'* 
 
Digitized by the Internet Archive 
 
 in 2008 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/descriptivecatalOOnortrich 
 
DESCRIPTIVE CATALOGUE. 
 
/A-«''»-t-,-a-» / y 
 
 ^^u^n^yv<^. 
 
/Mor , , rook Tir^n<:.is ^eo>-^e. Sa.x-/>:pr, "^ ^^^ ^ ^^ 
 
 - ■ ' J - -> 
 
 ^ DESCRIPTIVE CATALOGUE OF 
 THE COLLECTION OF PICTURES 
 BELONGING TO THE EARL OF 
 NORTHBROOK. 
 
 THE DUTCH, FLEMISH, AND FRENCH SCHOOLS 
 BY MR. W. H. JAMES WEALE ; THE ITALIAN 
 AND SPANISH SCHOOLS BY DR. JEAN PAUL 
 RICHTER. 
 
 WITH TWENTY-FIVE ILLUSTRATIONS — PHOTOGRAPHS BY 
 HENRY DIXON &• SON, BY THE DIXON AND GRAY ORTHO- 
 CHROMATIC PROCESS, PRINTED IN PLATINOTYPE. 
 
 LONDON.- GRIFFITH, FARRAN, OKEDEN, 6^ WELSH. 
 
 AND SYDNEY. 
 
 1889. 
 
LOAN STACK 
 

 .%<?• 
 
 :-.^ liisfiiij; % Qrmi:sj^ 'U &?' 
 
 jfiutrhvOclUrei, 
 
 Bookbinders. 
 
 ESTABLISHED 1816. 
 
 TO 
 
 Telegraphic Address _ BOOKMtN, LONDON. 
 Code in use UNICODE. 
 
 -^3 7^t P I C C A D I L LYvWr^ 
 
 NEAR THE ROYAL ACADEMY. 
 
 ■■n fH ;^J >5r a i: -■ P R l W S l -• O J- ■: WA L 2 « .'•■ 
 
 ~5^PUBLISHERS"^0F-"MR--G0ULD'S^GRAND"^0RN1TH0L0GICAL'"';W0RKS:= 
 
 (p^/m 
 
 7^^ 
 
 '^.^^ 
 
 O^^'*^ 
 
 a « , ■ ■■>.<y 
 

 .--» ^ ^ '^^N 
 
 ^^■^ c^^, 
 
 \ 
 
 ^ 
 
 ^^-^.:i 
 
 ^-*^«*w 
 
 ■-^**»-» ,- , 
 
 ^-v -.. :j^ 
 
 -VSv^ 
 
 ??c 
 
 .:) 
 
CONTENTS. 
 
 FACE 
 
 EXPLANATION OF REFERENCES vii 
 
 INTRODUCTION ix 
 
 LIST OF ILLUSTRATIONS xi 
 
 EARLY NETHERLANDISH SCHOOL 1 
 
 EARLY GERMAN SCHOOL ....... 8 
 
 DUTCH AND FLEMISH SCHOOLS 27 
 
 ITALIAN SCHOOL 105 
 
 SPANISH SCHOOL 170 
 
 FRENCH SCHOOL 186 
 
 APPENDIX 199 
 
 ADDITIONAL NOTES 214 
 
 INDEX 215 
 
 A/6 
 
 J 58 
 
EXPLANATION OF REFERENCES. 
 
 In the descriptions of the pictures the dimensions are given in 
 inches, the first measurement indicating the height, the second 
 the width of the canvas or panel without the frame. The terms 
 " right " and " left " denote the right and left of the picture, as 
 seen by the spectator standing in front of it. 
 
 The price has been given when the pictures have been bought 
 or sold by public auction. In recent years the sales were almost 
 all at Christie's. 
 
 A list of the works to which reference is made in the descrip- 
 tions will be found in Appendix III. 
 
INTRODUCTION. 
 
 The Collection of Pictures described in this Catalogue 
 was, with very few exceptions, made by the late Mr. 
 Thomas Baring, who bequeathed it to his nephew, Lord 
 Northbrook. 
 
 Mr. Thomas Baring was the second son of Sir Thomas 
 Baring, and brother of Francis Thornhill Baring, first Lord 
 Northbrook. He had been brought up in familiarity with 
 good pictures, for his grandfather. Sir Francis Baring, 
 acquired a fine collection of Dutch masters at the end of 
 the last century. On the death of Sir Francis in 1810 his 
 son. Sir Thomas, parted with the Dutch collection to the 
 Prince Regent, and formed a gallery mainly composed of 
 Italian pictures.* Afterwards he added to it some works 
 by English and Dutch masters. 
 
 Mr. Baring began his collection in 1835, and constantly 
 added to it till 1871, two years before he died. He kept 
 a careful account of his purchases, from which the par- 
 ticulars given in this Catalogue have been principally 
 taken. 
 
 In 1846, Mr. Baring, Mr. Jones Loyd (the late Lord 
 
 * The commencement of this collection was made by the purchase of a number of 
 pictures collected by M. Le Brun in 1808. A list of them will be found in Appendix II. 
 
INTKODUCTION. 
 
 Overstone), and the late Mr. Humphrey Mildmay, bought 
 the collection of Dutch pictures of Baron Verstolk van 
 Soelen, of the Hague, who died in that year. Among 
 Mr. Baring's papers there is a complete list of this impor- 
 tant collection, which is printed in Appendix I. In 1848, 
 on the death of Sir Thomas Baring, his collection was 
 sold in accordance with his will ; and the Italian, Spanish, 
 and French pictures were bought at a valuation by Mr. 
 Baring. These pictures are noted in the Catalogue as from 
 
 Sir Thomas Baring's collection. 
 
 N. 
 
ILLUSTRATIONS. 
 
 Ko. 
 
 PlOTORM. 
 
 Artists. 
 
 FACE 
 
 1. 
 
 Mr. Thomas Baring 
 
 (^From a drawing by George Rich- 
 [ MOND, R.A. . . frontispiece. 
 
 2. 
 
 Virgin and Child Enthroned 
 
 Early Netherlandish 
 
 1 
 
 3. 
 
 Saint Giles 
 
 " )) 
 
 2 
 
 4. 
 
 Virgin and Child .... 
 
 rt ti ' • 
 
 4 
 
 5. 
 
 Portrait 
 
 Peter Cristus . 
 
 . 15 
 
 6. 
 
 Virgin and Child Enthroned 
 
 Mabuse 
 
 . 18 
 
 7. 
 
 Virgin and Child Enthroned, 
 with Angels .... 
 
 } 
 
 19 
 
 8. 
 
 Market-Place, Haarlem 
 
 Berck Heyde 
 
 30 
 
 9. 
 
 The Pearl Necklace . 
 
 F. BoL 
 
 . 31 
 
 10. 
 
 View near Dordrecht . 
 
 A. Cuxp 
 
 . 38 
 
 11. 
 
 The Intruder .... 
 
 G. Metsu . 
 
 65 
 
 12. 
 
 Portrait of the Artist 
 
 Jan Stben . 
 
 . 69 
 
 13. 
 
 Earl of Newport .... 
 
 Van Dyck . 
 
 90 
 
 14. 
 
 Queen Henrietta Maria and Sir 
 Jeffrey Hudson 
 
 r j» fj ' 
 
 92 
 
 15. 
 
 Portrait of W. Van db Vblde . 
 
 Van Musschbb . 
 
 . 96 
 
 16. 
 
 St. Jerome in his Study 
 
 Antonello da Messina 
 
 . 105 
 
 17. 
 
 Holy Family (unfinished) . 
 
 Fba Babtolommeo 
 
 . 109 
 
 18. 
 
 Christ's Agony in the Garden . 
 
 Andrea Mantegna 
 
 . 139 
 
 19. 
 
 Missal of ditto .... 
 
 
 . 142 
 
 20. 
 
 Holy Family, with a Donor 
 
 Sebastian© del Piombo 
 
 . 151 
 
 21. 
 
 Virgin and Child .... 
 
 School of Raffabllo . 
 
 . 153 
 
 22. 
 
 Portrait 
 
 Andrea del Sabto 
 
 . 158 
 
 23. 
 
 Don Andres de Andrade 
 
 MUBILLO 
 
 . 173 
 
 24. 
 
 St. Thomas of Villaneuva . 
 
 ft ... 
 
 . 175 
 
 25. 
 
 Holy Family .... 
 
 Spagnolbtto 
 
 . 182 
 
EARLY NETHERLANDISH SCHOOL. 
 
 1 1. VIRGIN AND CHILD ENTHRONED. 
 
 Panel, oak. 5| x 4 in. Figure 3 in. 
 
 The Virgin, seated facing the spectator, wears a greenish blue 
 dress lined with grey fur. On her head is a magnificent floriated 
 crown, richly set with rubies, sapphires, and pearls, from beneath 
 which her long fair hair falls in masses over her shoulders. With 
 her right hand she supports the Child, while with her left she offers 
 him the breast. His dress is red, of two shades, the pattern being 
 darker than the ground ; a little linen is shown at the neck. 
 
 The porch of stone in which they are enthroned is richly adorned 
 with sculpture, the interior of the arch has delicate open-work cusps. 
 The statues on the pediments represent three prophets with scrolls : 
 Abraham holding a sacrificial knife, David with the harp, and 
 Melchisedech with bread. Above the arch, in canopied niches, are 
 groups representing the Seven Joys of the Virgin : the Annuncia- 
 tion, the Visitation, the Nativity, the Adoration of the Magi, the 
 Resurrection, the Descent of the Holy Ghost at Pentecost, and the 
 Coronation. 
 
 At the foot of the wall, on either side of the porch, are plants in 
 flower : a columbine, an iris, a lily, &c. 
 
 This is a little gem of wonderful delicacy, painted with much 
 body of well-blended colour, and with a precision that cannot be 
 surpassed. The architecture, of silvery grey tone, forms an admir- 
 able setting to the rich jewel-like figure of the Virgin. 
 
 Ascribed to Van Eyck and to Memlinc, this picture is certainly 
 by neither of those artists. It may with much more probability be 
 
 ( 1 ) A* 
 
NETHERLANDISH AND GERMAN. 
 
 assigned to the unknown master who executed for the Cistercian 
 Abbey of the Dunes, near Nieuport, the diptych now in the Museum 
 at Antwerp. 
 
 Collections — Frederick II., King ot Prussia, where it was catalogued as by 
 Albert Diirer. Sold at Paris to [ ? ] 
 
 Mr. Aders. 
 
 Mr. Samuel Rogers. 
 Bought May 2, 1856, No. 585, £267, ISs, 
 Passavant, i. 211. 
 Waagen, Treasures, ii. 78. 
 Exhibited— British Institution, 1848, No. 76. 
 
 2 2. SAINT GILES. 
 
 Shutter of an altar-piece, oak. 24 J X 18 J in. 
 
 On the right, St. Giles, a grey-bearded hermit in a black-hooded 
 habit and grey mantle, sits on a bank. His right hand, transfixed 
 by an arrow, rests on the back of a fawn which has fled to him for 
 protection. On the left is the hunting-party, the leader of which, 
 kneeling on one knee, is begging the Saint's pardon. He wears a 
 dark lilac dress and greenish-blue surcoat, lined with red and gold 
 brocade, a black cap, and untanned hunting-boots. Beside him 
 kneels a priest (perhaps the donor of the altar-piece) in red furred 
 cassock and surplice, with a blue almuce over his shoulders. In the 
 foreground, to the left, stands a young man (probably the painter) 
 in green, with a crimson cloak which he holds up with his right 
 hand ; on his head a black cap. Behind is a group of four youths, 
 the archer who has shot the fatal arrow, and five mounted atten- 
 dants. 
 
 The foreground consists of a variety of flowers ; iris, great mullen, 
 &c., most delicately painted. Behind St. Giles are some rocks, at 
 the foot of which is a hermit's cell with a crucifix ; from the rock 
 gushes forth a spring of water, near which is a youth holding a 
 couple of hounds. In the middle is an elm-tree, and on the left a 
 town with a handsome Romanesque church, a Gothic castle, and 
 other buildings. Beyond are hills. 
 
 ( 2 ) 
 
EARLY NETHERLANDISH. 
 
 On the exterior of the panel, painted in grisaille, is the figure of 
 a saint in cope and mitre, blessing, and holding a pastoral staff in 
 his left hand.* 
 
 Eormerly ascribed to Jan van Eyck and to Lucas van Leyden. 
 
 Collection— Mr. Tlionias Emerson. Sold May 27, 1854, No. 63, i"51, 9s., to 
 Mr. Webb. 
 
 Bought from Mr. Webb, 1854. 
 Exhibited— Royal Academy, 1872, No. 224. 
 Photographed, Northhrook Gallery. 
 
 3 3. SAINTS CECILY, MARGARET, AGATHA, 
 
 AND DOROTHY. 
 
 Two panels, oak, in one frame. 13f x 8f in. 
 
 The Saints are seated in a garden on a raised bank, on which are 
 flowers in pots, a peacock and peahen, and two parrakeets. The 
 garden is enclosed by a trellis-work fence, beyond which are a road- 
 way and four mansions with corby-stepped gables ; on the roof of 
 one of them is a stork's nest. The background is occupied by hills 
 with two castles in the distance. St. Cecily, in lilac brocade with 
 ermine lining, has an organ in her left hand and a falcon on her 
 right. St. Margaret wears a crimson dress lined with brown fur; 
 she holds two white pinks, and is raising her right hand to make the 
 sign of the cross over the dragon which lies vanquished at her feet. 
 St. Agatha, in a scarlet dress trimmed with white fur, holds up a pair 
 of pincers with her breast. St. Dorothy, in violet, has a sword in her 
 right and a flower in her left hand. 
 
 Ascribed to Hans Memlinc and to Gerard van der Meire.f 
 
 Collection— Chevalier de Coninck de Merckem, Ghent. Sold August 4, 1856, 
 770 frs., to M. Nieuwenhuys. 
 
 Bought from M. Nieuwenhuys, 1856. 
 
 * It is not known where the centre of the altar-piece now is, but the other shutter, 
 representing an angel with a scroll appearing to Saint Giles while saying Mass, is in the 
 possession of the Earl of Dudley. The building in which the incident is represented as 
 taking place is a faithful representation of the interior of the Abbey Church of St. 
 Denys, near Paris. Engraved in VioUet-le-duc, Dictionnaire raisonni de V Arehitecture 
 Frani;aise du xi' au xvi' Siicle, torn. ii. p. 26. 
 
 t A similar picture was, in 1860, in the possession of the Rev. Mr. Heath, Vicar of 
 Enfield. 
 
 ( 3 ) 
 
NETHERLANDISH AND GERMAN. 
 
 4 4. VIRGIN AND CHILD. 
 
 Panel, oak. 22| X 16^ in. 
 
 The Virgin sits in a stone alcove in a pensive attitude, holding 
 the Child with her right arm, and resting her left on the ledge of 
 the seat. The Child is caressing his Mother's chin with his right 
 hand and has his left arm round her neck. 
 
 She wears a crimson dress with a green kerchief across the 
 shoulders, and a lilac mantle, which she is gathering up with her 
 left hand. Her wavy light hair falls down her back. The Child 
 has light curly hair ; his lower limbs are wrapped in transparent 
 muslin. The stone alcove is ornamented with rams' heads, ara- 
 besque sculpture, and coloured marbles. The floor is a rich marble 
 tesselated pavement. 
 
 In a very good state of preservation, this panel, painted in bright 
 harmonious tints, dates from about the year 1515. 
 
 Formerly ascribed to Hans Memlinc and to Jan Gossaert 
 (Mabuse), this picture is probably by the Master of the Mater 
 Dolorosa in the Church of Notre Dame at Bruges. 
 
 Bought from Mr. Smith, 1831. 
 
 Waagen, I'reasures, ii. 182. 
 
 Weak, Bruges et ses Environs, 4" dtlition, Bruges, 1882, p. 116. 
 
 Photographed, Northbrook Oallery. 
 
 ( i ) 
 
EARLY NETHERLANDISH. 
 
 5 5. VISION OF SAINT ILDEPHONSUS. 
 
 Panel, oak, 15| x 13| in. 
 
 The Virgin appearing to St. Ildephonsus, Bishop of Toledo, after he 
 had by his writings and sermons refuted the heresy of Helvidius, 
 who had denied her virginity. 
 
 The Saint, in a girded and apparelled alb, with the maniple on his 
 arm, kneels on the foot-pace of an altar on the north side of a large 
 church of picturesque architecture, in which Gothic and Renaissance 
 details are mixed, the latter prevailing. He is looking up with 
 outstretched hands, in an ecstasy of joy, at the Virgin, who appears 
 on the left, attended by three angels, and is about to vest him with 
 a red chasuble with gold orphreys. Behind the Saint, to the right, 
 kneel three monks, one holding an open book, the second looking up 
 at the vision, and the third absorbed in prayer. In the background 
 is a procession of monks chanting, headed by a cross-bearer in an alb. 
 
 This richly-coloured picture is in a good state of preservation ; the 
 heads of the figures in the foreground are remarkable for the sweet- 
 ness of their expression and the delicacy of their modelling.* 
 
 Bought from M. Nieuwenliuys, 1856, as by Van Orley. 
 Exhibited— Royal Academy, 1872, No. 222. 
 
 * A similar picture was, in 1860, in the collection of the Rev. Mr. Heath, Vicar of 
 Enfield. 
 
NETHERLANDISH AND GERMAN. 
 
 6 6. ECCEHOMO. 
 
 Panel. 17^ X 13 in. 
 
 In the foreground our Lord is seen taking leave of his Mother, 
 who has fallen back, supported by one of the Marys ; farther to the 
 right stands another, whilst Mary Magdalene kneels on the extreme 
 left. On the right are St. Peter, St. John, and two other Apostles. 
 In the middle distance, Pilate, standing, with a long white thorny 
 wand in his hand, on a raised terrace behind a bar, shows to the 
 people our Lord crowned with thorns, clad in a white mantle, which 
 two men hold up, exposing to view his body torn with stripes. The 
 people below are shouting, and vehemently demanding his crucifixion. 
 On the wall of Pilate's house are the words Ecce Homo. 
 
 In the background are the buildings of a town, painted with great 
 detail, and numerous figures; in the distance, on the right, rocks 
 and dark clouds ; on the left light is breaking. 
 
 This picture has been ascribed to Cornelius Engelbrechtsen and 
 to Lucas van Leyden. 
 
 Collection — Mr. Thomas Baring. * 
 Exhibited— Royal Academy, 1880, No. 235. 
 
 * This description is given in tiiose cases where, although the picture formed part of 
 Mr. Baring's collection, I have been unable to find the date of the purchase. 
 
 ( 6 ) 
 
EARLY NETHERLANDISH. 
 
 7 7. FLIGHT INTO EGYPT. 
 
 Panel. 13x19^ in. 
 
 The Virgin, seated, supports with both hands the Child sitting 
 on the back of a sheep lying on the grass. On the right Joseph 
 leans on a staff. This group is copied from the picture by Raphael 
 in the Museum of Madrid. The figures have outline nimbs in gold, 
 and the borders of their garments are adorned with gilding. 
 
 The elaborately-painted landscape is traversed by a winding stream ; 
 in the foreground, on the right, is a tree with two lizards on the 
 trunk ; at its foot are rabbits, birds, butterflies, and flowers. On the 
 river is a ferry-boat, which is nearing the farther bank, towards which 
 the Virgin, on an ass, and Joseph are hastening. Beyond there is 
 a group of buildings, with a village cross and soldiers ; farther off, 
 a horseman with hounds. In the background are towns and distant 
 hills. 
 
 This picture has been ascribed to Giovanni F. Penni, but is cer- 
 tainly the work of a German or Fleming. 
 
 Collection — Sir Thomas Baring. 
 Exhibited— British Institution, 1841, No. 21. 
 Waagen, Treasures, ii. 176. 
 
 ( 7 ) 
 
NETHERLANDISH AND GERMAN. 
 
 3 8. VIRGIN AND CHILD. 
 
 Panel. 14| x 9f in. 
 
 The Virgin, three-quarter length, seated, supports with her right 
 hand the Infant on a white cloth, and holds with her left the back 
 of a book, with the leaves of which he is playing. She wears a blue 
 dress gathered in at the neck, the sleeves lined with fur. Over her 
 light brown hair is thrown a fine cambric veil, hidden at the back 
 beneath a greyish-blue mantle with a gold-broidered border. Behind 
 hangs a bluish-green cloth of honour with a murry border. On the 
 left stands a carved wooden aumbrye with a latten candlestick on 
 the top of it. 
 
 This picture is the work of a contemporary of Jan Gossaert. 
 
 Collections— Mr. J. P. Weyer, Cologne. Sold August 25, 1869, No. 259 
 121 thalers. 
 Rev. James Heath. 
 Bought by the Earl of Northbrook, April 10, 1880, No. 148, £23, 23. 
 
 9 
 
 EARLY GERMAN SCHOOL. 
 
 1. VIRGIN AND CHILD. 
 Panel, oak. 17 X 11 J in. 
 
 The Virgin and Child, half-length, on a gold crescent moon, on 
 reddish-brown background relieved by small lines of gold. The 
 Virgin has a tight-sleeved gold brocade dress, and a blue mantle 
 with gold-embroidered border. Her long hair is confined by a band 
 adorned with pearls. She supports with both hands the Child in a 
 semi-recumbent position on a linen cloth. 
 
 Formerly ascribed to H. Aldegrever. 
 
 Collection — Mr. Thomas Baring. 
 
EARLY GERMAN. 
 
 10 2. INFANT CHRIST ENTHRONED. 
 
 Panel. 21Jxl4Jm. 
 
 On a rich throne of brass, with crystal columns and a pierced 
 architectural dorsal of mixed Flambo^'ant and Renaissance detail, are 
 seated St. Anne and the Virgin, with the Infant Saviour standing 
 between them. He holds his Mother's mantle with his left hand, 
 while he extends his right to take a pink which St. Anne is offer- 
 ing him. Over his head broods the Holy Spirit in the form of a 
 dove, surrounded by a glow of yellow light ; from the sky above 
 golden rays are shooting downwards. St. Anne wears a green 
 dress and a scarlet mantle, and a pink turban on a white kerchief. 
 A large book lies open on her lap. The Virgin, crowned, has a loose 
 light-blue dress and mantle, and holds an open book on her left arm. 
 Above hover two angels with musical instruments. On the left and 
 right Joachim, in a blue robe and scarlet head -covering, and Joseph, 
 in green with a red mantle, lean on the two arms of the throne. In 
 the foreground, on the left, is St. Bernard, kneeling with Jiis hands 
 joined; his abbatial staff with its veil resting against his right shoulder. 
 Above him, on a scroll: Monstra te esse Matrem. In front of him, 
 nearer the middle, kneels the donor, in plaited shirt, scarlet dress, 
 and a bluish-grey furred robe with loose sleeves ; in his hands is a 
 scarlet cap, and on the ground before him an open book. On the 
 right stands St. Katherine, in a cloth of gold skirt with ermine 
 body and border, and an enormous turban head-dress with a crown. 
 She holds an open book on her right arm, a sword in her left hand, 
 and has her foot on the prostrate figure of Maxentius, who holds a 
 sceptre in his left hand. In the foreground are white lilies and other 
 flowers. Landscape background ; on the left are a stag, three old 
 men conversing, angels and men on a road leading through a forest 
 to a temple on a height in the distance, before the entrance of which 
 stands an angel. On the right is the tree of knowledge, with the 
 serpent coiled round its trunk ; farther off a fountain of carved stone- 
 work and a stag ; in the distance some high rocks. 
 
 This is probably the work of an artist of Cologne or of the Lower 
 Rhenish School. 
 
 Collection — Eev. James Heath. 
 
 Bought by the Earl of Northbrook, April 10, 1880, No. 146, £63. 
 
 ( 9 ) B 
 
NETHERLANDISH AND GEEMAN. 
 
 FRANgOIS CLOUET (JANET), c. 1510-1574. 
 
 11 1. CHARLOTTE DE FRANCE. 
 
 Panel. 7 X 5| in. 
 
 Half-length portrait of a child to the waist, the face, seen in three- 
 quarters, turned to the left. She wears a full-sleeved white frock cut 
 square at the neck ; her light hair is gathered into a white cap falling 
 behind, secured by a gold cordon. In her hands is a gold rattle with 
 bells, and an ivory mouthpiece. Above her head, in gold letters on 
 the dark background : Charlotte de France. In the collection of 
 drawings by Janet at Castle Howard there is one of the same child, 
 with the inscription : Za Reyne Madellaine d'Escoce* 
 
 Lord Ronald Gower, Castle Howard Janets, No. 12. 
 Collections — Sir Luke Scliaub. 
 
 Horace Walpole. Sold May 17, 1842, No. 49, ^58, 16s., to Mr. 
 Webb. 
 
 Mr. C. Baring Wall. 
 Exhibited— British Institution, 1843, No. 90. 
 
 Royal Academy, 1879, No. 209. 
 Photographed, Northhrook Gallery. 
 
 12 2. MARECHAL DE LA MARCHE. 
 
 Panel. 6f X 5f in. 
 
 Half-length portrait of a man, nearly full face, turned to the left, 
 in a black surcoat over a white dress, with full slashed sleeves. His 
 black cap is set slanting-wise on his head, with a white drooping 
 feather. A small medal is suspended by a gold cord round his neck. 
 He has yellowish-red hair, moustachios, a slightly forked reddish 
 beard, and blue eyes. Green background. In the collection of 
 drawings by Janet at Castle Howard there is one of the same man, 
 with the inscription : Moils'^ le Marechal de la Marche. 
 
 Lord Ronald Gower, Castle Howard Janets, No. 82. 
 Bought from Mr. Rutter, 1869. 
 Exhibited— Royal Academy, 1879, No. 208. 
 Photographed, Northhrook Gallerij. 
 
 * Magdalen, 5th child of Francis I., married in 1537 James V. of Scotland, and died 
 at Midsummer in the same year. It is said that black was first used as mourning in 
 Scotland at her death. Burton, History of Scotlanil, iii. 166. 
 
 ( 10 ) 
 
CEANACH. 
 
 LUCAS CRANACH THE ELDER, 1472-1553. 
 13 1. CHRIST BLESSING LITTLE CHILDREN. 
 Panel, oak. 27J X 47^ in. 
 
 Our Lord is represented standing in the middle of a crowd of 
 mothers who have brought their children to receive his blessing. 
 He is laying his right hand on an infant that lies on a linen cloth 
 in its mother's arms, and grasps with its tiny hands the thumb and 
 little finger of the Saviour's hand, as if to keep it fast. Another 
 child, held up by its mother, standing on our Lord's left, is caressing 
 his chin, two more are eagerly grasping his right arm. In the fore- 
 ground, on the right, another woman is giving the breast to her babe. 
 On the extreme left are six Apostles. Figures three-quarter length. 
 
 Background dark ; at the top, in white capitals : lasset die kind- 
 
 LEIN ZV MIR KOMMEN VND WERFT INEN NICHT DEN SOLCHEB 1ST D.\S 
 REICH GOTTES. MARCI AM X. 
 
 Cranaeli painted tliis subject three times for the Elector of Saxony : in 
 1539, 1543, and 1550, as is proved by the following extracts from the 
 Chamberlain's accounts : — 
 
 1539. " xi gulden xix ge. vor eine taffeln, das Evangelien als man die 
 kinder zum Herren bringet." 
 
 1543. "xvij fl. iij. ge. ann xv. gulden groschen vor ein tuch daruff das 
 Evangelium gemalet da man die kinderlein zu Christo treget." 
 
 1550. "das man die kinlein zum Heren pringt." 
 
 Paintings of this subject by Cranach are preserved in the Church of St. 
 Wenceslaus at Naumburg, in that of St. Anne at Augsburg, and in the 
 collection of M. Holzhausen at Frankfort. A full-length composition of 
 the same subject, with a castle in the background, being a pen-and-ink 
 drawing, is in the possession of Councillor Dorrien at Leipzig. 
 
 Collection — M. E. Joly de Bammeville. 
 
 Bought June 12, 1854, J158, lis. 
 
 C. Scliuchardt, Lucas Cranach, Leipzig, 1851, pp. 122, 161, and 208. 
 
 Waagen, Galleries, p. 97. 
 
 Kugler, Handbook, ii. 172. 
 
 Photographed, Northhrook Gallery. 
 
 ( 11 ) 
 
NETHERLANDISH AND GERMAN. 
 
 14 2. FREDERICK III. 
 
 Panel, oak. 8J X 5| in. 
 
 Sumamed the Wise, Elector and Duke of Saxony. Bust three- 
 quarter face, turned to the right, grey curly hair, mustachios, bushy 
 whiskers and beard. He wears an embroidered linen shirt, a narrow 
 black riband, a black furred robe, and a large black cap. Light- 
 green background, with the date 1532 on the left, and Cranach's 
 emblem beneath it. In the upper right comer, printed in black type 
 on a piece of paper pasted on to the panel : 
 
 " Friderich der Drit / Cliur- 
 furft vnd Hertzog zu 
 SachflFen." 
 
 The lower portion of the panel is occupied by a similarly printed 
 inscription on paper : 
 
 " Fridrich bin ich billich genand 
 Schonen frid ich erhielt ini land 
 Durch gros vernunfft / gedult vnd gluck 
 Widder manchen ertzbosen tiick 
 Das land icb fieret mit gebew 
 Vnd Stifft ein hohe Schul auffs new 
 Zu Wittemberg im Sachffen land 
 Inn der welt die ward bekand. 
 Denn aus der felb kam Gottes wort 
 Vnd thet gros ding an manchem ort 
 Das Bepftlicb Reich stortzt es nidder 
 Vnd bracht rechten glauben widder. 
 Zum Keifar ward erkorn ich 
 Des mein alter beschweret fich 
 Da fiir ich Keifar Carl erwelt 
 Von dem mich nicht wand gonft noch gelt." 
 
 Of the printed armorial achievement of the Elector pasted on to 
 the back of the panel only a fragment remains. 
 
 Collection — M. E. Joly de Bammeville. 
 Bought June 12, 1854, No. 24, J13, 123. 6d. 
 Waagen, Galleries, 97. 
 Exhibited— Royal Academy, 1879, No. 196. 
 
 ( 12 ) 
 
CRANACH. 
 
 15 3. JOHN I. 
 
 Panel, oak. 8| x 5^ in. 
 
 Elector and Duke of Saxony. Bust, three-quarter face, turned 
 
 to the left; brown, curly hair, moustachios, bushy whiskers aud 
 
 beard. In similar dress to the preceding. Light-green background. 
 
 In the upper left comer, in black type, on a piece of paper pasted 
 
 on to the panel : 
 
 " Johans der Eift / Churfurft 
 vnd Hertzog zu Sachffen." 
 
 And beneath the portrait, in two columns : 
 
 " Nach meines lieben bruders end 
 Bleib auff mir das gantz Regimend 
 Mit groffer forg vnd mancher fabr 
 Da der Bawr toll vnd toricht war. 
 Die auffrhur faft inn allem land 
 Wie gros fewer im wald entbrand 
 Welches ich lialff dempffen mit Gott 
 Der Deudfches land erret aus not 
 Der Rottengeifter feind ich war 
 Hielt im land das wort rein vnd klar 
 Gros drawen bittern hafs vnd neid 
 Umb Gottes worts willen ich leid. 
 Frey bekand ichs aus hertzem grund 
 Vnd perfonlich felbst ich da ftund. 
 Vor dem Keifar vnd gantzen Reich 
 Von Furften gfchach vor nie des gleich 
 Solchs gab mir mein Gott befunder 
 Vnd vor der wellt was ein wunder. 
 Vmb land vnd leut zu bringen mich 
 Hofft beid freund vnd feind gewislich 
 Ferdnand zu Roinifchen Konig gmacht 
 Vnd fein wahl ich allein anfacht 
 Auff das das alte Recht beftiind 
 Inn der gulden BuUen gegriind. 
 Wiewol das groffen zorn erregt 
 Mich doch niehr recht denn gunft bewegt 
 Das hertz gab Gott dem Keifar zart 
 Mein guter Freund zu letzt er ward. 
 Das ich mein end im frid befchlos 
 Vast fehr den Teuffel das verdros. 
 ( 13 ) 
 
NETHEELANDISH AND GERMAN. 
 
 Erfarn hab ichs vnd zeugen thar 
 Wie vns die SchriflFt fagt vnd ift war. 
 Wer Gott mitt emft vertrawen kan 
 Der bleibt ein unuerdorben man 
 Esziime Teufifel odder welt 
 Den fieger doch zu letzt behelt." 
 
 These pictures, painted rapidly with a sure and free hand, though 
 executed in Cranach's workshop, and under his superintendence, are 
 most probably not his own work. In 1532 he supplied the Elector 
 with no less than sixty pairs of these panels, as is proved by the 
 Chamberlain's accounts of that year, in which the following item 
 occurs : " i° ix gulden xiiijge Lucas malhem Inhalt seiner quitantz 
 Ix par teffelein daruff gemalt sein die bede churfursten selige und 
 lobliche gedechtnus, sonnabents nach Jubilate Indus, iiige vor ein 
 schrein dartzu." 
 
 Large fine portraits of these two Electors are preserved in the 
 Grand Ducal Gallery at Weimar, in the collection of Hauptmann 
 von Malchus at Stuttgart, and in that of Prince Basilewsky at Paris. 
 Many copies of the smaller size are scattered about in public and 
 private collections. 
 
 Collection — M. E. Joly de Bammeville. 
 Bought June 12, 1854, No. 25, £11, lis. 
 Waagen, Galleries, 97. 
 Exhibited— Royal Academy, 1879, No. 200. 
 
 ( H ) 
 
PETRUS CRISTUS. 
 
 PETRUS CRISTUS, c. 1415-c. 1473. 
 16 1. PORTRAIT. 
 
 Panel, oak. 14J x lOJ in. 
 
 A young man, half length, looking to the left. He is represented 
 bareheaded, with black hair cut straight across his forehead, standing 
 in a vaulted chamber or porch, between a doorway and a round- 
 headed unglazed window. He wears a deep scarlet tunic with a 
 furred collar extending half-way down the front opening. The folds 
 of the tunic are gathered in at the waist by a girdle, which, however, 
 is not seen ; the sleeves are long, full on the shoulders, tightening 
 towards the wrists, and ending with fur cuffs. The somewhat dark 
 flesh tones of the throat are relieved by the narrow white collar of a 
 linen shirt, and above the fur at the back is seen part of an under- 
 dress in two shades of black, the flowered pattern being darker than 
 the ground. The man's hat hangs just below his right elbow; its 
 long, broad scarf is brought over his shoulder, and hanging down 
 in front, partly covers a purse with a steel handle and mountings 
 suspended from his girdle. He holds with both hands an open book 
 of hours with red and blue initials, the binding sheathed in a cover 
 of dark olive-green cloth, bordered by a lighter green cordon with 
 knops and tassels at the corners. The book has a silver clasp with 
 the letters 711 a r on its inner side, and a silver register with coloured 
 ribands. On the second finger of his right hand he wears a massive 
 gold ring; the fourth and little fingers are between the folds of a 
 scarlet cap under the book. 
 
 The open window on the right shows a wooded landscape with 
 cottage roofs and a winding road leading to a distant castle, towards 
 which a man in red on a white horse is going. 
 
 The archivolt of the doorway on the left is occupied by statuettes 
 on brackets beneath three-faced canopies; in the upper tier are a 
 prophet holding a scroll and an apostle ; in the lower, a figure with 
 a loug scroll ; the bracket beneath the apostle is vacant. Beyond is 
 seen a wall adorned with mosaic-work, and supporting a brass lion 
 holding a shield. 
 
 On the wall of the chamber, to the left of the man and just above 
 his head, is hung a board, to which is attached by nails an illuminated 
 
 ( 15 ) 
 
NETHERLANDISH AND GERMAN. 
 
 sheet of vellum, tlie edge of which is protected by a narrow red riband. 
 This has given way at the lower left corner, and the vellum has 
 curled up from the board — a touch of truth which may serve as a 
 sample of the faithful rendering by this master of what he had before 
 him. The miniature represents the Vernacle, our Lord's head with 
 its cruciform nimbus of rays and the letters ^ (h being on a greenish- 
 blue ground bordered by a gold band ; the spaces on either side are 
 occupied by floriated work in red, blue, green, and gold. Beneath, 
 in two columns, is the following rhymed prayer, written, with the 
 usual abbreviations, in red and black : 
 
 Incipit oratio ad sanctam Veronicam. 
 
 Salve, sancta facies Salve, o sudarium, 
 
 Nostri redemptoris, Nobile locale, 
 
 In qua nitet species Es nostrum solacium 
 
 Divini splendoris. Et memoriale. 
 
 t Inipressa panniculo % Non depicta manibus 
 
 Nivei eandoris, Sculpta vol polita, 
 
 Dataque Veronice Hoc scit summus artifex 
 
 Signura ob amoris. Qui te fecit ita. 
 
 IT Salve, nostra gloria % Esto nobis, quesumus, 
 
 In bac vita dura Tutura adiuuamen 
 
 Labili ac fragili Dulce refrigerium, 
 
 Cito transitura. Atque consolamen. 
 
 % Nos perdue ad patriam f Ut nobis non noceat 
 
 O felix figura Hostile grauanien, 
 
 Ad videnduni faciem Scd fruamur requie, 
 
 Que est Christ! pura. Dicamus onmes amen. 
 
 Explicit. 
 
 The preciseness and microscopic neatness of hand exhibited in this 
 picture are most remarkable. 
 
 The version of the prayer in this picture differs from any in Mone, 
 " Lateinische Hymnen des Mittelalters," Freiburg im Breisgau, 1853, 
 vol. i. pp. 155-157, or in Daniel, " Thesaurus Hymnologicus," Lipsiae, 
 1855, vol. i. p. 341, vol. ii. p. 232.* 
 
 The portrait was said to be a portrait of Philip, Duke of Burgundy, 
 
 d. 1467, and ascribed to Roger de la Pasture of Tournay, better 
 
 known as Van der Weyden. 
 
 Bought from Mr. Farrer, 1863. 
 
 Exhibited — Eoyal Academy, 1879, No. 194. 
 
 Pbotographed, NonKhrook Gallei-y. 
 
 * See Karl Pearson, Eirt Beitrag zur Geschichte des Chrietusbildes im Uittclalter. 
 Strassburg, 1887, P. 24. 
 
 ( 16 ) 
 
A. DURER. 
 
 ALBRECHT DURER, 1471-1528. 
 
 17 1. DON MANUEL DE MENENS. 
 
 Panel, cedar. 18| X 14^ in. 
 
 Third length of a man of about forty years of age, the face, seen 
 in three-quarters, turned to the right. He has a smooth face, and 
 long, curly light-brown hair, and wears a black dress with broad 
 brown fur collar, showing the front of a fine linen shirt ; on his head, 
 a broad-brimmed black hat, set slanting-wise, the right side lowest. 
 His right hand and left arm rest on the parapet before him. With 
 his left hand, on the fourth finger of which he wears a ring, he holds 
 a roll of paper. Greenish-grey ground. On the left are the remains 
 
 of an inscription : 
 
 "D'Abarto dv 
 Don manvele menens. de 
 la moutana en los otrados de flan." 
 
 The original of this portrait, painted by Albert Diirer in 1521, 
 is in the gallery at Madrid, No. 992. See J. D. Passavant, " Die 
 Christliche Kunst in Spanien," Leipzig, 1853, p. 142. This copy 
 has been ascribed to Quentin Matsys. 
 
 Collection— Mr. Ralph Bernal. Sold, March 15, 1855, No. 1110, to Mr. Webb 
 
 .£52, 10s. 
 Bought of Mr. Webb, 1855. 
 
 18 2. SQUIRRELS. 
 
 Vellum. 10 X 9f in. 
 
 Two squirrels, the one in front, seen sideways, is eating an acorn ; 
 the other, sitting with its back to the spectator, is resting. A water- 
 colour drawing, finished with great care. Above is the date 1512, 
 and the cypher J^. 
 
 Collection — M. E. Joly de Bainmeville. 
 Bought, June 12, 1854, No. 4, ^£14, Us. 
 Photographed, Northbrook Gallery. 
 
 ( 17 ) 0* 
 
NETHERLANDISH AND GERMAN. 
 
 JAN GOSSAERT OF MAUBEUGE (MABUSE), 
 c. 1470-1532. 
 
 19 1. VIRGIN AND CHILD ENTHRONED. 
 
 Panel, oak. 17i X 15i in. 
 
 The Virgin, seated on a scarlet cushion, faces the spectator ; she 
 wears a blue dress, the drapery of which covers her feet. A tight 
 under-sleeve of crimson is seen at the wrist of her right hand. Her 
 long brown hair, partly covered by a white veil, falls over her 
 shoulders. The Child, whom she supports with both arms on a linen 
 cloth, is clutching her veil vdth his hands and raising himself to 
 embrace her. The foot-pace of the throne rests on four brackets, the 
 intervening spaces being occupied by two panels of bronze in low 
 relief representing David and Gideon, and by a pot of blue and white 
 stoneware contaiaing white roses. At either end is seated an angel 
 with his back to the base of a lofty pillar, of which only half of the 
 lower portion is seen. The throne itself is of marble, with a conch- 
 shaped canopy supported by a panelled semicircular back, with pilas- 
 ters having bronze capitals and bases. The columns in front are 
 adorned with angels and owls in bronze, while from rams' heads of 
 the same material in the centre of the tympana hang festoons fastened 
 together over the centre of the arch. Behind the throne is a hemi- 
 cycle, between the pillars of which are seen glimpses of landscape 
 with trees and a blue sky, contrasting well with the grey tints of the 
 architecture and the dark drapery of the Virgin. 
 
 The composition of this picture is pleasing; the architectural details 
 are admirably rendered, and the flesh tones are good. 
 
 This is a replica, with slight variations, of a panel (19x16 in.) 
 painted by Gossaert for the convent of the Augustinian Friars at 
 Louvain, which in 1588 was valued at £400. It was in the month 
 of December of that year presented by the magistrates of Louvain 
 to Philip II. of Spain, and has ever since been preserved in the 
 Escurial. 
 
 Collection— Mr. Tlioraas Baring. 
 Exhibited— Royal Academy, 1871, No. 226. 
 Waagen, Galleries, 98. 
 
 ( 18 ) 
 
MABUSE. 
 
 20 2. VIRGIN AND CHILD ENTHRONED, 
 
 WITH ANGELS. 
 
 Panel, oak. 13| x 9| in. 
 
 The Virgin is seated facing the spectator, in a blue dress and 
 mantle, falling in ample folds on the seat and foot-pace of the throne. 
 Her long golden hair, bound by a richly-jewelled tiara, and partly 
 covered by a linen kerchief, falls over her shoulders. With her left 
 hand she supports the Child, who, seated on a linen cloth, looks down 
 at a winged cherub in red, who stands on the foot-pace of the throne, 
 offering him some flowers. In front of the cherub is another playing 
 on the clarionet. Opposite are four others, playing and singing from 
 a book. 
 
 The figures are similar to those in the Palermo triptych,* with 
 slight diflFerences. In the Palermo picture, the canopy over the throne 
 is supported by four highly-ornamented groups of columns, united by 
 depressed arches opening on to a landscape with a variety of build- 
 ings, but here the arch at the back of the throne is filled up with 
 solid stonework, richly carved, and there are two arches at each 
 side, instead of one, as here. The fourteen statuettes which here 
 adorn the pillars, and the censing angels on brackets on each side 
 of the throne, are wanting in the triptych, where two other figures 
 are introduced. 
 
 In front of the base of the throne are plants in bloom : a lily, dande- 
 lions, marigolds, columbines, an iris, &c. Through the ai-ch on the 
 left there is an ox near the wall of an enclosed garden, in which an 
 angel kneels before the Virgin in the doorway of a house. Between 
 the pillars on the right is a garden, in which Joseph is walking, with 
 a staff in his left hand and a lighted candle in his right ; farther off 
 there is an angel on some steps leading down to water, and a swan. 
 Beyond are buildings and a bit of distant landscape. 
 
 The architectural accessories are all painted in grey, as also the 
 statues and the censing cherubs. The draperies are bright in colour, 
 and the cherubs' wings are of varied plumage. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 43. 
 
 „ Galleries, 98. 
 Exhibited— Koyal Academy, 1872, No. 229. 
 Photographed, Norlhhrook Gallery. 
 
 * There id a coloured drawing of the Palermo triptych in the possession of the Arundel 
 Society. 
 
 ( 19 ) 
 
NETHERLANDISH AND GERMAN. 
 
 21 3. PHILIP LE BEL. 
 
 Panel, oak : the picture and frame of one piece. Height, 9|-12f in. ; 
 
 breadth, 6J-8f in. 
 
 Half-length portrait of a yonng man, three-quarters face, turned 
 to the left. His crimson dress, faced with fur, open in front, shows 
 the collar of the Golden Fleece, which he wears over a tight-sleeved 
 blue under-dress stitched with gold, and an embroidered cambric 
 shirt. On his head a greenish-blue cap. His right hand and left 
 arm rest on the chamfer of the frame ; in his left hand he holds a 
 roll of paper. 
 
 Pasted on the back is a piece of parchment with handwriting 
 apparently of the latter half of the sixteenth century : 
 
 Ceftui pourt/aict eft de 
 pliilippe dauftriche filz 
 de Larchiduc Maxiniilien 
 et dame Marie duceffe 
 de bourgoigne ; ce princlie 
 prinft pour femme Jeanne 
 fille du Hoy ferrand : il 
 niouruft en Efpaigne 
 en 1505 et gift a granade. 
 
 Collection — M. E. Joly de Bammeville. 
 Bought June 12, 1854, No. 22, £13, 2s. 6d. 
 Exhibited— Royal Academy, 1879, No. 197. 
 
 ( 20 ) 
 
HOLBEIN. 
 
 HANS HOLBEIN, 1497-1543. 
 
 22 JOHN HERBSTER. 
 
 Paper, pasted on to a panel of deal. 16 x 10| in. 
 
 The bust of an original-looking middle-aged man, the face seen in 
 three-quarters, turned to the right, with a brown beard and long hair. 
 He wears a dark-grey dress and a large, bright-red cap. The back- 
 ground is an open archway of Renaissance architecture, showing the 
 blue sky behind. From the centre of the arch hang two festoons of 
 fruit and foliage, the ends of which are held by two winged boys 
 seated on the capitals of the pillars. Above the heads of these boys 
 are two little tablets supported by festoons, the one on the left con- 
 taining the date, " 1.5.16," the other the age of Herbster, "^t. 57," 
 now almost effaced. On a sort of parapet or plinth below is the 
 inscription : 
 
 lOANNES HERBSTER PICTOR OPORINI PATER. 
 
 This masterly portrait is most carefully executed, in those yellowish 
 flesh-tones of which Holbein was so fond. It bears considerable 
 affinity to the altar-piece of St. Sebastian, executed in 1512, now in 
 the Museum of Augsburg, but is of more delicate rendering. The 
 architecture, of a golden tone, is pleasing. 
 
 But little is known of the artist here represented. His name is 
 inscribed in the registers of the guild of the painters of Basel, " Zunft 
 zum Himmel," but his works are unknown. Fiissli tells us that he 
 was in the battle of Pavia in 1512. He was father of the famous 
 printer of Basel, Oporinus, and we may perhaps safely deduce from 
 the date of this portrait that Holbein removed from Augsburg to 
 Basel at latest in 1516.* 
 
 Engraved as a Van Eyck by Garreau (reversed) in Le Brun, 
 "Galerie des Peintres Flamands, Hollandais et Allemands," Paris, 
 1792, tom. i. pi. 2. In this plate one of the tablets bears the cypher 
 H.H. 
 
 Collection— Mr. J. Baynlun. Sold April 8, 1853, No. 251, to Mr. FaiTer, £84. 
 
 Bouglit from Mr. Farrer, 1854. 
 
 Waagen, Galleries, 97. 
 
 R. N. Womum, Hans Holbein, London, 1867, pp. 104 and 105. 
 
 Kugler, Handbook, i. 201. 
 
 E.xliibited— Roj-al Academy, 1879, No. 191. 
 
 Photographed, Nort/ibrook Gallery. 
 
 * Br. Erust Stukelberg of Basle, a descendant of Herbster, was kind enough to send 
 me a copy of a portrait of him as a young man which is in his possession. 
 
 ( 21 ) 
 
NETHERLANDISH AND GERMAN. 
 
 QUENTIN MATSYS, 1450-1529. 
 
 23 VIRGIN AND CHILD ENTHRONED. 
 
 Panel, oak. 29^ X 24^ in. 
 
 The Virgin is seated on a throne with a conch-shaped canopy, 
 having a cloth of honour of gold brocade, diapered with flowers and 
 birds, and curtains which are drawn back on either side. She wears 
 a dark-blue dress cut square at the neck, showing a good deal of fine 
 linen, full lilac sleeves, and a red mantle which has fallen back from 
 her shoulders. With her left arm she sustains the Child, seated on 
 a crimson cushion on the arm of the throne, and in her right holds 
 two cherries. Her face, seen in three-quarters, is turned to the right. 
 Her hair, confined by a double row of pearls with a jewel in front, 
 is partly hidden by a very thin gauze veil. The Child has both arms 
 round his mother's neck, and is kissing her. 
 
 Through a round-arched opening on the left is seen a hilly land- 
 scape, with water a castle and trees, shut in by distant mountains. 
 
 On a parapet in the front are an apple and a bunch of grapes. 
 
 This picture, formerly ascribed to Leonardo da Vinci, is an early 
 copy of a very fine work of Quentin Matsys, now in the Museum at 
 Amsterdam, but, in the middle of the seventeenth century, in the 
 possession of Peter Stevens, almoner and churchwarden of the Cathe- 
 dral of Antwerp, where it was seen by Alexander Van Fornenbergh, 
 who gives a long description of it in his work " Den Antwerpschen 
 Protheus ofte Cyclopschen Apelles," Antwerp, 1658. Another early 
 copy is in the Berlin Museum, No. 561. 
 
 Engraved by C. Ed. Taurel in " L'Art Chretien en HoUande et en Flandre," 
 Amsterdam, 1872-80. 6jx5| in. 
 Bouglit from Mr. Martin Colnaghi, 1864, as by Van Orley. 
 
 { 22 ) 
 
M. SCHAFFNER. 
 
 MARTIN SCHAFFNER, 16tli Century. 
 
 24 MARRIAGE OF THE VIRGIN. 
 
 Panel. 13J x 11^ in. 
 
 The ceremony is represented as taking place in a three-aisled 
 temple. The high-priest wears a cloth-of-gold tunic and cope, and 
 a mitre adorned with pearls ; over all is a scarlet stole, one end of 
 which is wrapped round the hands of the Virgin and Joseph. Be- 
 hind, on the right, is an attendant with a pastoral staff, and on 
 the left, another in a scarlet cap. On the left are three figures, and 
 on the right a fourth, assisting at the ceremony. 
 
 Collection — Rev. James Heath. 
 
 Bought by the Earl of Northbrook, April 10, 1880, No. 164, £34, 13s. 
 
 ( 23 
 
NETHERLANDISH AND GERMAN. 
 
 JAN VAN EYCK, c. 1390-1440. 
 25 VIRGIN AND CHILD. 
 
 Panel, oak. 10| X 7J in. 
 
 The Virgin, three-quarters length, is seated under a canopy with 
 a cloth of honour of olive-green diapered with flowers, bordered with 
 a narrow scarlet riband. 
 
 She wears a dark-blue rather low dress and a crimson mantle ; 
 both have richly-jewelled orphreys. Her long hair, which falls in 
 undulating masses over her shoulders, is confined by a band fastened 
 above the forehead by a jewel composed of a ruby surrounded with 
 pearls. She supports with her right hand the Infant Saviour, seated 
 on a linen cloth on her lap. He is taking from his mother a 
 nosegay of red and white pinks, and with his right hand caresses a 
 paroquet. 
 
 This is a genuine picture, well modelled and painted with great 
 finish. It closely resembles the central figure in the altar-piece 
 painted for Canon George de Pale, formerly in the Collegiate Church 
 of S. Donatian at Bruges, and now in the Museum of the Academy 
 of that city, terminated in 1436. This little panel is attributed to 
 the year 1437. 
 
 The back of the panel is painted stone-colour. 
 
 Collection— M. E. Joly de Bamraeville. Sold June 12, 1854, No. 29, £64, Is., 
 to Mr. Nieuwenhuys. 
 
 Bought from Mr. Nieuwenliuys, 1857. 
 
 Weale, Catalogue du Musde de I'Acade'mie de Bruges, Bruges, 1861, pp. 12-17. 
 
 „ Bruges et ses Environs, 4? edition, Bruges, 1882, p. 54. 
 
 „ Revue de I'Art ChrMen, 3' Serie, Lille, 1883, torn. i. p. 66. 
 Exhibited— Eoyal Academy, 1872, No. 234. 
 
 ( 24 ) 
 
VAN HEMESSEN. 
 
 JAN VAN HEMESSEN, 14.. -156.. 
 26 CALL OF ST. MATTHEW. 
 
 Panel, oak. 27 x 83i in. 
 
 On the left, our Lord, in grey, facing the spectator, is turning to 
 the right, and addressing Matthew, who is bending forward across 
 the counter of his office, holding in his left hand a singularly-shaped 
 hat, round which is wound a brown scarf. On the counter are a 
 coffer, a dish containing coin, a money-box, an inkstand and pen, and 
 some account-books, one of which is open, showing the entries : 
 " Item, vertolt in Juli . . . Item, noch vertolt den xxj Augusti . . . 
 Item, vertolt in den iiij in Sept. . . . Item, vertolt in den x. Octob." 
 
 On the left, outside the office, are St. Peter in green, and two other 
 apostles, and in the background two towers with a mountain in the 
 distance. 
 
 On the right are several files of papers, and in the middle a tablet, 
 suspended by a ring, bearing : " Mat, 9a . . . Mar. 2b. . . . Luc. 5f." 
 
 Painted with a delicate touch, in a warm, transparent tone. 
 
 Formerly attributed to Quentin Matsys. A somewhat similar 
 picture, signed Jan Van Hemmessen, is in the Museum at Antwerp. 
 
 Collection— Mr. Edward Puckle of Flushing, near Falmouth, 1845-50. 
 Bought from Mr. F. K. Fowell, 1859. 
 Exhibited— Royal Academy, 1872, No. 239. 
 Photographed, Northbrook Gallery. 
 
 ( 25 ) 
 
NETHERLANDISH AND GERMAN. 
 
 BERNARD VAN ORLEY, c. 1489-1542. 
 
 27 CHARLES V. 
 
 Panel. Height, 14| x llj in. 
 
 The Emperor is represented on a white charger, advancing towards 
 the left, holding an arrow in his right hand, and the reins of his 
 horse in his left, which rests on the pommel of his sword. In front 
 of him on the ground lies a Moorish king, clutching at a sceptre 
 with his left hand, and at the same time raising his right as if to 
 implore the conqueror's mercy. The Emperor wears a rich suit 
 of armour, sleeves of blue and red shot silk, a fantastically-shaped 
 helmet with a bimch of drooping plumes, and long, untaiined leather 
 boots with spurs. His horse's reins are formed of crimson scarves 
 knotted together. The Moorish king has a dark-blue furred robe 
 with gold clasp, and green and red shot silk sleeves ; he wears his 
 crown outside a greenish-yellow conical hat with tumed-up border 
 lined with white. He has a beard, moustachio, and long hair. 
 
 This group is, as it were, framed by an archway of Renaissance 
 style a little behind the figures, the view of all but the slightly 
 clouded sky being shut out by a ruined stone wall, on which a shrub 
 has taken root. 
 
 Formerly attributed to Albert Diirer. 
 
 Collections— Sold at Christie's, Jan. 13, 1816, No. 51, £4, 6s., to Mr. Hilder. 
 
 Mr. Pilgrim. Put up March 5, 1824, No. 50, bought in at £S. 
 
 Sold April 29, 1825, No. 33, £b, 5s., to Mr. Crawford. 
 
 Mr. Samuel Rogers. 
 Bought, May 2, 1856, No. 555, £100. 
 Waagen, Treasures, iL 270. 
 Photographed, Northbrook Gallery. 
 
 ( 26 ) 
 
ASSELYN. 
 
 DUTCH AND FLEMISH SCHOOLS. 
 
 JAN ASSELYN, 1610-1660. 
 28 ITALIAN LANDSCAPE. 
 
 Caaivas. 21i x 25f in. 
 
 In the centre, a young woman in blue on a donkey holds up a 
 bird, for which a dog is jumping, to the amusement of a youth who 
 kneels at her right and is pulling up his stockings. To the right are 
 three cows, a goat, and some sheep watering in a pool of clear water 
 at the foot of some ruins. On the left is a road with goats and a 
 goatherd in the distance. Blue sky with a few light clouds. Signed 
 to the right. 
 
 This picture is one of the best works of the master, painted in his 
 later manner, after his return to Holland, between 1651 and 1660 ; 
 the figures treated in the manner of Peter Van Laer. 
 
 Collections — Prince Galitzin, Paris, February 28, 1825. 
 
 Verstolk. 
 Bought in 1846. 
 Smith, V. 276. 
 
 Waagen, freamres, il 186. "In harmonious coolness, firmly-treated chiaroscuro, 
 and truth of detail, this picture rivals Du Jardin." 
 Kugler, Uandhook, ii. 446. 
 
 ( 27 ) 
 
DUTCH AND FLEMISH. 
 
 LUDOLPH BACKHUISEN, 1631-1708. 
 
 29 1. VIEW ON THE BRILL. 
 
 Canvas. 16j X 23| in. 
 
 A view on the Brill river during a stiff breeze, vrith heavy clouds. 
 On the right is a bank with two slender trees growing on it, at the 
 foot of which are two men. A little way off, on the extreme right, 
 is a cottage. A small boat with three men in it is putting off from 
 the shore, on which the waves are breaking. On the left is a lugger 
 under brown main and white foresails, and beyond her are several 
 fishing-boats. The tower of the Brill Church is seen in the distance 
 on the left. Signed L.B., on the bank, on the right. 
 
 Collection — Due de Berri. 
 
 Exhibited at Christie's for sale in 1834, price £320. 
 Bought from Mr. Nieuwenliuys, 1849. 
 
 Smith, vi. 449, No. 146. " Few pictures by the master possess more taste and 
 true feeling for Nature." 
 Waagen, Treasures, ii. 188. " A picture of the finest quality." 
 Photographed, Northbrook Gallery. 
 
 30 2. A BEEEZE AT SEA. 
 
 Canvas. 30| x 49i in. 
 
 In the front, on the left, is a buoy, and beyond a yacht with a 
 number of people of quality on board ; at the stern a shield or, a lion 
 rampant gules, surmounted by a crown ; below the shield, the motto : 
 CONCORDIA RES PARV^ CRESCONT ; beyond, a frigate. On the right, 
 a boat with three men, one engaged with a sail, two others dragging 
 in a net ; beyond, a frigate anchoring, and in the distance other 
 vessels. Blue sky with dark masses of clouds to the left. Signed, 
 on the boat, on the right : Z. Back. 
 
 Collections — Mr. George Hibbert. 
 Sir Thomas Baring. 
 Bought, June 3, 1848, No. 130, £283, 10s. 
 
 Waagen, Treasures, iL 188. " Of rich and happy composition, and carefully 
 executed in cool, clear tones. It belongs to the best period of the master." 
 Kugler, Handbook, ii. 469. 
 
 ( 28 ) 
 
BERCHEM. 
 
 NICHOLAS BERCHEM, 1624-1683. 
 
 31 MUSICAL PEASANTS PASSING A FORD. 
 
 Panel. lU x 17i in. 
 
 On the left a man and a woman on horseback, singing and playing, 
 are crossing a ford, followed by two peasants on foot and a dog. In 
 the centre a man is riding down to the ford driving some cattle before 
 him, while another drives two sheep up the bank. On the other side 
 of the ford there is a wood, a castle, and distant hills ; some feathery 
 trees to the right. Warm evening light. Signed to the left : 
 Berchevi. 
 
 Collection — Due de Berri. 
 Imported by Mr. Hume, 1840. 
 Bought through Mr. Chaplin, 1849. 
 Smith, ix. 616, No. 29. 
 Waagen, Treaturee, ii. 186. 
 
 ( 29 ) 
 
DUTCH AND FLEMISH. 
 
 GERRIT BERCK HEYDE, 1638-1698. 
 
 32 1. MARKET-PLACE, HAARLEM. 
 
 Panel. 23ix32im. 
 
 View on the Great Market-place. Facing the spectator is the 
 Town-house, a red brick building with an octagonal tower, erected 
 1630-1633. On either side are several gabled houses. The square 
 is enlivened by numerous figures of men ; from a narrow street (the 
 Groote Hout Straat) on the left, a lady in blue skirt and yellow 
 jacket is advancing towards the middle. 
 
 On one gable of the Town-house is a shield bearing gules, a sword 
 erect argent, the hilt and pommel or, with the motto: viciT vim 
 VIRTVS ANNO 1633, and below it a statue of Justice. Over a door 
 to the right : s.P.Q.H. ANNO 1630. On the roof a stork and two 
 nests. Blue sky with a few light cloiids. Signed and dated on a 
 beam of a house on the left : Gerrit Berk Heyde f. 1661. 
 
 The figures are by his elder brother, Job Berck-Heyde (1630- 
 1693). 
 
 Collections — Chateau de Loenen, near Loenen. 
 
 Verstolk. 
 Bought in 1846. 
 Smith, V. 410. 
 
 Waagen, Treagures, ii. 188. "The masterly treatment, the striking sunny 
 effect, and unusually careful execution, render this picture very attractive." 
 Kugler, Handbook, ii. 509. 
 Photographed, Northbrook Gallery. 
 
 ( 30 ) 
 
p. BOL. 
 
 33 2. MARKET-PLACE, HAARLEM. 
 
 Panel. 23j X 32 J in. 
 View of the Great Market-place, taken from near the Town-house, 
 showing the great Church with the curious stalls underneath it. 
 There are several gabled houses near the foreground to the right, 
 as well as farther off to the left. Many groups of figures are scat- 
 tered about the square, among them a gentleman on horseback with 
 a couple of greyhounds. This picture was probably painted to 
 match the preceding one. Signed G. Berck Heyde, 1669. 
 
 Collection— Colonel A. Ridgway. Sold January 15, 1886, £299, 5s. 
 Bought by the Eai-l of Northbrook from Messrs. Colnaghi, 1886. 
 
 FERDINAND BOL, 1611-1681. 
 
 34 1. THE PEARL NECKLACE. 
 
 56jx70 in. 
 
 In the centre a young lady stands, facing the spectator, look- 
 ing at herself in a mirror placed on a table covered with a red 
 and yellow carpet, as she fastens a necklace of pearls to her left 
 shoulder. She wears a yellow silk dress with a skirt of white satin. 
 On her right is seated a gentleman with a silver-topped cane in his 
 right hand. He is looking at her reflection in the glass. On the 
 table, to the right, are a casket of jewels, a book, and a vase. The 
 figures, three-quarter length, are life-size. Signed on the back of 
 the mirror: F. Bol fecit 1649. 
 
 Collection — A Collection in Amsterdam. 
 Verstolk. 
 
 Bought in 1846. 
 
 Waagen, Treamres, ii. 182. " In power and transparency of general effect, in 
 the delicate golden tones of the female figure, and in the truthful reddish 
 colouring and careful execution of the man, this picture may be considered as 
 one of the chefs d'muvre of this scholar of Rembrandt." 
 
 Kugler, Handbook, iL 377. 
 
 Burger, 251. " 11 n'y a rien h, dire contre cette belle peinture, si ce n'est 
 qu'elle imite par trop un des cdlfebres Rembrandt de Buckingham palace, la 
 femme du Bourgraestre Pancras, laquelle est en train d'admirer devant une glace 
 les boucles d'oreUles que lui a sans doute donndes son mari, asis prfes d'elle." 
 
 ( 31 ) 
 
DUTCH AND FLEMISH. 
 
 35 2. SCENE FROM GUAEINI'S "PASTOR 
 
 FIDO." 
 
 Canvas. 54 X 75 in. 
 
 A composition of nine figures. In the centre, a lady in white 
 
 satin, with a blue mantle over her left shoulder and arm, is crowning 
 
 with flowers a woman in yellow, who holds a bow in her left hand. 
 
 On the right are four other women, the foremost in crimson holding 
 
 a crook, and two dogs. On the left is another woman in a rustic 
 
 hat, and in the mid-distance two more seated. Signed. 
 
 Collections— Sir Charles Bagot. Sold June 18, 1836, No. 40, £121, 16s., to 
 Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 
 Smith, vii. 245. " One of his finest productions." 
 Waagen, Treasures, ii. 183. 
 Kugler, Handbook, ii. 376. " An admirable picture of his later time." 
 
 36 3. ADMIRAL DE RUYTER. 
 
 Canvas. 42j X 34 in. 
 
 The Admiral, a full-length figure, life-size, is represented standing, 
 facing the spectator ; he is in full dress, cloth-of-gold uniform, with 
 black robe over it, and wears the collar of the Order of Saint Michael. 
 He has long black hair, a black moustachio, and a grey imperial. In 
 his right hand he holds his staff of ofiice, while his left rests on his 
 hip. On the right is a red curtain, looped up ; on the left, in the 
 background, a ship of war with the Dutch colours. 
 
 Bol painted the portrait of the Admiral nine times; for Louis XIV., 
 
 William III., the Admiralty Houses of Amsterdam, Hoom, Enk- 
 
 huisen, and Medemblik, and for the town of Flushing, his birthplace ; 
 
 this last is now in the National Museum. Van der Heist painted 
 
 him thrice ; two of his portraits were in 1847 in the possession of 
 
 Mr. Elias, burgomaster of Amsterdam. 
 
 Collections — Admiralty House, Enkhuisen. 
 
 M. J. VaiUant, Director of Town Wharves, Amsterdam. Sold to 
 
 Mr. Brondgeest. 
 Verstolk. 
 
 Bought in 1846. 
 
 ( 32 ) 
 
BOTH. 
 
 JAN BOTH, c. 1610-c. 1650. 
 
 87 1. THE FAREWELL. 
 
 Canvas. 42 x 39 in. 
 
 In the foreground, on the right, two gentlemen on horseback are 
 bidding each other farewell, hat in hand, while a guide, carrying a 
 gun, is slowly moving oflF to the left. On the road to the right are 
 two horsemen going up to a wooden bridge over a stream in the mid- 
 distance, towards which two laden mules, followed by a man and 
 woman, are coming down from the left. Under the bridge is a 
 waterfall, which is seen again falling from the high rocks which 
 form the background on the right. Blue evening sky, with brownish 
 clouds. Signed on the left. The figures are by the artist's brother 
 Andreas. 
 
 Indifferent etching by C. Josi, lOf x 8} in. 
 
 Collections — Mr. John Van Hollenhoven. Sold, April 2, 1794, No. 11, for 506 
 florins, to Mr. Yver. 
 Mr. C. Josi. Put up at Christie's, March 23, 1822, No. 64 ; bought 
 in at X581, 15s. Again put up at Christie's, May 16, 1829, 
 No. 84; bought in at £372, 15s. 
 Mr. Nieuwenhuys. Sold to the Hon. G. Vernon. 
 Hon. G. Vernon. Sold, April 16, 1831, £297, .3s., to Mr. ^'oodin. 
 Mr. Ralph Fletcher. 
 Bought June 28, 1851, No. 61, £580. 
 Smith, vi. 190, No. 55, and ix. 733, No. 8. 
 Waagen, Treasures, iL 187. 
 Exhibited— Royal Academy, 1872, No. 181. 
 
 ( 33 ) 
 
DUTCH AND FLEMISH. 
 
 38 2. LANDSCAPE. 
 
 Panel. 9fxl2|in. 
 
 In the centre, two men, three goats, and a donkey by the roadside ; 
 another man is following a cow down the road. On the left, on 
 higher ground, a man and a boy are walking along the foot of some 
 high rocks overgrown with bushes. On the right a stream ; in the 
 distance blue hills. Blue sky. Signed to the left. 
 
 Collection— Sir Thomas Baring. Sold June 3, 1848, No. 85, J48, 6s. 
 
 Bought from Mr. Smith, 1848. 
 
 Waagen, Treasures, ii. 187. "Charming in feeling and solidly carried out." 
 
 JAN BREUGEL, 1565-1642. 
 
 39 TRAVELLING PEASANTS. 
 
 Panel. 8^ x llf in. 
 
 A clump of trees stands in the centre on a rising ground, across 
 which a road runs, with groups of figures, waggons, horses, &c., 
 passing along it. Blue distance, with trees and towns. 
 
 Collection — Mr. George Smith. 
 
 Bought by the Earl of Northbrook, April 10, 1880, ^£32, lis. 
 
 ( 3i ) 
 
BUITENWEG. 
 
 WILLEM BUITENWEG, 17th Century. 
 
 40 LANDSCAPE. 
 
 Panel. lOi x 13i in. 
 
 On a road in the foreground is a white horse, and a man sitting 
 on a felled tree with a dog at his side. On the right, a hill with 
 sheep. In the distance, on the right, some low hUls. The sky to 
 the left is covered with heavy clouds. Signed on the right : W. 
 
 BCJTENWEG. 
 
 Formerly ascribed to John Wynants. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 
 CATS, 17tli Century. 
 
 41 THE DOCTOR. 
 
 Canvas. 80^ x 26 in. 
 
 On the right is seated an elderly man, probably a doctor, wearing 
 
 a black robe with a white collar, and a black cap. His right hand 
 
 rests on the arm of his chair, his left on some papers lying on a 
 
 table covered with a Turkey cloth ; one of the sheets of paper has 
 
 on it a full-length drawing of a human skeleton. On the arm of 
 
 the chair is inscribed the man's age : ^et. 50. He is looking towards 
 
 a woman with a white kerchief on her head, who is approaching 
 
 him from the left, holding her left hand up to her face as if in 
 
 grief, and leading a little girl with a basket on her arm. A similar 
 
 basket lies empty on the ground before the man. 
 
 The background ia divided into two by a pier supporting two 
 
 ( 36 ) * 
 
DUTCH AND FLEMISH. 
 
 round-headed arches. That on the right, behind the man, is fur- 
 nished with a curtain looped up to the left ; beyond it is seen a 
 bookcase, and through the arch on the left a window glazed with 
 roundels, through which are seen a cottage and trees. On the sill 
 is a jar with the words : CATS F. 
 
 This subject is enclosed in an oval frame, of which the half to the 
 left is composed of human bones, and that to the right of leaves and 
 flowers ; hanging from the top is a round ball, and above it a scroll 
 with the words : MEMENTO MORI, ANNO 1662. 
 
 Formerly attributed to Thomas Wyck and to Gerbrand Van den 
 Eeckhout. 
 
 History. 
 
 1819, July 17. Catalogue of a sale at Christie's, No. 28, belonging to Mr. W. 
 
 Smith ; bought in at £59, 6s. 6d. 
 1821, July 27. Catalogue of a sale at Christie's, No. 62, belonging to Mr. W. 
 
 Smith ; bought in at £60. 
 1825, June 25. Catalogue of a sale at Christie's, No. 77, belonging to Mr. W. 
 
 Smith ; bought in at £34, 13s. 
 In the catalogues of these three sales the picture is attributed to G. Van den 
 Eeckhout. The dimensions not being given, it is impossible to say whether it is 
 the work described above. Having sought in vain for any notice of a painter of 
 the name of Cats living in 1662, we think it well to give the following extracts 
 from other sale catalogues : — 
 
 1835, July 4. Collection of William Smith, Esq., M.P. for Norwich, sold at 
 Christie's, No. 116 — Cats : Interior of an apartment, with an advocate 
 seated at a table, and a woman with a basket ; painted with a capital 
 effect of sunshine. .£31, 10s. to Parsons. 
 
 1836, January 30. Catalogue of a sale at Christie's, No. 90, belonging to E. E. — 
 Cats : — Interior of a physician's apartment ; a clever copy. £1, 10s. to 
 Johnson. 
 
 1836, April 23. Collection of Mr. Scott, sold at Christie's, No. 29— Rembrandt : 
 Portrait of the physician Cats seated at a table, with a woman and child 
 about to consult him ; with admirable effect of light. Bought in at 
 £56, 3s. 6d. 
 
 Collection — Sir Thomas Baring. 
 
 Bought, June 3, 1848, No. 73, £17, 68. 6d., as by Thomas Wyck. 
 
 ( 36 ) 
 
G. COQUES. 
 
 GONZALES COQUES or COCX, 1618-1684. 
 
 42 GENTLEMAN AND LADY ON HORSEBACK. 
 Panel, oak. 16i x 14| in. 
 
 A gentleman, bareheaded, riding a prancing white horse to the 
 left, with a sword at his side and a whip in his right hand, which is 
 raised. Behind him, a lady in a low yellow dress and a hat with 
 feathers, on a bay horse, holding a fan in her left hand. On the 
 extreme right, a negro servant, standing with his master's hat in his 
 hand, is looking at a spaniel, which is admirably painted. Landscape 
 with trees, a stream, and a distant church. Blue evening sky with 
 clouds. 
 
 This picture is painted in Coques's best manner, based on the 
 study of Peter Breughel and of Anthony Van Dyck. There is much 
 character ^in the heads ; the figures are elegant and refined ; the 
 execution of the details careful, without undue prominence being 
 given to them. 
 
 Collections— Given by the Queen of the Netherlands to the Prince of Orange 
 in 1817, as a birthday present. 
 King of Holland. Sold August 12, 1850, No. 81, to M. Nieuwen- 
 huys, 800 florins. 
 Bought from M. Nieuwenhuys, 1851. 
 Nieuwenhuys, Review, 95. 
 
 Description de la Collection de S. A. le Prince d'Orange d Bruxelks. 
 Bruxelles, 1837, 34. 
 Photographed, Northbrook Gallery. 
 
 ( 37 ) 
 
DUTCH AND FLEMISH. 
 
 ALBERT CUYP, 1605-1691. 
 43 1. A GIRL. 
 
 Panel. 35 x 82 in. 
 FuU-length figure of a girl of about six years of age, standing 
 holding a red rose in her hand. She is seen nearly full face, has 
 fair hair and blue eyes, and wears a dark-green dress slashed and 
 trimmed with yellow, a white apron, white collar and cuffs trimmed 
 with lace, lace head-dress, red coral bracelets and gold necklace and 
 cross. Behind her, a chair with red leather seat and back, and a 
 dark curtain. 
 
 This picture has been lengthened a little to match another one. 
 Collection — Mr. Thomas Baring. 
 
 44 2. VIEW NEAR DORDRECHT. 
 
 Panel. 28^ X 35i in. 
 View of the river Merewede, near Dordrecht, with several vessels. 
 One bank only is seen, stretching nearly across to the left. In front, 
 on the right, are several fishing and cargo vessels, with their sails up, 
 lying near the shore ; and in front of them are two boats, in one of 
 which are two men, and in the other a boy fishing. To the left is 
 a two-oared row-boat approaching with eleven passengers, some of 
 whom appear to be persons of distinction. The river is skirted by 
 bushes and trees, and enlivened by a number of other vessels, the 
 most distant of which are barely visible through the warm golden 
 haze of a fine summer morning. 
 
 This picture is painted with the same brilliancy as the well-known 
 picture by the same master at Dorchester House, where it forms part 
 of Mr. Holford's splendid collection. 
 
 Collections — Mr. Johan Goll von Frankestein, Amsterdam. Sold, July 1, 183.3, 
 No. 14, for 10,200 florins, to Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Smith, V. 346, No. 216. 
 Waagen, Treasures, ii. 187. 
 Kugler, Handbook, iL 462. 
 Burger, 267. 
 Viardot, 155. 
 Exhibited— British Institution, 1850, No. 9. 
 
 Koyal Academy, 1871, No. 209, and 1889, No. 81. 
 ( 38 ) 
 
DE HEEM. 
 
 45 3. PRINCE HENRY FREDERICK AT THE SIEGE 
 
 OF BREDA. 
 
 Panel. 12J x 16| in. 
 
 View near Breda during a siege. On the right, in the foreground, 
 is Prince Henry Frederick on a bay horse, and behind him two 
 mounted officers. On the left are a number of people near some 
 tents, and towards the centre are four men carrying a soldier on a 
 stretcher. In the middle distance are an officer on horseback and 
 others looking on at the firing, while in the background is seen the 
 town, with its church-tower rising high above the other buildings. 
 Blue sky with a few light clouds. The appearance is that of morn- 
 ing, the general effect fresh and airy. A careful, well-preserved 
 picture ; the details delicately painted. Signed on the left. 
 
 Collections— Marquis of Bute. Sold, June 8, 1822, No. 68, £63, to Mr. Foules. 
 
 Mr. Cliarles Brind. 
 Bought May 10, 1849, No. 51, .£107, 2s. 
 Smith, V. 361, No. 265. 
 Waagen, Treasures, ii. 186. 
 Exhibited— British Institution, 1845, No. 19. 
 
 Ro3'al Academy, 1872, No. 162, and 1889. No. 73. 
 
 DAVID DE HEEM, 1570-1632. 
 
 46 FRUIT. 
 
 Panel. 20J x 15f in. 
 
 In a stone round-headed niche are a gilt vase supported by a bird's 
 foot, a salver of Venetian glass, and a tall drinking-glass, a pepper- 
 caster, and a gold watch with an open lid and a blue riband attached 
 to it, a melon, some grapes and chestnuts, and a bramble branch 
 with blackberries. A snail, a caterpillar, and some other insects, 
 are introduced about the fruit. On a shelf below are oysters, a lemon 
 partly peeled, a knife, &c. 
 
 Bought from Mr. Martin Colnaghi, 1861. 
 
 ( 39 ) 
 
DUTCH AND FLEMISH. 
 
 JAN, SON OF DAVID DE HEEM, 1600-1684. 
 
 47 FRUIT AND FLOWERS. 
 
 Panel. 14 J x 18 in. 
 
 On a table, the top of which is covered with a dark lilac cloth, is 
 a metal dish containing purple and green grapes, a couple of peaches, 
 one of which is cut open, a nectarine, a spray of convolvulus, two or 
 three ears of corn, and a carnation. To the left stands a glass of 
 light-coloured liquor. 
 
 Signed on left : J. D. De Heem, f. 
 
 Collection — Mr. W. Jones of Clytha. 
 Bought May 8, 1852, No. 29, £8, 8s. 
 
 PETEE DE HOOCH, 1632-1681. 
 
 48 THE PET PARROT. 
 
 Canvas. 31Jx26in. 
 
 On the right, with his back to the fireplace, a man is sitting at a 
 table drinking. At the end of the table, to the left, a little girl is 
 standing on a chair, looking up at a parrot in a cage. A maid- 
 servant, standing on the farther side of the chair, is taking care of 
 the child and at the same time holds out a glass of wine to a lady 
 who is dipping a cake in the wine and coaxing the head of the bird. 
 A brown and white spaniel is jumping up, with its forepaws on the 
 child's chair. The lady, who wears a red velvet jacket trimmed with 
 white fur, has her back to a window on the left, from which the light 
 streams into the room. On the table, covered with a white cloth, 
 are bread, cheese, and fruit. On the mantelpiece are a bottle and 
 some cups, and above it a picture of a woman reclining at full length. 
 
 Collections — Due de Berri. 
 
 Imported by Mr. Hume, 1840. 
 Bought from Mr. Chaplin, 1854. 
 Smith, ix. 565, No. 6. 
 Waagen, Galleries, 99. 
 
 ( 40 ) 
 
DE VLIEGER. 
 
 CLAUDE DE JONGHE, 16 . .-1663. 
 40 OLD LONDON BRIDGK 
 
 Panel. 17x39jin. 
 
 The view is taken from the north side, a little above the bridge. 
 On the left, in the foreground, is a jetty alongside of which are three 
 boats, the smallest of which is empty ; in the second is a man with 
 a package which he is carrying to the farther end of the boat. In 
 the largest boat, which has a cabin with blue drapery, are seven 
 persons. A gentleman, two ladies, and a boy are walking down the 
 jetty. On the river, above the bridge, are fourteen row-boats, whilst 
 between the bridge and the tower are three large vessels lying off 
 the wharves. The drawbridge is down ; two men on it are the only 
 figures on the bridge. Blue morning sky with clouds. 
 
 Signed on building, on the left: 0. DE Jonghe, 1650. 
 
 A larger replica of this picture (25 X 48 in.), formerly at the Hague 
 
 (collection of Mr. Wm. Van Wouw, sold 29th May 1764, No. 100, 
 
 sold for 36 florins, and collection of Mr. A. J. Carrd, sold 6th June 
 
 1820, No. 40), is now in the South Kensington Museum. Another, 
 
 from the Marquis of Exeter's collection, was sold in 1888. 
 
 Collections— Wynn Ellis. Sold May 27, 1876, No. 17, £525. 
 
 Mr. John Heugh. 
 Bought by the Earl of Northbrook, May 11, 1878, No. 252, ;e787, 10s. 
 
 SIMON DE VLIEGER, 1600-1657. 
 50 SCHEVELINGHEN. 
 
 Canvas. 23| x 38 in. 
 
 On the right is a village with a church with a low square tower 
 on a headland, from which a jetty runs out in the mid-distance. 
 About it are seven fishing-boats. The scene is enlivened by nearly 
 forty figures, the chief group of which is collected round som^ fish 
 lying on the ground near the centre. In the distance, on the left, 
 is a ship. Blue sky with clouds. 
 
 Signed on the right. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 
 ( 41 ) F* 
 
DUTCH AND FLEMISH. 
 
 EMANUEL DE WITTE, 1607-1692. 
 
 51 1. OUDE KEEK, AMSTERDAM. 
 
 Panel. 171 x 13| in. 
 
 In a pulpit against a pillar on the farther side of the nave, a 
 minister is preaching to a congregation, some seated, others stand- 
 ing. In the foreground, to the right, is a dog, and another sits by 
 the pillar in the centre. On the right is an organ with blue shutters. 
 
 Signed on the wooden vaulting, with the date 1669. 
 
 Collections — M. Tjaard Anthony van Iddekinge, Amsterdam. Sold April 25, 
 1838, No. 29, 550 florins, to Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 188. 
 
 62 2. OUDE KERK, AMSTERDAM. 
 
 Panel. 17f X 13 J in. 
 
 The companion picture. In the foreground, on the left, a man in 
 a hat and cloak with a dog, talking to a woman with a basket on 
 her arm and a little girl by her side. In the background, four other 
 figures, a pulpit, an organ, a chandelier, hatchments with coats of 
 arms, and a mural monument. 
 
 Signed on the base of a pillar, on the right, with the date 1669. 
 
 Collections — M. Tjaard Anthony van Iddekinge, Amsterdam. Sold April 25, 
 1838, No. 30, 500 florins, to Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 188. 
 Photographed, Northbrook Gallery. , 
 
 ( 42 ) 
 
G. DOW. 
 
 GERARD DOW, 1613-1675. 
 
 53 THE PHILOSOPHER. 
 
 Panel. 12 J x 91 in. 
 
 Interior of a room, with a round-headed window on the left, near 
 which an old man sits in an arm-chair. He wears a lilac cap and 
 robe, with collar and facings of fur, and is writing in a large book 
 which he supports with his left arm. Before him is an easel with a 
 panel on it. On his left, in the background, are two steps, with a 
 table on the upper one, covered with a light-blue cloth, on which are 
 a globe, a candlestick, and a book, bearing on its edges the signature 
 G. Dov. A blue cuitain suspended from the rafters is looped up 
 behind a base viol hanging to a nail in the pillar. In the fore- 
 ground, on the right, are a drum, a helmet, and a shield. Above 
 hangs a six-branched brass chandelier. 
 
 Dow has represented the same interior and several of the acces- 
 sories in other pictures, e.g., in a still smaller one belonging to 
 Mrs. Morrison. 
 
 This picture was no doubt painted before 1640, as it shows in a 
 marked manner the influence of Rembrandt. It should be compared 
 with two paintings by that master now in the Louvre, which were 
 formerly in the Choiseul Gallery, and are engraved (Nos. 44 and 45) 
 in the illustrated catalogue of that collection. 
 
 Collections— M. Van Zwieten, The Hague. Sold AprQ 12, 1741, No. 65, 400 
 florins. 
 M. Adrian Leonard van Heteren. 
 Museum of Amsterdam. Sold August 4, 1828, by the Directors 
 
 of the Museum, No. 74, 510 florins. 
 Mr. Emmerson. 
 Mr. Charles Brind. 
 Bought, May 10, 1849, No. 65, £96, 12s. 
 
 Smith, i. 36, No. 103. " This little jewel was formerly in the possession of 
 King William III." 
 Waagen, Treasures, ii. 183. 
 Exhibited— British Institution, 1848, No. 151. 
 
 ( 43 ) 
 
DUTCH AND FLEMISH. 
 
 KAREL DU JARDIN, 1625-1678. 
 54 themanIjgb. 
 
 Canvas. 20 x 18 in. 
 
 A wooded landscape with a clear open space surrounded by trees. 
 On the left, a cavalier is buckling on his spurs preparatory to mount- 
 ing a black horse held by a page in blue ; another cavalier on a 
 chestnut horse is looking on. In the middle of the foreground are 
 two dogs ; on the right a man riding a prancing grey horse. In the 
 background another cavalier is about to jump over a bar held by 
 a groom between two posts. Two men in cloaks stand looking on. 
 Blue sky with a few clouds. Signed on the right with the date 
 1654. 
 
 Collections— M. Montaleau. Sold 1802, 7020 francs. 
 
 M. Emler. Sold 1809, 10,001 francs. 
 
 M. Alexis de la Hante. Bought in, 1821, £442, Is. 
 
 Mr. Beckford, Fonthill Abbey. Sold 1823, £304, 10s. 
 
 The Hon. Long Pole Wellesley, Brussels. 
 
 M. de Moray. Sold 1848, £651. 
 Bought from Mr. Farrer, 1849. 
 Smith, V. 249, No. 48. 
 
 Waagen, Treasures, ii. 186. " In the delicate silver tone of the whole, the truth 
 of the details, and the tender execution, all the most admired qualities of the 
 master are united." 
 Burger, 301-303. " De la plus belle quality du maitre." 
 Viardot, 155. 
 Exhibited— Manchester, 1857, No. 971. 
 
 ( 41 ) 
 
FYT. 
 
 CORNELIS DUSART, 16 . .-1704. 
 65 THE FATHER'S RETURN. 
 
 Panel. 18 x 14i in. 
 
 Interior of a cottage. A peasant woman is seated in a long low 
 wicker-chair before a fire, nursing a baby in scarlet, stretching out 
 its arms towards its father, who has apparently just come home from 
 the fair, and holds up a punchinello. Behind the woman stands a 
 boy. In the background is a cupboard, on the top of which are a 
 ham on a dish, a green earthenware jug, a basket, &c. ; and above, 
 some dried fish hanging against the wall, a white dish, a saucepan- 
 cover, and a spoon in a rack. Farther to the left is a bed in a recess, 
 with a sword hanging from a nail. In the foreground are a broom, 
 a box with linen, &c., and a pair of tongs. 
 
 Signed above the boy's head : CoR. DuSART, 1680. 
 
 Collections — M. Hdris of Brussels. 
 
 Verstolk. 
 Bought in 1856. 
 Waagen, Treasures, ii. 185. 
 ,, Handhooh, iL 391. 
 
 JAN FYT, 1609-1661. 
 56 1. CATS FIGHTING. 
 
 Canvas. 28i x 64 in. 
 
 On the left a tankard and two metal mugs. In the centre a dish, 
 and on the right a large repoussd vessel with some artichokes in it. 
 A basket of vegetables, some spoons, and a knife and a fork are 
 falling from a shelf on the right, having been knocked over by two 
 cats fighting ; a third is about to join in the fray. 
 
 Formerly attributed to Snyders. 
 
 Collection — Sir Thomas Baring. Bought from Mr. Yates. 
 Bought, June 3, 1848, No. 74, ^23, 2s. 
 Exhibited — British Institution, 1844, No. 55. 
 
 ( 45 ) 
 
DUTCH AND FLEMISH. 
 
 57 . 2. GAME. 
 
 Canvas. 26 X 35| in. 
 
 On a stone step a brace of partridges, a hare, and some small 
 birds. Behind them a hamper with a board lying across it, on which 
 are a number of small birds. 
 
 Bought from Mr. Martin Colnaglii, 1867. 
 
 JAN GRIFFIER THE ELDER, 1645-1718. 
 58 1. LANDSCAPE. 
 
 Panel. 18^ X 24i in. 
 
 A river running through a hilly country. On the left are booths 
 with a number of figures. Beyond on a knoll is a large church, 
 and farther off a rocky well-wooded hUl, on the top of which is a 
 large castle. In the foregroimd, on the extreme left sheltered by a 
 tree, is an inn towards which several people are making their way. 
 On the right is a chateau with a drawbridge, and a number of 
 people on and near it. Beyond is a high hill on which stand a 
 small church and some other buildings. On the river are several 
 boats ; on one of them is the signature. 
 
 Distant view in the centre ; blue sky with light clouds. 
 
 ( 46 ) 
 
HACKAERT. 
 
 59 2. LANDSCAPE. 
 
 Panel, 18 J x 24^ in. 
 
 The companion picture. A winding river opening out in the fore- 
 ground, where are a number of boats with figures. On the bank, to 
 the right, two quacks on a scaffold are addressing a crowd ; behind 
 them rises a rocky bank with cottages, trees, and a church. In the 
 foreground, to the right, is a man fishing, another embracing a girl, 
 and three more going through a low doorway leading up to a garden, 
 where, beneath a trellis, are seated a fiddler and others. Farther off, 
 on the bank of the river, are a number of mill-stones, one of which is 
 being lowered by a crane into a boat. Beyond is a fortified headland. 
 On the opposite bank, to the left, are people under some trees, a 
 church, some cottages, and a castle. Distant landscape with hills to 
 the left. Blue sky with clouds lighted by an evening sun. Signed 
 on a boat in the front. 
 
 Collections — M. Peter Loquet, Amsterdam. Sold September 22, 1783, with the 
 preceding picture, Nos. 115 and 116, 1000 florins to Van der 
 Schley for M. Van Winter. 
 M. Van Loon. 
 Acquired by the Earl of Northbrook by exchange from Baron A. de Koths- 
 child, 1880. 
 
 JAN HACKAERT, 1636-1699. 
 
 60 STARTING FOR THE CHASE. 
 
 Canvas. 26f x 20f in. 
 
 View in a wood at the Hague with a road leading from the middle 
 distance on the left to the right foreground, enlivened with figures, 
 probably by Adrian Van de Velde. In the foreground is a huntsman 
 with three dogs, with a pike over his left shoulder and a horn slung at 
 his side ; a little behind him are a gentleman on a chestnut horse, and 
 a lady on a white horse, the latter holding a hawk, with an attendant 
 on foot behind them, a man with a frame of hawks, and three dogs. 
 Farther off are two cavaliers, an attendant, and two dogs. Through 
 the trees are seen glimpses of the distant landscape. Morning sky. 
 Bought from M. Nieuwenhuys, 1854. 
 
 ( 47 ) 
 
DUTCH AND FLEMISH. 
 
 FRANS HALS THE ELDER, 1584-1666. 
 
 61 PETER, SON OF CORNELIUS VAN DER MORSCH. 
 
 Panel, oak. 33i x 26| in. 
 
 Portrait of a man in black with a white ruff. Half-length ; the 
 face, seen in three-quarters, turned to the left ; grey hair, moustachio, 
 and short beard ; with his left arm he holds a basket containing 
 herrings packed in straw ; in his right hand he holds up a herring. 
 Dark-green background. On the right are the words ' ' wiE begeekt ; " 
 on the left, a shield, bearing a half unicorn argent issuing from the 
 waves, and the date iETAT sv^ 73, 1616. 
 
 Collections— 11. Van Tol, Leiden. Sold June 15, 1772, No. 8, 15 florins, to 
 
 Mr. Delfos. 
 Bought from Mr. Martin Colnagbi, 1866. 
 
 A. Van der Willigen, Les Artistes de Harlem, Harlem, 1870, pp. 348, 349. •■ 
 Photographed, Northbrook Gallery. 
 
 Another portrait of Peter Van der Morscb (panel, 35 x 19J in.), by an unknown 
 artist, is preserved in the Museum at Lieden, Catalogue of 1879, No. 1418. Below it 
 are these verses : 
 
 " Gerechts Bood 'van mijn Stadt, en Rederijkers sot, 
 Een lid der Akoley, daar Liefde is 't Fondament 
 Een vrijer taohtig oud, die 't misdrijf heeft bespot. 
 'k Ben Piero L.X.N. tijd, God weet mijn levens ent." 
 
 This portrait was formerly in the Chamber of Rhetoric, " De witte Aoolyen," at Lieden, 
 but, on its dissolution in 1736, it became the property of the town. Peter Van der 
 Morsch, as we learn from the above-quoted inscription, and from various entries in the 
 accounts of the town, was the official messenger of the Corporation, and also a member 
 of the Chamber of Rhetoric. He was commonly known amongst his fellow-townsmen 
 as Piero. 
 
 A drawing after the portrait by Hals, executed in the eighteenth century by Vincent 
 Van der Vinne of Harlem, is now in the possession of M. Wertheim at Amsterdam. 
 For the knowledge of this we are indebted to the late Mr. Ad. de Vries, assistant 
 keeper of prints, &c., at the Museum of Amsterdam. 
 
 { 48 ) 
 
HONDEKOETER. 
 
 MEINDERT IIOBBEMA, 1638-1709. 
 
 62 LANDSCAPE. 
 
 Panel, oak. 13 x 15 in. 
 
 A landscape divided by a river flowing across it, on which is a 
 boat with a man rowing two gentlemen. In the foreground, on the 
 right, are some logs of timber, and beyond the stream a thick bank 
 of trees, with their deep shade offering a charming contrast to the 
 sunlit view on the left, with a church tower in the distance. Blue 
 sky, with a few light clouds. Signed in the centre of the foreground. 
 
 Collectiona— M. Henry Muilraan, Lord of Haamstede, Amsterdam. Sold April 
 12, 1813, No. 63, 640 florins, to Mr. T. T. Creraer. 
 M. Thomas Theodore Cremer, Rotterdam. Sold April 16, 1816, 
 N'o. 35, 1300 florins, to M. Van Os. 
 
 Bought in Holland through Mr. Chaplin, 1847. 
 
 Smith, vi. 126, No. 40. 
 
 Waagen, Treasures, ii. 187. 
 
 Kugler, Handbook, ii. 478. 
 
 MELCHIOR D'HONDEKOETER, 1636-1695. 
 
 63 POULTRY. 
 
 Canvas. 31x39iin. 
 
 In the middle, turned towards the left, a cock lifting up one foot ; 
 at his side, a hen feeding with four chickens, and in the foreground 
 two more. On the right a white hen resting, and in front another 
 chick. In the background, on the right, palings with a pigeon on 
 the top, and trees beyond. On the left, a landscape with fowls. 
 Signed on the wood : Mdhondekoeter. 
 
 Bought from Mr. C. Annoot from a private collection near the Hague, 1865. 
 
 ( *9 ) 
 
DUTCH AND FLEMISH. 
 
 PHILIP KONINCK, 1619-1689. 
 
 64 LANDSCAPE IN GELDERLAND. 
 
 Canvas. 39 X 57i in. 
 
 An extensive landscape in Gelderland, with a river crossed by a 
 bridge in the mid-distance. Beyond is woody scenery with villages, 
 churches, windmills, and a distant town. In the foreground, on 
 the left, is a cottage, before which is a woman feeding chickens ; 
 beyond, a church and some cottages embowered in trees. On the 
 roadside are three labourers resting, and, coming down the road 
 towards them, a cart laden with hay, followed by peasants and horse- 
 men with dogs. Another cart is standing at a wayside inn in the 
 centre, the driver attending to the horse, which is drinking at a 
 trough ; at the door is a man talking to the host, while a third is 
 seated on a bench outside. In the foreground is a man with a dog, 
 and on the right some sheep and a white horse. Blue sky with 
 clouds. The figures by Adrian Van de Velde. 
 
 Collections— Sir Charles Bagot. Sold Jime 18, 1836, No. 35, ^143, 17s., to 
 Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Exhibited— British Institution, 1850, No. 47. 
 
 SOLOMON KONINCK, 1609-166.. 
 
 65 POETEAIT. 
 
 Canvas. 26i X 22| in. 
 Bust of a man, life-size, grey hair. Fur dress with a gold chain. 
 
 Collection — Verstolk. 
 
 Bought in 1846. 
 
 Burger, 253. " Peinture magistrale et digne de Rembrandt." 
 
 ( 50 ) 
 
LELIENBERG. 
 
 PETER JOSEPH LA FONTAINE, 1758-1835. 
 
 QQ INTERIOR OF A CHURCH. 
 
 Panel. 6f X 9| iii. 
 
 Interior of a five-aisled apsidal church, the choir-screen surmounted 
 by a rood with statues of the Virgin and St. John, There are altars 
 against the two easternmost pillars that separate the nave from the 
 south aisle. In the north aisle is a singers' gallery vaulted beneath. 
 A tablet against a pillar bears the signature : 
 
 " P lafo 
 ntaine 
 fecit." 
 
 Collection — Mr. Samuel Rogers. 
 
 Bought, May 2, 1856, No. 532, £16, 5s., as by P. Xeefs. 
 
 C. LELIENBERG, c. 1605-1660. 
 
 Q^ 1. RABBIT-HUNTING. 
 
 Canvas. 42 X 49| in. 
 
 A tree with a trophy of game in the centre. Five spaniels chasing 
 a rabbit to the right. 
 
 ( 51 ) 
 
DUTCH AND FLEMISH. 
 
 QQ 2. HARE-HUNTING. 
 
 Canvas. 42 X 49f in. 
 
 The companion picture. A tree with a trophy of game in the 
 centre. Three dogs chasing a hare to the left. 
 
 Bought by the Eai'l of Northbrook from Messrs. Colnaghi, 1882. 
 
 JOHANN LINGELBACH, 1625-1687. 
 
 QQ ITALIAN LANDSCAPE WITH PEASANTS. 
 
 Canvas. 42| X 35^ in. 
 
 On the left a tavern, with a canvas awning spread across from the 
 house to an old tree in the centre. Underneath a number of persons 
 are sitting enjoying themselves, and two men playing the bagpipes. 
 In the centre a couple are dancing to the music. In front, on the 
 right, is a man resting beside a well, and two dogs. Background of 
 woody hills. 
 
 Collections — M. Van de Pot, Eotterdam. 
 
 Verstolk. 
 Bought in 1846. 
 
 Waagen, Treasures, ii. 186. "Of rare delicacy of tone for this master, and very 
 careful execution." 
 
 ( 52 ) 
 
MIERIS. 
 
 NICHOLAS MAAS, 1632-1693. 
 70 THE TIRED NURSE. 
 
 Panel. 18J X 23 in. 
 
 A woman asleep, her head resting on a red cushion placed on the 
 hood of a wicker-cradle in which a baby lies asleep. She wears a 
 brown jacket, scarlet skirt, greenish-blue apron, white cap and tippet, 
 and has a knife in her right hand, which rests on her lap, beside 
 some apples. In the background are a chair, a table, and a window, 
 through which are seen the roofs of some houses and a church tower. 
 
 This picture, in his earlier Rembrandtesque manner, with much 
 body, is remarkable for the intensity of its colour. 
 
 Signed on the left in front, with the date, 1655. 
 
 Collection — 11. Ai-taria. 
 Bought at his sale, 1850, ^73, lOs. 
 Waagen, Treasures, iL 183. 
 Viaidot, 155. 
 
 FRANS VAN MIERIS THE ELDER, 1635-1681. 
 71 1. PORTRAIT OF THE ARTIST. 
 
 Panel, oval. 5^ x 4J in. 
 
 Half-length, dressed in black, with a large turned-down collar; 
 long hair and a slight moustachio. In his left hand he holds his 
 palette and brushes. In the background, to the right, stands an 
 easel. 
 
 Collections— Gerard Braamcamp, Amsterdam. Sold July 31, 1771, No. 137 
 100 florins, to J. Van den Berg. 
 Lord Powerscourt. 
 Bought by the Earl of Northbrook, 1878. 
 
 ( 53 ) • 
 
DUTCH AND FLEMISH. 
 
 72 2. THE MUSICAL LADY. 
 
 Panel. 9 J x 7| in. 
 
 A lady, in a light-coloured jacket with slashed sleeves, and a white 
 satin skirt, is sitting holding a music-book, and leaning on a table, 
 on which lies a lute, with two sets of tuning pegs, the lower contain- 
 ing fourteen and the higher eight ; the thick table-cover, of a Turkey- 
 pattern, is pushed back. Architectural background, with a female 
 statue (Flora ?) in a niche. 
 
 Collection— M. Trouart, Paris. Sold February 22, 1779, 730 francs. 
 Bought from M. Nieuwenhuys, 1850. 
 Smith, i. 71, No. 35. 
 
 Waagen, Treasures, ii. 183. "Of the painter's best period, most harmonious 
 in colouring, and of wonderful precision of execution." 
 
 WILLEM VAN MIERIS, 16G2-1747. 
 
 73 THE LETTER RECEIVED. 
 
 Panel. 15 x 12| in. 
 
 At an arched opening, with a crimson curtain looped up on the 
 right, a lady is sitting in a light-blue silk dress with slashed sleeves 
 and a yellow velvet scarf. She stretches out her right arm towards 
 an old woman, who stands behind her leaning on a stick, while she 
 presents a letter, addressed "Juff* me juff. Clara van Ha . . . de 
 Heere . . . tot Amsterdam." On the carpet-covered table are two 
 music-books, a guitar, and a dish of cherries, on which a parakeet, 
 at the door of its open cage, is feasting. In the background is a 
 green-curtained bedstead. 
 
 Bought in Holland through Mr. Chaijlin, 1850. 
 Waagen, Treasures, ii. 183. "Of the master's best time." 
 Kugler, Handbook, ii. 543. 
 Photographed, Northhrook Gallery. 
 
 ( 54 ) 
 
METSU. 
 
 GABRIEL METSU, IG 30-1 668. 
 74 1. THE INTRUDER. 
 
 Panel, oak. 26 X 23^ in. 
 
 The interior of a bed-chamber, hung with gilt leather, in which 
 two ladies dressing are surprised by a young gentleman whom their 
 maid is trying to hold back. One of the ladies, wearing a green 
 velvet jacket bordered with ermine, is sitting by the side of a table 
 to the left with a comb in her hand, laughing. The other stands by 
 the side of a bed, from which she has apparently just risen, and looks 
 offended. On a chair to the right hangs an embroidered scarlet 
 cloak trimmed with ermine. On the left is a brown spaniel, and on 
 the right, on the ground, a jug and a candlestick. 
 
 Signed on the woodwork of the bedstead. 
 
 Collections— Colonel Way. Sold to Messrs. Smith, by whom it was sold in 
 1830 to the Hon. G. F. Vemon for £525. 
 Hon. G. F. Vernon. Sold April 15, 1831, No. 50, £403, 4s., to 
 
 Messrs. Smith. 
 Sir Charles Bagot Sold June 18, 1836, No. 56, £615, to Mr. 
 
 Brondgeest. 
 Verstolk. 
 
 Bought in 1846. 
 
 Smith, iv. 102, No. 94, and ix. 524, No. 29. 
 
 Waagen, Treasures, ii. 183. " The liveliness of the scene, the sustained execu- 
 tion, the delicacy of aerial perspective, and the warm and tran- 
 sparent colouring, show this to be one of the chefs-d'oeuvre of tiie 
 Ma-ster, of his best middle period. 
 
 Kugler, Handbook, ii. 399. 
 
 Burger, 275, 276. 
 
 Viardot, 155. 
 
 Exhibited— Manchester, 1857, No. 1059. 
 
 Royal Academy, 1871, No. 211 ; and 1889, No. 128. 
 
 ( 55 ) 
 
DUTCH AND FLEMISH. 
 
 75 2. PORTRAIT OF THE ARTIST. 
 
 Panel, oak. 6f X 5| in. 
 
 About forty years of age, half-length, turned to the right, the face 
 seen in three-quarters, dressed in a brown coat, a white cravat, and 
 white wrist-bands, with a cap lined with white on his head ; he wears 
 his hair long, and has a short mustachio. He is smoking a long 
 clay pipe held in his right hand. 
 
 Signed above on the right. 
 
 Collections — Lambert-Witsen, Amsterdam. Sold May 25, 1746, No. 6, 40 
 florins, to G. Braamcamp. 
 Gerard Braamcamp, Amsterdam. Sold July 31, 1771, No. 133, 
 
 102 florins, to C. PIoos van Amstal. 
 Sir diaries Bagot. Sold June 18, 1836, No. 28, i55, 13s., to Mr. 
 
 Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 
 Smith, iv. 82, No. 28, and ix. 518, No. 8. " This interesting picture is painted 
 with great breadth and masterly effect." 
 
 70 3. CHILDASLEEP. 
 
 Panel, oak. 5| X 5J in. 
 
 Portrait of a pale child with light hair, lying asleep in bed. The 
 head only seen. 
 
 Collections — Dr. Charles Chauncey. 
 Mr. C. Barini! Wall. 
 
 ( M ) 
 
p. NEEFS. 
 
 PETER NEEFS, 1570-1651. 
 
 77 INTERIOR OF A CHURCH. 
 
 Copper. 7i x 9J in. 
 
 Interior of a three-aisled, cruciform chnrch, taken from the west 
 end of the nave. The apsidal choir is separated from the body of the 
 building by a screen, the high altar being seen through the open 
 central gates. The organ is on the south, over the entrance of the 
 ambulatory. Above the intersection of the nave and transept is a 
 lantern. Altars with triptychs are placed against three of the 
 cylindrical columns that separate the nave from the south aisle ; at 
 the westernmost of these a priest is saying mass, at which an acolyte 
 and seven people are assisting. A small pulpit with a sounding- 
 board stands against one of the columns on the north side ; at the 
 foot of the westernmost column on this side is seated a cripple ; above 
 him is a tablet on which the artist's name is inscribed, with the date, 
 16 . . There are altogether twenty five figures and three dogs in 
 the picture. 
 
 Collection — llr. Samuel Rogers. 
 Bought, May 2, 1856, No. 533, £21. 
 
 ( 57 ) 
 
DUTCH AND FLEMISH. 
 
 CASPAK NETSCHER, 1639-1684. 
 
 78 A GIRL. 
 
 Panel. 13^ X lOJ in. 
 
 Portrait of a little girl, with light hair in ringlets, sitting on a 
 stone table, which is partly covered by a carpet. She is dressed in 
 white satin, with a string of pearls round her neck and pearl earrings. 
 In her lap is a bunch of grapes, and she is taking some more from a 
 plate held by her nurse, who is standing behind her. To the right 
 is a crimson curtain, and to the left a balustrade, with a view of trees 
 behind. On the back is an inscription, partly effaced : Johannes H. 
 
 Collections— Admiral Lord Eadstock. Sold May 13, 1826, No. 19, ^79, 16s., 
 to Mr. Hollingswortli. 
 Mr. John Slater. Sold April 22, 1837, No. 78, £78, 15s., to Mr. 
 
 Kermann. 
 Mr. William Wells. 
 Bought, May 13, 1848, No. 78, £111, 6s. 
 
 Smith, iv. 159, No. 46. "This exquisitely-painted picture was sold in a collec- 
 tion in Paris for 5000 francs (£200)." 
 Waagen, Treasures, ii. 183. 
 Kugler, Handbook, ii. 400. 
 
 79 2. PORTRAIT. 
 
 Panel. 141 x lOJ in. 
 
 Three-quarter length. A gentleman stands turned to the right, 
 his left hand open, and his right on his chest. He wears his hair 
 long, has a reddish-brown dress, a long, white muslin cravat, and 
 full white shirt-sleeves. On the left is a red curtain looped up ; 
 on the right, through an open window, a garden with large pots of 
 flowers and trees. 
 
 Signed on the window-sill, with the date 1680. 
 
 Collections— Sir Thomas Baring. Sold June 3, 1848, No. 78, £6, 6s. 
 Sir Francis T. Baring (Lord Northbrook). 
 
 ( 53 ) 
 
p. POTTER. 
 
 80 3. THE DUCHESS OF MAINE. 
 
 Panel, rounded top. 13| X 10 in. 
 
 Full-length portrait of a lady of rank, with a high lace head-dress, 
 standing, turned to the right, in the angle of a terrace, the face seen 
 in full. She is holding up the skirt of her crimson velvet dress with 
 her right hand, and her left rests on the parapet, close to a basket of 
 fruit and flowers, of which she holds a spray. On the ground are 
 more flowers and fruit. On the lady's right, a macaw. 
 
 Collection — Mr. Ralph Bernal. 
 
 Bought, March 10, 1855, No. 651, £30, 9s. 
 
 In the catalogue the lady is described as " the Duchess of Burgundy." 
 
 PAUL POTTER, 1625-1654. 
 
 81 THE YOUNG BULL. 
 
 Panel. 21| X 26 in. 
 Side view of a young reddish-brown bull, with two sheep lying 
 under a tree on the left, and a frog in the foreground. There is a 
 meadow with cattle in the middle distance, and a village in the 
 distance towards the centre. Cloudy sky, very dark near the horizon 
 to the right. Signed on the right, with the date 1647. 
 
 Collections— M. Proley. Sold 1786, 4376 francs. 
 Mr. Edward Gray. 
 Sir Thomas Baring. 
 
 Bought, June 3, 1848, No. 131, £220, 10s. 
 
 Smith, V. 135, No. 36. 
 
 Waagen, Treamres, iL 185. "The masterly manner in which the animal is 
 painted, and the general energetic treatment, brings this picture very near to the 
 celebrated Young Bull at the Hague." 
 
 T. Van Westrheene, Paulus Potter, La Haye, 1867, p. 159, No. 43. 
 
 Exhibited— Royal Academy, 1871, No. 172. 
 
 ( 59 ) 
 
DUTCH AND FLEMISH. 
 
 ADAM PYNACKER, 1621-1673. 
 
 82 1. LANDSCAPE. 
 
 Canvas. 16jxl7m. 
 
 A rocky height on the left, connected with a town gate on the 
 right by an arch thrown across a gorge, with a river below. On the 
 bridge are peasants and donkeys. Below, in the foreground on the 
 left, a peasant with cattle, a goat, and sheep coming out from an 
 archway in the rocks. In the distance a blue mountain. Clear 
 evening sky. Signed. 
 
 Collection — M. Artaria. 
 
 Bouglit at his sale, 1850, £81, 18s. 
 
 Waagen, Treasures, ii. 187. "An admirable specimen of this unequal master." 
 
 Kugler, Handbook, ii. 490. 
 
 83 2. LANDSCAPE. 
 
 Canvas. 21 i X 18 in. 
 
 View up a mountain valley, with cottages, and in the distance a 
 high mountain. On the left a torrent falls in a cascade in the fore- 
 ground. Up the valley, in mid-distance, the roadway is formed by 
 a viaduct of logs ; at its farther end is a man on a donkey, another 
 driving a couple of oxen, and a flock of goats. On the right are 
 trees and the sloping side of a mountain. In the foreground a 
 peasant woman on a donkey, followed by another with packages, is 
 crossing a wooden bridge. Signed to the left of the centre. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 
 ( 60 ) 
 
REMBRANDT. 
 
 REMBRANDT VAN RYN, 1607-1669. 
 
 84 ADORATION OF THE MAGI. 
 
 Panel. 47 X 40 in. 
 
 On the left, in the open air, the Virgin, seated, holds the 
 infant Jesus. At his feet a King kneeling, with two persons 
 behind him, presents his ofiFering, on the ground before him lies 
 his turban. Behind the Child another King, in a very rich cos- 
 tume, is taking from the hands of an attendant the presents he is 
 about to offer. On the right a third King, wearing his crown, holds 
 a sceptre in his left hand ; to his right is a man holding a turban in 
 his left and a censer in his right hand ; these two wear red Turkish 
 boots. In the centre of the composition, in the half distance, a King 
 wearing a turban stands leaning with his left hand on a staff. 
 Behind him an umbrella, and a camel accompanied by three men. 
 On the right of this King is an attendant, and in the background are 
 two more figures. On the left the cottage, with Joseph, and above 
 its roof the star. 
 
 Painted in brown with a very little colour. Signed to the left, with 
 the date 1659. 
 
 Collections — M. James Meyers, Rotterdam. Sold September 9, 1722, No. 168, 
 180 florins. 
 Burgomaster William Six, Amsterdam. Sold May 12, 1734, No. 
 
 58, 250 florins. 
 Sir Thomas Baring. 
 Bought, June 3, 1848, No. 113, ^141, 153. 
 
 Waagen, Treasures, ii. 182. "An excellent repetition of the picture at Buck- 
 ingham Palace, with various alterations." 
 Exhibited— British Institution, 1845, No. 2. 
 
 ( 61 ) 
 
DUTCH AND FLEMISH. 
 
 85 2. PORTRAIT. 
 
 Panel. 26^ X 22^ in. 
 
 Bust of an old man, life-size. He wears a velvet cap and a cloak 
 with a jewelled clasp. With his right hand he grasps the jewelled 
 handle of a staff Signed, with the date 1667. 
 
 Collections — Mr. Emnierson. 
 
 Verstolk. 
 Bought in 1846. 
 Waagen, Galleries, 98. 
 
 86 3. LANDSCAPE. 
 
 Panel. ll|X8Jin. 
 
 A stream crossed by a bridge, with a road leading up to it from 
 the right ; on the road are a coach drawn by four grey horses, a man 
 and a dog. The sky is dark with heavy rain-clouds, leaving in light 
 only the centre of the middle distance and the left background, where 
 there is a town with high buildings and a windmill. Landscapes 
 by this master are rare; into them, as here, he always introduces 
 coaches. 
 
 Collection — Catalogue of pictures on sale at Mr. Wooc^bum's, No. 64. 
 
 Bought of M. Nieuwenliuys, 1854. 
 
 Exhibited— British Institution, 1843, No. 66 ; and Royal Academy, 1889, 
 No. 118. 
 
 Waagen, Galleries, 98. " Highly poetical and melancholy in feeling, and of 
 great power and depth of chiaroscuro." 
 
 ( 62 ) 
 
RUBENS. 
 
 PETER PAUL RUBENS, 1577-1640. 
 
 87 1. ABRAHAM AND MELCHISEDECH. 
 
 Panel, oak. 26^ X 32i in. 
 
 A composition of about twenty figures, in the centre of whicli 
 Abraham, bareheaded, clad in armour, and wearing a crimson mantle, 
 advances up a step towards Melchisedech, who presents him with 
 two loaves. Melchisedech wears a crown of olive and a yellow robe 
 lined with ermine, the train of which is held by a page. Behind 
 him stands a man with a basket of bread on his back, and on his 
 right are four persons, two of whom are distributing bread to some 
 soldiers. Behind these, on the left, are two more soldiers, and a 
 youth holding Abraham's horse. In the immediate foreground, on 
 the right, are two men with pots of wine. The subject is enclosed 
 within an architectural frame consisting of a cornice supported by 
 pillars, to which three cherubs are attaching drapery, one end of 
 which hangs down on the left, and lies on the pavement across the 
 front. 
 
 Collections — Said to have come from the Palazzo Nuovo at Madrid. 
 
 M. Julienne, Paris. Sold March 30, 1767, No. 98, 3840 francs. 
 
 John Lord Trevor's widow, 1782. 
 
 Lady Stepney. Put up May 1, 1830, No. 93 ; bought in, ^84. 
 
 Hon. Lady Stuart. Sold 1841, £598, lOs. 
 
 M. Nieuwenhuys. 
 
 Sir Thomas Baring. 
 Bought, June 3, 1848, No. 121, ^83, 5s. 
 
 The following probably refer to another, or to other pictures. 
 
 1825, 7th May. Collection of Simon M'Gillivray, Esq.— No. 25. Abraham, on his 
 return from conquest, offering tithes to Melchisedech ; a sketch of the great picture in 
 the Earl of Groavenor's collection. Painted with force and spirit. £12, 123., to Mr. 
 Dyson. Resold on 18th June for £8, 8s. to Mr. Crawford. 
 
 1833, 2nd March. Collection imported from Westphalia by Mr. Mertens. — No. 47, 
 j£54, 12s., to Davis. 
 
 Exhibited— British Institution, 1841, No. 69. 
 
 Smith, ii 184, No. 641, ix. 323, No. 288. "A finished study of superlative 
 excellence lor the large picture in the collection of Eail Grosvenor." 
 Waagen, Treasures, ii. 182. 
 
DUTCH AND FLEMISH. 
 
 88 2. THE WAGGON. 
 
 Panel, oak. 19| X 21f in. 
 
 View in a wooded country crossed by a stream. On the right is a 
 waggon drawn by two horses, one of which, ridden by the driver in 
 red, is going down a steep bank to the water. On the other side of 
 the stream is a clump of trees. Another clump fills the centre. The 
 scene is lighted up by the setting sun.* 
 
 Collections— Mr. K. Reinagle. Sold May 29, 1824, No. 16, ;£21, to Mr. D. 
 Ring. 
 Earl of Mulgrave. Sold May 12, 1832, No. 18, £iZ, Is., to Mr. 
 
 Swaby. 
 Marquis of Camden. Sold 1841, £288, 15s. 
 Mr. Samuel Rogers. 
 Bought, Mays, 1856, No. 717, £640, 10s. 
 Smith, ix. 331, No. 322. 
 Waagen, Oalleries, 98. 
 Viardot, 155. 
 
 Exhibited— British Institution, 1850, No. 28. 
 Royal Academy, 1872, No. 51. 
 
 * There is a copy of this fine sketch in the National Gallery. Wynn Ellis's Collection, 
 No. 9i8. Panel, 18i x 28 in. 
 
 89 
 
 JACOB KUISDAEL, 1825-1682. 
 
 1. CASTLE OF BEEDEVODE. 
 Panel. 15J X 16 in. 
 
 A shallow piece of water with an oak and other trees on the right, 
 
 among which is a man in a scarlet jacket fishing. To the left, a 
 
 portion of the ruins of the Castle of Bredevode with a wood beyond. 
 
 Evening light with a clouded sky. Signed on the left with the 
 
 cipher. 
 
 Collection — Due de Berri. E.xhibited for sale at Christie's in 1834, and priced 
 £160. 
 
 Bought through Mr. Chaplin, 1848. 
 Smith, vi. 80, No. 255. 
 Waagen, Treasures, ii. 187. 
 Exhibited— Royal Academy, 1872, No. 184. 
 
 ( 64 ) 
 
RUISDAEL. 
 
 90 2. WINDMILL. 
 
 Panel. 12i x 13f in. 
 
 In the foreground a river. On the right a shed ; nearly in the 
 centre a windmill, with a man and woman near the door. On the 
 left, in the mid-distance, a church and an abbey in ruins. Beyond, 
 a line of low trees. Fresh morning light. Signed with initials on 
 the right. 
 
 Collection — Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, ix. 681, No. 3. 
 
 Waagen, Galleries, 99. 
 
 E.xhibited — Royal Academy, 1872, No. 167. 
 
 91 3. WATERFALL. 
 
 Canvas. 18| X16 in. 
 
 A landscape with a waterfall in the foreground. On the left, a 
 wooded bank with a few fir trees, and on the height a man drawing, 
 and another leaning on a stick looking on. On the right, a cottage 
 with trees and sheep. In the centre, distant hills, over which a 
 cloud is lighted by the sun. Signed on the left. 
 
 Collection— King of Holland. Sold August 12, 1850, No. 95, 920 florias, to 
 M. Nieuwenlmys. 
 Bought from M. Nieuwenlmys, 1851. 
 AVaagen, Galleries, 99. 
 Exhibited— Royal Academy, 1872, No. 206. 
 
 65 ) 
 
DUTCH AND FLEMISH. 
 
 92 4. CORNFIELDS. 
 
 Canvas. 18 X 22 in. 
 
 An upland landscape with cornfields, cottages, and trees. Near 
 the front is a man with a pole on his left shoulder going towards the 
 left with two dogs before him. In the mid-distance, two men con- 
 versing over a hedge. Blue sky with fleecy clouds. Signed to the 
 left of the centre. 
 
 Collection — Mr. Hope, Paris. 
 
 Bought through Mr. Smith, 1849. 
 
 Waagen, Treasures, ii. 187. " Besides the usual Euisdael attractions, this 
 picture exhibits an uncommon lightness of tone, while the tender, airy clouds 
 show the influence of his great contemporary Hobbema." 
 
 Eeiset, Une Visite A la National Gallery, Paris, 1878, 2nd partie, p. 73. 
 
 Exhibited— British Institution, 1850, No. 143. 
 
 Royal Academy, 1871, No. 198, and 1889, No. 121. 
 
 93 5. BLEACHING GROUND. 
 
 Canvas. 14J X 18 in. 
 
 View of the plain before Haarlem, with some cottages on the left, 
 and a bleaching-ground, on which a gleam of sunshine falls, extend- 
 ing across the picture. The mid-distance is wooded, with several 
 houses among the trees. In the distance, on the right, is seen the 
 town with its church, and short slender central turret. Blue sky 
 with light clouds. Signed in the right comer. 
 
 Collection — Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, ix. 683, No. 7. 
 
 AVaagen, Galleries, 99. " Tliis picture takes a high place among this class of 
 Ruisdael's works. It possesses great truth of effect, and the execution, though 
 careful, is free and spii'ited." 
 
 Exhibited— Royal Academy, 1872, No. 205. 
 
 ( 66 ) 
 
RUISDAEL. 
 
 94 6. A FRESH BREEZE. 
 
 Canvas. 25 X 31f in. 
 
 View on the Y off Amsterdam, with a flat coast stretching across 
 the background. A brisk wind from the left is driving some fishing- 
 craft before it. One of them, near the centre, scudding under a 
 white mainsail, has a small boat attached to her stem ; another, with 
 a red sail, is tacking. Here and there are breaks in the dark clouds, 
 with glimpses of blue sky. In the front, on the right, is a break- 
 water of piles. The town is seen in the distance on the left. Signed 
 in the right comer. 
 
 Collection— Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, ix. 681, No. 2. 
 
 VVaagen, Treasures, ii. 187. 
 
 Viardot, 155, who writes of this picture and the Cuyp (No. 44) : " Ces deux 
 Marines des deux illustres riveaux ont h. elles seules la valeur d'une galerie, et 
 meritent Thomniage de tout ami des arts." 
 
 Exhibited— Royal Academy, 1871, No. 224. 
 
 ( 67 ) 
 
DUTCH AND FLEMISH. 
 
 GODEFEIED SCHALCKEN, 1643-1706. 
 
 95 PORTRAIT OF DE WITT. 
 
 Copper. 16f X 13 in. 
 
 The Grand Pensioner is represented facing the spectator, slightly 
 turned to the right. He wears a black silk robe and white collar ; 
 his right arm rests on a table, and his left hand, which is gloved, 
 is on his hip. He has long, flowing grey hair, which falls on his 
 shoulders. In the background is a crimson curtain, through which 
 are seen some buildings. Signed on the right, below. 
 
 An admirable portrait of the painter's best time, carefully and 
 delicately painted, with more animation than usual. 
 
 Collections — A collection in Amsterdam. 
 
 Verstolk. 
 Bought in 1846. 
 Smith, ix. 590, No. 9. 
 Waagen, Treasures, ii. 183. 
 Photographed, Northhrook Gallery. 
 
 HENDEIK MARTENZ SORG, 1621-1682. 
 
 96 FISH MARKET. 
 
 Panel. 12 X 10 in. 
 
 A fish market with nine figures, those in the foreground three- 
 quarter length. In the front are fish exposed for sale on a stall, 
 behind which, on the left, stands a sturdy fishwoman in a red jacket, 
 bluish green cape, and a hat, holding in her right hand a chopper. 
 She is putting the head of a cod into a flat basket held by a boy 
 standing opposite. A gentleman is leaning forward and paying for 
 his purchases. In the background are other figures, and the masts 
 and sails of two fishing-smacks. Behind is a building with a small 
 round-headed opening, the shutter of which is closed and secured by 
 a lock. Over it the date : 1655. 
 
 Collection — M. John van der Linden van Slingeland, Dordrecht. Sold August 
 22, 1785, No. 392, 105 florins, to Mr. Muys. " 
 Bought from M. Nieuwenhuys, 1854. 
 
 ( 68 ) 
 
JAN STEEN. 
 
 JAN STEEN, 1626-1679. 
 
 97 1. PORTEAIT OF THE ARTIST. 
 
 Panel. 21f X 16| in. 
 
 About forty years of age, three-quarters face, turned to the right. 
 He sits on a rush-bottomed chair, his right leg placed on his left 
 knee, playing on a lute which he is accompanying with his voice, 
 the drollery of his song being unmistakably indicated by the ex- 
 pression of his face. He wears a yellow dress, greenish slashed 
 hose, and a dark red cap ; a brown mantle lined with red hangs 
 from his shoulders over the back of his chair. Upon a table, on the 
 right, are some music-books and a metal tankard. A large green 
 curtain hangs behind him. A spirited picture, of masterly execu- 
 tion, painted in delicate, broken tones, with great transparency. 
 Lighted from the front on the left. Signed on the right.* 
 
 Engraved by G. W. Marr, 1832, as frontispiece of Part IV. of Smith's "Cata- 
 logue Raisonn^ ; " 5f X 4g in. 
 
 Engraved, mezzotint, by John Gole of Amsterdam, with the inscription, " Ad 
 88 ipsum pinxit." 
 
 Collections— M. Joseph A. Brentano, Amsterdam. Sold May 13, 1822, No. 
 324, 295 florins, to Mr. Brondgeest. 
 Verstolk. 
 
 Bought in 1846. 
 
 Smith, iv. 39, No. 121. 
 
 Waagen, Treasures, ii. 184. 
 
 Kugler, Handbook, ii. 403. 
 
 T. van Westrheene, Jan Steen : Etude sur I'Art en Hollande. La Haye, 1856, 
 p. 114, No. 64. 
 
 Exhibited— Royal Academy, 1889, No. 77. 
 
 * Besides the portraits of Jan Steen described in Smith, there is a very characteristic 
 half-length, life size, at Woburn Abbey. (Catalogue, No. 165.) 
 
 ( 63 ) 
 
DUTCH AND FLEMISH. 
 
 98 2. THE DOC TOE. 
 
 Panel. 23^x19 J in. 
 
 A bedroom, in the middle of which stands the doctor, dressed in 
 black, with a frilled collar and wristbands and a high hat, writing a 
 prescription for a young woman who lies in a bed with brown cur- 
 tains on the x'ight. On the right of the doctor an old woman looks 
 at him with a grin ; behind her is an anxious-looking old man, and 
 at her side a boy. The end of the table is covered with a green cloth, 
 on which stands a coffee-pot. Through the open door is seen a young 
 man apparently about to come in. Signed on a piece of paper lying 
 on the floor to the right. 
 
 Etched by A. Brondgeest. 
 
 Collections — M. Isaac Hoogenbergh, Amsterdam. Sold April 10, 1743, No. 
 
 38, 150 florins. (It is doubtful whether this is the same 
 
 picture.) 
 M. Van Noort, Chateau of Ter Wadding, near Leiden. Sold 
 
 April 29, 1845, for 1400 florins, by private contract, to Baron 
 
 Verstolk. 
 Verstolk. 
 Bought in 1846. 
 
 Smith, ix. 476, No. 9. " Merits the warmest commendation." 
 Waagen, Treasures, ii. 184. 
 Viardot, 155. 
 
 T. van Westrheene, Jan Steen, 115, No. 69. 
 Exhibited— Royal Academy, 1870, No. 16, and 1889, No. 80. 
 
 ( 70 ) 
 
JAN STEEN. 
 
 99 3. SCHOOL IN AN UPEOAR. 
 
 Panel. 15 X 19^ in. 
 
 A set of mischievous scholars are playing tricks while their old fat 
 schoolmaster is fast asleep. One has put on his spectacles, another 
 is playing the flute, and a third has brought in a pig, which is 
 eating up the exercises. Signed to the left, with the date 1672. 
 
 Collections — M. Peter Caauw, Leiden. Sold August 12, 1768, 115 florins. 
 
 A Collection in Amsterdam. Sold for 1600 florins to Baron 
 Verstolk. 
 
 Verstolk. 
 Bought in 1846. 
 Smith, iv. 46, No. 140. 
 Waagen, Treasures, ii. 184. "A charming picture, both for the humour of the 
 
 subject and the spirit of the treatment." 
 Kugler, Handbook, ii. 403. 
 T. van Westrheene, Jan Steen, 115, No. 67. 
 Exhibited— Manchester, 1857, No. 1051. 
 
 ( 71 ) 
 
DUTCH AND FLEMISH. 
 
 DAVID TENIERS I., 1582-1649. 
 
 100 1. THE FORTUNE-TELLER. 
 
 Panel, oak. 6f X 10 in. 
 
 On a rising knoll, in the centre, a peasant holds out his hand 
 to a gipsy who is telling him his fortune. On the ground, by her 
 side, is a basket with linen. At the foot of some rocks, on the 
 right, are two gipsy women, seated. On the other side of a valley, 
 on the left, a cottage stands at the foot of a wooded hill. A 
 little bit of distant landscape is seen in the centre of the back- 
 ground. 
 
 Signed, on the right, with initials. 
 
 Collection — Sir Thomas Barinf^. 
 Bought, June 3, 1848, No. 77, £21. 
 
 101 2. LANDSCAPE. 
 
 Panel, oak. 25i x 35^ in. 
 
 On the right is a house by a stream with a high bridge leading to 
 its door, at which a man is standing bidding farewell to a young 
 man and woman. In the foreground, on a road beside the stream, 
 are four men. On the left there are hills and a church in the 
 distance. Cloudy sky, with rays of light from the left. Signed with 
 initials. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 
 ( 72 ) 
 
TENIERS. 
 
 DAVID TENIERS II., 1610-1690. 
 
 102 1- CORPS DE GAEDE. 
 
 Copper. 15J x 19f in. 
 
 A youth in green with long hair is hanging up a pair of pistols 
 in holsters ; on the ground lie a saddle, a cuirass, and other pieces 
 of armour. A pair of gauntlets and a plumed helmet are on a table 
 to the left. In the room behind a man stands before the fire with 
 a pipe in his hand, and four others are sitting at a table, two of them 
 playing at cards. A woman is coming in at a side door on the right. 
 In the foreground to the right a sword rests against a stool. There 
 is a broken pipe on the ground, and near it the signature. Over the 
 chimney is a drawing on paper of a man's head with the date 1647. 
 
 Collections — Benjaniin da Costa, the Hague. Sold August 13, 1764, No. 69, 
 610 florins, the companion, No. 70, 645 florins. The pair 
 were subsequently sold to Mr. Braamcamp for 730 florins. 
 Gerard Braamcamp, Amsterdam. Sold July 31, 1771, No. 220, 
 
 J-^ florins. 
 Peter Locquet. Sold September 23, 1783, No. 359, 1100 florins. 
 M. Van Leyden. Sold 1804, No. 86, 3100 francs, to Mr. Martin. 
 M. David, London. Put up July 17, 1819, No. 49 ; bought in at 
 
 £278, 5s. 
 M. David, London. Sold May 27, 1820, No. Ill, £162, 15s., to 
 
 M. Bonnemaison. 
 M. Lapeyrifere, Paris. Sold April 21, 1825, 12,999 francs. 
 Mr. Walsh Porter. Sold May 6, 1826, £407, 8s. 
 Mr. Joseph Barchard. Sold 1826, £404, 68. 
 M. de la Bruyere. 
 Prince de Beauveau. 
 Bought through Mr. Chaplin, 1848. 
 
 De Bastide, Le Tem.'ple dei Arts, on le Cabinet de M. Braamcamp, Amsterdam, 
 1766, p. 61. 
 Smith, iii. 300, No. 145. 
 Nieuwenhuys, Review, 238. 
 
 Waagen, Treasures, ii. 184. "This picture, in point of unrivalled beauty of 
 treatment, in the cool tones and bold and almost plastic modelling, may be con- 
 sidered one of his chefs-d'ceuvre." 
 
 Exhibited— Royal Academy, 1872, No. 186. 
 
 ( 73 ) K 
 
DUTCH AND FLEMISH. 
 
 103 2. THE PHILOSOPHER. 
 
 Panel, oak. lefxMJin. 
 
 A grey-bearded old man, holding a paper in his left hand and a 
 pair of eye-glasses in his right, is seated in a high-backed chair 
 before a table on the left of the picture. He wears a blueish 
 robe and cap bordered with brown fur. On the table, which is 
 covered with a blueish-green cloth, are a globe, a skull, an hour- 
 glass, a large open book, a closed one, and an inkstand. Behind the 
 man, on the left, is an arm-chair, and further back a stick leaning 
 against the grey wall which forms the background ; to this wall, on 
 the extreme right, is fastened a drawing on paper representing the 
 bust of a youth, dated 164 . On the right is a shelf with a bottle 
 and a box on it, and a wallet suspended beneath. 
 
 Collection — Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, ix. 444, No. 116. "A good picture." 
 
 104 3. PEASANTS DEINKING. 
 
 Panel, oak. 9f X 6f in. 
 
 In the centre, a young man in a yellow jacket and blue hose is 
 
 sitting on a cask holding a brown jug in one hand and a glass of 
 
 liquor in the other. To his left is a larger cask with a linen cloth 
 
 and a pan of charcoal on it. On the cask leans a man in a grey 
 
 jacket and scarlet cap, with a pipe in his right hand which he has 
 
 just taken out of his mouth whence he is puffing smoke. Behind 
 
 stands another man in brown filling his pipe, and on the right a 
 
 fourth, his face turned towards the wall which forms the background. 
 
 Signed on the left. 
 
 Collection — Earl of Beverley. 
 Bought m 1851. 
 Smith, ix. 445, No. 118. 
 
 ( 74 ) 
 
TENIERS. 
 
 105 4. VILLAGE FESTIVAL. 
 
 Panel, oak. 10| X 14| in. 
 
 A composition of about forty figures assembled in front of an inn 
 with a lean-to shed on the left. In the centre a young man and 
 woman are dancing to the music of a bagpipe played by a man sitting 
 on a barrel ; two other men are trying to persuade an oldish woman 
 to dance; others are drinking and talking. On the right are a 
 couple seated, and a man leaning against a fence; his pipe, the 
 tobacco still alight, lies on the ground. In the centre is a little dog. 
 Beyond is some rising ground, with figures on a winding road ; in 
 the distance a village church. Signed on the left. 
 
 This celebrated picture, one of the best of its class, has been 
 engraved. It is, as Dr. Waagen well observes, remarkable for its 
 " richness of composition, happily conceived motives, transparency 
 and warmth of colouring, and spirited treatment." 
 
 On the back of the panel are the arms of Queen Elizabeth of 
 Bourbon. 
 
 Collections — Boyal Collection, Madrid. 
 
 Duchess de Berri. 
 
 Marquis de Montcalm. 
 Bought at his sale, 1849, £283, 10s. 
 Waagen, Treasures, ii. 184. 
 Exhibited— Manchester, 1857, No. 1066. 
 
 ( 75 ) 
 
DUTCH AND FLEMISH. 
 
 106 5. BAEGAINING FOR PIGS. 
 
 Panel, oak. 18| X 27 in. 
 
 In the centre of an enclosed court which occupies the foreground 
 are three men, one of whom, in a grey jacket, is raising his right 
 hand as if to conclude a bargain by striking the palm of another, 
 dressed in a suit of black. The third, an older man, is leaning on a 
 stick between them. On the left is seen the subject of the bargain, 
 nine pigs, one of which is squealing as the boy who holds its ear fast 
 turns round to listen to what is passing. Just within the cottage 
 door is a woman, while up above, at the granary window, the shutter 
 of which is thrown open, is an old man looking down. The yard is 
 shut in to the right by wooden palings, beyond which are two or 
 three trees. On the ground, to the right, are three red earthenware 
 pans. Blue sky with grey clouds. Painted in a clear, silvery tone. 
 
 Signed on the left. 
 
 Collection — Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, ix. 461, No. 172. 
 
 Viardot, 155. 
 
 Exhibited— Eoyal Academy, 1872, No. 161. 
 
 ( 76 ) 
 
TENIERS. 
 
 107 6. LANDSCAPE. 
 
 Panel, oak. 17f x 28 J in. 
 
 On the left, a large thatched house, outside which are eight 
 men, three standing talking. Close to the cottage, are five more 
 men. From the granary window, the shutter of which stands open, 
 a man in a red cap is looking down, while at the door is seen 
 the back of a woman who is just entering the cottage. In the fore- 
 ground is a spaniel, and a little to the right of the centre a cauldron 
 and other kitchen utensils, some on a bench, the rest on the ground, 
 where are also lying a couple of mussel shells. 
 
 In the distance there is a village church embowered in trees, and a 
 hill with a windmill, and a cottage at its foot, near a winding stream, 
 on the further bank of which are some willows. On the rising ground 
 beyond are some trees, and on the extreme right two cottages, in 
 front of which are some men. Blue sky with clouds. Signed close 
 to the kitchen utensils, in front. 
 
 The house seems to be the same as that in " Bargaining for Pigs," 
 to which this picture is the companion. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 Smith, ix. 460, No. 171. 
 
 ( 77 ) 
 
DUTCH AND FLEMISH. 
 
 108 7. THE HAEVEST. 
 
 Panel, oak. 14 X 21^ in. 
 
 A cornfield with peasants reaping, binding, and stacking. In the 
 foreground a group of labourers eating their dinner. A church and 
 some cottages with trees in the mid-distance. In the distance a 
 shower with gleams of sunshine, and part of a rainbow on the left. 
 Two magpies are crossing the centre of the sky. In the foreground, 
 on the right, is a plough, near which is the signature. 
 
 Engraved in reverse by James Philip le Bas, with the title " Moisson, ou III. 
 VUe de Flandre." 12f X 17^ in. 
 
 Collections— Chevalier de la Eoque, Paris. Sold 1745, 250 francs. 
 Due de Choiseul. 
 
 M. de Castelmore. Sold December 20, 1791, 2396 francs. 
 Bought from M. Nieuwenhuys, 1850. 
 Smith, iii. 279, No. 63. 
 
 Waagen, Treasures, ii. 185. " This is one of the finest landscapes I know by 
 Teniers ; it exhibits a fresh and true feeling for nature." 
 
 109 8 and 9. DUCKS, &c. (a pair). 
 
 Panel, oak. 18 X 14f in. 
 
 A pool of water fringed with flags, bulrushes, and other aquatic 
 plants. Six ducks and four ducklings are on the water. Two other 
 ducks are flying away. A kingfisher sits on the branch of a tree, on 
 the left, and a stork on the right in the distance. At the foot of 
 some trees, on a steep bank on the left, are five rabbits. Signed, in 
 the foreground, on the right. 
 
 ( 78 ) 
 
TENIERS. 
 
 110 
 
 A little bay fringed with flags, bulrushes, and other aquatic plants. 
 Six ducks and the same number of ducklings on the water. Another 
 duck and a kingfisher flying away. On a hilly bank, crowned with 
 trees, are four rabbits. Signed, in the foreground, on the right. 
 
 Engi-aved by James Philip le Bas. 14jx 11§ in. 
 
 Collection— Lord Northwick. Sold at his sale by Phillips, August 11, 1859, 
 Nos. 1056 and 1057, £94, 10s. 
 Bought from Mr. Smith, 1859. 
 Smith, iii. 416, Nos. 579 and 680. 
 
 Ill 10. MONKEYS AT CARDS. 
 
 Copper. 6| X 8f in. 
 
 Two monkeys, one in a red mantle and cap with three feathers in 
 it, the other dressed in blue, are playing cards. In the background, 
 a third holds a stoneware jug with its right paw, and lifts up a glass 
 of liquor with its left. On the right, a monkey in yellow, with a 
 pipe in its left paw, puffs smoke from its mouth. A dark-grey wall 
 in the background. Cards, money, and a piece of chalk lie on the 
 ground near the front. Signed on the right. 
 
 Collection — Lord Amherst. 
 Bought through Mr. Chaplin, 1850. 
 
 ( 79 ) 
 
DUTCH AND FLEMISH. 
 
 112 11. MONKEYS SHAVING CATS. 
 
 Panel, oak. 6f X 8f in. 
 
 In the middle, a cat sitting on a stool, with a towel round its 
 neck, is holding up a brass basin with its two fore paws. A 
 monkey dressed in blue, standing at the cat's side, has one paw on 
 the top of its head, and with the other is lathering its face. To 
 the left stands a brass vessel of hot water on an iron stand, and 
 over it a white cloth. 
 
 To the right, another cat in a high-backed chair is holding a 
 mirror, while a monkey trims its moustachio. In the comer, a 
 third monkey is heating curling-irons. Background, a wall with a 
 shelf, on which are various utensils, and a sheet of paper with a 
 drawing — apparently a Flemish rebus — on it. Signed in the right 
 comer. 
 
 Collection — Lord Amherst. 
 Bought through Mr. Chaplin, 1850. 
 
 Waagen, Treasures, ii. 185. " Full of humour and truth of nature, and painted 
 with delicate silvery tones." 
 
 ( 80 ) 
 
TER BURG. 
 
 GERARD TER BURG, 1608-1681. 
 
 113 1. LADY DRINKING. 
 
 Panel. 17i X ISf in. 
 
 A young lady in a yellow jacket and a grey skirt, with a black 
 silk mantle and cap, sits on a red leather chair turned to the right, 
 the face seen in profile, the figure to the knees. In her right hand 
 is a white stoneware jug which she rests on her knees ; with her left 
 she holds a glass of liquor to her lips. On a writing-table before 
 her are a sheet of paper, partly written on, and an inkstand. In 
 the background is a closely-curtained bed. 
 
 Collections— M. Blondel d'Azincourt, Paris. Sold February 10, 1783, No. 20, 
 1100 francs. 
 
 M. Hdris, Brussels. 
 
 Verstolk. 
 Bought in 1846. 
 
 Smith, iv. 126, No. 27 ; ix. 533, No. 15. 
 Waagen, Treasures, ii. 183. 
 
 114 2. LADY WRITING. 
 
 Tanel. 17 X 17f in. 
 
 A young lady with light hair and a fair complexion, in a low 
 pink jacket and dark skirt, sits at a table writing a letter. She is 
 turned to the left, the face seen in profile, the figure to the knees. 
 On the table are an inkstand and a table-cover doubled up. In the 
 background is a closely-curtained bed with brown drapery. 
 
 A picture nearly identical with this was sold in the Choiseul 
 Collection (No. 59 of the illustrated catalogue) for 1500 francs. It 
 passed into the collection of M. Six van Heligen of Amsterdam. A 
 third is in the Belvidere Gallery, Vienna. 
 
 Collections — M. Hdris, Brussels. 
 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 183. 
 
 ( 81 ) I, 
 
DUTCH AND FLEMISH. 
 
 JAN VAN DE CAPELLE, c. 1630-c. 1685. 
 
 116 1. MOUTH OF THE BEILL. 
 
 Canvas, 28J X 37 in. 
 
 In the centre a Dutch dogger, with nine persons in it, is ap- 
 proaching, while a rowing-boat passes before it in which are four 
 passengers, two gentlemen, a lady, and an officer in a red coat, who 
 is saluting a gentleman in the other boat. Close to the bank on the 
 left, on which is a tower, is another sailing vessel with a little boat 
 at its stem. On the right is a jetty, on which are two men ; beyond 
 it, towards the open sea, a frigate and several vessels sailing in 
 different directions. On a post on the right, in the foregroimd, is 
 the signature I. V. Cappelle. 
 
 Painted in this master's best manner. The passing clouds throw 
 a strong shadow on the water, as is often the case after a shower at 
 sunset. Transparently executed in deep tones. 
 
 Collection — Lord Charles Townshend. 
 Nieuwenhuys, Review, 88. 
 Waagen, Treasures, ii. 188. 
 
 116 2. A CALM. 
 
 Canvas. 22f X 26 in. 
 
 A quiet sea with numerous boats. In the front a strip of beach. 
 In the centre, a boy with a basket on his back is wading towards 
 a boat run ashore. On the extreme right are sandhills, and beyond 
 the buildings of a town. The sky is overcast. Strong shadows in 
 the foreground. 
 
 Bought from Mr. Smith, 1847. 
 Waagen, Treasures, ii. 188. 
 Exhibited— Royal Academy, 1889, No. 122. 
 
 ( 82 ) 
 
W. VAN DE VELDE. 
 
 WILLEM VAN DE VELDE, 1633-1707. 
 
 117 1. VIEW ON A RIVER. 
 
 Canvaa 15 x 18^ in. 
 
 On the left, two coasters with people on board. In the centre, a 
 six-oared boat, full of passengers, making for the shore. On the 
 right, vessels at anchor. In the foreground to the right, a fisherman 
 kneeling by a basket, and part of a boat, on which are the initials 
 W. V. V. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 Smith, ix. 767, No. 1. 
 
 113 2. A CALM. 
 
 Canvas. 27 X 34 in. 
 
 On the left, a jetty, on which are a gentleman and two porters. 
 Two coasters, with their colours (barry of six, g^des and argent) flying 
 and their sails hanging loose, are being made fast to the jetty. In 
 the centre is a small rowboat, with four men in it, one of whom 
 holds a rope, the other end of which is held by a man standing at 
 the stem of the farther coaster. Beyond is a third vessel. On 
 the right is a six-oared boat containing passengers, and farther off 
 a frigate at anchor with a flag, or, a lion rampant gules, and the 
 Dutch colours. Several other vessels receding in succession serve 
 to complete the composition. Signed on the jetty with the date 
 1661. 
 
 Collections — Mr. Henry Muilman, Amsterdam. Sold April 13, 1813, No. 163, 
 1600 francs, to Mr. Hodges. 
 Imported by Mr. Woodbum. 
 Mr. Ralph Bernal. Sold 1824, ^-391, 13s., to Mr. J. Smith, who 
 
 sold it to the Chevalier Erartl. 
 Chevalier Erard, Chateau de la Muette, near Paris. Sold 1832, 
 
 No. 162, 20,000 francs. 
 Bought of the Prince de Beauveau through Mr. Chaplin, 1848. 
 Smith, vL 352, No. 118. 
 
 Waagen, Treasures, ii. 187. "This charming picture reminds us in composition 
 of Cuyp ; it is also painted with greater body than usual, so that 
 the delicacy of this master is combined in some measure with the 
 power of Cuyp." 
 Kugler, Handbook, ii. 501. 
 
 ( 83 ) 
 
DUTCH AND FLEMISH. 
 
 119 3. THE SALUTE. 
 
 Canvas. 2t)| x 38f in. 
 
 On the left a man-of-war, with her sails hanging loose, is firing a 
 salute from her port battery. On the extreme left there is a small 
 vessel with the Dutch arms and colours. In the centre, a six-oared 
 boat full of passengers. On the right, a little farther off, are a 
 frigate at anchor, two coasters, and a small boat. Signed on a buoy 
 on the right with initials. 
 
 Collections— Sir Philip Stephens. Sold May 17, 1810, £57, 15s. 
 
 Viscount Ranelagh. Sold June 22, 1821, X53, Os. 6d., to Mr. 
 Rutley. 
 
 M. Nieuwenhuys. Sold May 11, 1833, X210, to Mr. Hoffman. 
 
 Sir Thomas Baring. 
 Bought, June 3, 1848, No. 112, £154, 78. 
 Smith, vi. 359, No. 137. 
 Waagen, Treasures, ii. 188. 
 „ Handbook, ii. 406. 
 Exhibited— British Institution, 1850, No. 137. 
 
 GERBRAND VAN DEN EECKHOUT, 1621-1674. 
 120 A PHILOSOPHER. 
 
 Panel. 28 X 23 1 in. 
 
 A lofty vaulted room with a window on the left, near which an 
 old man sits in an arm-chair. He wears a lilac dress, and over it a 
 claret-coloured gown, with collar and facings of brown fur. His 
 feet rest on a wooden stool. In his right hand he holds a pen, 
 while he leans his head against his left. On the table are a number 
 of books, an inkstand, and some papers. On the wall behind are a 
 map and a cupboard, with a bunch of keys in the lock. On a pillow, 
 in the centre, hangs a clock, with a bell and hammer above it. In 
 the foreground stands a globe. In the background, on the right, 
 is a staircase, down which a man is coming, and at its foot a woman- 
 servant sweeping. 
 
 Collection — Mr. Thomas Baring. 
 
 ( 84 ) 
 
VAN DEE HELST. 
 
 JAN VAN DER HAGEN, 1635-1679. 
 
 121 LANDSCAPE. 
 
 Panel. 15j X 19f in. 
 
 View at the entrance of a wood. In the centre of the foreground 
 a group of men, one on horseback with a horn slung at his side, the 
 others resting. To the right, two more men advancing with some 
 hounds. On the left, a landscape with a castle in the mid-distance 
 and blue hills. Brilliantly lighted sky with white clouds. The 
 figures probably by Johann LingelbacL 
 
 Collection — Lord Northwick. 
 
 Bought, July 26, 1859, No. 68, ^£69, 6s. 
 
 Exhibited— Royal Academy, 1872, No. 187. 
 
 BARTHOLOMEW VAN DER HELST, 1613-1670. 
 122 THE STANDARD-BEAEER. 
 
 Canvaa 35j x 26j in. 
 
 A life-size half-length portrait of the standard-bearer of a guild, 
 his face seen nearly in full. He wears a black dress with a plain 
 white collar and cuffs, and has a broad crimson scarf round his 
 waist, and a sword at his side hanging from a belt thrown over his 
 right shoulder. With his right hand he holds the pole of a standard, 
 his left rests on the hilt of his sword. 
 Bought from Mr. James Everest, 1857. 
 
 ( 85 ) 
 
DUTCH AND FLEMISH. 
 
 JAN VAN DER HEYDE, 1637-1712. 
 
 123 VIEW IN A TOWN. 
 
 Panel, oak. 19i X 22f in. 
 
 A canal extends along the whole of the front of the picture ; a 
 branch of it receding to the left is crossed by a drawbridge, on which 
 is a woman with a basket on her head. On the bank to the right 
 stands a brick house. Behind it is a lane from which a man is 
 advancing towards the bridge. Beyond the lane is a small red brick 
 house, and adjoining it a church with a classical fa9ade. On the 
 opposite bank on the left are trees, a covered market, and a statue. 
 Close to the bridge are two men leaning on the parapet, and at the 
 foot of some steps is a woman dipping clothes in the water. On 
 the right are two swans ; just above them, in the masonry, are the 
 arms of the town. On the left the signature "^eyde. The figures, 
 spiritedly drawn, are by Adrian Van de Velde. 
 
 Collections — M. Peter de Smeth van Alplien. Sold August 1, 1810, No. 38, 
 2999 florins, to Mr. J. Yver. 
 M. LeBrun. Sold 1811, 9051 francs. 
 Prince Talleyrand, 1817. 
 M. Eynard. 
 Prince de Galitzin, Paris. Sold 1825 for 8010 francs, to Mr. 
 
 Brondgeest for Baron Verstolk. 
 Verstolk. 
 Bought in 1846. 
 Smith, V. 394, No. 84. 
 Waagen, Treasures, ii. 188. 
 Exhibited— British Institution, 1850, No. 144. 
 Koyal Academy, 1872, No. 176. 
 
 ( 86 ) 
 
VAN DER NEER. 
 
 ARTUS VAN DER NEER, 17th Century. 
 
 124 1. DAWN. 
 
 Panel. 17f x 24i in. 
 
 View on a river. On the bank to the left is a village with a church 
 spire, and farther off a windmill. On the opposite bank, in the 
 foreground, two cows close to some pollards. Farther off are trees 
 and houses, and in the mid-distance an extensive building with a 
 large square tower. 
 
 Collections — M. Bonn, Amsterdam. 
 
 Verstolk. 
 Bought in 1846. 
 
 126 2. EVENING. 
 
 Panel. 17fx24fin. 
 
 The companion picture. On the extreme left, in the foreground, 
 is a tree with a cottage behind it. At a gate in front, a woman 
 and a boy are watching a man in red fishing in a boat Beyond, 
 along the river, are a number of houses and boats. In the centre, 
 in the distance, a lofty church tower. In front, some ducks. Sky 
 covered with clouds, those to the right reddened by the setting sun. 
 Signed on the right with initals. 
 
 Collections — M. Bonn, Amsterdam. 
 
 Verstolk. 
 Bought in 1846. 
 
 126 3. MOONLIGHT. 
 
 Panel. Ui x 19| in. 
 
 In the centre is a river with boats, and buildings on either side. 
 On the right, in fi-ont, are posts with nets and a sailing-boat ; 
 farther off a town with a large church with a square tower. On the 
 left, in front, are two boys and a horse ; beyond are houses and 
 windmills. The moon is rising above some clouds in the distance, 
 just over a vessel. Signed on the left with initials. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 
 ( 87 ) 
 
DUTCH AND FLEMISH. 
 
 ANTHONY VAN DYCK, 1599-1641. 
 
 127 1. ECSTASY OF ST. AUGUSTINE. 
 
 Panel, oak. 19f x 12 in. 
 
 St. Augustine kneeling in an ecstasy, supported by two angels, 
 one of whom is pointing to the Holy Trinity appearing in the clouds 
 above, surrounded by angels holding emblems or playing musical 
 instruments. The Saint wears a cope ; his mitre and staff lie with 
 some books on the ground before him. On his right kneels St. 
 Monica with her hands crossed on her breast, and on his left a 
 monk with his hands joined. 
 
 A carefully executed sketch in grisaUle for the picture (height, 
 11| feet, breadth, 6 feet) painted by Vandyck in 1628 for the 
 Church of Saint Augustine at Antwerp, now over the altar in the 
 south chapel. The design displays much of the influence of Kubens. 
 
 A copy of this sketch, formerly in the collections of Mr. Knight 
 and of the Key. Edward Balme (sold March 1 , 1823, No. 52, £6, 6s., 
 to Mr. Seguier), is now in the University Gallery at Oxford. 
 
 Collections — Methuen, Catalogue, 1760, p. 39, and 1805, No. 105. 
 Sir Thomas Baring. 
 
 Bought, June 3, 1848, No. 86, £18, 7s. 6cl. 
 
 M. Mols, MS. Notes in the. Royal Library at Brussels, No. 5737, ff. 115v and 117. 
 
 Sir Joshua EeynolJs, Works: A Journey to Flanders and Holland, London, 
 1809, vol. ii. p. 315. 
 
 Smith, iii. 3, No. 5, note. 
 
 W. H. Carpenter, Pictorial Notices of Van Dyke, London, 1844, pp. 17 and 
 196. 
 
 Waagen, Treasures, ii. 182. 
 
 Exhibited— Grosvenor Gallery, 1887, No. 156. 
 
 Photographed, Northbrook Gallery. 
 
 The picture is engraved in reverse by Peter de lode, jun. (19J x llf in.) ; the engraving 
 dedicated by Van Dyck to his sister Susan, a novice in the Beguinage at Antwerp. Also 
 engraved by Van den Enden (19i x Hi in.). 
 
 ( 88 ) 
 
VAN DYCK. 
 
 128 2. THE GUITAR-PLAYER. 
 
 Canvas. 60 1 x 43 in. 
 
 A full-length portrait of a gentleman, small life-size, with long 
 dark hair, sitting in a chair, turned slightly to the left, with his feet 
 crossed, playing a ten-stringed lute. He wears a black figured silk 
 dress with slashed sleeves, a plain broad white collar and cuffs, and 
 large buff boots ; his cloak is thrown across his lap. Dark background. 
 The figure has more natural, and less artificial, refinement than 
 usual in Van Dyck. The treatment is very masterly, the colours very 
 harmonious, but unusually broken, for Van Dyck. Probably painted 
 shortly after his return from Italy to Antwerp. 
 
 Collections — M. de Montmartel, Paris, No. 23, 1772. 
 
 Marquis de Brunoy, Paris. Sold December 2, 1776, 6000 franc?. 
 
 M. Le Brun, Paris, January 19, 1778. 
 
 M. Poullain, Paris. Sold March 15, 1780, No. 46, 2406 francs. 
 
 M. De Courniont. 
 
 M. le Chevalier Lambert. Sold March 27, 1787, No. 62, 1800 
 francs. 
 
 Prince Lucien Bonaparte, 1815, No. 157. Sold 1816, No. 43 (£84). 
 
 Mr. Stanley. 
 Bought from Mr. Smith, 1853. 
 Smith, iii. 84, No. 281. 
 
 Waagen, Galleries, 98. "In conception and colouring this picture is as 
 original as it is attractive." 
 Exhibited— Royal Academy, 8170, No. 38. 
 Grosvenor Gallery, 1887, No. 5. 
 
 Engraved by Petrini (8f x 6J in.), in the gallery of Prince Lucien Bonaparte. In 
 reverse by Brichet, in the Poulain Gallery, Paris, 1781, after a drawing by Moitte 
 (6x4J in.). 
 
DUTCH AND FLEMISH. 
 
 129 3. EAEL OF NEWPORT. 
 
 Canvas. 84 x 51 in. 
 
 Full length, life size, standing with his head turned three- 
 quarters to the right. He has dark wavy hair, worn low on the 
 forehead, and falling to just below the neck behind ; dark brown 
 eyes, a long nose, small moustachio, and a slight imperial. He is 
 dressed in a long buff jacket with slashed sleeves, and loose breeches 
 to match, the whole dress trimmed with silver lace, a steel cuirass 
 with a sash, lace collar and cuffs, and long yellow boots with spurs. 
 His left hand, in a loose white glove, rests on his hip above the 
 hilt of his rapier, and in his right he holds a staff. In the back- 
 ground are some tents, and two men in armour are indistinctly seen 
 to the right. On the left stands a table with a red cloth and some 
 armour upon it. Underneath, in the foreground, are some large 
 dock-leaves. 
 
 There is a picture of this nobleman at Petworth (Catalogue, No. 
 300), painted with Lord Goring and his son ; and another, a small 
 full length, belonging to the Duke of Hamilton, was exhibited in 
 the Grosvenor Gallery, 1887 (No. 60). 
 
 The head is engraved by Hollar, Droeshout, and Richardson. 
 
 Collection— The Earl of Portarlington. Acquired by the Earl of Northbrook 
 by exchange, 1881. 
 
 Exhibited— Koyal Academy, 1878, No. 147. 
 
 Grosvenor Gallery, 1887, No. 15. 
 Photographed, Northbrook Gallei-y. 
 
 Mountjoy Blount, Earl of Newport, was a natural son of Charles Blount, 
 Earl of Devonshire (Lord Deputy and Lieutenant of Ireland), by Penelope 
 Devereux, sister of Eobert, Earl of Essex, and wife of Lord Rich, after- 
 wards Earl of Warwick. The Earl of Devonshire, who died in 1606 with- 
 out lawful issue, left his estates to Mountjoy Blount, who was created by 
 James L Lord Mountjoye of Mountjoy Fort in the north of Ireland, and 
 
 ( 90 ) 
 
VAN DYCK 
 
 by Cliarles I. Baron Mountjoye of Tliurveston in the county of Derby in 
 1627, and Earl of Newport in the Isle of Wight in 1628. 
 
 He commanded 600 horse at the siege of Rh<S in 1628, where he was 
 taken prisoner. In 1629 he was fined £3000 for so-called " forest encroach- 
 ments." In 1630 he was made Warden of Hyde Park on the recommen- 
 dation of his half-brother, Henry Earl of Holland, In 1635 he was Master 
 of the Ordnance. He was one of the twenty-two peers who sided with the 
 majority of the House of Commons in 1641 against the appointment of 
 Sir Thomas Lunsford as Lieutenant of the Tower in place of Sir William 
 Balfour, " the tried friend of the Parliament." When the House addressed 
 the King to remove Lunsford, Lord Newport was requested to take charge 
 of the place " for the present ; " but tlie King suddenly dismissed him from 
 his post on a charge of disloyal speaking and plotting, which he vehemently 
 denied in a personal altercation with the King. This was on the afternoon 
 of Friday, the 24th of December 1641. On Wednesday the 29th the 
 King informed the House of Lords that he had never believed the charge 
 against the Earl, and desired it to be withdrawn. Oliver Cromwell, then 
 M.P. for Cambridge, led the House in an animated debate on the Earl's 
 dismissal. 
 
 Lord Newport joined the King at York in 1642, and signed the Decla- 
 ration of Peers and Councillors in June of that year. He served on %he 
 Royalist side in the Civil War as Lieutenant-General to the Earl of New- 
 castle in Yorkshire in 1642, and afterwards at Dartmouth, when that place 
 was taken by Fairfax in 1646. 
 
 He married in 1G27 Anne, daughter of John Boteler or Butler, of 
 Woodhall, Herts, who was created in 1625 Lord Butler of Brantfield. 
 He died February 12, 1665, and was buried in Christ Church Cathedral, 
 Oxford. He left three sons, George, Charles, and Henry, who succeeded 
 in turn to the Earldom, which became extinct on the death of Henry with- 
 out issue in 1681. 
 
 Thomas Milles, Tlie Catalogue of Honor. London, William Jagganl, 1610, 
 p. 493. 
 
 Dugdale, Baronage. 
 
 John Forster, Arrest of the Five Members by Charles the First. London, J. 
 Murray, I860, pp. 36-39 and 82. 
 
 C. Markham, Zdfe of Lord Fairfax. London, Macmillan, 1870, pp. 76, 260. 
 
 Clarendon, Rebellion. Oxford, 8vo, 1819, L 879. 
 
 ( 91 ) 
 
DUTCH AND FLEMISH. 
 
 130 4. QUEEN HENEIETTA MAEIA, SIR JEFFREY 
 HUDSON, AND A MONKEY. 
 
 Canvas. 85J X 52 in. 
 
 Full-length figures, standing, life size. The Queen stands upon 
 a step, with her head slightly turned to the left. She has brown 
 curling hair, with one ringlet falling on her shoulder, oval face, and 
 brown eyes. She is dressed in a large black felt hat with a white 
 plume behind, a blue moiree silk gown trimmed with narrow gold 
 braid, elbow-sleeves with full lace frilling, a lace collar, and a 
 kerchief over her shoulders with two pink bows in front. With 
 her left hand she is touching a stiff fold of her dress, while with 
 her right she caresses a little brown monkey carried on the shoulder 
 of Sir Jeffrey Hudson, who has a fair, boyish face, and is dressed in 
 a long jacket and breeches of crimson velvet, a lace collar, and long 
 brown boots. In the background to the left there is a stone wall 
 with an orange tree in a flower-pot upon it, and some trees and 
 the sky behind. In the centre is a fluted pillar, and to the right 
 a brilliant orange silk curtain, covering a ledge upon which rests 
 a crown of gold set with pearls. 
 
 A similar picture is in the possession of Earl Fitz William at 
 Wentworth (exhibited British Institution, 1846, No. 187, and Man- 
 chester, 1857, No. 108). It was described as " given by King 
 Charles the First to the great Earl of Strafford. Vandyck received 
 £40 for it." A copy by Jervas is at Petworth (Catalogue, No. 146). 
 
 Collection — The Earl of Portarlington. Acquired by the Earl of Northbrook 
 by exchange, 1881. 
 
 Exhibited— Eoyal Academy, 1878, No. 166. 
 
 Grosvenor Gallery, 1887, No. 15. 
 Photographed, Northbrook Gallery. 
 
 These two pictures were in the possession of the Newports, Earls 
 of Bradford of the first creation, and were left in 1762, on the 
 death of the fifth Earl, to his sister, Diana, widow of Algernon 
 Coote, sixth Earl of Mountrath. They descended to his son, the 
 seventh and last Earl of Mountrath, and from him to the first Earl 
 of Dorchester, of Milton Abbey, where they remained till removed 
 by the present Earl of Portarlington to Emo Park, Ireland. 
 
 ( 92 ) 
 
VAN GOYEN. 
 
 131 5. ADAM DE COSTER. 
 
 Panel. 10 x 7i in. 
 
 A sketch in grisaille. A similar sketch, but lighter in colour 
 (as are the others in the series for the engravings by P. de Jode 
 published in Dr. Wibiral's " Iconographie d'Antoine Van Dyck"), is 
 in the possession of the Duke of Buccleuch. This sketch is more 
 finished, and may be by another hand. 
 
 Adam de Coster of Mechlin, a pupil of Eombouts, painted his- 
 torical subjects, assemblies, night effects, and portraits. The in- 
 scription under the engraving is " Adam de Coster, Pictor noctium, 
 Mechliniensis." 
 
 Collection — Mr. Thomas Baring. 
 Exhibited— Grosvenor Gallery, 1887, No. 135. 
 
 132 JAN VAN GOYEN, 1596-1656. 
 
 VIEW ON A RIVER. 
 Panel. 25^ X 37* in. 
 
 In front is a strip of land, on which are six cows, and a woman 
 milking one of them. On the river are three boats with men, and 
 on the farther bank a house with a tower, beyond which, on a head- 
 land are trees, a church tower and spire, a building with a tower, 
 and a fortified wall with a windmill. On the farther side, on the 
 extreme right, are some cottages and trees. Cloudy sky. 
 
 Signed on a boat close to the centre with initials, and the date 
 1647. 
 
 Collection— Earl of Beverley. 
 
 Bought in 1851. 
 
 ( 93 ) 
 
DUTCH AND FLEMISH. 
 
 SAMUEL VAN HOOGSTRAETEN, 1627-1678. 
 133 PORTRAIT. 
 
 Panel. 8| x 6f in. 
 
 Portrait of an artillery officer, half-length, turned to the left, his 
 face seen in three-quarters. He has long brown hair, a moustachio 
 and an imperial, and wears a sleeveless buff leather dress, with a 
 strap over the light shoulder, slashed sleeves lined with red, and 
 a large collar bordered with lace. Dark background. 
 
 In its original frame, which is ornamented with cannon. 
 
 Collections — Sir Thomas Baring. Sold June 3, 1848, No. 64, £8, 83., as by 
 Terburg. 
 Sir Francis T. Baring (Lord Northbrook). 
 
 JAN VAN HUYSUM, 1682-1749. 
 
 134 VASE WITH FLOWERS. 
 
 Panel. 31i X 23| in. 
 
 A nosegay of flowers, comprising tulips, jonquils, roses, &c., in a 
 terra-cotta vase decorated with a cupid in relief. Other flowers are 
 lying on the stone table on which the vase stands. Signed. 
 
 Bought from M. Nieuwenhuys, 1867. 
 Exhibited— Royal Academy, 1872, No. 44. 
 
 ( 94 ) 
 
VAN KESSEL. 
 
 JAN VAN KESSEL, 1648-1698. 
 135 LANDSCAPE. 
 
 Canvas. 31f x 38 in. 
 
 In the middle of the foreground there is a dark shallow pool of 
 water, with a man and woman on the road to the right walking to- 
 wards the front, and several other persons beyond standing talking ; 
 the road in the middle distance, lit up by a bright gleam of sunshine, 
 winds round to the right up some rising ground ; on it are a number 
 of persons, and along its side several fine trees. On the road in the 
 right foreground are two boys with sticks, also a little dog, and 
 behind them two pieces of felled timber, close to which is a man 
 resting with two boys at his side. On the left are two dogs chasing 
 each other on the road, and in the background a fine clump of trees. 
 Cloudy sky. 
 
 This is an excellent work ; the trunks of the trees are firmly 
 modelled and the aerial perspective remarkably good. Waagen 
 considers it as in the taste of Ruisdael, but it certainly has an indi- 
 vidual character of its own. The general effect is that of a summer 
 evening, and the picture is dark. There is not a public museum in 
 Europe that claims to have a picture by this master, who often 
 imitated Philip De Koninck and Hobbema, though more generally, 
 as here, Ruisdael. The figures are probably by Abraham Stork. 
 
 Collection — Mr. Thomas Baring. 
 Waagen, Galleries, 99. 
 Kugler, Handbook, ii. 481. 
 
 ( 95 ) 
 
DUTCH AND FLEMISH. 
 
 MICHAEL VAN MUSSCHER, 1645-1705. 
 136 WILLEM VAN DE VELDE THE YOUNGER. 
 Panel. 18i x 14| in. 
 
 The artist is sitting in his studio preparing his palette. On his 
 right stands an easel with a tall landscape on it. On his left is a 
 box of colours, and on the ground in front lie a book of sketches 
 and some studies of shipping. Round the room hang several land- 
 scapes in black frames ; three palettes and three panels lean against 
 the wall to the right ; on the cornice of the door stand two Roman 
 busts and a statuette of the Famese Hercules at Naples. 
 
 Signed on the pavement in the right comer : Musscher, Pinxit 
 165. 
 
 Engraved by Charles G. Lewis as the frontispiece to Part 6 of Smith's Catalogue 
 Eaisonne. 
 Collections — M. Michael Van Musscher, Amsterdam. Sold April 12, 1706, No. 
 11, 100 florins. 
 
 A collection, Amsterdam. Sold January 21, 173.3, 80 florins. 
 
 M. Jacob De Vos, Amsterdam. Sold July 2, 1833, 600 florins. 
 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 184. " There is something very pleasing in the feeling 
 
 of this picture, which in transparency, chiaroscuro, and careful 
 
 completion in no way falls short of the excellence of Adrian 
 
 Ostade, Musscher'a master." 
 Kugler, Handbook, ii. 401. 
 
 Burger, 277. " Le chef d'oeuvre de Van Musscher ... est la precieuse portrait 
 de WiUem Van de Velde occupe k peindre dans son atelier." 
 Photographed, Northbrook Gallery. 
 Exhibited— Royal' Academy, 1889, No. 134. 
 
 ( 96 ) 
 
ADRIAN OSTADE. 
 
 ADRIAN VAN OSTADE, 1610-1685. 
 
 137 1- CARD-PLAYERS. 
 
 Panel. 17ix 14f in. 
 
 In the foreground, on the left, two peasants playing cards ; a 
 little farther back, a third with a jug in his right and a pipe in his 
 left hand looking on, and a boy caressing a dog ; farther back to 
 the right, seven more figures, one standing with his back to the 
 chimney-piece, the others seated smoking and talking. From the 
 rafters are suspended three hams and a flitch of bacon; on the 
 walls are a variety of objects. Behind the card-players is a coloured 
 drawing pinned to the wall. Below, to the right, is the signature 
 and date 1648. 
 
 Collections — Mr. Holfonl. 
 
 Mr. William Buchanan. 
 
 Bought from Mr. Buchanan, 1850. 
 
 Waagen, Treasures, ii. 185. "Deep golden tones and great vigour of chiaros- 
 curo are united in this little chef d'oeuvrc with a solid impaste and 
 careful completion." 
 
 Kugler, Handbook, ii. 420. 
 
 Exhibited— Eoyal Academy, 1871, No. 223, and 1889, No. 125. 
 
 138 2. THE MUSICIAN. 
 
 Panel. 12f x lOi in. 
 
 A man in a purplish jacket and short cloak is playing a hurdy- 
 gurdy before a cottage ; at the door, above which is a sloping roof, 
 stands a peasant in a brown coat and red cap, leaning on the wicket, 
 holding a pipe in his left hand. Behind him are a man and woman, 
 and outside, on the left, a boy with a box under his right arm, and 
 a little girl in a blue jacket, yellow skirt, white head-kerchief and 
 apron. Figures three-quarters length. Signed on the right. 
 
 Engraved by Charles Q. Lewis, 4| x 4 in. 
 
 Collections— Admiral Lord Katlstock. Sold May 13, 1826, No. 25, X94, 10s. 
 
 Mr. P. Rainier. May 24, 1845, No. 28. 
 
 Sir Thomas Baring. 
 Bought, June 3, 1848, No. 120, .£88, 48. 
 Waagen, Treasures, ii. 185. 
 
 ( 97 ) N 
 
DUTCH AND FLEMISH. 
 
 ISAAC VAN OSTADE, 1621-1649. 
 
 139 WINTER SCENE. 
 
 Canvas. 42 x 57| in. 
 
 A frozen river enlivened with numerous figures. On the bank in 
 front, to the right, are two boys, one of whom is putting on his 
 skates, and a dog. Higher up, an inn, at the door of which a waggon 
 has stopped ; the host and two men are standing by while the horse 
 is feeding. Below, on the ice, is a white horse fastened to a sledge 
 containing five persons ; beyond, another sledge with a bay horse 
 and two men. In the middle are a number of people skating and 
 sledging. On the left a windmill. 
 
 Collections — M. Peter De Smeth van Alplien, Amsterdam. Sold August 1, 
 1810, No. 73, 520 florins, to Mr. Coopmans. 
 
 Mr. Brondgeest. 
 Bought tlirough Mr. Chaplin, 1850. 
 Waagen, Treasures, ii. 183. "An admirable work of the best period of the 
 
 master. In addition to his usual vigour and transparency of 
 
 colour, the aerial perspective is very delicately sustained, while 
 
 the treatment is bold and free." 
 Kugler, Handbook, ii. 423. 
 
VAN SLINGELANDT. 
 
 PETER VAN SLINGELANDT, 1640-1691. 
 
 140 INTERIOR: CANDLELIGHT. 
 
 Panel. 8 x lOi hi. 
 
 In the centare a young woman seated, turned to the right, her 
 right arm resting on a cask as with an arch smile she smokes a long 
 clay pipe ; opposite to her, on the right, is seated a man in a red 
 jacket and black hat who is looking into a jug. Behind him stands 
 an old woman holding up her finger at the younger one. The scene 
 is lighted by a candle standing on the cask. On the left, in the 
 front, is a table with some onions, a cabbage, and a brass jug on it, 
 and in the background before a fire are a woman, whose back only 
 is seen, a girl, and a dog. The principal figures are three-quarters 
 length. 
 
 This picture was formerly attributed to Schalcken. 
 
 Collections — M. De Julienne, Paiis. Sold March 30, 1767, 2410 francs. 
 M. Gaignat, Paris. Sold December 2, 1768, 1500 francs. 
 Duchesse de Berri. 
 Exhibitfd at Christie's in 1834, and sold for .£280 to Mr. Geoi-ge Stone. 
 Bought from M. Nieuwenliuys, 1849. 
 
 Smith, iv. 287, No. 98, and ix. 28, No. 13 (under Schalcken). 
 VVaagen, Treasures, ii. 184. "The painter has surpassed liimself here, and 
 approaches his master, Gerard Don, not only in precision of execution, but in 
 truth and softness." 
 
 ( S'9 ) 
 
DUTCH AND FLEMISH. 
 
 DOMENICUS VAN TOL, 17th Century. 
 
 141 GIRL WITH A PINK. 
 
 Panel, oak, rounded top. 12 J X 7b in. 
 
 A girl in a drab jacket with green sleeves leans on the sill of an 
 arch, holding in her hand one of the sprays of a pink, which grows 
 in a flower-pot to the right. Above hangs a bird-cage. Inside the 
 arch is a bluish-green curtain ; a lamp hangs behind. This picture 
 is a copy of one by Gerard Dou, formerly in the collections of the 
 Due de Berri and Lord Ashburton, which was destroyed by fire.* 
 Van Tol in the face of the girl has shown himself nearly equal to 
 his master. 
 
 Collections— Mr. G. Muller, Amsterdam. Sold April 2, 1827, No. 70, 1700 
 florins, to Mr. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 184. 
 
 HENDRIK VAN VLIET, 1605-1671. 
 
 142 NIEUW KERK AT DELFT. 
 
 Canvas, 40j x 33| in. 
 
 View taken from the north transept. A man and woman with a 
 dog are standing at the iron railings looking at the bronze statue of 
 William I., Prince of Orange, placed at the head of his tomb in the 
 choir. Farther off are two men and a woman. On the left are two 
 men in conversation, one kneeling, the other standing, and a man 
 and boy with a dog. 
 
 Collections— M. William Van Wouw, Amsterdam. Sold May 29, 1764, 71 
 florins. 
 
 M. B. Ocke, Leiden. April 21, 1817, No. 138. 
 
 Verstolk. 
 Bought in 1846. 
 Waagen, Treasures, ii. 188. 
 
 * Engraved in reverse by Anthony de Marceney de Gliny, 1766, as " La Fleuriste " 
 (11 X 8| in.). A replica in Lord Northwick's collection was put up at Christie's, May 24, 
 1838, and bought in at £U7. 
 
 ( 100 ) 
 
WEENIX. 
 
 ABRAHAM VERBOOM, 1610-1663 (?). 
 
 143 HILLY LANDSCAPE. 
 
 Canvas. SlJ x 38f in. 
 
 View of the side of a hill sloping down from left to right, with 
 high trees and a stream, where a man in a blue jacket is spearing 
 a fish. On the right a man and a woman are driving cattle and 
 sheep up a road. A view over an undulating country in the distance. 
 The figures are by Adrian Van de Velde. This picture is set down 
 in some of the Verstolk lists as by Van der Asch. 
 
 Collections — M. H^ris, Brussels. " 
 
 Lucien Buonaparte. 
 
 Verstolk. 
 Bought in 1846. 
 
 Engraved by Parbone, Lucien Buonaparte's Catalogue, No. 31. 
 Waagen, Treatures, ii. 187. 
 Kugler, Handbook, ii. 480. " The best picture by him in England I know." 
 
 JAN BAPTIST WEENIX, 1621-1660. 
 
 144 1. GA3IE. 
 
 Canvas. 29^ x 24 in. 
 
 To the branch of a tree are hung a net, a partridge and a phea- 
 sant, a horn and a green hunting-pouch. On the ground in front 
 are two small dead birds. On the right a landscape with trees. 
 Cloudy evening sky. 
 
 Collection — Mr. Thomas Baring. 
 
 ( 101 ) 
 
DUTCH AND FLEMISH. 
 
 145 2. GAME. 
 
 Caaivas. 70J x 65f in. 
 
 In the foreground to the right, on and round a fragment of 
 antique sculpture, are hung a hare, a rabbit, and a horn. Nearer 
 the front are a cock-pheasant, a brace of partridges, a hoopoe, and 
 other dead birds, and on the extreme right a gun, a pouch, and 
 some plants in flower. On the left a large dog lies with its fore- 
 paws on a wild duck. In the air is a pigeon flying towards another 
 perched at the top of the sculpture. On the left a landscape, with 
 a village in the distance, and a boar-hunt in the mid-distance. 
 
 Collections— M. Brentano. Sold May 13, 1822, No. 366, to M. Nieuwenhuys. 
 Lord Charles Townshend. Sold June 30, 1849, £173, 5s., to M. 
 Nieuwenliuys. 
 Bouglit from M. Nieuwenliuys, 1850. 
 Nieuwenliuys, Review, 270. 
 
 PHILIP WOUWERMANS, 1619-1668. 
 
 146 1. THE SPORTSMAN. 
 
 Panel. 12 x lOJ in. 
 
 On the left an old tree with scanty foliage ; a peasant advancing 
 to the front has stopped before it, doSing his cap, to speak to a 
 young sportsman in scarlet with a feather in his hat, mounted on 
 a grey horse. Between them a hound. In the distance, on rising 
 ground, are cattle, and still farther off" a mountain. Blue sky with 
 clouds, and a couple of birds on the wing. Signed to the right 
 with initials, and the date 1649. 
 
 Broadly painted in deep colours in the master's earlier manner. 
 
 Collection — Earl of Beverley. 
 Bought in 1851. 
 Smith, ix. 190, No. 146. 
 
 ( 102 ) 
 
WOUWERMANS. 
 
 147 2. THE HORSE-FAIR. 
 
 Panel. 20i x 18 in. 
 
 An inn on the right, at the side of which is an almost leafless 
 tree, and beyond, two tents. The foreground on this side is crowded 
 with figures. The principal group consists of a man on a white 
 horse, one of whose forefeet a groom in a red coat is lifting up, 
 while two gentlemen standing at its head are talking about it. 
 Before the inn-door are a lady and gentleman on horseback ; the 
 hostess is handing the latter a glass of liquor. On the extreme 
 right are some men at a table drinking and gambling. To the left 
 are two gentlemen looking at a hOrse, which is being shown off to 
 them. In the foreground are some beggars. A coach and six is 
 driving up from the village in the distance, where are some tents, 
 cottages, and trees, and behind them a church steeple. Signed 
 on the left with initials. 
 
 Engraved by J. Moyreau, 1737. In the Clioiseul Gallery. 
 Collections — M. le Chevalier Halld, 1737. 
 
 Due de Clioiseul, Paris. Sold April 6, 1772, No. 57, with its 
 
 fellow, 20,000 francs. 
 Mai-quis de Voyer d'Argenson. 
 Prince de Conti, Paris. Sold April 8, 1777, No. 342, with its 
 
 fellow, 19,800 fi-ancs. 
 M. Duruey, Paris. Sold June 21, 1797, 4601 francs. 
 M. Joseph Augiistine Brentano, Amsterdam. Sold May 13, 1822 
 
 No. 372, 4010 florin.?, to M. Brondgeest. 
 Verstolk. 
 Bought in 1846. 
 Smitli, i. 232, No. 106. 
 
 Waagen, Treasures^ ii. 186. "A rich picture in his second manner, and of 
 delicate quality." 
 
 Exhibited— British Institution, 1850, No. 6. 
 
 ( 103 ) 
 
DUTCH AND FLEMISH. 
 
 JAN WYNANTS, c. 1620-1679. 
 148 LANDSCAPE. 
 
 16 X 18f in. 
 
 On the right, in the foreground, is a pool of water, with a man 
 sitting on the farther bank fishing ; another, by his side, is talking 
 to him. On the left, some rising ground, trees, and a thatched 
 cottage, up to which a sandy road leads from the foreground, near 
 which there lie some trunks of trees. In the mid-distance, a grove 
 of trees and a village with a church. Beyond are hills and a dis- 
 tant tower. Blue sky with some clouds to the right. 
 
 A very good early picture. Signed to the left of centre with the 
 date 1643. 
 
 Bouglit of Mr. Smith, 1847. 
 
 Waagen, Treasures, ii. 187. 
 
 Exhibited— Royal Academy, 1871, No. 221. 
 
 149 2. LANDSCAPE AND CATTLE. 
 
 Canvas. 13i x 16i in. 
 
 On the left, some rising ground with trees. In the foreground, a 
 fallen tree, near which are a goat and a sheep, and above them a 
 man in a red jacket. On the right, two cows and some sheep, and 
 a road, with some people advancing. In the distance, a country- 
 house and water with a boat on it, and farther off a town. Warm 
 sky with a few clouds. Signed on the left with the date 1670. 
 
 Collection— Sir Thomas Baring. 
 Bought, June 3, 1848, No. 134, £110, 58. 
 Waagen, Treasures, ii. 187. 
 
 ( 104 ) 
 
ANTONELLO DA MESSINA. 
 
 ITALIAN SCHOOL. 
 
 ANTONELLO DA MESSINA, c. 1412-1493. 
 
 150 1. SAINT JEROME IN HIS STUDY. 
 
 Panel, poplar. 18J X 14J in. 
 
 Through a depressed archway, on the step of which are a quail, 
 a peacock, and a brass basin, is seen the interior of a lofty vaulted 
 cruciform building of stone. The central bay, or transept, of this 
 interior is occupied by a wooden dais or platform reached by a 
 narrow flight of three steps. Here is seated the Saint, in a deep 
 chair with a rounded open-work back, at a table ending in a 
 reading-desk. He wears a large red skull-cap, and a long, tight- 
 sleeved linen rochet, and over it the usual cardinal's red mantle — 
 cappa magna ; the hood, falling over his shoulders, is lined with 
 brown fur. He is about to turn over the leaf of a folio manu- 
 script lying open on the desk before him. On the table are an 
 inkstand with a pen and two books ; on the shelves at the back 
 of both table and platform are more books, some open, others 
 closed, a bottle and a pot of blue and white ware, several little 
 boxes, and a basket. Above the shelves facing the Saint is a 
 crucifix ; and behind his chair, at the extreme right of the platform, 
 a wooden cofier with his cardinal's hat lying on it. Attached to 
 the side of the table is a sheet of paper which appears to bear a 
 signature beneath three lines of writing ; but, when examined with 
 a magnifying glass, this proves to be an illusion. On the edge of 
 the platform are a white cat, a pot of pinks, and a pot with a small 
 
 ( 105 ) o 
 
ITALIAN. 
 
 orange-tree. On a wooden peg at the side of the shelves hang a 
 fringed towel and a leather pencase ; at the foot of the steps lie a 
 pair of wooden shoes. High above the Saint's head is an unglazed 
 Gothic window divided by a slender column into two trefoil-headed 
 lights beneath a round arch. On the sill of this and two similar 
 windows over the side bays sit some small birds, while others are 
 flying round. Under the window, on the right, is a vaulted hall 
 divided by a row of slender columns supporting round arches. Two 
 rectangular windows at the further end give a view of a landscape 
 with distant hills. In the nearer aisle is seen a lion approaching, 
 with a fore-paw lifted. On the left is a room with a window 
 looking out on a landscape crossed by a stream. In a garden on 
 the near side of the stream is a lady in black walking with a white 
 dog ; there is a boat with two men in white rowing on the water, 
 and on the further bank a man in red. Beyond are fields and two 
 cross-roads running past a castle with two towers and a church 
 suiTOunded by walls, opposite to which is another garden enclosed 
 by a stone wall. On the road are two horsemen, mounted, one on 
 a black, the other on a white horse. In the distance, some hills. 
 
 This is a wonderful piece of painting ; the outline is firm, the 
 colouring rich and admirably blended, with great breadth of light 
 and shade. Though the details are represented with extraordinary 
 minuteness, they do not obtrude themselves on the attention, which 
 is at once arrested by the figure of the Saint. The expression of 
 concentrated thought in his face is a real masterpiece, while the 
 solemn stillness of the shadowed interior, so thoroughly in keeping 
 with the subject, is ably relieved by the glimpses of animated life 
 in the joyous sunlight without. 
 
 Vasari * speaks of a picture representing Saint Jerome, painted 
 by Jan van Eyck, that belonged to Lorenzo de Medici. It is just 
 possible that this may be the picture above described. 
 
 Dr. Waagen, who saw the picture in 1835 at Stratton (it was 
 then ascribed to Albert Durer), considered it to be by Van Eyck, 
 and discovered an ancient description of it, which he gives as follows 
 in a note to his work ; — 
 
 * Ed. Le Monnier, t. i. p. 163. 
 ( 106 ) 
 
ANTONELLO DA MESSINA. 
 
 " In the notices relative to the arts by an anonymous writer of 
 the first half of the sixteenth century, which Morelli published at 
 Bassano in the year 1800,* there is at page 74 the following account 
 of the little picture, then (1529) in the possession of Antonio 
 Pasqualino at Venice : — 
 
 " ' El quadretto del S. Jeronimo, che nel studio legge in abito 
 Cardinalesco, alcuni credono che el sii stato de mano de Antonello 
 da Messina : ma li piil, e piu verisimilmente I'attribuiscono a Gianes 
 (i.e., John van Eyck), ovvero al Memelin (Hans Memlinc) pittor 
 antico Ponentino : e cussi mostra quella manierk, benche il volto e 
 finite alia Italiana ; sicch6 pare de man de Jacometto. Li edificii 
 sono alia Ponentina, el paesetto h naturale, minuto, e finito, e si 
 vide oltra una finestra, e oltra la porta del studio, e pur fugge ; 
 e tutta I'opera per sottilit^, colori, disegno, forza, e rilevo h perfetta. 
 Ivi sono ritratti uno pavone, un cotomo, e un bacil de barbiero 
 espressamente. Nel scabello vi fe finta una letterina attaccata 
 aperta, che pare contener el nome del maestro ; e nondimeno, se si 
 riguarda sottilmente appresso, non contiene lettera alcuna, ma fe 
 tutta finta. Altri credono che la figura sii stata rifatta da Jaco- 
 metto Veneziano.' " 
 
 Of the four masters to whom this , painting was at that time 
 ascribed, we can with absolute certainty reject the claims of two, 
 namely, Van Eyck and Memlinc. As the panel is of poplar-wood, 
 it was most probably painted in Italy. The painter called Jacometto 
 by the anonymous writer above quoted is certainly the same person 
 as Jacopo de' Barbari, the Venetian painter and engraver, called by 
 the Germans Jacop Walch, and better known as the master of the 
 Caduceus (c. 1450 — c. 1514), none of whose authentic works have 
 come under our observation. 
 
 Though the modelling of the birds and animals, and the technical 
 execution, differ considerably — being more Bellinesque — from the 
 panel in the Museum at Antwerp, we think that this little gem may 
 with probability be attributed to Antonello, whose manner, at suc- 
 cessive periods of his life, differed widely : for who would attribute 
 the Salvator Mundi of the National Gallery, the Calvary of the 
 
 Known as the " Anonimo di Murelli." 
 ( 107 ) 
 
ITALIAN. 
 
 Antwerp Museum, and the well-known portrait from the Pourtales 
 Gallery in the Louvre, to the same hand, were it not for the docu- 
 mentary evidence that establishes their common origin.* 
 
 Collections— Sir Thomas Baring. Sold June 3, 1848, No. 66, to Mr. William 
 Coningham, £139, 13s. 
 Mr. Coningham. 
 Bought June 9, 1849, No. 29, .£162, 15s. 
 Waagen, Art and Artists, ill. 42. 
 
 „ Treasures, ii. 182. 
 Crowe and Cavalcaselle, ii. 98, 99. 
 
 Charles Ephriissi, Jacopo de Barhari: Ifotes et Documents Nouveaux, in the 
 "Gazette des Beaux- Arts," 2" Periode, torn, xiii., Paris, 1876, p. 365. 
 
 W. Schmidt, Antonello da Messina, in the "Allgemeines Kunstler-Lexikon," 
 vol. ii., Leipzig, 1878, p. 126, col. 2. 
 Exhibited— British Institution, 1845, No. 66. 
 Royal Academy, 1871, No. 191. 
 
 NOTE BY SIR J. C. EOBINSON. 
 
 There are indications that at some period of his career (doubtless before he 
 settled at Venice) Antonello di Messina visited and probably resided for some 
 time in Spain, presumably in that part of the Peninsula then under the sway 
 of his sovereign, Alfonzo King of Aragon Naples and Sicily. That the present 
 picture is the work of Antonello, and that this residence in Spain is a fact, is 
 indirectly evidenced in it. 
 
 In Catalonia, Aragon, and the district of Valencia, during the fourteenth and 
 fifteenth centuries, a peculiar local style of domestic architecture, characterised 
 by great uniformity in main features and details, widely prevailed. The interior 
 represented in this picture is, with some inessential modifications to meet pic- 
 torial exigencies, a literal representation of the patio, or central apartment of 
 a Valencian or Catalonian house, such as there are many still extant, little if at 
 all changed, in the cities of Valencia and Barcelona. The two-light window, 
 divided by a slender central shaft, is known in Spain as the ajimez window. This 
 type is quite peculiar to the districts of Spain in question, where hundreds of 
 examples are still to be seen. There cannot be a doubt, in short, that the interior 
 here depicted with so much verisimilitude, was carefully copied from an existing 
 building, probably the house of one of the rich merchants of Valencia. 
 
 J. C. Robinson. 
 
 The description of this picture is by Mr. Weale. 
 
 ( 108 ) 
 
FRA BARTOLOMMEO. 
 
 FRA BARTOLOMMEO (BACCIO DELLA PORTA), 
 (ascribed to), 1469-1517. 
 
 161 1. HOLY FAMILY. 
 
 Panel. 41J x 30J in. 
 
 The Virgin seated, turned to the left, holds the infant Christ 
 on her knees. He raises his right hand, looking towards the infant 
 St. John, who stands to the left, with the hand of a person not in 
 the picture resting on his shoulder. Above is a balustrade with the 
 sketch of a head, probably of Joseph. This is an unfinished work 
 of special interest. It has been ascribed to Raphael * and Fra Barto- 
 lommeo. Crowe and Cavalcaselle consider it to be later than Fra 
 Bartolommeo, and ascribe it to Raphael del Colle. It appears to bear 
 so great a similarity to the Holy Family by Pierino del Vaga in 
 this collection, No. 218, that it may with greater probability be 
 ascribed to that master. 
 
 Collections — Gregori, Fuligno. 
 
 Sir Augustus Foster, 1840. 
 
 Bought 1855. 
 
 Waagen, Galleries, 93. " The two children alone are carried out with careful 
 modelling in colour, otherwise the ground is only covered with a thin surface of 
 brown lake, with the outlines drawn in with the brush in dark brown colour. In 
 the Virgin are seen indications of grey shadows. The background is black. In 
 a technical point of view this picture is very interesting." 
 
 Crowe and Cavalcaselle, iii. 475. 
 
 Exhibited — Royal Academy, 1871. 
 
 * Some interesting documents regarding this picture, and the reasons for attributing it 
 to Raphael, are in my possession. — if. 
 
 ( 109 ) 
 
ITALIAN. 
 
 152 2. HOLY FAMILY. 
 
 Panel. 42 X 32 in. 
 
 Pull length figures, half life-size. The Virgin is seated, with 
 her head turned to the left, dressed in crimson with a mantle. She 
 holds the child in her lap. He is blessing the infant St. John, 
 who kneels to the left with a cross over his right shoulder. The 
 head of Joseph is seen behind to the right. Landscape background 
 to the left, with a town and hills. 
 
 Collection — Hamilton Palace. 
 
 Bought by the Earl of Northbrook, 1882, No. 711, £225. 
 
 Photographed, Northbrook Gallery. 
 
 IL BASSANO (GIACOMO DA PONTE), 1510-1592. 
 
 153 LANDSCAPE AND CATTLE. 
 
 Canvas. 59 x 49| in. 
 
 A woman is sitting in the foreground ; a boy stands on her right 
 looking at a dog. On the left is a woman kneeling ; opposite her a 
 girl watering some sheep. Behind are two cows and a man. Bushes 
 and blue mountains in the background. 
 
 Collections— Sir Thomas Baring, Sold to Mr. Coningham, 1843. 
 
 Mr. Coningham. 
 Bought June 9, 1849, No. 47, X210. 
 Waagen, Art and Artists, iii. 36. 
 
 Galleries, 96. 
 Exhibited— British Institution, 1839, No. 13. 
 
 ( 110 ) 
 
GIOVANNI BELLINI. 
 
 GIOVANNI BELLINI (ascribed to), 1426-1516. 
 
 154 VIRGIN AND CHILD. 
 
 Panel. 37 x 29 in. 
 
 The Virgin, three-quarters length, half life-size, is seated, dressed 
 in a blue mantle with gold border lined with dark brown a light 
 pink dress and white head-dress. The infant Christ sits on her 
 right knee. Behind, to the left, is a green curtain with an em- 
 broidered border. To the right a hilly landscape. Blue sky with 
 evening clouds. Below, in the foreground, is the top of a balustrade 
 with the inscription : — 
 
 lOAlNNES-BELLINVS* 
 
 This picture is a replica of the central group of a picture in the 
 sacristy of the church " del Redentore " at Venice, representing the 
 Virgin and Child with St. Francis and St. Jerome on either side. 
 Both pictures are traditionally ascribed to Giovanni Bellini, but were 
 more probably painted by Vicenzio di Bragio, called Catena, of 
 Treviso, who died at Venice in 1531. Catena's authorship of the 
 Venice picture was first recognised by the Senatore Giovanni Morelli, 
 a distinguished connoisseur. The differences between the two pic- 
 tures are few and of little importance. In the Venice picture the 
 folds of the draperies are rather more complicated and harder in 
 outline, the curtain is red, and the landscape in the background is 
 wanting.* 
 
 • Other genuine works by Catena are St. Jerome (No. 694), and the Warrior adoring 
 the Infant Christ (No. 234>, in the National Gallery, catalogued aa "ascribed to Giovanni 
 Bellini and his school." The same peculiarities of style will be recognised as in the picture 
 here described. The somewhat less severe conception is probably due to the works in the 
 National Gallery having been painted later. 
 
 ( 111 ) 
 
ITALIAN. 
 
 Dr. Gustavo Frissoni of Milan says in a letter addressed to Dr. 
 Richter, October 28, 1878, in reference to this picture : — " II suo 
 vero autore, che non d certamente Bellini (del cui nome si 6 tanto 
 abusato) non vuol essere altro che il Trevisano Vicenzio Catena di 
 cui trovammo un quadro segnato, di maniera assolutamente simile, 
 nella galleria di Padova." 
 
 Collections — A Gallery in Venice. 
 
 Le Bran. 
 
 Sir Thomas Baring. Sold to Mr. Holford, 1843. 
 
 Mr. Coningham. 
 Bought June 9, 1849, No. 47, .£183, 15s. 
 Le Brun, i. 29. Engraved, No. 15. 
 Waagen, Art and Artists, iii. 35. 
 
 Crowe and Cavalcaselle, i. 187, who attribute the Venice picture to Bossolo, 
 " whose replica of it is to be found under its proper name in the Casa Alvise 
 Mocenigo in Venice." 
 
 IL BRONZING (ANGIOLO ALLORI), 1502-1571. 
 
 155 PORTRAIT. 
 
 Panel. 25 x 19 in. 
 
 A young man, life-size, half length, head turned to the right ; 
 black dress and cap. He wears a rich gold chain round his neck, 
 with a medallion of St. Michael with the sword and scales. A 
 green curtain in the background. 
 
 This is probably one of the artist's earliest works painted before 
 1530. The influence of Pontormo is seen in the roundness of the 
 modelling and the brownish tones of the flesh-tints. 
 
 Bought from Mr. Graves, 1858. 
 
 ( 112 ) 
 
BUGIARDINI. 
 
 GIULIANO BUaiARDINI, 1475-1554. 
 
 166 ST. JOHN THE BAPTIST. 
 
 Panel. 22f x 16 in. The panel is bordered by a Renaissance 
 ornament on blue ground. 
 
 St. John sits in the centre, turned to the left, with a skin round 
 his loins. His red mantle lies on the ground. In his left hand is 
 a cross with a small banner inscribed E.A.D.E.Q.P.* He is drink- 
 ing out of a wooden bowl which he holds with his right hand. 
 Opposite him, to the left, are some rocks with bushes, and a foun- 
 tain. Trees and a house in the distance to the right. 
 
 This picture closely resembles one signed by Bugiardini in the 
 Academia delle Belle Arti in Bologna (No. 25). The idea of the 
 figure seems to have been taken from the statue of St. John, 
 ascribed to Michael Angelo, in the Palazzo Gualandi at Pisa. 
 
 CoUectious — Marchese Guadagni, Florence. 
 
 Mr. Samuel Woodbum. Sold June 24, li-63, No. 67, £141, I5s. 
 (as by Raphael), to Mr. Cole. 
 Bought of Mr. Morris Moore, 1855. 
 
 Waagen, Oalleries, 95, ascribes this picture to Marco Palmezzano da Forli. 
 Crowe and Cavalcaselle, iii. 98. 
 Photographed, Northhrook Gallery. 
 
 * Ecce agnua Dei ecce qui [tollit] peccata [raundi].— St. John L 29. 
 
 ( 113 ) 
 
ITALIAN. 
 
 CANALETTO (ANTONIO CANAL), 1697-1748. 
 
 157 THE EIALTO AT VENICE. 
 
 Canvas. 66^ x 44 in. 
 
 In the foreground, to the left, is the Canale Grande, with four 
 gondolas and many figures. To the right, the fagade of a church 
 with four columns. There are statues of two lions on the comers 
 of the quay. In the background are palaces and the bridge of the 
 Rialto. 
 
 Dr. Waagen was inclined to attribute this picture to Canaletto's 
 nephew, Bemando Bellotto (1725-1780), but there is no sufficient 
 reason to doubt its authenticity. The Ponte di Rialto (rivo alto) 
 was built by Antonio da Ponte between the years 1588 and 1591. 
 The buildings in the foreground are introduced from elsewhere. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Treasures, ii. 179. 
 
 ( 114 ) 
 
GIROLAMO DA CARPI. 
 
 GIROLAMO DA CARPI* (ascribed to), 1501-1568. 
 
 158 HOLY FAMILY AND TWO ANGELS. 
 
 Panel. Il^x9fin. 
 
 The Virgin, turned to the right, holds the infant with her right 
 arm, and with her left hand lifts a white cloth from a basket lying 
 on the ground before her. Joseph kneels beside her. To the left, 
 two angels stand behind looking down at the infant, one holding 
 the chalice, the other the reed with the sponge. In the background, 
 blue mountains and a lake with houses on the shore. 
 
 Girolamo da Carpi was a scholar of Garofalo, but he painted also 
 in the manner of Michael Angelo and of other artists. Pictures very 
 diflFerent in their style may therefore con-ectly be attributed to him. 
 It is nevertheless very improbable that he, or any of his contem- 
 poraries, was the author of this picture, which both in its conception 
 and execution appears to belong to the middle Italian school of the 
 first part of the seventeenth century. The figures, especially the 
 angels, are conceived after the ideals of the Carracci. The picture 
 is very carefully executed, and in a good state of preservation. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Treasuret, ii. 178. 
 
 * According to Vasari, he was born at Ferrara in 1501 ; according to Superbi, 
 in 1488. 
 
 { "5 ) 
 
ITALIAN. 
 
 AGOSTINO CARRACCI, 1558-1601. 
 
 159 THE APOSTLES ROUND THE TOMB OF 
 
 THE VIRGIN. 
 
 Canvas. 35 x 75| in. 
 
 The Apostles are assembled round a sarcophagus which stands in 
 the centre, some looking down into it, others up to heaven. St. 
 Peter kneels to the left, St. John to the right. A river is seen 
 in the middle distance ; an extensive landscape — with trees, hills, 
 and the pyramid of Caius Cestius — in the background. Cloudy 
 evening sky. 
 
 In this large composition the founder of the Eclectic School has 
 taken Florentine artists as his model. The idealised landscape is 
 an early specimen of the so-called "classical landscapes" in which 
 Gaspar Poussin and Claude afterwards excelled. 
 
 Collections — Cardinal Mellini, Rome. 
 
 Sir Thomas Baring. 
 TVaagen, Treasures, ii. 179. 
 
 ( 116 ) 
 
ANNIBALE CARRACCI. 
 
 ANNIBALE CARRACCI, 1560-1609. 
 
 160 1. VIRGIN AND CHILD WITH ST. FRANCIS. 
 
 Panel. 17| X 14^ in. 
 
 The Virgin sits to the left with a book in her right hand ; with 
 her left she supports the infant Christ, dressed in a white tunic, on 
 her knees. He bends to the right, blessing St. Francis, who kneels 
 in adoration with his hands crossed on his breast. An angel from 
 behind presents him. To the right, in the middle distance, is 
 Joseph with the ass. In the background two arches of a colonnade, 
 through which a distant landscape is seen. 
 
 The composition of this picture was apparently influenced by 
 Correggio's Madonna di San GLrolamo at Parma, the attitude of 
 St. Francis being like that of the charming figure of Mary Magdalen 
 in that picture. 
 
 This picture is a replica of one at Bridge water House (No. 81), 
 which was bought by the Duke of Bridgewater for £500 from the 
 Orleans Gallery. It is engraved by A. Romanet La the " Gallerie du 
 Palais Royal," and was reckoned one of Annibale Carracci's best 
 works. It has been erroneously called the Vision of St. Francis, 
 for no apparition of the Madonna to the Saint is recorded among 
 his legends, or represented among the twenty-eight scenes of his 
 life painted by Giotto in the Church of St. Francis at Assisi. 
 
 Collection — Sir Thomas Baring. 
 
 Waagen, Treasures, iL 179. 
 
 Exhibited— British Institution, 1819, No. 148, and 1840, No. 3. 
 
 161 2. LANDSCAPE. 
 
 Canvas. 14f X 19f in. 
 
 To the left a pool with steep banks covered with bushes. In 
 the foreground, to the right, trees, under which a nymph reclines 
 attended by a satyr ; clothes and hunting gear on the left, and two 
 dogs in the centre. In the middle distance, satyrs and nymphs. 
 Blue background. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 37. 
 Exhibited— British Institution, 1816, No. 42. 
 Eoyal Academy, 1872, No. 204. 
 ( 117 ) 
 
ITALIAN. 
 
 LUDOVICO CARRACCI, 1555-1619. 
 162 1. ENTOMBMENT. 
 
 Panel. 16 X 12 in. 
 
 The body of Christ, partly covered by a white cloth, is being 
 placed into the tomb by two men. In the foreground, to the left, 
 Mary Magdalen kneels, contemplating the crown of thorns which 
 she holds in her hands. Behind her stands the Virgin in a blue 
 mantle, her hands clasped in agony. Near her, a woman holding 
 a torch. In the background to the left a rock, to the right a blue 
 distance with a town and the Calvary. Evening sky. 
 
 This picture is a very characteristic one. The drawing is accu- 
 rate, the composition dramatically conceived in accordance with the 
 principles of the Roman school, while in the costumes and the type 
 of the figures in the foreground Titian has been apparently taken 
 as a model. The attitude of Christ bears a striking resemblance 
 to Michael Angelo's statue of the Pieti at Rome. 
 
 Collections — Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 94. Engraved No. 72. 
 Waagen, Treasures, ii. 179. 
 Exhibited— British Institution, 1819, No. 148. 
 
 ( 118 ) 
 
LUDOVICO CAERACCI. 
 
 163 2. PIETA. 
 
 Panel. 22 J x 17 in. 
 
 The Virgin, in a blue dress, is seated leaning against the tomb, 
 with the body of Christ, whose head she supports with her right 
 hand, on her knees. To the right are two cherubs ; one holds 
 Christ's right hand, the other holds hia hands over the crown of 
 thorns. There is a brook in the foreground, a dark hill in the 
 background, with a piece of blue sky to the left. 
 
 This composition was a favourite one of Ludovico Carracci and 
 his school. The accurate design, the firmness of modelling, and 
 the cool tone of the colouring, prove this picture to be a genuine 
 work. It was formerly ascribed to Annibale Carracci. 
 
 There is a much larger representation of the same subject with- 
 out the cherubs, erroneously ascribed to Annibale, in the Doria 
 Palace Rome (III. Braccio, No. 18). In the Dulwich Gallery there 
 is a similar picture (No. 311, canvas, 14^ x 18f) with slight varia- 
 tions, one cherub being occupied with the nails instead of the crown 
 of thorns. It was also erroneously ascribed to Annibale. 
 
 Bought from Mr. J. Smith, 1856. 
 Exhibited— Royal Academy, 1871, No. 194. 
 
 164 3. BATHSHEBA. 
 
 Panel, transferred to canvas. 38| x 34f in. 
 
 Bathsheba is sitting in the foreground, near the edge of a foun- 
 tain, combing her hair. A maid stands behind holding a white 
 cloth, another kneels with a jug; behind her is a boy. To the 
 right is a statuette of a Cupid, with a palace in the background. 
 Figures half -life size. 
 
 The types and attitudes are imitated from Correggio. 
 
 Collections — Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 94. Engraved No. 73. 
 Waagen, Art and Artists, iii. 37. 
 Exhibited— British Institution, 1840, No. 19. 
 
 ( 119 ) 
 
ITALIAN. 
 
 165 4. ADORATION OF THE SHEPHERDS. 
 
 Copper. 22| x 80 in. 
 
 The Virgin sits in the centre, with the infant in her lap. 
 Behind her Joseph, and a peasant woman with a basket of eggs. 
 On the right another woman, kneeling, presents a basket with 
 doves. An old man stands before her shading his eyes with his 
 hand from the light which radiates from the child. Opposite the 
 Virgin other peasants kneel ; near them are a dog and a sheep. 
 The scene is under an open cottage with a thatched roof ; a boy 
 with a basket is taking off his hat as he enters from the left, 
 another boy is looking over a wall behind. Above is a group of 
 three winged angels' heads. The full moon is seen to the left, and 
 morning brealdng to the right. 
 
 In this picture the artist very closely follows Correggio's famous 
 " La Notte " (which was at that time at Reggio), both in the com- 
 position of the figures and in the effect of the light. The same 
 dog is introduced. The light from the infant gradually diminishing 
 is well balanced with the shadows, but does not attain the same 
 magical brightness as in Correggio's picture. 
 
 Collection — Sir Thomas Baring. 
 
 Waagen, Treasures, ii. 179. 
 
 Exhibited — British Institution, 1816, No. 64. 
 
 ( 120 ) 
 
CORREGGIO. 
 
 100 5. CHRIST BEARING HIS CROSS, AND 
 
 ST. VERONICA. 
 
 Canvas. 49 X 38 in. 
 
 Figures three-quarters length, life size. To the right, Christ — 
 clad in grey — with a cord round his neck, and wearing the crown of 
 thorns — is sinking exhausted to the ground with his left hand on 
 a stone. The cross is over his right shoulder, and is being sup- 
 ported by St. Veronica, who stands to the left, dressed in crimson, 
 with a brown head-dress. This picture was attributed to Annibale 
 Carracci. It is probably by a scholar of Ludovico's. 
 
 Engraved in reverse by F. Poilly, 17 X 14 in. 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artiits, iii. 37. 
 
 CORREGGIO, ANTONIO ALLEGRI (ascribed to), 
 
 1494-1529. 
 
 167 TWO HEADS OF ANGELS. 
 
 Canvas. lOj x 19j in. 
 
 The angel on the right looks over his left shoulder, the other 
 bends to the left. Yellow background. Life size. 
 
 These appear to be ancient copies, painted between 1526 and 
 1530, of two heads of angels represented by Correggio in fresco on 
 the cupola of the Cathedral of Parma. But they do not entirely 
 correspond with any of the angels in those frescoes, though the 
 head to the right is very like that of the angel who sits on the 
 balustrade. 
 
 Collection — Sir Thomaa Baring. 
 
 Waagen, Treasures, ii. 178. 
 
 Exhibited— British Institution, 1816, No. 41, and 1840, No. 8. 
 
 ( 121 ) Q 
 
ITALIAN. 
 
 CORREGGIO, SCHOOL OF. 
 
 168 VIRGIN AND CHILD WITH ST. CATHAEINE 
 
 AND ST. CLAEA. 
 
 Panel. 15f x 14 in. 
 
 The Virgin is seated in the centre, in a low red dress and a blue 
 mantle, holding the infant Christ at her breast. On the right 
 St. Clara stands with a monstrance in her right hand and a lily in 
 her left. On the left is St. Catharine of Alexandria with a book 
 and a palm-branch, and the fragment of a wheel at her feet. A 
 group of trees behind. 
 
 This picture has been ascribed to Francesco Maria Rondani 
 (1505—1548), but is probably by the hand of Michelangelo Anselmi, 
 called Michelangelo da Parma and Michelangelo da Siena. He was 
 bom at Lucca in 1491, and studied at Siena under Sodoma. He 
 afterwards settled at Parma, where he fell under the influence of 
 Correggio. He was living in 1554, but the exact date of his death 
 is not known. A picture by him of the Virgin and Child with St. 
 John the Baptist and St. Stephen, in the Louvre, corresponds 
 entirely in style with this picture, which is in a perfect state of 
 preservation. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 36. 
 
 ( 122 ) 
 
PIETRO DA CORTONA. 
 
 PIETEO BERETTINI DA CORTONA, 1598-1669. 
 
 169 1- THE MAGDALEN AND ANGELS. 
 
 Canvas. 35 x 36j in. 
 
 Mary Magdalen is seated to the right, with her hands on her 
 bosom. Behind her are two angels, with the emblems of the 
 Passion. Figures small life size. Rocks and a wooded landscape 
 in the background. 
 
 This picture is one of his best works on canvas, both for colour- 
 ing, drawing, and composition. 
 
 Collection — Sir Thomas Baring. 
 
 170 2. ST. JEROME. 
 
 The Saint kneels, holding a crucifix in his left hand, and his right 
 arm extended. A skull and some books lie on a bank before him, 
 and to the right are seen the head and shoulders of the lion. 
 Three angels in the clouds above, and five girls dancing in the 
 middle distance. 
 
 Collections — Medici, Palazzo Riccardi Florence. 
 
 Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 2.3. Engraved No. 11. 
 Exhibited— British Institution, 1816, No. 72. 
 
 ( 123 ) 
 
ITALIAN. 
 
 171 3. INFANT CHRIST AND ST. JOHN. 
 
 Canvas. 9f x 111 in. 
 
 Christ, seated on a bank, caresses the cheek of St. John, who 
 kneels before him to embrace him. To the left there is a lamb. 
 Landscape background. 
 
 Collection — Sir Thomas Baring. 
 Exhibited— British Institution, 1840, No. 17. 
 
 172 4. ADORATION OP THE SHEPHERDS. 
 
 Canvas. 38f x 53 in. 
 
 To the right the Virgin kneels before the cradle in which the 
 child lies, a glory from him lighting the whole picture. Joseph 
 stands in the centre. Shepherds are presenting their gifts. Behind 
 are an ox and an ass, and above the cradle two angel boys holding 
 a scroll with the inscription : GLORIA IN (excels)is DEO. 
 
 Collections — Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, L 23. Engraved No. 10. "Cette admirable production provient 
 d'un des palais de Rome." 
 
 ( 124 
 
CRESPI. 
 
 GIUSEPPE MARIA CRESPI, 1665-1747. 
 
 173 SPANISH GIRL. 
 
 Panel. 14^ x lOj in. 
 
 Full-length figure of a girl standing with a basket in her right 
 hand, and feeding some poultry with her left. Trees and grey sky 
 in the background. 
 
 Collections — De Gagny. 
 
 Due de Chabot. Sold December 1784, No. 7, 1690 francs, to 
 
 M. Remy. 
 Sir Francis Baring. 
 Sir Thomas Baring. 
 "Waagen, Art and Artists, iii. 39. 
 
 „ Treasures, ii. 180. 
 Exhibited— British Institution, 1819, No. 152, and 1837, No. 82. 
 
 ( 125 ) 
 
174 
 
 ITALIAN. 
 
 CARLO CRIVELLI, 1430?-1495? 
 
 1. VIEGIN AND CHILD. 
 
 Panel. 14 x 9i in. 
 
 Half-length figure of the Virgin standing behind a balustrade. 
 She wears a dark blue damask mantle richly decorated with gold 
 embroidery and lined with green, a transparent veil, and a white 
 head-dress fastened by a chain of pearls. She tenderly supports 
 the infant Christ, who sits on a violet cushion on the balustrade 
 holding a goldfinch in both hands. The nimbs of the infant Christ 
 and of his mother are gilt and decorated with gems. On the 
 balustrade lies a yellowish satin cloth, on which is affixed a paper 
 with the inscription : — 
 
 # O 
 
 OpV.<c.KA^KOL?*CR<VELL1.VEMrri i 
 
 Behind the Virgin a crimson curtain is suspended by a red cord. 
 A wreath of apples and cucumbers hangs above. On each side of 
 the curtain a landscape is seen with high trees, a castle, and some 
 men, two in Turkish costumes, standing about. 
 
 Carlo Crivelli was a scholar of the Vivarini, and worked chiefly 
 at Ascoli and its neighbourhood. He continued to paint in tem- 
 pera while his contemporaries had adopted the new method of oil- 
 painting, but his thinly-painted pictures still retain their original 
 brightness. 
 
 This picture has the special interest of being one of his earliest 
 
 works, it comes very near to his Virgin and Child in the Picture 
 
 Gallery of Verona, which is the earliest painted by him. After the 
 
 year 1490, Crivelli always added to his name the word Miles 
 
 (knight), and in his latest works. Miles Laureatus. 
 
 Collection — Mr. W. Jones of Clytha. 
 Bought May 8, 1852, No. 103, JI57, 10s. 
 Waagen, Galleries, 95. 
 Crowe and Cavalcaselle, i. 92. 
 Exhibited— Eoyal Academy, 1870, No. 235. 
 Photographed, Northhrooh Gallery. 
 
 ( 126 ) 
 
CRIVELLI. 
 
 175 2. THE RESURRECTION. 
 
 Panel, quatrefoil shaped. 20 X 18 in. 
 
 In the centre Christ rises from the tomb, a richly ornamented 
 sarcophagus, upon the edge of which he places his right foot. In 
 his left hand he holds a banner with a red cross on a white field. 
 His right hand is raised in the act of blessing ; a disk nimbus over 
 his head. On each side of the tomb, and in front of it, are three 
 soldiers lying on the ground asleep ; rocks and a town in the dis- 
 tance. Part of an altar-piece, probably the centre of a predella. 
 
 Bought from Messrs. Colnaglii, 1854. 
 Waagen, Galleries, 95. 
 Crowe and Cavalcaselle, 192. 
 
 176 3. ST. BERNADIN AND ST. CLARE. 
 
 Panel. 14 x 17 in. 23 x 9 in., including the frame with 
 Gothic ornaments. 
 
 Whole-length figures, standing. St. Bemadin, in a grey habit, 
 holds a red book in his left hand, and an oval plate in his right 
 with the monogram of Jesus. On his right 
 stands St. Clare in a grey habit and black 
 mantle, with a lily in her left hand. Yellow 
 disk-nimbs round the heads. A balustrade 
 and a green curtain behind. Gilt background. 
 
 The Franciscan monk Bemadin of Siena 
 was much venerated in Tuscany as a peniten- 
 tial preacher. He died at Aquila in 1444, and 
 was canonised in 1450. As his head is de- 
 corated by a nimb in this picture, it must have 
 been painted after 1450. The cipher on the 
 oval which he holds in his hand is an abbre- 
 viated form of the holy name. The transversal line, originally 
 the mark of abbreviation, developed in later times into a cross, 
 as in the well-known Jesuit cipher. 
 
 Bought from Mr. Bentley, 1856. 
 Crowe and Cavalcaselle, i. 92. 
 
 ( 127 ) 
 
ITALIAN. 
 
 CARLO DOLCI, 1619-1686. 
 
 177 1. CHRIST BEARING HIS CROSS. 
 
 Caaivas. 21 J x 18 in. 
 
 Half length, life size, head turned to the right. The cross rests 
 on the left shoulder of our Saviour, supported by both his hands. 
 He is dressed in a red tunic and blue mantle. On his head is the 
 crown of thorns, behind which is a cruciform nimbus of rays. This 
 picture is a very characteristic and genuine work of the artist. 
 
 Collections — Medici, Palazzo Kiccardi Florence. 
 
 Le Brun. 
 
 Sir Thomas Baring. 
 Engraved by C. Heath in Forster's British Gallery. 
 Le Brun, i. 25. Engraved No. 14 
 Buchanan, ii. 253. 
 Passavant, i. 281. 
 Exhibited— British Institution, 1816, No. 114, and 1840, No. 32. 
 
 178 2. MATER DOLOROSA. 
 
 Canvas. Oval. 26i x 19^ ia. 
 
 Half length, life size, head turned to the left. Red dress and 
 blue mantle, the hands folded, the head bent forwards. A favourite 
 subject of the master. A replica with some slight variations is in 
 the collection of the Earl of Dudley. 
 
 Collections — Chevalier Boucheron. 
 Mr. Thomas Hope. 
 Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 38. 
 
 „ Treasures, ii. 176. 
 Exhibited— British Institution, 1840, No. 27. 
 
 ( 128 ) 
 
DOMENICHINO. 
 
 DOMENICHINO (DOMENICO ZAMPIERI), 1581-1641. 
 
 179 1. INFANT CHEIST WITH THE EMBLEMS 
 OF THE PASSION. 
 
 Panel. 7f x 5f in. 
 
 Full length, about five years old, clad in a blue tunic, sitting 
 with his right foot on the cross, which lies on the ground. In 
 his right hand he holds a nail, and by his side is a basket con- 
 taining a hammer, the crown of thorns, and a cord. Landscape 
 background. 
 
 A replica of this picture, from the Coesvelt and Rogers collec- 
 tions, is in the possession of Baroness Burdett-Coutts. Domeni- 
 chino and his contemporaries of the Bolognese school were the 
 earliest of the Italian painters who represented the infant Christ 
 with the emblems, under the influence of the religious feeling then 
 prevailing. 
 
 Collection— Sir Thomas Baring. 
 Waagen, Treasures, ii. 179. 
 Exhibited— British Institution, 1841, No. 34. 
 Eoyal Academy, 1871, No. 228. 
 
 ( 129 ) R 
 
ITALIAN. 
 
 180 2. LANDSCAPE— KIPOSO. 
 
 Canvas. 16 X 18 J in. 
 
 In the centre of the foreground, the Virgin reposes on the ground 
 in a red dress, blue mantle, and white head-dress. The infant 
 Christ stands behind her, near them Joseph asleep, and the ass 
 grazing to the right. Other figures and a horse in the middle 
 distance. High mountains and the sea in the distance. Evening 
 sky with clouds. 
 
 Bought from Mr. Farrer, 1855. 
 Exhibited— Eoyal Academy, 1871, No. 167. 
 
 FRANCIA (FRANCESCO RAIBOLINI), 1450(?)-1517. 
 181 1. LUCRETIA. 
 
 Panel. 20| X 16f in. 
 
 Half length, half life size. The head is slightly thrown back, the 
 eyes looking up. She has light auburn hair, with a ruby ornament 
 at the parting, and wears a loose robe of greyish blue. With her 
 right hand she is plunging a dagger into her breast. There is a 
 bracelet on her left arm. In the background a landscape, with two 
 men on horseback, a monk, and three soldiers. 
 
 This picture was probably painted in the school of Francia. 
 There are replicas, with some variations, in the Borghese Gallery at 
 Rome (No. 64), in Mr. Soiling's collection, and in the National Gallery 
 of Ireland, No. 190.* 
 
 Bought from Mr. Martin Colnaghi. 
 Waagen, Galleries, 94. 
 
 * Vasari mentions a picture of Lucretia by Fraucia in the possession of the Duke 
 Guido Baldo of Urbiuo. 
 
 ( 130 ) 
 
FRANCIA. 
 
 182 2. HOLY FAMILY WITH ST. ANTHONY. 
 
 Panel. 12i x lOi in. 
 
 The Virgin sits in the centre on a wooden bench, with an apple 
 in her left hand, and the infant Christ on her knees. Joseph stands 
 on the left leaning on a stick, and St. Anthony of Padua on the right 
 with a crucifix in his right hand. A hilly landscape in the background. 
 The nimbus of Christ is of rays ; those of the other figures are out- 
 line circles. They are gilt, as are the borders of the dresses, the 
 crucifix, and the herbs in the foreground. Underneath, in gilt letters, 
 is inscribed — 
 
 F.FRANCIA.AURIFEX.FACIEBAT.ANNO.MDXII. 
 
 This picture is in the style of Francesco Francia. The execution is 
 very careful and minute, especially in the drawing of the hands, but 
 not in that of the landscape, which is rather primitive. The some- 
 what heavy colouring makes it probable that it is a work of Giacomo, 
 son and scholar of Francesco, who lived from about 1486 to 1557. 
 No works of this artist, however, have as yet been found with an 
 earlier date than 1518. The gilding of the inscription on the picture 
 has been renewed without leaving any traces of its original form. 
 
 Bought from Mr. Farrer, 1855. 
 
 Waagen, Oalleries, 94 " A very pretty and careful picture. From the colour 
 of the gold I consider the inscription not to be genuine, and the picture rather by 
 the hand of his son, Giacomo Francia." 
 
 Crowe and Cavalcaselle, i. 573. 
 
 ( 131 ) 
 
ITALIAN. 
 
 GAROFALO (BENVENUTO TISIO), 1481-1559. 
 
 183 1. RIPOSO. 
 
 Panel. 14 x 19f in. 
 
 The Virgin, in a dark red dress and a blue mantle lined with 
 violet, sits by a small marble table with her right hand resting upon 
 an open book. Behind her, to the right, near the base of two large 
 columns, St. Anne, in a white mantle, is coming down some steps. 
 On the left, Joseph, seated, raises the Infant with both hands from 
 a cradle on which he stands. Beyond is a baljistrade, and the view 
 of a sea-coast with a town and some high rocks. Evening sky. 
 
 This is probably an early work of the master. The representa- 
 tion of Joseph supporting the infant Christ is very seldom met with 
 in Italian pictures. 
 
 Collection— Mr. Samuel Rogers. 
 Bought May 3, 1856, No. 701, .£500. 
 
 ( 132 ) 
 
LUCA GIORDANO. 
 
 184 2. ST. JAMES. 
 
 Panel. 19? x 15f in. 
 
 The Saint is represented staiiding in the act of preaching. His 
 left arm is raised ; his right hand rests on a book, which lies on a 
 small marble table decorated with a sphinx and rams' heads. A 
 pilgrim's staff leans against his left shoulder. In the background is 
 a large open window, in front of which a nun is kneeling. Some 
 blue mountains and a town beyond. 
 
 This picture was formerly supposed to represent St. John the 
 Evangelist at Patmos, but the pilgrim's staff makes it more probable 
 that the Saint represented is St. James. The nun is probably a 
 portrait of the person for whom the picture was painted. The 
 landscape is probably a view of the Monti Eugenei, near Este, on 
 the road from Ferrara to Padua. 
 
 Collection — Sir Thomas Baring. 
 
 Waagen, Treasures, ii. 176. He erroneously calls it " St. John the Baptist" 
 
 LUCA GIORDANO, 1632-1705. 
 
 185 ST. MICHAEL. 
 
 Canvas. 67 x 57 in. 
 
 The Archangel stands with his right foot on the breast of a 
 fallen angel, whose body he pierces with a lance. Behind is another 
 fallen angel with a serpent round his right arm. Below is the 
 head of a dragon. Signed iordanvs f. 1666. 
 
 Luca, fa presto, took for his model the celebrated pictures of 
 the same subject by Raphael in the Louvre (No. 370), and by 
 Guido Reni in the Church of St. Maria della Concezione at Rome. 
 A similar picture by him is in the Belvidere Gallery at Vienna. 
 
 Collections— Sir Francis Baring. 
 Sir Thomas Baring. 
 Exhibited— British Institution, 1840, No. 61. 
 
 ( 133 ) 
 
ITALIAN. 
 
 GIORGTONE (GIORGIO BARBARELLI), (ascribed to), 
 
 1477-1511. 
 
 186 SALOME WITH THE HEAD OF ST. JOHN 
 
 THE BAPTIST. 
 
 From Panel transferred to Canvas. 31| x 29 in. 
 
 Figures half length, life size. The head of Salome is turned a 
 little to the left. She wears a white bodice, with a pink scarf and 
 violet mantle. The Baptist's head in a dish rests upon her arms. 
 Behind her, to the left, is a maid-servant with black hair and green 
 dress. 
 
 This picture has been ascribed to various masters by high autho- 
 rities. Passavant considered it a genuine Giorgione, as did Waagen 
 in 1835, but in 1857 he ascribed it to Vicenzio Catena. Crowe and 
 Cavalcaselle call it a replica by Pordenone, and Miindler considered 
 it to be " an original by Sebastiano del Piombo, or by Giorgione." 
 
 It is, in our opinion, an exact ancient replica of a picture in the 
 Doria Palace at Kome, ascribed by the catalogue to Pordenone, as 
 also by Crowe and Cavalcaselle ; to Eomanino by Miindler ; while 
 Iwan Lermolieff ^'' has rightly stated that it is an early work of 
 Titian, similar in style to the " Amor Divine ed Amor Profano " in 
 the Gallery Borghese at Rome. 
 
 Collection — Sir Tlioinas Baring. 
 Waagen, Art and Artists, iii. 35. 
 
 „ Treasures, ii. 179. 
 Crowe and Cavalcaselle, ii. 287. 
 Burkhardt, Cicerone, Leipzig, 1874, 1086. 
 Passavant, i. 280. 
 Viardot, 154. 
 Exhibited— British Institution, 1840, No. 65. 
 
 Manchester, 1857, No. 251. 
 Photographed, Northbrook Oallery. 
 
 • " Die Galerien Roms," in the " Zeitschrift fur bildende Kunst," vol. xi. p. 135. 
 
 ( 134 ) 
 
GUERCINO. 
 
 GUERCINO DA CENTO (GIOVANNI FRANCESCO 
 BARBIERI), 1590-1666. 
 
 187 SEMIEAMIS RECEIVING NEWS OF THE 
 
 REVOLT OF BABYLON. 
 
 Canvas. 50 X 58^ in. 
 
 Figures three-quarters length, life size. Semiramis stands to the 
 left, her face seen in profile, in a rich amber-coloured brocade skirt, 
 full white sleeves with gold stripes, and an embroidered low red 
 bodice. Her right hand rests on the arm of a chair behind her, and 
 her left arm is held out. Her fair hair hangs down her back and 
 is being dressed by her maid, who stands behind her with a comb. 
 A mirror and a crown are on a table before her. A messenger 
 advances from the right, pointing backwards with his right hand : 
 he holds his hat in his left hand, and is dressed in an amber doublet 
 and dark hose. 
 
 A later work of the artist, painted under the influence of Guide. 
 The composition resembles Guercino's representation of the same 
 subject, painted for Cardinal Comaro at Venice, now in the Dresden 
 Gallery (No. 511). But in it Semiramis is sitting in the chair with 
 the crovra on her head. Another picture of the same subject is at 
 Petworth (No. 155). 
 
 Collections — Haldemand. 
 
 Mr. R. Sanderson. 
 Bought March 20, 1858, No. 19, i210. 
 
 ( 135 ) 
 
ITALIAN. 
 
 188 2. THE SICK CHILD. 
 
 Panel. Six 11 J in. 
 
 Figures three-quarters length. A doctor sits to the right with 
 his right hand raised up, and some medicine in his left. Opposite 
 him a woman holds her arms round a girl of about eight years of 
 age, who is struggling to avoid taking the physic. Near by stands 
 another girl with a cup in her hand, and the head of an old woman 
 is seen to the left. 
 
 Scenes of popular life like that represented here by Guercino are 
 very seldom to be met with in pictures by Bolognese artists. The 
 taste for them was, however, propagated in Italy, during the middle 
 of the seventeenth century, by wandering Dutch artists — Gerard van 
 Houthard, Pieter de Laar, Lingelbach, Weeninx, Karel Dugardin, 
 and others ; and this somewhat exceptional picture was doubtless 
 executed under some such influence. 
 
 Collections — Laborde. 
 
 Sir Francis Baring. 
 
 Sir Thomas Baring. 
 Exhibited— British Institution, 1840, No. 31. 
 
 ( 136 ) 
 
LIONARDO DA VINCI. 
 
 LIONARDO DA VINCI (ascribed to), 1452-1519. 
 
 189 BUST OF CHRIST. 
 
 Panel. 16i x 13 in. 
 
 Life size, turned to the right ; brown hair falling in curls over 
 the shoulder; short beard. Reddish-brown garment, red mantle. 
 The right hand is raised in benediction. 
 
 This picture has been traditionally ascribed to Lionardo, and in 
 its general conception his influence is certainly perceptible ; but the 
 tone of the colouring and the expression more probably denoted it 
 to have been painted by an unknown Milanese artist of the seven- 
 teenth century. A similar picture ascribed to Lionardo was in the 
 Coesvelt Gallery (No. 93). In it Christ points with his right hand 
 to an emblematic triangle. Another picture of the same class 
 ascribed to Lionardo is in the Brignole Palace at Genoa. 
 
 Collections— Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 5. Engraved No. 2. "J'ai fiait diminuer la planche des deux 
 tiers, pour diminuer la masse de vers qui ronglait le bois." 
 
 ( 137 ) 
 
ITALIAN. 
 
 LOMBARD SCHOOL. 
 190 MARTYEDOM OF ST. SEBASTIAN. 
 
 Panel. 11 x 30 J in. 
 
 Full-length figures, small. St. Sebastian, with a white cloth 
 round his loins, is standing in the centre, his hands tied behind him 
 to a leafless tree. To the right stands a person in authority, with 
 his right hand stretched out in the act of commanding, and three 
 men near him. Opposite are three archers, two of whom are 
 shooting arrows at the Saint. In the background there is a palace 
 in ruins, in front of which are two marble columns and the frag- 
 ment of an altar. Two soldiers stand before the building, near a 
 group of three cypress trees. There are two columns, decorated 
 with shields, on either side of the picture. 
 
 This picture has been attributed to Raphael, but certainly with- 
 out sufficient reason. The colouring, and the style of the archi- 
 tecture in the background, seem to indicate that it was painted by 
 an artist of the Lombard school at the beginning of the sixteenth 
 century. The panel originally formed part of a " cassone." The 
 armorial bearings on the shields are not sufficiently well preserved 
 to be identified. 
 
 Collection — Lord Northwick. 
 
 Bought July 28, 1859, No. 240, £92, 8s. 
 
 ( 138 ) 
 
MANTEGNA. 
 
 BERNARDINO LUINI, 1470-1530. 
 191 HOLY FAMILY. 
 
 Panel. Uh x 33f in. 
 
 Full-length figures, half life size. The Virgin, seated with her 
 head turned to the right, holds upon her knees the infant Christ, 
 to whom St. John, who kneels on the right, presents a flower. 
 Outline nimbs round the heads. Dark background. 
 
 A similar composition is in the Munich Gallery, engraved by 
 Strixner, 1820. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Treanirei, ii. 178. 
 
 ANDREA MANTEGNA, 1430-1506. 
 
 192 CHRIST'S AGONY IN THE GARDEN. 
 
 Panel 24^x31^ in. 
 
 A rocky hill, with a rough flight of steps, fills the centre and left 
 of the picture. There Christ is represented kneeling, turned to the 
 left, with his hands joined in prayer. He is dressed in a bluish-green 
 mantle, which shows a small portion of a vermilion under-garment. 
 Over his head, which is covered with fair curls, there is a nimbus 
 with a red cross ; his feet are bare. Opposite him, five boy angels 
 stand on light clouds bearing the emblems of the Passion, A path- 
 way winds round the foot of the hiU, under which the three Apostles 
 lie asleep. On the left, St. Peter, with grey hair, arms folded, blue 
 under-garment, and carmine mantle ; on the right, St. James, with 
 his left arm resting on a book, yellow under-garment, and violet 
 mantle ; his head rests on the thigh of St. John, who is clad in 
 a red under-garment and green mantle. Round their heads are 
 yellow nimbs. The brook Cedron flows in front of the path, with 
 
 ( 139 ) 
 
ITALIAN. 
 
 the hewn trunk of a tree placed over it as a bridge. On the right 
 is a laurel tree with a raven perched upon it. Two herons are 
 wading in the brook, and two hares are sporting on the hill ; three 
 more are on the path. In the background is seen the city of Jeru- 
 salem, behind high walls, on a rocky eminence. A procession is 
 issuing from one of the gates, headed by Judas Iscariot, with Roman 
 soldiers carrying lances and shields, and other persons, forming a 
 crowd of miniature figures. Three steep rocks, one of them crowned 
 with a ruined castle, rise behind the town. A green mountain 
 landscape of Italian character is seen to the right. The very 
 dark blue sky, broken by light clouds, indicates the late hour of 
 the day. 
 
 Some of the buildings in the town are taken from well-known 
 edifices of the time. The principal tower is a copy of the Torre di 
 Nerone, on the Mons Viminalis, at Rome. In the interior is a 
 building which resembles the arena of Verona, and a column, like 
 Trajan's at Rome, on which is placed the bronze equestrian statue 
 of Gattamelata by Donatello.* Near it is a hall like the Palazzo 
 della Piagione in Padua. The towers resemble the pictures of 
 ancient Padua, the highest of them especially that of St. Justinia ; 
 four are crowned with a gilt crescent. 
 
 The picture is signed, on the rock below Christ : 
 
 * Erasmus da Nami, called Gattamelata, was commander-in-chief of the army of the 
 Kepublic of Venice (1438-1441). It was by order of the Republic that Donatello (Donato 
 di Niccolo di Betti Bardi, 1386-1466) of Florence executed the equestrian statue, the 
 first great bronze statue of modern art in Italy (1445). Set up in Padua on the Piazza 
 del Santo, it was extolled as a first-rate work of art in the " Trattato di M. Francesco 
 Bocchi " (1584) ; and its praises were sung by Pomponius Gauricus, "De Sculptura" (cf. 
 Hans Semper, "Donatello," Wien, 1875, pp. 194 and 254). Until now no mention has 
 been made of Donatello's bronze statue having been gilt, as it is shown by this earliest 
 representation. The original in Padua is engraved in the " Guida di Padova Citadella, 
 &c.," Padova, 1842, p. 105. 
 
 ( 110 ) 
 
MANTEGNA. 
 
 Mantegna, who was an independent artist at Padova when only 
 seventeen years of age, painted this picture when he was twenty- 
 eight years old ; it was executed in the year 1459 for Giacomo 
 Marcello, Podesta of Padua, simultaneously therefore with the 
 altar-piece of St. Zeno in Verona, where, on the predella, Man- 
 tegna treated the same subject, but with a different arrangement 
 of the figures. The predella picture, representing Christ's Agony, 
 is now in the Museum at Tours (26j x 36^ in.). 
 
 The colouring of the picture is very powerful, and of a deeper 
 tone than in the later works of the master. Its chief merit lies 
 in its drawing and in its plastic forms, the smallest detail being 
 executed with minute care. 
 
 The importance of the picture for the history of North Italian 
 painting is quite unique, on account of the inferences which can 
 be drawn from it as to the relations of Mantegna with the Venetian 
 school. There is a drawing (p. xxxxiiii.) with the representation 
 of the same subject in the sketch-book of Jacobo Bellini of Venice 
 (c. 1400-1464), now in the British Museum. The conception is so 
 much like that in this picture, that the connection between the 
 two cannot be doubted.* Mantegna married NiccaJosia Bellini, 
 daughter of the painter Gentile Bellini, and grand-daughter of 
 Jacobo Bellini. The date of this marriage cannot be fixed, but 
 it is probable that it took place in 1450. We may therefore con- 
 clude that when Mantegna painted his picture, " Christ's Agony in 
 the Garden," Giovanni Bellini, brother of Gentile (1427-1516), must 
 have been in relation with him. This is, moreover, proved by 
 the representation of the same subject by Giovanni Bellini in the 
 National Gallery (No. 726), a picture which, in its conception as 
 well as in its execution, entirely depends on that of Mantegna. 
 
 There is an ancient Italian drawing. No. 354 in the Malcolm 
 
 * The composition of Jacobo Bellini is divided into two parts : to the right, the sleep- 
 ing apostles ; towards the centre, turned to the disciples, Christ kneeling on a rock ; 
 the cup is placed on the mountain-top before him. On the left, Jerusalem ; soldi«rg 
 marching out of a town-gate on a winding pathway. On the left, a high tree, the brook 
 Cedron, with a bridge, and a monumental column. The age of the sketch-book is fixed 
 by the handwriting on it, which runs : "De mano di me Jacobo Bellino, Veneto, 1430, 
 in Venetia." Consult J. P. Richter, Italian Art in the National Galltry, London, 1883, 
 p. 78. 
 
 ( 141 ) 
 
ITALIAN. 
 
 Collection, representing Judas heading the band of Jews and 
 soldiers. It is exactly the same group as in Mantegna's picture. 
 This drawing, on which is noted "Carpazzo" ( = Carpaccio), is 
 ascribed by the catalogue of the Malcolm Collection (p. 127) to the 
 "early Venetian school." An illuminated missal in Lord North- 
 brook's collection gives the picture with some variations. 
 
 Mantegna's predella picture, " Christ's Agony in the Garden," originally 
 in the Church of St. Zeno at Verona, and now in the Museum of Tours, is 
 altogether different in its composition. 
 
 See " Notice des Tableaux du Mus6e du D6partement d'lndre et Loire," 
 a Tours, 1838, p. 76, No. 179: — "J6sus au Jardin des Olives. J^sus k 
 genoux, les mains jointes, est appuy6 sur un rocher ; i7 fixe I'ange qui lui 
 apporte le calice d'amerture. Sur le premier plan, les apotres sont endormis ; 
 on aper^oit d, gauche dans le lointain, Judas Iscariott accompagn^ des soldats 
 envoyfo par les princes, des pretres, les pharisiens, les scribes et les sena- 
 teurs. Dans le fond, k gauche, on a repr^sente la ville de Jerusalem. 
 
 " Les details de cette partie du tableau sont d'un travail et d'un fini 
 admirables, quoique sees." 
 
 The picture at Tours is also described by Le Bran ; " Andrea Mantegna 
 im Museum zu Tours " in Von Liitzow's " Zeitschrift fiir bildende Kunst," 
 vol. X. pp. 190, 191 ; by Clement de Riz, " Les Musses de Province," 
 Paris, 1859, vol. I pp. 272, 345; and in the Times, October 21, 1882. 
 
 An exceedingly rare engraving, after the picture at Tours, by Giacinto 
 Maina, is in the print-room of the Berlin Museum. 
 
 Collections — Cardinal Fesch. 
 Mr. Coninghani. 
 
 Bought June 9, 1849, No. 58, .£420. 
 
 Waagen, Treasures, ii. 178. 
 
 Crowe and Cavalcaselle, i. 141, 382, &c. 
 
 Burger, TrSsors d'Art exposes d Manchester, Paris, 1857, 70-72. 
 
 Viardot, 153. 
 
 Kugler, Handbook (Layard), i. 286. "A marvellous combination of the fan- 
 tastic and the realistic, with fine drawing, foreshortening, and drapery in the 
 figures of the sleeping apostles." 
 
 Exhibited— Manchester, 1857, No. 98. 
 
 Royal Academy, 1870, No. 58. 
 
 ( H2 ) 
 
MAZZOLINI. 
 
 LODOVICO MAZZOLINI, 1481-1528. 
 
 193 INFANT CHRIST WITH THE DOCTORS IN 
 
 THE TEMPLE. 
 
 Panel. 17i x 12i in. 
 
 Christ is sitting on an elevated seat to the right, clad in a dark 
 red garment and blue mantle, round his head a gilt nimbus, his 
 right hand outstretched. To the left, opposite him, eight Jewish 
 doctors sitting and disputing, some of them holding books ; to the 
 right, two others. In the foreground an ape approaching a boy, 
 who holds an awl. To the left, in the background, the Virgin and 
 Joseph are entering the Temple. In a gallery are five Jews, one of 
 whom is handing down a roll of parchment to a man below. In all 
 there are twenty figures. In the architectural background are two 
 twisted columns ; above, a relief with the representation of Roman 
 soldiers on horseback fighting ; below, a tablet with an inscription 
 in Hebrew, the translation of which is, " The house which Solomon 
 has erected to Jehovah." 
 
 Mazzolini was a scholar of Lorenzo Costa of Ferrara. Senor 
 Giovanni Morelli calls him the "glowworm" of the Ferrarese 
 school, and, as he has lately been recognised to have been one of 
 the masters who influenced Correggio, his works have assumed a 
 special interest in art history. 
 
 Hebrew inscriptions are very often to be met with on pictures 
 by Mazzolini, and occasionally on pictures by Lorenzo Costa and 
 other Ferrarese artists. It was just at that time that attention was 
 directed to the study of Hebrew, and Jews were freely tolerated, 
 especially at Ferrara.* The architecture in the buildings of the 
 background is taken from the old Roman temples, and scarcely 
 gives the impression of a Jewish temple. The gallery may be an 
 imitation of a synagogue cathedra. The twisted columns are cer- 
 tainly copied from a unique monument at Rome, generally believed 
 
 * See Graet's " Geschichte der Juden," 2d edition, vol. vii. p. 174. 
 ( 143 ) 
 
ITALIAN. 
 
 to have been brought from the Temple of Jerusalem, which during 
 the Middle Ages supported the ciborium of the Basilica of St. Peter. 
 
 Lanzi says that a picture by Mazzolini representing the same 
 subject was formerly in the cathedral of St. Francesco at Ferrara, 
 and Cittadella further mentions it as adorning a chapel near the 
 portal. According to Lanzi, this picture was originally united with 
 another panel, representing the Nativity of Christ, bearing the 
 inscription and the date " mdxxiiii. Zenar (January), Ludovicus 
 Mazzolimvs Ferrariensis." It is not known where this panel is now 
 to be found. 
 
 The aboverdescribed picture is in the Berlin Gallery, No. 273 
 (panel, 18i x llf in.). It was formerly in the Giustiniani Palace 
 at Rome, whilst the replica in Lord Northbrook's collection is said 
 to come from the Aldobrandini collection at Rome, and to have 
 been painted for a Cardinal Alessandro Aldobrandini, who was 
 legate at Ferrara in the time of Mazzolini. 
 
 Collections — Villa Aldobrandini, Rome. 
 
 Mr. William Young Ottley. Sold May 16, 1801, No. 11, ^£180. 
 
 Mr. Samuel Eogers. 
 Bought May 3, 1856, No. 724, ^525. 
 Lanzi, Storia Pittorica, Firenze, 1821, vol. v. p. 194. 
 G. Baruffaldi, Vile de' jnttori Ferraresi, Ferrara, 1844, vol. i. p. 128. 
 C. Cittadella, Gatalogo istorico de fittori Ferraresi, Ferrara, 1782, vol. i. p. 97. 
 Buchanan, ii. 22. 
 
 Mrs. Jamieson, Companion to the Private Galleries, London, 1844, p. 396. 
 Waagen, Oalleries, 95. 
 Exhibited— Royal Academy, 1872, No. 218. 
 
 ANTONIO RAFFAELLE MENGS, 1728-1779. 
 
 194 PORTRAIT. 
 
 Canvas. 26 x 19| in. 
 
 Bust of a young lady, life size, three-quarters face, turned to the 
 left. Red hair. Light blue dress. Two rows of pearls round her 
 neck. 
 
 Collection — Sir Thomas Baring. 
 
 ( 144 ) 
 
FRANCESCO MOLA. 
 
 PIETRO FRANCESCO MOLA, 1612-1688. 
 
 195 1. HAGAR AND ISHMAEL. 
 
 Canvas. 17j x 21 in. 
 
 Hagar kneels to the left, looking up, with outstretched arms, in 
 an attitude of despair. The boy Ishmael lies on the ground before 
 her. Above, on a cloud, is an angel pointing upwards with one 
 hand, and to some water, on the right, with the other. Woody 
 landscape ; evening sky. 
 
 The representation of Hagar and Ishmael was a favourite one 
 with Mola. Similar pictures by him are in the Louvre (No. 266) 
 and the Dulwich Gallery (No. 195). 
 
 Collections — Earl of Carysfort. 
 
 Mr. Samuel Rogers. 
 Bought May 3, 1856, No. 688, £86, 2s. 
 
 196 2. RIPOSO. 
 
 Copper. 9 X llf in. 
 
 The Virgiu is seated in the centre of a woody landscape, with 
 the infant Christ in her lap, holding an apple. The infant St. John 
 stands on the left, taking a cup from the Virgin. To the right is 
 Joseph. The figures are dramatically grouped and of tender ex- 
 pression. 
 
 Collection — Sir Thomas Baring. 
 Exhibited— British Institution, 1840, No. 4. 
 
 ( H5 ) 
 
ITALIAN. 
 
 GIOVANNI BATISTA MORONI, 1510-1578. 
 
 197 PORTRAIT. 
 
 Canvas. 43 X 35 in. 
 
 Three-quarters length figure, life size, turned to the left, of a man 
 in armour ; full round face, short brown hair and beard. His left 
 hand rests on his sword, his right on his helmet, which stands on a 
 pillar. The branch of a palm, a grey wall, and brickwork in the 
 background. Above, to the left, blue sky with a few clouds. In- 
 scribed on the pillar — 
 
 TVS 
 
 MARIVS • BENVEN 
 SVB • CAROLO 
 
 ORE 
 
 IMPERAT • DVX. 
 
 According to the inscription, this picture represents Marius Ben- 
 venutus, a general during the reign of the Emperor Charles the 
 Fifth ; but the researches made for the purpose of identifying this 
 personage have not led to any result. The name is not mentioned 
 by the historians and biographers who have studied the period. 
 From the features of the portrait, however, one may conclude that 
 he was an Italian. 
 
 This picture, which is of a fine greyish harmony, must have been 
 painted in the artist's middle life, and is perfectly well preserved. 
 
 Collection — KinR of Holland. 
 
 Sold August 1850, No. 168, 750 francs, to Mr. Chaplin. 
 
 Bought from Mr. Chaplin, 1850. 
 
 Waagen, Galleries, 95. " The action easy, and the animated head coloured and 
 conceived much in the feeling of his master, Moretto. The hands of great truth, 
 and the armour of masterly treatment." 
 
 ( U6 ) 
 
palma vecchio. 
 
 PALMA VECCHIO (ascribed to). 
 
 198 HOLY FAMILY, ST. CATHARINE, AND ST. MARY 
 
 MAGDALEN. 
 
 Canvas. 45 x 60 J in. 
 
 The Virgin is seated in the centre, wearing a crimson dress and 
 a white hood. She holds on her knee the infant Christ, who 
 stretches out his right hand towards a vase offered by Mary Mag- 
 dalen, who kneels to the left. To the right St. Catharine sits with 
 her right hand resting on the fragment of a wheel. Behind them 
 is Joseph, and in the background a ruin, with a tower and moun- 
 tains with some figures. 
 
 Although this picture has been ascribed to Palma Vecchio,* its 
 conception and execution indicate it to be a work of one of the 
 younger members of the Bonifacio family. The eldest painter of 
 this name, Bonifacio I. Veronese, was a scholar and imitator of 
 Palma Vecchio, to whom this picture was formerly attributed. But 
 Palma Vecchio, who was a master of Titian, died in 1528, whilst 
 most of the pictures hitherto attributed to him are painted in a 
 manner peculiar to the artists of the second half of the sixteenth 
 century. According to Cesare Bemasconi,t Bonifacio I. Veronese 
 
 * In the Catalogue of Sir Jubn Murray's sale is the following description of the 
 picture : — 
 
 "It was purchased in a selection of pictures from Sir Thomas Baring's collection 
 during his lifetime. This picture, a valuable example of this master's works, is rendered 
 still more so from containing four of the portraits of the family of the artist. The Virgin 
 and Child are portraits of his wife and infant son. The Magdalen is the portrait of 
 Violante, the mistress of Titian, while the mule portrait is that of himself. That of the 
 other figure is unknown. It is signed with large initials and dated. Original drawings 
 of the Madonna, and of Violante as the Magdalen, are in the Imperial Collection at 
 Vienna." 
 
 t "Studii sopra la storia della pittuia italiana." Verona, 1864, pp. 287, 2SS. 
 
 ( H7 ) 
 
ITALIAN. 
 
 died in 1540, Bonifacio II. Veneziano in 1553, Bonifacio III. Vene- 
 ziano was still living in 1579. The two younger ones were both 
 scholars and imitators of Bonifacio I. Veronese, whose best produc- 
 tion in Englajid is a picture at Hampton Court, representing Diana 
 and Actason in a fanciful landscape, erroneously ascribed to Gior- 
 gione (No. 73). The picture described above is, to judge by its 
 style,* a work of Bonifacio III. Veneziano. This painter was also 
 under the influence of Titian. In this picture, however, the influ- 
 ence of Palma Vecchio is also seen, especially in the drawing of the 
 
 hands. 
 
 The general arrangement of the compositions painted by the two 
 younger Bonifacii is very similar. They mostly introduce in the 
 foreground, as is the case here, a group of more than half life-size 
 figures, with a view of an extensive landscape on either side. 
 
 Collections— Sir Thomas Baring. Sold to Mr. Holford, 1843. 
 
 Sir. W. Buchanan. 
 
 General Sir John Murray. 
 Bought June 19, 1852, No. 49, ^252. 
 Bryan, Dictionary, <tc., 1849, p. 538. 
 Waagen, Art and Artists, iii. 35. 
 
 Crowe and Cavalcaselle, ii. 486. " A genuine Bonifacio." 
 Exhibited— British Institution, 1840, No. 28. 
 
 * O. Miindler, "Beitriige zu Burckhardt's Cicerone." Leipzig, 1874, pp. 110, 111. 
 Iwan Lermolieff, "Die Galerien Roms," in the "Zeitschrift fur bild. Kunst," vol. xi. pp. 
 136, 137. 
 
 ( 148 ) 
 
PIETRO PAOLINI. 
 
 PIETRO PAOLINI, 1603-1681. 
 199 VIRGIN AND CHILD, WITH ST. CATHERINE. 
 Canvas. 51 i X 39 in. 
 
 Full-length figures, life size. The Virgin is seated, in a red 
 dress, blue mantle, and dark blue headdress with golden embroidery. 
 She holds the Infant seated upright on her knees. He is placing 
 the ring on St. Catherine's finger, who kneels opposite him, in a 
 rich embroidered amber dress and violet mantle ; near her on the 
 ground lies a sword. Behind her St. 
 Anne stands, holding a stick and a "*^V* X/^r^lJ 
 
 book. To the left an angel holds the */^' 
 
 crown of St. Catherine. A column 
 
 a dark green curtain, and an exten- ' \». » ^1 dl 
 
 crown of St. Catherine. A column, riCtYO'r n t ' 
 
 a dark green curtain, and an exten- * . ^'X /Z 
 
 sive landscape form the background. ^« > ^v/.'V-i -v 
 
 Signed on St. Anne's headdress. 
 
 Pietro Paolini of Lucca was a scholar of A. Carovelli. He was 
 bom in 1603 (as Lanzi says) or in 1604 (Baldinucci). He imitated 
 Pordenone and P. Veronese. In this picture, executed with the 
 greatest care, the influence of Caravaggio is perceptible in the 
 rendering of light and shadow. The picture is said to have been 
 painted for the city of Lucca. 
 
 Collections — Lucca Gallery. 
 
 Sir Thomas Baring. 
 
 Waagen, Galleries, 94, attributes tliis picture to Bondaui, and says, " I know 
 not on wliat autliority it is given to Pietro Paolini, who painted, as far as his 
 works are known to me, in a very different manner." He did not observe the 
 signature, and the criticism is an example of the value of conjectural remarks 
 upon Italian pictures, when made even by the most careful observers. 
 
 ( 1^9 ) 
 
ITALIAN. 
 
 PARMEGIANO (FEANCESCO MAZZUOLI), 1503-1540. 
 
 200 HOLY FAMILY. 
 
 Panel. 62 x 46 J in. 
 
 Full-length figures, life size. In the centre the Virgin is seated, 
 holding in her lap the infant Christ, who presents a swallow to the 
 infant St. John, who sits to the left in his mother's lap. In the 
 background are Joseph and an angel. In the foreground St. John's 
 cross, round which is a scroll with the inscription : ecce AGNUS DEI. 
 The figures have outline nimbs round their heads. 
 
 This composition clearly betrays the manner of Parmegiano, but 
 the drawing is in various parts inaccurate, and the colour less bright 
 than is usual in his works. 
 
 Collection — Sir Thomas Baring. 
 
 Passavant, i. 281. 
 
 Waagen, Art and Artists, iii. 36. 
 
 ,, Treasures, ii. 178. 
 Exhibited— British Institution, 1816, No. 63. 
 
 ( 150 ) 
 
SEBASTIANO DEL PIOMBO. 
 
 SEBASTIANO DEL PIOMBO (FRA SEBASTIANO 
 LUCIANI), 1485-1547. 
 201 HOLY FAMILY, WITH A DONOR. 
 
 Panel. 38i x 42 in. 
 
 Figures three-quarters length, small life size. In the centre the 
 Virgin, seated, clad in a pink dress with a white scarf round the 
 waist, bluish-green mantle lined with orange, and white headdress, 
 holds the shoulder of the infant Christ with her left hand. He is 
 turned to the left ; his left knee rests on her lap, whilst his right 
 leg is stretched forward ; he appears as if about to descend and 
 bless the donor, whom the Virgin is presenting to him. The 
 donor, a half-length figure of a man about forty years of age, is 
 in adoration with his hands crossed on his breast, his face turned 
 upwards ; he has long black hair and a black beard. To the right 
 is Joseph in an orange-coloured dress, leaning on a table, asleep. 
 To the left, behind the donor, is St. John the Baptist, a young 
 man covered with a camel-skin, a cross resting on his right shoulder. 
 A green curtain is behind the head of the Virgin. Dark back- 
 ground. 
 
 Sebastiano was a scholar of Giovanni Bellini, and became a 
 follower of Giorgione, but when he settled at Rome he attached 
 himself to Michael Angelo, and giving up for some time (about 
 1515-1525) his Venetian traditions of colour, he became an inter- 
 preter of Michael Angelo's grand artistic principles. The described 
 picture belongs to the beginning of this Michaelangelesque period. 
 In its style it comes very near to the " Resurrection of Lazarus," 
 No. 1 in the National Gallery, painted in 1518 and 1519. In its 
 composition it is even more imposing, and in its drawing more 
 studied and nobler. 
 
 Collections — Senatore Cambiaso, Genoa. 
 Le Brun. 
 
 Sir Thomas Baring. Sold to Mr. Coningliam, 1843. 
 Mr. Coningham. 
 
 ( 151 ) 
 
ITALIAN, 
 
 Bought June 9, 1849, No. 61, il890. 
 
 Le Brun, i. 37. Engraved, No. 21. " Le tableau offre la composition de Michel 
 Ange et ses contours, la couleur et le fini harmonieux des plus parfaits ouvrages 
 de Leonard de Vinci. Je ne crains pas de dire que c'est un des premiers chefs- 
 d'ceuvre de I'art ; il sort de la magnifique collection du senateur Cambiaso k 
 Genes ; et ce n'est qu'avec beaucoup de peines que j'ai pu obtenir qu'il me le 
 cedat." 
 
 Buchanan, ii. 293. 
 
 Passavant, i. 279. " This very splendid picture is so grand, alike in arrange- 
 ment and design, that it gives rise to the surmise of its having been executed from 
 a cartoon by Michael Angelo. The colouring altogether is powerful and warm ; 
 the head of the Virgin is however too dark and brown." 
 
 Waagen, Art and Artists, iii. 33 ; Treasures, ii. 175. "A chef-d'ceuvre of Sebas- 
 tien del Piombo, in which the spirit of Michael Angelo and his own admirable 
 style of art are united in the happiest way, represents the Florentine School in its 
 highest development. ... In treatment and in tone, this picture shows a close 
 affinity to the ' Raising of Lazarus,' being decidedly painted about the same time ; 
 while it may be considered, after that, as the most valuable specimen in England 
 of this master." 
 
 Crowe and Cavalcaselle, ii, 325, 326. " Two works of uncommon beauty were, 
 we should think, completed at this juncture — when Sebastian composed pictures 
 under the guidance of Michael Angelo— the ' Holy Family ' of the Baring Collec- 
 tion, and the ' Pieta ' of the Hermitage at Petersburg. Even at this time, as we 
 judge from the Baring masterpiece, Venetian elements still outweigh ted the 
 Florentine in Sebastian's manner. The very form of his composition scents of 
 the Belliiiesque. A donor, with his arms piously crossed over his breast, kneels 
 before the Virgin, who kindly rests one hand on his shoulder, whilst with the 
 other she guides the stride of the infant Christ upon her lap. To the left, the 
 Baptist, with his cross, contemplates the scene. To the right, St. Joseph sleeps. 
 A green curtain hangs behind the group. The donor and the Baptist are most 
 Venetian, the Saviour and St. Joseph most Florentine ; but the study of Tuscan 
 art is displayed to a considerable extent in the type and movement, in the setting 
 of drapery to show the under surfaces, and in broad general treatment. There is 
 more skill in the composition than Sebastian had hitherto shown, more firmness 
 and decision in outline, and a grander, truer rendering of extremities. The colour 
 is tinged in a slight degree with the leaden shade peculiar to Sebastian's later 
 creations, and the glowing richness of a Northern palette is tempered by sober yet 
 admirable chiaroscuro," 
 
 W. Burger, Tresors d'Art exposes a Manchester en 1857, Paris, 1857, p. 43. 
 Kugler, Handbooh (Layard), ii. 562. 
 
 Viardot, 154. 
 
 Exhibited— British Institution, 1816, No. 7, and 1840, No. 63. 
 
 Manchester, 1857, No. 161. (See Waagen, A Walk through the 
 
 Art Treasures Exhibition at Manchester, p. 10.) 
 Eoyal Academy, 1870, No. 130. 
 
 ( 152 ) 
 
RAFFAELLO. 
 
 RAFFAELLO SANZIO (ascribed to), 1483-1520. 
 
 202 1. VIRGIN AND CHILD. 
 
 Panel. 26 X 14^ in. 
 
 The Virgin, three-quarters length, less than life size, with very- 
 fair hair, a white veil falling down over her left shoulder, pink 
 dress and violet scarf, is seated in front, with her head inclining a 
 little to the left. Her left hand rests in her lap upon a blue mantle 
 with a gilt border. The infant Christ stands on her knees, with 
 his left hand resting on her bosom, his head turned to the left. 
 There are nimbs over both heads, formed by double gilt circles. 
 Close behind the Virgin there is a low balustrade, and the back- 
 ground is composed of a hilly landscape, with some trees and a 
 farm to the right. 
 
 This picture, which traditionally bears the name of Raphael, hAs 
 been ascribed by Dr. Waagen and Messrs. Crowe and Cavalcaselle 
 to Lo Spagna and to Eusebio da San Giorgio, two of his scholars ; 
 but their works which are extant differ in style and are of less 
 merit. A replica or copy of this picture is, in the Munich Gallery, 
 erroneously ascribed to Fra Bartolommeo.* 
 
 The method of painting used in Lord Northbrook's picture appears 
 to resemble that of the " Entombment " in the Borghese Gallery at 
 Rome, and the " St. Catherine," No. 168, in the National Gallery, 
 both of which pictures were painted about the year 1507. It must 
 however be mentioned that the drawing does not entirely conform 
 to the idealistic conceptions of Raphael, the hands, for instance, being 
 too short ; but the same peculiarity may be observed in the earliest 
 of the two Panshanger Raphaels. 
 
 * Engraved by Lorenz Quaglia, 1818, in Stroxner and Piloty. Kiinigl. Bav. 
 Oemaldgallerie. 
 
 ( 153 ) V 
 
ITALIAN. 
 
 This picture also in many respects resembles one of a similar 
 composition at Stafford House, erroneously ascribed to Luca Penni 
 (Catalogue, No. 32). Perhaps both pictures may with some reason 
 be ascribed to Timoteo Viti (1467-1523), an artist whose great 
 merits have not yet been sufficiently appreciated. 
 
 Collections — Metliuen. Catalogue of pictures at Corsham House by John 
 Brilton, 1806, No. 28. Sold in 1844 to Sir Thomas Baring. 
 Sir Thomas Baring. 
 Waagen, Treasures, ii. 176. 
 Crowe and Cavalcaselle, iii. pp. 327, 342, 475. 
 Rulaud, Works of Raphael, London, 1876, p. 84. 
 Kugler, Handbook (Layard), i. 245. 
 Photographed, Northhrook Gallery. 
 
 203 2. ST. JOHN THE BAPTIST PEEACHING. 
 
 (Copy ascribed to Giulio Romano.) 
 
 Panel, 34 x 27 in. 
 
 One of the many representations of this subject, the finest of 
 which is in the Uffizi Gallery at Florence. This picture corresponds 
 in every detail with the somewhat larger one sold in the Orleans 
 Gallery. There is another rather smaller in the Grosvenor House 
 Collection (Young's Catalogue, No. 49). 
 
 Collections — Marchese Guadagni, Florence. 
 Sir Thomas Baring. 
 
 ( 154 ) 
 
GUIDO. 
 
 GUIDO RENI, 1575-1642. 
 
 204 1. ECCE HOMO. 
 
 Canvas. 42 J x 37 in. 
 
 Three-quarters length figure of Christ wearing the crown of thorns, 
 bending forwards, with his arms crossed and a reed in his right 
 hand. A purple mantle falls from his right shoulder, and is 
 gathered round his loins, leaving the chest bare. Painted in a 
 light silvery tone and with spirited execution. 
 
 Collections — Lucien Buonaparte. 
 Sir Thomas Baring'. 
 
 Buchanan, ii. 285. " A few pictures of a fine class were sold out of this collec- 
 tion (Lucien Buonaparte's) immediately on its being notified to be for sale, among 
 which were the ' Ecce Homo ' by Guido, purchased by Sir Tliomas Baring for 400 
 guineas." 
 
 It is not included in the catalogue of the gallery published by Miller, London 
 1812, but is engraved by Folo in the illustrations.* 
 
 Waagen, Art and Artists, 411. 37. 
 „ Treasures, iL 180. 
 
 Passavant, i. 281. 
 
 Exhibited— British Institution, 1816, No. 33. 
 
 205 2. BUST OF THE VIRGIN. 
 
 Canvas. 19f X 16i in. J 
 
 Life size. The head turned upwards, both hands folded on the 
 bosom. Golden-coloured background. 
 
 Collections — Chevalier Boucheron. 
 
 Sir Thomas Baring. Bought from Mr. Buchanan. 
 
 * No. 117 in my copy, in the place of a Brunzino. The picture is No. 29 of the 
 original catalogue. Buchanan, ii. 289. 
 
 { 155 ) 
 
ITALIAN. 
 
 GIOVANNI FEANCESCO ROMANELLI, 1617-1663. 
 
 206 EUROPA. 
 
 Canvas. 20| x 24 in. 
 
 Europa is seated on the bull, decorated with flowers, surrounded 
 by cupids and attendants. The sea in the distance to the right ; 
 some trees to the left. 
 Bought 1854. 
 
 SALVATOR ROSA (ascribed to), 1615-1673. 
 
 207 1. LANDSCAPE. 
 
 Canvas. 27i X 36^ in. 
 
 The shore o£ a river. Mountains to the right. In the fore- 
 ground two soldiers and two men, three others and a boat beyond. 
 Farther back, a round tower and other buildings on the shore. 
 
 208 2. ST. JOHN THE BAPTIST PREACHING. 
 
 Canvas. 28f X 38 in. 
 
 To the right, St. John stands on the shore of a brook, a group 
 of persons sitting or standing round him. The scene is closed by 
 high rocks and trees. 
 
 These pictures were probably painted in imitation of Salvator by 
 a contemporary artist. 
 
 Collections — Lebrun. 
 
 Sir Thomas Baring. 
 Lebrun, ii. 7. Engraved, Nos. 121 and 123. 
 Waagen, Treasures, ii. 180. 
 
 One or both exhibited British Institution, 1840, No. 52, and 1844, No. 91. 
 
 ( 156 ) 
 
ANDREA DEL SARTO. 
 
 ANDREA DEL SARTO (VANNUCHl), 1487-1531. 
 
 209 1. ST. JOHN THE BAPTIST. 
 
 Panel. 26| X 21j in. 
 
 Half length, life size, turned to the left, about twenty years of 
 age, with a cross in his right hand, and pointing with his left. A 
 red mantle is on his right arm, and a camel-skin hangs by a strap 
 over his left shoulder round his hips. Dark background. This 
 picture is of the artist's later period ; it is broadly painted, with 
 sharp outlines. 
 
 Collection — Sir Thomas Baring. 
 
 Waagen, Treasures, ii. 175. "A very powerful study for a lai^er picture, in 
 which, according to tradition, St. John is pointing to the Virgin and Child." 
 Exhibited— British Institution, 1840. 
 
 210 2. VIRGIN AND CHILD. 
 
 Panel. 24 X 18i in. 
 
 The Virgin standing, half length, less than life size. Opposite 
 her the infant Christ, seated on a white cushion with a gold border 
 on a balustrade. The Virgin looks fondly at the Child, and raises 
 his face with her left hand, while her right rests on his back. 
 He is dressed in a lemon-coloured tunic ; the Virgin in a crimson 
 dress and a pink kerchief falling down over her right shoulder. 
 Dark background. 
 
 A replica of this picture is at Hampton Court, No. 282. In it 
 the child's tunic is violet, and the cushion has no gold border. 
 Another, according to Crowe and Cavalcaselle (who attribute the 
 picture to Domenico Puligo) is at Alnwick Castle. 
 
 Collections — Mr. Gray. 
 
 Sir Thomas Baring. Bought from Mr. Buchanan. 
 Waagen, Treasures, ii. 175. 
 Crowe and Cavalcaselle, iii. 584. 
 
 ( 157 ) 
 
ITALIAN. 
 
 211 3. BUST OF A YOUNG MAN. 
 
 Panel. 19i x 15j in. 
 
 Life-size portrait of a young man with his head turned to the 
 left, long hair, dark eyes, regular features, wearing a three-cornered 
 hat and a bluish-black coat lined with fur. Green background. 
 
 This portrait, said to be of one of the Medici family, was ascribed 
 to Eaphael, but is more probably a work of Andrea del Sarto, to 
 whom it has also been ascribed by Dr. Gustavo Frizzoni of Milan. 
 
 Collections — Meilici, Palazzo Kiccardi, Florence. 
 
 Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 65. Engraved, No. 40, as by Raphael. 
 Buchanan, ii. 254. 
 Waagen, Art and Artuts, iii. 35. 
 
 „ Treasures, ii. 176, wliere he ascrihes it to Pontorimo. 
 Viardot, 154. 
 Exhibited— British Institution, 1824, No. 21, and 1840, No. 68. 
 
 SASSOFERRATO (GIUSEPPE SALVI), 1605-1685. 
 
 212 HOLY FAMILY. 
 
 Copper. 9J X 13 in. 
 
 The Virgin is seated in the centre, in a pink dress, blue mantle, 
 and brown head-dress. She holds up a white covering over the 
 infant Christ, who lies asleep on a grassy bank. To the right 
 Joseph, to the left the infant St. John ; some flowers and trunks 
 of trees behind him. The motive of the central group is taken 
 from Raphael's so-called " Madonna di Loreto." An almost identical 
 composition, but larger, with some differences in the dress of the 
 figures, and with a cross lying on the bank in the foreground, is at 
 Chatsworth, attributed to Carlo Maratti. 
 
 Bought from Mr. Bentley, 1845. 
 
 ( 158 ) 
 
SCHEDONE. 
 
 BARTOLOMMEO SCHEDONE, 1506-1615. 
 
 213 1. HEAD OF A GIRL. 
 
 Panel. Eound. 6i in. diameter. 
 
 About eight years old, face turned to the right. Black hair and 
 
 white turban. Schedone has painted the same girl in a picture 
 
 called "The Horn-Book," engraved in Tomkins' British Gallery, 
 
 from the collection of Lord Ashbumham. 
 
 Collection — Sir Thomas Baring. 
 Exhibited— British Institution, 1840, No. 15. 
 
 214 2. ST. MARY MAGDALEN IN CONTEMPLATION. 
 
 Panel. 18 x 2l| in. 
 
 Seated, looking upwards, with her right arm on her knee and a 
 handkerchief in her left hand. Reddish-brown dress and dark blue 
 mantle. To the right is an angel boy sitting with his arms round 
 a vase, and another to the left, standing behind, holding a skull, 
 which rests on a book near which are some rosaries and chains. In 
 the backgromid dark clouds and two trees. 
 
 In this composition the artist comes near to Correggio. The 
 distribution of deep shadows and bright light is of great effect. 
 
 It is not certain whether this picture is that which is engraved 
 (No. 106) in the collection of Lucien Buonaparte, and described by 
 Buchanan (ii. 272) as having been in the collection of the King of 
 Naples at Capo di Monte, for the engraving does not quite correspond 
 with the picture. There is another of the same subject, rather 
 smaller (canvas, 15§ X 13 in.), at Grosvenor House, engraved in 
 Young's "Illustrated Catalogue," No. 138. A similar composition 
 by Schedone, but without the skull, is engraved by J. Pavon (18 x 
 13 in.). 
 
 Collection — Sir Thomas Baring. Bought from Mr. Buclianan. 
 Exhibited— British Institution, 1840. 
 
 ( 159 ) 
 
ITALIAN. 
 
 215 3. K IPO SO. 
 
 (ascribed to.) 
 
 The Virgin, seated to the left, with the infant Christ before her, 
 and St. John kneeling. Joseph is sitting to the right. An angel 
 is lying down in a meadow in the background. Painted by an 
 unknown Italian artist. 
 
 Collections — Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, i. 101. Engraved, No. 84. 
 
 SOLARIO, ANTONIO (ascribed to), 1448-1500. 
 216 VIRGIN AND CHILD. 
 
 Panel. 13 X 11 in. 
 
 The Virgin, half length, in a violet head-dress, fair hair, with 
 two long rather straight curls hanging on each side of her face, 
 stands behind a balustrade upon which the infant Christ stands 
 supported by her. He is raising his left hand in the act of 
 blessing ; round his head is a radiating nimbus. To the left a 
 green curtain forms the background, and to the right there is a 
 distant view of a castle perched upon a rocky eminence. 
 
 This picture has been ascribed to A. Verrochio because of the 
 inscription averoc on the border of the Virgin's dress. But, as 
 pointed out by Crowe and Cavalcaselle, the letters were probably 
 originally avemaria. The gilding of the nimbs and borders of the 
 dress show that the picture was painted early in the sixteenth 
 century, and the long curls worn by the Virgin indicate its Lom- 
 bard origin, for this was the fashion of the ladies of Lombardy at 
 
 ( 160 ) 
 
TITIAN. 
 
 that time. Crowe and Cavalcaselle were probably right in attri- 
 buting it to A. Solario, called Del Gabba, of Milan, who was in- 
 fluenced by Lionardo and Antonello da Messina. Early works by 
 him are rare. The landscape has much similarity to Albert Dlirer.* 
 
 Collection — Mr. Hannaii. 
 
 Bought through Mr. Chaplin, 1851. 
 
 Crowe and Cavalcaselle, ii. 6<\ 
 
 TITIAN (TIZIANO VECELLIO), 1477-1576. 
 
 217 CHARLES V. ON HORSEBACK. 
 
 Canvas. 34 x 28^ in. 
 
 The Emperor, in armour and plumed helmet without visor, a 
 red scarf over his left shoulder, and a lance in his right hand, is 
 galloping Qn a black horse to the right. He is seated on a crimson 
 saddle with a large reddish-brown saddle-cloth. To the left are 
 trees, to the right a flat meadow. Cloudy morning sky. 
 
 In the year 1548 Titian visited Augsburg as court painter to 
 Charles V. He writes t to his friend Pietro Aretino at Venice, 
 April 1548, that his Majesty wishes to be painted by him on horse- 
 back, in the same armour he wore in the battle of Miihlberg on the 
 24th of April of the previous year. On the morning of the battle 
 the Emperor mounted, according to contemporary records, t a dark 
 Andulasian charger, covered with a red silk cloth with golden 
 tassels. His helmet and his brilliant armour were also decorated 
 with gold. Over it he wore a pink ribbon, the emblem of Com- 
 mander of the House of Bourbon. In his right hand he held a 
 spear. During the campaign the Emperor had sufiered much from 
 gout. His face was pale, and from his appearance he was even 
 
 * Dr. Schmarsow, Professor of Art History at the University of Breslau, was kind 
 enough to look at this picture for me in 1887, and confirmed the opinion that it was 
 painted by A. Solario. He considers it to be very like a large altar-piece by that artist 
 in the Certosa di Pavia. — N. 
 
 + Lettere di Pietro Aretino, vol. iv. pp. 155, 202. 
 
 i Don Luis de Avola of Zfifiigo, Comentario. 
 
 ( 161 ) X 
 
ITALIAN. 
 
 called by the Protestants "the ghost," "the embalmed corpse," and 
 " the dead." But being desirous to take vengeance on his enemies, 
 and trusting in the superiority of his army, he assumed the attitude 
 of a cavalier as in his former days, in spite of his physical sufferings. 
 The various records of the Emperor's appearance in the battle all 
 agree with the life-size equestrian portrait, painted by Titian, now 
 in the Museo del Prado at Madrid No. 45.7). The above-described 
 picture, which was formerly in the Orleans and in Mr. Eogers' col- 
 lection, has the special value of being an exact copy of it. It only 
 differs from it in the horsecloth, which here is not so finished in its 
 details. Similar pictures, but different in size, are mentioned in 
 the Catalogue of the Famese Collection of 1680, and in the Cata- 
 logue of the Gallery of Queen Christina of Sweden. 
 
 Engraved by Massard, Orleans Gallery, vol. ii., Titian, No. 20. 
 Collections — Orleans. Sold for J150. 
 
 Mr. Angerstein. 
 
 Mr. Samuel Rogers. 
 Bought May 2, 1856, No. 619, J204, 153. fi 
 
 Mrs. Jameson, Companion to the Private Galleria in London, 1844, p. 403. 
 Waagen, Galleries, 95. 
 
 ( 162 ) 
 
TITIAN, OE PAEIS BORDONE. 
 
 TITIAN, OR PARIS BORDONE. 
 
 218 PORTRAIT. 
 
 Canvas. 40 x 29^ in. 
 
 Three-quarters length figure, life size, of a dignified man, standing 
 looking to the left, with short black hair and beard; dressed in 
 black. His left hand, with a ring on the forefinger, rests on his 
 hip ; his right on a table, on which is an hour-glass. Above, to 
 the left, is a niche containing two books, and a paper with the 
 inscription — 
 
 EST MORI NOBIS 
 
 DE COE DEBITV 
 
 (Est mori nobis de coelo debituro.) 
 On the right, on the base of a column, is an inscription — 
 
 A . S . ^ . 37 
 
 (Anno suae tetatia 37.) 
 MDXXI. 
 
 Mr. Smith sold this picture to Mr. Baring in 1853 as a work of 
 Titian, with the following note : — 
 
 " A portrait of a Venetian gentleman by Titian. This picture came from 
 the gallery of Godoy, Prince of Peace, First Minister of the Court of 
 Spain. It was imported into England at the commencement of the year 
 1815 by Mons. de Crochart, Paymaster of the French army in Spain, of 
 whom the late proprietor purchased it, with several other pictures from 
 the same collection, and sold it to me last month. From the date on the 
 picture I have reason to believe it to be the portrait of Andrea Navagero or 
 Naugerius." 
 
 Crowe and CavalcaseUe ascribe the picture to Pordenone, but we 
 are not acquainted with any authentic work by him which shows so 
 
 ( 163 ) 
 
ITALIAN. 
 
 delicate a harmony of colour, and it may, with greater confidence, 
 be ascribed to Paris Bordone, who was bom at Treviso in 1500, 
 went to Venice when eight years of age, and became, for a short 
 time, a pupil of Titian, but afterwards adopted the style of Gior- 
 gione. In this picture the influence of Giorgione is pronounced, 
 •both in its conception and in the deep tones of the colouring. If 
 rightly ascribed to Bordone, it is one of his most important works 
 in his earliest manner. Pictures of this period by him are exceed- 
 ingly rare ; another, also a male portrait, is in Lady Eastlake's 
 collection. The later style of Bordone, by which he is now chiefly 
 known, is very different. 
 
 It is impossible to find out whether the statement of Mr. Smith 
 that the picture is a portrait of Andrea Navagero was a traditional 
 one, or was exclusively based upon the date. 
 
 Another picture of Navagero, half length, by Tintoretto, is 
 engraved in outline in the Annales die Mitsie, Galerie Giustiniani, 
 Paris, with the inscription Andreas naugerius. mdxxvi. on the 
 base of a column of the same kind as that in the picture here de- 
 scribed. The face is that of an older man, and the hair is worn 
 long. The " anonimo di Morelli " describes a portrait of Navagero 
 by Raphael, which, in the beginning of the sixteenth century, was 
 in the house of Pietro Bembo of Venice. The original has been 
 lost, but there are copies of it in the Palazzo Doria at Rome and 
 the Museo del Prado at Madrid. We learn also from Sansovino that 
 Titian introduced Navagero's portrait into his large historical paint- 
 ings in the Sale del Maggior Consiglio of the Palazzo Ducale at 
 Venice, which were destroyed by fire in 1577. 
 
 An engraving of his portrait, the head seen in profile, copied 
 from a relief on a Paduan monument, is published as a frontispiece 
 to the Paduan edition of his works.'"' Another engraved portrait, 
 showing the head three-quarters in profile, is to be found in N. 
 Reusner's "Icones."t There is certainly a great likeness between 
 the features represented in these two engravings and those in this 
 
 * "Andreae Nivugerii, Fatricii Veneti, Oratoris et Poetse, Opera omnia," Venezia, 
 1613 ; Padova, 1718. 
 
 t Nicolaus Reusnerus, "Icones sive Imagines Vivse Literis CI. Virorum Italise 
 GraecisB, &o." Basileae, 1589. 8vo. 
 
 ( 161 ) 
 
TITIAN, OR PARIS BORDONE. 
 
 picture, especially in the largeness of the face, the arched eyebrows, 
 and the prominent cheek-bones. 
 
 The inscription, " Est mori nobis de ccelo debitum," and the 
 hour-glass standing on the table, give additional ground for sup- 
 posing the picture to be of Navagero, for on the 25th of June 
 1521, the year in which the picture was painted, he delivered the 
 funeral oration on the Doge Leonardo Loredano.* 
 
 Collections — The Prince of Peace. 
 
 M. de Crochart, 1815. 
 Bought of Mr. J. Smith, 1853. 
 Crowe and Cavalcaselle, ii. 290. 
 Exhibited— Royal Academy, 1871, No. 84. 
 
 * Andr. Navagero, "In Funere L. Lauredani," Venezia, 1613. Andrea Navagero or 
 Naagerius, bom in 1483, vras one of the most distinguished Venetian scholars and 
 statesmen of his day. In his youth be devoted himself to literary work, and became 
 librarian of the Library of St. Mark. In 1523 he was sent to the Spanish court as 
 ambassador of the Republic, and afterwards to the court of France, where he died at 
 Blois in 1529. 
 
 ( 16.1 ) 
 
ITALIAN. 
 
 PIERINO DEL VAGA, 1499-1547. 
 219 VIRGIN AND CHILD. 
 
 Panel. 4U X 32 in. 
 
 The Virgin is seated, three-quarters length, life size, in a red 
 dress with yellow sleeves, and a blue mantle. In her left hand she 
 holds some fruit, and with her right supports the infant Christ, 
 who is rising from a white cushion on her lap to throw his arms 
 lovingly round her neck. In the background is a green curtain. 
 
 Pietro Buonacorsi (called Del Vaga) of Florence was one of 
 Raphael's best scholars, and after his death worked chiefly at 
 Genoa. Most of his works are in fresco, and very few of his oil 
 paintings are known. A large altar-piece of the Nativity, signed 
 with his full name and the date 1534, is in the collection of the 
 Earl of Dudley. A comparison of the above-described picture with 
 this standard work shows that both are by the same hand and 
 belong to the same time of his life. The shape of the Infant's 
 head, the graceful drawing of the mouth, the peculiar formation ol 
 the hands, the choice of the colours, and the pronounced roundness 
 of the angle ta the eyes in both pictures are almost identical. This 
 picture comes from Genoa, where the most active part of the 
 painter's life was spent. 
 
 Collections — Senatore Cambiaso, G^enoa. 
 Le Brun. 
 
 Sir Thomas Baring. 
 Le Bran, 1. 67. Engraved, No. 41, as by Giulio Romano. 
 Buchanan, ii. 254. " One of the finest pictures at Stratton.'' 
 Passavant, i. 280. 
 Waagen, Art aiid Artists, iii. 35. 
 
 „ Oalleries, 94. "This picture is original and attractive in motive, 
 admirable in drawing, and of powerful warm brown tone of flesh ; 
 but the shot stuffs, in the style of fresco-painting, are rather crude. 
 Judging from conception, colouring, and treatment, I consider this 
 to be a very good work by the hand of Perino del Vaga." 
 Exhibited— British Institution, 1816, No. 8, and 1840, No. 29. 
 
 ( 166 ) 
 
VASAKI. 
 
 PIERINO DEL VAGA (ascribed to). 
 
 220 BUST OF A YOUNG WOMAN. 
 
 Canvas. 21 X 15 in. 
 
 Life size, turned to the right. Fair hair, regular features, low 
 green dress lined with blue. This picture, ascribed to Pierino del 
 Vaga, was probably painted by a Florentine artist under the in- 
 fluence of Bronzino about the middle of the sixteenth century. 
 
 Collection — Sir Thomas Baring. 
 
 Waagen, Treasures, ii. 175, ascribes it to Sebastian del Piombo in his later time. 
 
 GIORGIO VASARI, 1512-1574. 
 
 221 1- ST. MARK. 
 
 Panel. 69 J x 38j in. 
 
 Whole length, somewhat larger than life. The Saint is sitting, 
 his head in profile, turned to the left, and holds his Gospel ; a pair 
 of eye-glasses are between the fingers of his right hand, and an ink- 
 stand and a pen in his left. In the foreground, to the right, is his 
 emblem, the lion. On the book is inscribed angelus descendit 
 
 DEVO. 
 
 ( 167 ) 
 
ITALIAN. 
 
 222 2. ST. LUKE. 
 
 Panel. 69i x 38j in. 
 
 The companion picture. The Saint sits to the right, his head in 
 profile. His Gospel, in which he is writing, rests on his left knee ; 
 he holds an inkstand in his left hand. In the foreground, to the 
 right, is his emblem, the bull. 
 
 The artist, in his comprehensive autobiography, does not mention 
 that he painted figures of the Evangelists. But the style of these 
 pictures perfectly agrees with that of his genuine works, and Vasari 
 confesses that he was unable to enumerate all his productions. 
 
 Collection — Sir Thomas Baring. 
 
 Passavant, i. 283. 
 
 Waagen, Art and Artists, iii. 34. " Extremely well-executed and well-coloured 
 
 pictures. The designs borrowed from his master, Michael Angelo. 
 
 St. Mark from the Sibylla Persica in the Sixtine Chapel." 
 „ Treasures, ii. 176. 
 
 ( 168 ) 
 
PAOLO VERONESE. 
 
 PAOLO VERONESE (CALIARI), 1528-1588. 
 223 BAPTISM OF CHRIST. 
 
 Canvas. 41 J x 31 in. 
 
 In the foreground, to the left, is a river, with a grassy bank to 
 the right. Christ stands in the water, with white and violet drapery- 
 round his hips. He bends forward, with his hands crossed on his 
 breast, while St. John, kneeling on his left knee, pours water from 
 a vase over his head. There are small nimbs round the heads of 
 both figures. A white dove, surrounded by a bright light, hovers 
 over the baptismal vase. Near by, on the left, are the heads of 
 two cherubim, and two angel boys above. The opposite bank of 
 the river, with high trees, forms the background. Evening sky. 
 
 This picture is very like one by the same artist in the Pitti 
 Gallery at Florence (No. 186). 
 
 Collections — Sir Joshua Reynolds. Sold March 1795, fourth day, No. 23, 
 £25, 43. 
 Sir Francis Baring, 
 Sir Thomas Baring. 
 Waagen, Art and Artists, iil 36. 
 
 „ Treasures, ii. 179. 
 Viardot, 154. 
 Exhibited— British Institution, 1840, No. 55. 
 
 ( 169 ) 
 
SPANISH. 
 
 SPANISH SCHOOL. 
 
 ALONZO CANO, 1601-1667. 
 
 224 VIRGIN AND CHILD. 
 
 Canvas. 43 x 34 in. 
 
 Three-quarters length, life size. The Virgin, with black hair, red 
 dress, and blue mantle, is seated, bending forward looking at the 
 child lying in her lap on white drapery. 
 
 Collection — Louvre, King Louis Philippe. 
 Bought May 13, 1853, No. 224, £200. 
 Waagen, Galleries, 96. 
 
 LUIS MORALES, 1509-1586. 
 
 225 1. ECCE HOMO. 
 
 Panel. 29 x 22 in. 
 
 Half length, life size. Christ standing, his head turned to the 
 right, auburn hair, short beard ; on his right shoulder a violet 
 mantle, his chest uncovered ; a reed in his left hand. To the 
 right, Pilate, white beard, red hat, blue and red dress, with a baton 
 in his left hand ; his right points at Christ. Dark background. 
 The design is very severe and precise, a peculiarity remarkable in 
 the pictures by Morales, who frequently painted this subject. 
 
 Collection— Louvre, King Louis Philippe. 
 Bought May 13, 1853, No. 252, £110. 
 
 ( 170 ) 
 
MORALES. 
 
 226 2. CHRIST BEARING THE CROSS. 
 
 Canvas. 26j x 31 in. 
 
 Half length, life size. Christ, with long fair hair, short beard, 
 and violet dress, bends forward, the face turned to the front. The 
 cross rests upon his left shoulder and is supported by both hands. 
 The crown of thorns is on his head. Light from above. 
 
 This picture has been ascribed to Morales. Waagen at first 
 supposed it to be of his later period, but afterwards it has been, 
 with more probability, ascribed, both by him and by Passavant, to 
 an unknown Spanish artist of the seventeenth century. Stirling 
 (230) says that all Morales' pictures were painted on panel. 
 
 Collections— De Calonne. Sold March 27, 1795, No. 31, ^94, lOs. 
 Bryan. Sold May 17, 1798, No. 45, £69, 63. 
 Sir Francis Baring. 
 Sir Thomas Baring. 
 Buchanan, i. 244, 285. 
 
 Passavant, i. 283. " Ascribed to Morales. A fine Spanish picture, but of later 
 date." 
 Waagen, Works of Art, iii. 41. 
 
 „ Treasures, ii. 181. "A good Spanish picture of the seventeenth 
 century, noble in expression, and allied to Zurbaran in the subdued 
 greyish tones." 
 Exhibited— British Institution, 1819, No. 60, and 1837, No. 28. 
 
 { 171 ) 
 
SPANISH. 
 
 BARTOLOME ESTEBAN MURILLO, 1618-1682. 
 
 227 OUR LADY OF THE IMMACULATE 
 
 CONCEPTION. 
 
 Canvas. 75 X 56f in. 
 
 Figures full length, small life size. Tlie Virgin, looking down 
 with her hands joined in prayer, floats on a crescent in the clouds. 
 She wears a white dress, an amber veil round her neck, and over 
 her left arm a blue mantle, which falls behind to her right. Round 
 her head there is a silvery nimbus, composed of rays and of two 
 large circles ; on either side of it are six winged angels' heads on 
 clouds. Below are ten cherubs, one carrying a branch of palm 
 (indicating her holiness), another a lily (her virginity), a third three 
 roses (her beauty), a fourth a mirror (her freedom from all stain). 
 There is a halo of bright light round the figure of the Virgin, and 
 pale blue sky behind. 
 
 Murillo frequently painted this subject. Perhaps the most 
 celebrated of these works is the picture in the Louvre, bought by 
 the French Government at Marshal Soult's sale in 1852 for 615,300 
 francs. Another is at Lockinge. 
 
 Collections — Convent of Barefooted Carmelites, Calle de Alcala, Madrid. 
 Le Brun. 
 
 Sir Thomas Baring. 
 Le Brun, ii. 25. Engraved, No. 134. 
 Buchanan, ii. 255. 
 Waagen, Art and Artists, iii. 41. 
 
 „ Treasures, ii. 181. 
 Passavant, i. 283. 
 
 Blanc, Histoire des Pdntres, Paris, 1869, Ecole Espagnole, 16. 
 Stirling, 1419. 
 
 Curtis, 131, No. 32, says the picture is mentioned by Cean Bermudez, Diccion- 
 ario, ii. 63, and by Pons, Viage, v. 248. 
 
 Exhibited— British Institution, 1816, No. 46, and 1840, No. 92. 
 Engraved— M. S. Carmona, line, Madrid, 1802, 197 X 14-1 in. (Curtis). 
 
 E. Graves, line, London, 1864, 20 X 15 in. 
 Photographed, Northhrook Gallery. 
 
 ( 172 ) 
 
MURILLO. 
 
 228 2. DON ANDRES DE ANDRADE. 
 
 Canvas. 77j x 46 in. 
 
 Full length, life size. Andrade was Pertigero or verger of the 
 cathedral at Seville. He has bushy black hair, and wears a dark 
 doublet with slashed sleeves, a linen collar, black breeches, and white 
 stockings. He holds a broad-brimmed hat in his left hand, while 
 his right rests on the head of a white-and-brown mastiif sitting by 
 his side. Behind him is a balustrade, and a square column on the 
 left ; on it is a coat of arms. On a bend dexter the figures of the 
 Virgin kneeling and the First Person of the Trinity. On a border 
 encircling the shield is the inscription, "Ave Maria gratia (sic) 
 plena." 
 
 In the execution of this picture Murillo has applied a somewhat 
 diflferent method than usual. 
 
 Mr. R. Ford, in the Athenceitm of May 21, 1853, p. 623, gave 
 the following description of the picture : — 
 
 "The great picture of the day was a genuine portrait by Murillo of 
 Andres Andrade, the state verger of tlie Cathedral of Seville. It was 
 knocked down for £1020, amid the cheers of the competitors. . . . This 
 picture was purchased some twenty years ago at Seville by the late Sir 
 John Brackenbury, Consul at Cadiz, who obtained it from the heirs of 
 Andrade for less than £400. Some dispute arose between the agent 
 employed and Sir John, who refused him the usual fee; thereupon the 
 broker gave information to the authorities, — the old law of Charles the 
 Third against the exportation of paintings was put in force, — and the 
 picture was embargoed. Some time after, a poor copy of the picture was 
 picked up, — leave was obtained to compare it with the original, — and the 
 copy was substituted in its place. 
 
 " Sir John subsequently would have sold his picture to the Government 
 here for some £500. The offer was declined, and it was snapped up by 
 Louis Philippe at £1000.* There is a fine replica of this work in Cheshire, 
 
 See note p. 657. 
 ( 173 ) 
 
SPANISH. 
 
 in the gallery of Sir Arthur Aston.* The picture now sold is the identical 
 one which Lord Wellesley, when in Seville, in vain endeavoured to obtain. 
 It is a grand specimen of the master and of the Spanish hidalgo, of sable 
 hair and whisker and costume, and might be taken as the portrait of 
 Cabrera, the renowned guerillero of Don Carlos." 
 
 This picture attracted Wilkie's particular attention on his visit to 
 Seville in 1828, and he notices it in his Journal (" Life," iii. 117) — 
 
 " ' Brackenbury's Murillo' — the man with the dog — is also in the 
 gallery. 
 
 "This I saw in the linendraper's (Bravo's) house in Seville, and the 
 expression of the head strikes me as much now as it did then. It seems to 
 see you while you look at it." 
 
 Collections — Andrade Family, Seville. 
 
 Antonio Bravo. 
 
 Sir John Brackenbury. 
 
 Louvre, King Louis Philippe, Spanish Gallery, No. 182. 
 Bought May 14, 1853, No. 328, .£1020. 
 Waagen, Treasures, ii. 180. 
 Viardot, 154. 
 Stirling, 919-1444. 
 Curtis, 292, No. 467. 
 
 Exhibited— Royal Academy, 1870, No. 86. 
 Photographed, Northbrook Gallery. 
 
 * Sold in Sir A. Aston's sale, August 6, 1862, for £472, lOs., and in J. Philip, R. A.'s, 
 sale, May 31, 1867, attributed to Velasquez, for £155, Ss. It was purchased from Messrs. 
 Graves in 1875 by Mr. Cosens of Lewes, who attributes it to Valdez Leal. A copy by 
 Guttierez is in the Academy of San Fernando at Madrid. — CurtU. 
 
 ( 174 ) 
 
MURILLO. 
 
 229 3. ST. THOMAS OF VILLANEUVA. 
 
 Canvas. 51i X 29j in. 
 
 Figures full length, half life size. The Saint,* in full canonicals 
 and a white mitre, stands under a vaulted archway giving alms to 
 a beggar who kneels before him ; an ecclesiastic holds a processional 
 cross to his right. Behind the beggar are a boy, a man on crutches, 
 and two women. Another beggar sits on the ground in the fore- 
 ground to the left, and a boy in rags stands to the right near a 
 woman with a child in her arms. All of them are looking towards 
 the Saint. On some clouds above is a figure of Charity, with two 
 boys at her breast and a third behind. A cathedral is seen in the 
 background to the left, through the archway. Grey sky. 
 
 This picture was painted about 1678 for the chapel of St. 
 Thomas of VUlaneuva in the convent of St. Augustine, outside the 
 Carmona Gate at Seville. It has always been considered to be one 
 of the artist's masterpieces, both when at Seville and in the Louvre. 
 There is another but different representation of the same subject by 
 Murillo in the Seville Gallery (No. 84),t originally in the Capuchin 
 convent at Seville. | This picture has sometimes been erroneously 
 described as a study or sketch for the Seville picture, but although 
 roughly painted, it seems to be quite a finished work, and the com- 
 position is difierent, as well as the attitudes of the figures, from the 
 Seville picture. 
 
 • Thomas of Villanueva, son of Alphonso Garcia and Lucia Martinez of Villanueva, 
 was born in 1488. His family was one of the most ancient of Valencia. When he was 
 a child he used to give away liis food to the poor children, and take off his clothes in 
 the street, to throw them over those who were in rags. After studying for fourteen 
 years at Alcala and at Salamanca, he entered the Augustine Order at the age of thirty 
 on the same day on which Luther publicly renounced the habit of the Order. After 
 two years' preparation in retirement, he became a distinguished preacher, soon after 
 Prior of the Augustines at Salamanca, and in 1544 Archbishop of Valencia, where he 
 devoted two-thirds of the revenues of the see to charity. He died in 1555, and was 
 declared a "Beato" by Pope Paul V. in 1618. 
 
 t See Ford's "Handbook of Spain," 1878, p. 312. 
 
 t Cean Bermudes, "Diccionario," ii. 62. 
 
 ( 175 ) 
 
SPANISH. 
 
 Mr. Richard Ford in the Athenceum, May 28, 1853, p. 656, calls 
 this picture "the gem of this day's sale — a small but vigorous and 
 sparkling sketch by Murillo in his best manner, long the pride and 
 boast of the Augustine convent of Seville. Surrounded as it was 
 with truculent blood-stained martyrs and black friars, it hung like 
 a rich jewel in an ^thiop's ear. ... In the treatment of the sub- 
 ject, it differs somewhat from the life-size and magnificent picture 
 painted by the same master for the Capuchin convent, where it was 
 the choice object of Wilkie's veneration, and which still forms one 
 of the pearls of price of the city's museum. It is painted with all 
 the rich and luscious chiaroscuro of Rembrandt, combined with all 
 the national ' borracha ' of Spain. It was knocked down, after a 
 spirited competition, for the large sum of £710 — not, however, 
 larger than it is worth, being, undoubtedly, one of the finest 
 sketches by Murillo in existence." 
 
 Collection — Louvre, King Louis Philippe, Spanish Gallery, No. 171. 
 
 Bought May 21, 1853, No. 498, ^£710. 
 
 Viardot, 154. " Une superbe esquisse. Cette composition me semble devoir 
 faire le pendant de Saint Francois guerissant un paralytique que Munich a 
 recueilli dans sa riche Pinacothfeque ; e'est du nioins la mime forme, la meme 
 combinaison d'ombre et de jour, la mSme hauteur d'expression, la mime execution 
 merveilleuse." 
 
 Blanc, Peintres, Ecole Espagnole, 16. 
 
 Mrs. Jameson, Legends of the Monastic Orders, 2d edit., London, 1852, 199, 202. 
 
 Stirling, 1438. 
 
 Curtis, 270, No. 398. 
 
 Lithographed by A. Pin5on, Paris, 16 X 12 in. On wood in Blanc, p. 11. 
 
 Engraved, Jameson, p. 202, and in the Gazette des Beaux Arts, April 1875, 
 wrongly called St. Diego. 
 
 ( 176 ) 
 
MUEILLO. 
 
 230 4. ASSUMPTION OP THE VIRGIN. 
 
 Copper. Octagon. 13i x 13i in. 
 
 The twelve Apostles are assembled round a sarcophagus ; a woman 
 behind it rests her right hand on a white gravecloth with roses 
 upon it ; near her is another woman. On the left, St. Peter kneels 
 holding the keys. Above, the Virgin, with outstretched arms, 
 ascends to heaven, surrounded by eight winged angel heads. 
 
 An octagon picture of the same class is in the collection of Lord 
 
 Lansdowne ; it was given to Henry, Marquis of Lansdowne, by 
 
 Lord Holland. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 41. 
 
 „ Treasurei, ii. 181. 
 Stirling, 1419. 
 Curtis, 139, No. 51. 
 Exhibited — British Institution, 1840, No. 92. 
 
 231 5. LAUGHING BOY. 
 
 Panel. 21 x 17i in. 
 
 Half length, Ufe size. A boy in a white shirt, a ragged fur 
 jacket, and a cap crowned with vine leaves, stands turned to the 
 right, and holds before his breast a pipe, with his fingers on the 
 holes. 
 
 This picture has also been ascribed to Adrian Brower. 
 
 Collections — Sir Thomas Baring. Sold to Mr. Couingham, 1843. 
 
 Mr. Coningham. 
 Bought June 9, 1849, Na 21, ;ei52, 5s. 
 Passavant, i. 283. 
 Waagen, Art and Artists, iii. 41. 
 
 „ Treasures, ii. 181. "The expression of roguery in the eye and mouth 
 is very lively. The influence of Velasquez is seen both in feeling 
 and in the clear reddish tones." 
 Blanc, 16. 
 Stirling, 1442. 
 Curtis, 278, No. 418. 
 Exhibited— British Institution, 1837, No. 108. 
 
 ( 177 ) z 
 
SPANISH. 
 
 232 6. INFANT SLEEPING. 
 
 Canvas. 13| x 17 in. 
 
 A child lies naked on its back on a white cloth spread over a 
 basket filled with straw. Dark background. 
 
 Collection — Earl of Beverley. 
 Bought 1851. 
 Curtis, 278, No. 422. 
 
 233 7. HOLY FAMILY. 
 
 Canvas. 29 X 23 in. 
 
 To the left the Virgin sits in the carpenter's shop with the Child 
 in her lap. She wears a violet dress, a grey veil, and a blue 
 mantle. A basket with linen and a scarlet cushion are on the 
 ground at her right. To the right, Joseph stands at a carpenter's 
 bench with a compass in his right hand, and at his feet some tools. 
 Above are three cherubs on clouds descending towards the Child. 
 In the background a hilly landscape is seen through an open door. 
 
 A similar composition is in the collection of the Duke of Devon- 
 shire at Chatsworth, executed in the same cool reddish tones. In 
 it the head of the Virgin is in profile, the infant Christ is sleeping, 
 Joseph stands in front cleaving wood, no landscape is seen in the 
 background, and there are four instead of three cherubs. 
 
 Both these pictures were probably painted in the school of 
 Murillo. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Art and Artists, iii. 41. 
 
 „ Treasures, ii. 181. 
 Curtis, 175, No. 142. 
 
 ( 178 ) 
 
MURILLO. 
 
 MURILLO (ascribed to). 
 
 234 RIPOSO. 
 
 Canvas. 54 x 65j in. 
 
 Figures full length, small life size. In the centre the Virgin, 
 in a red dress and blue mantle, is seated with the infant Christ 
 lying before her on a white cloth. To the left two angel boys stand 
 looking at the Infant. Joseph stands behind. In the foreground 
 are a bottle and a grey cloth. Hilly background. 
 
 This picture was probably painted in imitation of Murillo. A 
 replica attributed to Murillo, but inferior to him, is in the Her- 
 mitage Gallery at St. Petersburg; a third, smaller in size, is in 
 the Glasgow Gallery. Another, in the Schleissheim Gallery near 
 Munich, is ascribed to Tobar (Don Alonzo Miguel de Tobar, 
 1678—1758, who copied many of Murillo's pictures, and was court 
 painter to Philip V.). 
 
 CoUectiona— Lucien Bonaparte. Sold May 14, 1816, £80(?). 
 
 Sir Thomas Baring. 
 Buchanan, ii. 281. 
 Waagen, Treasures, ii. 181. 
 Curtis, 169, No. 131. 
 
 Engraved by Ghigi, Gallery of Lucien Bonaparte, London, 1812, No. 109. 
 The replica at St. Petersburg is engraved in the Galerie de VHermitage, by 
 Labenisky, Petersburg 1805, i., plate 25. 
 The replica at Schleissheim is engraved by Piloty, Munich, 1821. 
 
 ( 179 ) 
 
SPANISH. 
 
 ALONZO SANCHEZ (COELLO), 1515-1590. 
 
 236 1- POETEAIT OF DON DIEGO, SON OF KING 
 PHILIP II. OP SPAIN. 
 
 Canvas. 42| x 34f in. 
 
 Full-length, life-sLze portrait of a cluld of about six years of age. 
 He stands looking to the front ; fair hair, blue eyes, in a white 
 dress richly embroidered with gold. Round his neck are two gold 
 chains with a medallion of the Virgin and Child, a crucifix, a heart, 
 and other ornaments. In his left hand he holds a hobby-horse, in 
 his right a toy lance. Red brick pavement ; an open door on the 
 left, with a balustrade and a view beyond. Signed on the doorpost 
 
 
 and on the top of the picture is the inscription D. diego de Austria. 
 This picture, executed in cool greyish tones, and of a firm design, 
 was apparently painted in imitation of Holbein. Philip II. married 
 in 1570 Anna Maria of Austria, second daughter of the Emperor 
 Maximilian. She gave birth in 1578 to Philip III., who succeeded 
 his father. The boys born previously all died young.* Don Diego 
 
 * Histoire G^ni^alogique des Maisons Souveraines de I'Europe, par M. V***. Paris. 
 1812. Vol. ii., p. 89. 
 
 ( 180 ) 
 
 X 
 
SANCHEZ. 
 
 was the fourth. He was born on the 12th of July 1575, and died- 
 on the 21st of November 1582. Mr. George Scharf is of opinion 
 that "although in 1577 he was only two years old, the more 
 advanced appearance of the child in the picture is entirely in 
 accordance with the habit of painters to invest their royal and 
 noble infantine sitters with greater maturity." 
 
 Collection — Louvre, King Louis Philippe. 
 
 Bought May 7, 1853, No. 146, ^£64. 
 
 Waagen, Galleries, 96. 
 
 Viardot, 154. 
 
 Photographed, Northbrook Gallery. 
 
 236 2. HEAD OF A CHILD. 
 
 Canvas. Oval. 14f x lOf in. 
 
 Life size, about five years old. Tight cap trimmed with lace. 
 Thick white frock, with a high tumed-up collar trimmed with lace. 
 A gold and enamel chain round the neck. 
 
 Collection — Mr. Thomas Baring. 
 
 ( 181 ) 
 
SPANISH. 
 
 SPAGNOLETTO (JUSEPE DE RIBERA), 1588-1656. 
 
 237 HOLY FAMILY. 
 
 Canvas. 79j x 60j in. 
 
 Full-length figures, larger than life. To the right the Virgin 
 sits looking towards the front. Her features are of Spanish type. 
 Her black hair hangs down her neck. She is dressed in red, with 
 a blue mantle covering her feet. The infant Christ, with fair hair, 
 is seated in her arms. A young woman kneels opposite and 
 devoutly kisses the Child's hand. Behind her stands St. Anne, 
 holding in her left hand a basket of peaches, and with her right 
 offering a flower to the Infant. Behind the Virgin stands Joseph. 
 A basket with red and white clothes stands in the foreground to the 
 right. Signed on the chair — 
 
 Jusepe de Ribera, called Spagnoletto, of Tativa, in the kingdom 
 of Valencia, was a scholar of Francisco Ribalta at Valencia, and 
 of Caravaggio at Naples. He is the chief representative of the 
 naturalistic school, which opposed the school of the Carracci. The 
 pictures which he painted for Spain during his long stay in Italy 
 are of a pronounced Spanish character. In the year 1630 he was 
 
 ( 182 ) 
 
SPAGNOLETTO. 
 
 elected member of the Academy of St. Luc in Rome. The above- 
 described picture is one of the artist's most important works. It 
 not only justifies the high reputation that art history claims for the 
 painter, but it is a standard work, which gives the best basis for 
 a judgment of his principles in art and of his peculiar style. 
 
 The kneeling woman has been described to be St. Catherine, but 
 the artist has not given to her any attribute that would justify 
 this name. 
 
 Collections — A Gallery in Genoa. 
 Lebrun. 
 
 Sir Thomas Baring. 
 Lebrun, ii. 17. Engraved, No. 128. 
 
 Buchanan, ii. 255. " This picture is certainly the finest of this master which is 
 in England, and will rank with any of his works. It ia clear and brilliant in 
 tone, and the characters are all graceful and appropriate." 
 Waagen, Art and Artists, iii. 39. 
 
 „ Treasures, ii. 180. 
 L. Viardot, 154. " Grande de style, belle d'execution, parfaitement conserv^e, 
 et non dans la maniere sombre de Caravage, mais tout k fait dans le goilt suave 
 de Correge." 
 Exhibited— British Institution, 1828, No. 51. 
 Royal Academy, 1872, No. 97. 
 
 ( 183 ) 
 
SPANISH. 
 
 VELASQUEZ (DON DIEGO RODRIGUES DE SILVA), 
 
 1599-1660. 
 
 238 PHILIP IV. ON HORSEBACK. 
 
 Canvas. 23 X 17 in. 
 
 The King is in armour, a red scarf round his breast, large black 
 hat with a red feather, a Commander's baton in his right hand. 
 He is moimted on a bay horse with white face and " stockings," and 
 is galloping from left to right. 
 
 This picture was described in the Rogers Catalogue as " a finished 
 study for the great picture under which it used to hang in the 
 Retire." The " great picture " is the life-size portrait of Philip IV. 
 in the Madrid Museum (No. 1066). Don Pedro de Madrazo has 
 lately proved from documents that Velasquez painted it in 1644, 
 in the thirty-ninth year of the King's age, in which year he sat 
 three times for it. It was painted to commemorate his entry into 
 the town of L^rida. 
 
 CoUeotixjn — Mr. Samuel Rogers. 
 
 Bought May 3, 1856, No. 693, ^£215, 5s. 
 
 Waagen, Galleries, 96. 
 
 Burger, W., W. Stirling, Velasquez et ses CEuvres, Paris, 1865, p. 271, No. 155. 
 
 Curtis, 45, No. 98. 
 
 ( 184 ) 
 
ZURBARAN. 
 
 VELASQUEZ (ascribed to). 
 
 239 FISH. 
 
 Canvas. 11 x 13 J in. 
 
 Several small dead fish with a lobster are grouped on a grassy 
 bank ; dark background. A hasty but clever sketch. Velasquez 
 " commenced his art career by painting hodegones, or objects of still 
 life" (R. Ford in Jthenceum, May 21, 1853, p. 622). 
 
 Collection — Sir Thomas Baring. Bought from Mr. Buchanan. 
 Exhibited — British Institution, 1845. 
 
 ZURBARAN (FRANCESCO DE), 1598-1662. 
 
 240 ST. FRANCIS IN MEDITATION. 
 
 Canvas. 21i X 14f in. 
 
 A small whole-length figure of the Saint, in a brown habit, 
 standing facing the front. The head, which is bent forwards, is 
 covered with a tall pointed hood. In his folded hands he holds a 
 skull. 
 
 Collection — Louvre, Louis Philippe. 
 Bought May 13, 1853, £12. 
 Waagen, Galleries, 96. 
 
 ( 185 ) 2 A 
 
FRENCH. 
 
 FRENCH SCHOOL. 
 
 FRANgOIS BOUCHER, 1704-1768. 
 
 241 CUPIDS (A Pair). 
 
 Canvas. Oval. 30 x 64 in. 
 
 1. A group of five cupids, one with a lighted torch, another 
 writing. Some sculpture in the foreground. 
 
 242 2. A group of five cupids playing on musical instruments. 
 Bought from Mr. Aunoot, 1858. 
 
 JACQUES CALLOT, 1593-1635. 
 
 243 GIPSIES EEMOVING. 
 
 Canvas, llf x 31f in. 
 
 The band, passing from left to right, is headed by a man with 
 a musket, followed by a dog. Next come a woman with two 
 children and a man on horseback ; then another man with a 
 musket, a woman and two children on a grey horse, and a woman 
 and six children on foot carrying different utensils. A horse and 
 cart laden with furniture follows, and the rear is brought up by a 
 woman on a donkey, with a man by her side. In the distance 
 are some houses. 
 
 Collections — Lucca Gallery. 
 
 Sir Thomas Baring. 
 
 Mr. W. Buchanan. 
 Bouglit July 4, 1846, No. 7, ;£30. 
 Waagen, Treasures, ii. 182. 
 Burger, Tre'sors, 324. 
 Viardot, 154. 
 
 ( 186 ) 
 
CLAUDE. 
 
 CLAUDE GILLfiE (LORRAINE), 1600-1682. 
 
 244 1- JACOB BARGAINING WITH LABAN FOR 
 HIS DAUGHTER RACHEL. 
 
 Copper. lOj X 13| in. 
 
 In the centre of the foreground, Laban, Leah, Rachel, and Jacob 
 holding a crook in his left hand, are standing with a flock of sheep 
 near them. Behind them, on the right, is a clump of trees, and, 
 farther off, some ruins with a tower. On the left, a river crossed 
 by a bridge of four arches. Beyond, a town, and in the distance a 
 bay of the sea with mountains on either side. 
 
 A small picture, breathing the coolest morning tones. The figures 
 by another artist. A larger picture of the same subject is at Pet- 
 worth (" Liber Veritatis," No. 134). 
 
 Collections — M. De la Hante, 1821. 
 
 Prince de Beauveau. 
 Bought through Mr. Chaplin, 1848. 
 
 Liber Veritatis, No. 147, inscribed : " Quadro faict M. Delamart Claudio, 1659." 
 Smith, vuL 271, No. 147. 
 Waagen, Treasures, 177. 
 
 ( 187 ) 
 
FRENCH. 
 
 245 2. A SHEPHERD TEACHING A SHEPHERDESS 
 TO PLAY ON THE PIPE. 
 
 Canvas. 20 x 27 in. 
 
 In the centre of the foreground a shepherd is sitting on the 
 ground teaching a maiden to play on the pipe. Goats and a cow 
 are grazing near. Beyond, a river flows round a noble clump of 
 trees, which closes the view to the left. To the right, in the mid- 
 distance, are a mill and a round tower ; beyond them, high rocks, 
 from which a stream falls in a cascade. In the distance are moun- 
 tains, and at their foot a town is just visible. 
 
 A beautiful and carefully-executed work of the artist's middle 
 period. The evening light admirably rendered. 
 
 Painted for Signor Piretti. 
 
 Collections— Mr. John Glover. Sold ia 1830 for £735 to Mr. Stanley. 
 
 Mr. John Smith. 
 
 Sir Thomas Baring. 
 Liber Veritaiis, No. 123, inscribed : " Claudio f. v. R. G. Perette."* 
 Smith, viii. 258, No. 123 ; ix. 808, No. 16. 
 Waa<;en, Treasures, ii. 177. 
 Exhibited— Royal Academy, 1889, No. 85. 
 
 * The inscriptions are taken from the original of the " Liber Veritatis " at Chatawortb. 
 Claude was not particular in his spelling ; for instance, in the list appended to the book 
 he spells the name " Poretta." — N. 
 
 ( 188 ) 
 
CLAUDE. 
 
 246 3. A SHEPHERD PLAYING ON A PIPE. 
 
 Canvas. 20f X 27 in. 
 
 A landscape with trees on the left, near which, in the immediate 
 foreground, is a shepherd in blue, piping, seated on a mound. To the 
 right, goats at rest or browsing, and, farther off, a man driving some 
 cattle into a woody dell, above which, on the extreme right, in the 
 middle distance, rises a rocky hill, the steep sides of which are clothed 
 with bushy trees, while the summit is crowned by a castle. On a 
 winding river, to the left, is a boat ; in the distance, a four-arched 
 bridge ; beyond it, the mouth of a river with a mountain and a town. 
 Blue sky with setting sun. 
 
 Collections — Lord Kinnaird. Sold for ^1000 to Mr. Glover. 
 
 Mr. John Glover. Bought in in 1830 at £735. 
 
 Mr. John Smith. 
 
 Sir Thomas Baring. Bought with the preceding from Mr. Smith. 
 Liber Veritatis, No. 172, inscribed : " 1667 A Roma Claudio Gilla inventor 
 fecit per Palerma." 
 
 Smith, viii. 288, No. 172 ; ix. 808, No. 17. 
 
 Waagen, Treasures, ii. 177. 
 
 Engraved by Dubourg. 
 
 Exhibited— Royal Academy, 1889, No. 88. 
 
 247 4. WATERFALL. 
 
 Canvas. 19| X 15 in. 
 
 On the left is a rocky bank covered with trees with a waterfall in 
 front of it. On the right, on the bank in the foreground, is a shep- 
 herd leaning upon his staff, with two goats, a sheep, and a cow near 
 him. Hills in the distance. 
 
 This picture is very like the drawing in the " Liber Veritatis," vol. 
 iii., No. 22, both in the character of the scenery and the attitude of 
 the shepherd. 
 
 Collection— Earl of Beverley. 
 
 Bought in 1851. 
 
 Smith, viii. 379, No. 411. 
 
 ( 189 ) 
 
FRENCH. 
 
 248 5. THE ARTIST STUDYING FROM NATURE. 
 
 Canvas. 29J X 38 in. 
 
 A sea-coast view at the mouth of the Tiber, in the warmest glow of 
 evening sunshine. In the foreground are the artist, sketching, and 
 two other persons ; beyond them a clump of trees, and, on the right, 
 a gateway flanked by two towers, part of the fortifications of the 
 town of Ostia, towards which peasants and others are wending their 
 way. On the left, a boat is discharging its cargo. In the distance, 
 on the other side of the bay, are buildings with mountains (added 
 from fancy) beyond. On the ground, near the artist, are a couple of 
 carved capitals and some fragments. Signed and dated Rome, 1674.* 
 
 There is a picture of the same subject, but rather longer, at 
 Burleigh. 
 
 Collections — A Collection of pictures imported from the Continent by Mr. La 
 Fontaine. Sold June 13, 1807, No. 40, £1995. 
 Sir Thomas Baring. 
 
 Liber Veritatis, No. 44, inscribed: "Quadrofaict per M. Perochat. Claudio 
 fecit." 
 
 Smith, viii. 368, No. 384. 
 
 Waagen, Treamrei, ii. 177. 
 
 Exhibited— Manchester, 1857, No. 819, and a sketch, No. 189. "Civita Vecchia 
 and two ships — Rev. Dr. Wellesley, from the De Fries, Laurence, and Esdaile 
 Collections." 
 
 * Note.— The letters of the signature and the Bgures of the date are not very dis- 
 tinct. 
 
 ( 190 ) 
 
CLAUDE. 
 
 249 6. CLAUDE'S FAVOURITE MILL. 
 
 Canvas. 29 X 38| in. 
 
 On the riglib, steep wooded hills extend half across the picture, 
 with streams of water and some buildings. On the left, in the middle 
 distance, there is a river crossed by a bridge of six arches. In the 
 foreground is a cluster of high trees, and on the extreme left more 
 trees, beneath the shade of which a shepherd in red and a shepherdess 
 in blue are sitting, their goats and cows feeding near them. In the 
 distance, mountains of tender blue. 
 
 Collections— Sold June 13, 1807, No. 41, "Le Moulin favori," £840, to Mr. 
 Clifford. 
 Sir Thomas Baring. 
 Smith, viii. 368, No. 385. 
 Waagen, Treasures, ii. 177. 
 
 250 7. ASCANIUS SHOOTING AT SILVIA'S 
 
 STAG. 
 
 Canvas. 47 X 59i in. 
 
 A hilly country near the sea, with a river running between high 
 banks. On the left is the portico (with four columns) of a temple 
 in ruins. Ascanius, in front of it, is in the act of shooting at 
 the stag, which stands on a wooded bank opposite ; behind him are 
 six followers and three hounds. On the heights behind the temple 
 are trees and buildings ; in the background is a bridge with 
 peasants and donkeys crossing it. On the right are cliffs crowned 
 by buildings, and in the centre, in the distance, the sea-shore. 
 
 In the front is an inscription, now hardly legible, but which 
 appears to run thus : "A Rome 1678. Come Ascanio asetta il 
 cervo di Silvia figliuola di Tirro. Lib. 7 " (Virgil, ^neis, vii. 
 483, &c.). On the back of the picture is the inscription, " Quadro 
 per rill™"- et excell""- Sig. Contestable Colonna questo di 5 Ottobre 
 1681." 
 
 ( 191 ) 
 
FEENCH. 
 
 A sketch of the subject, but without the ruined temple and with 
 some other variations, with the date 1678, is in the " Liber Veritatis," 
 iii. 93. Smith, viii. 333, identifies this picture with the sketch. 
 An original drawing of the picture, dated 1682, from the collection 
 of Lord Palmerston, is also in Lord Northbrook's possession. 
 
 Collections — Colonna Palace, Catalogue, No. 153. 
 
 Mr. W. Young Ottley, May 16, 1801, No. 31. 
 
 Mr. Walsh Porter. Sold April 14, 1810, No. 48, ;fi630, to Mr. 
 Webster. 
 
 A Collection. Sold May 6, 1826, No. 9, £262, 10s., to Mr. Peacock. 
 
 Sir Thomas Baring. 
 Smith, viii. 333, No. 293. 
 Waagen, Art and Artists, iii. 40. 
 
 „ Treasures, 177. " Said to be the last large picture by the master." 
 Engraved in reverse by Pond. 
 
 Dr. Waagen {Treasures, ii. 177) gives the following description of six of the 
 Claudes : — 
 
 " In the six pictiires here preserved we trace the master from his earlier to his 
 later period. 
 
 (No. 6.) " 1. A landscape, with a bridge in the middle ground ; in front, a 
 shepherd and shepherdess ; on the left, houses in the wood ; mountains of tender 
 blue ill the distance. The juicy green of the trees, and the conception and treat- 
 ment of this beautiful picture, indicate the master's earlier period ; the keeping 
 is somewhat disturbed, however, by the after darkening of the middle ground. 
 
 (No. 1.) "2. A small picture with the subject of Laban, Jacob, Eachel and 
 Leah ; breathing the coolest morning tones. Of a rather later period. 
 
 (No. 5.) " 3. A sea-coast, in the warmest glow of sunshine. In the foreground 
 are the artist drawing, and two other persons. This careful and spirited picture, 
 of excellent body, is of his best time ; of the same period as the view of the 
 Campo Vaccino in the Louvre, which was ruined in 1851. 
 
 (No. 2.) "4. A landscape with trees and water; in front a shepherd piping. 
 A charming picture, of his middle time. 
 
 (No. 3.) "5. The setting sun, the rays of which are seen, is pouring its light in 
 the tenderest gradations upon every object. In front a shepherd piping, and his 
 flock. This beautiful and carefully-carried-out work is also of the middle time. 
 
 (No. 7.) " 6. In strong contrast to the foregoing is the picture purchased by 
 Mr. Ottley from the Colonna Palace, with the subject of -lEneas, with several 
 companions, shooting at a stag — said to be the last large picture by the master. 
 The cool, fresh tones of early morning and the beautiful lines of the landscape 
 show the great painter, though the cold green of the trees and the slight treatment 
 betray a manifest decline. Also the figures are so stiff, and so tall in proportion 
 to the landscape, that a child might have painted them as well." 
 
 ( 192 ) 
 
GASPAR POUSSIN. 
 
 CLAUDE GILLfiE (ascribed to). 
 
 251 LANDSCAPE, WITH FIGUKES. 
 
 Canvas. 24j x 36f in. 
 
 A wooded landscape with a river bounded by hills. In the centre 
 of the foreground, a group of three shepherds in conversation ; to 
 the right, a fourth seated, and a fifth following a cow which is 
 entering a wood on the extreme left. Beyond these, cows and 
 goats reposing or watering ; a ferryboat pushing off with four 
 figures and a mule in it. On the left, houses and trees with a 
 round tower above. In the distance, hills. Blue evening sky with 
 a few clouds. 
 
 Attributed by Waagen to Agostino Tassi. Claude, though Tassi's 
 pupil, was not indebted to him for his style of composition, which 
 was entirely original. This landscape, being altogether in Claude's 
 manner, though inferior to his authentic pictures, must be the work 
 of a contemporary, or more probably of a later imitator. 
 
 Collection — Sir Thomas Baring. 
 Waagen, Treasures, ii. 177. 
 
 GASPAR DUGHET, called GASPAR POUSSIN, 
 
 1613-1675. 
 
 252 1. LANDSCAPE. 
 
 Canvas. 47 X 66 in. 
 
 A forest with an open glade in the centre, in which is a stream 
 with a waterfall. In the foreground, a group of four figures at 
 rest, two with urns. In the mid-distance, a woman seated playing 
 a tambourine, and, on the farther side of the stream, a youth run- 
 ning followed by a hound. Blue sky with clouds. 
 
 Collection — Sir Thomaa Baring. 
 
 ( 193 ) 2 B 
 
FKENCH. 
 
 253 2. LANDSCAPE, WITH FIGURES. 
 
 Canvas. 17jxl3fm. 
 
 In the foreground are two figures resting. On the left, a tree. 
 On the right, a lofty mountain. In the background, a stream and 
 distant hills. 
 
 Collection — Sir Thomas Barinj'. 
 
 254 3. THE ARCH. 
 
 Panel. 17j X 23f in. 
 
 A winding road leads up from the left foreground to a natural 
 arch, formed by rocks overgrown with shrubs, showing a view 
 beyond. On the road are a man with a stick and his dog, and 
 at the foot of a tree, to the right, a man lying down. In the 
 background, a mountain. 
 
 Collections— Sir H. C. Englefield. Sold, March 8, 1823, No. 64, £39, 18s., to 
 Mr. Norton. 
 Colonel Baillie. Sold, March 6, 1824, No. 67, £40, 19s. 
 Bought from Mr. Fairer, 1849. 
 
 Waagen, Treasures, ii. 177. " A picture of great charm, both in point of poetic 
 composition and transparent colouring." 
 Exhibited— Royal Academy, 1872, No. 102. 
 
 255 4. LANDSCAPE. 
 
 Canvas. 27? X 37i in. 
 
 In the foreground, on either side, trees. On the right, a shep- 
 herd and a flock of sheep ; in the centre, a youth and a maiden 
 resting ; on the left, a man lying down, and farther off, another 
 advancing towards the centre. In the background, on the left, a 
 castle and a hill beyond ; on the right, an extensive distant view. 
 
 Collection— Sir Thomas Baring. 
 
 ( 194 ) 
 
MIGNARD. 
 
 JEAN BAPTISTE GREUZE, 1726-1805. 
 
 256 HEAD OF A GIRL. 
 
 Canvas. 18 x 14j in. 
 
 Life size. Turned to the right. A muslin kerchief round the 
 head. Grey dress loosely fastened round the shoulders. 
 
 Bought from Colonel Temple, 1859. 
 
 SCHOOL OF GREUZE. 
 
 257 HEAD OF A GIRL. 
 
 Canvas. 17| X 14f in. 
 
 Life size. Three-quaiiers face looking down to the left. A light 
 blue ribbon round the head. Square-cut frock. Muslin scarf round 
 the shoulders. 
 Collection — Mr. Thomas Baring. 
 
 PIERRE MIGNARD, 1610-1695. 
 
 253 MADAME DE LA VALLIERE. 
 
 Canvas. 38 x 29^ in. 
 
 Half length, life size. Sitting down, in a blue silk dress, with 
 pearls in her hair. Her left elbow rests on a table ; in her left 
 hand she holds a string of pearls, which is broken. Above, on the 
 left, a curtain looped up. 
 
 Collection — Mr. Ralph Bemal. 
 Bought March 10, 1855, No. 703, £8\, 18s. 
 
 ( 195 ) 
 
FRENCH. 
 
 CLEMENT MOREAU. 
 
 259 SUPPER PARTY. 
 
 Panel. 8^ x 6f in. 
 
 A party of four at dessert by candlelight. On the table a group 
 of the Three Graces supporting a tazza on which is a pineapple. 
 One lady is engaging a gentleman to drink, the other is reading a 
 letter, which the second gentleman is trying to get possession of by 
 passing his arm behind her. 
 
 Bought from Mr. Pearce, 1866. 
 
 CLAUD JOSEPH VERNET, 1714-1789. 
 
 260 1- VIEW NEAR NAPLES. 
 
 View on the coast in the environs of Naples, with ruins and build- 
 ings on the heights above ; boats on the shore. The figures, painted 
 with good taste, and placed with propriety, tend much to enliven the 
 picture. 
 
 Collections— M. de Calonne, Paris. Sold March 27, 1795, No. 72, £165. 
 
 Sir Francis Baring. 
 
 Sir Thomas Baring. Sold June 3, 1848, No. 91, £30, 9s. 
 
 Sir Francis T. Baring (Lord Northbrook). 
 Buchanan, i. 239. 
 
 ( 196 ) 
 
WILLE. 
 
 261 2. BAI^. 
 
 Canvas. 47 X 66 in. 
 
 View on the shore, near Baiae, with the Temple of Venus and 
 nymphs bathing. 
 
 Collections— M. de Calonne, Paris. Sold March 27, 1795, No. 73, £150. 
 
 Sir Francis Baring. 
 
 Sir Thomas Baring. Sold June 3, 1848, No. 92, £26, 5g. 
 
 Sir Fiancis T. Baring (Lord Northbrook). 
 Buchanan, i. 239. 
 
 PIERRE ALEXANDRE WILLE, 1748- 
 262 DEDICACE D'UN POEME EPIQUE. 
 
 Canvas. 23f X 19 in. 
 
 On the right, a lady in a pink dress is sitting in an arm-chair, 
 holding a cup and saucer in her left hand and a spoon in her right ; 
 her left arm rests on a small table, on which is a coffee-pot. 
 At her side stands her maid. In front, a poet is reciting from a 
 book, the title-page of which bears : 
 
 La Bagatelle 
 
 PoEME 
 
 en XXX chants 
 Dedi^ a Mademoiselle 
 
 A PARIS 
 
 Out of his pocket protrude some papers, one of which is inscribed : 
 " Vers k Mimy petit chien de Mademoiselle De * * *." In the back- 
 ground a curtained bed. In the foreground, on the right, a basket 
 with knitting, &c. Signed: P. A WiLLE, 1780, No. 53. 
 
 Collection — Mr. Thomas Baring. 
 Engraved by A. F. DenneL 
 
 ( 197 ) 
 
APPENDIX. 
 
 CATALOGUE OP THE VERSTOLK GALLERY. 
 
 The collection of Baron Verstolk van Soelen consisted of 100 
 pictures. One was sold to the King of Holland, and the remainder 
 were divided between the three purchasers, Mr. Baring, Mr. Jones 
 Loyd, and Mr. Humphrey Mildmay, and Mr. Chaplin through whom 
 the purchase was made. The following catalogue has been compiled 
 from the list furnished by Mr. Brondgeest, who had bought many 
 of Baron Verstolk's pictures for him and who acted for his estate. 
 Some descriptions of the pictures taken from other lists have been 
 added, as well as the references to Smith's Catalogue Raisonni for the 
 pictures which are not now in my collection. At the end of Mr. 
 Brondgeest's list is the following certificate in his handwriting : — 
 
 " I hereby certify that the pictures described in this list are the 
 whole of the collection of the late Baron Verstolk van Soelen, with 
 the exception of two family pictures not included, agreeable to the 
 arrangement made with Mr. Chaplin. 
 
 « A. BRONDGEEST. 
 
 " Hague, June 29, 1846." 
 
 The names of the purchasers are taken from lists made at the 
 time ; and, as the value of high-class pictures is a matter of some 
 interest, I append the figures of the transaction. The total sum 
 paid for the collection was £26,23L Mr. Baring bought 43 pictures 
 for £12,472, Mr. Jones Loyd 10 for £8116, Mr. Mildmay 20 for 
 £4543, and Mr. Chaplin 26 for £1100.— (iV.) 
 
 { 199 ) 
 
APPENDIX. 
 
 No. 
 
 Name. 
 
 Description. 
 
 9 
 10 
 11 
 12 
 13 
 
 U 
 
 15 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 Asselyn, J. 
 
 Backhuisen, L. 
 Bega, C. . 
 Berchem, N. 
 
 Berkheyde, G. 
 Do. 
 
 Bol, F. . 
 
 Do. 
 
 Do. 
 Brekelencamp, Q. 
 Cuyp, A. . 
 De Heeiii, J. 
 De Hoogh, P. . 
 
 De Witte, E. . 
 
 Do. 
 Do. 
 
 Du Jardin, K. . 
 
 Dusart, C. 
 
 Hackaert, J. 
 
 Do. 
 
 An Italian landscape, ivith figures and 
 cattle. 
 
 Various shipping in an agitated water. 
 
 Interior — an alchyniiat in study. 
 
 A landscape — a woman carrying a lamb — 
 cows and sheep, &c. 
 
 View of the Stadthouse in Haarlem. 
 
 View in Haarlem. 
 
 A lady dressing before a glass, a gentle- 
 man looking on. 
 
 A group of females, one being crowned 
 with flowers. 
 
 Portrait of Admiral de Ruyter. 
 
 An interior — an old woman with a boy. 
 
 A view on a river — various shipping. 
 
 A vase with fruit, a bottle with flowers. 
 
 An interior — a woman with a loaf of 
 bread. 
 
 Interior — eifect of sunlight — lady playing 
 on the clavecin. 
 
 A pair of interiors of churches. 
 
 A landscape, with a man and two sheep. 
 
 An interior of a cottage — a woman with a 
 child. 
 
 A landscape, with cattle. The figures by 
 A Van de Velde. 
 
 A view in the wood at the Hague. Figures 
 by A. Van de Velde. 
 
 ( 200 ) 
 
VERSTOLK COLLECTION. 
 
 
 Porcbuer. 
 
 Fretent Possessor. 
 
 Bemarks. 
 
 
 Baring. 
 
 Northbrook, No. 28. 
 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, VI. No. 95. 
 
 
 Chaplin. 
 
 
 " Cabane avec des pay sans." 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, V. No. 56. 
 
 
 Baring. 
 
 Northbrook, No. 32. 
 
 
 
 Chaplin. 
 
 
 "Vue d'une partie de la 
 grande ^glise k Haar- 
 lem." 
 
 
 Baring. 
 
 Northbrook, No. 34. 
 
 
 
 Do. 
 
 Do. No. 35. 
 
 " Diane et ses nymphes." 
 
 
 Do. 
 
 Do. No. 36. 
 
 
 
 Do. 
 
 
 No record of this picture. 
 
 
 Da 
 
 Northbrook, No. ii. 
 
 
 
 Chaplin. 
 
 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, rV. No. 54 
 
 
 Do. 
 
 Do. 
 
 This picture is ascribed to N. 
 Maas in some of the lists. 
 
 
 Baring. 
 
 Northbrook, Nos. 51 and 
 52. 
 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, Supplement No. 19. 
 
 
 Baring. 
 
 Northbrook, No. 55. 
 
 ( 
 
 "Vue en Italie richement 
 
 
 Do. 
 
 { 
 
 orn^e de figures." Smith, 
 VL No. 12. 
 Given away by Mr. Baring. 
 
 
 Jones Loyd. 
 
 Lord "Wantage, Carlton 
 Terrace. Catalogue No. 
 7L 
 
 "Avec un depart pour la 
 chasse des personnages 
 de la cour de Guillaume 
 IL" 
 
 ( 201 ) 
 
APPENDIX. 
 
 No. 
 
 Name. 
 
 Description. 
 
 
 21 
 
 Hobbema, M. . 
 
 An overshot mill by a cottage, a church 
 in the distance. 
 
 
 22 
 
 Do. 
 
 A view in Amsterdam, with the herring- 
 packers' tower. 
 
 
 23 
 
 Koninck, P. 
 
 A grand landscape. Figures by A. Van 
 de Velde. 
 
 
 24 
 
 Koninck, S. 
 
 An old man's head. 
 
 
 25 
 
 Lingelbach, J. . 
 
 An Italian landscape — figures dancing. 
 
 
 26 
 
 Do. 
 
 An Italian landscape — river, boats, figures. 
 
 
 27 
 
 Do. 
 
 Travellers and horses at an inn-door. 
 
 
 28 
 
 Do. 
 
 View of a market in Rome — numerous 
 figures. 
 
 
 29 
 
 Maas, N. . 
 
 A grand landscape, with a hunting-party, 
 in which is introduced the portrait of 
 William III. 
 
 
 30 
 
 Metsu, G. . 
 
 A gentleman intruding himself into a 
 lady's chamber. 
 
 
 31 
 
 Do. . . . 
 
 A portrait of himself, with a pipe. 
 
 
 32 
 
 Mignon, A. 
 
 Fruit — still life — a bird's nest. 
 
 
 33 
 34 
 
 Musscher . . ) 
 Do. . . / 
 
 Two interiors — one a lady with her ser- 
 vant, the other a man with a duck. 
 
 
 35 
 
 Do. . 
 
 Portrait of William Van de Velde. 
 
 
 36 
 
 Pynacker, A. . 
 
 A large grand landscape — figures, cattle, 
 wooden bridge. 
 
 
 37 
 
 Do. 
 
 An Italian landscape — a bridge, with a 
 river, boats, ifcc. 
 
 
 38 
 
 Do. 
 
 Upright landscape, with figures. 
 
 
 39 
 
 Rembrandt 
 
 Portrait of an old lady (his grandmother). 
 
 
 ( 202 ) 
 
VERSTOLK COLLECTION. 
 
 
 Purchaser, 
 
 Present Possessor. 
 
 Bemarks. 
 
 
 Jones Loyd. 
 
 Lord Wantage, Carlton Ter- 
 race. Catalogue No. 7. 
 
 Smith, VL No. 67. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, VI. No. 28. 
 
 
 Baring. 
 
 Northbrook, No. 64. 
 
 "Un paysage en Gueldre." 
 
 
 Do. 
 
 Do. No. 65. 
 
 
 
 Do. 
 
 Da No. 69. 
 
 "Fete champetre dans les 
 environs de Rome." 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 
 
 Do. 
 
 Do. 
 
 
 
 Chaplin. 
 
 
 
 
 King of Hol- 
 land. 
 
 
 
 
 Baring. 
 
 Northbrook, No. 74. 
 
 " La surprise." 
 
 
 Do. 
 
 Do. No. 75. 
 
 
 
 Chaplin. 
 
 
 
 
 Do. 
 
 
 
 
 Baring. 
 
 Northbrook, No. 136. 
 
 
 
 Do. 
 
 
 
 Smith, VL No. 39. 
 
 Sold in 1849 to Lord C. 
 
 Townshend. 
 Sold in 1851 to Mr. Rutley 
 
 for £270. 
 
 
 Jones Loyd. 
 
 Lord Wantage, Carlton 
 Terrace. Catalogue No. 
 14. 
 
 Smith, Supplement No. 8. 
 
 
 Chaplin. 
 
 
 
 
 Jones Loyd. 
 
 Lord Wantage, Carlton 
 Terrace. Catalogue No. 
 73. 
 
 Smith, VII. No. 516. 
 
 ( 203 ) 
 
APPENDIX. 
 
 No. 
 
 Name. 
 
 Description. 
 
 40 
 
 41 
 
 42 
 
 43 
 44 
 
 45 
 
 46 
 
 47 
 48 
 
 49 
 50 
 
 51 
 52 
 53 
 
 54 
 65 
 
 56 
 
 57 
 
 58 
 59 
 
 60 
 
 61 
 
 Rembrandt 
 
 Rombonts, P. 
 
 Romeyn . 
 
 Ruisdael, J. 
 Do. 
 
 Do. 
 
 Do. 
 
 Saftleven, H. 
 Do. 
 
 Schalken, G. 
 Do. 
 
 Shillinks 
 Steen, J. 
 Do. 
 
 Do. 
 Do. 
 
 Do. 
 
 Do. 
 
 Terburgh, G. . 
 Do. 
 
 Van de Capelle, J. 
 
 Do. 
 
 Portrait of an old man witb a velvet cap. 
 
 A landscape, with figures. 
 
 A landscape, with cattle. 
 
 A view of Scheveningen Beach — figures, 
 boats, &c. — a pair. 
 
 A grand rocky landscape, with waterfall. 
 
 A landscape, with a cornfield. 
 
 A pair of river views — boats, figures, <fec. 
 
 Pair of portraits, a lady and a gentleman. 
 
 A winter piece, with snow, figures, &c. 
 
 A portrait of himself playing the guitar. 
 
 A doctor writing a prescription, a woman 
 in bed. 
 
 Schoolmaster asleep, boys playing. 
 
 Jan Steen going to be married — numerous 
 figures. 
 
 An interior — a jovial party merrymaking. 
 
 An interior — candlelight, figures playing 
 cards, &c. 
 
 A pair— a lady drinking a glass of wine, 
 another writing. 
 
 Still water, with passage-boat, &c. 
 
 View on a river — various shipping, mov- 
 ing water. 
 
 ( 204 ) 
 
VERSTOLK COLLECTION. 
 
 
 Purchaser. 
 
 Present Possessor. 
 
 Keinarks. 
 
 
 Baring. 
 
 Northbrook, No. 85. 
 
 
 
 Do. 
 
 
 Sold to Mr. Chaplin 1846. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 
 
 Do. 
 
 Do. 
 
 Smith, VI. Nos. 19 and 20. 
 Engraved in the Choiseul 
 Gallery, Nos, 117 and 
 118. 
 
 
 Jones Loyd. 
 
 Lord "Wantage, Carlton 
 Terrace. Catalogue No. 
 3. 
 
 Smith, VL No. 129. 
 
 
 Chaplin. 
 
 
 Smith, Supplement No. 80. 
 
 
 Do. 
 
 
 
 
 Baring. 
 
 Northbrook, No. 95. 
 
 Portrait of a lady. Smith, 
 Supplement No. 10. Sold 
 to Mr. Chaplin 1846. 
 
 
 Do. 
 
 
 Sold to Mr. Chaplin 1846. 
 
 
 Do. 
 
 Northbrook, No. 97. 
 
 
 
 Do. 
 
 Do. No. 98. 
 
 
 
 Do. 
 
 Do. No. 99. 
 
 
 
 Do. 
 
 Baron A. de Rothschild. 
 Catalogue No. 28. 
 
 Smith, IV. No. 139. 
 
 
 Jones Loyd. 
 
 Lord Wantage, Carlton 
 Terrace. Catalogue No. 
 20. 
 
 " Joueur de cornemuse." 
 " Celebrating Twelfth 
 Night." " St. Nicholas' 
 Day." Smith, IV. No. 51. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, Supplement No. 86. 
 
 
 Baring. 
 
 Northbrook, Nos. 113 and 
 114. 
 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 
 
 Chaplin. 
 
 
 
 ( 205 ) 
 
APPENDIX. 
 
 No. 
 
 62 
 
 63 
 
 74 
 
 75 
 
 Name. 
 
 Van de Velde, A. 
 
 Do. 
 
 64 
 
 Do. 
 
 65 
 
 Van de Velde, "W. . 
 
 66 
 
 Do. 
 
 67 
 
 Van den Eeckhout . 
 
 68 
 
 Van der Hagen ■ 
 
 69 
 
 Van der Heist . 
 
 70 
 
 Van der Heyde 
 
 71 
 
 Do. 
 
 72 
 73 
 
 Van der Neer, A. 1 
 Do. . ( 
 
 Do. 
 
 Do. 
 
 76 
 
 Do. 
 
 77 
 
 Do. 
 
 78 
 79 
 
 Van Hughtenburg 
 Do. 
 
 80 
 
 Van Kessel, A. . 
 
 81 
 
 Van Tol, D. . 
 
 Description. 
 
 A hunting-party preparing to start. 
 
 A hunting-party in a landscape, white 
 horse, &c. 
 
 A landscape, with cows, sheep, and 
 
 figures. 
 
 Still water, with various shipping. 
 
 Still water — a smaller picture, a man-of- 
 war at anchor in the distance. 
 
 A pleasure-party taking refreshments. 
 
 A landscape. Figures by A. Van de Velde. 
 
 A small portrait of a gentleman. 
 
 A landscape, with a bridge, castle, &c. 
 
 A view in a town. Figures by A. Van de 
 Velde. 
 
 A pair — evening and morning. 
 
 A landscape — men cutting wood, fisher- 
 men with nets. 
 
 A landscape, cows and figures in the fore- 
 ground. 
 
 A landscape by moonlight. 
 
 A landscape — winter, with snow. 
 
 A pair of battles. 
 
 Landscape, with a bleaching-ground. 
 
 A girl at a window gathering a pink. 
 After G. Dow. 
 
 ( 206 ) 
 
VERSTOLK COLLECTION. 
 
 
 Purchaser. 
 
 Preaent Possessor. 
 
 Remarks. 
 
 
 Baring. 
 
 Baron A. do Rothschild. 
 Catalogue No. 35. 
 
 " Chasse royale." Smith, 
 V. No. 27. Exchanged 
 in 1881. 
 
 
 Do. 
 
 
 "Rendezvous de chasse." 
 Smith, V. No. 32. Sold 
 in 1885. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, V. No. 12. 
 
 
 Jones Loyd. 
 
 Lord Wantage, Carlton 
 Terrace. Catalogue No. 
 30. 
 
 Smith, VL No. 126. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 
 
 Chaplin. 
 
 
 " Faisant de la musique." 
 
 
 Do. 
 
 
 " Entree d'un bois avec des 
 chasseurs." 
 
 
 Do. 
 
 
 
 
 Do. 
 
 
 
 
 Baring. 
 
 Northbrook, No. 123. 
 
 
 
 Do. 
 
 Northbrook, Nos. 124 and 
 125. 
 
 
 
 Jones Loyd. 
 
 Lord "Wantage, Cariton 
 Terrace. Catalogue No. 
 15. 
 
 
 
 Do. 
 
 Do. do. No. 13. 
 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 
 
 Chaplin. 
 
 
 "Avec des patineurs." 
 
 
 Do. 
 
 
 
 
 Baring. 
 
 Mr. W. Baring, Norman 
 Court. 
 
 "Vue dans les environs de 
 Haarlem." Given to him 
 1877. 
 
 
 Do. 
 
 Northbrook, No. 141. 
 
 
 ( 207 ) 
 
APPENDIX. 
 
 No. 
 
 Name. 
 
 Description. 
 
 
 82 
 
 Van Ostade, A. . 
 
 An interior — three Boors smoking and 
 drinking. 
 
 
 83 
 
 Van Vliet, J. . 
 
 Interior of the church at Delft. 
 
 
 84 
 
 Verboom, A 
 
 A landscape. Figures by A. Van de Velde. 
 
 
 85 
 
 Do. . 
 
 A grand landscape — hunting. Figures 
 by Lingelbach. 
 
 
 86 
 
 Victor, J. . 
 
 A landscape — figures in a boat, &c. 
 
 
 87 
 
 Do. . 
 
 A landscape, with a peddler selling his 
 wares. 
 
 
 88 
 
 "Wouverman, Peter . 
 
 A castle — figures preparing for the chase. 
 
 
 89 
 
 Wouvennan, Philip . 
 
 Horse-fair. 
 
 
 90 
 
 Do. 
 
 Horses leading to water. 
 
 
 91 
 
 Do. 
 
 Plundering prisoners after battle. 
 
 
 92 
 
 Do. . 
 
 A battle — a building on fire. 
 
 
 93 
 
 Do. . 
 
 Small landscape, with hawking party. 
 
 
 94 
 
 "Wynants, J. 
 
 A grand landscape — bandits attacking a 
 traveller. 
 
 
 95 
 
 Do. . 
 
 A landscape. Figures by A. Van de 
 Velde. 
 
 
 96 
 
 \Vyk,T. . . . 
 
 Italian landscape, with figures — a fountain. 
 MODERN PICTURES. 
 
 
 97 
 
 Hulswit, J. 
 
 A landscape, with cottage, figures, &c. 
 
 
 98 
 
 Koeckkoek, J. . 
 
 A winter piece, with snow. 
 
 
 99 
 
 Do. . 
 
 A landscape, with hunting-party. 
 
 
 100 
 
 Schotel, J. C. . 
 
 A ship in a storm. 
 
 
 ( 208 ) 
 
VERSTOLK COLLECTION. 
 
 
 Porohaser. 
 
 Present Possessor. 
 
 Bemarki. 
 
 
 Baring. 
 
 
 Smith, I. No. 207, and 
 Supplement No. 107. 
 Exchanged with Mr. 
 Buchanan. 
 
 
 Do. 
 
 Northbrook, No. 142. 
 
 
 
 Do. 
 
 Do. No. 143. 
 
 
 
 Chaplin. 
 
 
 
 
 Do. 
 
 
 
 
 Do. 
 
 
 
 
 Do. 
 
 
 
 
 Baring. 
 
 Northbrook, No. 147. 
 
 
 
 Do. 
 
 Baron A. de Eothschild. 
 Catalogue No. 40. 
 
 Smith, L No, 453(?), Sup- 
 plement No. 217. Ex- 
 changed 1881. 
 
 
 Do. 
 
 
 Smith, Supplement No. 96. 
 Exchanged with Mr. 
 Smith 1847. 
 
 
 Mildmay. 
 
 Mr. H. Bingham Mildmay. 
 
 Smith, L No. 455, and 
 Supplement No. 97. 
 
 
 Do. 
 
 .Do- 
 
 
 
 Do. 
 
 Do. 
 
 Figures by P. "Wouverman. 
 Smith, VI. No. 81, and 
 Supplement No. 17. 
 
 
 Jones Loyd. 
 
 Lord "Wantage, Lockinge. 
 Catalogue No. 10. 
 
 Smith, VI. No. 133. 
 
 
 Chaplin. 
 
 
 
 
 Baring. 
 
 
 
 Sold 1847. 
 
 
 Mildmay. 
 
 
 
 
 Chaplin. 
 
 
 
 
 Do. 
 
 
 
 ( 209 ) 
 
APPENDIX. 
 
 II. 
 
 PICTUEES BOUGHT BY SIR THOMAS BARING FROM 
 THE LE BRUN GALLERY. 
 
 The following account of the Le Brun Collection ia given by Mr. 
 Buchanan : ^ — 
 
 " In the year 1810 Monsieur Le Brun exhibited in Paris a large 
 collection of pictures which he had formed in journeys made in Spain 
 and Italy during the years 1807 and 1808. The times were not 
 favourable in Paris for a sale of these objects, and a great many of 
 them were withdrawn or purchased by the proprietor himself for the 
 purpose of being consigned to Mr. Harris, of Bond Street, who 
 received a large proportion of those objects which appear in the 
 original catalogue published at Paris. 
 
 " Monsieur Le Brun, in publishing a catalogue of that collection, 
 also gave a small volume of etchings after some of the leading pic- 
 tures which it contained." 
 
 Name. 
 
 Le Brun. 
 
 Present Possessor and Remarks. 
 
 Bellini, G 
 
 Virgin and Child. 
 
 Bolognese .... 
 Landscape. 
 
 Carraooi, An. 
 
 Virgin and Child. 
 
 Carraooi, L 
 
 Entombment. 
 
 Do 
 
 Bathsheba. 
 
 Page Plate 
 i. 29. XV. 
 
 i. 125. CXVL 
 
 i. 99. LXXIX. 
 
 L 94. LXXII. 
 
 i. 94. LXXIII. 
 
 Korthbrook, No. 154. 
 
 Mr.Wm. Baring, Norman Court ; 
 given to him, 1877. 
 
 Mr. Holford ; sold to him, 1848. 
 Northbrook, No. 162. 
 Do. No. 164. 
 
 * " Memoirs of Painting," ii. 251. 
 ( 210 ) 
 
LE BRUN PICTURES. 
 
 Name. 
 
 Cortona, P. da 
 St. Jerome. 
 
 Do. . . . 
 
 Adoration of the Shepherds 
 
 Doloi, 0. . . . 
 Chriiit with the Cross 
 
 liionardo da Vinci . 
 Head of Christ. 
 
 Mazzuoli, G. . 
 
 Woman with a Lamp, 
 
 Murillo, B. . . . 
 Immaculate Conception. 
 
 Do. . . . 
 St. John and the Lamb. 
 
 Piombo, S. del 
 Holy Family, 
 
 Ricci, S. , . . 
 
 Rosa, J. ... 
 
 Landscape. 
 
 Do. . . . 
 St. John Preaching. 
 
 Sarto, A. del , 
 Portrait. 
 
 Schedone 
 Riposo. 
 
 Spagnoletto . 
 Holy Family. 
 
 Titian .... 
 The Falconer. 
 
 Do. . . . 
 Portrait. 
 
 Do. . . . 
 Landscape — Holy Family, 
 
 Vaga, P. del . 
 Holy FamUy. 
 
 Velasquez 
 
 Le Brun. 
 
 Page 
 i. 24. 
 
 i. 24. 
 L26. 
 i. 6. 
 i. 90. 
 
 Plate 
 XL 
 
 X. 
 
 xrv. 
 II. 
 
 LXIX. 
 
 ii. 25. CXXXIV. 
 
 ii. 25. CXXXV. 
 
 L 37. XXL 
 
 i. 118. CV. 
 
 ii. 8. CXXI. 
 
 ii. 8. CXXIII. 
 
 i. 65. XL. 
 
 i. 101. LXXXIV. 
 
 ii. 17. CXXVIIL 
 
 L 34. XVIII. 
 
 i. 34. XVIL 
 
 i. 34. XVL 
 
 L60. 
 
 XLL 
 
 il 23. CXXIX. 
 
 ( 211 ) 
 
 Present Possessor and Remarks. 
 
 Northbrook, No. 170. 
 
 Do. No. 172. 
 
 Do. No. 177. 
 
 Do. No. 189. 
 
 Destroyed. 
 
 Northbrook, No. 227. 
 
 Sold by Sir Thomas Baring. 
 
 Northbrook, No. 201. 
 
 Mr.Wm. Baring, Norman Court; 
 given to him, 1877 ; ascribed 
 by Le Brun to Domenicbino. 
 
 Northbrook, No. 207. 
 
 Do. No. 208. 
 
 Do. No. 211. 
 Ascribed by Le Brun to Raphael. 
 
 Northbrook, No. 215. 
 
 Do. No. 237. 
 Mr. Holford ; sold to him, 1843. 
 
 Do. do. 
 
 Sold to the late Lord Taunton, 
 1843 ; now in the possession 
 of the Hon. Mrs. Stanley, 
 Quantock Lodge. 
 
 Northbrook, No. 219. 
 
 Ascribed by Le Brun to 
 Giulio Romano, 
 
 Mr. Holford ; sold to him, 1843. 
 
APPENDIX. 
 
 III. 
 
 WORKS REFERRED TO IN THE CATALOGUE. 
 
 Buchanan. — Memoirs of Painting. With a Chronological History of the 
 Importation of Pictures by the Great Masters into England since 
 the French Revolution. By W. Buchanan, Esq. 2 vols. 8vo. 
 London. Ackermaun. 1824. 
 
 BiJROEa — Tr^sors d'Art en Angleterre. Par W. Biirger. Eruxelles. 1860. 
 
 Crowe and Cavalcasklle. — History of Painting in Italy. 3 vols. 8vo. 
 London. Murray. 1846. 
 
 Curtis. — Velasquez and Murillo. A Descriptive and Historical Cata- 
 logue. By Charles B. Curtis, M.A. New York. J. W. Bouton. 
 1883. 
 
 KuGLER (Handbook). — Handbook of Painting. The German, Flemish, 
 and Dutch Schools, based on the Handbook of Kugler ; remodelled 
 by the late Prof. Dr. Waagen. A new edition, thoroughly revised, 
 and in part rewritten, by J. A Crowe. In two parts. London. 
 Murray. 1874. 
 
 Kugler [Handhoolc). Layard. — Handbook of Painting. The Italian Schools, 
 based on the Handbook of Kugler, originally edited by Sir Charles 
 Eastlake, P.R.A. Fifth edition, thoroughly revised, and in part 
 rewritten, by Austin Henry Layard, G.C.B. In two parts. London. 
 Murray. 1887. 
 
 Le Brun. — Kecueil de Gravures au trait, k I'eau forte et ombr^es, d'aprfes 
 un choix de tableaux de toutes les ecoles, recueillis dans un voyage 
 fait en Espagne, au Midi de la France et en Italic dans les anne^s 
 1807 et 1808. Par M. Le Brun, Peintre, &c. 2 vols. 8vo. Paris. 
 Didot Jeune. 1809. 
 
 NiEUWENHUTS. — A Eeview of the Lives and Works of some of the most 
 Eminent Painters, with Remarks on the Opinions and Statements 
 of Former Writers. By C. J. Nieuwenhuys. London. Henry 
 Hooper. 1834. 
 
 ( 212 ) 
 
REFERENCES. 
 
 NoRTHBBOOK Gallert. — The Northbrook Gallery. An Illustrated Descrip- 
 tive and Historic Account of the Collection of the Earl of North- 
 brook, G.C.S.I. Edited by Lord Ronald Gower, F.S.A. London. 
 Sampson Low & Co. 1885. 
 
 Passavant. — Johann David Passavant. Tour of a German Artist in Eng- 
 land, with Notices of Private Galleries, and Remarks on the State 
 of Art. 2 vols. 12mo. London. 1836. 
 
 Smith. — A Catalogue Raisonn^ of the Works of the most Eminent Dutch, 
 Flemish, and French Painters, &c. By John Smith, Dealer in 
 Pictures, late of Great Marlborough Street. 9 vols. Bvo. London. 
 Smith & Son. 1829, &c. 
 
 Stirung. — Annals of the Artists of Spain. By William Stirling, M.A. 
 3 vols. 8vo. London. Olivier. 1848. 
 
 Waagen (Art and Artists). — Works of Art and Artists in England. By 
 G. F. Waagen, Director of the Royal Gallery at Berlin. 3 vols, 
 sm. 8vo. London. Murray. 1838. 
 
 Waagen (Treasures). — Treasures of Art in Great Britain. Being an 
 Account of the Chief Collections of Paintings, described by Dr. 
 Waagen, Director of the Royal Gallery of Pictures, Berlin. 3 vols. 
 8vo. London. MuiTay. 1854. 
 
 Waagen (Galleries). — Galleries and Cabinets of Art in Great Britain. 
 Being an Account of more than Forty Collections of Paintings, &c., 
 visited in 1854 and 1856, and now for the first time described. By 
 Dr. Waagen, &c. Forming a supplemental volume to the " Treasures 
 of Art." London. Murray. 1857. 
 
 ViABDOT. — Louis Viardot. Les Musses d'Angleterre, de Belgique, de 
 Hollande et de Russie. Third edition. Paris. Hachette & Co. 
 1860. 
 
 ( 213 ) 
 
ADDITIONAL NOTES. 
 
 Page 119. — L. Curracci, Pieta. The figure of Christ is very like that of the largo 
 Picta ascribed to A. Carracci, engraved in Musee Napoleon, Vol. iii., 
 No. 181. There is a similar composition in the Dona Gallery, 
 Home. 
 
 Page 130. — Domenichino, Riposo. A picture of the same class, both as to size 
 and composition, called "La Vierge b. la Coquille," is in the Louvre, 
 engraved in Musee Napoleon, Vol. ii., No. 84. 
 
 Page 139. — B. Liiini, Holy Family. A copy of tliis picture is in the Brera 
 Gallery at Milan, Galleria Oggiuni, No. 76. 
 
 Page 170, lini; 28. — The engravings are of the picture in the Gallery of Seville. 
 
 ( 214 ) 
 
INDEX. 
 
 Artists. 
 Allegri, eee Corr^gio. 
 Allori, see Bronzino. 
 A8ael3m, J. . 
 Backhuisen, L. . 
 
 Barbarelli, G., see Giorgione, 
 Barbieri, G., see Guercino. 
 Bartolommeo, Fra 
 
 Bassano, II . 
 BeUini, G. . 
 Berchem, N. 
 Berck-Heyde, G 
 
 Bol,F. 
 
 Bordone, P. 
 Both, J 
 
 Boucher, F. 
 
 Breugel, J. 
 Bronzino, II 
 Bugiardini, 6. 
 Buitenweg, W. 
 Callot, J. . 
 Canaletto, A. 
 Cano, A. 
 Carpi, G. da 
 
 , see Titian. 
 
 PiCTITRIS. 
 
 Landscape . 
 
 1. View on the Brill 
 
 2. A Breeze at Sea . 
 
 Holy Family (unfinished) 
 Holy Family 
 Landscape and Cattle . 
 Virgin and Child . 
 Peasants Passing a Ford 
 
 1. Market-Place, Haarlem 
 
 2. Market-Place, Haarlem 
 
 1. The Pearl Necklace 
 
 2. Scene from " II Pastor Fido 
 
 3. Admiral de Ruyter 
 
 1. The Farewell 
 
 2. Landscape . 
 I.Cupids 
 2. Cupids 
 
 Travelling Peasants 
 Portrait 
 
 St. John the Baptist . 
 Landscape . 
 Gipsies 
 The Rialto . 
 Virgin and Child . 
 Holy Family 
 ( 215 ) 
 
 Number. 
 
 PjkOS 
 
 28 
 
 27 
 
 29 
 
 28 
 
 30 
 
 28 
 
 151 
 
 109 
 
 152 
 
 110 
 
 163 
 
 110 
 
 154 
 
 111 
 
 81 
 
 29 
 
 32 
 
 30 
 
 33 
 
 31 
 
 34 
 
 31 
 
 36 
 
 32 
 
 36 
 
 32 
 
 87 
 
 33 
 
 38 
 
 34 
 
 241 
 
 186 
 
 242 
 
 186 
 
 89 
 
 34 
 
 156 
 
 112 
 
 166 
 
 113 
 
 40 
 
 85 
 
 243 
 
 186 
 
 157 
 
 114 
 
 224 
 
 170 
 
 168 
 
 115 
 
INDEX. 
 
 Artists. 
 
 Carracci, Ag. 
 
 Carracci, Ann. . 
 Carracci, Ludovico 
 
 Cats . 
 Claude Gillee 
 
 „ (ascribed to) 
 
 Clouet, J. (Janet) 
 
 Coquez, G. . 
 Correggio, A. 
 
 „ (School 
 
 Cortona, P. da 
 
 Cranach, L. 
 
 Crespi, G. M. 
 Cristus, P. . 
 Crivelli, C. . 
 
 Cuyp, A. 
 
 De Heem, D. 
 De Heem, J. 
 De Hooch, P. 
 
 of) . 
 
 PlOTUKES. 
 
 Apostles Kound the Tomb of the 
 Vu-gin 
 
 1. Virgin and Child with St. Francis 
 
 2. Landscape . 
 1. Entombment 
 2.Pieta .... 
 8. Bathsheba . 
 
 4. Adoration of the Shepherds 
 
 5. Christ and St. Veronica 
 The Doctor . 
 
 1. Jacob and Laban 
 
 2. The Music Lesson 
 
 3. Shepherd Playing the Flute 
 
 4. Waterfall . 
 
 5. The Artist Sketching . 
 
 6. Favourite Mill . 
 
 7. Ascanius and the Stag 
 Landscape . 
 
 1. Charlotte de France . 
 
 2. Marechal de la Marche 
 Lady and Gentleman Riding 
 Angels' Heads 
 Holy Family and Saints 
 
 1. Magdalen and Angels . 
 
 2. St. Jerome . 
 
 3. Christ and St. John . 
 
 4. Adoration of the Shepherds 
 
 NCMBER. Paoe 
 
 Christ Blessing Little Children 
 Frederick III. 
 John I. 
 Spanish Girl 
 Portrait 
 
 Virgin and Child 
 Resurrection 
 Two Saints . 
 A Girl . 
 
 View near Dordrecht 
 3. Prince Henry Frederick at the 
 Siege of Breda . 
 Fruit . 
 
 Fruit and Flowers 
 
 The Pet Parrot . 
 
 ( 216 ) 
 
 159 
 
 160 
 
 161 
 
 162 
 
 163 
 
 164 
 
 166 
 
 166 
 
 41 
 
 244 
 
 246 
 
 246 
 
 247 
 
 248 
 
 249 
 
 260 
 
 261 
 
 11 
 
 12 
 
 42 
 
 167 
 
 168 
 
 169 
 
 170 
 
 171 
 
 172 
 
 13 
 
 14 
 
 16 
 
 173 
 
 16 
 
 174 
 
 176 
 
 176 
 
 43 
 
 44 
 
 45 
 46 
 
 47 
 48 
 
 116 
 
 117 
 
 117 
 
 118 
 
 119 
 
 119 
 
 120 
 
 121 
 
 36 
 
 187 
 
 188 
 
 189 
 
 189 
 
 190 
 
 191 
 
 191 
 
 193 
 
 10 
 
 10 
 
 37 
 
 121 
 
 122 
 
 123 
 
 123 
 
 124 
 
 124 
 
 11 
 
 12 
 
 13 
 
 126 
 
 15 
 
 126 
 
 127 
 
 127 
 
 38 
 
 39 
 39 
 40 
 40 
 
INDEX. 
 
 Artists. 
 
 PicniiiES. 
 
 
 
 Number. 
 
 Pack 
 
 De Jonghe, C. . 
 
 Old London Bridge ... 49 
 
 41 
 
 De Vlieger, S. . 
 
 Schevelinghen 
 
 
 60 
 
 41 
 
 De Witte, E. . 
 
 . 1. Oude Kerk, Amsterdam 
 
 
 61 
 
 42 
 
 ff 
 
 2. Oude Kerk, Amsterdam 
 
 
 62 
 
 42 
 
 Dolci,C. . 
 
 . 1. Christ with the Cross . 
 
 
 177 
 
 128 
 
 tt ... 
 
 2. Mater Dolorosa . 
 
 
 178 
 
 128 
 
 Domenichino 
 
 1. Infant Christ 
 
 
 179 
 
 129 
 
 ff 
 
 2. Landscape — Riposo 
 
 
 180 
 
 130 
 
 Dow, G. . . . 
 
 The Philosopher . 
 
 
 63 
 
 43 
 
 Dughet, J. (Gaspar Poussin 
 
 ) 1. Landscape . 
 
 
 252 
 
 193 
 
 ff w 
 
 2. Landscape with Figures 
 
 
 258 
 
 194 
 
 ft ff 
 
 3. The Arch . 
 
 
 254 
 
 194 
 
 j> ft 
 
 4. Landscape . 
 
 
 266 
 
 194 
 
 Du Jardin, K. . 
 
 Manfege 
 
 
 64 
 
 44 
 
 Durer, A. . 
 
 1. Don Manuel de Menens 
 
 
 17 
 
 17 
 
 )j ... 
 
 2. Squirrels 
 
 
 18 
 
 17 
 
 Dusart, C. . 
 
 Tlie Father's Return . 
 
 
 65 
 
 45 
 
 Francia, F. 
 
 l.Lucretia 
 
 
 181 
 
 130 
 
 ft • • ' 
 
 2. Holy Family 
 
 
 182 
 
 131 
 
 Fyt,J. . . . 
 
 1. Cats Fighting 
 
 
 66 
 
 46 
 
 )> ... 
 
 2. Game .... 
 
 
 67 
 
 46 
 
 Gaxofalo . 
 
 1. Riposo. 
 
 
 183 
 
 132 
 
 ff ... 
 
 2. St. James . 
 
 
 184 
 
 133 
 
 German School (Early) 
 
 1. Virgin and Child 
 
 
 9 
 
 8 
 
 » n 
 
 2. Infant Christ Enthroned 
 
 
 10 
 
 9 
 
 Gillie, C, see Claude. 
 
 
 
 
 Giordano, L. 
 
 St. Michael .... 
 
 186 
 
 133 
 
 Giorgione . 
 
 Salome with St. John's Head 
 
 186 
 
 184 
 
 Gossaert, J. (Mabuse) 
 
 I. Virgin and Cliild Enthroned 
 
 19 
 
 18 
 
 » » 
 
 2. Virgin and Child Enthroned, with 
 
 
 
 
 Angels .... 
 
 20 
 
 19 
 
 j> tt 
 
 3. PhUip le Bel 
 
 
 
 
 21 
 
 20 
 
 Griffier, J. . 
 
 1 . Landscape . 
 
 
 
 
 68 
 
 46 
 
 ti ... 
 
 2. Landscape . 
 
 
 
 
 59 
 
 47 
 
 Greuze, J. B. 
 
 Head of a Girl 
 
 
 
 
 256 
 
 195 
 
 „ (School of) . 
 
 Head of a Girl 
 
 
 
 
 257 
 
 195 
 
 Guercino 
 
 1. Semiramis . 
 
 
 
 
 187 
 
 135 
 
 „ ... 
 
 2. Sick Child . 
 
 
 
 
 188 
 
 136 
 
 Guido, see Reni. 
 
 
 
 
 
 Hackaert, J. 
 
 Starting for the Chase 
 
 
 60 
 
 47 
 
 Hals, F. . 
 
 Peter Van der Morsch 
 
 
 61 
 
 48 
 
 Hobbema, M. . 
 
 Landscape . 
 
 
 62 
 
 49 
 
 
 ( 217 ) 
 
 
 
 
 2 B 
 
 
INDEX. 
 
 Artists, 
 Holbein, H. 
 Hondekoeter, M 
 Janet, see Clouet 
 Koninck, P. 
 Koninck, S. 
 La Fontaine, P. 
 Lilienberg . 
 
 jt • 
 Lingelbach, J. 
 Lionardo da Vinci 
 Lombard School 
 Luini, B. 
 Maas, N. . 
 Mantegna, A 
 Matsys, Quentin 
 Mazzolini, L. 
 Mazzuoli, F., see 
 Mengs, A. B. 
 Messina, Ant. da 
 Metsu, G. . 
 
 Miens, F. . 
 
 jf • 
 
 Mieris, W. . 
 Mignard, P. 
 Mola, F. . 
 
 >' 
 Morales, L. 
 
 )> 
 Moreau, C. 
 Moroni, G. B. 
 Murillo, B. E. 
 
 Pannegiano. 
 
 Murillo (ascribed to) 
 
 Neefs, P. . 
 
 Netherlandish School (Early) 
 
 Pictures. 
 John Herbster 
 Poultry 
 
 Landscape in Gelderland 
 
 Portrait 
 
 Interior of a Church . 
 
 1. Rabbit-Hunting . 
 
 2. Hare-Hunting 
 Landscape with Peasants 
 Head of Christ . 
 St. Sebastian 
 Holy Family 
 The Tired Nurse . 
 The Agony in the Garden 
 Virgin and Child Enthroned 
 Christ and the Doctors 
 
 Portrait 
 Saint Jerome 
 
 1. The Intruder 
 
 2. Portrait of the Artist . 
 3 Child Asleep 
 
 1. Portrait of the Artist . 
 
 2. The Musical Lady 
 The Letter Received . 
 Madame de la Valli&re 
 
 1. Hagar and Ishmael 
 
 2. Riposo .... 
 
 1. Ecce Homo . 
 
 2. Christ and the Cross . 
 Supper Party 
 Portrait 
 
 1. Immaculate Conception 
 
 2. Andres de Andrade 
 
 3. St. Thomas of Villaneuva 
 
 4. Assmnption of the Virgin 
 6. Laughing Boy 
 
 6. Infant Sleeping . 
 
 7. Holy Family 
 Riposo .... 
 Interior of a Church . 
 
 1. Virgin and Child Enthroned 
 ( 218 ) 
 
 Number. 
 
 Page 
 
 22 
 
 21 
 
 63 
 
 49 
 
 64 
 
 60 
 
 65 
 
 50 
 
 66 
 
 61 
 
 67 
 
 61 
 
 68 
 
 52 
 
 69 
 
 62 
 
 189 
 
 137 
 
 190 
 
 138 
 
 191 
 
 139" 
 
 70 
 
 53 
 
 192 
 
 139 
 
 23 
 
 22 
 
 193 
 
 143 
 
 194 
 
 144 
 
 160 
 
 105 
 
 74 
 
 66 
 
 76 
 
 56 
 
 76 
 
 66 
 
 71 
 
 63 
 
 72 
 
 64 
 
 73 
 
 64 
 
 258 
 
 195 
 
 195 
 
 146 
 
 196 
 
 146 
 
 225 
 
 170 
 
 226 
 
 171 
 
 259 
 
 196 
 
 197 
 
 146 
 
 227 
 
 172 
 
 228 
 
 173 
 
 229 
 
 175 
 
 230 
 
 177 
 
 231 
 
 177 
 
 232 
 
 178 
 
 233 
 
 178 
 
 234 
 
 179 
 
 77 
 
 67 
 
 1 
 
 1 
 
INDEX. 
 
 Artists. 
 Netherlandish School (Early) 2. 
 
 n 
 » 
 » 
 
 Netscher, C. 
 
 Palma Vecchio 
 
 PaoHni, P. . 
 
 Parmegiano 
 
 Piombo, Seb. del 
 
 Ponte, G. da, see Bassano. 
 
 Potter, P 
 
 Poussin, G., see Dughet. 
 P^acker, A. . . . 1. 
 ... 2. 
 Raflfaello . . . . 1. 
 „ (copy) ... 2. 
 Raibolini, F., see Francia. 
 Rembrandt . . . 1. 
 
 PicTuais. 
 
 St. Giles 
 
 Saints Cecily, Margaret, Agatha, 
 
 and Dorothy . 
 Virgin and Child . 
 Vision of St. Ildephonsiis 
 Ecce Homo . 
 Flight into Egypt 
 Virgin and Child . 
 A GH . 
 Portrait 
 
 The Duchess of Maine . 
 Holy Family 
 Holy Family 
 Holy Family 
 Holy Family 
 
 The Young Bull . 
 
 Landscape . 
 Landscape . 
 Virgin and Child , 
 St. John 
 
 Beni, Guido 
 
 Adoration of the Magi 
 Portrait 
 Landscape . 
 Ecce Homo . 
 Bust of the Virgin 
 
 Ribera, J. de, see Spagnoletto. 
 
 Romanelli, G. F. 
 
 Rosa, Salvator . . 1. 
 
 „ „ ... 2. 
 
 Rubens, P. P. . . . 1. 
 
 ... 2. 
 
 Ruisdael, J. . . 1. 
 
 2 
 
 „ .... 3. 
 „ .... 4. 
 „ .... 6. 
 6. 
 
 Europa 
 
 Landscape . 
 
 St. John Preaching 
 
 Abraham and Melchisedech 
 
 The Waggon 
 
 Castle of Bredevode 
 
 Windmill 
 
 Waterfall . 
 
 Cornfields . 
 
 Bleaching-Ground 
 
 A Fresh Breeze . 
 
 Salvi, G., see Sasso Ferrato. 
 Sanchez, Coello . 
 
 NuHBcn. 
 2 
 
 3 
 4 
 5 
 6 
 
 7 
 
 8 
 
 78 
 
 79 
 
 80 
 
 198 
 
 199 
 
 200 
 
 201 
 
 81 
 
 Page 
 
 8 
 
 4 
 5 
 6 
 
 7 
 
 8 
 
 68 
 
 68 
 
 59 
 
 147 
 
 149 
 
 150 
 
 151 
 
 69 
 
 82 
 
 60 
 
 83 
 
 60 
 
 202 
 
 153 
 
 203 
 
 154 
 
 84 
 
 61 
 
 85 
 
 62 
 
 86 
 
 62 
 
 204 
 
 155 
 
 205 
 
 155 
 
 206 
 
 156 
 
 207 
 
 156 
 
 208 
 
 156 
 
 87 
 
 63 
 
 88 
 
 64 
 
 89 
 
 64 
 
 90 
 
 65 
 
 91 
 
 65 
 
 92 
 
 66 
 
 93 
 
 66 
 
 94 
 
 67 
 
 . Portrait 
 
 ( 219 ) 
 
 235 180 
 
INDEX. 
 
 Artists. 
 Sanchez, Coello . 
 Sanzio, R., see Raflfaello. 
 
 Sarto,A. del . 
 
 1. 
 
 » . . . 
 
 2. 
 
 „ . . . 
 
 3. 
 
 Sasso Ferrato 
 
 
 Scliaflfner, M. . . . 
 
 
 Schalcken, G. 
 
 
 Schedone, B. . . . 
 
 1. 
 
 „ . . . 
 
 2. 
 
 „ (ascribed to) . 
 
 3. 
 
 Silva, Don D. de, see Velasc 
 
 uez. 
 
 Solano, A. . 
 
 
 Sorg, H. M. 
 
 
 Spagnoletto 
 
 
 Steen, J 
 
 1. 
 
 „ ... 
 
 2. 
 
 „ . . . . 
 
 3. 
 
 Teniers, D., I. . 
 
 1. 
 
 t> 
 
 2. 
 
 Teniers, D., II. . 
 
 1. 
 
 » 
 
 2. 
 
 n 
 
 3. 
 
 » 
 
 4. 
 
 n 
 
 5. 
 
 » 
 
 6. 
 
 n 
 
 7. 
 
 » 
 
 8. 
 
 n 
 
 9. 
 
 n 
 
 10. 
 
 tt 
 
 . 11. 
 
 Ter Burg, G. . 
 
 . 1. 
 
 ji 
 
 2. 
 
 Tisio, B., see Garofalo. 
 
 
 Titian 
 
 
 „ or Paris Bordone 
 
 
 Vaga, P. del 
 
 
 „ (ascribed to) 
 
 
 Van de Capelle, J. 
 
 . 1. 
 
 
 9 
 
 J> tr 
 
 . *4. 
 
 Van de Velde, W. . 
 
 . 1. 
 
 « » 
 
 . 2. 
 
 Pictures. 
 . Head of a Child . 
 
 St. John . 
 
 Virgin and Child . 
 
 Portrait 
 
 Holy Family 
 
 Marriage of the Virgin 
 
 De Witt 
 
 Head of a Girl 
 
 Magdalen 
 
 Riposo 
 
 Virgin and Child . 
 Fish-Market 
 Holy Family 
 Portrait of Himself 
 The Doctor . 
 School in an Uproar 
 The Fortmie-Teller 
 Landscape . 
 Corps de Garde . 
 The Philosopher . 
 Peasants Drinking 
 Village Festival . 
 Bargaining for Pigs 
 Landscape . 
 The Harvest 
 Ducks, &c. . 
 Ducks, &c. . 
 Monkeys at Cards 
 Monkeys Shaving Cats 
 Lady Drinking 
 Lady Writing 
 
 Charles V. on Horse 
 
 Portrait 
 
 Virgin and Child . 
 
 Bust of a Young Woman 
 , The Mouth of a River . 
 . A Calm 
 , View on a River . 
 
 A Calm 
 
 ( 2-20 ) 
 
 Number. 
 
 Page 
 
 236 
 
 181 
 
 209 
 
 157 
 
 210 
 
 157 
 
 211 
 
 158 
 
 212 
 
 158 
 
 24 
 
 23 
 
 95 
 
 68 
 
 213 
 
 159 
 
 214 
 
 159 
 
 215 
 
 160 
 
 216 
 
 160 
 
 237 
 
 182 
 
 97 
 
 69 
 
 98 
 
 70 
 
 99 
 
 71 
 
 100 
 
 72 
 
 101 
 
 72 
 
 102 
 
 73 
 
 103 
 
 74 
 
 104 
 
 74 
 
 105 
 
 75 
 
 106 
 
 76 
 
 107 
 
 77 
 
 108 
 
 78 
 
 109 
 
 78 
 
 110 
 
 79 
 
 111 
 
 79 
 
 112 
 
 80 
 
 113 
 
 81 
 
 114 
 
 81 
 
 217 
 
 161 
 
 218 
 
 163 
 
 219 
 
 166 
 
 220 
 
 167 
 
 115 
 
 82 
 
 116 
 
 82 
 
 117 
 
 83 
 
 118 
 
 83 
 
INDEX. 
 
 Artists. 
 
 Pictures. 
 
 Number. 
 
 Paob 
 
 Van de Velde, W. . 
 
 3. The Salute .... 
 
 119 
 
 84 
 
 Van den Eeckhoiit, G. 
 
 A Philosopher 
 
 120 
 
 84 
 
 Van der Hagen, J. 
 
 Landscape .... 
 
 121 
 
 85 
 
 Van der Heist, B. . 
 
 The Standard-Bearer . 
 
 122 
 
 85 
 
 Van der Heyde, J. 
 
 View in a Town . 
 
 123 
 
 86 
 
 Van der Neer, A. 
 
 1. Dawn 
 
 124 
 
 87 
 
 » 
 
 2. Evening .... 
 
 125 
 
 87 
 
 » 
 
 3. Moonlight .... 
 
 126 
 
 87 
 
 Van Dyck, A . 
 
 1. Ecstasy of St. Augustine . 
 
 127 
 
 88 
 
 „ . . . 
 
 2. The Guitar-Player 
 
 128 
 
 89 
 
 „ . . . 
 
 3. Earl of Newport . 
 
 129 
 
 90 
 
 „ . . . 
 
 4. Queen Henrietta Maria and Sii 
 
 
 
 
 Jeffrey Hudson 
 
 130 
 
 92 
 
 ii ' • • 
 
 5. Adam de Coster . 
 
 131 
 
 93 
 
 Van Eyck, J. . 
 
 Virgin and Child . 
 
 25 
 
 24 
 
 Van Goyen, J. . 
 
 View on a River . 
 
 132 
 
 93 
 
 Van Hemessen, J. 
 
 Call of St. Matthew . 
 
 26 
 
 25 
 
 Van Hoogstraeten, S. 
 
 Portrait .... 
 
 133 
 
 94 
 
 Van Huysum, J. 
 
 Vase with Flowers 
 
 134 
 
 94 
 
 Van Kessel, J. . 
 
 Landscape .... 
 
 135 
 
 95 
 
 Van Musscher, M. 
 
 William Van de Velde 
 
 136 
 
 96 
 
 Van Orley, B. . 
 
 Charles V 
 
 27 
 
 26 
 
 Van Ostade, A. . 
 
 1. Card-Players 
 
 137 
 
 97 
 
 )i 
 
 2. The Musician 
 
 138 
 
 97 
 
 Van Ostade, I. . 
 
 Winter Scene 
 
 139 
 
 98 
 
 Van Slingeland, P. . 
 
 Interior: Candlelight . 
 
 140 
 
 99 
 
 Van Tol, D. 
 
 Girl with a Pink . 
 
 141 
 
 100 
 
 Van Vliet, H. . 
 
 Nieuw Kerk at Delft . 
 
 142 
 
 100 
 
 Vannuchi, A., see Sarto. 
 
 
 
 
 Vasari, G. . 
 
 1. St. Mark .... 
 
 221 
 
 167 
 
 „ ... 
 
 2. St. Luke .... 
 
 222 
 
 168 
 
 Vecellio, T., see Titian. 
 
 
 
 
 Velasquez . 
 
 I.Philip IV 
 
 238 
 
 184 
 
 „ (ascribed to) 
 
 2. Fish 
 
 239 
 
 185 
 
 Verboom, A. 
 
 Hilly Landscape . 
 
 143 
 
 101 
 
 Vemet, C. J. . 
 
 1. View near Naples 
 
 260 
 
 196 
 
 1) 
 
 2. Baise 
 
 261 
 
 197 
 
 Veronese, P. 
 
 Baptism of Christ 
 
 223 
 
 169 
 
 Vinci, L. da, see Lionardo. 
 
 
 
 
 Weenix, J. B. . 
 
 l.Game 
 
 144 
 
 101 
 
 rr 
 
 2. Game 
 
 145 
 
 102 
 
 Wille, P. A. 
 
 The Poet .... 
 ( 221 ) 
 
 262 
 
 197 
 
INDEX. 
 
 Artists. 
 Wouwerman, P. 
 
 Wsmants, J. 
 
 Pictures. 
 
 1. The Sportsman . 
 
 2. The Horse Fair . 
 
 1. Landscape . 
 
 2. Landscape and Cattle 
 
 Number. 
 
 Paoe 
 
 146 
 
 102 
 
 147 
 
 103 
 
 148 
 
 104 
 
 149 
 
 104 
 
 Zampieri, D., see Domenichino. 
 Zurbaran, F. . . . 
 
 St. Francis 
 
 240 185 
 
 PRINTED BY BALLANTVNE, HANSON AND CO. 
 EDINBURGH AND LONDON. 
 
 ( 222 ) 
 
r-- 
 
 '"^^8 1 7 
 
:^^5^2f3p5^S 
 
d&4 
 
 j t ' 
 
 VJ„ 
 
 
 \^£m^, 
 
 myft. 
 
 j^--*.,,.- -< /^ 
 
 -• '■*te3- 
 

 
 
 
 ;>\:iti^ 
 
 ^^^^^^^^^^^H 
 
 H' ■ ■ 
 
 :,''n'M 
 
 
 ^H 
 
 llll 
 
 ■ '.'.■■.lit* 
 ■;■;■■' / i 
 
 l ! r" ' 
 
 }':■[■ 
 -J. , , 
 
 II 
 
 ■ 
 
 I 
 
 1 
 
 1 
 
 1 
 
 vm 
 
 wNif 
 
 ■iy.n 
 
 ;t;i! 
 
 '(;:''# 
 
 /;•! >wfM 
 
 .•K>'^;»; 
 
 :i:u 
 
 'I'm 
 
 il^K'U^-:V'J 
 
 'f:;'!t;;, !'.'>;■ 
 
 'V^ 
 
 '■ ' i-:'. n 
 
 ^^^H 
 
 
 :!'ii 
 
 p