 Museum 
 
Ube jflemiBb anb 2)utcb paintings 121 
 
 me has always been the greatest portrait of old age 
 ever painted, the ** Portrait of his Mother" (No. 
 1273). Neither Plate XVI, nor any of the many 
 reproductions, whether from steel or copper or light- 
 print, will ever give the vividness of that ebbing 
 life, the breath of reality, that chord of human 
 sympathy which one feels tightening, when standing 
 before this marvel of the painter's art. 
 
 Also the " Apostle Paul," already mentioned, 
 dates from this time; while the " Reading Youth " 
 (No. 1269), a portrait recognised by Bode to be 
 of his son Titus, is of a later period. 
 
 Fellow-pupil with Rembrandt in the Pieter 
 Lastman studio was Jan Lievens, who painted his 
 friend "Rembrandt as a Youth" (No. 1278), 
 around which Jan van den Hoecke painted a wreath 
 of flowers. The maturer talent of Lievens is seen 
 in the " Portrait of an Old Man " (No. 1277). 
 
 One of the first pupils who came to Rembrandt's 
 studio in Amsterdam was Govaert Flinck, whose 
 work is often ascribed to the greater master. No. 
 1279 is a portrait of an old man by Flinck. One 
 of the last who learned from Rembrandt, when the 
 master had gone into retirement on the Rozengracht, 
 was Aert van Gelder, whose " Man's Portrait " 
 (No. 1276) is, however, considered by Bode and 
 by Hofstede de Groot, both the most eminent critics 
 of Rembrandt's work, to be a badly preserved work 
 
122 xrbe Htt of tbe ©ienna ©alleties 
 
 by Rembrandt himself. Another pupil of the mas- 
 ter was Samuel van Hoogstraten, the Vasari of 
 the Dutch school. While on a visit to Vienna he 
 painted a view of the Burgplatz (No. 1281), en- 
 livened with many figures, seen from the Sweizer- 
 hof. More important, however, is his " Man at 
 the Window" (No. 1282), a brilliantly painted 
 face that looks out of the casemated window with 
 startling vividness. 
 
 The Dutch peasant painters of that golden cen- 
 tury are represented each by one or two pictures. 
 Foremost stands Adriaen van Ostade, with his 
 favourite subject of the ''Quack Dentist" (No. 
 1302). Other pictures of like scenes of village Hfe, 
 or tavern interiors, are by Cornelis Bega, Pieter 
 Verelst, Pieter Quast, Jan Miense Molenaer, and 
 Richard Brakenburgh. Cornelis Dusart, while 
 choosing similar topics, had more refinement in 
 execution, as may be seen in " Peasants before an 
 Inn" (No. 1301). 
 
 A few years ago a legacy enriched the Museum 
 with a fine example of Pieter de Hooch, " The 
 Mother " (No. 1299a). This painting has his well 
 known juxtaposition of outdoor light with interior 
 light, in the rendering of which de Hooch has never 
 been excelled. 
 
 De Hooch had two styles. The pictures in his 
 first manner, most of which were painted before 
 
Zbc iFlemisb an& H)utcb paintings 123 
 
 1665, are especially bright and luminous. Of this 
 character we shall see a notable example in the 
 Academy Gallery. After 1665 he seems to have 
 preferred to leave a large part of his compositions 
 in obscurity, showing the bright light of the sun 
 outside only through some open door or window 
 in the background. Of this " The Mother " bears 
 evidence. The contrast between light and shadow 
 is, however, not carried as far as in the pictures 
 which he painted towards the end of his life, where 
 the figures in the dense shadows sometimes become 
 even difficult to distinguish. To him human life 
 was not half as interesting as the life of the 
 sunshine. 
 
 A still more recent acquisition, not yet catalogued, 
 is a fine little conversation piece by Dirk Hals, whose 
 work is comparatively rare. 
 
 Cabinet XII continues our interest in the 
 great school. The social gatherings of the beau 
 monde, usually pictured by Jacob A. Duck, Pieter 
 Codde, and Palamedes, all men trained in the studio 
 of Frans Hals, are not considered to be of supreme 
 importance, and we cannot give very high praise 
 to the examples shown here — of Jacob Duck a 
 ** Palace Robbery" (No. 1303), and by Palamedes 
 a "Cavalry Engagement'' (No. 1306). 
 
 Our attention is arrested by two magnificent 
 and characteristic examples of the great painter- 
 
124 ^be Hrt of tbe IDtenna ©alleries 
 
 philosopher Jan Steen. No. 1304 shows a '' Peasant 
 Wedding," where the bridal couple under shouting 
 and merriment of the guests are being conducted to 
 their chamber. No. 1305 pictures one of Steen's 
 profound, but droll harangues on the end of a 
 squanderous life. The types which the artist gives 
 in his pictures are inimitable — here, the young 
 spendthrift, the girl who helps him lose his money, 
 the old beldame, and the notary already making an 
 inventory of what is left. All these are placed in 
 a room of extravagant disorder, with exquisite 
 humourous touches — note the duck on the notary's 
 humpback. 
 
 The works of two architectural painters. Dirk 
 van Delen and Jan van der Heyden hang in this 
 section. 
 
 The nascent feeling for landscape reached its 
 height in Holland in the 17th century. The Renais- 
 sance in Italy had given birth to a few men who 
 gazed with curious delight upon the earth and its 
 verdure; and Titian, Giorgione, Raphael and 
 Leonardo had already attempted with great ability 
 and beauty to portray landscape, although in de- 
 pendence and subserviency to human motives. 
 Claude and the Poussins had carried this farther, 
 but still it seemed as if the human interest had to 
 help out, so to speak, to make landscape attractive. 
 It remained for the Dutch of the 17th century to 
 
» c^ o*: • f. 
 
Ube 3flemi9b an5 ©utcb paintings 125 
 
 show that landscape might be treated as an object 
 in itself, worthy of our sympathy and admiration, 
 independent of any human interest. And the spirit 
 of the artists who perceived the beauty of earth, 
 sea and sky commenced to interpret, preserve and 
 convey these beauties to the spirit of men ready to 
 receive it. 
 
 The Dutch landscapists of that century are 
 sparsely but worthily shown. By Jan van Goyen 
 there is a fine landscape (No. 1313), in which 
 Wouwerman painted some animals. The flat 
 stretch of ground, unbroken by trees, has neverthe- 
 less, through its light and local colour, a picturesque 
 appearance. 
 
 Allart van Everdingen has one of his turbulent 
 scenes of a waterfall rushing over the mill-wheel, 
 with equally turbulent sky (No. 1312). These 
 scenes, so popular in his day because their pictur- 
 esque locality was entirely unknown in flat Holland, 
 led Jacob van Ruisdael to change his subjects from 
 the flat stretches of the Dutch lowlands to those 
 with falling water. It did not profit him much, for 
 this greatest of all Dutch landscapists was not 
 honoured during his lifetime. Three fine examples 
 of Ruisdael's later period are here on view (Nos. 
 1335-1337), whereof the last, "The Great Forest" 
 (Plate XVII), is the most important. It shows 
 the perfect composition, the quiet, deep colour, the 
 
126 Ube Htt of tbe iPienna Galleries 
 
 breath of atmosphere which signalises all his 
 work. 
 
 Jan Wynants, although older by three years, was 
 still a pupil of Ruisdael, whose influence is visible 
 in ''Entrance to the Woods'' (No. 1310), and in 
 a "Landscape" (No. 1311) with a heavily clouded 
 sky overhead. 
 
 Ruisdael's greatest pupil, Meindert Hobbema, is 
 represented by a small panel, a " Wooded Land- 
 scape " (No. 1324), which shows his brighter spirit 
 and more lyric vein of poetic thought. Two small 
 landscapes with cattle (Nos. 1330 and 1331), by 
 Adriaen van de Velde, the pupil of Paul Potter, 
 are worthy of mention. 
 
 The 17th century Dutch landscape school should 
 be divided in two parts — the men with breadth 
 of touch and largeness of vision, and those who in 
 technique followed the conventions of the so-called 
 Little Masters in fineness of brushwork and elabora- 
 tion of detail. Some of these were still echoing 
 the powerful influence of Adam Elsheimer, or lis- 
 tened to other foreign inspiration. Five works 
 (Nos. 1319-1323), by Nicolaas Berchem, give the 
 proper view of this class. Karel Dujardin has done 
 better work than we see in the little cattlepiece (No. 
 1332). Jacob van der Does was Italianised (see 
 No. 1317), while Johannes Lingelbach followed 
 closely Elsheimer's convention, although this is not 
 
XTbe flcmisb an5 Dutcb Ipatntfngs 127 
 
 so obtrusive in the "Sea-harbour'' (No. 1343). 
 Frederik de Moucheron has two landscapes (Nos. 
 1344 and 1345) of secondary importance. 
 
 PhiHp Wouwerman combined his notable land- 
 scape art with unexcelled proficiency in painting 
 the horse, to which five examples bear abundant 
 evidence. His pupil, Jan van Hughtenburg, fol- 
 lowed him in more animated scenes of equestrian 
 conflict (No. 1346). 
 
 Here also are some notable examples of the 
 marine painters, Simon de Vlieger, Reinier Nooms, 
 called Zeeman, Jan van de Capelle, and Ludolf 
 Bakhuyzen. 
 
 With Cabinet XI we reach the still life 
 painters. In chronological order we note the work 
 of Jan Davidsz. de Heem, and of his son Cornelis 
 de Heem; of Abraham van Beyeren, best known 
 as a painter of fish; the fiowerpiece (No. 1355) of 
 Maria van Oosterwyck; a magnificent fruitpiece 
 by Juriaen van Streek, a man rarely met with ; 
 a work by the great flower painter Rachel Ruysch; 
 and two flowerpieces by the last one of the school, 
 Jan van Huysum. 
 
 Small panels by the earlier Dutch Little Masters 
 furnish the second division of this Cabinet; the 
 third division contains German works. Only a 
 few of these Little Masters are here represented, 
 butisome of these examples are of great importance. 
 
128 Ubc Htt of tbe IDienna Galleries 
 
 Rembrandt's first pupil, while himself a youth in 
 Leyden, was Gerard Dou, who, indeed, learned the 
 rudiments of his art from Rembrandt, and also the 
 principles of light-painting, but in both instances 
 applied these in a manner far different from his 
 master. His enamel-like work and minute finish is, 
 notwithstanding, broad in conception and wonder- 
 fully satisfying. Nos. 1376-1378 are worthy ex- 
 amples. "The Physician'' (No. 1377) is excep- 
 tionally fine. It has his oft-repeated setting — a 
 window arched at the top and decorated beneath 
 the sill with a bas-relief of children playing with a 
 goat. A heavy blue silk curtain drawn to one side 
 reveals a room in which the figure of the young 
 physician shows in strong relief against the dark 
 background. An old woman in sombre clothes 
 stands by a side-window wiping her eyes. The 
 bright touches of colour — the yellow-bordered pur- 
 ple cloak of the doctor, the brass barber's basin on 
 the tapestry that hangs over the sill, the richly 
 decorated decanter incased in silver, are all painted 
 with marvellous delicacy. 
 
 Not very different, only somewhat larger in his 
 compositions, is the work of the aristocratic Gerard 
 Terborch, who shows here a " Young Woman 
 peeling Apples" (No. 1366), a household occu- 
 pation of which the Dutch ladies were not ashamed. 
 There is an indescribable charm in the simplicity 
 
Ubc flemish an5 H)utcb paintings 129 
 
 of this subject, the exquisite harmony of colours, 
 and the faithful reproduction of all details. The 
 young woman wears a pearl-grey dress and yellow 
 jacket bordered with white fur. A hood drawn 
 over her head frames the cheerful features with 
 the ripe, red lips. The background is a wall of 
 neutral grey, against which a map is hanging such 
 as we always see in Vermeer van Delft's pictures. 
 The foreground is enlivened by the strong colours 
 of various articles of still life — the brilliant blue 
 tablecover, the silver candlestick, the appledish and 
 the basket of white linen. More attractive still is 
 the little girl who stands expectantly watching for 
 a '' taste." 
 
 Of all that group of Dutch genre painters — for 
 whom the interest of a household scene lay less 
 in the accuracy with which they could reproduce 
 the mise-en-scene than in the finer fidelity with 
 which they could note an expression and record a 
 gesture — the most pregnant, the most fruitful was 
 Terborch, one of the earliest. He may be called the 
 discoverer of this new art of keen social observation 
 which recorded subtly, exactly, intimately the life 
 and doings of the people. Terborch chose the better 
 class of that formal, self-satisfied bourgeois society 
 which grows up in provincial cities ; as others chose 
 peasants or artisans for their models. And even 
 in a trivial subject he infused a distinction, an 
 
130 Zbc Hrt of tbe IPienna Galleries 
 
 elegance, an irreproachable perfection that raises his 
 work to the highest plane. 
 
 A copy of his famous " Young Lady writing a 
 Letter/' of the Ryksmuseum of Amsterdam is here 
 as No. 1365. 
 
 Gabriel Metsu was also one of the Little Masters, 
 and of no mean talent, as his " Lace- worker " (No. 
 1370) testifies; while Godfried Schalcken, Don's 
 pupil, followed his master's style — as far as he 
 was able. His "Old Man Reading" (No. 1364) 
 has one of the candle-light effects that are associated 
 with his name. One of the latest of the really great 
 painters was Frans van Mieris, the Elder, also a 
 pupil of Dou, and perhaps the most talented one. 
 Three small pictures, one on copper (No. 1380), 
 showing the likeness of a man, indicate that in 
 subject matter he followed more Jan Steen's 
 humour, of which a ''Lady and her Physician" 
 (No. 1381) is a capital example. With his son, 
 Willem van Mieris, we note, however, the decay 
 of Dutch art. His technique becomes too smooth, 
 his colour cold. His examples (Nos. 1383-1385) 
 are but a faint echo of the glories that are past. 
 Dutch art, also, died through the imitation of 
 foreign examples, and the loss of personal, indi- 
 vidual power. 
 
CHAPTER V 
 
 THE EARLY GERMAN PAINTERS 
 
 From Cabinet XI we will enter Gallery 
 IX, and we find ourselves in surroundings that are 
 widely different from the grace of the Italians and 
 the harmonious, deep colour of the Dutch — the 
 Early German painters are shown here. 
 
 The influence of national traits of character and 
 national experiences upon the art expression of 
 a people is too much lost sight of. The dicta '' Art 
 is cosmopolitan," " there are no national boundaries 
 in art," and the like, are bandied about frequently, 
 but thoughtlessly. No one can deny that the 
 changes in Italian art of pre-Renaissance, Renais- 
 sance, and post-Renaissance periods were greatly 
 influenced, if not caused, by the social conditions 
 of the people, by the changing power of the Church, 
 the division into small republics, the effect of en- 
 croaching Spanish dominion, the growth of Venetian 
 wealth and luxury, and so on. So we may note 
 that the almost dramatic changes in French history 
 forced, according to these changes, a reflex in the 
 
 131 
 
132 TLbc Hrt of tbe Uienna (Balleries 
 
 pompous art of Rigaud, the gay gallantry of 
 Watteau and his school, the stern classicism of 
 David. And we find the race speaking through the 
 sincere self-contained panels of the Dutch Little 
 Masters; while the peculiar atmospheric condition 
 of the lowlands was the significant inspiration of 
 Dutch landscape art. 
 
 Thus we find in early German art a distinct factor 
 at work that specialises this art from that of other 
 nationalities. For instance, in Italy the Church was 
 the first employer of artists and demanded more or 
 less explicitly the glorification of itself and its doc- 
 trines. The reactionary fervour against paganism 
 often regarded beauty as a snare, and strove to wean 
 the hearts of the people from terrestrial delights. 
 Thus sacred art in Italy became principally a mouth- 
 piece for polemics and ecclesiastical traditions. But 
 in Germany it was apparent that the seeds of the 
 great upheaval, the Reformation, were sown genera- 
 tions before it burst forth — and early German art 
 shows this. From the very beginning we note 
 rebellion against priestly dominion. The artists did 
 not paint as the Church taught, but as they them- 
 selves thought. Independent minds were led in 
 humanitarian channels — art was ethic, not dog- 
 matic. And although the first instruction, of course, 
 came from Italy and bore its characteristics, these 
 traditional forms were soon altered to realise native 
 
Ubc EarlB (Berman {painters 133 
 
 surroundings, to make even sacred themes applicable 
 to the people and not to doctrines. It was the spirit 
 of individualism, peculiar to the Northern peoples, 
 already manifest in Holland, and even more strongly- 
 marked in Germany. Hence Madonnas became 
 idealised Teutonic types, as buxom and often as 
 homely as the village frau; and when King David 
 is thirsty and one of his generals brings him water 
 to drink, an early German artist, Konrad Witz, 
 shows the king as an Elector-Palatine, and the 
 general as an armoured knight. 
 
 Another indication of the influence of surround- 
 ings and conditions upon art is to be seen as soon 
 as printing was invented. Whether it was invented 
 in Germany or elsewhere matters not; the fact 
 remains that in Germany this new invention was 
 earliest popularised; and not only for the printing 
 of letters, but also of pictures from engravings, with 
 wood-block or copper-plate. Thus the painter- 
 engraver came into existence, and we note as a 
 consequence the greater detail of line when the 
 artist worked with the brush, which has remained a 
 typical trait of German art ever since. So is anec- 
 dotal, illustrative painting nothing but an expression 
 of a racial, Teutonic characteristic. 
 
 German art began in the 14th century, inspired 
 by Italy, influenced by France, and owing its tech- 
 nique to the Netherlands. It developed in depth and 
 
134 Ube art of tbe IDfenna (Balleriea 
 
 breadth through the 15th century, and in the 16th 
 century commenced to show real, individual 
 strength; but the 17th and 18th centuries are blank 
 pages in its history. 
 
 It is to be regretted that the three earliest works 
 of German art, which for a century hung in the 
 old Belvedere, have since 1901 been removed to the 
 Imperial castle Karlstein. These were three primi- 
 tive examples of the work of the so-called Meister 
 von Prag, who was active in 1348-1367. 
 
 The earliest work we find here now is a panel 
 showing the *' Holy Family" (No. 1478), and 
 catalogued as German school, second half of the 
 15th century. This picture must from internal evi- 
 dence be assigned to the first half of that century, 
 and to the Basel artist, Konrad Witz, whose style 
 seems to have been founded on that of the Master 
 of Flemalle, Jules Daret. The monogram MS. on 
 the panel, evidently referring to Martin Schongauer, 
 is indubitably forged. To the right we see the be- 
 diademed Madonna with the Child, in a dark fur 
 garment, at her side. Joseph stands to the left 
 handing the child a pear. There is a feeling for 
 light-effect such as the school of van Eyck had 
 originated. Although the foreshortenings are in- 
 exact, the attempt to solve this problem is striking; 
 but there is an exaggeration of the sharp and 
 angular lines in the voluminous folds of drapery, 
 

 
 ■ ""'^ »^.-^'' i 
 
 ^ ^ 'A. 
 
 W^:-''s^'Mmmik: ^: 
 
 
 
 
 ^Ufcteq?!-:. ^^1 
 
 iP 'W 
 
 ' ' 1 
 
 ^ 
 
 •« 
 
 jy'-^^^ 
 
 
 HOLY FAMILY 
 
 
 MARTIN 
 
 
 Imperial 
 
 SCHONGAUER 
 
 Plate XVIII 
 
 • Museum 
 
XTbe Earls ©erman painters 13s 
 
 which the early Grerman painters adopted in imita- 
 tion of the sculpture of that period. The absence of 
 any mysticism, and the material, naturalistic manner 
 of presentation must be noted. 
 
 Only a little later is the origin of a " Crucifixion " 
 (No. 1396), by Meister Pfenning, who according 
 to the date on the panel was active in 1449, most 
 probably in Nuremberg. There is a dramatic juxta- 
 position in the group under the crosses of the two 
 thieves, fully expressive of the warring factions that 
 were gathered. These people are dressed in a 
 curious mixture of German and oriental costumes. 
 All is dominated by the high centre-cross with its 
 burden of woe, and the group of sorrowing women 
 in the foreground. The types of faces are far more 
 realistic and less archaic than is seen, even at that 
 time, in Italian works. 
 
 By Martin Schongauer we find here a small panel 
 showing a "Holy Family" (No. 1490. Plate 
 XVIII), which is beyond doubt one of the few 
 known pictures by his own hand. The influence 
 of the Netherland school, as it was then felt through- 
 out Germany, is very manifest. There is the same 
 realism, or rather humanism we might call it, which 
 characterises the works of the van Eycks and of 
 van der Weyden. 
 
 Schongauer, the son of a goldsmith, was princi- 
 pally active as an etcher, which gave his style much 
 
136 Ube Hrt of tbe IDienna (Ballerfes 
 
 vigour and feeling in the line. He was the principal 
 figure among the Colmar painters, who constituted 
 in Suabia a school of almost equal importance with 
 the school of Cologne. 
 
 The so-called monogrammist R.F. has lately been 
 identified as Rueland Frueauf, a painter who was 
 active in Passau and Salzburg from 1471 until 
 1484. Four sacred pictures (Nos. 1397-1400) 
 show narrative qualities without deep spiritual 
 feeling. 
 
 That German art possessed the germ of its own 
 greatness, without being for long in need of foreign 
 inspiration, is proved by the appearance, thus early, 
 of that original genius who well may be named in 
 one breath with Titian and Rembrandt — Albrecht 
 Diirer. 
 
 The theory that has been propounded as to racial 
 traits in art expression, and the manifestation of 
 national characteristics in the work of artists, as 
 well as the theory of the influence and dominating 
 stamp of particular, crucial eras in a nation's life, 
 is in no artist so plainly and markedly demonstrated 
 as in Diirer, the most representative artist of Ger- 
 many. It is demonstrated, not alone by his work 
 as a painter, but perhaps even more clearly in his 
 wood-engravings, a branch of art which then held 
 a strong place of influence in the culture of his 
 time. 
 
Ube lEarls (Serman painters 137 
 
 All the qualities of Diirer's art, its combination 
 of the wild and rugged with the homely and tender, 
 its meditative depth, its enigmatic gloom, its sin- 
 cerity and energy, its diligence and discipline — all 
 these are qualities of the German spirit. We find 
 in him a definite national type; a Teutonic always, 
 with stubborn Gothic elements, and most powerfully 
 impressed by that consciousness of innate force 
 which stirred his nation during his lifetime, as it 
 also carried Luther in its maelstrom. For these two, 
 Luther and Diirer, cannot be separated in spirit. 
 They manifested each the same combination of 
 adherence to tradition and to the struggle for liberty 
 of thought. 
 
 We miss in Diirer's work that purity and sim- 
 plicity of form which gives the great Italians their 
 high rank. Instead, we find in him the gravity, the 
 conscientiousness, the richly imaginative and poetic 
 traits of his race. He inherited the hardness, angu- 
 larity and ungraciousness characteristic of the school 
 in which he grew up, and preferred energy and 
 vitality to beauty. But although there is this harsh- 
 ness and ruggedness, and a lack of grace and loveli- 
 ness in his art, through its very uncouthness shines 
 the glory of a superb and heroic genius. In his love 
 of pure craftsmanship he may sacrifice grace to 
 truth — there is still a quaint mingling of austerity 
 and playfulness, and his analytical mind in its de- 
 
138 Ubc Hrt of tbe IDienna Oallerfes 
 
 votion to detail is not cramped, as it follows nature 
 rather than soars toward the ideal. 
 
 As a draughtsman Diirer was unrivalled for pre- 
 cision, dexterity and variety; his human figures, 
 generally without grace or elegance, are vital in 
 expression; his landscape is more picturesque than 
 grandiose; and all is imbued with the spirituality 
 of his nature which was not in the least ascetic, but 
 generous and wholesouled. 
 
 Being much-travelled, it goes without saying that 
 outside influences are to be noted in his progress. 
 Thus we see after his return from Italy that he had 
 acquired something of the suavity of Venetian art, 
 without abandoning, however, his native charac- 
 teristics. These works of his so-called second 
 period, of which we will see some famous examples, 
 ofifer a unique blending of greater polish with his 
 racial traits. 
 
 No less than five of the seven works that are 
 displayed in the Imperial Museum must be con- 
 sidered among Diirer's masterpieces. His two 
 Madonnas show at once a difference in type, of 
 psychological conception from the Italian Madonnas. 
 The frontispiece of this volume, picture No. 1447, 
 painted in 1512, "The Madonna of the Cut Pear," 
 in which Mary, with bent head and sunken eyes, a 
 sweet expression playing around the corners of the 
 mouth, holds the Child, that looks up with self- 
 
XTbe JSavl^ (5erman painters 139 
 
 conscious brightness. It holds in its hand a partly- 
 cut pear which gives the picture its name. It is a 
 group of tender sweetness, not at all suggesting the 
 halo, but such a mother and child as his friend 
 Luther pictured to the people. The painting is un- 
 commonly limpid and harmonious, the flesh tints 
 are rosy in the lights and grey in the shadows, and 
 the hair is rendered with the extremest minuteness 
 and precision. 
 
 The Germanic type is still more apparent in the 
 ''Mary with the Child" (No. 1442)— a happy 
 pair, the mother smiling, the child with uncouth 
 gesture seeking nourishment. The group has an 
 indefinable charm of purity and spiritual reahty. 
 
 The painting among Diirer's work which is con- 
 sidered pre-eminent, as is the '* Nightwatch " of 
 Rembrandt, and the " Sistine Madonna " of 
 Raphael, is the large " Adoration of the Holy 
 Trinity" (No. 1445). It is an altarpiece which 
 Diirer painted for the iron-founder Matthias 
 Landauer, to be presented to the Twelve Brother- 
 hood of Nuremberg. In the arch of the canvas 
 the Father, over whom the Dove floats, holds the 
 crucified body of the Son. Hosts of angels, saints, 
 prophets and martyrs are grouped around Him, 
 resting on the clouds which separate them from 
 the groups of believers gathered on the border of 
 a lake. These are the Emperor, Dukes, Doges, 
 
140 TLbc Hrt ot tbe IDienna Oalleries 
 
 Pope, Cardinals and Bishops, together with knights, 
 monks and peasants ; and the grey donor in a black, 
 fur-bordered cloak is among them. This is a mar- 
 vellous painting of harmonious colour, impressive 
 by its momentous beauty. 
 
 In 1585 the Protestant town-council of Nurem- 
 berg robbed Landauer's almshouse of this altarpiece, 
 and sold it to the Emperor Rudolph II — a far more 
 sensible act, and to posterity less injurious, than the 
 vandalic destruction of priceless works of art during 
 the religious riots which culminated in the " Image 
 Storm," principally in the Netherlands. 
 
 A pupil of Diirer used the motives of this paint- 
 ing for a triptychon, whereof the two side- wings 
 are also found here (No. 1440). 
 
 In 1508 Diirer painted for the Elector Frederick 
 the Wise, of Saxony, a canvas entitled " The 
 Martyrdom of Ten Thousand Christians under King 
 Sapor in Persia '' (No. 1446). However oppressive 
 and horrible the vision of all these tormented human 
 beings may be, one is still impressed with the mag- 
 nificent grandeur of presentation. Diirer himself, 
 accompanied by his friend Willibald Pirkheimer, is 
 seen passing among these scenes of horror. 
 
 Of the three portraits by Diirer found here, two 
 at least may be reckoned of supreme interest. No. 
 1443 is the famous half-length portrait of the 
 Emperor Maximilian I, painted in 1518. He is a 
 
Ube jEarli? German painters 141 
 
 grey, old man, weary of the cares of state, but 
 showing worthy dignity of mind and character, and 
 an imposing personahty of indomitable will. No. 
 1448 shows the head of Johann Kleeberger, who 
 was born in Nuremberg but settled as merchant 
 in Lyons, where he became the munificent bene- 
 factor of that city. The painting is executed to 
 look like a cameo bust on a circular shield, which 
 emphasises the sculpturesque intensity of outline, 
 and the powerful expressiveness of features. No. 
 1444 presents the portrait of an energetic man, 
 full of virility and dominant force. 
 
 A fine copy (No. 1450) hangs here of Diirer's 
 famous picture, his " Feast of the Rose-garlands,'' 
 the original of which is now in the monastery of 
 Strahow, Prague. Diirer painted this important 
 picture in Venice in 1506, for a German commercial 
 society, as an altarpiece for their chapel. It pro- 
 cured him the admiration of the Italian artists, who 
 had regarded him merely as a skilful wood-engraver, 
 but had derided his talent for painting. The figure 
 of the Madonna is thoroughly German in concep- 
 tion and spirit, yet the influence of the painter's 
 Venetian stay is plainly visible. Mary's appearance 
 is slightly changed to the ethereal, spiritual pre- 
 sentation of the Italian school, which the artist 
 abandoned again for the Germanic conception of 
 the human side as soon as he returned north. It 
 
142 XCbe Hrt of tbe IDienna (Ballerfes 
 
 has been said that the little angel playing on a lute 
 at the Virgin's feet, so characteristic of the sancte 
 conversazioni of the Venetians, was a mark of 
 homage offered by the German master to the great 
 Bellini. 
 
 Diirer's pupil, Hans Sues von Kulmbach, could 
 never forego the influence of his master, as may be 
 seen in the "Coronation of Mary'' (No. 1438). 
 Still he had a wealth of motif, and a bright, mild 
 colour scheme that was quite individual. Diirer's 
 characteristics are still less apparent in two panels 
 by Kulmbach, recently added to the Museum, in 
 one of which Mary is seen reading a large folio; 
 while on the other the Angel of the Annunciation 
 IS pictured. These panels have more of the Italian 
 method, and are much in the style of Jacopo de' 
 Barbari. Bartel Beham and the talented Hans 
 Leonhard Schauffelein came from Diirer's studio. 
 By Beham we have a portrait of King Ferdinand I; 
 and from Schauffelein's hand, besides two bust por- 
 traits (Nos. 1435 and 1437), a fine altarpiece with 
 three pairs of wings (No. 1438), which contains 
 one hundred and fifty-seven different scenes from 
 the life of Christ. 
 
 One of the greatest of the German Renaissance 
 painters was the Augsburg artist Hans Burckmair, 
 who, besides much that is of little moment, has 
 produced many works of power. The '* Double 
 
HANS 
 BURCKMAIR 
 
 DOUBLE PORTRAIT 
 Plate XIX 
 
 Imperial 
 Museum 
 
XCbe JEatli? German painters 143 
 
 Portrait'' (No. 1405) of the master and his wife 
 (Plate XIX) shows the proficiency in the art of 
 portrait painting by men not directly under Diirer's 
 influence. The doctrine of the vanity of human Hfe, 
 then so rife in Germany, is to be recognised by 
 the reflection in the mirror which Burckmair's wife 
 holds in her hand. This shows two human skulls, 
 with the legend inscribed at the top of the picture 
 in a scroll : *' Thus we appeared, but in the mirror 
 only that.'' 
 
 Another portrait painter of independent develop- 
 ment but moderate attainment v/as Bernhard Strigel, 
 by whom we have two portraits of the Emperor 
 Maximilian I (Nos. 1426 and 1429), and a family 
 group of the Emperor with his family (No. 1425). 
 
 The far-reaching influence of the art of Durer 
 through his etchings and woodcuts is shown in the. 
 Austrian painter Albrecht Altdorfer, who, however, 
 followed also in many respects the great light- 
 painter Matthias Griinewald. Vienna does not 
 possess any examples of Griinewald's brush, but 
 he can best be studied in the Kolmar Museum. 
 Altdorfer's little Christmas picture (No. 1421) is 
 a charming composition, full of interesting details 
 and a wonderful play of light-effects. It is also 
 a fairly good presentation of the new departure in 
 landscape painting, which Altdorfer originated and 
 which came to be called the Donau style — an in- 
 
144 Ube art of tbe IPieuna Galleries 
 
 genuous combination of the ideal and the real in 
 nature, with an effect produced that might be called 
 scenic. His '^ Holy Family'' (No. 1422) is in the 
 manner of the Italian half-figures. 
 
 In Hans Baldung Grien we find also a mixture 
 of Diirer's and Griinewald's influence, leaning more 
 towards the latter's sharp delineation in strong light. 
 An allegorical representation of ''Vanity'' (No. 
 1423), attacked by Death and defended by Slander, 
 gives us a first view of the painting of the nude, 
 to which the German artists never became over- 
 partial. 
 
 Most characteristic of the Teutonic love of story 
 telling is the work of Leonhard Beck, who entered 
 the painters' Guild of Augsburg in 1503, and died 
 in that city in 1542. There is a crowding of incident 
 and detail in his ''St. George" (No. 1431. Plate 
 XX) which is not found in any other school. In 
 this finely painted picture, in which the figures are 
 repeated to tell the progress of the story, the land- 
 scape part is wonderfully rich. In the foreground 
 St. George is killing the dragon before the eyes of 
 the terrified princess; after which we see him in 
 the middle-distance peacefully following the lady to 
 receive the reward for his courage. 
 
 The fame of Lucas Cranach, the Elder, rests 
 principally on the naivete, ofttimes humourous, of 
 his compositions, which, however, lack deep feeling, 
 
LEON HARD 
 BECK 
 
 ST. GEORGE 
 Plate XX 
 
 Imperial 
 Museum 
 
XTbe JBatls ©erman painters 14s 
 
 or even a sense of beauty. Among the dozen paint- 
 ings we find here his '* Paradise " (No. 1462) is 
 the most characteristic. In six scenes the story of 
 the creation and fall of man is related, but with a 
 freshness and originality of style that makes us 
 forget the archaic qualities. *' Adam and Eve under 
 the Apple-tree" (No. 1459) possesses much of the 
 same traits. '' Christ's Farewell from Mary and 
 the Women on his Way to Golgotha" (No. 1456) 
 has some expression of deeper feeling. A " Deer- 
 hunt " (No. 1452) is a queer scene in which the 
 Elector of Saxony plays a part as if the hunt were 
 orderly arranged upon a large stage. No. 1454 is 
 a droll portrayal of an enamoured old man with a 
 girl. The fine '' Rest on the Flight to Egypt," an 
 early work which is now in the Berlin Museum, is 
 shown here in an excellent contemporaneous copy 
 (No. 1463). 
 
 His son, Lucas Cranach, the Younger, frequently 
 aided his father in his work. Two portraits, half- 
 figures, of a Man (No. 1469), and of a Woman 
 (No. 1470), and ''Christ taken Prisoner" (No. 
 1467) are from the younger man's hands, although 
 the catalogue gives the last named picture unduly 
 to the father. A pupil of the elder Cranach, 
 Wolfgang Krodel, has a '' David and Bathsheba " 
 (No. 1471) in a conventional presentation which 
 is, nevertheless, interesting. 
 
146 Xlbe Hrt of tbe IDienna ©allettes 
 
 The best known of German painters, next to 
 Diirer, is Hans Holbein the Younger, the complete 
 contrast to Diirer. Holbein was a man not prone 
 to theorise, not steeped in speculation, a dreamer of 
 no dreams. Without passion he looked out upon 
 the world around him, accepting nature without 
 preoccupation or afterthought, but with a keen 
 sense of all her subtle beauties, loving her simply 
 and for herself. Not so Teutonic in every way as 
 the great Nuremberg master, he formed a link be- 
 tween the Italian and German races. 
 
 Where Durer was hindered by an overpowering 
 imagination, Holbein is weakened by the lack of it. 
 Thus his biblical scenes are tame in comparison 
 with those of his predecessor. His coolness of mind 
 aided him, however, in his portrait work, for which 
 he is justly famous. There he displays sharp char- 
 acterisation and exquisite painters' quality. 
 
 The seven works shown here are all portraits 
 of his later years, when he was court-painter of 
 Henry VHI, of England. The most striking of 
 these is the portrait of " Jane Seymour, the third 
 Queen of Henry VHI" (No. 1481. Plate XXI). 
 Here is a beautiful painting, full of charming detail 
 in execution. She appears in the most splendid cos- 
 tume, an underdress of silver brocade, over which 
 she wears a gown of deep red velvet. Wherever 
 it is possible rich gold ornament is introduced, her 
 
HANS 
 HOLBEIN, 
 THE YOUNGER 
 
 JANE SEYMOUR 
 Plate XXI 
 
 Imperial 
 Museum 
 
XTbe Earls German painters 147 
 
 dress and cap, of the well-known angular shape, are 
 studded with pearls, and round her neck is a chain 
 of pearls, from which is suspended a rich jewelled 
 ornament. The whole is executed in miniaturelike 
 perfection; but in spite of its splendour and glitter- 
 ing profusion, the countenance of the Queen out- 
 shines all the rest with its wonderfully delicate and 
 clear tint. 
 
 Of stronger, even monumental impress, is the 
 portrait of "John Chambers" (No. 1486), the 
 court-physician. The " Portrait of Dirck Tybis " 
 (No. 1485), a German merchant residing in Lon- 
 don, was painted in 1533; while the half-figure of 
 a man (No. 1479) came in 1541. A comparison 
 between these two portraits, but eight years apart, 
 shows the progress Holbein made in his art, even 
 in his later years. 
 
 Among the remaining pictures in this gallery we 
 may note three good portraits by the Austrian court- 
 painter Jacob Seisenegger, who on the whole was 
 but a slavish imitator of Titian. So does the work 
 of Christoph Amberger, of Hans Muelich, and of 
 the later Hans Grimmer show how early the decay 
 of German art set in through the loss of its native 
 originality, caused by Italian imitation. 
 
 Thus we cannot expect to find much of interest 
 in Gallery X, where hang the works of the 
 later men, of the end of the 16th, of the 17th and 
 
148 XTbe Hrt ot tbe IDienna (Balleries 
 
 of the 18th centuries. It is a deadly medley of 
 mediocrity, and most of the works are unworthy 
 of consideration. Only a few pictures displayed 
 here shall be noted. 
 
 A number of allegorical and mythological paint- 
 ings — a round dozen (Nos. 1495-1506) — by the 
 Antwerp-born Bartholomaeus Spranger, who be- 
 came Imperial court-painter at Prague, are of little 
 interest. One of these (No. 1500) has the peculi- 
 arity of being painted on a marble slab, whereby the 
 colour, through the luminous quality of the stone 
 underground, becomes quite brilliant. But that is 
 a purely mechanical accident, and " Apollo and the 
 Muses," which the subject represents, are as prosy 
 and tiresome as any of the other deities captured 
 within the other frames. Hans von Achen, Josef 
 Heinz, Christoph Schwarz, and a number of others, 
 of as little value, present only echoes of the great 
 Venetians, of Tintoretto, Veronese and others. 
 Johann Rottenhammer, as Italianised as the rest, 
 still allows some Teutonic fantasy to play through 
 his composition in " The Entrance of the Doomed 
 into Hell" (No. 1526), and in "The Last Judg- 
 ment" (No. 1527), which, of course, have also a 
 Michelangelesque reminiscence. 
 
 The defamer of Rembrandt, Joachim von Sand- 
 rart, did not at all profit by the instructions he re- 
 ceived in the studio of Honthorst, Rembrandt's 
 
Ube lEatls German pafntets 149 
 
 pupil. His paintings here (Nos. 1536-1539) be- 
 speak a man of no original mind, as they are but 
 copies of Dutch and Flemish works. In his writ- 
 ings on art and artists, however, he displayed 
 amazing originality, and a power of imagination 
 which did not at all concern itself with facts. 
 
 Balthasar Denner imitated the technique of the 
 old German painters, as seen in his two portraits 
 of elderly people (Nos. 1582 and 1583); while 
 Franz Casanova, perhaps, excelled the Frenchman 
 Bourguignon whose battlescenes he followed and 
 improved upon. 
 
 The saving grace in all this foreign embroilment 
 was a striving for classic expression found in Anton 
 Raphael Mengs, who, with Angelica Kaufmann, 
 represents at its best in Germany the academic tend- 
 ency which was beginning to rule the French art 
 world. Their contemporary popularity does not, 
 however, find a present-day response. 
 
 The third division of Cabinet XI contains a few 
 17th century German works which are mostly echoes 
 of Dutch art. Of interest is a " Rest on the Flight 
 to Egypt" (No. 1628), by Adam Elsheimer, of 
 whom frequent mention has been made. This is an 
 early work of the artist, full of the poetic charm 
 and the searching for light-effect which distin- 
 guished his art. 
 
 Gallery VIII need not detain us long. It 
 
ISO XTbe art of tbe Dienna ©allettes 
 
 is filled with the works of the men of the 18th 
 century — all imitators. Whether the paintings 
 are signed Brand, Roos, Hartmann or Fischer, it 
 is easy to put alongside their names those of 
 Breughel, Tiepolo, van Bloemen, or other Italian or 
 Dutch artists whom they followed. With a shorter 
 history of eminent attainment, the decay of German 
 art set in earlier and its inefficiency was more com- 
 plete and lasted longer than in any other country. 
 
CHAPTER VI 
 
 THE NINETEENTH CENTURY PAINTINGS 
 
 German art of the 18th century began with a 
 reflection of the French Academic art which reigned 
 then supreme throughout Europe. In fact, classi- 
 cism held longer sway in Germany than anywhere 
 else. Although in the twenties Romanticism con- 
 quered the Academics in France, we must concede 
 that the Nazarenes, so-called, at whose head stood 
 Peter Cornelius, followed less the doctrine of colour 
 than of line even as late as the forties. 
 
 The year 1848, with its political agitations in 
 Europe, brought in Germany at least a revolution 
 in art. A reactionary movement, both against 
 classicism and romanticism, culminated in the su- 
 preme rule of a healthy realism; a realism which 
 changed its subjects from saints and classic gods to 
 scenes from national life. It was a Germanic na- 
 tionalism — satisfied with its own history and its 
 own daily life. For years this national art found- 
 worthy interpreters, led in Berlin by Menzel, in 
 Vienna by Fiirich and Waldmuller, in Munich by • 
 
 151 
 
1S2 XCbe Hrt of tbe iDienna ©allertes 
 
 Piloty, Ramberg, Enhuber and the Frankforter von 
 Schwind, in Dresden by Ludwig Richter. Dussel- 
 dorf, hopeless under Schadow's guidance, revived 
 under Ludwig Knaus, his follower Vautier, and 
 Alfred Rethel. By the end of the century a new 
 school had arisen — of which the last word has not 
 yet been written — which, stirred by the Secession 
 movement, has brought a revelation of beauty in 
 art to those who have followed its creations. 
 Lenbach, Feuerbach, Leibl, von Marees, Bocklin, 
 Thoma, Klinger, and many more, although their 
 work is still comparatively little known beyond the 
 German border, will fill an important page in the 
 world's history of art. 
 
 We shall not be able to follow this well-defined 
 stream of Germanic art development in the Vienna 
 Museum. For this we should study the paintings of 
 the National Gallery of Berlin. 
 
 The " Modern Masters," under which name are 
 classified the paintings that are found in Galleries 
 V-VII and Cabinets VII-X, refer to a collection 
 of about four hundred paintings which represent 
 principally artists who were more or less identified 
 with Vienna. A very few foreigners, as Jacques 
 Louis David, Constant Troyon, and Alexander 
 Calame, and a few painters whose wider fame 
 belongs to German art, are represented. 
 
 At the beginning of the 19th century academic ( 
 
Ube IRineteentb Centura paintings 153 
 
 classicism reigned also in Vienna, and its gradual 
 suppression by the romantic and realistic move- 
 ments may here be witnessed. Gallery VII 
 gives a view of this transition. The most notable 
 of the academic painters was Heinrich Fiiger, who 
 was called by his admirers the German Raphael. 
 Each one of his examples (Nos. 1-6, for a new 
 numbering covers the Modern Masters) bears the 
 stamp of the technique which was then followed, 
 although a reflection of earlier painters may not be 
 denied. Thus " Hector's Farewell to Andromache '' 
 (No. 2) possesses Correggiesque features, while his 
 " St. Magdalene '' (No. 4) is reminiscent of van der 
 Werff's Dresden Magdalene. Decidedly his best 
 work is a recently added, and not yet catalogued, 
 " Portrait of his Wife," which was painted con 
 amore, but even in this we are reminded of Mme. 
 Vigee Lebrun's method. 
 
 Josef Abel painted a large symbolic picture, in 
 which the poet Klopstock is led into Elysium and 
 received by Homer and other great poets (No. 13). 
 Johann Hoeckle, the Younger, pictures an historic 
 scene in which the Emperor Franz I, with his 
 generals, crosses the Vosges, in France, in the 
 memorable year 1815 (No. 29). This canvas has 
 merit of composing, and is less hampered by 
 academic stiffness. Franz Eybl, a Viennese painter, 
 is excellent in a self-portrait (No. 54), with fine 
 
IS4 Ube Hrt ot tbe Vienna ©alleries 
 
 chiaroscuro. His picture of an old woman, holding 
 her rosary, as she comes from church (No. 55), is 
 tenderly realistic and modern in feeling. Johann 
 Peter Krafft is strongly academic, notably so in his 
 "Arindal and Daura " (No. 60a). In the '* De- 
 parture " (No. 58) and the "Return" (No. 59) 
 of an Austrian militiaman he verges on the senti- 
 mental. Friedrich von Amerling was an excellent 
 portrait painter, as several examples (Nos. 84- 
 88a-d) bear witness. The portrait of the landscape 
 artist Raffalt, as Falstaff, is a particularly fine 
 performance. 
 
 Aside from the many genre paintings, which are 
 of a comfortable mediocrity and generally devoid 
 of deep interest, we must accord due credit to the 
 landscapes, among which we note the " Waterfall of 
 Tivoli, near Rome'' (No. 30), by Jacob Philipp 
 Hackert, a painter who was greatly admired by 
 Goethe. This admiration was bestowed by Goethe, 
 the naturalist; for as poet or art connoisseur he 
 cannot have found much to admire in Hackert's 
 work, which lacks imagination and fails in technical 
 excellences. Further we view " The Deserted Mill " 
 (No. 70), by Franz Stein f eld, a picture of lone- 
 someness and desolation, and two landscapes (Nos. 
 91 and 92), by Ignaz Raffalt. 
 
 In Cabinet X we find the example of David, 
 "Napoleon crossing the St. Bernhard " (No. 9), 
 
Ube IWineteentb Century paintings 155 
 
 an important canvas by this French painter. Four 
 landscapes by Josef Rebell are worthy of notice 
 here, notwithstanding their grandiose effect. 
 
 Gallery VI contains the work of the Vien- 
 nese painters who were influenced by the Nazarenes, 
 prominent among whom was Josef Ritter von 
 Fiirich, with his sacred scenes from Palestine (Nos. 
 154-157). Fiirich was possibly more attractive in 
 his biblical presentations than any of the Nazarenes 
 who worked in Rome. There is more childlike 
 simplicity, a more naive faith in his composition, 
 that plainly speak of the pious, devout life of the 
 artist. 
 
 George Ferdinand Waldmiiller chose sentimental 
 subjects of common life, to which romantic colour 
 lends more or less vivacity. A " Christmas Festival 
 in a Farmhouse'' (No. 153), with its many bright 
 children's heads, is pleasing. Of greater interest is 
 his self-portrait (No. 148), which is of more artistic 
 quality. Josef Danhauser also displays that anec- 
 dotal trait which has always manifested itself 
 throughout German art, and for which the Dussel- 
 dorf and Munich schools carry the opprobrium now 
 visited upon them. In passing we must reflect that 
 this reproach should not be made too severe when 
 we consider that the telling of a story is a national 
 characteristic, inbred and irradicable — though it 
 does often become a bore. Danhauser's pictures 
 
is6 XEbe art of tbe Vienna ©alleries 
 
 display a keen sense of observation, often with a 
 humourous touch. 
 
 Eduard Ritter von Steinle shows Italian training 
 in his "Holy Family" (No. 186a), which was un- 
 mistakably painted in the vein of Carlo Dolci; while 
 Karl Marko in his " Italian Landscape with Ruins " 
 (No. 192) and in "Christ silencing the Storm" 
 (No, 193) has the same Southern traits. The large 
 canvas by Eduard Ritter von Engerth, " Capture 
 of the Son of Manfred by the Soldiers of Charles 
 of Anjou" (No. 172), with its scenes of horror; 
 the one by Karl Rahl, " Reception of Manfred in 
 Luceria, in 1254" (No. 194); and the "Reichs- 
 tag at Warschau in 1773" (No. 176), are large 
 historical canvases of little artistic merit. 
 
 Still more works are found in Cabinet IX, 
 which are of greater interest for the study of history 
 than of art. They consist of forty- four sketches for 
 the fresco paintings in the Imperial Arsenal, repre- 
 senting the history of the Habsburgs. They are 
 painted by Karl Ritter von Blaas. Only one small 
 picture is worthy of special attention here. This 
 is a picture by Moriz Ritter von Schwind, one of 
 the greatest of the German artists of the middle of 
 the century. It represents " Emperor Max on the 
 Martinswand" (No. 364). On the right, at the 
 extreme edge of a steep cliff kneels the Emperor, 
 with hands folded as he receives the benediction 
 
Zbc •Kineteentb Centura ipafntfngs 157 
 
 from a priest who stands in the valley below and 
 elevates the Host. A multitude witnesses the solemn 
 ceremony. It is well painted, finely drawn, and the 
 colour is of a fine fluency through the magic mist 
 of atmosphere. 
 
 Schwind was the healthiest, most warm-hearted 
 of the idealists, who sought a substantial substratum 
 of real life in his poetic imagery. His influence was 
 all for good; but speedily overcome and diluted by 
 that strong current of anecdotal painting that swept 
 from Dusseldorf over all Germany, Uhland, Morike, 
 Auerbach, the great romancers, became the idols 
 and inspirers of the graphic arts. And only Munich, 
 although carried away by the popular clamour, ele- 
 vated the spirit of painting slightly by making its 
 anecdotes historical. 
 
 In Cabinet VIII we find Alexander Calame's 
 painting. It is a scene at the lake of Geneva, in 
 the usual style of this Swiss artist. The " Entry 
 of Duke Leopold in Vienna after his Crusade of 
 1219" (No. 277) is a slickly painted, historical 
 scene by Josef Ritter von Trenkwald. His " Study- 
 head of a Roman Lady" (No. 277a) is painted 
 with greater freedom. The " Fight of Tritons " 
 (No. 280), by Benes Kniipfer, a Bohemian artist, 
 is a fine performance. We find here further a full- 
 length, life-sized figure, a lady dressed in white and 
 yellow, playing a lute, in an evening landscape- 
 
is8 Ube Hrt of tbe IDfenna Galleries 
 
 setting (No. 286). This is a most characteristic 
 example from the Munich artist Fritz August von 
 Kaulbach, who succeeded Piloty as the Munich art 
 director when only thirty-seven years of age. 
 
 Dr. GurHtt, the old professor of art history in 
 Dresden, makes a characteristic criticism of Kaul- 
 bach's art, which describes its spirit to perfection. 
 Says he, " I should not like to have him paint a 
 woman I respect. His female portraits look at one 
 with too brilliant eyes, as if to say: Well, how do 
 I please you! They are all so savoury; we would 
 be tempted to pinch their cheeks. They have such 
 round busts and sprightly limbs that one's mouth 
 waters. Kaulbach is an excellent tailor who knows 
 how to lay around their slender and yet full bodies 
 so many decorating folds that all charms are inten- 
 sified. One does not see anything that would shock 
 propriety, but one sees everything which decorum 
 does not forbid. A bare arm is most charmingly 
 naked." Approval of this criticism is, of course, 
 optional. It remains to be said, however, that 
 Kaulbach has always been one of the most popular 
 portrait painters in Germany. 
 
 Cabinet VII contains a collection of pictures 
 by North Italian, especially Lombard painters, of 
 the first half of the 19th century which are scarcely 
 interesting. The only important piece, which some- 
 how is also hung in this Cabinet, is an early work 
 
Ubc mfneteentb Centuri? pafntinQS 159 
 
 of the Prague artist, Gabriel Max, entitled a 
 "Spring-tale" (No. 357). A young girl, dressed 
 in white and violet, is seated on a grassy slope, 
 musing over the story she has been reading. A 
 black cloak has fallen from her shoulders to the 
 ground. The painting shows a promise of talent 
 which later has been amply fulfilled. 
 
 Neither the many little heads of girls, for which 
 Gabriel Max is best known, nor his famous *' Lion's 
 Bride," give a correct impression of this artist's 
 calibre. He has painted many religious subjects, 
 which are especially impregnated with a certain 
 flavour of psychological searching, as if the artist 
 is interested in, if not a devotee of the hypnotic 
 cult. His Christs pose much like magnetic healers, 
 and the eyes of his Madonnas have a far-off, 
 somnambulistic look that would be readily diagnosed 
 as a symptom of hysteria. 
 
 Far different are the Biblical scenes by Fritz von 
 Uhde, by whom we see a small canvas, '' Christ the 
 Comforter" (No. 358), which hangs in the next 
 Gallery. His intense realism is bathed in a mystic 
 glow. 
 
 There is much more of interest to be seen in 
 this Gallery V. Prominent is the immense 
 canvas, entitled "Never Back" (No. 290), a stir- 
 ring scene from the first Austrian Polar Expedition 
 of 1872-1874, and painted by Julius Ritter von 
 
i6o xrbe Hrt of tbe Dtenna Galleries 
 
 Payer, the naval officer who commanded the ex- 
 pedition. 
 
 Franz von Defregger, one of the few German 
 artists who is well known outside his own country, 
 principally through the reproductions of his works, 
 has two of his familiar Tyrolean scenes (Nos. 293 
 and 294). 
 
 Defregger, now the acknowledged leader of the 
 Munich peasant-art, has himself been a Tyrolean 
 farmer, and did not know city life until, at the age 
 of twenty-six, he entered Piloty's studio. Since he 
 has devoted himself to depict the life of the hardy 
 mountaineers among whom he himself has his 
 home, he has become the most popular of German 
 peasant-painters. This is quite plausible because 
 the picturesque costumes of the Tyrol have not for 
 city people the grotesque appearance of those of 
 other districts. It reminds them of what they them- 
 selves in sport and mountain travel find most con- 
 venient. Added to this is the tale of the chronicler 
 which Defregger knows so well how to tell — so 
 beloved by the Germans — while the pleasing colour 
 scheme, not indeed as masterful as that of Ludwig 
 Knaus, is nevertheless harmonious and attractive. 
 
 Jakob Emil Schindler, a Viennese, trained at the 
 local Academy, shows great talent in two Dalmatian 
 landscapes (Nos. 296 and 297). This artist was too 
 modern for his time, and could scarcely subsist by 
 
XTbe IRineteentb CentutB paintinQS i6i 
 
 his brush work. He came too soon after Vienna 
 had been surfeited with monumental art to have 
 his pure, plein air landscapes appreciated. 
 
 Albert Zimmermann, a Dresden artist, who from 
 1860 to 1871 was professor at the Vienna Academy, 
 is impressive in a '^ Thunderstorm in the Moun- 
 tains " (No. 310) — it is honestly seen, and given 
 with dramatic accent. 
 
 Entirely modern is the powerful portrait of 
 Counsellor Rubenstein (No. 356), by Franz von 
 Lenbach, the most popular of German portrait 
 painters. Lenbach as a portrait painter varies 
 greatly. His portraits of young women and chil- 
 dren grew in his later years more and more alike 
 — always the same almond eyes, the same half- 
 dreamy expression, the same weak features. It 
 was as if he presented always the same type of 
 face. But in his male portraits, and even those 
 of elderly women, he was dififerent. There he 
 grips one with a personal and individual conception. 
 He does not alone draw out the best of character 
 that is in his sitters, but he infuses the document 
 he delivers with something of his own verve and 
 vitality. It may be said that if in one class of 
 his pictures he is as weak as .van Dyck, in the 
 other he is as strong as Frans Hals. No one who 
 remembers his matchless portraits of Bismarck or 
 of Moltke, or sees this one of Counsellor Rubin- 
 
i62 Zbc art ot tbe IDienna ©allertes 
 
 stein, but will respond to the fresh virility where- 
 with he signed every brushstroke as with his own 
 vivid personality. 
 
 The Constant Troyon hangs on the same wall, 
 and is one of his attractive barn-yard scenes with 
 poultry (No. 306). 
 
 On the sidewall hangs the immense canvas by 
 Wenzel von Brozik, entitled '' Tu felix Austria 
 nube " (No. 341), the historical representation of 
 the double betrothal of the two relatives of Em- 
 peror Maximilian I — of Maria of Austria with 
 Ludwig of Hungary, and of the Archduke Ferdi- 
 nand with Ludwig's sister, Anna of Hungary. The 
 ceremony took place in the old St. Stephan Church 
 of Vienna on the 22nd of July, 1515. The style 
 of Brozik's large historical canvases is so well 
 known that this formal presentation of historic art 
 needs no description. Gorgeous court-costumes and 
 a bewildering mass of important looking person- 
 ages, painted in striking colours — and we have 
 the pat description that would serve for every one 
 of such creations. 
 
 The most famous and best beloved of all Viennese 
 artists was Hans Makart, a man of magnificent 
 decorative talent, and a powerful draughtsman, 
 with a rich, colourful palette. But in all the prodi- 
 gal pomp of his processions, in which female nudity 
 always plays an often incongruous part, or in the 
 
Ube IWineteentb Century paintings 163 
 
 mythological scenes in which the painting of mor- 
 bidezza has a fitter setting, we cannot discover in 
 this artist's work the opulence of the talent of a 
 Rubens, nor the grandeur of a Titian. 
 
 Makart's '^Triumph of Ariadne" (No. 322) is 
 an immense canvas filled with a tumbling mass of 
 beautiful figures. A scene from " Romeo and 
 Juliet'' (No. 320) — the closing one of the IV 
 act, in which Juliet lies on a couch, believed to 
 be dead, and her parents burst forth in lamenta- 
 tion as Count Paris comes to conduct her to the 
 wedding — has an appropriate theatrical effect. A 
 magnificent decorative '* Bouquet of Flowers " 
 (No. 321) is the third example we find here of 
 Makart's brush. 
 
 A peculiarity of the way this artist used to work 
 is little known. Whereas painters, especially lit- 
 erary or anecdotal painters, generally have an 
 object in view, and have an idea of the subject 
 they wish to present or the story they want to 
 tell, Makart rarely knew what he wanted to paint, 
 but he allowed his fancy to run free and cover 
 his canvas with figures and colours with a won- 
 derful eye for harmony. As the old saying has 
 it, it might turn out a song or a sermon — only 
 we may be sure that his homilies were not oppres- 
 sive. Often his friends would tell him, when the 
 painting was well advanced, what the composition 
 
i64 XTbe Hrt ot tbe IDienna Galleries 
 
 seemed to indicate, and the artist generally would 
 carry out the suggestion by additional figures or 
 some slight changes in what had already been ac- 
 complished. Makart's artistic bent was by no means 
 literary, despite the literary character of most of 
 his work. He was rather an improvisator, but 
 with remarkable skill in technical executionr 
 
 The upper story of the Imperial Museum con- 
 tains — in twelve Cabinets which run the entire 
 length of the front of the building — a collection 
 of drawings and watercolours, almost exclusively 
 by Viennese artists of the 19th century. Since we 
 may not expect greater enthusiasm by viewing 
 these works than was occasioned by the contem- 
 plation of the oil-paintings of that period, below 
 stairs, it must suffice merely to call attention to 
 this display, which contains over six hundred 
 numbers. 
 
 The rooms in the rear of this second story are 
 utilised as copying galleries, and contain also a 
 number of paintings of minor importance and gen- 
 erally of unknown attribution. 
 
CHAPTER VII 
 
 THE GALLERY OF THE IMPERIAL ACADEMY OF 
 FINE ARTS 
 
 There is not a collection of paintings in the 
 world of equal importance which is as badly dis- 
 played as the collection of the Imperial Academy 
 of Fine Arts in Vienna. Here are one thousand 
 two hundred and fifty paintings, among which 
 are found some of the choicest works of the 
 most famous artists, crowded together in a few 
 rooms on the second floor of the north-west 
 wing of the magnificent building on the Schiller 
 Platz. 
 
 The sketch of the floor-plan will give some idea 
 of the manner of this display. The large Gallery 
 V is about one hundred feet long by twenty wide, 
 lit on one side by nine windows. A row of six- 
 teen screens reaching from floor to ceiling forms 
 seventeen alcoves and leaves one long wall. The 
 alcoves with the uneven numbers are favoured 
 with a window and are well lit, but one is not 
 
 I6S 
 
i66 
 
irmperial Hca&emi? of jFine arts 167 
 
 able to view the paintings there at the proper dis- 
 tance. In the even-numbered divisions the win- 
 dows have been boarded up, so that they are 
 nothing but dark cupboards; still every inch of 
 wall-space is covered, fortunately, however, with 
 unimportant works. In all the rooms the paintings 
 are hung from floor to ceiling, with the frames 
 touching each other, so that not an inch of space 
 may be lost. In Rooms I-IV and VI many fine 
 pictures are put in dark corners. Only in the nar- 
 row corridor, also divided by screens, which runs 
 along Room V, can we enjoy the fine paintings 
 displayed there. 
 
 I have already described in Chapter I the origin 
 and general characteristics of this collection. We 
 will now turn to view those paintings which stand 
 out prominently in this chaotic display. The ab- 
 sence of a catalogue — which for a number of 
 years has been out of print — need not trouble us, 
 since the paintings are readily identified, for they 
 are numbered and supplied with tablets giving title 
 and artist's name. The numbering is arbitrary on 
 the walls, as it indicates the order in which the 
 paintings were added to the collection, and the 
 hanging is also somewhat confusing; but I will 
 endeavour to aid as far as possible in finding the 
 pictures mentioned, and discuss them in a more 
 orderly manner than they are presented. 
 
i68 trbe Hrt ot tbe IDienna ©alleties 
 
 We will first view 
 
 THE ITALIAN PAINTINGS 
 
 The Venetians are here, as in the Imperial Mu- 
 seum, in largest numbers. A few important pic- 
 tures of the other Italian schools are, however, 
 likewise to be seen. 
 
 Although Dr. Suida grows enthusiastic over a 
 tondo in Room I, '' Madonna with Child and two 
 Angels'' (No. 1133), declaring this to be an 
 authentic work by Sandro Botticelli, I do not find 
 in this interesting painting anything more than that 
 it came from his studio. While it bears Sandro's 
 design, it lacks the sensuous charm of his ara- 
 besque curves, and the grace and movement of his 
 lovely lines. Nor is the colour as bright and har- 
 monious as we should find it in the work of this 
 greatest pre-Raphaelite. The composition, indeed, 
 is pleasing, naive and poetic, as may be expected 
 in Botticelli's smaller designs. The Child has 
 rushed to its mother with the flowers the Angels 
 have given it, but the mother draws him to her 
 with anxious forebodings, and the little one looks 
 questioningly in her face, surprised that its joy 
 is not shared. The angels, also, have lost their 
 gaiety and witness Mary's sadness with sympathy. 
 
 Another tondo, the " Madonna del Candelabro " 
 (No. 1134, near the middle window) has by many 
 
Ifmperial Hcaftemi? ot fine arts 169 
 
 been considered an early work of Michelangelo, 
 although Dr. Frimmel suspects it to be Marcello 
 Venusti, after comparing it with a signed painting 
 of this artist in the Leipzig Museum. Venusti was 
 noted for copying Michelangelo's larger paintings 
 to a reduced size, in which, as a skilful draughts- 
 man, he was very successful. Leaving the author- 
 ship aside we may regard this as a rich Florentine 
 painting of the 16th century, of delicate and neat 
 execution. The Madonna sits on a throne and 
 holds the Child on her knee, while the young John 
 sits on a low stool by her side. The figures have 
 a peculiar attenuated appearance with large heads. 
 A richly sculptured candelabra stands on the tessel- 
 ated floor near the Madonna's chair. 
 
 A good example of the Sienese school of the 
 14th century is an apocalyptic scene (No. 48, near 
 the first window), by Bartolo di Fredi, in which 
 the Elders adore the Lamb. It is strong in facial 
 character, but detail is somewhat carried to excess. 
 ' The Umbrians were the spiritual heirs of the 
 Sienese in the following century. A few pictures 
 represent them. There is a miniature of the Ma- 
 donna with Saints and Donors (No. 1095, near 
 the first window), which may well be from the 
 brush of Bernardino Pintoricchio. This artist, one 
 of the principal Umbrian painters, has until re- 
 cently been quite overlooked. Although the gor- 
 
lyo xrbe Hrt of tbe IDfenna Galleries 
 
 geous splendour of his fresco painting in the 
 Cathedral Library of Siena indicates the decadent 
 tendency of his later work, still the miniature be- 
 fore us shows the greater sincerity of his earlier 
 art. 
 
 An exceedingly rare work is a ^' Presentation in 
 the Temple'' (No. 493), by Galeazzo Campi. The 
 architectonic composition in which the three princi- 
 pal figures are placed around a sexagonal altar 
 under an arch is characteristic of the Cremonese. 
 A '* Sancta Conversazione Mariae " (No. 495), 
 with God, the Father, and St. Hieronymus in the 
 clouds, is by Lodovico Mazzolino, of Ferrara. It 
 is richly coloured, but somewhat gaudy, nor does 
 its minute finishing add to the merit of such large 
 paintings. 
 
 Turning to the numerous Venetian paintings we 
 note one of the earliest examples of the 14th cen- 
 tury, still showing the influence of the great Flor- 
 entine Giotto and his Byzantine traditions. This 
 is by Lorenzo Veneziano. The "Madonna" (No. 
 51), holding the Child, sits on a throne which is 
 richly carved and inlaid with ivory figures of saints. 
 Small angels, playing on musical instruments, sur- 
 round her, four of these seated on the ornate 
 throne-steps. The rich colour is enhanced by the 
 gold background and aureolas. The original carved 
 frame surrounding this picture is worthy of note. 
 
IFmpetial Hcabems of ifine Htts 171 
 
 A small altarpiece, in tempera, showing thirteen 
 Passion scenes (No. 22, on the left wall), dates 
 from the 15th century. Comparison with a paint- 
 ing in the Academia in Venice declares it to be 
 related to Michele di Matteo Lambertini, an artist 
 of whom little is known except that he worked in 
 the middle of the Quattrocento, A new colour- 
 element becomes apparent in this work of the tran- 
 sition period, and a seeking for light-effect, notably 
 in the light horizons of the scenes presenting the 
 Descent from the Cross, and the Ascension. The 
 gradually developing sense for landscape, still crude 
 and unrealistic, is felt in the scene of Christ on 
 the Mount of OHves. 
 
 Alvise Vivarini came a little later, when the 
 Bellinis had made the Venetian school prominent. 
 A full-length figure of a nun (No. 24, left wall), 
 whose martyrdom is indicated by the palm branch 
 which she holds in her right hand, is apparently 
 the pendant of the St. Clare of the Venice Acad- 
 emy. The long robe shows dexterity in painting 
 the folds, but the hands are poorly done. Many 
 of Alvise's best paintings go by the name of An- 
 tonello da Messina or of Giovanni Bellini. 
 
 A little picture, showing " Christ on the Mount 
 of Olives" (No. 76, centre window), is by his 
 contemporary Carlo Crivelli. This artist was a 
 reactionary, harking back to the pre-Giottesque 
 
172 TLbc Htt Of tbe IDfenna ©allerfes 
 
 period of Cimabue. Crivelli was consciously and 
 wilfully archaic, both in drawing and technique. 
 When all painters were trying oil, he clung with 
 desperate fondness to tempera, and enriched his 
 surfaces with gold and jewels, as had been the 
 byzantine practice. In his drawing he reverted to 
 a rigid position of his Madonnas, with faces pale 
 and corpselike, their emaciated arms bare to the 
 elbows, and small and withered hands stretching 
 out from their sleeves. His figures are ill-favoured 
 beings, lean and ugly, in which melancholy repose 
 is less habitual than grimace; yet he surprises us 
 by the life he concentrates into their action and 
 expression. 
 
 There is no artist of more striking individuality 
 than Crivelli; no one who had more complete mas- 
 tery over his means of expression, or attained more 
 nearly to his ideal. A refined fanaticism charac- 
 terises his work generally, but it is always not only 
 refined but coherent. Gradually he showed a 
 marked tendency to indulge in splendour and elab- 
 oration, and his pictures in this sense become more 
 and more purely decorative. Then every square 
 inch of his panel attests the inexhaustible richness 
 of his invention and the gorgeous brilliancy of his 
 enamellike surfaces. 
 
 But the mosaic sparkle of his glittering splen- 
 dour is sadly dimmed in the little panel before us, 
 
irmpedal acaoemp of fine Htts 173 
 
 and scarcely to be noted, for it has been very badly 
 preserved. 
 
 One of the finest works of a second-rate master 
 is ''St. Veneranda Enthroned" (No. S3, rear 
 wall). This is by Lazaro Sebastiani, an artist who 
 apparently received his training from Gentile 
 Bellini and Carpaccio, yet followed more closely 
 the lead of Quirizio da Murano with his stifif lines 
 and homely features. The painting before us is 
 of very large size, and in the centre the saint sits 
 on a high ornate throne like a goddess of Justice, 
 holding an open folio facing us. Saintly women 
 and little angels are disposed on each side of the 
 throne, which is represented as standing in a part 
 of the Corpus Domini Church of Venice. 
 
 A "Christ bearing the Cross'' (No. 509), in 
 half-figure, is by Giovanni Pedrini, a pupil and 
 imitator of Leonardo da Vinci, whose style he 
 exaggerated. 
 
 The principal painting in Room II is one of the 
 choicest of the collection. It is a work by Fran- 
 cesco Francia (No. 505, right wall), of whom we 
 have already seen a fine example in the Imperial 
 Museum. The Madonna, holding the Child stand- 
 ing on her knee, sits on a throne. A baldacchino, 
 gracefully draped, serves as a background for the 
 figure, while the sainted bishop Petronius on one 
 side, and St. Luke with the open gospel on the 
 
174 XTbe art of tbe Dfenna ©alleries 
 
 other, flank the throne. The painting is brilHant 
 with a rich and glowing colour scheme. The 
 figures of the saints are vigorous and manly, their 
 robes flowing in heavy, but easy folds to their 
 feet. They are typical of the grave and deeply 
 religious spirit with which the great Bolognese 
 stamped his work. 
 
 Francia's influence did not extend far beyond 
 his immediate surroundings. He occupied a place 
 apart towards the close of the Renaissance as a 
 great master whose religious feeling did never rise, 
 indeed, to the perfervid ecstasy of Fra Angelico, 
 but was deep, warm-hearted and sympathetic. His 
 meticulous finish, gracious angelfaces, and quiet- 
 istic feeling rendered him very popular in his day. 
 
 Most of the other works in this Room are copies; 
 some, after Bramantino of Milan, Girolamo Mu- 
 ziano, and Torbido Varotari, are interesting. 
 
 Two works by Vittore Carpaccio greet us on 
 entering Room IH. They hang near the window 
 in a good light. The one represents an " Annun- 
 ciation '' (No. 43), the other "The Death of 
 Mary" (No. 49). Beauty of colour and purity 
 of form are combined with wonderful originality 
 of composition in the work of this very personal 
 genius. His imagination was full of subtle inven- 
 tions and happy surprises which set him apart and 
 in a class by himself among the Venetians of his 
 
irmpetial HcaJ)emB of ifine Hrts 17s 
 
 period. The '' Annunciation " especially is a beau- 
 tiful work, divided in half by one of the two fine 
 columns that enclose Mary's dormitory. The other 
 half of the painting shows a formal Italian garden 
 in which the long-winged angel is approaching. A 
 vignette of God the Father is in the upper left 
 corner. It is a triumph of colour and of pictorial 
 quality. The Apostles, three kneeling priests, and 
 a choir of angels surround the bier of Mary on 
 the other canvas. Although not so well preserved, 
 it yet reveals the sunny glow of its colours. 
 
 A large *^ Crucifixion '' (No. 90), with many 
 figures and hilly landscape background, covers the 
 rear- wall of this room. It is ascribed to Donato 
 Veneziano. Of the two artists known by this 
 name one was active about 1450, the other one 
 does not appear until after 1500. The latter is 
 most likely the author of this work, which is only 
 interesting because of the historical details of cos- 
 tume to be gathered from it. Otherwise it has 
 little of artistic value. 
 
 A Lombard painter of the 16th century shows 
 ''Christ bearing the Cross'' (No. 46). It is an 
 impressive single figure, dressed in a light blue 
 robe, bent under the penal burden. 
 
 In Room IV we find several interesting works. 
 A large painting shows the " Martyrdom of St. 
 Marc" (No. 87). This was ordered in 1514 for 
 
176 Ubc Hrt ot tbe IDienna ©alleries 
 
 the Scuola di San Marco from the elder Bellini, 
 who made the design but had to leave the paint- 
 ing unfinished at his death, two years later. It 
 was completed by Vittore Belliniano, whose hand 
 is readily detected in the colder colour and in the 
 aggressiveness of the donors' portraits. The land- 
 scape, the finely conceived buildings on the left, 
 and the gold-brown tones of the colours running 
 towards the background indicate conclusively the 
 work of the greater master. 
 
 In the centre of the principal wall is a painting 
 (No. 466) that may well be ascribed to Titian, 
 although some have questioned its authenticity. 
 This "Cupid'' (Plate XXII) is seated on a stone 
 wall, stretching his bow. A large, brightly-lit cloud 
 crowns the background. This work must come 
 from Titian's early Giorgionesque period, for the 
 same landscape and house-group appear in his 
 " Noli me tangere " of the National Gallery, and 
 in Giorgione's ** Sleeping Venus " of Dresden. 
 
 A contemporary of Titian was Cima de Cone- 
 gliano, by whom we find here the middle part of 
 a large lunette (No. 14), which he painted for 
 the Doge's Palace of Venice. We see St. Marc, 
 seated on a throne, flanked by St. Andrew and by 
 Bishop Louis of Toulouse. The two ends of this 
 lunette were cut off the original canvas and are 
 now preserved in the Academy of Venice. These 
 
» 5 • O 
 
 TITIAN 
 
 CUPID 
 
 Plate XXII 
 
 Imperial 
 
 Academy 
 
 of Fine Arts 
 
irmpetial Hca&emi? of fine Hrts 177 
 
 show the full-length figures of Temperance and of 
 Justice. The Friulian landscape which Cima gen- 
 erally introduced is enlivened here by numerous 
 birds, pheasants and parrots, and is clear and bril- 
 liant in colour. Cima shows an advance over 
 Bellini's art, for his composition is better, his 
 drawing more correct, the expression of the faces 
 more grave, and his colouring by no means inferior. 
 
 Of a number of portraits which bear the name 
 of Jacopo Tintoretto but few may be considered 
 authentic. The best one is the '* Portrait of the 
 Procurator Contarini '' (No. 13). The full-bearded 
 face is splendidly painted, and has that air of good 
 breeding which Jacopo was able to infuse, as much 
 as Titian did, into his likenesses. 
 
 A notable work is a fresco painting, transferred 
 to canvas, of a scene in old Venice (No. 1126). A 
 group of three young men is seen standing under 
 the arches of the Doge's Palace. One points to a fu- 
 neral procession of gondolas, illuminated by torches, 
 which is passing along the Grand Canal. S. Giorgio 
 Maggiore is to the left in the background, the palace 
 of the Giudecca to the right. In the beauty of 
 the background, in the charm of the lines and the 
 colouring, there is enough to make us think of 
 the art of Giorgione, a man whose short life was 
 filled with the full spirit of the Renaissance. 
 
 Dating from the Italian student days of Domen- 
 
178 XTbe Htt of tbe IDienna Oallertes 
 
 ico Theotocopuli, el Greco, is an " Annunciation " 
 (No. 471), which was undoubtedly inspired by the 
 magnificent painting of this subject by Tintoretto, 
 now in the Berlin Museum. Little of el Greco's 
 mannerism of figure-elongation is here apparent. 
 
 A ''Resting Venus" (No. 472), by Alessandro 
 Varotari, called Padovanino, if compared with the 
 treatment of this subject by Giorgione and Titian, 
 shows the decay of Venetian art in the 17th cen- 
 tury. Men like Padovanino, Liberi, and Pietro 
 della Vecchia, devoid of original conceptions, fell 
 back on painting variations of the work of the 
 greater masters which had proved most popular. 
 Sometimes even they shamelessly manufactured for 
 distant markets paintings that were intended to 
 pass as the works of Titian, Veronese, and Gior- 
 gione. 
 
 The first two divisions of the long Gallery V 
 contain a few of the later Italians, and many copies. 
 
 The "Ascension of Mary" (No. 456) is by an 
 imitator of Guido Reni, and identical to this mas- 
 ter's altarpiece in the S. Ambrogio at Genoa. 
 A ''Mater Dolorosa" (No. 26) is undoubtedly by 
 Sassoferrato. It is an imitation of Raphael's Flor- 
 entine manner, whereof the sentimentality and 
 silvery tone stiir possess a certain charm. 
 
 In the second division we note several Venetian 
 scenes by Francesco Guardi; and a sketch of the 
 
MURILLO 
 
 DICE -PLAYING BOYS 
 
 Plate XXIII 
 
 Imperial 
 
 Academy 
 
 of Fine Arts 
 
irmperial HcaOemp of jfine Hrts 179 
 
 "Allegory of Dawn" (No. 484), by Tiepolo, who 
 still retained the quality of force which his con- 
 temporaries were losing. The half-figure of St. 
 Bruno (No. 517) shows also that he was by no 
 means deficient as a delineator of character. 
 
 THB SPANISH PAINTINGS 
 
 are found in the third compartment of the long 
 Gallery. Among a number of copies we note at 
 once one of the finest examples of Bartolome 
 Esteban Murillo. It is one of his celebrated beggar- 
 boys pictures, upon which so large a portion of 
 his fame rests, although not one example of these 
 is to be found in any public gallery in Spain. These 
 " Dice-playing Boys " (No. 515. Plate XXIII) are, 
 if anything, more attractive than his famous 
 " Melon-eaters '' of the Munich Pinakothek. 
 
 Few men have so well understood the art of 
 pictorial composition, or known so well how to 
 charm the eye by gradations of light, skilful but 
 unstudied attitudes, and adroit foreshortenings. 
 And never did he paint as lovingly, with such pecu- 
 liar delight, as when he depicted the jocund poverty 
 of Andalusian gamins. This is a picture which 
 fully illustrates the gift for colour wherewith nature 
 had endowed the master. It is unctuous, warm 
 and charming, for the nonce consistently har- 
 monious in its colouring, — for sometimes Murillo 
 
i8o ttbe Hrt of tbe IDienna ©allerles 
 
 failed in this, — here he is exquisitely inspired. 
 Only by placing this work alongside of a Velasquez, 
 with his aristocratic, masterful palette, does it 
 become merely pretty. By itself it has all the 
 pungency of local colour, a lifelike and picturesque 
 humanity. 
 
 The successor of Velasquez in court- favour, 
 Carreno de Miranda, is represented by a large com- 
 position (No. 511), a sketch for the ** Founding 
 of the Order of Trinitarians," which he painted 
 later as an altarpiece in the church of Pamplona. 
 It is broadly handled, and the light-efifects are well 
 indicated. 
 
 A " Christ among the Doctors '' (No. 512) is of 
 artistic value, but nothing is known of its reputed 
 author Mathias de Torres. It is an unusual pre- 
 sentment of the youthful Messiah discoursing ex 
 cathedra with heavily-shawled rabbis occupying the 
 pupil-benches. Also an " Ecce Homo" (No. 
 1082), by an unknown Spaniard, deserves recogni- 
 tion. There is here also an excellent copy, proba- 
 bly contemporaneous, of a portrait of Philip IV 
 on horseback, of Velasquez (No. 513). Another 
 portrait, that of a Lady (No. 514), was for a 
 time thought to be by Velasquez himself, but is 
 now considered to be in the style of Cornelis de 
 Vos, to whom is also ascribed the portrait of a 
 boy (No. 661, on the long wall). Both are de- 
 
HANS 
 BALDUNG 
 GRIEN 
 
 REST ON THE FLIGHT TO EGYPT 
 Plate XXIV 
 
 Imperial 
 
 Academy 
 
 of Fine Arts 
 
irmperial acabemp ot jfine Hrts iSi 
 
 cidedly Flemish and do not belong to this sec- 
 tion. 
 
 We will now leave this Gallery for the present 
 and enter the long Corridor, where we find first 
 
 THE EARLY GERMAN PAINTINGS. 
 
 In the first compartment we find a " Lamenta- 
 tion of Christ'' (No. 35), which bears the name 
 of Albrecht Diirer, on the suggestion of Waagen. 
 Although the technique points to the great Nurem- 
 berg master, there is much more that points to 
 an author of less dramatic force. The relative 
 sizes of the figures, irrationally diminishing, indi- 
 cate a crude and unsuccessful attempt at linear 
 perspective in which Diirer would never have failed. 
 The earlier ascription to Lucas Cranach is more 
 probably correct. 
 
 A landscape with the Holy Family (No. 564) 
 is by the monogrammist H.P., and is a naive 
 presentation of the first steps the child Jesus is 
 taking, guided by Joseph. 
 
 Of great interest is an early example of Hans 
 Baldung Grien, a " Rest on the Flight to Egypt " 
 (No. 545, Plate XXIV). A replica of this pic- 
 ture, with but slight variations in the landscape 
 and the omission of the putto in the lower left 
 corner, is found in the Germanic Museum of Nu- 
 remberg. The Madonna is resting at the foot of 
 
i82 Ube Hrt of tbe IDienna Galleries 
 
 a heavy, moss-laden tree. The Child embraces her 
 caressingly. A putto has gathered a basket of 
 strawberries, and is now getting water from the 
 spring, while Joseph is studying a map for his 
 travels to the unknown land — a queer anachro- 
 nism. 
 
 The Strassburger Baldung came nearest to Diirer 
 among all his contemporaries in energetic drawing, 
 even surpassing him in movement and picturesque 
 ornament. Not a single old man's head by Diirer 
 — even of his famous Apostles in the Uffizi — 
 surpasses the force and characterisation of Joseph's 
 portrait in the picture before us. 
 
 The examples found here of Lucas Cranach, the 
 Elder, complement the study of his works in the 
 Imperial Museum. We find here a fine nude figure, 
 signed and dated 1532, named " Lucretia " (No. 
 557), in the style of his *' Venus " of the same 
 year which is now in Frankfort. How little his 
 style, which underwent a marked transition in 
 larger compositions, changed in these subjects may 
 be seen by comparing this Lucretia with Cranach's 
 *' Venus and Cupid " of the Hermitage, which was 
 painted in 1509. An earlier work is one of his 
 rare presentations from the antique, the " Struggle 
 of Hercules with Antaeus" (No. 1148), a subject 
 which he had often seen portrayed in upper-Italian 
 etchings. The amorous conflict between an elderly 
 
irmperial acaOem^ of fine Utts 183 
 
 lover and a coy maiden who abstracts money from 
 his pouch (No. 559), is a variation of the same 
 subject, from Cranach's own hand, which we saw 
 in the Imperial Museum. The painting here is 
 probably a studio repetition. Several other school 
 pictures (Nos. 576, 595, 542, 544) further exem- 
 plify Cranach's style. 
 
 There is a highly coloured and richly composed 
 ''Memento Mori" (No. 572) by the monogram- 
 mist H.F., most likely the Basel painter Hans 
 Fries, who worked under Holbein's influence. 
 Behind a man of middle age the skeleton Death 
 appears with his hour-glass to admonish the end 
 of all things. Although there is much resemblance 
 in technical execution between this picture and a 
 "Death of Mary" (No. 573), it seems that the 
 latter belongs rather to the Altdorfer school. 
 
 A "Last Judgment" (No. 554), is by Johann 
 Rottenhammer, or else a contemporaneous copy; 
 and a " Rest on the Flight to Egypt " (No. 253) is 
 by another late 16th century artist, Bartholomaeus 
 Spranger. A finely pencilled " Venus in a wooded 
 Landscape" (No. 726) is easily recognised as by 
 Adam Elsheimer. 
 
 THE DUTCH AND FLEMISH PAINTINGS 
 
 are all found in this Corridor, and we must return 
 to its first compartment to view a notable work 
 
i84 Zbc art of tbe IDienna ©alleries 
 
 by Lukas van Leyden. This is called " The Sibyl 
 of Tibur and the Emperor Augustus" (No. 568. 
 Plate XXV). 
 
 Very few of the easel-pictures of Lukas van 
 Leyden are known to exist, Holland possessing only 
 one altarpiece, a " Last Judgment/' now in the 
 Lakenhal of Leyden. Our picture here is in tem- 
 pera and transferred to canvas, the colours having 
 darkened considerably. It represents the legend 
 that years before the birth of Christ the Tibur- 
 tinian Sibyl showed to the Emperor Augustus the 
 image of the Madonna holding the Babe. This 
 painting furnishes an interesting instance of the 
 results of critical study. The Madonna vignette 
 which appears at the top is a veritable copy of 
 Diirer's woodcut which appeared in 1508, so that 
 the painting must have been made after that date. 
 But we note further the tendency to figure-elonga- 
 tion which appears in the engravings which we have 
 of Lukas van Leyden, but which disappears in his 
 later paintings. It is plausible therefore to place 
 this work in the early years of this very precocious 
 artist, or about 1510 or 1512. 
 
 Nearby hangs a *^ Holy Family'' (No. 556), 
 attributed to the Master of the Death of Mary, 
 or Joost van Cleve, to give him the name found 
 for him. 
 
 On the long wall we find a genuine example of 
 
# li^ 
 
 
 
 ^»»: :■ J^ ^v t^^^^ m^. A 
 
 
 
 /^ 
 
 y ' ^7 ^^y ^^*^Q$^ 
 
 THE 
 
 SIBYL 
 
 OF 
 
 TIBUR 
 
 AND 
 
 THE 
 
 EMPEROR 
 
 AUGUSTUS 
 
 LUKAS 
 
 
 
 
 
 
 
 Imperial 
 
 VAN 
 LEY DEN 
 
 
 
 
 Plate 
 
 XXV 
 
 
 Academy 
 of Fine Arts 
 
irmperial Hca5emi? of ifine Hrts 185 
 
 the elusive Hendrik met de Bles. This " Rocky 
 Landscape'' (No. 548), with scenes from the 
 Passion in small figures, is signed with the little 
 owl, which gave the artist his Italian name of 
 Civeta. An old copy of Hendrik's work hangs in 
 the third compartment (No. 551). The copyist 
 was well able to follow his exemplar in the small 
 figures and animals of these scenes from the life 
 of Christ and of John the Baptist, but he could 
 not reach him in the landscape part, which is flaccid 
 and weak. 
 
 The fourth compartment contains much of in- 
 terest. The only work in Vienna of the rare Dirk 
 Bouts of Haarlem, who went to Lou vain to study 
 with Rogier van der Weyden, is found here. It 
 is a ''Coronation of Mary" (No. 558), a magni- 
 ficent work which formerly was thought worthy 
 to be ascribed to Memlinc, but was rightly assigned 
 by Waagen. The Munich examples of this master 
 deal more with the solution of light-problems in 
 landscape, but here we find an equally masterful 
 rendition of interior light. The architectonic 
 canopy, under which the persons of the Trinity 
 place the crown upon the head of the kneeling 
 Madonna, fills almost the entire panel. Still there 
 IS room for the skilfully grouped choir of singing 
 angels on each side. The light, which apparently 
 comes from the front as well as through the cathe- 
 
i86 TLbc art of tbe Dienna Galleries 
 
 dral windows in the background, enriches the soft 
 harmony of the colours. 
 
 The "Three Crosses" (No. 552), on which a 
 forged monogram of Diirer is found, is by a weak 
 follower of Memlinc. Among the many figures 
 we find the Magdalene, dressed in white, most im- 
 pressive. Another ''Crucifixion" (No. 555) can- 
 not, although the tablet so ascribes it, be given to 
 an old-Flemish master — it bears more the impress 
 of German workmanship under North-Netherland 
 influences. The coats of arms, moreover, displayed 
 in the foreground, point to Silesia and Bavaria. 
 Frimmel suggests a new name among the large 
 number of anonimi for the unknown painter of 
 this picture. He would call him the Master of 
 the Big Nose, and claims to have found a related 
 work in the Gallery of Modena, the figures of 
 which have also long noses. The same critic 
 ascribes a very fine, small altarpiece (No. 567 and 
 570) to Cornelis Engelbrechtsen, the teacher of 
 Lukas van Ley den — a rare find, if true, for only 
 two of his works are known to exist in Holland. 
 
 A large triptych (Nos. 579-581) is by Hierony- 
 mus or Jeroen Bosch, the fantastic painter of queer 
 creatures and monstrosities, who satirised human 
 frailties by picturing the analogous torments to be 
 expected hereafter. The middle panel shows the 
 Last Judgment, the left wing Paradise and the Fall 
 
PIETER 
 
 DE 
 
 HOOCH 
 
 FAMILY GROUP 
 Plate XXVI 
 
 Imperial 
 
 Academy 
 
 of Fine Arts 
 
fmperfal Hca5ems of ifine Hrts 187 
 
 of man, the right wing Purgatory and Hell. It 
 is a characteristic work which plainly shows the 
 fount where from the later Flemings, Pieter 
 Breughel and the younger Teniers, and also Diirer 
 and Cranach drew their inspiration. 
 
 Quite a chronological jump is made when we 
 find hanging in this same partition a masterpiece 
 by the 17th century Pieter de Hooch. This *' Fam- 
 ily Group" (No. 715. Plate XXVI) gives a 
 graphic description of the social life of the Dutch 
 patricians of the 17th century. The scene is the 
 back yard of the home of the old gentleman who 
 sits at the teatable. Visitors approach, and one 
 has departed through the open door in the fence 
 which separates the rear yards of the abutting 
 houses. The entire scene is bathed in sunlight, and 
 the view is enlarged by the magnificent aerial per- 
 spectif. The different planes melt into one another 
 by imperceptible gradations. It is a simple scene 
 which becomes wonderfully animated by the vital 
 transcription of nature. 
 
 In the next compartment we find a magnificent 
 "Portrait of a Young Woman" (No. 611), by 
 Rembrandt, which is dated 1632, the year of the 
 famous Anatomy Lesson, when the artist was but 
 twenty-six. The young girl is seated in an arm- 
 chair, in an easy attitude as if ready for conversa- 
 tion without any idea of pose. The simplicity of 
 
i88 Uhc Hrt ot tbe Dienna Galletles 
 
 her plain black dress is only relieved by the lace 
 manchettes at the wrists, the stiff pleated tulle ruff 
 which circles the neck, and the dainty lace cap 
 that fits snugly over the flat-combed hair. The 
 figure is well defined against the dark background. 
 The face is entirely in light, lifelike and fresh in 
 colour. The whole portrait is finished with ex- 
 treme care, as was then the master's way, yet it 
 does not lack freedom in the treatment, for the 
 utmost vitality animates even now this young girl 
 of Amsterdam of three centuries ago. 
 
 A direct pupil of Rembrandt was Gabriel Metsu. 
 He was of an impressionable character, and in his 
 short life of seven and thirty years he painted in 
 the style of each one of his teachers, Dou, Jan 
 Steen, and Rembrandt. The last one had naturally 
 most influence on his work. The " Amorous 
 Pleading'' (No. 658) is an unusually large com- 
 position for this one of the Little Masters — so 
 called because of the usually small size of the pic- 
 tures these Great Masters painted. It is entirely 
 in that later broad style of Rembrandt which finds 
 its clearest echo in the work of Govert Flinck and 
 van den Eeckhout. 
 
 One of the last disciples of Rembrandt was 
 Aert van Gelder, an artist who was too eccentric 
 to attain to eminence, and whose work is at its 
 best when he follows his master's example with 
 
XflRK 
 HALS 
 
 CELLO PLAYER 
 Plate XXVII 
 
 Imperial 
 
 Academy 
 
 of Fine Arts 
 
IFmperial Hcabem^ of if ine Hrts 189 
 
 reserve. We find here a '^ Judah and Thamar " 
 (No. 817) in worthy imitation of Rembrandt's 
 later bibHcal compositions. 
 
 One of the earHest pupils in the studio on the 
 Jewish Breestraat in Amsterdam had been Nicolaas 
 Maes — perhaps the most gifted of them all, who 
 has painted works that rival in true artistic merit 
 the work of Rembrandt and Hals, as may be seen 
 especially in the Ryksmuseum of Amsterdam. But 
 in his later years he succumbed to the demands of 
 the Frenchified taste of his countrymen, and he 
 painted a number of children's portraits, as well as 
 adults for the patrician families of his time in a 
 style that may be called pleasing, but certainly was 
 meretricious. An example of this later period we 
 find here in the "Portrait of a Boy" (No. 670), 
 dressed in a fancy costume, with a number of 
 bright plumes on his hat. 
 
 Of greater artistic merit, and of rare excellence 
 withal, is the "Cello Player" (No. 734. Plate 
 XXVII), by Dirk Hals, the elder brother of Frans. 
 He was among the first to devote himself to genre 
 painting, which he executed with unconventional 
 unction. His light brush, his brilHant colour, laid 
 on thinly over a greyish ground and sharply accen- 
 tuated, suited the themes and the small scale of 
 his pictures, which are quite rare. An example of 
 his social groups is also found here (No. 684), 
 
igo ICbe Hrt of tbe IDienna ©allertes 
 
 which shows dexterous grouping and excellent 
 painting of textures. 
 
 Pieter Codde painted like subjects, but he was 
 more stiff in posing and arrangement, although his 
 assemblies excel in fine colour and careful minute- 
 ness, as may be seen in the "Dance Party'' (No. 
 1096), in the sixth compartment. A "Duet" 
 (No. 696) of two musicians is possibly from 
 Codde's hand, although the name of Jacob Duck 
 has also been mentioned. Of this artist we find 
 here an undoubted example in a " Sleeping Maiden, 
 surprised by a Cavaher " (No. 713). 
 
 Somehow several pictures by the great Fleming, 
 David Teniers the Younger, are found here among 
 the Dutchmen. One, a small bust-piece of a 
 "Young Man'' (No. 690), is only problematically 
 ascribed to him, but No. 865 is undoubtedly 
 genuine, and leads us to a witches' dance on a 
 Walpurgis night. It would be difficult to match 
 the mad conceits and wild orgies of the kobolds 
 and goblins in this picture. One may hear the 
 noise of singing, screaming, screeching and croak- 
 ing in the delirious gambol. The artist also de- 
 picted the "Five Senses" (No. 821-825) in the 
 form of peasants — quite an antithesis to Makart's 
 ravishing divinities representing the Senses which 
 we shall see in the Lower Belvedere. 
 
 Immediate pupils of Frans Hals were the two 
 
irmpertal Hca5emi? of jfine Hrts 191 
 
 Adriaens, Brouwer and van Ostade. Adriaen 
 Brouwer, by birth a Fleming, but trained in Haar- 
 lem, showed more grossness in his peasant scenes 
 than van Ostade whose humour was keener and, 
 as far as the subject allowed, more refined. A 
 rare "Dune Landscape" (No. 705) is by Brou- 
 wer's own hand, while No. 888 is a copy of a 
 peasant scene in a tavern, the original of which 
 is in Budapest. By Adriaen van Ostade we find 
 a "Comic Reader" (No. 732), and in the next, 
 the seventh compartment, " Two Peasants in the 
 Tavern" (No. 724). These pictures are spark- 
 ling with good-humour, less boisterous than Brou- 
 wer's peasants, and distinctly amusing. 
 
 Pieter de Bloot, of whom little is known, painted 
 droll scenes in like vein — see his " Landscape " 
 (No. 830) with many small figures. A "Drunken 
 Frolic of two Peasants" (No. 721) is by Corne- 
 lls Pietersz. Bega, one of van Ostade's pupils. Also 
 Cornells Dusart, coming from the same studio, kept 
 himself to the tavern for his models, but still de- 
 picted the plain people with homely beauty and 
 charm. An excellent example is No. 698, of a 
 peasant and his wife. Richard Brakenburgh is as 
 lively as the rest, but he lacks definite colour-sense 
 — see No. 725. 
 
 There is still found in this sixth partition a mas- 
 terpiece of the London-born Pieter Molyn, who 
 
192 Zbc Hrt of tbe IDienna (Balleries 
 
 became a member of the Guild of Haarlem in 1616. 
 This ''Scene before an Inn" (No. 730) is dis- 
 tinguished by suppleness of handling, broad and 
 striking treatment, and truthful conception. 
 
 We find several excellent examples in the seventh 
 compartment by the Dutch portrait painters, al- 
 though the best of these we shall see later in Gal- 
 lery V. One of the first who specialised in paint- 
 ing portraits was Antonis Mor. He was early im- 
 pressed by Titian, but developed an original style 
 which excels in warm colour and roundness of 
 form, more indicated by the management of the 
 colour than by the sharpness of line. His " Por- 
 trait of a Young Man " (No. 1127) is a character- 
 istic example. 
 
 Pupils of Rembrandt were Fabricius and Bol. 
 Parent Fabricius has here one of his finest works, 
 a well-dressed young man, carrying a shepherd's 
 staff (No. 639). The face is exceedingly well 
 blocked in, strong and characterful, while the light- 
 efifect is luminous. Ferdinand Bol was far less 
 talented. His early work bears unmistakably the 
 stamp of his master, but in later years he became 
 very uncertain and lost the power of chiaroscuro, 
 his pictures merely having a yellow tone. The 
 "Man with a grey Beard" (No. 610) is of this 
 later period. One of the last men of the golden 
 age of Dutch art, and one of the weakest, was 
 
Ilmperial Hcabemi? ot ifine Hrts 193 
 
 Willem van Mieris. His " Portrait of a fat Gen- 
 tleman '' (No. 1083), a bust, is but an indifferent 
 performance. 
 
 We find here also the work of the men who 
 combined landscape with figures. One of the 
 earliest was Cornelis van Poelenburgh, who painted 
 in Elsheimer's manner. The example here (No. 
 666) represents a group of mythological divinities, 
 Venus, Bacchus, Ceres, and two cupids, holding 
 a conversazione in the clouds. 
 
 More national in feeling was Philip Wouwerman 
 — here with two fine examples, a ''Camp scene'' 
 (No. 691) and a "Cavalry Battle" (No. 835), 
 the latter an unusually large composition. The 
 landscape portion, with foliage verdant and clear, 
 is an important part, and does credit to the in- 
 struction Wouwerman received from the early 
 landscape painter Jan Wynants. But horses were 
 Philip's favourite study, and their form and action 
 is impeccably shown in his work. An exceedingly 
 rare cattlepiece by Philip's younger brother, Pieter 
 Wouwerman, of w^hom little is known, hangs 
 near. 
 
 The group of Italianised Dutch landscape paint- 
 ers is represented by Pieter van Laer, called Bam- 
 boccio, by whom we have a scene of Roman country 
 life (No. 790), and an "Italian Landscape" (No. 
 834), with numerous figures. Also a peculiar mi:?^- 
 
194 XTbe Hrt ot tbe IDtenna ©alleries 
 
 ture of Dutch and Italian manner is offered by 
 Johannes Lingelbach, showing a public square in 
 Rome (No. 803). Jan Both, despite his ItaHan 
 leaning, still retained some of his racial character- 
 istics, as we detect in a "Landscape" (No. 593), 
 where the warm southern sunlight suffuses the 
 scene in a Dutch, i. e., an atmospheric manner, and 
 not in the bald, hot tint of the thorough-paced 
 Italians. 
 
 The ninth compartment contains six examples by 
 Nicolas Berchem, all painted in the artist's Italian 
 manner. Although a pupil of van Goyen, Berchem 
 never quite overcame the impressions gained by a 
 later sojourn in Italy, so that his landscapes are 
 always mountainous and dotted with ruins, while 
 his peasants or beggars hail from the Roman Cam- 
 pagna. Still he gives these scenes a northern sem- 
 blance by luminous atmospheric effects. Similar 
 scenes were painted by Jan, called Krabbetje 
 Asselyn, better known as a painter of fowls, but 
 who shows great strength, and nowhere more so, 
 in the landscape we find here. The small " Cava- 
 lier" (No. 709) was painted by the precocious 
 youth when only fourteen years old. A " Land- 
 scape " (No. 836), with the seashore in the dis- 
 tance, and an *' Italian landscape" (No. 869) are 
 of his later years. These are colourful and of 
 poetic feeling. Several animal paintings by Karel 
 
irmperial Hca^ems ot 3fine Hrts 195 
 
 du Jardin are in this and in the next, the tenth, 
 compartment. 
 
 Better cattle painting is found, in the eleventh 
 division, in the ''Market'' (No. 874), by Adriaen 
 van de Velde, an artist who was equally proficient 
 in painting landscapes, coastviews, domestic ani- 
 mals, and human figures. His sense of tone and 
 colour is to be admired, as well as his delicacy of 
 form and outline. He shows a wonderful sub- 
 tlety in the gradations of almost neutral hues. 
 
 But the great landscape painters greet us now. 
 We find here two examples, and in the twelfth 
 division two more, of the foremost Dutch land- 
 scapist, Jacob van Ruisdael. In an " Autumn 
 Landscape'' (No. 881) night is softly folding the 
 heavy trees in slumbrous darkness. The " Land- 
 scape with the Board- fence " (No. 893), although 
 by Hofstede de Groot considered to be the master- 
 piece of the little-known Gerrit van Hees, bears 
 not only Ruisdael's signature, but fully the impress 
 of his masterful treatment. The " Forest Land- 
 scape " (No. 889) is his masterpiece here. A rich 
 wooded stretch, with a brook on which two ducks 
 are swimming in the foreground, is further enli- 
 vened by a few human figures trudging along the 
 path. The sun, now disappearing, then again 
 bursting forth, illuminates the scene with a golden 
 glow. It is a most charming picture, brighter in 
 
196 XTbe art of tbe IDienna ©alleries 
 
 mocd than the melancholy master usually painted. 
 His usual note of gloom is forcibly struck in the 
 "Coming Storm'' (No. 877), where a shepherd 
 hurries his flock through the oak forest to escape 
 the blast. Ruisdael loved to paint trees and dense 
 thickets, the impressiveness of which no one has 
 felt or expressed better. His was a grave mind, 
 often dominated by moody clouds, and he chose 
 the grave, sombre aspects of nature more frequently 
 than her bright side — but even in his pathos he 
 was picturesque. 
 
 The man who inspired Ruisdael to paint his 
 magnificent views of tumbling water, whereof we 
 saw a masterpiece in the Imperial Museum was 
 Allert van Everdingen. This adventurous artist 
 had taken a sea-trip to the Baltic with a friendly 
 captain, and had suffered shipwreck on the Nor- 
 wegian coast. The romantic wilds of these regions, 
 the grand forms of rocks, and the picturesque water- 
 falls completely enamoured him, and with his facile 
 touch he soon transferred them to canvas. It was 
 a new subject for the Hollanders, and the artist 
 became exceedingly popular, much to his pecuniary 
 advantage. His large "Waterfall'' (No. 823) 
 may duly be considered one of his chefs d'oeuvre. 
 
 Jan van Goyen was the pathfinder of landscape 
 art, and stands only next to Jacob van Ruisdael in 
 eminence. His manner is very individual, for he 
 
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Ifmperial Hcabemij ot ifine arts 197 
 
 developed from a realistic presentation of the 
 colours of nature to a gradual subordination of 
 colour to tone, keeping his pictures in but one key, 
 usually brown or grey. His '' View of Dord- 
 recht " (No. 814. Plate XXVIII) is a character- 
 istic example. The large "Marine" (No. 736. 
 Compartment 14) is also a beautiful painting with 
 its placid water where tall craft lazily float. 
 
 A notable marine painter, only lately fully ap- 
 preciated, was Simon de Vlieger, whose fine light- 
 effect is attractive in a "Harbour'' (No. 876) 
 with many vessels riding at anchor in the road- 
 stead. Willem van de Velde shows more agitated 
 water in Nos. 788 and 792, but these examples 
 are not so good as the work of this artist in the 
 Ryksmuseum at Amsterdam. 
 
 In the last division of the Corridor we find some 
 interesting works by the architectural painters. 
 These are principally church-interiors by Pieter 
 Neeffs, Emanuel de Witte, and several by Hendrik 
 van Vliet, of exquisite light-management. There 
 are also city views by Jan van der Heyden and 
 by Gerrit Berckheyden. 
 
 Retracing now our steps through the Corridor 
 we return to Gallery V, and resume our survey 
 there with the fifth alcove. Here we find the works 
 of Peter Paul Rubens. At least three of these 
 belong to the finest products of the master's brush; 
 
iqS XCbe Hrt of tbe IDtenna (Balleries 
 
 while over a dozen other examples are interesting 
 sketches, many of these for ceiling paintings of 
 the Antwerp Jesuit church which was burned in 
 1718. 
 
 The "Abduction of Oreithyia by Boreas" (No. 
 626) is a famous work. The nymph, struggling 
 in the arms of Boreas, is carried through the clouds. 
 In the lower-right corner two putti are pelting 
 each other with snowballs, balancing in the com- 
 position the dark wing of the wind-god in the 
 upper-left corner. Numberless copies have been 
 made of this remarkable work. We see in this 
 picture the wonderful perfection which Rubens 
 attained in a most difficult department of painting, 
 in which he was habitually superior, that is, in the 
 drawing of very substantial bodies floating lightly 
 in space without any support. The secret of this 
 lies in the manner, never surpassed and only ap- 
 proached by Tintoretto, in which he foreshortened. 
 It was a talent which alone enabled him to present 
 so naturally the wonderful productions of his 
 creative fancy in every possible variety of attitude. 
 
 It is but natural that our thoughts will revert to 
 that other Abduction we saw in the Imperial 
 Museum, of Ganymede by the Eagle of Jupiter, 
 painted by Correggio. A comparison of the rela- 
 tive position of these two artists will at once 
 suggest itself to the mind, and the judgment will 
 

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Ifmperial Hca5emi? ot jfine Hrts 199 
 
 be that while the ItaHan master had greater re- 
 finement and the distinction of beauty in form 
 and colour, the Flemish master far surpasses him 
 in boldness, strength and grandeur. 
 
 The "Three Graces'' (No. 646) is a magnifi- 
 cent example of the rich, voluptuous presentation 
 of the female nude figure. The three beautiful 
 figures hold a large basket, filled to overflowing 
 with roses, above their heads. The luxuriant 
 display of white, rosy flesh, the mellow suppleness 
 of the yielding torsos, the bloom of life, the rich- 
 ness of nature's ornaments of brilliant flowers, 
 the iridescent mingling of colour and light — all 
 show Rubens in his glory. 
 
 And still another masterpiece is the " Tigress 
 and her Young " (No. 606. Plate XXIX). Here 
 is not a thin and languid captive of the menagerie, 
 but the free and terrible beast of the jungle, of 
 sudden, catlike leaps, muscles of steel, fearful jaws 
 and claws — even as she now reclines to maternal 
 duties. What soft, silky fur, brown and gold, 
 what ease of drawing, what glow of colour is 
 found in this matchless work. 
 
 The wide embrace of his magician's brain is 
 seen in the sketches, here and in the next alcove. 
 Saints, Dancing Peasants, Scenes from the Passion 
 and the Glory of Christ, the Apotheosis of James 
 I, Esther before Ahasuerus — it is all a frenzy of 
 
200 Zbc Hrt ot tbe IDienna ©alleries 
 
 invention, regulated by genius. A number of 
 copies of the master's works may also be advan- 
 tageously studied. These hang on the long wall 
 
 Jacob Jordaens came near to Rubens, both in 
 energy of presentation and richness of colour. 
 The apparent distinction between their work lies 
 in the impression one always gets that Rubens' 
 painting bears an aristocratic touch, that of Jor- 
 daens is more bourgeois. There are two fine 
 examples. The " Paul and Barnabas in Lystra " 
 (No. 663) pictures the moment when these two 
 missionaries refuse the honours which the priests 
 of Jupiter and the populace bring to them in the 
 form of sacrificial animals and wreaths. The 
 " Portrait of a Young Woman, holding a Medal- 
 lion " (No. 640) is one of his best single figures. 
 It is full of arch vitality and rich in colour. An 
 interesting incident may be gathered from old 
 records which state that this same painting was 
 sold at an auction in 1759, when it brought ten 
 Dutch guilders, i. e. four dollars ! 
 
 Among the portraits in this alcove we find, be- 
 sides uninteresting work by Frans Pourbus and 
 Mierevelt, a magnificent painting by Jacob Ger- 
 ritsz. Cuyp, one of the forerunners of Rembrandt. 
 This "Portrait of a Lady" (No. 617. Plate 
 XXX) is incisive by its simplicity. The broad, 
 thick, pleated ruff and the close-fitting velvet cap 
 
JACOB 
 
 GERRITSZ. 
 
 CUYP 
 
 PORTRAIT OF A LADY 
 Plate XXX 
 
 Imperial 
 
 Academy 
 of Fine Arts 
 
imperial HcabeiuB of ifine arts 201 
 
 frame a face which has regular but plain features, 
 still is wonderfully expressive in its quiet and peace- 
 ful gaze. 
 
 Some paintings here bear the name of van Dyck, 
 but little credence need be given to these tablets. 
 One only, an oval, showing the half -turned head 
 of a Youth (No. 686), is regarded as authentic; 
 by some critics even accepted as van Dyck's earliest 
 self-portrait. 
 
 In the next alcove, the seventh, we find a number 
 of fine examples of the still-life painters. Jan 
 Davidsz. de Heem has an important and large 
 canvas, covered with opulent fruit, shining glass 
 and brimming tankards, watched over by a gaudily 
 feathered parrot. Jan Fyt has painted monkeys 
 and cats, and Abraham van Beyeren his speciality, 
 fish. The greatest of the flower painters were 
 Rachel Ruysch and Jan van Huysum — both are 
 well represented. Birds are painted by Jan Weenix 
 and by Melchior d'Hondecoeter. Pieter Claesz. 
 van Haarlem and Willem van Aelst remain yet 
 to be mentioned for meritorious still-lives, although 
 many more examples of less account are found 
 here. 
 
 THE FRENCH PAINTINGS 
 
 are put away in the dark, in alcove eight; and 
 not much is lost, for they are of minor importance. 
 
202 xtbe Srt of tbe iDienna ©allertes 
 
 A' " Sheepflock on the Campagna " (No. 847) 
 is probably an original painting by Claude Lorrain, 
 but even so not a representative example. An- 
 other picture, a "Road through the Woods" (No. 
 846) is better. There are four spirited pieces of 
 cavalry engagements, by Jacques Courtois, called 
 Bourguignon. The " Landscape with Waterfall " 
 (No. 849), by Claude Joseph Vernet, is interest- 
 ing because plainly showing outdoors feeling. This 
 artist may be considered a pioneer among the 
 French in painting from nature. This little piece 
 is far more sincere than the series of French sea- 
 ports, now in the Louvre, which Vernet painted 
 on government commission, which are scenic and 
 theatrical. Of his contemporary Greuze we find 
 here some of his well-known, sentimental girl-faces 
 ' — sweet, but insipid. 
 
 THE LATER GERMAN PAINTINGS 
 
 The remaining alcoves in Gallery V, from the 
 tenth, as well as Room VI, contain German paint- 
 ings of the 18th and 19th centuries, principally 
 by Viennese artists. Most of these are in the con- 
 ventional and academic style which dominated the 
 German school during these centuries. Only as 
 far as the stories they tell differ one from the other 
 do they present any variety to relieve the tedious- 
 ness of their claims. Their assignment to impor- 
 
irmperfal Hca&ems of jfine Htta 203 
 
 tant rank will depend much on individual taste, for 
 criticism is at a loss to choose. I can, therefore, 
 only make a personal appeal to regard a few of 
 these works. 
 
 The keynote of the tendency to which German 
 art had succumbed in the 18th century is well shown 
 in a large " Italian Mountain-landscape '' (No. 330. 
 10th alcove), by Josef Roos. It is clean painting,! 
 but too slick to look spontaneous. Little of nature 
 presents itself — much of an effort to have art 
 improve on nature by making her look nice and 
 tuckered up for show. 
 
 This refers also to the well-ordered and neatly 
 executed mythological subjects of Johann Martin ] 
 Schmidt, a "Judgment of Midas'' (No. 160) and 
 "Venus and Vulcan" (No. 161, both in alcove 
 11). Of some interest is the "Portrait of Count 
 Anton Lamberg'' (No. 294), the gift of whose 
 collection laid the foundation of this Gallery. It 
 is by one of the early members of the Academy, 
 Martin Ferdinand Quadal, whose admission picture 
 for membership is also found here. This gives a 
 view of one of the working-galleries of the 
 Academy in 1787, with many miniature copies of 
 paintings then on the walls. Another early mem- 
 ber was Josef Abel, who was admitted in 1815, 
 and whose admission picture presented " Daedalus 
 and Icarus'* (No. 130) in truly classic spirit 
 
204 XCbe Hrt of tbe IDienna ©alleties 
 
 The thirteenth alcove is principally given over 
 to the v^ork of Friedrich Heinrich Fiiger, a painter 
 of much influence in his time. He dominated the 
 Viennese school, which until the days of Cornelius 
 was counted the best in Germany. Fiiger was 
 called the German Raphael — which explains to us 
 the style in which he endeavoured to paint ; but the 
 examples of his work here do not convince us 
 of the justice of the appellation. His admission 
 picture to the Academy, " The Death of German- 
 icus " (No. 170) is much more like a David. 
 
 George Ferdinand Waldmiiller, an artist who 
 worked in the same style, has here several examples, 
 of which the ^'St. Nicholas Eve" (No. 1092) is 
 a weak German version of the far more spirited 
 presentations which Jan Steen has given of this 
 delightful and amusing subject. 
 
 Far stronger, and withal more refined, was the 
 work of Moriz von Schwind, a South German of 
 noble birth, who abhorred the popular peasant 
 painting of his time, and devoted his art to de- 
 picting the higher circles of society. A " Social 
 Gathering'' (No. 1182), nevertheless, shows that 
 he followed the punctilious technique of his pe- 
 riod. 
 
 The "Madonna and Child'' (No. 1178), by 
 Johann Schraudolph, can scarcely be distinguished 
 from a late Venetian work of minor quality; and 
 
IFmperial aca&ems of iFine Hrts 205 
 
 the "Ideal Landscape" (No. 1159), by Karl 
 Marko, an Hungarian, harks back to Elsheimer. 
 Josef Brandt, a PoHsh painter, depicts a scene 
 from the campaign of the AlHes against Sweden in 
 1658 (No. 976), which is palpably an historical 
 document rather than a work of art. Johann 
 Friedric Voltz, in two or three cattle pieces, shows 
 his faithful study of Troy on' s work when in the 
 forties he visited Belgium and France. Friedrich 
 Gauermann, popular in Vienna in the middle of 
 the century, would not gain many laurels to-day 
 for his conventional landscapes. 
 
 Ludwig Knaus was undoubtedly for many years 
 the most popular painter of Germany. His 
 pictures of the every-day people, generally touched 
 with sentiment, made him not only honoured but 
 beloved. It cannot be denied that even French 
 art was influenced in a measure by his anecdotal 
 painting. There was scarcely an art institution in 
 Europe of which he was not an honorary member. 
 In many, for instance, the Royal Academy, he was 
 the only German member. And these honours 
 were bestowed deservedly, for Knaus was a man 
 who appealed to the heart of the people, as Gustav 
 Freytag did in literature. He was a fine observer, 
 a friend of the human side of social life, who 
 always ennobled even common things in his paint- 
 ings. This we note in the example of his work 
 
2o6 Ubc Hrt ot tbe Dienna (Ballertes 
 
 here, a "Jewish Peddler" (No. 1169) — charac- 
 teristic even if the individual is seen at his best. 
 
 Franz Defregger, better known for his Tyrolean 
 scenes, has a bust portrait of a man (No. 1163), 
 of excellent quality. Gabriel Max, so well-known 
 for his compositions of religious meaning, is more 
 realistic when painting animals, of which he is 
 very fond. A "Monkey" (No. 1199) is proof 
 of his great talent as an animal painter. 
 
 Among the latest painters whose works are in 
 Room VI, we will notice Emil Jacob Schindler, a 
 Viennese artist who was strongly influenced by 
 the modern French, and little honoured during his 
 lifetime. In his day the old-fashioned style of 
 landscape painting still held control in Vienna. 
 Thus Schindler's work was never esteemed, al- 
 though now his landscapes, which we find here 
 among all these conventional daubings, axe dis- 
 tinctly refreshing, notably so his " Mill near 
 Goisern" (No. 1204). 
 
 This same breath of fresh air strikes us in 
 '* Spring in the Penzinger Au " (No. 1123), by 
 Robert Russ. Franz Skarbina had his training in 
 Holland, and in his "Christ'' (not numbered) 
 shows the influence of Joseph Israels. Hans Gude 
 was more influenced by the Barbizon school, al- 
 though his two examples, "The Chiemsee '' (No. 
 962), a fine large canvas, and "Fishing by Night 
 
Ifmperial Hca&ems ot if ine Hrts 207 
 
 in Norway'' (No. 991), have each local colour 
 and individual workmanship. 
 
 Some of the best of the modern paintings be- 
 longing to the Academy have been placed on 
 exhibition in the Lower Belvedere, which we will 
 view later. 
 
CHAPTER VIII 
 
 THE COLLECTION OF THE PRINCE VON 
 LIECHTENSTEIN 
 
 When we ascend the broad stairway of the fine 
 old Liechtenstein palace in Vienna, leading to the 
 salons where the paintings are hung, we note a 
 number of large, decorative canvases by late Italian 
 artists and a fine Flemish tapestry which decorate 
 the walls of the entrance halls. 
 
 A Madonna seated on the rocks, between St. 
 Joseph and St. Jerome, with angels above playing 
 on musical instruments, is by Giovenone Vercelli. 
 Sebastiano Ricci, a history and portrait painter 
 of the beginning of the 18th century, was employed 
 by the then King of Rome to decorate the sum- 
 mer palace at Schonbrunn, near Vienna, at which 
 time he also made a mythological composition for 
 the Liechtenstein palace, then being built. Another 
 Italian artist of that time, the Bolognese Antonio 
 Franceschini, also has a mythological scene. 
 
 Of greater interest is a landscape by Jacques 
 d'Artois, a very prolific painter of Flanders, and 
 
 208 
 
SANDRO 
 BOTTICELLI 
 
 PORTRAIT OF A YOUNG MAN 
 Plate XXXI 
 
 Liechtenstein 
 Collection 
 
Ube Xiecbtenstein Collection 209 
 
 a friend of van Dyck and of the younger Teniers, 
 who sometimes introduced figures into his land- 
 scapes. This picture is painted with great free- 
 dom and has fine colouring. The trees are covered 
 with moss and climbing plants, a conceit much 
 favoured by this artist. 
 
 The arazzo, referred to, is one of the series of 
 tapestries made after the designs by Rubens to 
 illustrate the story of the Roman Consul Decius 
 Mus. It shows " The Consul's Consecration to 
 Death." Three other tapestries of this cycle — 
 " Decius Mus speaks to his Soldiers," " He sends 
 the Lictors Home," " He dies in Battle as Victor " 
 — form the chief wall-decoration of the First 
 Salon. We shall see the designs for these tapes- 
 tries later on. 
 
 This First Salon is devoted principally to plastic 
 art. Antiques, terracottas and majolicas are dis- 
 played in rich profusion. We note among these 
 some fine examples of the Delia Robbias, a terra- 
 cotta bust by Antonello Rosselino, profile portraits 
 in marble by Mino da Fiesole, and bronze statu- 
 ettes by Bertoldo di Giovanni. 
 
 The Second Salon is hung with examples of 
 Italian art of the ISth and 16th centuries. We 
 are at once attracted to a full-face bust portrait 
 of a Young Man (Plate XXXI), by Sandro Botti- 
 celli. It is a characteristic work in which his sense 
 
210 Ube Brt of tbe IPienna ©alleries 
 
 for line is fully demonstrated. This was Sandro's 
 strongest passion, to translate into a lineal sym- 
 phony whatever he saw, sacrificing everything; for 
 his work is never pretty, scarcely ever charming, 
 or even attractive, rarely correct in drawing, and 
 seldom satisfactory in colour, which he only used 
 to accentuate the line. 
 
 It is curious to learn from Vasari that Botticelli 
 delighted in jesting, and was a confirmed practical 
 joker, for a vein of deep melancholy runs through 
 his works, which is especially noticeable in his 
 Madonnas, where its presence is in harmony with 
 the subject before him. Thus the " Madonna and 
 Child," which hangs here, has a sad touch in the 
 woman's downcast eyes, and even the Child's look 
 presages sorrow. 
 
 Two small pictures, depicting the story of Esther 
 and of Mordecai (on the left wall), thoroughly 
 in Botticelli's spirit, are ascribed by Berenson and 
 Richter to an unknown artist who is styled by these 
 critics Amico di Sandro. These pictures indicate 
 the close relationship of style, but also some dis- 
 tinctive, individual traits which differentiate be- 
 tween the known and the unknown painter. A 
 tondo, with Mary, the Child, angels, and John, is 
 by the pupil and assistant of Ghirlandajo, Sebas- 
 tiano Mainardi. 
 
 A painting hanging on the rear-wall attracts now 
 
xrbe Xiecbtenstein Collection 211 
 
 our attention. It is the bust portrait of a young 
 woman, backed by the verdure of a heavy pine- 
 tree, with a charming landscape in the distance. 
 Only five known pictures in the world are assigned 
 without dissent to Leonardo da Vinci, and this 
 portrait is one of the paintings attributed to him, 
 around which a controversy of authenticity wages, 
 as around the Belle Ferroniere, the Virgin of the 
 Rocks, the Portrait of an Unknown Princess, in 
 the Ambrosian Library, and others. Eminent crit- 
 ics — Morelli, Berenson, Frimmel, Liibke, Brun, 
 Miintz, Frizzoni, Armstrong, Woltmann and Woer- 
 mann, Crowe and Cavalcaselle, Bode, Burckhardt 
 — are arrayed as stout partisans on one side or 
 the other concerning this picture. 
 
 As to the painting we observe that the general 
 impression favours Leonardo's own hand. We 
 find here that same enigmatic, almost sphynxlike 
 expression of countenance, although the lips are 
 slightly tighter-drawn than in any other female 
 head that is authenticated. This gives a vaguely 
 drooping cast over the features which, together 
 with a somewhat indefinite gaze of the eyes with 
 their weary eyelids, suggests that the thoughts 
 behind the blond ringlets are not quite happy. 
 This perplexing, puzzling indefiniteness, that hid- 
 den, psychological mystery, is a strong point in 
 favour of Leonardo's hand, for almost every one 
 
212 Ube art of tbe Dienna ©alleries 
 
 of his female heads is a riddle. It possesses also 
 that celebrated sfumato of Leonardo — the blend- 
 ing of colours and dissolving of outlines in a 
 vapourous light. 
 
 A number of Florentines must have come directly 
 under Leonardo's influence, for all Lombardy was 
 overshadowed by him. Thus the potency of his 
 spell is readily perceived in the " Cross-bearing 
 Christ," by Andrea Solario, even though he was 
 by training as much a Venetian as a Leonardesque 
 Milanese. He has a porcelain finish, and on occa- 
 sion too much prettiness, and a too long sustained 
 smile; still he is neither lifeless nor stereo- 
 typed. 
 
 We can never separate from the great Milanese 
 his follower, Andrea del Sarto, who as a youth 
 assiduously copied Leonardo's celebrated cartoons 
 which hung in the Pope's Hall. The half-figure 
 of ** John the Baptist " is a fine picture of the 
 young St. John, clad in a skin robe, whose features 
 distinctly recall the beautiful face of Lucrezia del 
 Fede; and we may well believe that she was her 
 husband's model here, as her lineaments are in so 
 many of his compositions. This painting may be 
 compared favourably with tfie famous St. John in 
 the Pitti Palace. 
 
 Andrea's pupil, and afterwards his partner, 
 Franciabigio, has a sombre male portrait of little 
 
Zbc Xiecbtenstein Collection 213 
 
 attractiveness. His " Madonna with Jesus and 
 John " is of more interest. His special idiosyn- 
 cracy, which he derived from Andrea, is the over- 
 loading of his figures with draperies, so that their 
 dramatic action is hampered and tripped up by 
 this voluminous swathing. 
 
 The eccentric Pietro di Cosimo, whose works are 
 exceedingly rare, shows in a small panel, with a 
 Madonna resting under a wilted tree, a highly orig- 
 inal and somewhat humourously fantastic treat- 
 ment, with fine drawing, and brilliant and trans- 
 parent colouring. 
 
 The Florentine school produced an excellent por- 
 trait painter also in Angiolo Allori, called il Bron- 
 zino, by whom we find, on the wall to the right, 
 a portrait of a young nobleman with a deer. Bron- 
 zino's religious compositions were not so good, and 
 decidedly mannered. 
 
 The Roman school is ushered in by an old re- 
 plica of Raphael's " St. John," of the Tribuna in 
 Florence. Raphael's favourite pupil, Polidoro Cal- 
 dara da Caravaggio, who was intrusted with paint- 
 ing the friezes in the chambers in the Vatican 
 which Raphael himself was decorating, is seen here 
 in two fine compositions. They represent allegories 
 of music, with Apollo and the Muses. These are 
 noteworthy for elegance of drawing and fine col- 
 ouring. Also the Bolognese Girolamo Marchesi di 
 
214 Ubc art ot tbe Dienna Galleries 
 
 Cotignola bears the Raphael signet, as seen in a 
 tondo of the Holy Family. 
 
 Almost archaic in his precise hardness was the 
 early Ferrarese Cosimo Tura, the man from whom 
 were to descend both Raphael and Correggio. Yet 
 nothing could be more opposed to Raphael's noble 
 grace, or the ecstatic sensuousness of Correggio 
 than the style of their forerunner. His figures are 
 of flint, as haughty and immobile as Pharaos, or 
 as convulsed with suppressed energy as the gnarled 
 knots in the olive-tree. Their faces are seldom lit 
 up with tenderness, and their smiles are apt to turn 
 into grimaces, their hands are claw-like. Still we 
 find a sculpturesque solidity in the half-length of 
 St. Clara, in the habit of a Franciscan nun. 
 
 Marco Zoppo, who followed his steps, was the 
 last of the old Bolognese painters. His style, how- 
 ever, is considerably toned down from Tura's gro- 
 tesques, as is to be noted in his *' Ecce Homo," 
 a little panel allied to Primitif tradition. Zoppo's 
 works are very rare. 
 
 Benvenuto Tisi de Garafalo was far more pro- 
 lific. He was a characteristic Ferrarese, especially 
 in colour and in general delicacy of execution. A 
 " St. Christopher,'' in a beautiful landscape, is a 
 representative example. 
 
 To Piero della Francesca, the master of Pietro 
 Perugino and Lucca Signorelli, may be ascribed two 
 
XTbe Xiecbtenstein Collection 215 
 
 single figures on gold background, which must have 
 been wings of an altarpiece. They represent saints 
 in the usual habits of a monk and a nun. The 
 technical excellences of good drawing, solid model- 
 ling, and the broad massing of the shadows are 
 characteristic of Piero's painting. Marco Palmez- 
 zano, a pupil of Melozzo da Forli, painted '' Sts. 
 Jerome and Francis," with all the ruggedness of 
 his style, even to the dry, rocky landscape back- 
 ground. 
 
 Francesco Francia may be called the founder of 
 the renascent Bolognese school, for he endeavoured 
 to reconcile the pious traditions of the middle-ages 
 with the advance that had been made in the domain 
 of the purely picturesque. His style is midway 
 between the perfect simplicity and fervour which 
 permeate the works of Giotto's followers and that 
 pagan elegance which later became the principal 
 means of expression. He combined the technical 
 perfection of a later age with the Christian motives 
 which had so largely influenced the first efforts of 
 Italian art. 
 
 An excellent example of his portrait work is 
 found here in the bust portrait of a clean-shaven 
 man, with a red cap. A picturesque landscape with 
 valley, stream and buildings is seen through the 
 window behind him. The portrait is admirable, 
 even impressive in its simplicity and directness, the 
 
2i6 XEbe Hrt ot tbe IDfenna (Balleries 
 
 closeness of the modelling, and its excellent col- 
 ouring. 
 
 The Venetian school commenced its colourful 
 course with the introduction of oil painting into 
 Italy; and that member of the south Italian family 
 of artists, the Antoni, who was called Antonello 
 da Messina, gave the impetus by introducing the 
 new process. The strong influence of van Eyck, 
 with whom he studied, is easily detected in An- 
 tonello's finely pencilled miniature likeness of a man 
 and his wife. It is brightly coloured and delicately 
 drawn. 
 
 A pupil of Giovanni Bellini, Giovanni Mansuetti, 
 painted a scene depicting the attack of the heathen 
 at Alexandria upon St. Marc. The details of cos- 
 tume, and the sensuous, pictorial effects for which 
 the school became famous are prominent here; but 
 the colours are somewhat too loud and variegated 
 to give unalloyed pleasure. 
 
 A much weaker follower of Bellini was Antonio 
 Tisoio, whose '* Madonna with Saints " shows an 
 unsuccessful effort to imitate the master. 
 
 An early work by Titian, of the time of the 
 Gypsy Madonna, which we saw in the Imperial 
 Museum, is a presentation of the Madonna and 
 Child, with John the Baptist and St. Catharine 
 holding the martyr's palm. The composition is not 
 cohesive, since the picture is divided in half by a 
 
Ubc Xiecbtenstetn Collection 217 
 
 straight hanging curtain before which the Madonna 
 is seated holding the Child, while John and the 
 charmingly painted Catharine, seen in profile, have 
 the sky for background. The picture glows with 
 colour, and the Madonna group is one of the finest 
 and most naturalistic of Titian's brush. 
 
 Paris Bordone, influenced by Giorgione, is repre- 
 sented by an excellent portrait of a full-bearded 
 man, dressed in a black gown bordered with fur. 
 The flesh colour is rosy, and Bordone's peculiar 
 small and broken folds of the dress are character- 
 istic. 
 
 The provincialism of Bernardino Licinio, called 
 il Pordenone, is seen in the portrait of a man in 
 bright, but somewhat flat colours. This Friuli 
 painter had great talent, which was developed by 
 his later residence in Venice; but he never attained 
 to significant force, and always showed the want 
 of taste, which is the indelible stamp of provin- 
 cialism. 
 
 Another provincial who sought salvation in 
 Venice was Alessandro Bonvicino, called Moretto, 
 of Brescia. Two paintings here indicate his style. 
 The better of the two is the St. Jerome doing 
 penance in the desert, here shown by a highly ideal- 
 istic landscape, full of poetic conception. The other 
 picture presents the Madonna, offering the Child 
 to be worshipped by the aged St. Jerome. Both 
 
2i8 Zbc Hrt ot tbe IDienna ©ailetles 
 
 paintings have a soft, silvery, shimmering tone, as 
 of a twiHght grey, simpHcity of expression and 
 largeness of design. 
 
 Moretto's pupil, Giambattista Moroni of Ber- 
 gamo, must be judged as a portrait painter pure 
 and simple, and as such must be ranked among the 
 highest. His bust portrait of an ecclesiastic is 
 of a man interestingly himself. 
 
 Giovanni Girolamo Savoldo, called Bresciano, is 
 here better represented than in the Imperial Mu- 
 seum. He kept Giorgione and Titian for his 
 models, both in colour and chiaroscuro. A " St. 
 George '' is the figure of a young man, seated, 
 leaning against a wall. The light-reflections from 
 his steel harness play harmoniously with the colour 
 scheme of his reddish jacket and olive green mantle. 
 A beautiful landscape in evening glow stretches in 
 the distance. 
 
 Above the door hangs a sacred composition by 
 Savoldo. Against a background of heavy, woolly 
 clouds we see the figure of the God- father, holding 
 the body of the Son over the grave. It is an 
 impressive scene full of grandeur and pathos. 
 
 Two later men, really belonging in the next Salon, 
 are Joseph Ribera and Guercino da Cento. Joseph 
 Ribera, called lo Spagnoletto (the little Spaniard), 
 had come from Valencia to Naples, and studied the 
 works of Raphael and Annibale Carracci, and those 
 
Ube Xiecbtenstein Collection 219 
 
 of Correggio at Parma. When he returned to 
 Naples he became greatly impressed with the exag- 
 gerated style of Caravaggio. A " St. Jerome " 
 indicates this later influence. 
 
 A large painting by Guercino hangs at the win- 
 dow wall in a very bad light. It represents '* The 
 Offering of Isaac," and is in the manner of the 
 Carracci, rich in colour with strong shadows, which 
 style places the work in his first period, for later 
 he partook more of Guido Reni's silvery manner. 
 The picture ha*r the characteristic, by which Guer- 
 cino may be readily recognised, of the figures being 
 lighted from the top. 
 
 The Third Salon contains the later Italians. 
 Domenico Tintoretto is signed to the portrait of 
 a man of thirty- four, with his son. Some hold 
 this to be a self-portrait of the artist. It merely 
 recalls the facture of the greater Tintoretto, Jacopo. 
 
 Labelled as by Correggio, but already by Waagen 
 ascribed to Giulio Cesare Procaccini, is an ex- 
 cellent painting of Venus, guarding the sleeping 
 Cupid, and attended by two putti. There is an 
 attempt here to combine the vigour of Tintoretto 
 with the grace of Correggio. 
 
 One of the most widely known productions of 
 Michelangelo da Caravaggio, the '' Zither Player," 
 is found here. Its greatest claim for attention is 
 its uniqueness among the works of Caravaggio. 
 
220 TLbc Hrt ot tbe IDfenna (Ballerfes 
 
 There is charm and grace and harmonious colour 
 in this yellow-gowned girl, seated on a red pillowed 
 settee, before a table on which her violin and music 
 sheets are scattered. It must be an early work 
 for it is painted still with Raphaelesque idealism 
 by a man who was the first to upset the traditions 
 of grace by an almost brutal assault of naturalism. 
 He preached a return to nature, but chose in his 
 later years, with evident gusto, violent episodes of 
 life, murders, quarrels, tavern scenes, adventures of 
 gypsies and vagabonds, types of the street and of 
 the prison. The artificial light seen in his later 
 pictures is the result of his habit of painting in 
 a dark studio, lighted by a trap-door in the roof, 
 by which he obtained striking effects of colour and 
 relief. 
 
 A few further works by Guercino lead us to a 
 fellow- follower of the school of the Carracci, 
 Domenichino. His half-figure of a woman is in 
 the academic-eclectic style of the Bolognese school, 
 then prevalent. There are also several works by 
 the prolific decorator-artist Guido Reni. Of Sasso- 
 ferrato, the best painter of the 17th century Roman 
 school, we find a " Mater Dolorosa." Its palpable 
 imitation of Raphael's Florentine manner, over- 
 sweetened to insipidity, points the direction in 
 which even the best was tending. 
 
 When Italian art had deeply fallen into deca- 
 
Ube Xiecbtenstein Collection 221 
 
 dence, the golden age of art burst forth in the 
 north. Its brilHancy makes the Fourth Salon sig- 
 nificant after the mannerism of the late Italians. 
 
 The famous Decius Mus cycle, by Rubens, is 
 found here. In 1617 some Genoese merchants 
 ordered from the great Flemish master designs for 
 six scenes from the life of the Roman Consul, to 
 be woven on the Brussels looms. In these scenes 
 Rubens followed the story of the war with the 
 Samnites as told by Livius. 
 
 The Consul Decius Mus tells his centurions of 
 a dream which announced to him that the army 
 whose leader should fall in battle would be vic- 
 torious. The priests discover in their divinations 
 of the entrails of sacrificial animals that Decius 
 should be the victim. With his toga covering his 
 head the Consul consecrates himself to his fate. 
 Before the battle he sends the Lictors home, and 
 they depart with many lamentations. The Consul 
 turns his wavering columns from apparent defeat 
 to victory, but himself sinks, pierced by a lance, 
 from his rearing horse. After a long search 
 among the heaps of slain his body is at last found, 
 and receives mortuary honours on the battlefield. 
 The last scene shows the Second Consul as he holds 
 the funeral oration, and points to the hero's re- 
 mains on the purple-covered bier. 
 
 The whole series is a superb example of the 
 
222 Ube Hrt of tbe IDienna (Balleries 
 
 master's marvellous talent to depict imposing 
 groups, rich garments, noble personages, brilliant 
 lights, and iridescent colours in regal magnificence. 
 Although these designs were admittedly executed 
 by the master's pupils — notably did van Dyck 
 work on several — the entire conception and com- 
 position are the master's own invention. 
 
 Several large mythological scenes by Frances- 
 chini, and a copy of van Dyck's " Venus and 
 Vulcan," of the Imperial Museum, complete the 
 wall decoration of this magnificent apartment. 
 
 The Fifth Salon is almost exclusively devoted 
 to works by Anton van Dyck, with one notable 
 exception — a work by one far greater than he. 
 
 Van Dyck is represented here in every manner 
 of his productive power, as fully as we saw it in 
 the Imperial Museum. Foremost stands that mag- 
 nificent " Portrait of Maria Luisa van Tassis " 
 (Plate XXXII), one of the finest female portraits 
 we have by van Dyck. It was manifestly painted 
 in his Antwerp period, after 1625, when he re- 
 turned from his four years' stay in Italy, and before 
 he left for England in 1632. This was decidedly 
 the best period in the artist's career, when he had 
 reaped the full fruits of his study of the Italian 
 masters, and before his excessive facility and his 
 desire to please the Court at Whitehall made him 
 lose the little sincerity he ever possessed. 
 
PORTRAIT OF MARIA LUISA VAN TASSIS 
 VAN Liechtenstein 
 
 DYCK Plate xxxii Collection 
 
Ube Xiecbtenstein Collection 223 
 
 Maria Luisa van Tassis, the daughter of a patri- 
 cian Antwerp family, is here clothed in a magni- 
 ficent costume of black velvet, filmy cambric, and 
 precious point-lace, and carries a huge fan of 
 ostrich feathers. A heavy string of bright pearls 
 circles her throat and hangs over her bosom. All 
 this, and perhaps with still greater art of delicate 
 skill, we see in the later portraits of his English 
 period. But what is lacking there we find here 
 — more character in pose and features. Scarcely 
 ever do we see in van Dyck's portraits such an 
 animated, roguish look in the eyes and playing 
 around the mouth. The golden tone points also 
 to this middle period. 
 
 Another portrait has become famous as of 
 Wallenstein when thirty-two years old. He is 
 dressed in a dark velvet costume, with a collaret 
 of delicate lace setting off the strong features. The 
 wrist of the hand rests upon the hilt of a rapier. 
 These hands, like the one visible in the Tassis 
 portrait, are as delicate and beautifully modelled 
 as in the portraits of his English period. The old 
 explanation of the care van Dyck gave to these 
 hands, because they paid the price, may have been 
 only a rival's quip. 
 
 The portraits of a man, and of his wife, have 
 the aristocratic touch of his later years; while the 
 portraits of an elderly couple are of his earlier 
 
224 Ube Hrt of tbe IDfenna ©allerics 
 
 Rubens period. A young couple, elaborately 
 dressed, before a red drapery, are again of the 
 middle period, as is the knee-piece of a lady. Of 
 the same years came a fine portrait of a cleric, 
 attached to the Tassis family; and also an old 
 man, seated in an arm-chair. 
 
 Van Dyck's " St. Jerome," found here, has 
 variants in Dresden, Stockholm, and Madrid. It 
 is not a pleasing composition, although the mas- 
 ter's touch is manifest. A "Madonna" is an old 
 copy after an original by van Dyck, now in Dul- 
 wich House, in England. Another copy, hanging 
 near, is one of those which Rubens made while in 
 Italy. It is after the " Burial of Christ," by Car- 
 avaggio, which is now in the Vatican. A large 
 *' Lamentation of Christ," bearing van Dyck's 
 name, is not by his own hand, but manifestly a 
 studio work by his pupils. 
 
 But the painting which imperiously arrests the 
 attention of the spectator, and which proves the 
 greater master, is the magnificent full-length " Por- 
 trait of Willem van Huythuysen," patrician of 
 Haarlem, by Frans Hals (Plate XXXIII). This 
 proud and lifelike figure stands before us in an 
 embroidered black silk costume. His broad- 
 brimmed hat sets well back from the forehead, 
 leaving the strong features clear and unshaded. 
 His left hand rests on his hip, his right, over 
 
PORTRAIT OF WILLEM VAN HUYTHUYSEN 
 Plate XXXIII 
 
 Liechtenstein 
 Collection 
 
Ube Xiecbtenstein Collection 225 
 
 which his cloak is thrown, rests on a long sword. 
 The background is a rich red curtain, and in the 
 distance we have a glimpse of the park adjoining 
 the noble mansion. Roses lie scattered on the 
 floor. The face expresses manly vigour and digni- 
 fied self -consciousness. The whole effect of this 
 wonderful composition with its rich but delicate 
 colouring, light-grey in tone, is thoroughly artistic. 
 There are so many fine points about this portrait 
 that it is hard to leave it. Its tremendous spirit 
 of vivacity, its ease, dash, fluency, bravura, its 
 wonderful freedom and looseness of touch, make 
 it one of the artist's greatest masterpieces. There 
 is no portrait painter who has surpassed Frans 
 Hals, and only one who has equalled him — Velas- 
 quez; these two, so different in technique, so alike 
 in masterful dominion over the brush. 
 
 The Sixth Salon contains a number of important 
 canvases, from among which we will first mark 
 several fine examples of Rubens. " The Sons of 
 Rubens " is a famous double portrait. The ar- 
 rangement is natural and charmingly easy. Albert, 
 the elder boy, stands with his arm resting around 
 the shoulders of Nicholas, who is interested in play- 
 ing with a captive goldfinch. The bright costume 
 of the younger boy — grey breeches, a blue slashed 
 jacket with yellow satin puffs and ribbons — comes 
 out harmoniously against the black costume, slashed 
 
226 Ube art ot tbe IDtenna (Galleries 
 
 with white satin, worn by Albert. It is a group 
 painted with animation and love, entirely by the 
 master's own hand. A replica or studio copy of 
 this group, with some changes in the colours, is 
 found in the Dresden Museum. 
 
 Of next importance is the large mythological 
 composition of the *' Finding of the Boy Erech- 
 tonyos by the Daughter of Kekrops,'' which may 
 be considered a paraphrase on the biblical story 
 of the finding of Moses by Pharaoh's daughter. 
 It is a magnificent performance in nude painting 
 and dramatic composing, with that long serpentine 
 sweep and those graceful curves by which the 
 master is known. In the same style is a large 
 sketch, apparently for a ceiling painting, of the 
 " Entrance of Psyche into Olympus," and her be- 
 trothal to Cupid. 
 
 A souvenir of the time Rubens spent in Italy 
 is shown by a variation on Titian's " Toilet of 
 Venus," which is now in the Hermitage. There 
 is magnificent morbidezza in the nude figure seated 
 with her back to the spectator. The face is seen 
 in profile, and reflected full- face in a mirror which 
 a cupid holds up before her. The head of a negro 
 serving woman serves to enhance the superb colour 
 contrasts. 
 
 The portrait of Jan Vermoelen, the commander 
 of the Spanish fleet in the Netherlands, is a more 
 
Ubc Xfecbtenstein Collection 227 
 
 sober painting than we are accustomed to find from 
 this master with the exuberant fancy. It is, never- 
 theless, a piece of soHd painting of great breadth 
 of treatment, with dignity of pose, and nervous 
 force. A sketchy head of a middle-aged man is 
 thought to be a likeness of Rombouts, a friend of 
 Rubens, and a painter of the second rank. Of 
 great charm is a little child's head, such as appear 
 so frequently as cupids in his large compositions. 
 It is manifestly a portrait, probably of one of his 
 own children in infancy. 
 
 The story of two sketches for allegorical com- 
 positions is of interest. After Rubens had com- 
 pleted the Marie de Medicis cycle which now adorns 
 the Louvre, the Queen commissioned Rubens to 
 paint a like series to glorify her husband, Henry IV. 
 Owing to political changes in France this project 
 never came to fruition ; but two designs had already 
 been made, which after some vicissitudes found 
 their way to the Liechtenstein Gallery. In one of 
 these paintings we see Henry IV, surrounded by 
 Minerva and allegorical figures; the other one pre- 
 sents him as the hero of the siege of Courtray. 
 If completed, the cycle would undoubtedly have 
 rivalled the one in the Louvre, judging by the 
 fecundity of imagination and wealth of colour of 
 these two sketches. 
 
 One of the best paintings of the later years of 
 
228 XCbe art of tbe Vienna <5allerfe6 
 
 Rubens is a superb ''Ascension of Mary.'' The 
 composition is not divided to indicate the separa- 
 tion between earthly and heavenly theme, as we 
 see it so often with Titian and others, but is car- 
 ried gradually upward from the group of apostles 
 and women, kneeling and standing below, through 
 the etherealised figure of the Virgin, supported and 
 surrounded by lovely putti, on to the lighter glow 
 of nimbus and vanishing angelwings. Some of 
 the figures are incontestably among the best that 
 Rubens has ever created. The figure of the Virgin 
 is admirable in its almost dissolving lightness and 
 purity; the characterisation of the figures below 
 is vivid, expressing anguish at parting, marvelling 
 and amazement, and also gratified confidence in a 
 glorification which was anticipated. The colouring 
 is somewhat more restrained and refined than was 
 his wont — for which the subject may well be held 
 accountable. 
 
 A further number of portraits by van Dyck are 
 also found in this room. The most pompous is a 
 portrait of the Count Johan van Nassau, but the 
 more attractive is the portrait of the widow of the 
 Stadholder, the Infanta Isabella. Of the many 
 replicas in existence, this one seems to be the best 
 " — as it is surely by van Dyck's own hand. 
 
 A number of works by pupils and followers of 
 Rubens fill in the spaces between the masterpieces. 
 
) O » > f c 
 
 JACOB 
 JORDAENS 
 
 THE GLUTTON 
 Plate XXXIV 
 
 Liechtenstein 
 Collection 
 
XEbe Xfecbtenstefn Collection 229 
 
 Of greatest interest among these is an example of 
 Jacob Jordaens, the man who came nearest to 
 Rubens in colour and technique, but with a tre- 
 mendous difference in breeding and spirit. Where 
 Rubens with all his voluptuous abandon is still the 
 aristocrat at heart, Jordaens always shows a lower 
 taste, a coarser spirit. The work before us, " The 
 Glutton" (Plate XXXIV), is most characteristic. 
 
 The greatest paintings in this Salon are five 
 portraits by Rembrandt. The superb technique of 
 the master — in one canvas his luminous thinness, 
 in others where the loaded brush is used with extra- 
 ordinary vigour and bravura — makes these pro- 
 ductions stand decisively apart from the common 
 stream of art. His individuality is so imperious, 
 self-sufficing and all-transforming that even the 
 masterworks of other men must suffer momentary 
 eclipse before this artistic Prometheus who stole 
 the celestial fire. 
 
 The " Self-portrait with the Feather Bonnet " is 
 one of the famous works of his first period, painted 
 in 1635. The frank and generous execution, the 
 soft, warm light, the sober colour, the transparent 
 shadows, are all in exquisite harmony. Greater 
 aggressiveness of personality is found in the two 
 bust portraits of the next year. The one presents 
 a youthful man, dressed as an officer. His keen, 
 piercing eyes look with startling vividness out of 
 
230 Ube Hrt of tbe IDienna ©alleries 
 
 a somewhat pale face that is framed with a wealth 
 of curling black hair. The other picture is a por- 
 trait of the officer's wife, richly dressed in brown, 
 with a gold-embroidered stomacher. On her chest- 
 nut hair rests a little circle of pearls to which a 
 long blue feather is attached. Pearls are in her 
 ears and around her neck and wrist. 
 
 *' Few of Rembrandt's works," writes Dr. Bode, 
 " even those painted during his best period, repre- 
 sent the charm of woman so alluringly as this por- 
 trait of a lady, whose radiantly fair complexion 
 shines out from its framework of luxuriant hair, 
 and is offset by a rich and superbly painted cos- 
 tume. Few of his portraits are so striking in their 
 personality, and are at the same time so essen- 
 tially feminine. In this picture Rembrandt shows 
 himself the peer of Rubens as a painter of volup- 
 tuous beauty." 
 
 Another early work, thinly painted, is the por- 
 trait of Rembrandt's sister, Lysbeth, of 1632. She 
 is a blooming, blonde young girl, without any 
 startling marks of female beauty, but withal attrac- 
 tive by her spontaneous ingenuity. The face is 
 entirely in the light, almost without shadows, but 
 lifelike and fresh in colour, while the rest of the 
 figure is in half-shadow. The whole portrait is 
 finished with extreme care, and without that free- 
 dom in the treatment which is seen later; the 
 
Ube Xiecbtenstein Collection 231 
 
 handling being precise and without that quahty of 
 suggestiveness which distinguishes so much of 
 Rembrandt's work. The same model must have 
 served for "The Bride Dressing," painted in 1637. 
 There is more '' kneading of the paint " here, with- 
 out destroying the purity and value of tones. 
 
 A portrait of the master, painted in 1656, that 
 bears the stamp of stress of circumstances and sad- 
 ness of heart, was supposed to be painted by him- 
 self, but on Dr. Bode's suggestion we must rather 
 regard it as a work of Rembrandt's last pupil, Aert 
 van Gelder. A '' Diana with Endymion '' is also 
 erroneously marked with Rembrandt's name. It is 
 manifestly the work of Go vert Flinck, one of Rem- 
 brandt's pupils whose facile imitation of the master 
 has led to many false attributions. 
 
 Among several other portraits by painters of the 
 second rank we must single out an excellent knee- 
 piece of a young man by Thomas de Keyzer, who 
 holds the peculiar position of first having aroused 
 Rembrandt to the possibilities of portraiture, and 
 who afterwards himself adopted several of the 
 great master's characteristics. His warm colouring 
 and truthful characterisation developed gradually, 
 his colour at the last approaching Rembrandt's. A 
 portrait of Gerard Dou is by Don's talented pupil 
 God fried Schalcken, best known for his composi- 
 tions with candle- and lamp-light. 
 
232 Ubc art ot tbe IDienna Galleries 
 
 In the Seventh Salon we find a few more of 
 the Dutch portrait painters. An early master was 
 Dirk Barendszen, who had profited much by the 
 study of Titian. At first he devoted himself to 
 sacred art, but he attained greater renown as a 
 portrait painter, being considered one of the best 
 of his time. A vivid likeness of the stern features 
 of Holland's great Pensionary, Johan van Olden- 
 barnevelt, is found here. There is also a charming 
 girl's profile by Jan Lievens who, although a pupil 
 of Rembrandt, fell soon under van Dyck's influence 
 when he visited England. 
 
 The first great portrait painter of Holland was 
 Antonis Mor, who formed himself in his native 
 Utrecht under Jan van Scorel, and afterwards vis- 
 ited Italy and Spain. Although much impressed 
 with Titian's work he developed an individual style 
 in portraiture. While in his early work there is 
 to be seen the dry, angular method of his Utrecht 
 teacher, he emancipated himself completely, and his 
 later portraits excel in warm colour and roundness 
 of form, as we have already remarked in his ex- 
 ample in the Academy. Here we find it equally 
 noticeable in a " Portrait of a Man," with a blond 
 beard. 
 
 But the majority of the paintings in this Salon 
 are again of the Flemish school. Two large organ- 
 wings show on the outside grisaille paintings of 
 
Ube Xfecbtenstein CoUectton 233 
 
 musical angels, with single figures on the inside. 
 These, for no reason whatever, have been ascribed 
 to Hanneman, but, according to Bode, must be con- 
 sidered as indubitable early works of Rubens, 
 painted immediately after his first return from 
 Italy. 
 
 A large composition, " Ajax and Cassandra in 
 the Temple," is of the great Fleming's invention, 
 but executed by van Dyck and other pupils, possibly 
 with some finishing touches by the master him- 
 self. A portrait of Caspar de Crayer, the painter, 
 is by van Dyck, but not one of his best works. 
 Portraits of a man and of a woman are excellent 
 examples of the Fleming Pourbus, Frans the Elder; 
 while a portrait by Erasmus Quellinus shows the 
 influence of his master Rubens in the ruddy tones. 
 We note further a " Raising of Lazarus," by 
 Marten de Vos ; a " Denial by Peter," by Theodoor 
 Rombouts, who graphically portrays the soldiers' 
 guardroom where the serving-maid lays her charge 
 against the apostle; and works by Berchem, Sand- 
 rart, Seybold, and Lebrun. 
 
 By a circular stairway we ascend now to the 
 upper floor, where a series of nine rooms contain 
 the larger number of the paintings of the Liechten- 
 stein collection, but generally of smaller size. Sev- 
 eral masterpieces will greet us. There is no orderly 
 classification, and we are compelled to follow the 
 
234 ^be Hrt of tbe IDienna (Balleries 
 
 walls to prevent the confused wandering that would 
 result if we should attempt to search for examples 
 of various schools. 
 
 The First Room contains several beautiful tapes- 
 tries, as well as a number of paintings. A small, 
 but very characteristic Guercino has a *' St. Jerome," 
 struck to earth by the sound of GabrieFs trumpet. 
 A large " Burial of Christ '' is ascribed to Battista 
 Farinato, called Zelotti, who worked with Paolo 
 Veronese, but did not display his teacher's grandeur 
 of conception.' An excellent little panel of the 
 *' Appearance of the Angel to Abraham" is not, 
 as labelled, by Domenico Tiepolo, but by his more 
 renowned father, Giovanni Battista, the last great 
 name in the illustrious roll of Venetian painting. 
 A '' Christ on the Mount of Olives " is by a weak 
 follower of Tiepolo. " Apollo and the Muses " is 
 the work of Frans Francken, the Younger, who 
 was a member of a large Flemish family of artists 
 of the 17th century, and who copied the great 
 Venetian painters with utmost dexterity. 
 
 The Second Room contains a magnificent col- 
 lection of Oriental porcelains. On the walls we 
 find several Venetian canal scenes, by Antonio 
 Canale, and two landscapes by Bernardo Belotto, 
 called Canaletto, painted by this artist while on 
 his visit to Saxony. They are views of Konig- 
 stein and Pirna. Some Venetian scenes that go 
 
CHARDIN 
 
 THE COOK 
 Plate XXXV 
 
 Liechtenstein 
 Collection 
 
TLbc Xiecbtenstein Collection 235 
 
 here under Canaletto's name are from the freer 
 brush of Guardi. 
 
 Surrounded by these Venetians is an interesting 
 *' Holy Family on the FHght to Egypt/' by Nicolas 
 Poussin, the one French old master who was per- 
 vaded by the classic spirit. Despite his early train- 
 ing under transalpine influences he was the first 
 to drop Italian leadingstrings, and his work com- 
 menced to present very thoroughly French qualities 
 in which the artistic dominates the poetic, and 
 individual style quite outshines idealistic suggestive- 
 ness. 
 
 The Third Room is filled with a diversity of 
 works of various schools. That painter of original 
 force and flavour who appeared in the midst of 
 the mignardise of Louis Quinze painting was Jean 
 Battiste Chardin, whose cooks and chambermaids 
 are as natural as those a Dutchman would have 
 painted. Four examples of this master, who vis- 
 ualised the philosophy of Diderot and his doctrines 
 of humanity by becoming the graphic historian of 
 the petite bourgeoisie, are found as we enter the 
 room. "The Cook" (Plate XXXV), as well as 
 " The Breakfast," excel in that aesthetic quality 
 which is combined with the genuineness and the 
 accent of the artist's preoccupation with his subject. 
 
 These four Chardins surround a magnificent 
 southern landscape by the 17th century J. F, Millet. 
 
236 ^be Htt ot tbe IDienna ©alletfes 
 
 It is in the sumptuous style of that early landscape 
 school founded by Poussin and Claude, and before 
 it had succumbed to the heaviness of the later 
 Roman and Naples painters. A second landscape 
 with ruins, also by Millet, has more of the dark 
 accents of Salvator Rosa. 
 
 We may be surprised to find here two English 
 portraits. One is a bust portrait of a young man, 
 by Thomas Gainsborough, in which the delicate 
 lineaments of the face are given with his wonted 
 artistic finesse. As a pendant hangs a woman's 
 portrait by the American-born John Singleton 
 Copley, who spent many of his working years in 
 London, and painted thoroughly in the matter-of- 
 fact manner of his period. 
 
 After glancing at a characteristic cavalry com- 
 bat by Jacques Courtois Bourguignon, we come to 
 a number of Dutch landscapes. The first in order 
 is one by Herman Saftleven, a scholar of van 
 Goyen's studio, who painted agreeable little river 
 views with a fine brush in a golden brown tone. 
 His art, though conventional, is delightful in its 
 way. Jan Vermeer van Haarlem was partial to 
 sea pieces, but is here represented by a large river 
 view, with a good sky, and clear, transparent water. 
 Aert van der Neer, without recognition during his 
 life and dying very poor, was a meritorious artist 
 with an individual style, easily recognised. In his 
 
TLbc Xiecbtenstein Collection 237 
 
 village views by moonlight, of which we find here 
 an excellent example, he depicted the silvery re- 
 flections with the same facility shown in the ruddy 
 glow of his conflagrations by night. 
 
 The marine painter Simon de Vlieger, whom we 
 have met in the Academy, has here an unusual 
 wood-interior, in rich brown tones. A landscape, 
 with oaks near a quiet pond, by Meindert Hobbema, 
 is not as impressive as we generally find the work 
 of this great master. A few Flemish landscapes, 
 the best of which are by Jan Wildens, show how 
 far superior the Dutch landscape painters were to 
 their Southern brethren. 
 
 A little gem that sparkles in this room is a 
 ** Seamstress,'' by Nicolaas Maes. It is of his middle 
 period, before he became Frenchified, and is painted 
 in the time of his famous old women at the spinning- 
 wheel, of the Ryksmuseum. In the work of this 
 period he unites subtlety of chiaroscuro, vigorous 
 colour, and great mastery in handling, with that true 
 finish which never becomes trivial. Still another 
 little panel of the Dutch genre painters must not be 
 passed by. It is by Quiryn Brekelenkam, and shows 
 us a little shop where an old woman is selling vege- 
 tables to a young housewife whose child holds tightly 
 to its mother's apron. Although this artist can by 
 no means be ranked with his master van Ostade, 
 he had still a fair eye for the visible world. 
 
238 Xtbe art of tbe IDienna (Balleries 
 
 and a significant manner of portraying what he 
 saw. 
 
 The Fourth Room is given entirely to the 17th 
 century Dutchmen, with a few Flemings added. 
 The first striking work is the portrait of a black- 
 gowned, aristocratic looking lady, seated in an arm- 
 chair, which is by Hendrik Gerritsz. Pot, who in 
 his single figures affected Rembrandt's manner, 
 while his small group paintings are more after Hals, 
 in their diffused light and tonal colours. 
 
 Gerard Dou's most gifted pupil was Frans van 
 Mieris, whose small-sized panels have a distinct note 
 of refinement. His example of a *' Lady playing the 
 Harp '' displays that vivacity of colour and exquisite 
 technical quality which made him one of the most 
 popular of his contemporaneous brethren of the 
 brush. His characteristic attention to the drawing 
 and expression of the hands may be studied here. 
 
 Two examples are to be noted by that inimitable 
 farcical philosopher Jan Steen. In the one he holds 
 up to ridicule a scene which might be taken from 
 one of Moliere's comedies. An old duenna hands 
 a love-letter to a young woman from her elderly 
 swain. The expressions of the faces are comical 
 in their lucidity of purpose. The other picture is 
 one of his chapters dedicated to Bacchus — the in- 
 terior of a tavern where men are drinking and 
 carousing. Jan Steen was Holland's realistic poet- 
 
xrbe Xiecbtenstefn Collection 239 
 
 painter of boisterous comedy and satirical farce. 
 He must not, of course, be measured by the stand- 
 ards that prevail to-day, but in an age and among 
 people the reverse of prudish, he held the mirror up 
 to nature ; and, far from extolling the human weak- 
 nesses he loved to depict, his scenes have always at 
 bottom a moral significance. 
 
 Among the gay crowd that gathered in the 
 Haarlem studio of the jolly Frans Hals was Jan 
 Miense Molenaer, of whom we find here a Twelfth 
 Night festivity. It is a droll frolic, exuberantly 
 animated, somewhat reminiscent of a like scene, 
 depicted by Jordaens, which we saw in the Imperial 
 Museum. In the same spirit of gay abandon is 
 the concert by three peasants, from the brush of the 
 younger Teniers. 
 
 The wall before which we stand has also a few 
 landscapes. An Italian scene, in which a strong- 
 hold built on the border of a lake forms the key- 
 note, is by Jan Asselyn, better known for his fine 
 portraits of the denizens of the farm yard, fowls 
 and poultry. These rare landscapes are the product 
 of his sojourn in the south-land. A typical cabinet 
 piece is by Cornells van Poelenburgh, who depicts 
 a satyr and a nymph, in an Elsheimer landscape- 
 setting. It IS dainty, beautiful in line, clear and 
 tender in light-effect. More spirited is the " Cavalry 
 Attack," by Philip Wouwerman, in which the land- 
 
240 Ube Hrt of tbe IDienna (Ballerfes 
 
 scape forms a striking part in the composition. The 
 foliage is verdant and clear, and the light-effect 
 peculiarly charming. Since Wouwerman spent all 
 his life in his native Haarlem we may presume that 
 his landscape setting, often so foreign to the Dutch 
 flats, was copied from the work of artists who had 
 travelled farther afield. 
 
 A winter landscape is from the brush of Raphael 
 Camphuyzen, who generally painted moonlight sub- 
 jects in the style of van der Neer. His pictures are 
 exceedingly rare, not a single one being found in 
 any of the Netherland galleries. A typical Dutch 
 landscape, with meadows and canals, is by Salomo 
 van Ruysdael, Jacob's uncle. It is a middle-period 
 picture, for it indicates greater firmness of hand 
 and strength in colour than when he was still under 
 the influence of his master Esaias van de Velde. 
 He evidently tried to emulate his renowned nephew, 
 in which he became quite successful. 
 
 The glowing painter of Dutch landscapes was 
 the sunny-hearted Aelbert Cuyp. His talent was 
 many-sided. The cattle he placed on the sward 
 raised him to foremost rank among animal painters. 
 The still-lives which he produced in early years show 
 a refinement, a feeling for texture and colour, which 
 places him above any of the artists who devoted 
 themselves exclusively to such themes. But he ex- 
 celled in landscape, with such simplicity, such lack 
 
Ube Xiecbtenstein Collection 241 
 
 of pretention or effort, such happy, unstudied com- 
 binations of arrangement, that he may well be called 
 one of the greatest landscape painters of the golden 
 age. His forte was his feeling for sun-light, which 
 does not play hide-and-seek in light and shade, but 
 fairly bathes his scenes in golden glow. The ex- 
 ample before us shows a stream, with sailboats, 
 with an atmospheric effect of a hazy morning and 
 a summer sky reflecting in the expanse of water. 
 
 We find still another example of the younger 
 Teniers in the corner. This is one of his famous 
 ** Temptations of St. Anthony," a favourite subject 
 with the artist, and one which he treated with in- 
 tense humour. Turning the corner we find on the 
 rear- wall of this chamber a few more examples of 
 Teniers' spirited brush — the interior of a peasant- 
 inn, a couple of way-side travellers, and a harvest 
 scene. The qualities which most attract us in these 
 works are his picturesque arrangement, delicately 
 balanced, the exquisite harmony of his colouring, 
 and that light and sparkling touch in which the 
 separate strokes of the brush are left unbroken. 
 
 By Adriaen Brouwer we find two little oval panels 
 with his favourite types, of a drinker and of a 
 smoker. 
 
 His northern confrere, and fellow-pupil in the 
 studio of Hals, Adriaen van Ostade, was a superior 
 artist. Especially do his two examples before us, 
 
242 Zbc Hrt of tbe Wienna (Balleties 
 
 both tavern interiors, declare a more learned talent. 
 The humourous mise-en-scene is a natural, artless 
 portrayal of life with no overstrained action. We 
 see how cleverly he used to juggle his paint in 
 melting colours. The deft application of light-efifect 
 points to the period after van Ostade had come 
 under Rembrandt's influence, when also the cool 
 tone changed to a deeper, golden brown. 
 
 A follower of Brouwer was Joost van Craesbeeck, 
 whose work is exceedingly rare. His capital humour 
 borders somewhat on the burlesque in the two ex- 
 amples before us. 
 
 It seems rather incongruous to see among these 
 scenes of slightly coarse conception and broad in- 
 tent the over-refined work of Schalcken and of 
 Eglon van der Neer. Two portraits by God fried 
 Schalcken show how much less successful he was 
 in these than in his candle-light genre. Although 
 well-drawn, the smooth, polished surface is un- 
 pleasant, and the labour bestowed upon these works 
 too obvious. Eglon Hendrik van der Neer, the 
 son of the landscape painter Aert, tried to imitate 
 Gerard Terborch, in which he failed ignominiously. 
 The lady at breakfast, dressed in reddish white silk, 
 is typical of his misdirected efforts. A silvery moon- 
 light landscape by his father, which hangs next, has 
 poetic flavour and sincere workmanship. 
 
 A few more Flemish pictures of secondary im- 
 
Ube Xtecbtenstein coiiecrfon 243 
 
 portance complete this wall. A small landscape with 
 a hundred finical figures, and a village street with 
 passing crowds, are by the younger Jan Baptist 
 Breughel. Equally miniaturelike is the work of 
 Lukas van Valckenborch and of Lukas van Uden. 
 In the centre of this wall hangs a portrait of Prince 
 Johann Wenzel von Liechtenstein, whose connois- 
 seurship established the best part of this collection. 
 It is by Johann von Lampi. 
 
 On the next wall we find a few masterpieces 
 among much of far less importance. Roelant 
 Savery, although born in Flanders, spent his best 
 working years in Utrecht, after 1613. He was in- 
 spired by the Tyroler Alps, of which we find here 
 an example, somewhat cold and artificial. Another 
 landscape, by J. B. Breughel, is in the manner of the 
 one we have already seen. This brings us to a 
 curious work of Abraham Teniers, who tried to 
 imitate one of his father's ape-pictures. 
 
 Of supreme importance is a landscape by Esaias 
 van de Velde, the founder of the Haarlem landscape 
 school, who helped to rescue the native school from 
 the exotic, garish Italian influences. This '^ Deer- 
 hunt in the Forest '' has a setting of large expression 
 and outdoors feeling. An early work of Jan van 
 Goyen, a winterscape, with skaters enjoying them- 
 selves on the ice, is equally replete with native 
 atmosphere. A magnificent cattlepiece is from the 
 
244 'Jibe Hrt ot tbe Dienna Galleries 
 
 brush of Aelbert Cuyp, where the naturalness of the 
 figures, both of the animals and of the herder's 
 family, vies with the marvellous luminosity of the 
 sunny clouds to construct a scene of unsurpassed 
 rustic charm. 
 
 It is a far cry from these sincere and serious 
 works of the great landscape painters to the work 
 of Adriaen van der Werff, whose artistry, at the 
 end of this glorious century spelled the decadence 
 and death of Dutch art. His " Lamentation of 
 Christ,'' with its cold, porcelainlike colour and me- 
 chanical finish, is in perfect accord with the 
 smooth, decorative, ** namby-pamby " art in which 
 he revelled. His style was as vicious and con- 
 ventional as Carlo Dolci's was in Italy. 
 
 The Fifth Chamber, also, contains a mixture of 
 good, bad and indififerent. The most noteworthy 
 of these paintings shine clearly among the lesser 
 lights. A spirited " Horsefair," by the younger 
 Teniers, is characteristic and of his best work. It 
 must have been painted between 1640 and 1644, 
 when he attained that luminous, golden tone, and 
 careful and precise execution which is the most 
 prized of all his work. A large cavalry combat, 
 by Philip Wouwerman, is the very antithesis to this 
 horsefair, and yet the two display the excellence of 
 diverging tendencies. Egbert van der Poel was an 
 imitator of Aert van der Neer's conflagration scenes, 
 
xrbe Xiecbtenstetn Collection 24s 
 
 and Hendrik van Balen aped Rubens in a compo- 
 sition depicting a sacrifice to Greek deities, in which 
 many figures are grouped. Two large flowerpieces 
 by Jan van Huysum, with their light backgrounds, 
 have a showy character. 
 
 On the long wall of this room we find two beau- 
 tiful bouquets by Rachel Ruysch, whose tasteful 
 simplicity and harmonious colouring accords her a 
 higher artistic standing, although she was less 
 popular in her day than van Huysum. The best 
 works on this wall are two strong and characteristic 
 products of Allert van Everdingen, and of Meindert 
 Hobbema. The fir forest with cascading rapids is 
 one of those scenes which Allert sketched so assidu- 
 ously in Norway. The young artist's passion, as 
 displayed here, is profoundly impressive. Meindert 
 Hobbema's favourite subject was a wooded dell 
 with a pool of water, such as we see here. The 
 portrayal is simple and yet most poetic, with the 
 casual flicker and flash of a bright sunbeam. 
 
 In the next Room is found an interesting early 
 work by Jan van Goyen, still in the tight manner 
 acquired in his schooling with Esaias van de Velde. 
 This has led to the attribution of this painting to 
 Aelbert Cuyp, which is a palpable error. It is a 
 beautiful picture of the estuary of a river, with a 
 castle near the shore. 
 
 By Aelbert's father, Jacob Gerritsz. Cuyp, is a 
 
246 XTbe Hrt of tbe IDienna ©alleries 
 
 barn interior where soldiers are quartered. The 
 remarkable fidelity and naturalism of the Dutch 
 genre school is eminently displayed. The droll 
 humour of Adriaen van Ostade signalises a 
 " Peasant-dance " ; while the rare Jan Vermeer van 
 Haarlem is represented by a wide stretch of flat 
 country, domed by a magnificent sky-efifect. A deli- 
 cate ** Finding of Moses " is by Cornelis van 
 Poelenburg, and the half- figure of a girl is by 
 Jacob Toorenvliet, whose devoted study of Raphael 
 is clearly perceptible. Rembrandt's closest imitator, 
 Gerbrandt van den Eeckhout, has a typical scene of 
 an old king, seated at table, no longer able to enjoy 
 the food which a kneeling servant offers him. In 
 melancholy mood he stares before him, feeling, as 
 it were, the approach of the angel of Death, who 
 appears in the dark shadows behind him. On the 
 rear wall we find a few excellent conversation pieces 
 by Dirk Hals and by Pieter Codde. Two cavaliers 
 and a maiden playing backgammon are pictured by 
 Hals. Codde, with as fine a colour but greater 
 minuteness, has two graceful assemblies. The centre 
 of this wall is occupied by a portrait of Prince 
 Adam Wenzel von Liechtenstein, in magnificent 
 court-costume. It is by the Frenchman Hyacinthe 
 Rigaud, the typical painter of the pompous age of 
 Louis XIV. 
 
 The last wall has still other fine examples of the 
 
HEINRICH 
 ALDEGREVER 
 
 PORTRAIT OF A MAN 
 Plate XXXVI 
 
 Liechtenstein 
 Collection 
 
XTbe Xiecbtenstein Collection 247 
 
 Dutch landscape and marine painters. The many- 
 sided Adriaen van de Velde is here represented by 
 a landscape with deer, in which the artist's sense of 
 colour and tone, as well as his delicacy of form and 
 outline, are greatly to be admired. He shows a won- 
 derful subtlety in the gradation of almost neutral 
 hues. A landscape, in which the architectural 
 painter Jan van der Heyden placed a castle, is of 
 equal distinction. Jan Hackaert was formed in 
 Germany and Italy, as indicated by a valley view, 
 which breathes a southern atmosphere. Later he 
 was purer in native inspiration. 
 
 One of the greatest of the Haarlem school of 
 landscape painters was Jan Wynants, who showed 
 originality in the selection of his subjects. He 
 favoured open scenery, as seen in a large river view 
 here, with a sky of summer blue, broken by illumi- 
 nated cloud masses. 
 
 A magnificent marine, with sailing craft on the 
 choppy waves, cannot with certainty be ascribed to 
 any master. Porcellis, Willem van de Velde, Simon 
 de Vlieger, even Rembrandt, have been suggested. 
 The first named has a signed painting in the Schon- 
 born collection which is very similar in character and 
 it is most plausible to ascribe this unknown work 
 to him. The sky, especially, is of a fine and strong 
 quality. A landscape by Jacob van Ruisdael still 
 makes us pause. It is the only example of this 
 
248 Ube Hrt of tbe IDienna ©alleries 
 
 painter in this collection, but a masterpiece. A! 
 brook dashes over rocks and stones through the 
 forest, its lonesomeness being relieved by the human 
 element of a woman and child crossing the little 
 bridge in the foreground to meet the woodchopper 
 as he returns homeward. 
 
 The following chamber contains earlier work. 
 First we note a number of the old-German artists. 
 An exceedingly rare work by the famous etcher 
 Heinrich Aldegrever is the *' Portrait of a Man " 
 (Plate XXXVI), the only work by this artist in 
 Vienna. It is a square-blocked composition, with 
 a conventional landscape background. The artist's 
 monogram is engraved on the leaflet suspended from 
 the branch in the upper-left corner. Somewhat 
 earlier was Bernhard Strigel, by whom we find 
 two bust portraits, pendants. This early master 
 was at his best in portraiture; his figure compo- 
 sitions, of which the Germanic Museum in Nurem- 
 berg has several, are somewhat awkward and pro- 
 vincial. 
 
 Another rarely occurring master was Hans 
 Miilich, a Munich artist, who for a time was court- 
 painter to Duke Albert V of Bavaria. His portrait 
 of a man, found here, is in the manner of the 
 Bolognese school. Jan Stephan von Calcar acquired 
 extraordinary facility in imitating Titian and 
 Raphael. His half-figure of a man with a blond 
 
« • ) 4 
 
 LUCAS 
 
 ABRAHAM'S SACRIFICE 
 
 Plate XXXVII 
 
 Liechtenstein 
 
 Cnllprtinfi 
 
Zbc XiecbteuBtetn CoUectfon 249 
 
 beard, wrapped in a fur-lined coat, is excel- 
 lent. 
 
 Diirer's master, Michael Wolgemut, is represented 
 here with a portrait of an old, clean-shaven man, 
 in a brown dress with a white cap, which has fully 
 his bourgeois style. It lacks all distinction or ele- 
 gance, but is realistic in its elucidation, even glori- 
 fication of the commonplace. Nearby hangs a knee- 
 piece of the '' Madonna Enthroned,'' with two 
 musical angels, which for its rich renaissance 
 flavour may be ascribed to the Ulm school of the 
 early part of the 16th century. 
 
 A few paintings bear the name of Lucas Cranach 
 the Elder, the most interesting of which is '^ Abra- 
 ham's Sacrifice" (Plate XXXVII). This panel 
 must have come from his later years, when the in- 
 fluence of Diirer had modified his archaism and 
 perfected his composition and drawing, while he 
 still adhered, in the landscape part, to the so-called 
 Donau-stil, which idealised landscape to a decorative 
 quality. Cranach's atavism — his frequent relapse 
 to archaic drawing, generally noticeable in his single 
 figures — is not at all apparent in this excellent 
 work. 
 
 Bartholomaeus Zeitblom was the principal master 
 of the Ulm school at the end of the 15th century. 
 A tendency had gradually developed towards greater 
 simplicity, and more restfulness in composition, after 
 
250 Ube Hrt of tbe IDlenna (Balleries 
 
 an exaggerated striving to represent action and 
 movement. Zeitblom possessed the typical Suabian 
 characteristic of unassuming reserve, which is shown 
 by the portrait of a bishop which we find here. 
 The good man is reading a book, and by no means 
 gives the impression of being an authoritative ItaHan 
 ecclesiastic, but reminds one rather of Jean Valjean's 
 bishop, with his gentle simplicity and pious grace. 
 The artist has a fine eye for luxurious colour-effect, 
 produced by the green pallium against a golden 
 curtain. 
 
 There is a great difference between these old- 
 German works and an example of the early French 
 school. It is the only example of this school in the 
 Liechtenstein Gallery, but one of its priceless gems, 
 that attracted merited attention when it was shown 
 at the Exhibition of French Primitives in Paris in 
 1904. 
 
 On a small, almost square panel we find the head 
 of a beardless man (Plate XXXVIII), who rests 
 the fingers of his hand on a rail in front. The 
 quaint figures at the sides of the black velvet cap 
 give the date, 1456, when Jean Fouquet painted 
 this remarkably powerful face. Fouquet was the 
 first great artist of France, and flourished during 
 the reigns of Charles VII and Louis XI, establish- 
 ing the influential school of Tours. The colour is 
 delicate, although it lacks in brilliancy, but the nerv- 
 
JEAN 
 FOUQUET 
 
 PORTRAIT OF A MAN 
 Plate XXXVIII 
 
 Liechtenstein 
 Collection 
 
Zbc Xfecbtenstein Collection 251 
 
 ous vitality of the homely features in this portrait 
 is astounding. 
 
 A number of works by the Flemish Primitives 
 now attract our attention. Among these there are, 
 however, three small panels which evidently came 
 from a northern master, even, according to Bode, 
 from Geertgen van Sint Jans, the earliest Holland 
 painter of whom we have record, who practised in 
 Haarlem in the early part of the 15th century. 
 They represent saints and donors, in miniaturelike 
 execution ; but the panels have been much damaged 
 by careless restoring. Another larger panel, a 
 " Crucifixion," bears also northern characteristics, 
 at least it lacks the mystic piety of the early Bruges 
 school to which it is attributed. Its greater realism 
 in the crucified body, and the sterner emotions dis- 
 played by Mary and John, make me even point to 
 Cornelis Engelbrechtsen as the possible author of 
 this work. 
 
 Of the great Zeeland master, Hugo van der Goes, 
 we find here a small altarpiece showing the " Adora- 
 tion of the Magi," while on the outside of the wings 
 we see an Annunciation, painted in grisaille. Despite 
 the miniaturelike execution there is still a wonderful 
 breadth of treatment, as well as strength of colour. 
 
 The most attractive, if not the most original 
 of all the gifted Flemish Primitives was Hans 
 Memlinc, by whom we have a masterpiece in his 
 
252 xrbe Hrt of tbe IDienna ©alleries 
 
 " Madonna and Donor " (Plate XXXIX). In this 
 picture we find all the excellences of the work of 
 the van Eycks and of Rogier van der Weyden — 
 the magnificent colour, the painstaking care of exe- 
 cution, the expressiveness of drawing; and added 
 thereto the affecting simplicity of presentation of 
 Memlinc himself. The adoring attitude of the 
 donor establishes a gentle, humble, but still cordial 
 relationship with the thoroughly human appearance 
 of the Virgin and Child. So is the figure of St. 
 Anthony, as designated by the little pig at his side, 
 wonderfully expressive of affectionate interest 
 Memlinc excelled his forerunners in that he infused 
 in his recital of Christian traditions a purer human- 
 ism than had as yet been attained. His half-figure 
 of the ** Madonna and Child," before an archi- 
 tectonic background, is more conventional but still 
 opulent in splendour. 
 
 Several works are ascribed to Quentin Massys, 
 but only one with undoubted authority. This is a 
 *' Portrait of an Ecclesiastic,'' and must be regarded 
 as the master's principal work in Vienna. The half- 
 figure of the man, standing behind a balustrade, is 
 seen looking straight before him with an animated 
 light in his eyes, as if pausing in expounding a 
 passage from the book which he holds in his left 
 hand. The eyeglasses which he holds in his right 
 touch the book in the most natural manner. His 
 
HANS 
 MEMLINC 
 
 MADONNA AND DONOR 
 Plate XXXIX 
 
 Liechtenstein 
 Collection 
 
XCbe Xiecbtenstein Collection 253 
 
 black, fur-bordered coat is almost entirely covered 
 by a white, pleated surplice of lacy lawn, and his 
 strongly modelled head is covered with a stiff 
 beretta. The preacher, for this is undoubtedly his 
 profession, is discoursing in the open, and a beauti- 
 ful, undulating landscape stretches behind him. 
 
 The progress of landscape art is further shown 
 in an excellent, early work ,by Hendrik met de Bles, 
 signed with his little owl, portraying the holy her- 
 mits Paul and Anthony. This work is, without 
 a vestige of reason, ascribed to Lukas van Leyden. 
 Of the later Flemings we find here the two 
 Breughels, Peasant Breughel and Hellish Breughel. 
 The former has a " Preaching by John the Baptist '' 
 and a " Triumph of Death '' ; while the latter is 
 seen in a winter landscape that has much similarity 
 to his small snow scene which we saw in the Imperial 
 Museum. The only known authentic work of Gillis 
 van Coninxloo, a famous landscape painter of his 
 day, hangs here in the Liechtenstein Gallery. He 
 commingled his native landscapes with the flavour 
 of his Italian training. An equally rare work must 
 also be noticed from the Amsterdam painter Jacob 
 Cornelisz. van Oostsanen, who depicts the " Death 
 of Mary " with the same infection of Italian tend- 
 encies which caused the decadence of the art of 
 his Flemish brethren. 
 
 The last two rooms are filled with the works 
 
254 Ube art of tbe Dienna ©alleries 
 
 of the still-life painters, with a few landscapes and 
 marines. Of principal worth are the products of 
 the chase, by Jan Fyt, Jan Davidsz. de Heem, and 
 Jan Weenix ; still-lives by Willem Claesz. Heda and 
 Frans Snyders; a fine turbulent seapiece by Simon 
 de Vlieger, and an equally strong seacoast in a storm, 
 by the somewhat later Ludolf Bakhuyzen. A rare 
 work is by Leonard Bramer, of whom the Ryks- 
 museum of Amsterdam possesses the only known 
 example in the Netherlands. This picture repre- 
 sents Lazarus being carried by the angels to Abra- 
 ham's bosom. It is painted in the Italian style, with 
 a Rembrandtesque modification of its chiaroscuro. 
 
GERARD 
 TERBORCH 
 
 DOUBLE PORTRAIT 
 Plate XL 
 
 Csernin 
 Collection 
 
CHAPTER IX 
 
 THE COLLECTION OF COUNT CZERNIN 
 
 The three hundred and fifty paintings which 
 form the Czernin collection are gathered in three 
 large rooms and a small cabinet of the Count's 
 town residence in Vienna. The paintings are not 
 hung in any logical order, although some degree of 
 sympathetic arrangement is observed, since the room 
 to the left of the entrance corridor is almost entirely 
 devoted to 17th century Netherland art; the room 
 to the right contains a number of Spanish paintings, 
 as well as further examples of Dutch and Flemish 
 masters; and the room farthest from the entrance 
 has most of the Italian paintings. 
 
 If we should wish to designate the feature of 
 supreme excellence in the Czernin collection we 
 would at once refer to the number of gems found 
 here of the Dutch Little Masters. Few museums 
 possess so many works of these bright stars of the 
 golden age, of which each one separately must be 
 regarded as the finest product of the artist who 
 wrought it. When we turn into the room on our 
 
 255 
 
2s6 Zbc Hrt ot tbe IDienna ©alletiea 
 
 left we note at once works by Terborch, Vermeer 
 van Delft, Kaspar Netscher, Dou, Jacob van 
 Ruisdael, Potter and Aelbert Cuyp, that cannot be 
 surpassed by any examples of their work in any 
 museum of Europe. 
 
 In the centre of the wall near the entrance hangs 
 a magnificent "Double Portrait" (Plate XL), by 
 Gerard Terborch, which until recently was kept in 
 the private apartments of Count Czernin. This is 
 possibly the finest piece of painting that has come 
 down to us from Terborch's brush. It possesses 
 a refinement of style, a sifting and straining of 
 all that is fittest, a vision, indeed, of rare and 
 admirable beauty that might be called brilliantly 
 flashing were it not softened and sobered by that 
 most charming of qualities in painting — naivete. 
 Who can look at this counterfeit presentment of 
 a dignified dame and courteous gentleman but does 
 not find in it the essence of what was pleasantest 
 and most refined in the Dutch life of that day, the 
 air of birth and breeding, the profound placidity 
 of elegant manners? Even the colouring, sober to 
 the point of severity, is harmonious with dignified 
 reserve. The setting likewise — on the terrace of 
 a summer home, looking towards the formal group- 
 ing of the park — conveys the atmosphere suggested 
 by the patrician in black velvet, and his lady stand- 
 ing there so naturally in her shimmering satin. 
 
JAM 
 
 VERMEER 
 VAN 
 DELFT 
 
 ARTIST IN HIS STUDIO 
 
 Plate XLi 
 
 Czernin 
 Collection 
 
xrbe Collection of Count Csetnfn 257 
 
 Terborch was the keen and faithful historian of the 
 order he presents on this canvas. 
 
 Personally I would suggest that there is great 
 probability that we have here the likeness of the 
 artist and his wife — an observation which, strange 
 to say, has not been made heretofore. Yet, a com- 
 parison with the features of Terborch's self-portrait 
 in the Mauritshuis seems to indicate that the 
 Czernin portraits might have been painted six or ten 
 years earlier. The three following pictures, all self- 
 portraits of Vermeer van Delft, Netscher and Dou, 
 point to a predilection which the founder of the col- 
 lection seems to have had to acquire artists' self- 
 portraits. 
 
 In the centre of the opposite wall hangs another 
 gem of the art of painting. This is a masterpiece 
 by Jan Vermeer van Delft, and shows the ** Artist 
 in his Studio " (Plate XLI). It is the nearest ap- 
 proach to a portrait of the artist that exists — and 
 an unsatisfactory one, surely. The painter, how- 
 ever, throws at least some light on the temporal 
 circumstances of himself, of whom so little else 
 is known. The room is luxuriously appointed, and 
 the artist is richly attired, showing the prosperous 
 circumstances to which his art have brought him. 
 The beautiful harmony of the colours in this paint- 
 ing, the mellowness of its tone, and the breadth of 
 handling which it reveals make this one of the finest 
 
2s8 TLbc Hrt ot tbe IDienna ©alleries 
 
 works of Vermeer's maturity. He seemed to have 
 delighted in overcoming all kinds of technical diffi- 
 culties — the wonderful management of light, the 
 texture painting of the heavy curtain, the brass 
 chandelier, the costumes of himself and of the model 
 who holds a yellow book. It may lack the charm 
 of his earlier and simpler compositions, but it has 
 a painter's quality, unsurpassed by anything he had 
 ever done before. This painting was formerly 
 attributed to Pieter de Hooch. It was Burger, the 
 discoverer of Vermeer van Delft, who restored it 
 to its rightful author, whose signature he discovered 
 in the lower part of the map. 
 
 The similarity of the art of these Little Masters 
 is seen in the beautiful portrait group by Kaspar 
 Netscher, of himself, his wife and child, framed 
 in an arched window. Below the sill is shown the 
 low-relief of putti, as we notice it so frequently in 
 the pictures of Gerard Dou. 
 
 Of the latter we find a self-portrait (Plate XLII), 
 that must have been painted some ten years after 
 the well-known portrait in the National Gallery. 
 The master, still holding his palette, is leaning on 
 the window sill, resting a while from his work on 
 the little picture that is seen standing on the easel 
 in the studio. The artist displays here all the per- 
 fections of portraiture: truth of likeness, dignity, 
 naturalness of carriage, and character. 
 
CERARD 
 DOU 
 
 SELF-PORTRAIT 
 Plate XLii 
 
 Csernin 
 
 Collection 
 
Zbc Collection of Count Csernln 259 
 
 Turning to the screen in the centre of the room 
 we behold a masterful product of the brush of 
 Jacob van Ruisdael. A wooded valley, with a 
 foaming, dashing brook, and a heavy, storm-threat- 
 ening sky, is a picture that is very rich, very 
 vigorous, and very beautiful. The clouds are 
 somewhat dull and heavy, but the effect of the light 
 flashing from behind them upon the trees is fine. 
 Everything is pitched in a key of greys, greens and 
 browns, and nature seems to be hushed in a mystic, 
 sad solitude that is profoundly impressive. Artis- 
 tically this sombre sentiment pervades the landscape 
 with a singleness of aim and a unity of means 
 significant of power. 
 
 We spy another bright jewel gleaming on this 
 screen. This is the famous "Morning" (Plate 
 XLIII), by Paul Potter, which in many respects 
 surpasses his better-known " Young Bull '' of the 
 Mauritshuis, The Hague. A cow, just emerging 
 from the barn, loudly bellows a morning greeting 
 to the fresh air and rising sun. Two of the cattle, 
 already in the road, have playfully locked horns, 
 and the peasant is trying to separate them, causing 
 great excitement to the youngster who is held in 
 his mother's arm at the cabin door. The pure 
 bracing morning breeze fills the whole canvas 
 like a breath of out-of-doors. There is exact 
 truth and simplicity in the whole scene, a mar- 
 
26o Zbc art of tbe IDienna ©alleries 
 
 vellous expressiveness of the nature of animals and 
 men. 
 
 Of Aelbert Cuyp, that other great animal and 
 landscape painter, we find here an excellent example 
 that spreads an immensity of distance before our 
 eyes. We see meadows, dunes, a stretch of water, 
 with a sailboat lazily floating before the soft breeze. 
 A herd of cattle is ruminating on the distant dike, 
 and a sky studded with watery clouds looms over- 
 head. 
 
 And as our eyes wander along these walls we 
 note still more exquisite examples by worthy men. 
 Philip Wouwerman shows some of his horsepainting 
 in the " Stirrup-cup '' ; Adriaen van de Velde has 
 here a meadow with cattle; and Jan Vermeer van 
 Haarlem a graceful, wooded landscape. A roaring 
 waterfall, broken by jagged rocks, with a dense 
 pine forest, is by Allert van Everdingen; and an 
 Italian scene with ruins, of delicate brushing and 
 harmonious colouring, is by Nicholas Berchem. 
 Aert van der Neer is here shown in one of his 
 favourite midnight conflagrations, shedding a lurid 
 glow over the excited crowd of people. Corne- 
 lis Saftleven, van Goyen's pupn, has an agree- 
 able river view, painted with a fine brush — 
 although conventional, it is delightful in its 
 way. Cornelis Decker belonged to the Ruisdael 
 studio, and has an attractive landscape, divided 
 

 g 
 5 
 
 O 
 
 ^ o 
 
XTbe (Tollectfon of Count Csernin 261 
 
 by a stream, in which three men in a boat are 
 fishing. 
 
 One of the finest interiors painted by Adriaen van 
 Ostade shows the corner of a low-roofed taproom, 
 where three peasants are drinking in hilarious aban- 
 don. The Hght that streams into the dark corner 
 through the square window on the left is brilliantly 
 handled and centres on the figure of a white- 
 shirted boor on a bench, who leans *' half-seas-over '' 
 against the wall, still holding the large beerpot 
 clutched between his legs. Nearby hangs a fine 
 example of Rembrandt's devoted pupil, Gerbrandt 
 van den Eeckhout, entitled '' Judith and Tamar." 
 
 The still-life painters are as well, if not as nu- 
 merously represented as in the other collections. 
 Hondecoeter, Weenix, the de Heems, Rachel 
 Ruysch, and van Huysum may be seen to advan- 
 tage. 
 
 There are also a number of Flemish paintings in 
 this Salon. Foremost stands a masterful work of 
 Rubens, " The Maries at the Sepulchre.'' This must 
 be regarded as a personal work by the great master, 
 and one of the most reserved and impressive of 
 his religious compositions. There is great dignity 
 in the figure of the sorrowing mother; the women 
 surrounding her display, without exaggeration, 
 astonishment, fear, and then curious interest in the 
 tidings brought them by the heavenly heralds. 
 
262 Zbc Hrt of tbe IDienna (Balleries 
 
 Well-drawn, solidly built figures of men stand at 
 the entrance of the open vault. Strong light 
 emanates from their super-mundane bodies with 
 irradiating brilliancy, which brings out the female 
 figures in luminous chiaroscuro, although not with 
 the learned gradations which Rembrandt would have 
 employed. 
 
 The portrait of a young man, a three-quarter 
 length, comes from the later period of van Dyck, 
 and is neat but conventional. There is greater 
 strength of portraiture in Jan van Renesse's " Con- 
 cert,'' with the members of a family performing on 
 flute, spinet, etc. The work was formerly ascribed 
 to Rembrandt. The younger Teniers has a guard- 
 room, of which the group of soldiers in the back 
 is more picturesque than the pile of accoutrements 
 heaped around a big drum on the floor in the fore- 
 ground. His pupil, David Ryckaert III, followed 
 him more in his grotesques, and here we see an 
 example. But in Teniers' treatment of these sub- 
 jects the subtleness of his humour always redeems 
 them from vulgarity — with Ryckaert these scenes 
 from common life, ludicrously presented, are often 
 common and coarse. 
 
 A splendid portrait of a cleric, signed with Diirer's 
 monogram and dated 1516, is the only German paint- 
 ing in this room. It is a powerful face, with keen 
 eyes and strong, compressed lips, giving the features 
 
XTbe Collection of Count Cserntn 263 
 
 an expression of firmness, somewhat relieved by a 
 kindly twitch at the corners of the mouth and around 
 the wide nostrils. 
 
 A few French pictures are to be noted. A mag- 
 nificent mythological painting, representing the find- 
 ing of Ulysses by Nausikaa, is by Caspar Poussin. 
 Equally forceful is the " Dream of Alkmene,'' by 
 Alphonse Dufresnoy, whose Italian training is 
 apparent. The Claude Lorrain, which we see here, 
 is not of great importance. Filippo Lauri, a Roman 
 painter who had early emigrated to France, and 
 is at his best in mythological subjects and bac- 
 chanals, is known from having painted the figures 
 in Claude Lorrain's landscapes. He is credited with 
 a " Preaching of John the Baptist,'' which is more 
 likely a composite production whereof Claude 
 painted the landscape part. Two pictures of beg- 
 gars, assigned to Jacques Callot, only known as 
 an engraver, are from the hand of his nephew Jean. 
 A few Italian pictures have overflowed to this room, 
 but these are of little importance. Two little heads 
 of children are by Lelio Or si da Novellara, a pupil 
 of Correggio, who was highly thought of by con- 
 temporaneous writers. A rather weak self-portrait 
 is of Frederico Barocci, who studied under Raphael, 
 but ended in imitating Correggio, whom he could 
 never equal either in natural grace or colouring. 
 Examples by Annibale Carracci and Michelangelo 
 
264 ^be art ot tbe IDtenna Galleries 
 
 da Caravaggio have the tendency of the decadent 
 stage of ItaHan art. 
 
 Turning now to the Gallery to the right of the 
 entrance we will first note the Spanish paintings, of 
 which there are not many, but some of them are 
 exceptional examples. The first picture that catches 
 our eye on our left, at the side of the door, is a 
 most charming little ''Sleeping Child" (Plate 
 XLIV), by Murillo. It is apparently an early work, 
 possibly a study for a Christchild. A strong Spanish 
 type is furnished by Pedro de Moya, of Granada, 
 who exerted great influence on Murillo. He came 
 from the school of Castillo at Seville, and is one of 
 the great 17th century Spanish painters. 
 
 Matteo Cerezo, a pupil of Carreno de Miranda, 
 ended in imitating the colour of van Dyck, but never 
 with surpassing success. His best subject was the 
 " Penitent Magdalene,'' of which there are examples 
 in the galleries of The Hague, Madrid, Berlin, 
 and in the Czernin. Here the saint is repre- 
 sented as standing in devout attitude before a 
 crucifix. 
 
 A magnificent, realistic work is " The Blind 
 Musician with his Boy," by Francisco de Herrera, 
 el Viejo. It is a typical Spanish character, such as 
 Velasquez and Murillo have painted, but even these 
 never surpassed its fervour and positiveness. 
 Herrera was the first painter of Andalusia who 
 
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 1-4 
 »— ( 
 
 w 
 
 u 
 
 o 
 g 
 
 w 
 w 
 
 1-4 
 
 o 
 
Ube Collection ot Count Csernin 265 
 
 discarded the old, timid style of painting, and 
 adopted that strong and bold one which his more 
 famous successors refined. He was a man of 
 irritable temperament who bore a bad reputation, 
 even being accused as a false coiner. An example 
 of Riberd need not detain us, since it is far inferior 
 to his work in the Imperial Museum or in the 
 Harrach collection. 
 
 The remainder of the paintings in this room are 
 again Dutch and Flemish. The portrait of an old 
 woman, quietly musing, with hands folded on her 
 lap, is scarcely to be assigned to Rembrandt, whose 
 name appears on the tablet. The carmine cap is 
 too raw for the master's palette. It is rather a 
 school-picture. The same may be said of two works 
 that go under van Dyck's name, the one a sketch 
 of Neptune, the other a nobleman seated in an 
 armchair. The portrait of a man of fifty, however, 
 bears undubitably the stamp of Rubens. It is a 
 fine performance, broadly and floridly painted. A 
 portrait painted by the impressionable Jan Lievens, 
 and two presentments by Bartolomeus van der Heist, 
 of a patrician couple, bear the stamp of Rembrandt's 
 school of portraiture. A small female portrait, 
 attributed to Terborch, is not quite up to his mark, 
 nor is it even of sufficient interest to tempt a search 
 for the author. 
 
 One of the best of the paintings here is a small 
 
266 Ube art of tbe IDienna Galleries 
 
 picture of a '' Smoker/' by Gabriel Metsu. It is 
 a perfectly natural presentation of a young fellow 
 with a broad flap-hat on his long, black curls, lean- 
 ing with his left elbow on a table as he holds his 
 Gouda pipe between his lips. He is dressed in the 
 usual costume of a Dutch artisan of the time. This 
 little picture is a perfect example of the only aim 
 of the 17th century Dutch genre painters — the sin- 
 cere portrayal of life as it was. With keenness of 
 perception, and without overloading of detail, they 
 rendered a record of the life about them with the 
 fidelity of the historian. Their work has become the 
 best of chronicles, whereby the appearance of Dutch 
 life in the 17th century is better known than that 
 of any other country. 
 
 A typical scene of the kind is given by that other 
 historian of the common people, Adriaen Brouwer, 
 who depicts a barber-surgeon examining the 
 wounded arm of a peasant-boy. The attentive, 
 but unfeeling, half-smiling expression of the barber, 
 who gives the pain, and the distorted features of the 
 yelling youth who feels it, form a capital, comical 
 contrast. A few characteristic portrayals of a 
 miser, a bag-pipe player, and a gypsy telling for- 
 tunes to a young swain, are by Teniers. An inter- 
 esting little genre, by Cornelis Dusart, showing a 
 group of country folk before a cottage, although 
 less fine or forceful than the work of his master 
 
Ube Collection of Count Cserntn 267 
 
 van Ostade, is still full of homely beauty and 
 charm. 
 
 The third or rear Room is principally devoted to 
 Italian painters. The greatest name among these 
 is Titian, but of the three paintings that bear this 
 name here only one can be considered genuine. 
 This is the superb, heroic-size portrait of Doge 
 Andrea Gritti, in his official robes, wearing the 
 conical shaped Doge cap. It is a broadly painted, 
 vigorous work, with a luminous golden tone. 
 
 Of special interest is a Giottesque altarpiece, 
 which came from a cloister near Padua. The life 
 of Christ and scenes from the legends of Mary are 
 depicted on twenty- four panels and eight small 
 medallions. This Trecento fresco is an apt illus- 
 tration of the revival of art after the dark, mediaeval 
 struggles. Although bound by Gothic convention- 
 alities it displays already imaginative force and 
 invention. 
 
 Another Doge portrait is variously ascribed to 
 Tintoretto, Moroni, and Veronese. The fact that 
 each one of these masters has been recognised speaks 
 for the excellence of the work, the true author of 
 which is still unknown. It well serves as a pendant 
 to the Titian. The other Italian paintings have no 
 great names inscribed on the tablets. They furnish, 
 however, creditable examples of the lesser men. 
 Thus we find a good head of Christ from the 
 
268 Ube Hrt of tbe IDfenna Galleries 
 
 Leonardo school, that belongs to the master's closest 
 imitator Andrea Salaino, called Andrea da Milano. 
 It is the only Quattrocento work. 
 
 To the High Renaissance belong a few Venetians. 
 Two pupils of Giovanni Bellini show their training. 
 By Rocco Marconi we find a Madonna similar to 
 his Madonnas in Breslau and Strassburg, although 
 our panel is falsely signed with Bellini's name. 
 Of Marco Marziale, whose works are extremely 
 rare, there is a ** Circumcision of Christ," in half- 
 figures, which is exceedingly rich in colour. Jacopo's 
 son, Francesco Bassano, has a characteristic work, 
 " The Israelites in the Desert." A ** Cleopatra," 
 by Alessandro Varotari, called il Padovanino, and 
 a knight's portrait by his pupil Pietro della Vecchio, 
 show plainly their slavish, sometimes shameless imi- 
 tation of Giorgione and Tintoretto. 
 
 The " Three Graces," by the Bolognese Francesco 
 Primaticcio, is an attractive attempt at nude paint- 
 ing, in which we may detect the Raphaelesque in- 
 influence of grace and delicacy, which the artist 
 acquired through Giulio Romano. Primaticcio is, 
 however, best known as the founder of the 16th 
 century Fontainebleau school, after he had emi- 
 grated to France, where he died. 
 
 A few North Italians still remain to be considered. 
 The Veronese Domenico Riccio, called Brusasorci, 
 or the rat-burner — the name is difficult to explain 
 
XCbe Collection of Count Csernin 269 
 
 ' — was the first purely pictorial artist in Italy, not 
 so much in excellence as in point of time. We 
 often find in his work a way of handling contour, 
 mass, and surface, of grouping and co-ordinating, 
 even a dependence upon effects by brush manipu- 
 lations, that is as modern as the later works of 
 Tiepolo, or of some artists of to-day. This is 
 seen in a ** Christ crowned with Thorns," in this 
 room. 
 
 The sketchy "Adoration of the Shepherds,'' by 
 Bernardino Campi, of Cremona, and " Abraham's 
 Sacrifice," by Cesare Procaccini, are fair examples 
 of second rate artists. The same may be said of 
 a "John the Baptist," by Bartolomeo Schedone, 
 whose pictures are very rare, his best work being 
 in portraiture. We note also a " St. Sebastian," 
 by Guercino da Cento, an " Esther before 
 Ahasuerus," by Domenichino Zampieri, and an 
 " Adoration of the Christchild," by Battista Dosso, 
 in which Titian's influence is paramount. 
 
 The remainder of the space in this room is taken 
 by a few pictures of other schools. A scene de- 
 picting the " Horrors of the Plague " is by Nicolas 
 Poussin, and is somewhat florid in colouring. 
 Sebastian Bourdon, of whom we have two Biblical 
 subjects, followed in his landscape work more the 
 heavier style of Salvator Rosa. A small triptychon, 
 with the "Birth of Christ," ascribed to Lucas 
 
270 XCbe Hrt of tbe IDienna ©alleties 
 
 Cranach, is more likely by an imitator. An 
 " Adoration of the Christchild " is an exquisite 
 product of the charming Adam Elsheimer. 
 
 A variant of Rogier van der Weyden's " Pres- 
 entation in the Temple," now in the Munich 
 Pinakothek, is unduly marked with the great name 
 of Jan van Eyck. An attractive *' Girl Reading " 
 is by the unknown artist who goes under the name 
 of the Master of the Female Half -figures. The 
 " Ecce Homo," by van Dyck, dates from his Italian 
 journey and Titian's overwhelming influence. A 
 " Betrothal of Tobith," by Caspar de Grayer, is 
 an excellent performance by a man who may well 
 be ranked near to Rubens and Jordaens. He ex- 
 celled in the correctness of his drawing, while his 
 colouring is refined and tender. He avoided the 
 suspicion of superfluity and ostentation which some- 
 times adheres to the work of Rubens. 
 
 The last picture that attracts our attention is by 
 Gornelis Schut, a bright star who shone in the 
 Rubens constellation. His ** Holy Family " in a 
 wooded landscape is a vigorous, forceful present- 
 ment, although the figures do not possess the grace 
 and unction, nor any of the spiritual feeling which 
 we would associate with the subject. 
 
CHAPTER X 
 
 THE COLLECTION OF COUNT VON HARRACH 
 
 A SERIES of three galleries, with excellent top- 
 light, and a number of cabinets, contain the paintings 
 of the Harrach collection, which excels in the work 
 of Spanish masters. A number of paintings from 
 other schools are, however, of equal interest. 
 
 In the First Gallery we note an altarpiece, with 
 a Crucifixion on the centre panel, and saints on the 
 sidewings, which bears the unmistakable traits of 
 Quentin Massys — a less mystic and more realistic 
 presentation of the subject than had heretofore been 
 seen in Flanders. His great contemporary, Jeroen 
 Bosch, was even more realistic, as we note in one 
 of his most characteristic pieces, " The Entrance of 
 Hell/' This man had a most original conception of 
 the grotesque, which he applied to the portrayal of 
 the nether-world. His collection of imps, demons, 
 were-wolves, satyrs, witches, tricksies, and devils 
 is of the weirdest and most fantastic creation. 
 
 One of the most celebrated paintings of the 
 Harrach collection is " The Concert '' (Plate XLV), 
 
 271 
 
272 Zbc Hrt ot tbe IDienna (Balleries 
 
 by the Master of the Female Half -figures. These 
 maidens, two playing the flute and mandolin, and 
 accompanying the third in her song, are delicately 
 and gracefully presented, and form the finest known 
 work of this Flemish or lower Rhenish master. 
 
 Some of the early Flemish paintings here are a 
 " Baptism of Christ " and a '' Lamentation of 
 Christ," by Marten de Vos, one of the 16th century 
 Flemish painters who gave evidence of the natural 
 tendency of that school to fall under Italian thral- 
 dom. Indeed, the Flemish school was only tem- 
 porarily rescued from that fate by Rubens and his 
 circle, for after the Rubens period it finally suc- 
 cumbed to a complete loss of individuality. And 
 de Vos gives already indications of the loosening 
 of the bonds of nationalism. He truly followed 
 the later Italians, notably Tintoretto, in a striving 
 after contrasts of attitude and movement, although 
 he possessed an individual feeling for landscape, 
 which had local colour, and did not serve it in the 
 conventional way of his predecessors. 
 
 One of the fine flowerpieces for which Velvet 
 Breughel is famous forms the transition to the 17th 
 century, when for three score years the art of 
 Flanders had a truly national character. Of Jacob 
 Jordaens we note a powerful *' St. Christopher," 
 albeit a sketch, which has Rubenesque strength. 
 Equally savouring of the Rubens studio is an alle- 
 
MASTER OF 
 THE FEMALE 
 HALF -FIGURES 
 
 THE CONCERT 
 
 Plate XLV 
 
 Von 
 
 Harrach 
 
 Collection 
 
Ube Collection of Count von ibarracb 273 
 
 gorical presentation of the Genius of Painting 
 attended by Fame, from the brush of Frans 
 Francken the Younger. A contemporaneous copy 
 of one of the many Gallery-pictures which David 
 Teniers painted for the Archduke Leopold Wilhelm 
 is here. The original is in the private collection 
 of Baron Nathaniel Rothschild, of Vienna. We 
 must still note the '* Plundering of a House by 
 Robbers,'' by David Ryckaert III; a turbulent 
 marine, by Bonaventura Peeters; one of the Bac* 
 chanalian scenes in which Cornelis Schut was at his 
 best; and a fine fruitpiece, with grapevines, by 
 Jan Fyt. 
 
 The 17th century Dutch school is not strongly 
 represented in this room. Salomo Koninck and 
 Govaert Flinck, by whom we find portraits here, 
 were close imitators of Rembrandt. Michiel Sweerts, 
 who flourished in the middle of the century, has 
 an interior with card-playing peasants, in the style 
 of van Ostade. The strongest work is a Norwegian 
 landscape by Allert van Everdingen; while the 
 landscape with cattle, by Dirk van Bergen, has the 
 weakness of imitation, for he followed closely his 
 master, Adriaen van de Velde. We find also a 
 creditable marine by the rare Abraham Storck, and 
 a natura morte by Willem Claesz. Heda. 
 
 Three little-known Germans must still be men- 
 tioned. One is Georg Pencz, who worked under 
 
274 Ube Hrt of tbe IDienna Galleries 
 
 Diirer's influence. He illustrates an old story, in 
 which the daughter of Ugolino nourishes from her 
 breast her old father who is imprisoned and con- 
 demned to starvation. This painting is dated 1546, 
 and it is curious that sixty years later Rubens 
 painted the same scene under the title " Cimon and 
 Pera," which painting hangs now in the Ryks- 
 museum. A picture which bears the title ** Preach- 
 ing of Hieronymus Huss '' is by Jacob Seisenegger, i 
 a Viennese artist who slavishly imitated Titian. A 
 Bavarian artist of the 17th century, Hans Weiner, 
 who lived most of his life in Paris, has two small 
 allegorical compositions in the form of processions, 
 indicating War and Peace. 
 
 In a small cabinet leading from this gallery we 
 find some late Italian paintings, among which we 
 only note an " Adoration of the Shepherds,'' by 
 Jacopo Palma Giovine, in Tintoretto's style; and 
 a fine idealic landscape, by Francesco Albani, who 
 was from the school of the Carracci, and was ex- 
 ceedingly popular in his day, being called the Ana- 
 creon of Painting. This landscape contains a nude 
 figure, who is being spied upon by cupids hiding 
 among the trees and in the flowery sward as she is 
 about to recline on a couch, while in the distance 
 a youth rushes to and fro in search of his love. 
 
 The Second Gallery is devoted to Italian and 
 French artists. Besides a number of school-pictures 
 
xrbe Collection of Count von Ibarracb 275 
 
 we find a small " Madonna/' by Ghirlandajo's pupil 
 Domenico Puligo. A large ''Adoration of the 
 Christchild '' is by Messer Niccolo, as Niccolo dell' 
 Abbate was called. This artist worked, about 1550, 
 under Pellegrini, but accompanied Primaticcio to 
 France, where he died. The clever imitator of 
 Correggio, Girolamo Bedoli-Mazzola, of Parma, has 
 a smoothly painted Madonna with the Child and the 
 little John, in which the artist's characteristic affec- 
 tation in drawing the figures and the expression of 
 the faces must be observed. 
 
 By Marco Basaiti, the rival in Venice of Giovanni 
 Bellini, there is a small Madonna, which indicates 
 the transition of the best of the ISth century to 
 the High Renaissance of the 16th. His simplicity 
 and grace are charming; his colouring, both in 
 figure and landscape, is clear and brilliant. 
 
 But the 16th century is but poorly shown here. 
 The *' St. Magdalene," by Girolamo Muziano, of 
 Brescia, has all the qualities of his provincialism, 
 and may be regarded as an echo, and truly a faint 
 one, of Titian. The large ceiling painting, depicting 
 the " Temptation of St. Anthony Abbas," by 
 Domenico Tintoretto, clearly proves the folly and 
 futility of attempting what is beyond one's strength. 
 It is patent that the artist sought to emulate his 
 father's grandiose conceptions, in which he signally 
 failed. There is a lack of balance, an unsatisfying 
 
276 XTbe art of tbe IDfenna ©alleries 
 
 dismemberment of the composition, and a conspicu- 
 ous defect in fore-shortening of which the older 
 man would never have been guilty. Some critics, 
 nevertheless, enthusiastically give this painting to 
 Jacopo, which, to say the least, is an insult to the 
 memory of his great talents. 
 
 The younger Palma was of the same type as the 
 younger Tintoretto, and his " Pieta,'' with a num- 
 ber of figures, although ambitious, only recalls the 
 great masters and displays the weakness of the 
 artist. A Carlo Maratta, ''Rest on the Flight to 
 Egypt,'' and several compositions by Solimena 
 further declare the character of late Italian work 
 in its pleasing but truckling aspect. The archi- 
 tectural painter Giovanni Paolo Panini has a well- 
 drawn view of Roman ruins. The 18th century 
 artist Pompeo Batoni has a tame performance in 
 his *' Susannah and the Elders.'' He was far 
 better in his portraiture. 
 
 There are several good works among the French 
 paintings in this Gallery. The great landscapists 
 Nicolas and Gaspard Poussin and Claude Lorrain 
 are represented by excellent works, which indicate 
 eyes opening to the beauties of nature, although 
 still bound by classic traditions. Laurent de la 
 Hire, the protege of Richelieu, displays his allegiance 
 to the Italian art of the previous century, and this 
 is also evident in the " Massacre of the Innocents," 
 
Ube Collection of Count x>on Dattacb 277 
 
 by Eustace le Sueur. Jacques Courtois leaned more 
 towards Rubens, both in colour and energy of draw- 
 ing, as noted in his '' Battle with the Turcs/' 
 Frangois de Troy was a portrait painter of aristo- 
 cratic mien, whose portraits of men, hanging here 
 on both sides of the door, have elegance and grace. 
 He was even more pleasing as a women's painter. 
 
 Claude Joseph Vernet was as sincere in his land- 
 scape and cattle painting, of which we find two 
 examples, as Chardin was in genre. These two 
 men formed the transition in French art from the 
 Watteau and Fragonard period to the classicism of 
 David and Ingres. We must yet note a " Holy 
 Night," by Anton Raphael Mengs, the father of 
 German classicism, who, being an Italianised eclectic, 
 knew beauty only at second hand. 
 
 The Third Gallery offers a few more examples of 
 the later Italians, notably of Lodovico Carracci, 
 Michelangelo da Caravaggio, Salvator Rosa, and 
 Canaletto. The most interesting paintings, how- 
 ever, are the Spanish pictures we meet here. 
 
 A Spaniard by adoption was Bartolomeo 
 Carducho, who painted much in the Escorial. 
 His Tuscanian training of expressiveness is com- 
 bined with the racial trait of deep colouring in a 
 *' Crowning with Thorns.'' Francesco Pacheco, the 
 first noted painter of the Andalusian school, of 
 which Murillo was to become the greatest ornament, 
 
278 Ube Hrt ot tbe IDtenna ©alleries 
 
 is seen here in a temple- festival dedicated to Venus. 
 It has less of the general ascetic feeling that per- 
 meates early Spanish art, and plainly points to the 
 source whence his greatest pupil and son-in-law, 
 Velasquez, drew his feeling for humanism. 
 
 The noblest works here are by Joseph de Ribera, 
 lo Spagnoletto, the artist of Valencia. The best 
 one of the half dozen examples is the portrait of a 
 man, holding a golden goblet. When still a youth 
 Ribera arrived in Italy where he was fascinated 
 by the style of Caravaggio. On his return to Spain 
 he introduced the violent illumination of the Italian, 
 and his intense realism, which sometimes betrays 
 a sort of instinctive ferocity. It found a congenial 
 soil, and it cannot be denied that the influence which 
 Ribera exerted has never been quite lost, and may 
 be traced, through Goya, to Zuloaga and other 
 modern Spanish painters. Ribera took pleasure in 
 the rendering of martyrdoms, of beggars, and old 
 men with deep wrinkles. But his types are nobler 
 and his drawing is better than in the work of the 
 Neapolitan master. 
 
 We may pass hastily through the cabinets running 
 along the left side of these galleries, where we find 
 a diversified assortment of smaller paintings from 
 various schools. We must halt, however, in the fifth 
 cabinet to note an exceedingly rare little panel from 
 a 17th century Spanish painter, Juan de Cordua. 
 
XTbe Collection of Count von ftattacb 279 
 
 This old woman weighing coins is painted with the 
 care and deHcacy for which some of the Dutch 
 Little Masters are noted. 
 
 A small room at the end of the third gallery 
 contains the jewels of the collection, from which we 
 will first select the Spaniards. Truly the most 
 impressive are the two life-size royal portraits, by 
 Juan Carrefio de Miranda. One is a portrait of 
 Charles II, the last of the Habsburg Kings, in regal 
 robes and Spanish hood, the crown lying on a table 
 at his side. It is a dignified, if not forceful pre- 
 sentation. The other portrait is of the widow of 
 Philip IV, Donna Maria Anna of Austria, in the 
 dress of an abbess. The first impression of this 
 spectrelike appearance is startling. Her white bod- 
 ice is completely enveloped by the long black robe; 
 and the pale, delicate face, bandaged with white, and 
 surrounded by the heavy black veil that reaches 
 down to the feet, peers out with a sad expression. 
 But gradually the refinement of the features and 
 the stately dignity of the pose, as well as the kindly, 
 though sorrowing look, awaken human interest, and 
 we gaze with sympathy on the image of one whose 
 life was sad, and who sought peace in ascetic devo- 
 tion. Carrefio was one of the 17th century Spanish 
 artists who followed more the gentle style of his 
 contemporary, Murillo, than the more forceful ex- 
 pression of Ribera. His was grace of thought and 
 
28o XCbe art of tbe 1J)fenna Oallcvics 
 
 knowledge of execution. The tenderness and 
 suavity of his colour he owed more to the study 
 of van Dyck than to the all-pervading influence of 
 Velasquez. He ranks in the special direction of his 
 talents surely next to Murillo. 
 
 Of this latter master there are no examples here. 
 Two works, attributed to him, a " Crucifixion '' and 
 a biblical presentation of Esau selling his birthright 
 to Jacob, may scarcely be connected with his name. 
 Equally dubious is the ascription of the portrait of 
 a bishop to Zurbaran. The work is too insignificant 
 to have come even from this weak imitator of 
 Caravaggio. 
 
 The earliest portrait here is also the finest work 
 in Vienna by its author, Alonso Sanchez Coello, who 
 was called the Portuguese Titian. This is a por- 
 trait of Queen Isabella. It is regal in appearance, 
 rich in colour, and with brilliant light-effect. 
 
 The place of honour is given in this Tribuna to 
 a portrait of a four years old Infante, by Velasquez. 
 The child stands at the side of a velvet-covered 
 table, his little pet-dog nestling on the floor at his 
 feet. A hilly landscape is seen on the right. 
 Although parts of this painting must be conceded 
 to be students' work, we cannot deny the master's 
 own hand in the wonderful vitality of the little head 
 with its sparkling eyes. Nearby hangs the bust por- 
 trait of a young man, in a simple doublet with 
 
XCbe Collection of Count von Ibatracb 281 
 
 Spanish lace collar, which is an early work of the 
 great master. 
 
 Of the later 17th century painters we find still 
 a strong and energetically composed battlepiece by 
 the great painter of battles and seascapes, Juan de 
 Toledo, who had studied in Naples and Rome. A 
 small panel by Juan de Alfero y Gomez, of Cordova, 
 depicts a man kneeling before a crucifix. This 
 pupil of Velasquez was unfortunately always care- 
 less in his design, but excelled as a colourist. The 
 greyish olive tone of this little picture is exquisitely 
 charming. 
 
 The remaining choice pictures in this Salon 
 Carre are from various schools. An important work 
 is by Bernardino Luini. It represents St. Jerome 
 at the entrance of his cave, kneeling on one knee, 
 and gazing in adoration at an ivory crucifix which 
 he holds in his left hand. His elbow rests on a rock 
 that serves as a table, on which an open book directs 
 the saint's devotions. A beautiful landscape, bathed 
 in sunlight, stretches to the background on the left 
 of the picture. The figure of the saint comes out 
 in strong illumination against the dark mouth of 
 the cave. The work is important because it demon- 
 strates in the most characteristic manner the exact 
 artistic standard of the artist. It is gentle, sweet, 
 attractive, but it lacks intellectuality of presentation 
 which is vapid and commonplace, and bores by its 
 
282 Zbc art of tbe IDienna ©allerfes 
 
 lack of suggestiveness. Luini was a painter of 
 prettiness — which is the worst that can be said 
 of any painter. 
 
 The great name of Rembrandt is affixed to a 
 strong work of his last years. It shows an ** Old 
 Man Praying," and is signed and dated 1661. The 
 old man, with thick grey hair and large grey beard, 
 wearing a full greyish violet mantle, sits with half- 
 closed eyes before a large book that lies open on the 
 table. The figure is life-size, half-length, and is 
 broadly painted with all the characteristic light- 
 effect. The painting came originally from Schloss 
 Rohrau, and has been fully accredited and listed 
 by Bode in his work on Rembrandt (Bode No. 594). 
 
 The portrait of a noble lady, the niece of the Duke 
 of Nivernois, bears equally the stamp of Rembrandt, 
 although it is one of the least pleasing of his female 
 portraits. Despite the beauty of light and rich- 
 ness of colour there is a certain stiffness in the 
 attitude which is distinctly disagreeable. Neither 
 is the face in its supercilious, proud expression very 
 attractive. 
 
 Connected with the art of Rubens, if not by his 
 own hand, is a group of nine heads of outlandish 
 people — moors and cossacks. A sketch of a 
 *' Lamentation of Christ '' bears the characteristics 
 of van Dyck, but it is not important. The portrait 
 of a lady, looking down, in sumptuous costume with 
 
Ube Collectton ot Count von Ibarracb 283 
 
 lace collar, formerly ascribed to van Dyck, is by 
 the far more sincere portrait painter Cornelis de 
 Vos. A good male portrait is by Frans Pourbus, in 
 his exact style and painstaking method; and the 
 profile of an old woman, by the Utrecht painter 
 Abraham Bloemaert, serves as a good pendant, 
 for it is equally stilted. A few early pictures, for 
 which names like Gerard David, the Master of 
 Flemalle, and Bernard van Orley are suggested, 
 are interesting examples. 
 
 We find here also a typical early German 
 portrait by Bartholomaeus Zeitblom, the most im- 
 portant artist of the Ulm school. This lean, beard- 
 less man is typical of the characters this simple, 
 straightforward painter was in the habit of drawing. 
 One of Holbein's contemporaries, Christopher 
 Amberger, a vigorous and penetrating portrait 
 painter, is the author of a portrait of an elderly 
 man with a long beard. 
 
 The portrait of Count Ferdinand Bonaventure 
 Harrach, to whose connoisseurship we owe the best 
 part of this collection, is by Hyacinthe Rigaud, the 
 court-painter of Louis XIV. It is an impressive 
 performance, with its ponderous, curly wig and fine 
 lace jabot. The features, also, are painted with 
 greater vigour and more expressiveness than Rigaud 
 was wont to bestow, making this an exceptionally 
 good work. 
 
CHAPTER XI 
 
 THE COLLECTION OF COUNT SCHONBORN-BUCHHEIM 
 
 In the stately old palace of Count Schonborn, 
 in Alt Wien, we find the collection of his paintings 
 displayed in three large, richly furnished salons. 
 The crowded condition of the walls — the room 
 is fifteen feet high and the paintings reach to the 
 ceiling — and the poor light from windows that 
 open upon a narrow street, interfere with the close 
 examination and unalloyed enjoyment of a number 
 of the paintings that are worthy of a better fate. 
 We will select the most important canvases for 
 our study. 
 
 In the First Salon we note an immense canvas 
 that gives an allegorical presentation of the gods 
 of the sea. Neptune, Amphitrite, and many other 
 aqueous deities display before Mercury and Amor 
 the riches of the ocean's depths, fishes, pearls, 
 corals and numberless sparkling treasures. Women, 
 representing the nations that draw their wealth 
 chiefly from the waters, especially the rich inhabit- 
 ants of the city of Antwerp, bear witness in this 
 
 284 
 
Scbbnbotn^^Bucbbeim Collection 285 
 
 opulent scene, such as the fertile fancy and exu- 
 berant brain of a Rubens might have invented. It 
 may, therefore, v^ell be regarded as a masterpiece 
 of its author, Jacob Jordaens, v^ho made the design 
 and painted the figures, while the still-life and fur- 
 ther accessories were painted by Jakob van Es. 
 
 A painting by Ferdinand Bol, " Hagar being 
 comforted by the Angel in the Desert,'' is a master- 
 piece of this pupil of Rembrandt, who is better 
 known as a portrait painter. Unfortunately he 
 changed his style in his later years by mistakenly 
 following Rubens. There is, however, no evidence 
 of this in the picture before us, which excels in 
 chiaroscuro. A large landscape is by Jan Wynants, 
 truly realistic in its natural appearance. It is of 
 the artist's latest years and, although not remarka- 
 ble in colour, impresses one by its light-effect and 
 aerial perspective. A company of ladies and gen- 
 tlemen consulting a gypsy fortune-teller is a viva- 
 cious tableau by J. A. Duck. 
 
 The early Dutchman, Maarten van Heemskerck, 
 made the Italian journey in middle-age, and de- 
 voted himself especially to the study of Michel- 
 angelo. The mythologic and classic subjects which 
 he thereafter produced were never popular in 
 Holland, and have all been dispersed away from 
 his native country, with the exception of one in 
 the Ryksmuseum. A fine example here depicts a 
 
286 Ube Hrt of tbe Dienna Oalleries 
 
 Roman landscape, with the temple of Saturn in 
 the Forum and the Flavian Amphitheatre. 
 
 Although Jacob Gerritsz. Cuyp is known in the 
 Netherland galleries only as a portrait painter, he 
 also essayed the rich, colourful life of nature, and 
 frequently loved scenes of stirring activity. Such 
 a one we find in the large cavalry battle ascribed 
 to him, which, despite its narrow colour-gamut — 
 only brown and yellow tones — still has a scintilla- 
 ting glow. Another military piece is by Esaias van 
 de Velde, who pictures the " Siege of s'Hertogen- 
 bosch by Prince Frederik Hendrik.'' It has an 
 intimate, local atmosphere, of picturesque setting. 
 Two portraits, said to represent the Electors of 
 Saxony of the Reformation period, Frederick the 
 Wise and Johann Frederick, were painted by Lucas 
 Cranach, the Elder. 
 
 The Second Salon offers equal variety. One of 
 the most attractive paintings in the collection is a 
 "St. Catharine" (Plate XLVI), by Carlo Dolci. 
 Although this artist's work generally cloys by being 
 oversaturated with sentimentality, we find in this 
 beautiful work the great skill of the painter assert- 
 ing itself sufficiently to overcome his customary 
 weakness. The perfection of its craftsmanship, of 
 its drawing, its light-effect, and the wonderful 
 colour harmony of the blue and purple shot-silk 
 dress, is heightened by its grace and charm. A 
 
Scbonborn^'JBucbbefm Collection 287 
 
 half-length figure of Diana belongs to the same 
 eclectic school, and is supposed to be the work of 
 Guido Reni. A view of Konigstein in Saxony, 
 charming in its architectural construction and har- 
 monious colouring, is by Canaletto. 
 
 Branching off to the German school we meet 
 with a splendidly painted portrait of a man, by 
 Hans Holbein the Younger. The strongly marked 
 features give it an individual expression, while the 
 fur-bordered black cloak, lighted up with the collar 
 of a white shirt, the sea-blue background and the 
 deep-green table cover form an harmonious com- 
 bination. 
 
 Then we pass again to the Dutchmen, and find 
 two genres in the punctilious method which Dou 
 first introduced. The one by Kaspar Netscher is 
 a rather unusual composition for Protestant Hol- 
 land, for we see a woman kneeling before an altar 
 on which stand a crucifix and sacred cup. She is 
 deeply engrossed in passing her beads. In the 
 distance a priest and two deacons are seen cele- 
 brating the mass. Only from internal evidence — 
 its fine brush-work, colour and drawing — can we 
 give this little panel to its reputed author. A 
 " Surprised Letter-writer '' is by Gabriel Metsu, 
 and is painted with a precise but not finical brush, 
 which lovingly lingered over the textures of a gown 
 and table-carpet. We are also able to see two good 
 
288 Zbc Btt of tbe IDfenna Oalletfes 
 
 portraits of men by Jacob Gerritsz. Cuyp, whose 
 battlepiece we have already admired in the first 
 room. A magnificent river view of the Maese, 
 near Dordrecht, by Jan van Goyen, has the full 
 stretch and sweep of landscape with hazy atmos- 
 phere for which this master is noted. It puts the 
 '' Storm at Sea," by Ludolf Backhuyzen, the later 
 marine painter, on a much lower plane. 
 
 The only Flemish picture of note here is a mas- 
 terpiece by Gonzales Coques, a creditable follower 
 of van Dyck. His usual " polite conversation " 
 pieces cannot compare, however, with the serious 
 portrayal of this scholar sitting in his much-littered 
 study. Although manifestly a portrait, we are 
 most attracted by the careful painting of the de- 
 tails and accessories. 
 
 The Viennese certainly appreciated the Breughel 
 family of painters, for as we enter the Third Salon 
 we stand before a masterpiece of Jan Breughel the 
 Elder, called Velvet Breughel. That velvety touch, 
 which gave him his cognomen, lies over all this 
 crowded '* Village Kirmess." Throngs of people 
 swarm upon the square before the church and to- 
 wards the river brink. Gay parties are setting 
 out in boats. The stream, meandering in sinuous 
 curves through the meadows, is lost in the dis- 
 tance, but gleams like a band of gold in the bright 
 rays of the sun. The bluish tone, peculiar to this 
 
ScbonbornssJBttcbbeim Collection 289 
 
 artist, enhances the brilHancy of the colours with 
 a harmony both suave and striking. 
 
 A splendid sketch of the head of a bearded man, 
 by Rubens, must have served as a study for one 
 of the heads that appear in the '* Lion Hunt '' of 
 the Dresden Gallery. A '' Holy Family,'' by van 
 Dyck, bears strong traits of Titian's influence. 
 The Child in its mother's arms refuses for a mo- 
 ment the breast, as it listens to the voices of the 
 cherubs that flutter in the sky. Joseph looks with 
 astonishment from the book which he has been 
 reading. The tone of the beautiful blue mantle 
 around the shoulders of the Madonna is that which 
 van Dyck most .favoured during this middle period 
 of his career. 
 
 Adriaen Brouwer has here one of his inimitable 
 surgical operations, where the grotesque sufferings 
 of the patient conduce more to hilarity than sym- 
 pathy. A " Picture Gallery," by Frans Francken, 
 is in the style of Teniers. A beautiful interior of 
 the Antwerp cathedral, with all its architectural 
 magnificence, is, of course, from the brush of 
 Pieter Neeffs. A group of interiors by the Dutch 
 genre painters forms an historical chapter of social 
 life. Gerard Dou has painted the dark study of 
 an astronomer peering over his world-globe. The 
 only illumination is the light of a candle, with the 
 same marvellous, revealing shadows as seen in the 
 
290 xrbe Hrt of tbe IDienna ©alleries 
 
 master's famous *' Evening School," in Amsterdam. 
 As a pendant serves the *' Laboratory of an Alche- 
 mist," by Thomas Wyck, who in his interiors re- 
 tained the national characteristics of sincerity and 
 truthfulness, but whose landscapes were thoroughly 
 Italianised. Another interior by Wyck shows a 
 peasant family at dinner, and is a genuine portrayal 
 of the life of the people. 
 
 Two of Don's pupils contribute to make the tale 
 varied. Pieter van Slingelandt, of whom it was said 
 that he spent four years to paint a lace jabot, has one 
 of his rare works here. It relates the comedy of a 
 dragoon, quartered in a farmhouse, who makes love 
 to the buxom dairy-wench, at which the old peasant 
 shuts his eyes, but which greatly excites the young 
 swain who seeks to protest against such familiarity. 
 The mechanical finish and conventional attitudes are 
 not refreshing. Some beautiful landscapes and ma- 
 rines are to be noted from Jan van Goyen, Cornelis 
 Herman Saftleven, Julius Porcellis, Hendrik Dub- 
 bels, and two early works by Jacob van Ruisdael. 
 
 The finest work of the collection is a masterpiece 
 by Rembrandt. This is the famous '' Blinding of 
 Samson," of which the Cassel Gallery possesses a 
 good old copy. The painting is a marvellous ex- 
 ample of Rembrandt's chiaroscuro, with its play of 
 light and shadow, in which dark waves, shaded, 
 deepened, thickened, revolve around bright centres 
 
Scbonborn:*Bucbbeim Collection 291 
 
 which are thereby made to appear more distinct and 
 radiant; and yet, in which the darkness is trans- 
 parent, the half-darkness easy to pierce and even 
 the heaviest colours have a sort of penetrability 
 which prevents their being black. An unseen torch 
 throws the figure of the soldier in the foreground 
 in strong silhouette, as he holds the blinding iron. 
 That torch casts also a bright light over the form 
 of the fiercely struggling Samson who has been 
 pulled down backwards with his assailant under him. 
 In the receding light other soldiers are seen attacking 
 the giant; and Delilah is fleeing out of the tent 
 still holding the shears wherewith she has shorn 
 Samson's head, whose hair she waves before her. 
 The faint glimmer of the dawn illuminates the back- 
 ground through the open tent-flap. There is no 
 ambiguity in the just allotment of the light, as it 
 touches with flickering brilliancy the parts it strikes, 
 while leaving the corners in a darkness that still re- 
 veals. The passion on the faces of the soldiers, the 
 fierce, mocking triumph of the vampire, the horrible 
 agony on the distorted features of the lost giant, 
 are intensely dramatic. It is one of the most power- 
 ful paintings the master has ever produced. 
 
CHAPTER XII 
 
 THE COLLECTION OF MODERN PAINTINGS IN THE 
 LOWER BELVEDERE 
 
 The paintings displayed in the tier of chambers 
 on the groundfloor of the lower Belvedere are all 
 by 19th century artists, the majority Viennese. A 
 goodly portion of other modern work is also shown, 
 which makes the Gallery well worth visiting. The 
 rooms run the entire length of the groundfloor of 
 the building, five to the left of the entrance vesti- 
 bule, and three larger ones to the right. 
 
 The First Room on the left is entirely devoted 
 to Viennese artists. *' Laufenburg on the Upper 
 Rhine " is by Gustav Schonleber, a landscape and 
 architectural painter. Theodor von Horrmann has 
 a " Winter in Znaim " and a " Harvest scene '' ; 
 and Jan Preissler a fine marine, entitled " The 
 Black Sea." The Viennese landscape painters of 
 the 19th century were excellent craftsmen, but all 
 seem to have had a common self-sufficiency, a habit 
 of being satisfied with moderate attainment of an 
 accepted, conventional formula. Scarcely ever do 
 
 292 
 
/IDobetn ipaintfngs 293 
 
 we find any searching for new light, until in the 
 last two or three decades of the century the Seces- 
 sion movement, sweeping over Germany, also stirred 
 a few of the Danube artists to strive for stronger 
 colour-effects. 
 
 The same condition prevailed among the figure 
 painters, clearly demonstrated in the anecdotal 
 *' Tailorshop,'' by Walther Piittner. In genre, 
 however, we find a few touched by Zolaesque real- 
 ism, which delighted in the rugged, oft coarse and 
 brutal presentation of human nature and the human 
 form. This later development we note in " The 
 Icemen," by the Austrian Karl Mediz. 
 
 On an easel in the corner stands Bocklin's por- 
 trait of Lenbach, a powerful characterisation, 
 painted with all the magisterial sweep which was 
 at the master's command. But we will consider 
 this one of the greatest artists of modern times 
 more fully later on, when we stand before one of 
 his masterpieces. 
 
 The Second Room also contains Austrian paint- 
 ings. A life-size portrait of Emperor Francis 
 Joseph I is by the Hungarian K. Pockwalszki. W. 
 List and W. F. Jaeger have peasant scenes. The 
 self-taught Bohemian artist, Josef Piittner, excelled 
 in marine painting, and his '' Storm and Shipwreck 
 at Cape Horn '' is a fair example of a second-rate 
 artist Albin Egger-Lienz presents "After the 
 
294 XCbe Hrt of tbe IDienna (Balleries 
 
 War, Tyrol 1809/' where the old men who have 
 served in the Landstarm are returning home. It 
 is a typical Defregger picture, with somewhat 
 broader treatment. Of late years this artist has 
 fully been inspired by the Secession spirit and his 
 most recent works are powerful, almost titanic 
 demonstrations of decorative force. 
 
 Several watercolours are found here of Rudolph 1 
 Alt — quite a strong man who had good Hght- 
 effects and was very successful in perspective. This . 
 is to be seen in a view of the " Church of St. 
 Stephan " of Vienna, that wonderful old Gothic 
 monument; and also in a view of the ** Public Gar- 
 dens of Venice.'' 
 
 There is more of interest in the Third Room. 
 We may quickly pass the " Fruitmarket in Vienna," ] 
 by K. Moll, the strongly Frenchified performances 
 of Emil Jacob Schindler, and the more Germanic 
 pictures by August von Pettenkofen. 
 
 The healthiest in practice of the middle-century 
 painters was Moriz von Schwind. He was a na- 
 ture painter, who loved to people his enchanted 
 woods with fays and elves, sprites and gnomes and 
 goblins, with a warmheartedness that showed how 
 seriously he took the fantastic creatures of his 
 brain. Such fanciful conceits we find here in his 
 '* Nimper Nip," in the " Fairy Rounddance," and 
 where the mountain sprite " Riibezahl " wanders 
 
/IDo&ern paintings 29s 
 
 lonely through the rocky glenn. Schwind was the 
 sworn enemy of the purely literary Dusseldorf 
 school, whose art he called '' blind grovelling/' 
 There was more of poetic imagination in his work 
 than in that of the platitudinous transcribers of 
 other men's thoughts. Thus his wooded landscapes 
 are more felt, more loved, than observed, although 
 still saturated with nature's breath. The early 
 morning sun-ray breaks through the light green of 
 the young beeches, and gambols from twig to twig, 
 and changes into diamonds the glistening dew- 
 drops, and into gold and precious stones the brown 
 beetles that seek to hide under the grey moss. 
 
 Josef Danhauser also was an independent spirit. I 
 When German art was bound by its literary shack- 
 les, and even the literary criterion by which art 
 was measured was circumscribed by the doings of 
 polite society, Danhauser was one of the first to 
 consider the picturesque life of the common people. 
 The affairs of a pastor or a schoolmaster had been 
 considered the lowest limits of an artist's world, 
 and when Goethe wrote Hermann and Dorothea it 
 was taken quite ill that he would concern himself 
 with the fate of an apothecary and an innkeeper's 
 daughter. But Danhauser, Ludwig Richter, and 
 later Ludwig Knaus followed his example and 
 popularised democracy. Danhauser's " Maternal 
 Love" is an instance of this modernity. We may 
 
296 xrbe Hrt ot tbe Dienna (Ballertes 
 
 also detect therein already a modern feeling for 
 light and colour. 
 
 Three foreigners are further shown in this room. 
 The example by Laurens Alma Tadema is one of 
 his classic compositions of minute finish. The cruel 
 Fredegunde plays here the heroine. Tadema is the 
 learned commentator on tales of antiquity which 
 he depicts with scrupulous care. He combines the 
 results of his scholarly investigations with an 
 artistry of deep dramatic intent, and a mise-en- 
 scene which, whether Greek, Egyptian or Roman, 
 always gives the impression of being true to the life 
 of the period. A Frisian by birth, Alma Tadema 
 has gone back to the technique of his forbears, Dou, 
 Terborch, and has added thereto a modern con- 
 ception of decorative colour-scheme which is aston- 
 ishingly attractive. His skill in painting marble is 
 especially renowned. 
 
 The full-length portrait of a woman, by Eugene 
 Carriere, possesses this French painter's character- 
 istic of what may be called a fluid atmosphere, 
 which seems to drown the figure in the diffused 
 glory of a twilight that enhances its melancholy. 
 It is a mannerism that has been highly appreciated 
 by minds that lean towards mysticism — spiritual- 
 ism, perhaps — who have raised Carriere on a high 
 pedestal; but it is a mannerism for all that. It 
 has been stated that the artist was preoccupied with 
 
/Ro&etn paintings 297 
 
 a spirit of reaction against Pleinairists and their 
 abuse of the functions of Hght in making abstrac- 
 tions of soHd realities. This shows that Carriere 
 fell into exactly the same error, from the other 
 extreme, for his figures are more like abstractions 
 of realities than were ever conceived by the most 
 extreme Luminist. 
 
 Two of the latest additions to this collection are 
 a magnificent figure piece, and a portrait of Don 
 Miguel de Segovia, both by Ignacio Zuloaga. In 
 these days of denationalising art it is stimulating 
 to stand before the work of one who may be called 
 a classic Spaniard. Not that Zuloaga is narrow 
 in his conceptions. He has studied and painted in 
 Italy, he has dipped into light-baths of the ultra 
 French movement, but he always returns to Spanish 
 subjects to paint them in the style which is the 
 heritage of Ribera and Goya. His work has 
 reached the absolute unification of technique, senti- 
 ment, and subject. These subjects are studied 
 with a penetration and a power which is unfor- 
 getable. The puissant types which he depicts evolve 
 a race — an isolated, mysterious, a somewhat in- 
 comprehensible race — with an exceptional reality 
 and picturesque characterisation. Thus his por- 
 traits are of the soil as well as the reflex of the 
 sitter's soul. To associate Zuloaga's name in any 
 way with Velasquez is a fundamental error. In 
 
298 XTbe Hrt ot tbe IDienna Galleries 
 
 no way is he in sympathy with the clearer light 
 of the great Castilian who was the forerunner of 
 the French Pleinairists. By rights he must claim 
 descent from the richer contrasts of the more 
 southern school of Valencia, and through it from 
 Caravaggio. 
 
 In the Fourth Room we may quickly pass by 
 a few canvases, still worth noting. " Children at 
 Play " is by August Roth, and H. J. E. Evenepoel 
 depicts the close of day, with toil-worn figures 
 trudging along the road. Rudolf Backer has a 
 meritorious portrait of two women. The " Last 
 Morning of a Condemned," by Karl Schindler, is 
 a dark picture of opaque colour that looks like a 
 begrimed old canvas. Still there is deep feeling 
 and excellent drawing in this scene. Leopold 
 Muller, a genre and landscape painter, made a great 
 reputation as an illustrator for the Vienna Figaro. 
 His types *' Old Little Matron'' and "Last Task 
 of the Day '' go back to his illustrative period. 
 His *' Modern Sphinx Judgment '' glows with all 
 the colour of the Orient. 
 
 This room may properly be called the Makart 
 Room. We find here a fine ceiling decoration by 
 this famous Viennese artist, Hans Makart. This 
 can, unfortunately, scarcely be seen in the poor 
 light. A portrait of Charlotte Wolter, the leading 
 actress of the time at the Vienna Burgtheatre, in 
 
/IDo&etn paintings 299 
 
 the character of MessaHna, is a reaHstic and im- 
 pressive document. The important exhibit is the 
 series of five long, narrow panels on which nude 
 female figures symbolically represent " The Five 
 Senses." These panels are known all over the 
 world through reproductions, and they may be 
 considered the most typical presentments whereby 
 the art of Hans Makart can be judged. 
 
 We note, then, that Makart was a sure observer, 
 a splendid draughtsman, and a thorough master of 
 his craft. His one desire seems to have been to 
 represent beauty in form, which he thought to find 
 to perfection in the female nude, which made him 
 the German Bouguereau. He painted the nude 
 for its beauty of colour, the softness of the muscles, 
 the transparency and reflection of the limbs. His 
 art was utterly devoid of literary objectiveness, its 
 thought is only a transparent mantle around the 
 main object, which is the painting. In this he was 
 the direct antithesis of a Dusseldorf painter, who 
 first considered the story, and then sought to clothe 
 it ; caring more for the meaning than for the man- 
 ner in which the tale was told. 
 
 All this may be said in praise of the art of 
 Makart, and yet it fails to place him among the 
 masters, for with all the superficial attractiveness 
 of his compositions — and we may well think here 
 of his equally famous " Entry of Charles V into 
 
300 XCbe Htt of tbe IDienna (Ballertes 
 
 Antwerp," and his " Diana's Hunting," in the 
 Metropohtan Museum — there is an evident lack of 
 sincerity in his work. In these five figures before 
 us the treatment of the forms is too Hteral, too 
 descriptive, rather than ideal. We do not catch 
 on these figures the accidental gleams and shades 
 of light simmering through the interstices of green 
 foliage — they bloom in an absence of light, of 
 atmosphere, with very sweet and pretty pinks of 
 impossible fieshtints, and a conventional background 
 of formless green made to represent shrubbery. 
 These nymphs are prettily sentimental, faultily 
 faultless, vacuously peaceful — but they also lack 
 the vigour of line which gives life; and the smooth- 
 ness of their demarkation makes these forms flaccid 
 and limpid. 
 
 Nor can we be quite satisfied with the colour of 
 these figures. These porcelain models look all 
 alike — soap, rouge and cold cream. In fact, the 
 efTect before us suggests that before the artist 
 painted this model, she painted herself, and that in 
 all her nudity she seems at least to be sufficiently 
 protected never to be afraid of sunburn or freckles. 
 
 We need not consider the attacks that have been 
 made on the art of Makart on moral grounds — 
 aside from the fact that specialists in morals are 
 not generally authorities in art. The art of Makart 
 IS sensuous in the extreme, yet a fine distinction 
 
/IDo^ern paintings 301 
 
 must be drawn from the sensual. However sen- 
 sual his life may have been, his art can never be 
 stigmatised as the expression of objectionable 
 motives. 
 
 The majority of the paintings in the last RoorOj 
 of this wing are works by Ferd. George Wald- 
 miiller, who was in sympathetic accord with Dan- 
 hauser. The portraits painted by Waldmiiller 
 look quite old-fashioned, and the figures in the 
 " Monks ' Supper '' are reminiscent of Dusseldorf 
 — Griitzner painted such subjects with greater 
 unction and humour. In the " Ruins of Schon- 
 brunn '' we find, however, a creditable attempt at 
 the painting of free sunlight, which makes the pic- 
 ture very attractive. A fruitpiece, also, has all 
 the depth of romantic colour. 
 
 After again traversing these rooms we enter 
 those on the right of the main entrance, where we 
 find a great deal that is of surpassing interest. 
 
 Room VI presents a half score of pictures, ran- 
 ging from the pure realism of Courbet to the su- 
 preme idealism of Monet, Bocklin, and Segantini. 
 We halt first before a large landscape by the French 
 realist. The trees, rocks, verdure and sky are 
 painted with that strong savour which Courbet felt 
 and reflected so intensely. With a naturalism that 
 has no vestige of ideality he paints the solid earth, 
 physical, actual, prosaic, in all brutal frankness. 
 
302 Zbc Hrt of tbe iDtenna ©alleries 
 
 No modern painter makes one feel more intensely 
 the crisp breath of mountain air, or makes one 
 hark so keenly to the crackling of the swaying 
 boughs. 
 
 The very antithesis to this realistic presentment 
 of nature is Hans Thoma's idealistic " Landscape 
 from Parsifal/' which wins you with its delightful, 
 almost childlike freshness. Thoma was not always 
 so attractive in his composing, and, at first, his 
 pictures were by no means beautiful. They lacked 
 the principle of great art which, while it records 
 what is ungainly or even ugly in nature, only uses 
 this as a proper foil, and directs the eyes and 
 thoughts to what is most perfect in her. In 
 Thoma's early works the ugly and ungainly asserts 
 itself more than necessary. Still the objections 
 raised against him by the schoolmen of Berlin and 
 Dresden — some of these advised him facetiously 
 to change his name — were undeserved, for there 
 was in this master a power of idealisation of the 
 commonplace which is convincing. And Thoma, 
 buried in the country, slowly asserted the sincerity 
 of his na'ive and charming equipment, and demon- 
 strated fully at last his solution of the problem to 
 find the highest in the lowest, with clear, steady, 
 unfaltering truthfulness, and with unforced sym- 
 pathy. His landscapes have the calm, even repose 
 of nature, without hurry or stagnation and some- 
 
/KoOern pafntfrtQS 303 
 
 times with a spiritual gaiety — as in the example 
 before us — that is decidedly inspiring. 
 
 One who belongs by right of merit to the group 
 of German painters who revived their national art 
 through that great movement, the Secession, was 
 Fritz von Uhde. This ex-cavalry officer and son 
 of a clergyman came through Paris to the Nether- 
 lands, only to be set dreaming in his own way. 
 His conviction that truth is the foundation of all 
 beauty led him to a realism of presentation which 
 was assailed on every hand as the preachment of 
 socialism. The disciples in his famous " Last 
 Supper " have been called a mob of criminals, be- 
 cause Uhde depicted types of such as he imagined 
 had followed the Master — men taken from hard 
 toil, worn-out yet willing to suffer, with one coat 
 to their back to preach the gospel of eternal riches. 
 Such spiritual exaltation in decrepit, poor, misera- 
 ble vessels Uhde conveys; with no supreme skill, 
 perhaps, but adequately. Thus his " Fisherman's 
 Children," here, have none of the prettiness that 
 inspires the Philistine with admiration, but the sim- 
 plicity, the unconscious naturalness, the uncom- 
 promising truthfulness of the work touch and in- 
 spire those who seek for the soul in art. 
 
 Endowed with more poetry and some mysticism 
 was Hans von Marees, of whom we find here an 
 idyllic landscape. This painter's principal aim was 
 
304 Ube art of tbe ©fenna ©alletfes 
 
 to convey a sense of space in his work; and colour, 
 drawing, composition, light, all tend to impress one 
 with the largeness of nature, the amplitude of its 
 forms. He was decidedly one-sided in his per- 
 formance. His hatred of naturalism, and espe- 
 cially of modern French art, made him often fall 
 into every transgression of style, let alone of con- 
 vention. Nor can it be conceded that his work, 
 individual though it be, bears in it the complete- 
 ness of perfect attainment. Marees was too much 
 of a searcher, almost one could say an experi- 
 menter. Nevertheless, his art proves him to be a 
 lover of the ideal, though not its most eloquent 
 prophet. 
 
 Few will contest or even gainsay the claim that 
 the greatest genius in German art of the 19th cen- 
 tury is to be honoured in Arnold Bocklin. He was 
 the greatest landscapist of the 19th century. Not 
 a one-sided specialist, as were the classics of Fon- 
 tainebleau, Corot, Millet, Rousseau, who each had 
 their favourite nook or time of day. Bocklin was 
 as many-sided as infinite nature. He painted her 
 in lovely idyls, in sorrowing elegies, in tempestuous 
 tragedies, in all the dramatic phases of an exalted 
 creation. He painted everything — the charming 
 and the heroic, the sensuously excited and the 
 demonic fantastic, the struggle of broiling waves 
 and the eternal rest of towering rockmasses, the 
 
/IDo&ern paintings 30s 
 
 wild turmoil of the sky and the quiet peace of flow- 
 ering swards. 
 
 And he did not analyse or imitate nature, but 
 he synthetised and reproduced her in images of 
 vital significance, reflecting in symbols some illu- 
 minating poetical idea. He populated nature with 
 beings which seem the condensation of nature her- 
 self, the tangible embodiment of her spirit and 
 cosmic action. Thus there takes place in his work 
 an organic union of figures and landscapes by his 
 force of intuitive conception, like a pantheistic 
 nature-poetry. These figures are never accidental, 
 they are organic parts of the whole design; never 
 meaningless accessories, but symbolic forms ema- 
 nating naturally and harmoniously from the spirit 
 of the scene — in a word, the actual embodiment, 
 the allegorical expression of the scene itself. In 
 a dionysian manner he invests nature with a soul. 
 
 Note the examples before us. In this " Idyl of 
 the Sea " the marvellous effect of moving water, 
 the colours both above and beneath its changing 
 surface, colours with violent hues and purple 
 shadows, the strange half -human quality of the 
 sea-creatures with their ebullient energy, boisterous 
 humour, stout and lusty — it all takes rank among 
 the inimitable creations of Bocklin's art. Likewise 
 his " Venus Genetrix '' is a work of supreme gran- 
 deur, where in the measured beating of the waves 
 
3o6 xcbe Htt of tbe IDienna Galleries 
 
 upon the shore we seem to hear the lyric song of 
 Hellenic mythology. 
 
 No man has ever painted the sea as Bocklin. 
 How the white foam flows down the wave in little 
 rills, how the blue deepens and becomes luminous, 
 how the billows grow up from the deep and are 
 brushed by the wind. Water all around. The 
 horizon is low, very low, as if the painter had 
 been sitting up to his breast in the water. And 
 in all this width and expanse a couple of beings, 
 — not men, not animals, and yet both ; not tritons, 
 not mermaids, yet both ; not beings of antique lore, 
 yet of classic and human conception. 
 
 Bocklin's power of creating these beings of his 
 imagination is a thing unheard of in the whole 
 history of art. He visualised the wonderful coal- 
 escence of animal and human traits in his centaurs, 
 tritons, mermaids, nereids, sirens, fauns, even in 
 the unicorn of his *' Silence in the Woods," in forms 
 so fascinating by their strength, their beauty or 
 their ugliness, as no longer to appear grotesque. 
 The unbounded freedom of their being, the over- 
 powering animalism of their strength, the double 
 life with which they seem possessed, is depicted 
 with a transcendent artistry that rises above all 
 conventional conditions. Even the mishandling of 
 human or animal form produces the essence of 
 both. 
 
/IDo&ern painttnas 307 
 
 Colour was with Bocklin everything. Not Hght 
 colour, not grey colour, not brown colour, but colour 
 in its highest potency. Many of his pictures have 
 such an ensnaring brilliancy that the eye never is 
 weary of feasting upon their floating splendour. 
 He painted the ocean so blue as it is possible to 
 be, the meadow such vernal green, so full of flow- 
 ers, the sky so luminous and the clouds such bril- 
 liant white, the rocky gorges so deep, and the forest 
 umbrage so dark — as only those can see who rub 
 the dust of the soil out of their eyes, tear some- 
 what apart the white hazy veil of earthly existence, 
 and gaze into a nature, clarified, etherealised, per- 
 fected, supernal. That is what BockHn did — the 
 prince of seers with prismatic vision. At the very 
 time when Richard Wagner lured the colours of 
 sound from music with a glow and light such as 
 no master had kindled before, Bocklin's symphonies 
 of colour streamed forth like a crashing orchestra. 
 
 Of course he was not understood. To the last 
 his works remained incomprehensible to the gen- 
 eral public. He offended aesthetic conventions too 
 strongly by giving aesthetic impressions in a novel, 
 personal way. Still, he slowly educated his age 
 to recognise the aesthetic truth of his conceptions, 
 even of those creatures of his fancy which had at 
 first been greeted with shouts of laughter. And 
 some commenced to see with his eyes, so that the 
 
3o8 XEbe Hrt of tbe Dienna Galleries 
 
 storm and stress of his youth and manhood ended 
 in a last decade of peace and recognition. Natu- 
 rally, he did not found a school in the strict sense 
 of the word. His style is too markedly the pro- 
 duct of his own personal temperament. But the 
 influence of the strong individuality of his art ex- 
 tended far beyond the narrow bounds of pure imita- 
 tions, and undoubtedly was felt as the most power- 
 ful factor in the renaissance of modern German 
 art. What Goethe was to German literature, and 
 Wagner to German music, Bocklin was to German 
 art. 
 
 More pagan than Bocklin is Franz Stuck, who 
 undoubtedly was influenced by the greater master. 
 He, also, loves to people his landscapes with Pan, 
 fauns, nymphs, and satyrs in joyous freedom and 
 hearty animalism. He makes his woodlands ex- 
 hale the rude vigour of the earth, and he sets you 
 down in these shady groves with a spontaneity, a 
 gaiety, or a tenderness most alluring. In his 
 " Landscapes," which we find in this gallery, there 
 is a buoyancy, a delightful freshness, that is more 
 physical than intellectual. Stuck uses his colour 
 in the same manner as Bocklin did — to give the 
 plane of the canvas the dimensions of space. He 
 uses the colours according to their optical effect 
 as they project or retreat from our eye. Fre- 
 quently Stuck has longings for the profound, the 
 
/»o&etn pafnttngs 309 
 
 didactic, the philosophic, as when he declaims con- 
 cerning '' Sin '' or " War " and '* Evil Conscience." 
 Then his attempt to be grandiose, monumental, 
 statuesque becomes but a clumsy allegory, some- 
 times creepy, more often banal, and always thea- 
 trical. 
 
 The modern Viennese painter Gustave Klimt 
 fills his landscapes with a thoughtful tonality. One 
 of these here, " The Lovers," has the human in- 
 terest added in a most sympathetic manner. 
 
 Two foreigners add peculiar interest to this room 
 of moderns. '' The Cook,'' by Claude Monet, is 
 one of his rare treatments of the human figure, 
 which he places in the atmosphere, bathed with 
 light, and breathing with life. It reminds us of 
 the story told of his entrance into the studio of 
 Gleyre to leave it immediately. The teacher had 
 objected to his drawing the model as he saw it. 
 " You are copying its defects, instead of correct- 
 ing them from your knowledge of the best exam- 
 ples.'' '' Then, why not abandon the model and 
 draw from casts?" was his indignant rejoinder. 
 There is no perfection of a cast in this figure here; 
 it has all the imperfections of the model ; yet, with 
 all its apparent sketchiness the study is exhaustively 
 precise, each stroke a matter of reflection, and the 
 labour expended long and scrutinising. 
 
 Two works by the Italian Giovanni Segantini 
 
 \ 
 
3IO XCbe Hrt of tbe IDtenna Gallerfes 
 
 are magnificent examples of the characteristic, per- 
 sonal art of this great painter. They are entitled, 
 "The Bad Mothers'' and a "Spring Meadow/' 
 Segantini was a poet-painter of tender sympathy, 
 who felt the soul of nature in the solitude of the 
 mountains, in the iridescence of their colours, in 
 the dazzling transparency of light. How true is 
 his thin atmosphere of the higher Alps, with the 
 luminous blues and whites, and rich gold and sil- 
 ver of the snow-capped heights. The charming 
 spring-freshness, the brief summer-wealth, the long 
 and dreary winter-solitude, thrill us with spiritual 
 truth. We are even more impressed with his por- 
 trayals of the relation between man and beast — 
 their unity, their cosmic oneness. And when he 
 depicts with touching truthfulness the weariness, 
 the dulling fatigue of the peasant after a day's 
 hard labour in the fields, he infuses the tender 
 pathos of this life, not its unredeemed tragedy; 
 for we feel that in the bare and lowroofed huts 
 content and happiness dwell. 
 
 Above all he was a painter of motherhood and 
 motherlove — he, who had suffered as an orphan 
 in a neglected childhood, who had never known 
 a mother's caresses. Such pictures are always 
 filled with tenderness — except once. When in his 
 last decade he painted symbolistic works, and, pon- 
 dering over questions of crime and punishment, his 
 
/lDo5ern palnttngs 3" 
 
 meditations assumed the form of forceful images, 
 then he chose a message almost fraught with bitter- 
 ness in '' The Bad Mothers." There he pictures 
 women unwilling to bear the responsibilities of 
 motherhood, and he banishes them in their thin, 
 flowing robes into a bleak desert of ice and snow, 
 and condemns them to suckle infants that seem 
 to grow upon the naked trees — a gruesome, almost 
 Dantesque fancy. 
 
 Technically Segantini was a true exponent of 
 the doctrine of colour which was utilised in France 
 by the so-called Impressionists for other purposes. 
 He substituted the optical mingling of colours for 
 the mingling of pigments on the palette; in other 
 words he decomposed all the colours into their 
 constituent elements and placed these in short 
 strokes, like threads, alongside each other on the 
 canvas. With him this optical mingling excites 
 much more intense luminosity than is the case 
 with many others whose aim is to produce this 
 result. 
 
 In Gallery VII we are attracted by the work 
 of three great German artists, Feuerbach, Lieber- 
 mann, and Klinger. 
 
 By Anselm Feuerbach we find here some draw- 
 ings which are individual and beautiful, with figures 
 of a dignity truly Greek, yet a charm that recalls 
 the earlier masters of the Renaissance. There is 
 
312 XCbe Hrt of tbe IDienna Oallertes 
 
 a peculiar analogy to be drawn between Feuerbach 
 and Makart, his great rival, whom he derided as 
 *' a mountebank and a vain decoration-swindler/' 
 Yet, they have the same aim, to find form in col- 
 our, through the idealising of nature and not of 
 the antique. But in Feuerbach's work we find 
 more thought, more dignity, and he controls the 
 colours he uses so lavishly with a delicate tonality. 
 There is with him simplicity of the colour-speech, 
 a Greek rhythmic in composition, the beautiful 
 lines of the bas-relief. His period lost interest in 
 his work because it was not anecdotal, yet his ow^n 
 prophecy : '' In fifty years my pictures will have 
 tongues to tell what I was and what I wished,'' 
 has been sooner fulfilled than he himself believed 
 possible. 
 
 Max Liebermann has painted most in Holland, 
 a country whose quiet beauty he was quick to ap- 
 preciate. His '* Peasant-home at Edam '' is a char- 
 acteristic example of his work. He aimed to 
 represent the common facts of life as opposed to 
 its humours or heroics, in which he diverged from 
 the general trend of German art in his time. Thus 
 he became one of the first rebels against the thread- 
 bare glamour, and the hollow sentiments which 
 ruled in Dusseldorf and Munich; and although at 
 first called " the apostle of the ugly,'' the clear, 
 steady, unfaltering truth of his work, its unforced 
 
/IDo&ern paintings 313 
 
 sympathy, the absence of all effort to strike the 
 eye with bold colour or vehement gesture soon 
 found its appreciators and followers. 
 
 Before we consider the large *' Judgment of 
 Paris," by Max Klinger, which covers the long 
 wall, we will turn into the next room, where we 
 find also his *' Christ in Olympus.'' But first we 
 will note some of the other paintings in this Gal- 
 lery VIII. 
 
 An imposing mountainscape that bears the de- 
 scriptive title *' Ueber alle Wipfeln ist Ruh,'' is 
 by Karl Haider, a Secessionist of fair attainment. 
 Anton Romako, a genre painter who is particularly 
 successful with Viennese children types and Italian 
 figures, has here ** The Bubble-blowers," a sym- 
 phony in delicate whites. Franz EybFs genre con- 
 cerns itself more with old age, as we see in '' The 
 Old Beggars " and " Old Woman Praying." Eu- 
 gene Jettel, the Moravian landscape painter, bears 
 too much the stamp of outside influences — those 
 of the modern French school, and of Dutch sce- 
 nery which he is fond of painting. These local 
 scenes, '' Wood-landscape in the Ramsau " and 
 " Hintersee," could as well be considered to lie in 
 France or Flanders. The landscape by Albert 
 Zimmermann is an echo of Ruisdael, for it seems 
 as if all the followers of the Achenbach school 
 of landscape painting chose some old master or 
 
314 XCbe Hrt of tbe IDienna ©alleries 
 
 other to act as their " counsellor, guide and 
 friend." 
 
 The consideration of the two large, decorative 
 canvases by Max Klinger may well close our ac- 
 count of the Viennese Galleries. They are the 
 apotheosis of modernity, a fit finis to a discussion 
 of so many of the marvellous products of the older 
 masters with so much that is great in the later 
 schools. 
 
 Max Klinger's name was first mentioned in 1878 
 when, in an exhibition of drawings, was heralded 
 the advent of a new man of an interesting tempera- 
 ment, with whom the world of art should reckon. 
 This was followed by etchings, some of which 
 leaned towards the Japanese and others pointed to 
 Bocklin. While in his drav/ings there had been a 
 humourous vein, he had become more serious in his 
 etchings, sometimes revealing a touch of the grue- 
 some, with all the moral teaching of Hogarth more 
 grimly put. When he started to paint it was by 
 the way of Flaubert's realism, in which he tried 
 to show the truths of life with the expression of 
 Zola's horrors. The manner in which his work 
 was received may be surmised. It is the same all 
 the world over. The conventional Academicians 
 and the hide-bound critics have ever ready the 
 taboo, *' Kill him ! He is original ! '' 
 
 This was the reception which his first large oil 
 
/lio5ern paintings 31s 
 
 painting received at a Berlin exposition in the late 
 eighties. Klinger had found himself. Nothing of 
 any outside influence was to be seen in his mag- 
 nificent '^ Judgment of Paris/' which is now here 
 before us. It was one of the first works of a 
 new movement to be seen in public. But the uni- 
 versal condemnation showered upon it almost broke 
 the young painter's heart. 
 
 And what was it that upset the community? 
 Three females standing before a youth, one glory- 
 ing in her nudity, the other two partly draped. 
 How often had this subject been painted without 
 ever arousing antagonism? But then the female 
 figures had been raised through idealism to a higher 
 sphere, whereby beauty covered and redeemed 
 nudity. Here, the stern realism was too arousing 
 for the mentally torpid who had always been sat- 
 isfied with the restful conventions of the past. A 
 decidedly modern manner of presentation, of 
 decorative purport, even in a hard, dry colour, 
 but of broad, masterful handling, shook the dev- 
 otees of mediocre art with horror and consterna- 
 
 gjgj.;, tion. 
 
 mm 
 
 HP ' The next great work by Klinger was a '' Cruci- 
 fixion " — equally opprobrious to those who be- 
 lieved in the presentation of the dogma of the 
 Church, not of the soul of faith. 
 
 "Christ in Olympus" (Plate XLVII) was the 
 
3i6 Xtbe Hrt ot tbe IDienna Oalleries 
 
 third of the master's large canvases. Here is a 
 juxtaposition of Christian and pagan ideals which 
 is distinctly dramatic. The Lord, with a gold 
 brocade mantle around His lean body, and fol- 
 lowed by four richly gowned women, representing 
 the cardinal virtues, intrudes upon these splendid 
 gods. Before the Christ sits Zeus, with Gany- 
 mede leaning between his knees. Bacchus offers 
 Him his goblet, Cupid is ready to dart his arrows 
 to His heart. Only Psyche, the soul, under- 
 stands, and she alone is eager to welcome the new 
 ruler. 
 
 This painting was exhibited in Vienna in 1899, 
 and found at once a home in the Lower Belvedere 
 — ample proof that in a decade the judgment of 
 the Philistines had been overruled by the hearty 
 acclaim of those whose broader vision looks kindly 
 upon the steps of a genius, though he walks in 
 novel paths. 
 
 Klinger is an artistic polygamist — he is 
 wedded to all the arts, to music, to literature. He 
 is a sculptor of note. The frames for these large 
 canvases were built and carved by the artist with 
 marble figures at the base and in the predella. He 
 has even gone into that ancient usage of poly- 
 chromy and chriselephantine sculpture, of which 
 his seated statue of Beethoven is his most won- 
 derful work. 
 
/fto&ern paintings 317 
 
 If any man, Klinger has proved the existence 
 of a new art, with all its transposing of routine 
 and art-dicta of the classics of centuries ago and 
 of yesterday. If any man, he has proved that Art 
 is ever young. 
 
 THE END. 
 
BitJlloGtapj)^ 
 
 Alexandre, Arsene — Histoire Populaire de la Peinture. 
 
 Berenson, Bernard — The North ItaUan Painters of the Renais- 
 sance. 
 
 Berenson, Bernard — The Florentine Painters of the Renaissance. 
 
 Berenson, Bernard — The Venetian Painters of the Renaissance. 
 
 Berenson, Bernard — The Central Italian Painters of the Renais- 
 sance. 
 
 Blanc, Charles — Le Tresor de la Curiosity. 
 
 BoNAFFLE — Dictionnaire des Amateurs Frang-ais au XVIIe Siecle. 
 
 Cartwright, Julia — The Painters of Florence. 
 
 Conway, W. Martin — Early Flemish Artists. 
 
 Dyke, John C. van — History of Painting. 
 
 FoRSTER, E. — Geschichte der Deutschen Kunst. 
 
 Frimmel, Theodor von — Geschichte der Wiener Gemaldesamm- 
 limgen. 
 
 Fromentin, E. — Maitres d' Autrefois. 
 
 GuRLiTT, Cornelius — Die Deutsche Kunst des Neunzehnten 
 Jahrhunderts. 
 
 Heidrich, Ernst — Die Alt-Deutsche Malerei. 
 
 KuGLER, F. T. — The Italian Schools of Painting. 
 
 Lafenestre, Georges — Maitres Anciens. 
 
 LiJBKE, Wilhelm — History of Art. 
 
 MuNTz, Eugene — Histoire de I'Art pendant la Renaissance. 
 
 Passavant — Kunstreise durch England und Belgien. 
 
 Pecht, F. — Die Deutsche Kiinstler des igen Jahrhunderts. 
 
 Reinach, S. — The Story of Art throughout the Ages. 
 
 RusKiN, John — Stones of Venice. 
 
 Suida, Wilhelm — Die Wiener Gemaldegallerien. 
 
320 aBibUograpbij 
 
 Symonds, J. Addington — Renaissance in Italy. 
 Taine, H. — Voyage en Italie: Florence et Venise. 
 Vasari, G. — Lives of the Painters. 
 Wauters, a. J. — La Peinture Flammande. 
 WoLTMANN and WoERMANN — Geschichte der Malerei. 
 
finbcx 
 
 Abbate, Niccolo delP (1512- 
 
 1571), 275 
 Abel, Josef (17 64-1 81 8), 153, 203 
 Achen, Hans von (1552-1615), 
 
 148 
 Aertsen, Pieter (1507-1575), 2, 
 
 93 
 Albani, Francesco (i 578-1 660), 
 
 68, 274 
 Aldegrever, Heinrich (1502- 
 
 1555), 248 
 Alfero y Gomez, Juan de (1640- 
 
 1680), 281 
 Allori, Angiolo. See Bronzino 
 Alt, Rudolf (1812-1879), 294 
 Altdorfer, Albrecht (i 480-1 538), 
 
 143 
 Amberger, Christoph (1500- 
 
 1562), 147, 283 
 Amerling, F. von (1803-1887), 
 
 154 
 
 Amico di Sandro (end 15th cen- 
 tury), 210 
 
 Antonello da Messina (1444- 
 1493), 36, 216 
 
 Artois, Jacques d' (1613-1686), 
 117, 208 
 
 Asselyn, Jan (1610-1652), 194, 
 
 239 
 Averkamp, Hendrik (1585- 
 1663), 119 
 
 Backer, Rudolf (19th century), 
 
 298 
 Badile, Antonio (15 16-1560), 64 
 Bakhuyzen, Ludolf (1631-1709), 
 
 127, 254, 288 
 
 Baldung, Hans (1475-1545), 144 
 
 182 
 Balen, Hendrik van (15 75-1 63 2), 
 
 107, 245 
 Bamboccio. See Pieter van Laar 
 Barbarelli, Giorgio. See Gior- 
 
 gione 
 Barbieri, Giovanni Francesco. 
 
 See Guercino 
 Barendszen, Dirk (1534-159 2), 
 
 232 
 Barocci, Frederico (1528-1612), 
 
 263 
 Bartolo di Fredi (1330-1409), 
 
 169 
 Bartolommeo Fra (i475-i5i7)» 
 
 15 , . 
 
 Basaiti, Marco (active 1503- 
 
 1521), 39, 275 
 Bassano, Francesco II (1549- 
 
 1592), 3, 61, 268 
 Bassano, Giacomo (1510-1592), 
 
 3, 61 
 Bassano,Leandro(i558-i623),6i 
 Bastiani, Lazzaro (active 1470- 
 
 1508), 40 
 Batoni, Pompeo (i 708-1 787), 
 
 276 
 Bazzi, Antonio. See Sodoma 
 Beccaruzzi, Francesco (active 
 
 after 1520), 47 
 Beck, Leonhard (active 1503- 
 
 1542), 144 
 Bedoli - Mazzola, Girolamo 
 
 (1500-1569), 275 
 Bega, Cornelis (1620-1664), 122, 
 
 191 
 
 321 
 
322 
 
 *ffn^ex 
 
 Beham, Bartel (1502-1540), 142 
 Bellini, Giovanni (1428-1516), 2, 
 
 36 
 Belliniano, Vittore (beginning 
 
 1 6th century), 176 
 Belotto, Bernardo. See Cana- 
 
 letto 
 Berchem, Nicolaas (1620-1683), 
 
 126, 194, 233, 260 
 Berckheyden, Gerrit (1638- 
 
 1698), 197 
 Beyeren, Abraham van (1620- 
 
 1674), 127, 201 
 Bissolo, Francesco (active 1492- 
 
 1530), 38, 39 
 Blaas, Karl Ritter von (con- 
 temporary), 156 
 Bles, Hendrik met de (1480- 
 
 1525), 185, 253 
 Bloemaert, Abraham (1564- 
 
 1651), 118, 2&3 
 Bloemen, Frans van (1662- 
 
 1748), 117 
 Bloot, Pieterde (1600-1652), 191 
 Bocklin, Arnold (1827-1901), 
 
 293, 304-308 
 Bol, Ferdinand (1616-1680), 192, 
 
 285 
 Bonvicino, Alessandro. See Mo- 
 
 retto 
 Bordone, Paris (1500-15 70), 52, 
 
 217 
 Bosch, Hieronymus (1460-1516), 
 
 89, 186, 271 
 Both, Jan (1610-1652), 194 
 Botticelli, Sandro (1446-1510), 
 
 168, 209 
 Boulogne, Valentin de (1591- 
 
 1634), 72 
 Bourdon, Sebastian (1621-1671), 
 
 269 
 Bourguignon (1621-1676), 73, 
 
 202, 236 
 Bouts, Dirk (1420-1475), 185 
 Brakenburgh, Richard (1650- 
 
 1702), 122, 191 
 Bramer, Leonard (1595-1674), 
 
 254 
 Brandt, Josef (born 1841), 205 
 
 Brekelenkam, Quiryn (1620- 
 1668), 237 
 
 Breughel, Jan the Elder, " Vel- 
 vet " (1568-1625), 108, 272, 
 288 
 
 Breughel, Jan the Younger 
 (1601-1678), 108, 243 
 
 Breughel, Pieter the Elder, 
 ** Peasant " (1525-1569), 2, 
 
 94, 253 
 Breughel, Pieter the Younger, 
 '' Hellish " (1564-1638), 96, 
 
 253 
 Bril, Paul (1554-1626), 107 
 Bronzino (1502-1572), 19, 213 
 Brouwer, Adriaen (1605-1638), 
 
 116, 191, 241, 266, 289 
 Brozik, Wenzel von (1852-1901), 
 
 162 
 Brusasorci. See Riccio 
 Bueckelaar, Joachim (active 
 
 1559-1575), 93 
 Bugiardini, Giuliano (1475- 
 
 1554), 19 
 Burckmair, Hans (1473-153 1), 
 
 142 
 Busi, Giovanni. See Cariani 
 
 Calame (1810-1864), 157 
 Calcar, Jan Stephan von (150a- 
 
 1546), 248 
 Caliari, Paolo. See Veronese 
 Camphuyzen, Raphael (1586- 
 
 1627), 240 
 Campi, Bernardino (1522-1592), 
 
 269 
 Canale, Antonio (1697-1768), 
 
 234 
 Canaletto (1720-1780), 5, 65, 
 
 234, 277, 287 
 Capelle, Jan van d (1624-1679), 
 
 127 
 Caravaggio, Michelangelo da 
 
 (1569-1609), 2, 69, 219, 264, 
 
 277 
 Caravaggio, Polidoro da (died 
 
 1543), 30, 213 
 Carducho, Bartolomeo (1560- 
 
 1608), 277 
 
fn&ex 
 
 323 
 
 Cariani (1480-1541), 34, 5^ 
 Carpaccio, Vittore (1450-1522), 
 
 4°^ ^74 . , „ ^ , 
 Carracci, Agostmo (1558-1601), 
 
 67 
 Carracci, Annibale (1560-1609), 
 
 67, 263 
 Carracci, Antonio (1583-1618), 
 
 67 
 Carracci, Lodovico (1555-1619), 
 
 67, 277 
 Carreiio, Juan. See Miranda 
 Carriere Eugene (died 1906), 296 
 Casanova, Franz (1727-1802), 
 
 149 
 Catena, Vincenzo (died 1531), 39 
 Cerano, il (1557-1633), 65 
 Cerezo, Matteo (1635-1685), 264 
 Champaigne, Philippe de (1602- 
 
 1674), 117 
 Chardin, J. B. (1699-1779), 235 
 Civetta. See Hendrik met de 
 
 Bles 
 Claude Lorrain (1600-1682), 72, 
 
 202, 263, 276 
 Cleve, Joost van (died 1540), 89, 
 
 184 
 Cleve, Marten van (15 27-1 581), 
 
 97 
 Clouet, Frangois (1500-1573), 
 
 71, 98 . 
 Cocxie, Michiel van (1497- 
 
 1592), 97 
 Codde, Pieter (1600-1678), 123, 
 
 190, 246 
 Coello, Alonso Sanchez (151 2- 
 
 iS9o)» 74, 280 
 Conegliano, Cima de (active 
 
 1489-1508), 6, 39, 176 
 Coninxloo, Gillis van (1544- 
 
 1609), 253 
 Copley, John Singleton (1737- 
 
 1815), 236 
 Coques, Gonzales (1618-1684), 
 
 3, 288 
 Cordua, Juan (active middle 
 
 17th century), 278 
 Cornells Comelisz. van Haarlem 
 
 (1562-1638), 98 - . 
 
 Correggio, AUegri da (1494- 
 
 1534), 2, 32 
 Costa, Lorenzo (1460-1536), 22 
 Courbet (1819-1878), 301 
 Courtois, Jacques. See Bour- 
 
 guignon 
 Craesbeeck, Joost van (1608- 
 
 1666), 242 
 Cranach, Lucas the Elder (1472- 
 
 1553), 144, 181, 182, 249 
 
 270, 286 
 Cranach, Lucas the Younger 
 
 (1515-1586), 145 
 Crayer, Caspar de (i 584-1669), 
 
 112, 270 
 Crespi, Battista. See il Cerano 
 Crespi, Daniele (i 590-1630), 66 
 Crivelli, Carlo (1430-1493), 171 
 Cruz, Juan de la (1551-1609), 75 
 Cuyp, Aelbert (1620-1691), 240, 
 
 244, 260 
 Cuyp, Jacob Gcrritsz. (1575- 
 " 1651), 200, 245, 286, 288 
 
 Danhauser, Josef (1805-1845), 
 
 155, 295 
 Daret, Jacques. See Master of 
 
 Flemalle 
 David, Gerard (active 1484- 
 
 1523), 187, 283 
 David, Jacques Louis (1748- 
 
 182 ), 154 
 Decker, Cornells (died 1678), 260 
 Defregger, Franz von (born 
 
 1835), 160, 206 
 Delen, Dirk van (1605-1671), 
 
 124 
 Delff, Jacob Willemsz. (died 
 
 1601), 119 
 Denner, Balthasar (1685-1749), 
 
 149 
 Denys, Frangois (active 16 10- 
 
 1655), 109 
 Does, Jacob van der (1623- 
 
 1673), 126 
 Dolci, Carlo (1616-1686), 66, 286 
 Domenichino (1581-1641), 220 
 Dossi, Dosso (1479-1542), 22 
 Dosso, Battista (died 1598), 269 
 
324 
 
 irn&ei 
 
 Dou, Gerard (1613-1675), 128, 
 
 258, 289 
 Dubbels, Hendrik (1620-1676), 
 
 290 
 Duck, Jacob A. (1600-1660), 
 
 123, 190, 285 
 Dufresnoy, Alphonse (161 1- 
 
 1668), 263 
 Dujardin, Karel (1622-1678), 
 
 126, 195 
 Duplessis, Joseph S. (1725- 
 
 1802), 73 
 Diirer, Albrecht (1471-1528), 
 
 2, 37, 136-142, 181, 186, 262 
 Dusart, Cornelis (1660-1704), 
 
 122, 191, 266 
 Dyck, Anton van (1599-1641), 
 
 109-112, 201, 222-224, 228, 
 
 233, 262, 265, 270, 282, 289 
 
 Eeckhout, Gerbrandt van den 
 (1621-1674), 246, 261 
 
 Egger-Lienz, AJbin (contem- 
 porary), 293 
 
 Elsheimer, Adam (1578-16^0), 
 149, 183, 270 
 
 Engelbrechtsen, Cornells (1468- 
 1533), 186, 251 
 
 Engerth, Ed. Ritter von (1818- 
 1897), 156 
 
 Es, Jacob van (i 596-1666), 285 
 
 Evenepoel, H. J. E. (19th cen- 
 tury), 298 
 
 Everdingen, Allert van (16 21- 
 167s), 125, 196, 245, 260, 
 273 
 
 Eybl, Franz (1806-1880), 153, 
 
 Eyck, Jan van (1385-1440), 82, 
 270 
 
 Fabricius, Barent (1620-1672), 
 
 192 
 Farinato. See Zelotti 
 Feuerbach, Ansehn (i 829-1 880), 
 
 Flinck, Govaert (1615-1660), 
 
 121, 273 
 Floris, Frans (1518-1570), 97 
 
 Fouquet, Jean (1415-1485), 250 
 Francesca, Pierro della (1420- 
 
 1492), 214 
 Francdschini, Marc Antonio 
 
 (1648-1729), 208, 222 
 Francia, Francesco (1450-15 17), 
 
 22, 30, 173, 215 
 Franciabigio (1482-1525), 3, 18, 
 
 212 
 Francken, Frans the Younger 
 
 (1581-1642), 234, 273, 289 
 Fries, Hans (middle i6th cen- 
 tury), 183 
 Frueauf, Rueland (active 1471- 
 
 1484), 136 
 Fuger, F. H. (1751-1818), 153, 
 
 204 
 Fuhrich, Josef Ritter von (1800- 
 
 1876), 155 
 Furini, Francesco (1600-1649), 
 
 66 
 Fyt, Jan (1611-1661), 116, 201, 
 
 254, 273 
 
 Gainsborough, Thomas (1727- 
 
 1788), 236 
 Galleazzo Campi (1477-1536), 
 
 170 
 Garafalo, Benvenuto (1481- 
 
 1559), 214 
 Gauermann, F. (1807-1863), 205 
 Geertgen van Sint Jans (active 
 
 middle 15th century), 88, 
 
 251 
 Gelder, Aert van (i 645-1 727), 
 
 121, 188, 231 
 Giorgione (i478-i5io),4,4i, 177 
 Giovenone Vercelli (begin i6th 
 
 century), 208 
 Goes, Hugo van der (1435-1482), 
 
 85, 251 
 Gossaert, Jan. See Mabuse 
 Goyen, Jan van (i 596-1 656), 
 
 125, 196, 243, 245, 288, 290 
 Gozzoli, Benozzo (1420-1498), 14 
 Greco, el (1548-1625), 62, 75, 178 
 Grien. See Hans Baldung 
 Grimmer, Hans (active .1560- 
 
 iS9o)> 147 ' 
 
fnOex 
 
 325 
 
 Guardi, Francesco (1712-1793), 
 
 178, 23s 
 Gude, Hans (1825-1903), 206 
 Guercino (1591-1666), 69, 219, 
 
 234, 269 
 
 Hackaert, Jan (1629-1699), 247 
 Hackert, J. P. (1737-1807), 154 
 Haider, Karl (contemporary), 
 
 313 
 Hals, Dirk (1591-1656), 123, 
 
 189, 246 
 Hals, Frans (1581-1666), 119, 
 
 224 
 Hamilton, Johann Georg von 
 
 (1672-1737), 117 
 Hamilton, Philip F. von (1664- 
 
 1750), 117 
 Hanneman, Adriaen (1601- 
 
 1671), 112 
 Heda, Willem Claesz. (1594- 
 
 1678), 254, 273 
 Heem, Cornelis de (1631-1695), 
 
 127, 261 
 Heem, J. D. de (1606-1684), 
 
 127, 201, 254, 261 
 Heemskerck, Maarten van 
 
 ^ (1494-1574), 285 
 Heinz, Josef (i 564-1609), 148 
 Heist, Bartolomeus van der 
 
 (1613-1670), 265 
 Hemessen, Jan Sanders van 
 
 (1500-1566), 93 
 Herrera, Francisco de (1576- 
 
 1656), 264 
 Heyden, Jan van der (1637- 
 
 1712), 124, 197, 247 
 Hire, Laurent de la (1606-1656), 
 
 72, 276 
 Hobbema, Meindert (1638- 
 
 1709), 126, 237, 245 
 Hoechle, Johann the Younger 
 
 (1790-1835), 153 
 Hoecke, Jan van den (161 1- 
 
 1651), 3, 108, 114, 121 
 Holbein, Hans the Younger 
 
 (1497-1543), 146, 287 
 Hondecoeter, Melchior d' (1636- 
 ■' 1695), 117, 201, 261 
 
 Honthorst, Gerard van (1590- 
 1656), 118 
 
 Hooch, Pieter de (1630-1677), 
 122, 187 
 
 Hoogstraten, Samuel van (1627- 
 1678), 122 
 
 Horrmann, Theod. (19th cen- 
 tury), 292 
 
 Hughtenburg, Jan van (1647- 
 1733), 127 
 
 Huysum, Jan j^, van (168 2- 1749), 
 127, 201, 245, 261 
 
 Jaeger, W. F. (19th century), 293 
 
 Jettel, Eugene (born 1845), 3^3 
 
 Jordaens, Jacob (i 593-1678), 
 
 113, 200, 229, 272, 285 
 
 Kaufmann, Angelica (1741- 
 1807), 149 
 
 Kaulbach, F. A. von (1850- 
 1910), 158 
 
 Kessel, Ferdinand van (1648- 
 1696), 117 
 
 Kessel, Jan van (1626-1679), 117 
 
 Key, Adriaen (middle i6th cen- 
 tury), 98 
 
 Key, Willem (middle i6th cen- 
 tury), 98 
 
 Keyzer, Thomas de (i 597-1667), 
 231 
 
 Klimt, Gustave (contemporary), 
 
 309 
 Klinger, Max (born 1857), 314- 
 
 ' 317 
 Knaus, Ludwig (1829-1905), 205 
 Kniipfer, Benes (born 1848), 157 
 Koninck, Salomo (1609- 1656), 
 
 273 
 Krafft, J. P. (1780-1856), 154 
 Krodel, Wolfgang (active 1528- 
 
 155s), 145 
 Kulmbach, Hans von (1470- 
 1522), 142 
 
 Laer, Pieter van (i 590-1658), 
 
 118, 193 
 Lambertini, Michele di Matteo 
 
 (Middle 15th century), 171 
 
326 
 
 fn&ex 
 
 Lampi, J. von (1751-1830), 243 
 Lauri, Filippo (1628-1694), 263 
 Lebrun, Charles (16 19-1690), 
 
 72, 233 
 Lely, Sir Peter (1618-1690), 113 
 Lenbach, Franz von (1836- 
 
 1904), 161, 293 
 Leonardo da Vinci (1452-1519), 
 
 211 
 Leyden, Lukas van (1494-1533), 
 
 90, 184, 253 
 Leux, Franz (1604-1652), 3 
 Licinio, Bernardino. See il 
 
 Pordenone 
 Liebermann, Max (born 1847), 
 
 312 
 Lievens, Jan (1607-1674), 121, 
 
 232, 265 
 Lingelbach, Johannes (1623- 
 
 1674), 126, 194 
 Liotard, Jean Etienne (1702- 
 
 1789), 5, 74 
 List, W. (19th century), 293 
 Lotto, Lorenzo (1480-1555), 38, 
 
 Luini, Bernardino (1480-1533), 
 23, 281 
 
 Mabuse (1470-1541), 97 
 
 Maes, Nicolaas (1632-1693), 189, 
 
 237 
 Makart, Hans (1840-1884), 162, 
 
 298-301 
 Mainardi, Sebastiano (died 
 
 1513), 210 
 Manglard, Adrien (1695-1760), 
 
 74 
 Mansuetti, Gio. (second half 15th 
 
 century), 216 
 Mantegna, Andrea (1431-1506), 
 
 19, 35 
 
 Maratta, Carlo (1625-1713), 68, 
 276 
 
 Marchesi, Girolamo (i6th cen- 
 tury), 213 
 
 Marconi, Rocco (beginning i6th 
 century), 268 
 
 Maries, Hans von (1837-1887), 
 303. 
 
 Marko, Karl (i 791-1860), 156, 
 205 
 
 Marziale, Marco (1440-1507), 
 268 
 
 Massys, Jan (1509-1575), 92 
 
 Massys, Quentin (1466-1530), 2, 
 92, 252, 271 
 
 Master of the Death of Mary. 
 See Joost van Cleve 
 
 Master of the Female Half- 
 figures (early part i6th cen- 
 tury), 98, 270, 272 
 
 Master of Fl^malle (1410-1470), 
 283 
 
 Max, Gabriel (born 1840), 159, 
 206 
 
 Mazo, Juan Battista del (died 
 1667), 79 
 
 Mazzolino, Lodovico (1480- 
 1528), 170 
 
 Mediz, Karl (born 1868), 293 
 
 Meister Pfenning (active middle 
 15th century), 135 
 
 Meister von Prag (active 1348- 
 
 1367), 134 
 Memlinc, Hans (1430-1494), 85, 
 
 251 
 Mengs, Raphael (i 728-1 779), 
 
 149, 277 
 Messina, Antonello da (1430- 
 
 1470), 36, 216 
 Metsu, Gabriel (i 630-1 667), 130, 
 
 188, 266, 287 
 Mierevelt, Michiel Jansz. (1567- 
 
 1641), 119, 200 
 Mieris, Frans van, the Elder 
 
 (1635-1681), 130, 238 
 Mieris, Willem van (i 662-1 747), 
 
 130, 193 
 Mignard, Pierre (161 2-1695), 72 
 Milano, Andrea da. See Salaino 
 Millet, Jean Francois (1642- 
 
 1679), 73, 235 
 Miranda, Juan Carreiio de 
 
 (1614-1685), 80, 180, 279 
 Molenaer, Jan Miense (1610- 
 
 1668), 122, 239 
 Moll, K. (19th century), 294 
 Molyn, Pieter (i 600-1 661), 191 
 
fnJ)ex 
 
 327 
 
 Momper, Joost de (1564-1635), 
 
 108 
 Monet, Claude (19th century), 
 
 309 
 Montfoort, Antonis van (1532- 
 
 1583), 98 
 Mor, Antonis (1512-1578), 98, 
 
 192, 232 
 Moretto (1498-1555), 6, 57, 217 
 Moroni, Giambattista (1520- 
 
 1578), 59, 218 
 Moucheron, Frederik de (1633- 
 
 1686), 127 % 
 
 Moya, Pedro de (1610-1666), 
 
 264 
 Mulich, Hans (151 6-1573), i47> 
 
 248 
 Muller, Leopold (born 1834), 298 
 Murano, Andrea da (active 
 
 1462-1507), 35 
 Murillo (1618-1682), 7, 80, 179, 
 
 264, 280 
 Muziano, Girolamo (1528-1592), 
 
 275 
 
 Neeffs, Pieter the Elder (1577- 
 
 1660), 108, 197 
 Neeffs, Pieter the Younger 
 
 (1620-1675), 289 
 Neer, Aert van der (1603-167 7), 
 
 119, 236, 242, 260 
 Neer, Eglon Hendrik van der 
 
 (1635-1703), 242 
 Netscher, Kaspar (1639-1684), 
 
 258, 287^ 
 Nooms, Reinier. See Zeeman 
 
 Oosterwyck, Maria van (1630- 
 
 1693), 127 
 Oostsanen, Jacob Cornelisz. van 
 
 (1470-1533), 88, 253 
 Orley, Bernard van (died 1542), 
 
 97, 283 
 Orrente, Pedro (i 560-1 644), 75 
 Orsi, Lelio (1511-1587), 263 
 Ostade, Adriaen van (16 10- 
 
 1685), 122, 191, 241, 246, 
 
 261 
 
 Pacheco, Francesco (1571-1654), 
 
 277 
 Padovanino (i 590-1 650), 178, 
 
 268 
 Palamedes (1601-1673), 123 
 Palma Giovine (1544-1628), 64, 
 
 274, 276 
 Palma Vecchio, Jacopo (1480- 
 
 1528), 3, 44, 64 
 Palmezzano, Marco (1456-153 7), 
 
 215 
 Panini, Giovanni Paolo (1691- 
 
 1768), 276 
 Pantormo, Jacopo de (1494- 
 
 1557), 19 
 Paris Bordone (1500-1571), 52, 
 
 217 
 Parmigianino, Francesco (1504- 
 
 1540), 3, 34 
 Patinir, Joachim (died young in 
 
 1524), 2, 91 
 Payer, Julius Ritter von (born 
 
 1842), 160 
 Pedrini, Giovanni (active 1520- 
 
 1556), 173 
 Peeters, Bonaventuta (16 14- 
 
 1652), 109, 273 
 Peeters, Jan (1624-1682), 109 
 Pencz, Georg (i 500-1 550), 273 
 Perugino, Pietro (1446-15 23), 
 
 26 
 Pier, Lange. See Pieter Aertsen 
 Pietro di Cosimo (1462-1521), 
 
 213 
 Pintoricchio (1454-1513), 169 
 Piombo, Sebastiano del (1485- 
 
 1547), 43 
 Pockwalszki, K. (19th century), 
 
 293 
 Poel, Egbert van der (162 1- 
 
 1667), 244 
 Poelenburg, Cornelis van (1586-- 
 
 1667), 118, 193, 239, 246 
 Porcellis, Julius (17th century), 
 
 247, 290 
 Pordenone, il (active 1524-1542), 
 
 2, 217 
 Pot, H. G. (1600-1656), 238 
 Potter, Paul (1625-1654), 259 
 
328 
 
 1^n^ex 
 
 Pourbus, Frans the Elder (1545- 
 1581), 98, 200, 233, 283 
 
 Pourbus, Frans the Younger 
 (1569-1622), 98 
 
 Pourbus, Pieter (1510-1584), 98 
 
 Poussin, Gaspard (1613-1675), 
 
 72, 263, 276 
 
 Pous^n, Nicolas (i594-i665),72, 
 
 235, 269, 276 
 Predis, Ambrogio de (active 
 
 1480-1510), 25 
 Preissler, Jan (19th century), 292 
 Previtali, Andrea (1470-1528), 
 
 39 
 Primaticcio, Francesco (1504- 
 
 1570), 268 
 Procaccini, Cesare (1548-1626), 
 
 65, 219, 269 
 Puligo, Dom. (1475-1527), 275 
 Puttner, Josef (1821-1881), 293 
 Puttner, Walther (19th century), 
 
 293 
 
 Quadal, M. F. (end i8th cen- 
 tury), 203 
 Quast, Pieter (1606-1647), 122 
 Quellinus, Erasmus (1607-1678), 
 3, 233 
 
 Raffalt, Ignaz (1800-1857), 154 
 Rahl, Karl (1812-1865), 156 
 Raphael (1483-15 20), 2, 6, 27- 
 
 29 
 Rebell, Josef (1787-1828), 155 
 Rembrandt (1606-1669), 120, 
 
 122, 187, 229-231, 247, 265, 
 
 282, 290 
 Renesse, Jan van (17th century), 
 
 262 
 Reni, Guido (1575-1642), 3, 67, 
 
 178, 220, 287 
 Ribera, Giuseppe (1588-1656), 
 
 70, 218, 278 
 Ricci, Sebastian© (166 2-1 734), 
 
 208 
 Riccio, Domenico (1494-1567), 
 
 268 
 Rigaud, Hyacinthe (i 659-1 743), 
 
 73, 246, 283 
 
 Robusti, Jacopo. See Tinto- 
 retto 
 
 Romako, Anton (born 1835), 3^3 
 
 Romanino, Girolamo (1489- 
 1566), 58 
 
 Romano, Giulio (1492-1546), 3, 
 29 
 
 Rombouts, Theodoor (1597- 
 1637), 233 
 
 Roos, Josef (i 726-1 805), 203 
 
 Rosa, Salvator (1615-1673), 70, 
 277 
 
 Roth, August(i9th century), 298 
 
 Rottenhammer, Johann (1564- 
 1623), 183 
 
 Roymerswale, Marinus van (act- 
 ive 1521-1558), 93 
 
 Rubens (1577-1640), 3, 5, 99- 
 107, 197-200, 209, 221, 225- 
 228, 233, 261, 265, 282, 289 
 
 Ruisdael, Jacob van (1628- 
 1682), 125, 195, 247, 259, 
 290 
 
 Russ, Robert (born 1847), 206 
 
 Ruysch, Rachel (1664-1750), 
 127, 201, 245, 261 
 
 Ruysdael, Salomo van (1600- 
 1670), 240 
 
 Ryckaert, David III (161 2- 
 1661), 116, 262, 273 
 
 Sacchi, Andrea (1599-1661), 68 
 Saftleven, Cornells Herman 
 
 (1606-1685), 118, 236, 260, 
 
 290 
 Salaino, Andrea (1458-1510), 
 
 268 
 Sandrart, Joachim (i 606-1 688), 
 
 148, 233 
 Sarto, Andrea del (1486-1531), 
 
 16, 212 
 Sassoferrato, Giovanni Battista 
 
 (1605-1685), 68, 178, 220 
 Savery, Roelant (15 76-1639), 
 
 107, 243 
 Savoldo, Giovanni Girolamo 
 
 (1480-1548), 57, 218 
 Schalcken, Godfried (1643- 
 
 1706), 130, 231, 242 
 
 / 
 
Ifn&ex 
 
 329 
 
 Schauffelein, Hans L. (1480- 
 
 1539), 142 
 Schedone, Bartolomeo (1570-- 
 
 1615), 269 
 Schiavone, Andrea (1522-1582), 
 
 52 
 Schindler, E. J. (1842-1892) 206, 
 
 294 
 Schindler, Karl (19th century), 
 
 298 
 Schmidt, J. M. (1718-1801), 203 
 Schonleber, Gustav (born 1852), 
 
 292 
 Schongauer, Martin (1449-1491), 
 
 135 
 Schraudolph, J. (1808-1879), 204 
 Schut, Cornelis (1597-1655), 273 
 Schwarz, Christian (1550-1597), 
 
 148 
 Schwind, Moriz Ritter von 
 
 (1804-1871), 156, 204, 294 
 Sebastiani, Lazaro (1450-1508), 
 
 173 
 Segantini, Giovanni (1858-1898), 
 
 309-312 
 Seghers, Daniel (1590-1661), 97 
 Seisenegger, Jacob (1509-1567), 
 
 147, 274 
 Sesto, Cesare da (1477-1523), 
 
 26 
 Seybold, A. (i8th century), 233 
 Skarbina, F. (1849-1910), 206 
 Slingelandt, Pieter van (1640- 
 
 1691), 290 
 Snayers, Peter (1592-1667), 3, 
 
 108 
 Snyders, Frans (1579-1657), 112, 
 
 254 
 Sodoma (1477-1549), 21, 31 
 Solario, Andrea (1460-1515), 23, 
 
 212 
 Spagnoletto, lo. See Ribera. 
 Spranger, Bartholomaeus (1546- 
 
 1625), 148, 183 
 Steen, Jan (1626-1679), 124, 238 
 Steenwyck, Hendrik van, the 
 
 Elder (i 550-1 603), 108 
 Steenwyck, Hendrik van, the 
 
 Younger (1580-1648), 108 
 
 Steinfeld, Franz (1787-1868), 
 
 154 
 Steinle, Eduard Ritter von 
 
 (1810-1886), 156 
 Stella, Jacques (1595-1657), 72 
 Storck, Abraham (1630-1710), 
 
 273 
 Streek, Juriaen van (1632- 
 
 1678), 127 
 Strigel, Bernhard (1460-15 28), 
 
 143, 248 
 Stuck, Franz (contemporary), 
 
 308 
 Sueur, Eustace le (1616-1655), 
 
 277 
 Sustermans, Joost (1597-1681), 
 
 113 
 Sweerts, Michiel (middle 17th 
 century), 273 
 
 Tadema, L. Alma (born 1836), 
 
 296 
 Teniers, Abraham (16 29-1 670), 
 
 117, 243 
 Teniers, David the Elder (1582- 
 
 1649), 114 
 Teniers, David the Younger 
 
 (1610-1690), 3, 114, 190, 
 
 241, 244, 262, 266, 273 
 Terborch, Gerard (161 7-1 681), 
 
 128, 256, 265 
 Theotocopuli, Domenico. See 
 
 el Greco 
 Thielen, Jan van (16 18-1667), 
 
 97 
 Thoma, Hans (born 1839), 302 
 Tibaldi, Pellegrino (1527-1591), 
 
 66 
 Tiepolo, Giovanni Battista 
 
 (1696-1769), 64, 179, 234 
 Tilborch, Gillis (1625-1678), 109 
 Tintoretto, Domenico (1562- 
 
 1637), 56, 219, 275 
 Tintoretto, Jacopo (1518-1594), 
 
 53-56, 177 
 Tisoio, Antonio (begin i6th cen- 
 tury), 216 
 Titian (1477-1576), 2, 3, 4, 47- 
 
 52, 176, 216, 267 
 
330 
 
 Ifnbcx 
 
 Toledo, Juan de (1611-1665), 
 
 281 
 Toorenvliet, Jacob (1641-1719), 
 
 246 
 Torres, Mathias de (1631-1711), 
 
 180 
 Trenkwald, Josef Ritter von 
 
 (1824-1897), 157 
 Troy, Francois de (i 645-1 730), 
 
 277 
 Troyon, C. (1810-1865), 162 
 Tulden, Theodoor van (1606- 
 
 1676), 107 
 Tura, Cosimo (active 145 1- 
 
 1498), 21, 214 
 
 Uden, Lukas van (i 595-1 660), 
 
 243 
 Uhde, Fritz von (1848-1911), 
 
 159, 303 
 
 Valckenborch, Lucas van (1540- 
 
 1622), 96, 243 
 Varotari, Alessandro. See Pa- 
 
 dovanino 
 Vasari, Giorgio (1511-1574), 
 
 26 
 Vecchio, Pietro della (1605- 
 
 1678), 268 
 Velasquez (i 599-1660), 76-79, 
 
 180, 280 
 Velde, Adriaen van de (1635- 
 
 1672), 126, 195, 247, 260, 
 
 273 
 Velde, Esaias van de (1590- 
 
 1630), 243, 286 
 Velde, Willem van de (161 1- 
 
 1693), 197, 247 
 Veneziano, Lorenzo (second half 
 
 14th century), 170 
 Venusti, Marcello (1505-1576), 
 
 169 
 Verelst, Pieter (active 1648- 
 
 1666), 122 
 Vermeer van Delft, Jan (1632- 
 
 1675), 257 
 Vermeer van Haarlem, Jan 
 
 (1628-1691), 236, 246, 260 
 
 Vernet, Claude Joseph (1712- 
 
 1789), 74, 202, 277 
 Veronese, Bonifacio (active 
 
 1510-1540), 46 
 Veronese, Paolo (1528-1588), 
 
 62 
 Vivarini, Alvise (1440-1503) 38, 
 
 171 
 Vivarini, Bartolommeo (active 
 
 1450-1499), 35 
 Vlieger, Simon de (1601-1653), 
 
 127, 197, 237, 247, 254 
 Vliet, Hendrik van (1611-1675), 
 
 197 
 Voltz, J. F. (1817-1886), 205 
 Vos, Cornelis de (i 585-1651) 
 
 107, 113, 180, 283 
 Vos, Marten de (153 2-1603) 233, 
 
 272 
 Vries, Hans Vredeman de (I527- 
 I6o4), 96 
 
 WaldmuUer, G. F. (1793-1865), 
 
 155, 204, 301 
 Watteau, Antoine (1684-1721), 
 
 73 
 Weenix, Jan (1640-1719), 117, 
 
 ^ 254, 261 
 Weiner, Hans (i 626-1 650), 274 
 Werff, Adriaen van der (1659- 
 
 1722), 244 
 Weyden, Rogier van der (1400- 
 
 1464), 84 
 Wildens, Jan (1586-1653), 237 
 Witte, Emanuel de (161 7-1692), 
 
 197 
 Witz, Konrad (1401-1447), 
 
 134 
 Wolgemut, Michael (1434-1519), 
 
 249 
 Wouwerman, Philip(i6i9-i668), 
 
 127, 193, 239, 244, 260 
 Wtewael, Joachim (1566-1638), 
 
 98 
 Wyck, Thomas (1616-1677), 
 
 290 
 Wynants, Jan (1625-1682), 126, 
 
 193, 247, 285 
 
irn&ei 
 
 33^ 
 
 Zampieri, Domenichino (1581- 
 
 1641), 269 
 Zeeman (1623-1665), 127 
 Zeitblom, Bartholomaeus (1460- 
 
 1516), 249, 283 
 Zelotti, Battista (153 2-1 59 2), 
 
 64, 234 
 
 Zimmermann, A. (1809-1878), 
 161, 313 
 
 Zoppo, Marco (1455-1498), 21, 
 214 
 
 Zuloaga, Ignacio (contem- 
 porary), 297 
 
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