OF-CAIIFO^ " vvlOS ANGELA ^V\E-UNIVER% ^ ri- Tr". I H M f*$ i; ^^ sX o From 10 A.M. until dusk. December j The Gallery is open to Students on Thursdays and Fridays during the above-mentioned months from 10 A.M. to 5 P.M. in summer and 4 P.M. in winter, and to the public on the same days after 11 o'clock A.M. and up to the same hours by payment of sixpence. The Gallery is also open to the public free of charge on Sundays from 2 P.M. till dusk or 6 P.M. (according to the season). The Gallery is closed on Christmas Eve, Christmas Day, and Good Friday. HISTORY OF THE NATIONAL GALLERY. THE British National Gallery of Pictures was founded in 1824, during the administration of the Earl of Liverpool, by the purchase of the Collection of Mr. John Julius Angerstein, which thus formed the nucleus of the present National Collection. The establishment of a National Gallery had long been desired, and George IV. is said to have been the first to suggest the purchase of the Angerstein Collection. Sir George Beaumont and Lord Dover, then the Hon. George Agar Ellis, took an active part in the accomplishment of this object. Lord Dover first brought the matter before Parliament in 1823, and Sir George Beaumont was so anxious to see a National Gallery established that he offered to give his own pictures to the nation as soon as the Government should allot a proper place for their reception.f The National Gallery, thus established, was opened to the public ia the house of Mr. Angerstein at No. 100, Pall Mall, on May 10th, 1824.J The National Collection of pictures remained there until 1834, when it * Hansard, Parliamentary Debates, April 2, 1824 :" The House resolved itself into a Committee of Supply, on the Eesolution, "That 60.000L be granted to defray the charge of purchasing and the expenses incidental to the preserva- tion and public exhibition of the Collection of Pictures which belonged to the late John Julius Angerstein, Esq.. for the year 1824." Sir C. Lone, afterwards Lord Farnborough, spoke in terms of the strongest praise of the pictures which formed the late Mr. Angerstein's Collection. They were, he said, selected on the judgment of Sir Thomas Lawrence, and appeared on inspection so exquisite to His Majesty that he it was who had first suggested the propriety of purchasing them for the Nation. . . . The plan which the Government ought to pursue in forming this Gallery would not be to purchase whole collections, but to buy single pictures of undisputed excellence, and that too, at a liberal price. The Chancellor of the Exchequer said the general control and superin- tendence would be vested in the Lords of the Treasury. Mr. Hume said that the determination to make a National Gallery would rescue the countrv from a disgrace which the want of such an establishment had long entailed upon it. t Hansard. PurUamentary Debates, New Series. Vol. IX., July 1st, 1823, p. 1359: Mr. Apar Ellis praised the noble and patriotic gift of Sir G. Beaumont, and pointed ont that the Collection of Mr. J. J. Angerstein would be sold in the course of the following year, and, if not looked after, would very probably go out of the country. t Thirty-eight pictures only were ultimately acquired, the entire Collection not being included in the Government purchase. See the "Catalogue of the Pifturfs ofj. J. Aniin-xtcin, A's-iy., with Historical and Biographical Notices," by John Young, July 1823, which contains etchings of 42 pictures. See also the '' Itr/tort from tin' Si'In't Committee on National 3omtHUHtt and IVor/ix of Art n-ith tin- Minutes "f Evidence and Appendix," 1841. x THE NATIONAL GALLERY. was transferred to No. 105, Pall Mall, where it was exhibited until its removal in 1838 to the present galleries in Trafalgar Square. In 1826, pending the erection of a suitable building, Sir George Beaumont, in fulfillment of his promise, made over to the Trustees of the British Museum, in trust for the National Gallery, sixteen valuable works by old masters. In 1831 the Rev. William Holwell-Carr bequeathed thirty-four pictures by a similar arrange- ment. Further bequests were those of Lieut.-Colonel Ollney, who in 1837 gave seventeen pictures, and Lord Farnborough, who in 1838 left fifteen paintings to the Gallery. As regards the British Schools the largest additions made to the National Collection by private munificence have been the gift of Mr. Robert Vernon, in 1847, consisting of one hundred and fifty-seven pictures, and the Bequest of Joseph Mallord William Turner, R.A., in 1851, embracing a hundred and five works in oil and about nineteen thousand water colour drawings and sketches.f An extensive bequest in the department of the Foreign Schools was that of Mr. Wynn Ellis, in 1876, comprising ninety-four pictures. Special mention must also be made of those works by John Constable, R.A., which have been presented, or bequeathed, by the family of the painter ; as well as the large collection of ?ictures and sketches bequeathed by Mr. Henry Vaughan in 900. In 1910 Mr. George Salting bequeathed one hundred and ninety-two pictures, a very few of which had been on loan for some time. Other donations and bequests of great value, though numerically less important than those above noted, have from time to time augmented the treasures of the Collection.^ The resources of the Gallery have been increased by the following pecuniary bequests for the purchase of pictures : In 1863 from Mr. Thomas Denison Lewis - - 10,000 1878 Mr. Richard Charles Wheeler 2,612 1881 Mr. Francis Clarke - - - 23,104 1885 Mr. John Lucas Walker - - 10,000 1907 Colonel Temple West - - - 99,909 1908 Mr. Charles Edward GregoMackerell 2,859 * See an article on " The Original National Gallery " by H. M. Cundall in The Art Journal, October 1910, o. 292. + The will -was proved on Sep. 6, 1852, but -was disputed. A law-suit (Trimmer versus Danby) ensued, and Vice-Chancellor Kindersley, on March 19, 1856. made an Order of the Court of Chancery which, with the assent of all parties concerned, took the place of the will. See the "Report from the Committee or the Bousi of Lords appointed to consider and Report in what Manner the Conditions annexed by the Will nf the late Jfr. Turner R.A., to the Bequest of his Pictures to the Trustees of the National Gallery can best be carried out, and to Consider and Report the Measures prop,:r to be taken u-ith respect to the Vernon Gallery, together with the proceedings of the Committee, Minutes of Evidence, and Appendix^' Session 1861. 1 See the Tabular List of Donations and Bequests appended to this Catalogue. ? By the conditions of the Lewis, Clarke, Temple West, and Maekerell bequests the interest only on the invested capital is available for the purchase of pictures. These Funds are still operative. THE NATIONAL GALLERY. xi In 1890, Messrs. N. M. Rothschild & Sons, Sir Edward G-uinness, Bart, (now Lord Iveagh), and the late Mr. Charles Cotes each contributed 10,OOOZ. towards the purchase of three pictures from the Longford Castle Collection. In 1899 Mr. Alfred C. de Rothschild and Mr. J. P. Heseltine each contributed 500Z. towards the purchase of the two Rembrandts from Lord de Saumarez'a Collection.! In 1904 Mr. W. Waldorf Astor, the late Mr. Alfred Beit, the late Lord Burton, Lord Iveagh, Mr. J. Pierpont Morgan, and Lady Wantage contributed the total sum of 21,000/. towards the cost of the " Darnley " Titian (No. 1944), purchased from Sir George Donaldson. In 1906 the National Art-Collections Fund added to the representation of the Spanish School by presenting to the National Gallery the important picture Venus and Cupid (No. 2057), by Velazquez. In 1909 the Portrait of Christina of Denmark, Duchess of Milan (No. 2475), by Hans Holbein the Younger, was purchased partly out of a Special Government Grant and partly by public subscriptions collected through the National Art-Collections Fund. Without a continuance of State support, however, the National Gallery would have remained deficient as a representative col- lection, and wanting in some of its most important contents. Between 1825 (after the purchase of the Angerstein pictures) and 1855 a series of well chosen works were added to the Gallery by means of Special Grants from the Government. In the latter year the establishment was reconstituted by a Treasury Minute, and a Board of Management was appointed consisting of a limited number of Trustees and a responsible Director.! To this Board was entrusted the control of a subsidy to be annually voted by Parliament for the purchase of pictures. Under this system, and with such means at hand, the National Gallery gradually took its place abreast of the great continental galleries. Where the regular Annual Grant would not have sufficed for the purchase en bloc of some important collection, or of some picture of especial value, the Government has recommended to Parliament an advance in aid. Such happened in the case of the Peel Collection, in 1871, and again in 1885, when the Madonna degli Ansidei (No. 1171), by Raphael, as well as the equestrian Portrait of Charles I. (No. 1172), by Van Dyck, were acquired by the Gallery ; also in 1890, when the Longford Castle pictures were purchased, and again in 1899, when the two Rembrandts from Lord de Saumarez's Collection were purchased. In 1894 "The Amba-^idors " (No. 1314) by Holbein, "The Portrait of Admiral Pulido-Pareja " (No 1315) ascribed to 'Velazquez and an " Italian Nobleman " (No. m)by Moroni. t "A Bnrgomatter " (No. 1674) and the "Portrait of an Old Lady in an Arm- Chair" (No. 1675). J See the "Treasury Minute, lieconstituting the Establishment of the Rational Gallery," March 27th, 185.">. Tabular lists of all pictures purchased [or the Collection, whether in the Foreign or British Schools, will be found appended to the respective catalogues of those Schools xii THE NATIONAL GALLERY. by a Treasury Minute the constitution of the Gallery was modified. In 1907 two portraits of members of the Cattaneo family by Van Dyck (No. 2127 and No. 2144) were purchased out of the Grant-in- Aid Account for 27,OOOZ. ; 2,0001. of this sum was contributed by Messrs. P. and D. Colnaghi and the purchase was, with the authority of His Majesty's Treasury, deferred until 1908-9. In 1908, when the Family Group (No. 2285) by Frans Hals was bought from Lord Talbot de Malahide for 25,0002., half of that sum was paid by the Chancellor of the Exchequer at the time of the purchase ; subsequently Lord Iveagh contributed 1,OOOZ., and Lady Wantage, Sir Julius Wernher and Mr. Otto Beit 500J. each ; other friends of the Gallery also helped in this important purchase. The National Collection now embraces about 2,880 works of art. Of this total about 820 pictures, sculptures and drawings, exclusive of the Turner Collection, are now on view at Millbank. A considerable number of pictures of all schools have been temporarily or for definite periods removed from the Collection or sent on loan, under the National Gallery Loan Act of 1883, to other Departments or provincial Museums. Some pictures of the Foreign Schools, Old and Modern, are now generously lent to the Gallery by Lord Lucas, Mr. J. Pierpont Morgan, Sir Hickman Bacon, the executors of Sir Clare Ford, Mr. J. P. Heseltine, and the Earl of Northbrook. The original portion of the present building was erected at the national expense, after a design by William Wilkins, E.A., architect, and was originally intended to accommodate both the National Gallery and the Royal Academy. It was begun in 1832, and the East Wing given up to the former institution was opened to the public on April 9th, 1838. When examined before the Committee of 1848, Sir C. Barry give it as his opinion that, if the Royal Academy were located elsewhere and certain alterations were made, a National Gallery could be obtained on the site that would be an ornament to the Metropolis and afford accommodation equal to the requirements of the country for the national collection of pictures for a great many years to come.* In 1869, on the removal of the Royal Academy to Burlington House, the entire building, as it then stood, was given up to the National Gallery. It was, however, no longer large enough to contain the increased collection of pictures. In the year 1876 a new wing, erected from a design by the late Mr. E. M. Barry, R.A., was added, and the Yernon Collection, which had been temporarily exhibited at the South Kensington Museum, was removed to this Gallery. In 1885-87 the Gallery was still further enlarged by the addition of a new staircase directly accessible from the grand portico and terminating in three * See " Report oj the National Gallery Site Commission, together with the Minutes, Evidence. Appendix, and Index. Presented to both Houses of Parliament />;/ Command of Her Majesty Queen Victoria" 1857, page v. THE NATIONAL GALLERY. xiii vestibules, of which the central one opens into the first of two large and three smaller new rooms communicating with those built by Mr. Barry. In the sub-structure, on the ground floor level, were provided two large studios or repairing rooms, and several smaller apartments together with store rooms and other offices. These last alterations were executed by H.M. Office of Works, under the superintendence of Sir John Taylor, K.C.B., F.R.I.B.A. It was part of Sir John's scheme that the rooms which he erected in 1887 should form a central axis of communication between Barry's Wing on the east side and another, to be planned on the same lines, westward.* In 1908 a special Committee was appointed to enquire into the state of the building in regard to fire risks, and reported that certain alterations for the protection against fire were necessary. These alterations involved the reconstruction of the roofs and floors of part of the older portion of the edifice, and a number of pictures were temporarily placed on screens or withdrawn from exhibition. On March llth, 1911, five new rooms were opened on the west side of the building. In 1893 Sir Henry (then Mr.) Tate, who had long desired to present to the Nation his collection of modern British pictures, generously offered to erect at his own cost a public Gallery for its reception, on condition that the Government would provide a suitable site for the building. This offer was gratefully accepted. The site selected was in Grosvenor Road, Millbank. Designs for the structure were prepared by Sir Henrv Tate's architect, Mr. Sidney R. J. Smith, F.R.I.B.A., and on July 21st, 1897 the new Gallery was formally opened by King Edward VII., when Prince of Wales, under the title of the National Gallery of British Art. It was opened to the public on August 16th, 1897. In November, 1899, the Building, which had originally consisted of eight Rooms, was enlarged by the addition of nine more Rooms at the expense of the munificent Donor of the Gallery. In addition to Sir Henry Tate's private collection of sixty- five pictures, it now contains the pictures and sculpture purchased, under the terms of Sir Francis Legatt Chantrey's Bequest, by the President and Council of the Royal Academy.f Between 1897 and 1902 George Frederick Watts, R.A., generously pre- sented to the Nation twenty-three of his /most important works. These form the "Watts Collection" in the National Gallery of British Art. Charles Lock Eastlake, "The Administration of the National Gallery," in " The Nineteenth Centum" Dec. 1903, p. 945. t In 1841 Chantrey had bequeathed the reversion of his estate for the pur- chase of works of British Art, and in 1876, on the death 9f his widow, the bequest came into operation. The Trustees under the Will considered the newly founded Gallery a "suitable and pr9per building," according to the wording of that document, wherein to deposit the collection of paintings and sculptures purchased under the terms of the Will up to the date of the openinz of that Gallery and known as the " Chantrey Bequest." xiv THE NATIONAL GALLERY. The whole of the site behind the Gallery at Millbank having been reserved by the Government for future extensions, an addition of five rooms on the main floor with others below was, through the generosity of the late Mr. J. J. (afterwards Sir Joseph) Duveen, made between August 1908 and the early part of 1910. During the first half of the latter year the new Turner Wing was fitted up for exhibition purposes, and, the majority of the great painter's oil pictures and water colour drawings having been transferred there from Trafalgar Square, was opened to the public on July 20th, 1910. The opportunity was taken to remove to the National Gallery the remainder of the pictures of the Modern Foreign Schools which had for some time been temporarily hung at Millbank. The National Gallery was first opened to the public on Sunday afternoons on May 3rd, 1896. Until 1908 it was only open on Sundays from April to October inclusive. Since the autumn of that year the public have been admitted on Sunday afternoons all the year round.* * A tabulated statement of the Annual Returns of the Sunday attendances at the National Gallery and the National Gallery of British Art was contained in a letter published in the Times of September 27, 1910. DIRECTOR'S PREFACE TO THE EIGHTY-FIRST EDITION OF THE CATALOGUE. THE Director wishes to thank those gentlemen who have assisted him in the revision of the Catalogue by pointing out mistakes in the last edition and by suggestions, several of which have been carried out. He also wishes to thank Mr. Maurice W. Brockwell for his assistance in this edition of the Catalogue in the way of pointing out many mistakes, and for certain suggestions that have been adopted. Mr. Brockwell rewrote the British School Catalogue, here incorporated, as well as the biographical notes marked with an asterisk in the Foreign Schools section. To the Director's regret certain details, taken from notes made by Mr. Brockwell for a work which he was preparing on the Salting Bequest and kindly lent to the Director were, by an unfortunate error, copied from Mr. Brockwell's MS. into the National Gallery Annual Report of 1910. The Director also wishes to thank Mr. C. H. Collins Baker for rewriting the Catalogue of the Foreign Schools from D to Z inclu sive, with certain biographical notices in the section A to C ; for revising the existing indices and for compiling the new Subject Index. EXPLANATORY REMARKS, THE Catalogue is arranged in the alphabetical order of the painters' names, which answer to those inscribed on the picture frames. When the frame bears no painter's name but that of a School only, the picture will be found catalogued under the head of that School in the general alphabetical sequence, as : Dutch School ; Florentine School ; Umbrian School, etc. The terms ''formerly assigned to," "formerly catalogued under,'' and " now catalogued under," inserted after the titles of certain pictures, mark a new attribution as compared with the Eightieth Edition of this Catalogue, published in 1906. Italian painters are catalogued under the names by which they are best known, in order to facilitate reference. Cross-references have also been inserted. The names used in the Catalogue are underlined on the labels attached to the frames. In the description of pictures the terms right and left are used with reference to the right and left of the spectator, unless the context obviously implies the contrary. The surface measurements of the pictures are given in inches, and in metres. The abbreviations h. and 10. indicate height and. width. CATALOGUE. AACK.EN (JAN VAN). No. 1397. An Old Woman Sewing now catalogued under DUTCH SCHOOL. ABBOTT (LEMUEL FRANCIS), 1760-1803. British School. Lemuel Francis Abbott, a native of Leicestershire, was born in 1 7 60. At the age of fourteen he became a pupil of Francis Hayman and subsequently followed Art as a portrait-painter. Hayman and subsequently followed Art as a portrait-painter. He was an occasional exhibitor at the Royal Academy between 178S anrJ 1 Af\O fi^^^ol ~P V,;,, ~..l i ll! 1 iJ- o f in INSERT AT PAGE 1. ERRATA. P.217 Note read Schmarsow & L'Arte. P.222 Note read Woermann. P.375 Last line "S. George" read "Gregory." P.424 Last line but 3 of text "the present century" -? read "last." P.466 Last line of Miereveldt biog. read 1641. P.484 Line 2 read MDXXVI. P.490 Read Zeno. P.694 Line 1 of note to No. 35 "painted in 1514" read (as in text) c. 1520-3. AGNOLO (ANDREA D'). (See SARTO. ALBA.. (See MACRINO D'AXiBA.) ALDEGREVER (HEINRICH), 1502 ? living in 1555. School of Westphalia. HEINRICH ALDEGREVER, whose real name was TRIPPENMEKER, the most important artist of Westphalia in the XVIth century, was an eugraver, goldsmith, and painter. He was born in 1502, or a few months earlier, at Paderborn*. He was the only The date is fixed by the two engraved self-portraits, the one inscribed " Anno sue Aetatis XXVIII," and dated 1630, tho other inscribed " Anno Ktntis sue XXXV," and dated 1537. 17983 A EXPLANATORY REMARKS, THE Catalogue is arranged in the alphabetical order of the painters' names, which answer to those inscribed on the picture frames. When the frame bears no painter's name but that of a School only, the picture will be found catalogued under the head of that School in the general alphabetical sequence, as : Dutch School ; Florentine School ; Umbrian School, etc. Th *- **- uno cert Eig: It are! have are u In with conte: Th< _^____^n,>t AU<- AXiXiORX (ALESSANDRO), 1535-1607. School of Florence. ALESSANDRO DI CRISTOFANO DI LORENZO ALLORI was born on May 3rd, 1535. His father dying when he was young, ALESSANDRO was brought up by Agnolo Bronzino, who was a friend of his father.* His Portrait of Bianco. Cappello is in the Uffizi Gallery. ALESSANDRO was the master of bis son Cristofano Allori, and of Lodovico Cardi da Cigoli. He died on September 22nd, 1607. In 1590 he published at Florence his " Dialogo sopra I'arte del disegnare le figure, principiando da 1 muscoli, ossa, nervi, vene membra, notonia e figura perfetta" No. 65O. Protrait of a Lady. Formerly assigned to Angelo Bronzino. The lady is dressed in a rich gold-quilted white satin bodice, with a blue velvet gown ; the body and sleeves are embroidered with gold. Canvas, 44 in. h. by 31 in. w. (1-11 by 0'83). Purchased in Paris from M. Edmond Beaucousin in 1860. AX.UNNO. (See NICCOLO DA FUZiZGNO.) AWBERGER (CHRISTOPH), 15007-1562?. School of Suabia. CHRISTOPH AMBERGER seems to have been born about 1500, but no record of his birth exist. He developed his art under the influence of Hans Burgkmair and the works of some Venetian painters. His portraits have been compared with those of Hans Holbein the Younger, whose inferior he was as a draughtsman. He worked in Augsburg from 1530, the year in which he produced his Portrait of Ulrich Sulizer now in the Vienna Gallery, his Portrait of Charles V., in the Berlin Museum, being painted two years later. To the year 1542 may be assigned the Portrait of Matthdus Schwarz, which was lent by Mr. Leopold Hirsch to the Exhibition of Early German Art held at the Burlington Fine Arts Club in 1906. His chief religious pictures are the Madonna with Saints and Angels, which is signed and dated 1554, in the Cathedral at Augs- burg, and the Christ with the Wise and Foolish Virgins, of 1560, in the Church of St. Anne in the same city. This is AMBERGER'S * It has been proved by Alb. Furno in his " Vita e le rime dt Agniolo Bronzino, Pistoia, 1902, p. 27, that Agnolo was not the uncle of Alessandro. 17933 A 2 4 AMBERGER ANDREA DI LUIGL latest known work. He died between November 1, 1561, and October 19, 1562.* ATTRIBUTED TO AHXBERGER. No. 2604. Portrait of a Man. Bust length turned to the right, showing both hands which are clasped ; three-quarter face ; he wears a dark fur-trimmed cloak and large black cap ; green background. Wood, Hi in. h. by 11 in. w. (0'36 by 0'27). Exhibited at Burlington House (Old Masters) 1895 (No. 177). Lent to the Gallery since 1895. George Salting Bequest, 1910. ' AIVIBROGIO DA FQSSANO (See BORCOGNONE AMBROGZO DE PREDZS. (See PREDIS.) AMBROGZO DZ STEFANO. (See BORGOGNONE.) AMBROSZ. (See MEZ.OZZO DA FORZiZ.) AMERZGHZ (MICHELANGELO). (See CARAVAGGZO.) "AMZCO DZ SANDRO." (See SCHOOL OF BOTTICELLI.) AMSTERDAM (JACOB VAN). (See CORNEZ.ZSZ.) ANDREA ARCAGNUOZiO DZ CIONE. (See ORCAGNA.) ANDREA D'AGNOliO. (See SARTO.) ANDREA DEZi CASTAGNO. (See CASTAGNO.) ANDREA DZ CZONE. (See VERROCCHZO.) ANDREA DZ Z.UZGZ. (See ZNGEGNO.) J. G. Doppelmayr : Historic-he XachricM von den yilrnltergiscfien Mathe- maticis und KunMern, Xiirnberg, 1730. Haasler : Der Maler Christoff Ambergcr von Augsburg, Konigsberg. 1894. Biographical notice by Dr. Friedlander " in Allyemeines Lexikon der Bildenden Kiinstler, 1907, ! p. 387. ANDREA. DEL SARTO ANGELICO. 5 ANDREA BEX. SARTO. (See SAB.TO.) * ANGELICO (FRA GIOVANNI), 1387-1455. Florentine School. FRA GIOVANNI DA FIESOLE, called L'ANGELICO and IL BEATO ANGELICO,* was born in Vicchio di Mugello in 1387 ; his secular name was Guido or Guidolino. He joined the Order of the Predicants at Fiesole in 1407, and is said to have begun his career in art as an illuminator of manuscripts. FRA GIOVANNI left Fiesole in 1409, in the pontificate of Alex- ander V., and practised as a fresco painter for five years at Foligno, and, in 1414, at Cortona, where several of his best pictures are still preserved. By 1418 he had returned to Fiesole, where he resided until 1436. Inthatyear he was invited to Florence to decorate the new Convent of San Marco, then assigned to the Predicants as their abode. For this convent FRA GIOVANNI executed his most important works, which occupied him about nine years and won for him great renown throughout Italy. Consequently, in 1445, he was invited to Rome by Pope Eugenius IV., who employed him in the Vatican, where he also painted a chapel for that pope's successor, Nicholas V. While engaged for Nicholas V., he was invited to Orvieto to paint the chapel of the Madonna di San Brizio, in the cathedral, which he commenced in 1447, but left incomplete. He did not return to Orvieto after the autumn of that year. The work was completed many years afterwards by Luca Signorelli.f FRA GIOVANNI returned to Rome in September, 1447, but was again in 1452 in Fiesole, where he became the Prior of his convent. He thence removed again to Rome, where he remained until his death, March 18, 1455. He was buried in the Church of Santa Maria sopra Minerva ; and the following inscription was placed on his tomb : Hie JACET VENE. PICTOR FK. lo. DE FLOR. ORD. s. PUICATO. MCCCCI,V NON MIHI SIT LAUDI, QUOD ERAM VELDT ALTER APELLES, BED QUOD LUCRA TUIS OMNA, IIRISTE, DABAM ; ALTEKA NAM TERRIS OPEKA EXTANT, ALTERA COELO ; URBS ME JOANNEM FLOS TCLIT ETRUKI.K. The beatification of a deceased person eminent for piety is a solemn dis- tinction conferred by the Roman Church, and is second only to canonization t S,:e Vasari, Vite de' Pittori, &c. Ed. Milanesi. Firenze, 1878. II.. pt>. 505-26. V Marchese ilenwrie dei piu imigtii Pittori, &c. Domcnicanl. Florence, 184"); and San Marco, Convcnto dei Padrl Predicatori in Firenze, illtixtnit.i ( ///<<,; j.rinci- jjalmente nei dipinti del B. Giovanni Angelica, &c. Folio. Flor., 1853. The paintings in the Chapel of Nicholas V. have been finely engraved for the Arundel Society. See also R. Langton Douglas: Fra Angelica, 1902. A complete bibliography on this artist is included in Allgemcines Lexlkon der Bildenden Kunstler, 1907 6 ANGELICO. FRA GIOVANNI. ANGELICO, says Vasari, was a man of such fervent piety that he never commenced painting without prayer. He is still well represented in the Convent of San Marco at Florence, and the Accademia at Florence possesses a fine collection of his smaller works. Engravings from his paintings are numerous. It has been hazarded that Fra Angelico was a pupil of, or at least influenced by, Lorenzo Monaco. No. 663. Christ, surrounded by Angels, Patriarchs, Saints and Martyrs. In the centre compartment is seen Christ, with the Banner of the Resurrection in His left hand, in the midst of a choir of Angels, some blowing trumpets, others playing various musical instruments. On the two sides are kneeling a great crowd of the Blessed : the Madonna ; the Apostles ; the Patriarchs ; the Prophets; and the Saints and Martyrs of both sexes. At the extreme ends are the " Blessed " or Beati of the Order of the Dominicans, in their black robes. Altogether two hundred and sixty-six figures or portions of figures ; many with their names attached ; " so beautiful," says Vasari, " that they appear to be truly beings of Paradise." Wood, in tempera, in five compartments, each of which is 12 in. (0-31) high ; the central panel is 28 in. (0'72) wide, each of the inner side panels 25 in. (0'63) wide, and each of the outer panels 8 in. (0'21) wide. Formerly the predella to the altar-piece of the Madonna with Saints and Angels which still remains in San Domenico at Fiesole. Rumohr : Italienische Forschungen, Berlin, 1827, II., 253. " These [predella] pictures, sold by the monks of the convent before 1820 to Sig. Valentini, Prussian Consul in Rome, were by him made an heir-loom. The subsequent proprietor, his nephew, Sig Gioacchino Valentini, after long negociations with the agents of the British Government, obtained a decree from the Pope removing the legal restriction. "The five pictures were purchased for the National Gallery in October last for the sum of 3,500. The additional and incidental expenses, in consequence of the demands of the Roman Government before allowing the exportation, were unusually great The British Consul finally paid 700 for the permission of exportation." National Gallery Annual Report, 1861. Purchased from Signor Gioacchino Valentini, at Rome, in 1860. SCHOOL OF FRA ANGELICO. No. 582. The Adoration of the Magi. Formerly assigned to Fra Angelico. A rocky landscape with a small building on the spectator's right, near which the Virgin is seated holding the child on her ANGELICO ANGELO. 7 knees. Composition of many small figures. The three Magi with attendants approach from the left. In tempera, on wood, 7J in. h. by 18 in. w. (0'19 by 0'46). Formerly in the collection of Professor Rosini, at Pisa. Purchased from the Lombardi-Baldi collection, at Florence, in 1857. No. 1406. The Annunciation. In an arcaded porch or corridor, open to the air and disclosing a flower garden in the middle distance, the Virgin, seated on the right hand of the composition before a curtain of gold tissue with a closed volume on her lap, bends forward with a reverential gesture towards the Archangel Gabriel, who, entering the porch from the opposite side clad in a rose-coloured robe diapered with gold, approaches her in an attitude of deep respect.* Above the Angel's head hovers the Holy Spirit in the form of a white dove. Wood, 40f in. by 55 in. (1'03 by 1'39). The two panels of what was formerly a diptych have been almost imperceptibly joined together. Brought to England in 1818 by Samuel Woodburn. This religious subject was frequently painted by Fra Angelico. It may be compared with those in the Oratorio del Gesu at Cortona ; in the Gallery of the Prado at Madrid ; and iu the Upper Corridor of San Marco. This picture differs in many details from each of those paintings. Purchased from M. Bourgeois in Paris, through Messrs. Lawrie & Co. in 1894. ANGELO DX TADDEO GADDX, 1333?-1396. Giottesque School. Agcolo, the son of TADDEO GADDI was entrusted by his father to the care of Jacopo del Casentino, and of Giovanni da Milano, c. 1366. At this date ANGELO would have been thirty-three, and no doubt sufficiently formed as to style. His training he had from his father. In his early youth, a little after 1350 be painted The Resurrection of Lazarus, in San Jacopo tra'Possi, at Florence. In 1367 he was commissioned to paint the loggia in the Piazza della Signoria for the Stieri degli Albizi. In 1369 he was working in the Vatican as assistant to his brother Giovanni. Between 1370 and 1380 Agnolo made his position in Florence secure. He was employed on the decorations of the Loggia de'Lanzi and the cathedral of Sta. Reparata, between 1380 and 1390. At about this date Cennino Cennini became his pupil, for twelve years. In 1387 ANGELO was admitted to the Guild, at Florence, and in 1390 was pamtiug in fresco at Prato for Francesco di Datini. In 1393 he was living at Prato, and "On the capitals !of two of ('the columns of the cloister the red annulets upon a silver shield of the Albizzi family are seen." Athenaeum, March 24, 1891 8 1 ANTONELLO. according to documents of payment painted there the frescoes in the Chapel of the Sacred Girdle*, where other traces of bis work remain. From 1394 onwards he was in Florence and painted eight frescoes in the choir of Sta. Croce. His latest work was an altar-piece for the church of San Miniato al Monte (1394-5) for which he did not get the full payment. He died at Florence 1396 and was buried in Sta. Croce. No. 568. The Coronation of the Virgin. The Virgin is inclining her head to receive the crown from the bauds of Christ ; four angels are kneeling below, in front of the throne, two of them bold golden vessels in their hands. The principal figures are small life-size. Wood, in tempera, 71 in. li. by 37 in. w. (1'SOby 0'93). Formerly in the Convent of the Minori Osservanti of San Miniato, near Florence. Purchased at Florence, from the Lombardi-Baldi Collection, in 1857. : ANTONEliLO DA MESSINA, 1430-1479. Netherlandish and Venetian Schools. ANTONELLO DI GIOVANNI DEGLI ANTONI, commonly called ANTONELLO DA MESSINA, is distinguished among the painters of the 15th century chiefly for his introduction into Italy of the Flemish system of oil painting. The use of oil in painting was known at an earlier period in Italy as well as in the north, but had so far failed to recommend itself that, even after the Flemish method of VanEyck and Roger van der Weyden had been seen and admired in Italy, the Italian painters still continued for many years to work in tempera. Vasari relates that ANTONELLO, having first studied at Rome and then returned to Sicily where he acquired reputation, went to Flanders, ingratiated himself with Van Eyck. and learnt from him the secret of his method ; and that on the death of Van Eyck he returned to Messina, and soon after settled at Venice. But Jan Van Eyck died in 1441, and modern research shows that ANTO- NELLO was born in Messina in 1430f ; he could not, therefore, have known Van Eyck, though he may have visited Flanders in order to learn the new method of painting. On the other hand, it is unnecessary to suppose such a journey to have taken place. Flemish pictures were well known and highly prized in Italy. Roger van der Weyden travelled about 1450 in the Peninsula, and without doubt was not the only northern painter who sought employment there. From one of these ANTONELLO * Crowe & Cavalcaselle date this commission c. 1395, and quote documents of payments, e.g., Guasti, R. La Cappella de'Migliorati in Prato. Venturi, vol. v. p. 816, seems to date this work much earlier. t See an article by Gioacchino di Marxo : "Di Antonello d'Antonio da Messina, Primi document! Messinesi " in Sucicta Storied Messinesc, ArcMvio storico Messinesc, Anno in., 1903, pp. 169-186. ANTONELLO. 9 might have gained the knowledge he desired. Certain it is that the style, no less than the technique of almost all his known works proves his affiliation to the northern school. The earliest record of ANTONELLO is dated March 5th, 1457, and gives his age as twenty-seven. He seems to have been absent from Me*sma between 1457 and 1460, and he was travelling on the mainland between 1466 and 1472 The visit he paid to Venice and the North of Italy in 1475-6 is corroborated by his pictures. He died between the fourteenth and the twenty-fifth of February, 1479. His son, Jacobello or Jacopof degli Antoni, and his nephew and imitator, Antonello di Saliba, also practised as painters. Much of ANTONELLO'S work has a strongly Venetian stamp, and is justly held to exhibit the influence of the Bellini, who, on their part, may have been indebted in some measure to the Sicilian for their knowledge of the Flemish method of oil painting. But to ANTONELLO and Flemish influences is Sue that type of por- traiture which we find among the Venetian and North Italian painters of his time, and which, under a southern sun and in the hands of a Titian, expanded itself in the noblest form. No. 673. Salvator Mundi. The right hand is raised in the act of blessing ; the fingers of the left rest on the edge of a parapet. He wears a dark crimson tunic ; a portion of the blue drapery crossing the left shoulder. Bust figure, seen in front, small life size. In the lower part of the neck is seen what is called a pentimento or correction. The right hand and part of the tunic were originally higher, and their forms, obliterated by the painter, have in time partly re-appeared. Wood, 15 in. k. by 12 in. w. (0'42 by 0'32). This picture, the earliest of Antonello's signed works, is dated 1465 in the cartellino, which is inscribed as follows : 9 For a list of the authorities who have examined exhaustively the many records relating to Antonello we Maurice W. Brockwell : Niititiiml Gallery: l.,'ii-ix Jt, iini.it, l!H)ii, pp. 18-21 ; and (luzitti ilrx Hnui.c .inn, January, 109, \>< t See Hurl. Club E.<:hib. Catal. ; Early Venetian Art 1D12. Jacopo signed a picture at Bergamo. 10 ANTONELLO. The year 1465 corresponds not with the eighth but with the thirteenth indiction. It is therefore supposed either that the painter was misin- formed as to the year of the indiction, or, which is more probable, that the freely written V. was originally crossed so as to form X*. Purchased from the Cavaliere Isola, Genoa, in 1861. No. 1141. Portrait of a Young Man. (Supposed to be the painter himself.) He wear? a red cap, and a brown doublet, above the collar of which is seen the edge of a linen under-garment encircling the neck. The hair of the head is short and the face is shaven. Bust length ; about two-thirds life size. Dark background. Wood, 13| in. h. by 10;in. w. (0'34 by 0'25). A piece of paper of the last century, glued to the back of this panel contains a memorandum in now faded ink, in the handwriting of the great-grandfather of Sigftor G-. Molfini, to the following effect: " Anto- " nello of Messina, a city of Sicily, a famous painter " And this is his portrait, painted by himself, as was to be seen by an " inscription below it which I, in order to reduce it (i.e., the picture) to '' a better shape, sawed away." Some traces of further writing are now illegible. Crowe & Cavalcaselle : History of Painting in Xorth Italy, 1871, II.. pp. 89-90. The Times, May 31st, 1885, p. 5. Purchased in Genoa, from Signer G. Molfini ; Lewis Fund. 1883. No. 1166. The Crucifixion. The dying Saviour, from whose wounded side blood is still flowing, hangs nailed to the Cross, at the foot of which lie human skulls and bones. On the left the Virgin, clad in a plum-coloured robe and blue mantle with a white linen veil which falls from her head to her knees, sits in an attitude of sorrowful resignation. On the opposite side sits St. John, draped in a grey tunic and scarlet pallium ; his face is upturned towards his Master, with the hands extended as if in supplication. In the middle distance is seen a fortified town with many small figures, some on horseback. Beyond, a hilly landscape. Wood, 17 in. A. by 10 in. w. (0'43 by 0'25). Signed on a cartellino below : Purchased from Louisa, Marchioness of Waterf ord ; Clarke Fund, 1884. * The cycle of indiction, covering aTperiod of fifteen years, was frequently employed in! the computations of chionologists in additionrito the solar and lunar cycles. ANTONELLO ARNALD. 11 No. 1418. 67. Jerome in his Study. The subject is enclosed by a large stone segmental-headed arch- way, which admits light into an apartment roofed with a Gothic vault and paved with tiles. A portion of this room is occupied by a wooden structure raised on a platform ascended by steps. On this platform St. Jerome sits at a desk, turning over the leaves of an open volume. Behind and in front of him rise shelves filled with books, pottery, and other articles. Towards the right of the picture St. Jerome's lion is seen in a vaulted corridor lighted by two windows with landscape in distance. On the left, at the end of a passage, is another window with a distant view of meadows and buildings. On a step in the foreground are a peacock and another bird, probably intended to represent a partridge. This picture is mentioned by the Anonimo* of Morelli as being in the possession of Antonio Pasqualino in Venice in 1529, where it was variously attributed to Antonello, to Jan van Eyck, and to Hemline. He himself considered it to be by Giacometto Veneziano, meaning probably Jacopo de' Barbari. There seems little doubt that the attribution to Antonello da Messina is the right one. Wood, 18 in. h. by 141 in. w. ((Ho by 0'36). Formerly in the collection of Sir Thomas Baring, June 3rd, 1848 (No. 66). Subsequently in the collection of Mr. W. Coningham, June 9th, 1849 (No. 29), when it was acquired by the Earl of Northbrook. Exhibited at the British Institution, 1845, (No. 66), under the title of St. Jerome, by Van Eyck ; at Burlington House, 1871, (No. 191), under the title of A Philosopher in his btudy, by John van Eyck ; at the Burlington Fine Arts Club's Netherlandish Exhibition of 1892, (No. 7A). Waagen : Treasures of Art in Great Britain, II., 182. W. H. J. Weale and J. P. Richter : Catalogue of Lord XorthbrooVs Collection, 1889, pp. 105-108. Purchased from the Earl of Northbrook in 1894. ANTONXAZZO ROMANO ('.'_). See U1KBRXAN SCHOOL. No. 702. ARETINO. (See SPINELLO. ARNALD (GEORGE), A.R.A., 1763-1841. British School. George Arnald was born in 1763. He exhibited for the first time at the Royal Academy in 1788, when he contributed * An anonymous writer of the XVI Century. See Dr. O. C. Williamson : The Anonimo, 1903, p. 116. 12 ARNALD AVERCAMP. a Scene from Nature. His name occurs in the catalogues of the Royal Academy almost every year from 1788 to 1841. He was elected an Associate of the Royal Academy in 1810 and became landscape painter to the Duke of Gloucester in 1819. Sixty-three of his works were seen at the British Institution between 1807 and 1842. He seems to have travelled and painted on the Continent, and among the results of his labours is a series of Views on the River Meuse, from Liege to Mezieres, engraved in mezzotint from his drawings and accompanied by descriptive text written by the author. The date of this publication is uncertain, but the drawings for it were probably made after the peace of 1815. Arnald died in 1841. No. 1156. On the Ouse, Yorkshire. A view looking across the river towards the opposite bank, where, on the left of the scene, two sailing barges are moored and a boat has been hauled ashore. To the right is the end of a stone wall or jetty, with mooring rings attached. In the middle distance is a bridge, behind which rises a lofty building, appa- rently erected on the remains of an ancient castle. In the background trees and other buildings. The sky, across which storm clouds are drifting, is illumined towards the right by a sunset glow. Canvas, 55 in. Ti. by 44 in. n. (1'39 by 1-11). Wheeler Fund. Purchased in 1884. AVERCAMP (HENDRIK), 1585-after 1663. School of Amsterdam. This painter was born at Amsterdam on January 25, 1585. He was the son of Barend Avercamp, a young Frisian, then a master in the high school of Amsterdam, and of his wife, Beatrix, daughter of the rector, Pieter van Meerhout.* The year after his birth his parents removed to Kauipen. The boy, who was incurably dumb, and therefore known throughout life as " de Stomme," ("the mute")f, early showed his talent for drawing. As his malady unfitted him for 6 See Dud-Holland. Jaargang III., 1835, p. 53. t Immcrzeel (De Levens en Werken,&c.s6 voce Avercamp), conjectures that this by name arose from the painter's being of a taciturn disposition. But see the touching- death-bed memorial of Beatrix Avercamp to the Magistracy of Kampen respecting her son Hendrik, Dec. 18th. 1663, and her will of the same date : in the former of which documents she repeatedly calls him her dumb and pitiable son ("haren stommen ende miserabelen soen"), while in the latter she makes provision for his support, in order that he may not be a burden on his brothers and sister. (J. Nanning Uiterdyk, in Obreen's Archief, &c., 2te deel.pp. 203-207.) AVERCAMP BACCHIA.CCA. 13 most employments, he was probably placed with a painter at Amsterdam, where he would be cared for by his mother's relations. His master there is supposed to have been the lands- cape painter Gilles van Coninxloo. At Amsterdam chiefly, but also at the Hague and perhaps elsewhere in Holland, HENDRIK AVERCAMP pursued his art until, at any rate, 1625. Afterwards he withdrew to Kampen, where his widowed mother survived, and where he himself died after 1663. The subjects of most of his pictures are winter scenes. His pictures, though much less frequently met with than his drawings, are to be found in several galleries. His signature is in most cases a simple monogram composed of the letters H and A as in two pictures in this Gallery ; occasionally the full surname appears. No. 1346. A Winter Scene. In the foreground, towards the left, a leafless tree rises above humble tenements on the bank of a frozen canal. In the distance is a chateau with other buildings beyond. On the ice between the foreground and the chateau are numerous gaily-dressed persons skating. On the right, a sleigh occupied by a pleasure party and drawn by a horse. Wood (circular), 15* in. (0-39) in diameter. Signed IJJ Purchased from M. Edward Habich, of Cassel, in 1891. No. 1479. A Scene on the Ice. To the right is a large red-brick house, apparently a farm, with outbuildings abutting on a wide river, which is frozen over and covered with groups of figures, including men and women skating, a sledging party, and men playing hockey. In the distance the spires of a large town are seen over the trees ; beyond, the river stretches away to the horizon. Wood, 22J in. h. by 34| in. w. (0-56 by 0'88). Signed with the painter's monogram on the water tank in the foreground : Purchased from Mr. J. St. Hens6 ; Lewis Fund, 1896. BACCHIACCA (FRANCESCO), 1494-1557. Florentine School. FRANCESCO UBERTINI, a native of Florence, and more commonly known as IL BACCHIACCA, was born on March 1, 1494.* He studied first under Fietro Perugino, either at * The patronymic Ubertini, or rather (V Ubertino, was derived from the baptismal name of Francesco's father. The family name was Verdi. See Milanesi's Oijerc di G. I'uxuri, VI. p. -151. and note, where the genealogy of the family is given ; also the same work III., p. 14 BACCHIACCA. Perugia or at Florence. Subsequently he attached himself to Franciabigio, and also enjoyed the friendship and counsel of Andrea del Sarto. This various teaching is reflected in his works. His elder brother, Baccio, was also a painter and a frequent assistant of Perugino ; his younger brother, Antonio, practised the art of embroi- dery. BACCHIACCA'S paintings were generally small in scale, compris- ing for the most part predelle for altar-pieces, and the pictorial adornments of wedding chests (cassoni) and other costly articles of furniture. In fresco he decorated a grotto in the gardens of the Pitti Palace. For the houses of Pier Francesco Borgherini and Giovan Maria Benintendi, rich Florentines, UBERTINI painted several small compositions which Yasari praises highly, adding that many such productions of the painter were sent to France and England. In the Uffizi is apredella in three parts, containing Scenes from the life of S. Ascanius ; in the collection of Prince Giovanelli at Venice, a small and highly finished picture of Moses striking water from the rock ; in the Dresden Gallery, an interesting legendary subject, supposed to have come from the Casa Benintendi. UBERTINI married Tommasa, daughter of Carlo d' Antonio di Prologo. He died October 5, 1557. No. 1218. The History of Joseph (Part I.). A horizontal composition containing numerous figures divided into groups. In the centre is an octagonal building entered by a vaulted portico, under which Joseph stands, attended by his officers. On the left hand of the porch are seen Joseph's brethren, clad in various gaily coloured garments, amongst which the Roman pallium and oriental turban are added to Italian costume of the 16th century, and bearing vases and presents. On the right they are departing, Benjamin riding on an ass laden with sacks of corn. In the background a landscape with rocks in the middle distance and mountains beyond. Wood, H in. h. by 55 in. w. (0'35 by 1'40). Exhibited at Burlington House (Old Masters) 1877, (No. 170). See under No. 1219. Purchased from Lord Methuen ; Walker Fund, 1886. No. 1219. The History of Joseph (Part II.). The companion picture to No. 1218, the figures being somewhat larger. On the left Joseph's brethren are seen returning and escorted by guards. Benjamin, with his hands tied behind him, is being pushed forward by an attendant in a turban, while Judah, following, pleads for him, and the brethren in front protest their innocence. On the right of the picture Joseph, standing at the door of his abode, receives his brethren, who kneel or stand in supplicating attitudes, and points out Benjamin, who is kneeling BACCHIACCA BACKHUYSEN. 15 at his feet, to a person of importance arrayed in a suit of armour. In the background a hilly landscape with the distant view of a fortifiedjtowa on a sea-shore, with mountains beyond. Wood, 14 in. h. by 55 J in. to. (0'35 by ]-40). The original studies in black chalk are in the Louvre, Nos. 352 and 353 of the Reiset Catalogue. The two pictures described above are specially mentioned by Vasari in his notice of Ubertini. They formed part of a set of panel and furniture decorations in the nuptial chamber of Pier Francesco Borgherini and his bride Margherita Acciaiuoli, in their palace at Florence, executed by Andrea del Sarto, Granacci, Pontormo and Bacchiacca. The costumes in this composition correspond with those in No. 1218. These two subjects were purchased many years ago from the heirs of the Borgherini by the Rev. John Sanford, who bequeathed them to his son-in-law, the second Lord Methuen. Exhibited at Burlington House (Old Masters) 1877, (No. 176). Waagen : Treasures of Art in Great Britain, IV. 397. B. Berenson : " Drawings of tliv Florentine Painters" 1903, Vol. I, p. 391. Catalogue Sommaire des Dessins in the Louvre, p. 23. Five other pictures of this series are in the Borghese Gallery. Purchased from Lord Methuen ; Walker Fund, 1886. See also No. 1304. UMBRIAN SCHOOL. BACCZO DELLA PORT A. See BARTOXiOTCMEO. * BACKHUYSEN (LUDOLF), 1631-1708. School of Amsterdam. This artist was born at Emden, December 18, 1631. His father was a government secretary at Emden, and Ludolf acted as his clerk until 1650, when he was placed with a merchant at Amsterdam, to learn commercial business. While thus engaged BACKHUYSEN began to make drawings of ships from nature, for which he soon found willing purchasers. He even- tually studied painting under Albert van Everdingen, and the marine painter Hendrik Dubbels. BACKUUYSEN'S favourite subjects were wrecks and stormy seas, which he frequently sketched from nature in an open boat, at the great peril of himself and the boatmen. He engraved a few pieces ; there are some etchings of the Y,* and other marine views, executed by him when old. He made also many construc- tive drawings of ships for the Czar Peter the Great, who took lessons of the painter and frequently visited his painting-room. BACKHUYSEN also gave lessons in writing, in which he had intro- duced a new and approved method. He died at Amsterdam, * That part of the Zuider Zee on which Amsterdam is situated. 16 BACKHUYSEN. November 17, 1708. Ludolf Backhuysen, called the Younger (1717-78), a battle painter, was his nephew. No. 223. Dutch Shipping. A frigate, with a yacht saluting, a boat, and many small vessels; in a fresh breeze, off the Dutch coast. Canvas, 29 in. A. by 41 J in. w. (0'7-t by 1 05). Bequeathed to the National Gallery by Mr. Charles L. Bredel, in 1851, No. 818. Coast Scene. The sea shore with small breakers falling on the sands. A group of figures in the foreground, and a fishing boat pushing off in the middle distance. Signed : " L. B." in tbe left bottom corner. Wood, 13J in. h. by 18$ in. w. (0-34 by 0'46). Engraved by Daudet in Le Brun's fiallerie dex Pelntres Flamandx. Hollandais, et Allemands, Paris, 1792, II. 62. Formerly in the collections of M. Lorrimer and M. De St. Victor. Purchased from Sir Robert Peel in 1871. No. 819. Off the Mouth of the Thames. (?) A gale and a stormy sea ; on the right, cliffs and a small fishing harbour. An English schooner and two boats in the foreground ; a barqne in the middle distance on the left, with mainsail and two foresails set. Canvas, 38 in. h. by 52 in. w. (0-97 by 1-32). Formerly in the La Fontaine collection. Purchased from Sir Robert Peel in 1871. No. 1000. Shipping, the Estuary of a River. A jetty, on which is a small shed ; the mast and sails of a vessel seen behind the jetty. A small boat with two men in the fore- ground ; another vessel to the right sailing towards a Dutch frigate at anchor in the middle distance. A dark cloudy sky casts a black shadow on the water. Wood, 13J in. h. by 18J in. w. (0'34 by 0'46). Wynn Ellis Bequest, 1876. No. 1442. Ships in a Gale. A three-masted vessel and a lugger are running before the wind with shortened sail, in a rough sea, off a hilly coast. In the foreground on the right is a fishing boat brought up in the wind in the act of going about. A large ship is seen on the horizon ; a shoal of porpoises in the foreground. Wood, 14f in. h. by 22| in. 10. (0'37 by O57). Lent, with several others, by the Victoria and Albert Museum, in exchange for a collection of water-colour drawings, in 1895. BALDUNG. 17 BALDUNG (HANS), 1480-1545. School of Suabia. HANS BALDONG, known also by the name of GRIEN,* or GRUN, was born at the village of Weyersheim, near Strassburg, in 1480. He settled at Strassburgin 1509, but two years afterwards was attracted to Freiburg-in-the-Breisgau, where he occupied himself with important commissions until 1517. Thence he returned to Strassburg, and renewed his lapsed right of citizenship. In 1545 he became a senator of that free city, and in the same year died. His earlier works exhibit the influence of Matthseus Griine- wald and Martin Schongauer. Of later date, and more enduring, was the powerful example of Albrecht Diirer, with whom he stood on terms of friendship.-}- HANS BALDUNG, however, possessed both originality and imagination ; he was also a most able draughts- man, a sound if somewhat unequal painter, and a good colourist. His two altar-wings in the convent of Lichtenthal, near Baden- Baden, where they now form separate centres, are signed and dated 1496. His paintings are numerous in Germany, Austria, and Switzerland, for the most part in public collections and in churches. Dates found on some of these range from 1496 to 1539. BALDUNG'S greatest work is the altar-piece (alluded to above) in the monastery of Freiburg-in-the-Breisgau, completed in 1516, the central subject of which is the Coronation of the Virgin. The wings contain, on the inside, figures of the Twelve Apostles; on the outside, four typical incidents in the Life of Mary. On the reverse of the central panel is a large Crucifixion. BALDUNG sometimes tried allegorical and fanciful subjects. His portraits, of which several exist, are highly individual, and full of character. When unsigned they have sometimes passed for the work of Diirer ; but they want his searching modelling. HANS engraved several copper-plates. Much more numerous, and belonging chiefly to the latest period of his life, are the woodcuts executed upon his designs ; they amount to over 130. Characteristic drawings by him are to be found in most of the greiit collections, particularly in those at Vienna, Berlin, and Basle. Carlsruhe is fortunate in the possession of a sketch-book of his own, together with the silver style which he used in designing.^ He died in 1545. * It has been suggested that this appellation owed its origin to Baldung's I'ondness for a peculiarly brilliant tint of green often found in his pictures Woltmann and Woermann. Gcsckichte dcr Malcrei, II. 440.) That it was accepted by tho artist himself is clear from his accustomed monogram, which is a combination of the letters H and B, with a G across the bar of the former. t Moritz Thausing supposes an early friendship between Diirer and Baldung at Nuremberg, which time and distance left unimpaired. On the death of Diirer, Baldung received a lock of his hair taken from his corpse. This relic has been successively handed down since Baldung's death until the present time. It is now in the Library of the Kunstakademie at Vienna. See Heller: Diirer, II, 272; Thausing in Zeltschr(ft fur bihi. Kunat, 1874, IX, 322, and M. Thausing : A. Diirer, tr. K. A. Eaton, IM1 1 , I, p. 174. J The designs in (he sketch-book have boon published in fac-simile by Dr. Marc Rosenberg, Frankfort a-JH. Keller ; 188-.I. For biographical details of Baldung, see G. von Terey : Die Gemiildc den Hati* l! t the notice of Albertinelli in Mis Catalogue. 24 BARTOLOMMEO BASAITI. his head towards that of the Infant Christ. In the background is a town. Transf erred from Wood to Canvas, 33| in. h. by 27 J in. w. (0'84by 0'69). Dr. J. P. Richter in Magazine of Art, 1902, pp. 83, 84. This is the earliest of the three variants painted by Fra Barto- lommeo.* Lewis Fund. Purchased from Cavaliere Nicola Landolfi, at Rome in 1900. BARTOX.OMREEO VENEZIANO. (Sre VENEZIANO.! BASAITI (MARCO). Active 1500-1521. Venetian School. BASAITI, a Venetian painter, was born in Friuli according to some writers, of Greek parents. He first appears in 1503, in the capacity of assistant to Alvise Vivarini, on whose death he completed the St. Ambrose Enthroned with Saints for the Frari Church at Venice. Basaiti's pictures are signed " M. Baxit," "M. Basa," " Marcus Baxaiti," and ;< Marcus Basaiti." He painted pro- bably before 1500 and until after 1521. An altar-piece, representing the Calling of the Sons of Zebedee, painted in 1510, formerly in the Certosa, and now in the Academy of the Fine Arts at Venice, was once considered his masterpiece ; but another specimen in the same gallery Christ in the Garden ivith his Disciples is now justly preferred to it. BASAITI'S works, when well preserved, are brilliant in colour, and display great ability in the general management of the accessories, especially in the landscape backgrounds, which, according to Zanetti, he contrived to unite with his figures more skilfully than his contemporaries. A contemporary of Giovanni Bellini, he could not escape the influence of that great master, to whom many of his works have been ascribed. Amongst good examples of BASAITI'S art are the Assumption in S. Pietro Martire at Murano ; a St. Sebastian in the Salute, Venice ; an exquisite variation on the Calling of the Sons of Zebedee, dated 1515, in the Vienna Gallery ; and a fine Portrait of a Man, signed and dated 1521, in the Bergamo Gallery. As one of the early Venetian oil-painters BASAITI may be regarded as having successfully adopted the delicacy and brilliancy of the Flemish masters of the 15th century .f " He was, says Mr. Berenson, by no means * The points of difference between these three variants are stated hy Maurice W. Brockwell : National Gallery : Lewi* Sequent, 1909, p. 11. t Zanetti, Delia fittura Teneziana, p.' 73. Moschini, Guida per la Citti'i 19. See Dr. G. Gerola in AU- gcmeinea Lexikon dcr Bildenden Kilnstlrr. Leipzisr, 1909, HI. ]>. 4. I Ridolfl, Volpato, and others are the authority for this statement. BASSANO. 27 earliest Italian genre painter. Even when he painted religious subjects from the Old or New Testament, as he frequently did, he treated them as familiar scenes of his own time. He excelled in painting landscape and introduced animals on all occasions when admissible with, or even without, propriety. His works are very numerous in the Venetian State. He achieved great success also as a portrait painter. JACOPO BASSANO was buried in the church of San Francesco, at Bassano, on February 14, 1592 ; his wife, Elizabeth Merzari, surviving him nine years.* He is said to have been the master of Carletto, the son of Paolo Veronese. No. 173. Portrait of a Gentleman. Standing, dressed in a black robe trimmed with fur ; his right hand rests on a table placed before an open window ; on it is a silver vase containing a sprig of myrtle ; in his left hand he holds a black cap. Three-quarter length. Canvas, 45 in. h. by 35 in. w. (M4 by 0'88). Presented by Mr. Henry Gaily Knight, in 1839. No. 22.3. Christ driving the Money Changers out of the Temple. A crowded composition of men and animals, representing the expulsion of "all them that sold and bought " moneychangers, dealers in cattle, sheep, goats, birds, &c. from the interior of the Temple, a spacious building, of ordinary Italian architecture. Small figures on a dark ground. Canvas, 63 in. h. by 105 in. w. (1-60 by 2"66). Brought to England by Mr. A. Wilson in 1806. Presented by Mr. P. L. Hinds in 1853. No. 277. The Good Samaritan. The Samaritan, in a crimson dress, raises the wounded Jew to place him on his mule ; by his side is a silver flask ; two dogs are in the foreground ; the Levite is seen in prayer behind. Canvas, 40j in. h. by 31J in. w. (1-02 by O'SO). Formerly in the Pisani Palace, Venice ; subsequently in the collection of Sir Joshua Reynolds, who is said to have kept it always in his studio. Purchased at the sale of Samuel Rogers's pictures, May 3, 1856 (No. 709). Sec Dr. Q. Gerola. ut supra. See also Bidolfl, L<- Mtnirnili, dill' Arte, ovcrro le Vite dnjU Itttutri 1'itturi rmcti. e d-'llo Utato, Venetia, IMS : Verri. JSW/>/V- intorno alia Vita e alle Operc de Pittori Scultori, cd I,,t,i ^. by 18 in. w. (0'57 by 0'46). Signed on a false cartellino : " Joannes Icllinniis pinxit" and formerly assigned to Giovanni Bellini. Formerly in the Collection of the Marchese Picenardi. Purchased at Milan from Signer Giuseppe Baslini, in 1870. No. 1213. Portrait of a Mathematician. This portrait is supposed to represent Girolamo Malatini, Professor of Mathematics at Venice, who is said to have taught Gentile and Giovanni Bellini the laws of perspective. A man of about 70 years of age, with white hair and shaven face, dressed in a black gown and black berretta, holding in his left hand a large pair of compasses, and raising his right with a gesture of explanation. Half length. Canvas, in oil, 27 in. 7t. by 22f in. w. (O68 by O57). Formerly in the possession of Mr. Martin Colnaghi. Purchased from Dr. J. P. Richter out of the Walker Fund in 1886. No. 1440. Fra Teodoro da Urbino in the character of St. Dominic. This picture was formerly assigned to Giovanni Bellini and catalogued as St. Dominic. He wears the Dominican robe and a black skull cap. The right hand, which alone is seen above the red marble parapet, holds a lily (probably of later date), and a book in red binding, on which is a small white label with the words " Sancts Dominies.'"' Behind is a green curtain with a pattern of daisies and red flowers. On the parapet is a false cartellino with the name : IOANIS BELLIN OP MDXV, and painted on the parapet is the following inscription (much effaced) : Imago Fratris Theociorl Urbinati.* The name of the Venble. Father Theodoras of Urbino as a member of the Convent of SS. Giov. e Paolo occurs in a document of the year 1514, discovered by the late Dr. Gustav I/udwig. BELLINI. 39 " The very beautiful portrait, for instance, in the National Gallery of Fra Teodoro da Urbino is not by Gentile. The canvas bears the authentic signature of Giovanni Bellini and the date 1515, whilst documents further prove that the Friar only rose to eminence after Gentile's death, and it is scarcely credible that he was pourtrayed earlier. There are, nevertheless, critics who still believe the portrait of Fra Teodoro to be the work of Gentile Bellini." Ludwig and Molmenti : Life and Works of Vittorio Carpaccio, 1907, p. 43. Canvas, 24 in. h. by 19 in. w. (0'61 by 0'48). Exhibited at Manchester Art Treasures Exhibition, 1857 (No. 76), aa being " from the Soulages Collection." Exhibited at Leeds, 1868 (No 90) as a " Portrait of an Ecclesiastic " by Giovanni Bellini. Lent, with several others, by the Victoria and Albert Museum, in exchange for a collection of water-colour drawings, to the National Gallery in 1895. SCHOOL OF GENTILE BELLINI. No. 75O. The Madonna and Child enthroned, ivith SS. John Baptist and Christopher ; and the Doge Giovanni Mocenigo* in adoration. This picture was formerly catalogued under Lazzaro Bastiani. A. votive picture in which the Doge, with banner in hand, kneels before the Virgin, supplicating her protection on the occa- sion of the plague of 1478-79. The gold vase on the small altar before the throne of the Virgin is supposed to contain farmachi or medicaments, for which a blessing is invoked in favour of the city and Republic of Venice, according to the words of the inscription in seven lines below," URBEM REM : VENETAM SERVA. VENETUMQ. SENATUM. ET MIHI Si MEUEOR. VIRGO SUPERNA AvE."f Behind the kneeling Doge is his patron saint, John the Baptist ; on the opposite side of the picture, by the throne of the Virgin, is St. Christopher, with his staff, bearing the Infant Christ on his shoulders. Landscape background, figures nearly life-size.:}: Canvas, 6 ft. h. by 9 ft. 8 in. w. (1'82 by 2-94). * Giovanni Moeenigo wan the seventy-first Doge ; ho reigned seven years, 1477-85. and died of the plague in 148."), aaed "6. See De Vita Moribusct Rebus gestitt Omnium Diicuin Venetorum, &c., Frankf., 1574, a continuation of the original work of Pietro Marcello with woodcuts of the armorial shields of theD->ges. t " Hail Celestial Virgin, preserve the City and Republic of Venice, and the " Venetian Senate, and extend thy protection to me if I deserve it." For AVB perhaps FAVE should be road. See Ludwig and Molmenti : Li<\: mid Work* of CnriMccio, London, 1907, p. 11. J According to the records of the family of Mocenigo di Sant' Eustachio this picture was commissioned in 1479, al'ter the plague of the previous year, but was not completed till after the death of the Doge in 1485. It was oomtnisHioned to be presented, according to the custom with reigning D to the Ducal Palace, but after the Doge's death was redeemed or purch by the family, in whose possession it remained. 40 BELLINI. A forged signature " Victor Carpatio," once written in one corner of the canvas has been removed. A photograph of a rare print of this picture was presented to the Gallery by Dr. G. Ludwig. Purchased in Venice from the Doge's descendant Aloise Count Mocenigo di Sant' Eustachio, in 1865. BELLINI (GIOVANNI), 1428-301516. Venetian School. GIOVANNI BELLINI* and his elder brother, Gentile, were the sons of Jacopo Bellini, an artist of great talent, who was originally a pupil of Gentile da Fabriano, after whom Jacopo named one of his sons. The date of GIOVANNI'S birth is not defi- nitely known. f Be and his brother were working in Padua about 1460, and in early manhood first met their brother-in-law, Andrea Mantegna ; while they must also have seen the work which Donatello executed there between 1443 and 1453, including the great equestrian statue of Gattamelata. Among bis early works must be included the Blood of the Redeemer (No. 1223) and Christ's Agony in the Garden (No. 726) in this Gallery. By 1464 at the latest GIOVANNI was back in Venice, as in that year he painted two pictures for the Scuola di San Girolamo in that city. Until about 1470 the tenderer and more sensuous feeling of the true Venetian temperament is overlaid with Paduan formalism. By 1475 Antonello da Messina appeared in Venice. He possessed a knowledge of the use of oil as a medium which no Venetian could emulate. From that date GIOVANNI adopted "the modern treatment, clinging at first to the simplicity of even tones, then bolder in his attempts.";}: GIOVANNI gradually rose in esteem. In 1479, when Gentile departed to Constantinople, GIOVANNI was appointed to carry on the series of pictures, begun by his brother, in the Hall of the Grand Council in the Ducal Palace and was promised the first vacant senseria, or broker's patent, in the Fondaco de' Tedeschi (Exchange of German Merchants). On Gentile's return the brothers worked together on those great paintings destroyed by a fire in 1577. The altar-piece which GIOVANNI painted for the church of San Francesco at Pesaro, the native town of his mother Anna, is now in a Municipal building there. The beautiful altar- piece of the Madonna Enthroned with Six Saints, painted for San Giobbe, perhaps in 1486, is now in the Accademia at Venice ; but the large work executed in 1487 for the church of S. Giovanni e Paolo now no longer exists ; it was burnt in 1867. The Frari * In the Venetian mode. Giambellin, Zambellin, or Zuan Bellin. t Jacopo was working in Florence in 1423-25. and his marriage probably took place shortly after this date. For further details of the Bellini family see the notice of Gentile Bellini in this Catalogue ; also K. E. Fry : Giovanni Bellini. 1899. * Crowe and Cavalcaselle : History of Painting hi Xorth Italy, vol. I. p. 139. BELLINI. *1 altar-piece, dated 1488 but perhaps earlier, testifies to the position which GIOVANNI had by then acquired. Between 1501 and 1504 he painted for Isabella Gonzaga, Duchess of Mantua, a picture of which the subject was to be profane. GIOVANNI declared his inability, rather than his unwillingness, to carry out the instruc- tions given. Isabella was ultimately content to accept a religious subject, which tends to show that GIOVANNI still looked upon himself as primarily a religious painter. To this period belongs the Portrait of the Leonardo Loredano (Doge in 1501) (No. 189), in this Gallery, which is generally accepted as his only extant authentic portrait. We may still contemplate his masterly achievement in the church of San Zaccaria, of 1505, in which he emulated the new style which his pupil Giorgione was already developing. In February 1506 Albrecht Dvirer wrote of GIOVANNI that " though very old he is still the best painter in Yenice." In 1507 GIOVANNI had completed the St. Mark Preaching at Alexandria, now in the Brera at Milan, and became possessed of his father's sketch book ; by this time also Titian was numbered among his many pupils. Almost his last work was his glowing altar-piece with St. Jerome, St. Augustine, and St. Christopher in S. Giovanni Crisostomo, executed in 1513 ; and we may witness with surprise the rejuve- nescence shown in the Baccanale, which is signed and dated 1514, where fine design, gem-like colour, and exquisite landscape, com- bine to exhaust the aims of the renaissance in Art. It is now in the Collection of the Duke of Northumberland at Alnwick. GIOVANNI died in November, 1516, being then about eighty-six years of age, and was buried in the church of SS. Giovanni e Paolo in the same tomb where his brother had lain since 1507. He, in 1485, married Ginevra (in the Venetian mode Zenevra), a member of the Bocheta family and survived her ; his only child, who made his will in 1498, pre-deceased him. His features are known to us by a medal by Camelio.* In the course of a long life, the style and method of GIAN BELLINI altered and developed greatly. His earlier works were executed in tempera ; but he was one of the first to master the new practice of oils, which he carried towards the perfection given it by Giorgione and Titian. GIOVANNI'S productions are marked by dignity and gravity ; by a deep pathos, and often by a winning naivete. In the management of his landscape backgrounds he equalled any, and surpassed most, of his competitors, uniting breadth of treatment with the most loving finish in details. He painted many portraits which are now lost ; amongst them were those of the contemporary Doges. f * See biographical notice by Dr. G. Gronau in Allyemelnet Lexlkon der Bildenden Kunstler, Leipzig, 1909, vol. III. pp. 259-264. t Of these may be noted Giovanni Mooenigo, who was Doge from 1477 till 1485, Marco Barbarigo (1485-6.), Agostino Barbarigo, (1486-1501), and Leonardo Loredano (1501-1521). Portraits of the first and last of these Doges are contained in this Gallery (No. 750 and No. 189). That of Marco Barbarigo (No. 696) by Petrns Christus represents him as Venetian consul in London. 42 BELLINI. Taken altogether, GIAN BELLINI was distinctly the greatest figure in the Venetian school in his time.* He belongs to what Ruskin called " the age of the masters," in which the main object was " pictorial perfectness and deliciousness." Among his illus- trious pupils must be counted those princes of the art, Giorgione and Titian ; while Cima da Conegliano, Lorenzo Lotto, Palma Vecchio, Catena and Basaiti were more or less directly affected by him. To these must be added a minor host with less capacity for develop- ment, whose works reflect the images of their prototype. No. 189. Portrait of the Doge Leonardo Loredano in his State Robes, Full face bust portrait ; the face is clean shaven, and no hair is visible beneath his corno ducale Wood, 24 in. k. by 17^ in. w. (0'61 by 0-41). Signed on a cartellino, or unfolded strip of paper, on the parapet : Leonardo Loredano was elected Doge on October 3, loOlf ; he died in office on June 22, 1521, at the age of 83. This picture was formerly in the Grimani Palace at Venice, whence it was brought to England by the first Lord Cawdor. It passed subse- quently into the possession of Mr. Beckf ord. Purchased from Mr. Beckf ord in 1844. No. 280. Madonna and Child. This picture is sometimes called the Madonna oj the, Pomegranate. The Virgin is seated with the Child on her knee. In her left hand she holds a pomegranate, on which the right hand of the Child rests ; her right hand supports the Child. Behind is suspended a green curtain with a red border. Landscape background. Wood, 35f in. h. by 25J in. w. (0'90 by 0-64). * Bellini now not only reigned supreme in Veniee, but his fame sounded throughout Italy. Ariosto sipgs it in his " Orlando Furioso," ranking him with Leonardo and Mantegna : " E quei, che furo a nostri di, e son hora, Leonardo, Andrea Mantegna, e Gian Bellino." cp J. P. Eiehter : " Lectures on the National Gallery,'' 1898, p. 44. t Sec Pietro Marcello : De Vita, Morions, et Rebus Gestis Omnium Ducum Venetorum &c., Historic/ : Francnirti ad J/oeHi,1574; and See MasLatrie : Tresor df Chronologic, Paris, 1889. BELLINI. Inscribed on a cartelllno on a coloured marble parapet : lORNfJESM >B|LlMivsp Engraved by L. Boscolo. Purchased from the Baron Galvagna, in Venice, in 1855. No. 726- Christ's Agony in the Garden. A rocky landscape in a Warm twilight. In the foreground are the three disciples sleeping, while Our Lord is praying on a hill to the right a little way from them ; above, an angel appears holding a cup as the emblem of the Passion. In the distance beyond the brook Cedron is seen Judas approaching with a crowd of Jews. Wood, 32 in. h. by 50 in. w. (0-81 by 1'27). Exhibited at Manchester Art Treasures Exhibition, 1857 (No. 89). This picture, like other works by Giovanni Bellini, was once attri- buted to Andrea Mantegna. Portions of this composition occur in a design for the same subject in the book of drawings by Jacopo Bellini in the British Museum. It may be compared with A. Mantegna's Agony in the Garden in this Gallery (No. 1417). Purchased at the sale of the collection of Rev. W. Davenport-Bromley. June 12, 1863. the Death of St. Peter No. 812. Landscape, with Martyr. The Dominican and his companion are attacked by two armed men in a wood, on the road between Milan and Como. In the background are several labourers at work in the wood ; a small town is seen in the distance to the left. Wood, 40 in. h. by 64 in. w. (I'Ol by T62). This signature miirht almost be taken as typical of a genuine autograph signature by Giovanni Bellini, a noticeable feature bein^ that the second L is taller than the llrst. All carteltini bearing Giovanni Bellini's name in cursive characters are probably forgeries. Such forgeries may have been perpetrated after his death, in the hope of ilnding a better sale for the pictures. Restorers have also tampered with cartel! Inl which bear or are made to bear the artist's name in capitals. See, in this connection, Morelli " It, linn, J':ii>iti'i:i, H'D, )-t>ndin TERBORCH.) BORDONE (PARIS), 1500-1571. Venetian School. PARIS PASCHALINUS BORDONE was born at Treviso in 1500, being baptised on July 5th of that year. He became a pupil and follower of Titian at Venice, and also one of the most luminous colourists of the school, although in respect of form and truth of action his works often leave something to be desired. According to Vasari, Giorgione was his prototype, but in any case he devoted himself principally to the study of Titian's Giorgionesque period and, in a limited sense, to the pictures of Pal ma Vecchio. His works are remarkable for a delicate, rosy colour in his flesh, and for the crimson shot tints and crumpled folds of his draperies. Although important works by him are still at Treviso, his masterpiece is the Fishermen presenting the ring of St. Mark to the Doge. This picture, which is a triumph Michele Caffe placed Bordone's birth in 1495. See Morelli : Italian Painters (Munich and Dresden Galleries), vol. II., p. 252. 72 BORDONE. of gorgeous and harmonious colouring, is in the Accademia at Venice. It is signed and dated 1540, to which date belongs also a signed Portrait of a Man in the Louvre We are told that he was summoned to Paris by Francois I. in 1538, while an old tradition at Treviso asserts that it was during the reign of Francois IE. that he went to France. However, his name is not met with in a single French legend or document of that period, although it has been alleged that he was knighted by the King of France. BORDONE died on Jan. 19, 1571, after four weeks' illness. He painted sacred subjects, mythological themes, portraits and genre. No. 637. Daphnis and Chloe. A Greek shepherd and shepherdness, seated on a bank among some trees ; Chloe, who holds the pipes of Daphnis in her hand, is about to be crowned by Cupid with a wreath of myrtle. From the Greek of Longinus. Canvas, 53* in. h. by 47 in. w. (1-35 by 1-19). A Venus and Adoni* in the Imperial Gallery at Vienna (No. 253), which appears to be a copy or variant of this picture executed by a Flemish artist, was engraved by P. Lisebetius, in Tenierg' Gallery of the Archduke Leopold, published at Brussels, 1670, p. 198. Purchased from M. Edmond Beaucousin, at Paris, in 1860. No. 674. Portrait of a Lady. She has auburn hair, is dressed in a crimson gown with a low body and long sleeves, and wears a pearl necklace ; her right hand rests on her hip, and in her left she holds a chain. Front view, three-quarters length life-size. In the background is seen a building which has been said to be a portion of a hospital at Genoa. The lady may have been a member of the Brignole family of Genoa. Canvas, 41 in. A. by 33 in. w. (I'Oo by 0'83). Inscribed on the base of a column : AETATIS STL2E ANN XVIIIL, and lower down : PARIS Purchased from the Duca di Cardinale, at Naples, in 1861. * Federici : Memarie Trivigliane. H., 41. BORDONE BORGOGNONE. 73 No. 1845. The Light of the World. The Saviour, in a red tunic with a blue mantle, points upwards with His right hand, and in His left holds a scroll with the inscrip- tion "Ecce sum lux mundi." Canvas, 35 in. h. by 28 in. w. (0'88 by 0'72). Presented by Mrs. Mary A. Wood, in 1901. SCHOOL OF PARIS BORDONE. No. 2097. The Lady ivith the Carnations. A lady with rich auburn hair, and a string of pearls round her forehead. A dark red gown has fallen from her shoulders, and she wears a white chemise, with a carnation tucked into it near her left shoulder. She holds another carnation in her right hand. Full faced, half length figure. Canvas, 36* in. h, by 29 in. w. (0'92 by 0'73). John Samuel Collection, 1906. BORGOGNONE (AMBROGlo), 1455?-1523. School of Milan. AMBROGIO DI STEFANO or AMBBOQIO DA FOSSANO, commonly called BORGOGNONE, was born at Milan, probably between 1450 and 1460, though an earlier date is possible. His earliest known work is the Enthroned Madonna with Saints and Angels, of 1480, in the Ambrosiana at Milan From 1488 to 1494 he was employed in the decoration of the famous Certosa or Carthusian monastery at Pavia, his finest work of that period being the San Siro and Saints, of 1491. He also furnished designs for the choir stalls at the Certosa, which were executed between 1488 and 1490 by Bartolommeo Polli of Mantua. To this Certosan period, no doubt, belongs the Madonna and Child (No. 1410) in this collection, the old facade of the Certosa, before it was completed, being intro- duced into the background. In 1495 he was back at Milan, where he painted the frescoes in San Satiro, most of which are now pre- served in the Brera. From 1498 to 1500 he was engaged in decorating the Incoronata at Lodi. The documentary evidence of signed pictures shows that in 1508 he was working at Bergamo, where his work can be studied to-day. Four years later he was back at Pavia. This typical painter of the Milanese School was consider- ably influenced by Vincenzo Foppa, and perhaps by Zenale and Butinone. Most of his life was spent at Milan and Pavia. In the latter part of his career he became acquainted with the methods of 74 BORGOGNONE. Leonardo da Vinci, and in his turn may have influenced Luini. BORGOGNONE was a man of refined nature and spiritual feeling. He worked chiefly in tempera and fresco, adopting the oil medium in some of his later works. His latest picture is the large and impressive Assumption and Saints, now in the Brera ; it is signed "Ambrosii bgogoi," and dated 1522. He died the following year. He had a younger brother, Bernardino da Fossano, who assisted him in the decoration of the Certosa at Pavia. No. 298. The Marriage of the two St. Catherines. Formerly catalogued under the title of " The Marriage of St. Catherine of Alexandria." The Virgin, enthroned under a marble canopy of rich cinquecento architecture, is seated between the two saints. She is taking the hand of St. Catherine of Siena and presenting her to the Infant Christ, who, standing on His mother's knee, holds a ring in each hand. While placing one ring on the finger of St. Catherine of Alexandria, standing on His right, He extends the other towards St. Catherine of Siena, habited as a nun, on His left. Four figures, small life size. "Wood, in tempera, 79 in. h. by 51 in. w. (2'00 by 1'29). Originally in the chapel of Rebecchino, near Pavia, which was formerly under the rule of the Certosa. Purchased out of that chapel from Signer Carlo Taddeo, of Pavia, in 1857. No. 1077. The Madonna and Child ; No. 1077 A. The Agony in the Garden; and The Redeemer tvith His Cross. In the central panel the Virgin and Child enthroned ; two angels, standing on the arms of the throne, play on lutes. On the left panel the Agony in the Garden. On the right the Redeemer bearing His Cross. Wood, in tempera. Centre panel, 36 in. h. by 22f in. to. (0-92 by 0-57). Side panels, each 39J in. h. by 18 in. w. (I'O by 0-45). Formerly in the collection of the Duca Melzi d'Eril ; subsequently in that of the Duca Scotti, in Milan. The two side panels belong to another period to, and have nothing to do with, the centre panel. The three panels did not originally form a triptych, although now placed in one frame. Purchased from Signer Baslini at Milan, in 1879. No. 1410. The Virgin and Child. The Virgin, whose figure is seen at half length, stands behind a parapet, supporting on it the Infant Christ draped in a short * See L. Beltrami : Ambrogio Fossanedetto il Borgognone" 1895 ; and G. Zampa in Arte, xii., 1909, p. 51 and p. 108. BORGOGNONE BOSBOOM. 75 yellow tunic. They hold between them a rosary of red beads. On the coping of the parapet lies an open Service-book. The nimbus which surrounds the Madonna's head is inscribed in gold with the words : AVE . MARIA . GRATIA . PLENA . DOM. In the background is a narrow chocolate-coloured curtain, on the right side of which is seen the facade of a building in a ruinous state, behind which is a large church. (This may represent the old fa9ade of the Certosa of Pavia before it was completed.) On the left are other buildings which appear to be part of a convent. In front of these buildings Carthusian friars in white robes are seen walking. Wood, 21| in. h. by 13J in. w. (0'54 by 0'35). Formerly in the Collection of the Contessa Ottolini, at Milan. Purchased at the sale of Sir C. Eastlake's Collection (No. 64), June 2, 1894. SCHOOL OF BORGOGNONE. No. 779-780. Family Portraits. Formerly catalogued under Borgognone. On the left a group of nine men ; on the right a more numerous group of women ; all are kneeling in adoration. Above the men is seen a pro- tecting hand. Bust portraits, in profile ; half life-size. Silk, on wood, each 25 in. h. by 16 in. w. (0'63 by 040). Two fragments of a standard, formerly in the Certosa of Pavia ; a third, God the Father, was in 1867 in the possession of the Cavaliere Bertini, Milan. All were formerly in the Collection of Cavaliere Molteni, Milan. Mr. Herbert Cook, in the Catalogue of the Exhibition of pictures of the Milanese School (Burlington Fine Arts Club), in 1898, p. xxxvii., says : " It is doubtful whether the portraits should be attributed to Borgognone ; neither in style nor in spirit do they agree with his work." Dual authorship, possibly Butinone and Zenale seems evident (see Jiurlington Magazine, vol. v., p. 199). Purchased from Signer G-iuseppe Baalim, in 1867. * BOSBOOM (JOHANNES), 1817-1891. The Hague School. JOHANNES BOSBOOM, a Dutch painter, was born at the Hague on the 18th February, 1817. He studied under B. Jan Bree and J. B. Van Hove, and was influenced by W. J. J. 76 BOSBOOM BOTH. Nuyen. He became well known for his town views and church in- teriors, several of which are in the Mesdag Museum at the Hague. He was created Chevalier of the Orders of the Lion of the Netherlands and of Leopold of Belgium, dying at the Hague on the 14th September, 1891. No. 2712. Interior of a Church at Hoorn. An interior of a simple Gothic Church with a nave and one aisle. A gleam of sunshine lights up the west wall, and a gentleman in a red cloak and black hat walks up the nave. Signed " J. Bosboom" Wood, 9 in. A. by 13 in. w. (0'24 by 0-33). Presented by Mr. J. C. J. Drucker in 1910. BOSCH (PIETEK VAN DEN), 1613-after 1660. School of Amsterdam. VAN DEN BOSCH or Bos was born in 1613, presumably in Amsterdam. Very little is recorded of his life. In 1645 he bound himself to work all day long, exclusively for a dealer, Kretzer by name ; in 1650 a still life by him was included in a gift of paintings made to the House of Assembly. In 1660 in her will a lady bequeathed each of his children sixty gulden. How long he lived after this date is not known. Until lately his name has been forgotten, and his pictures connected with Dou, Slingelandt and Maes ; none the less they are unusually agreeable in their unassuming individuality. No. 2551. Woman Scouring Pans. Formerly ascribed to Brekelenkam and P. C. van Slingelandt. A woman in a kitchen cleaning a saucepan, other cooking utensils on the floor. Wood, 7i in. h. by 10 in. w. (0'19 by 0-25). George Salting Bequest, 1910. >BOTH (JAN), 1610?-1652 School of Utrecht. JAN BOTH seems to have been born at Utrecht about 1610.* He learnt the first rudiments of his art under his father, a painter on glass, who afterwards placed him with Abraham Bloemaert. Together with his elder brother Andries, JAN BOTH visited France and Italy, spending some time in Rome. His landscapes are nearly always Italian and * It is difficult to accept the statement of E. W. Moes in Allgemeines Lcxikon der Bildenden Kiinstkr, 1910, IV., p. 410, that Jan Both was torn as late as 1618. BOTH. 77 notable for the soft golden tone of the atmosphere.* He was the Master of the Guild of Painters at Utrecht in 1649, and was buried there on August 9th, 1652. The portrait of JAN BOTH, which Poelemburg painted, is in the Furstenberg Collection at Hendringen ; another was painted by A. Willaerts, and engraved in 1649 by Hl ' TAYTHI. Note. The Greek of this inscription is base. It has been paraphrased thus: " I, Sandro, painted this picture at the end of the year 1500, during the troubles of Italy in the half year after the first year of the three and a half years of the loosing of the devil, in accordance with the fulfilment of the llth Chapter of St. John in the second book of the Apocalypse ; then he shall be chained, according to the I2th Chapter, and we shall see him trodden down as in this picture." For a valuable and interesting commentary on this picture, its mystic significance, and the Greek inscription attached to it, see Sir Sidney Colvin's essay in the Portfolio, February, 1879, and for fuller explanation of this and the inscribed scrolls see pp. 294-301 in H. Home's " Botticelli" Canvas, 42J in. h. by 29J in. w. This picture seems to be the first by Botticelli that came to England ; in 1835 it was in the Ottley Collection ; in 1854 in Mr. W. F. Fuller Maitland's Collection, whence it was purchased in 1878. SCHOOL OF BOTTICELLI. No. 226. The Virgin and Child, St. John the Baptist and Angels. The Virgin is seated in a garden, with the Child on her knees ; SCHOOL OF BOTTICELLL 85 two Angels are holding a crown over her head. St. John, kneel- ing by her side, is adoring the Divine Infant. Five figures. Wood, in tempera ; tondo ; 44 in. (1'12) in diameter This picture, at one time attributed to Botticelli, was formerly in the possession of the Polli family at Florence, where it was purchased from Mr. J. H. Brown, in 1855. No. 782. The Madonna and Child. Formerly catalogued under Botticelli. The Infant Christ is embracing the Mother, who is seated at an open window. Wood, in tempera, 33 in. Ji. by 25 J in. w. (0-83 by 0'64). Formerly in the Collection of Conte Galli Tassi, at Florence. Purchased, together with No. 781, from Signor Giuseppe Baslini, at Florence, in 1867. No. 1124. Ttie Adoration of the Magi. Formerly catalogued under Filippino Lippi. Mr. Berenson has provisionally christened the painter of this picture " Amico di Sandro." In the centre of the picture, before a ruined building, the Virgin is seated holding the Infant Saviour on her knees. Behind her to the right St. Joseph leans upon his staff. Before them, at wide intervals apart and clad in robes of ample dimensions, kneel three of the Magi offering their gifts. In the distance a mountainous landscape, in which numerous figures are introduced representing the retinue of the Kings and anchorites at their devotions. Wood, 22 in. h. by 33 in. w. (0-55 by 0'83). Formerly in the Beckford Collection. Exhibited at Burlington House, 1873 (No. 193). Purchased at the sale of the Hamilton Palace Collection (No. 397) June 24, 1882. No. 1412. The Virgin and Child with the Infant St. John. Formerly catalogued under Filippino Lippi. Mr. Berenson has provisionally christened the painter of this picture " Amico di Sandro." The Virgin, whose figure is seen at three-quarter length and clad in robes of the traditional colours with a white head-veil, stands behind a marble parapet or balcony bearing in her arms the Infant 86 SCHOOL OF BOTTICELLI. Christ, who is playing with a pomegranate. By her side is the youthful St. John in an attitude of adoration. On the balcony near him lies an open missal or Service-book. Further to the right, also on the balcony, is a shallow vase filled with flowers. Landscape background, with a distant view of buildings. Wood, 23 in. A. by 17 in. w. (0'59 by 0'43). Formerly in a private collection iii Florence, and subsequently in the Collection of Sir Charles Eastlake, where it was assigned to Botticelli. Purchased at the sale of the Eastlake Collection (No. 65), June 2, 1894. No. 2082. A Florentine Lady ; and (on the reverse) A Symbolic Angel. On the obverse a life-size bust portrait in profile, which was at one time supposed to represent the features of BOTTICELLI'S wife. She wears a rose-coloured dress decorated with embroidery, and a yellow shawl is thrown over her left shoulder. Her auburn hair is entwined with pearls, and from a chain of pearls hangs a pearl pendant. The reverse represents a winged angel in white standing on a mountain holding a bunch of leaves in the right hand and an armillary sphere in the left. In the background is a dark wood seen against a morning sky. Wood, in tempera, 23J in. A. by 15f in. w. (0'59 by 0'40). Formerly in the Collection of Mr. Alexander Barker. June 6, 1874 (No. 90), and subsequently in that of Mr. John Samuel. Exhibited at Leeds in 1868 (No. 9 A). Bequeathed by Miss Louisa and Miss Lucy Cohen in 1906. No. 2497. The Virgin and Child with St. John. The Virgin, with her hands folded, kneels in the right fore- ground in adoration of the Divine Infant who lies on the ground, His head resting on a cushion. In the left background the infant St. John the Baptist, holding the Cross in his right hand and a scroll inscribed with the words " ECCE AGNYS DEI " in his left, is about to kneel down. Landscape background. Wood, tondo, 36 in. (0'93) in diameter. Formerly in the Collection of the Marchese Patrizi. George Salting Bequest. 1910. BOTTICINI. 87 BOTTICINI (FRANCESCO), 1446P-1497. FRANCESCO DI GIOVANNI BOTTICINI was born about 1446. We know from Neri di Bicci's note-book that Botticini became his pupil at the age of twelve.* Then he worked chiefly under the influence of Cosimo Rosselli and later may have studied Andrea del Castagno. In 1471 he entered the studio of Botticelli, to whom he was in a measure spiritually related, although he had not his intensity of feeling.f About 1475 he came under the influence of Andrea del Verrocchio, whose assistant he probably became. To that year may be assigned the Crucifixion and Saints, at Berlin. In 1484 he began, for the Brothers of S. Andrea della Veste Bianca at Empoli, the paintings now in the Opera del Duomo in that town. These were to have been finished by 1486, but were not completed till 1491. They are among the painter's best authenti- cated works, and by them he is to be judged. Other characteristic paintings by Botticini are to be seen in Florence, more especially in the Accademia. In the Print Boom at the British Museum there are drawings that have been attributed to him.J He died on July 19, 1497, and three days later was buried in the Church of S. Ambrogio. He was the father of Raffaello di Francesco Botticini, who is heard of until 1520. No. 227. St. Jerome in the Desert kneeling before a Crucifix. This picture was formerly catalogued under Florentine School, XV Century. Standing at the sides, on the spectator's left, are Saints Damasus and Eusebius, and on the right St. Paola and her daughter St. Eustochia ; kneeling below are Girolamo Rucellai and his son ; on each side above are three angels. In the predella beneath the principal pictures are, in four compartments, inci- dents from the lives of the saints represented above, who were the contemporaries of St. Jerome, with the arms of the Rucellai family at each end. On a plinth below the central compartment is the inscription : S. DAMMASVS S. IERONIMYS S. PAVLA S. EVSffiIVS S. EVSTOCIVB. Five principal and two diminutive figures. Wood, in tempera ; the principal picture 60 in. h. by 68 in. to. (1-52 by 1-72) ; the predella 6J in h. by 76 in. w. (0'16 by 2-23). In its original frame. Vasari, Ed. Sansoni, IL 97. Cited by B. Berenson : Drawings of the Florentine Painters, vol. I., p. 41. t S. Kuehnel : Franccxco Botticini, Strassburg, 1906, p. 34. t B. Berenson : Drawings of the Florentine Painters, vol. I., Plates xxvii. and xxviii. 88 JSOTTICINI. Formerly an altar-piece in the Rucellai chapel in the church of the Eremiti di San Girolamo at Fiesole.* Purchased from Conte Ricasole, in 1855. No. 1126. The Assumption of the Virgin. Formerly catalogued under Botticelli. En the upper part the Saviour is seated ; on His knee an open volume inscribed A and Q. To His right kneels the Yirgin, towards whom He makes the sign of benediction. On either side is a band of Cherubim and Seraphim, in whose ranks are seen St. Peter, St. John the Baptist, and St. Mary Magdalene. Lower down are two great zones of the Angelic Hierarchy, with the Patriarchs, Prophets, Apostles, Evangelists, Martyrs, Con- fessors, Doctors of the Church, and Virgins. In the lower part of the picture the Apostles are gathered round the Yirgin's tomb, out of which lilies have sprung. To the left kneels the Donor, Matteo Palmieri ; to the right, his wife. Beyond, the widespread landscape reveals the Valley of the Arno, the City of Florence, and the town of Prato, with hills behind. Wood, 89 in. h. by 147 in. w. (2'25 by 3'74). Exhibited at Burlington House, 1873 (No. 191). Formerly in the Collection of the eleventh Duke of Hamilton (1811-1863), and regarded as the work of Botticelli. TFlmann in his Sandra fiotticelli, Munich, 1893, p. 77, writes : " It may well be that Botticelli had had from Palmieri the commission for this picture of The Assumption, and have designed only the com- position, and left the working out to Francesco Botticini, with whom, having probably known him at some former time in Verrocchio's studio, he worked in the year 1470. The great affinity of the art of Botticelli with that of Botticini speaks for a close relation between the two." Executed perhaps about 1472, for Matteo Palmieri, and placed in the family chapel in St. Pietro Maggiore, Florence. The painting bears evidence of intentional injury, the faces of the donor and his wife having been scored through ; an attempt to restore them was subse- quently made. At some uncertain period it was removed to the Villa Palmieri, the country seat of the family, near Florence. On the death of the last heir, during the nineteenth century, s the picture fell into the hands of a Florentine dealer, and still later became the property of the llth Duke of Hamilton. Purchased at the Hamilton Palace sale June 24, 1882 (No. 417). No. 781, formerly attributed to Botticini, is catalogued under School of Verrocchio. This order was suppressed by Clement IX in 1G68. See Del Eosso, Guida di Fiesole, 1846, p. 52. BOUCHER. * BOUCHER (FRANCOIS), 1703-1770. French School. BOUCHER was born in Paris in 1703. He studied under Francois Le Moine. In 1727 he went with Carle van Loo to Rome, but in 1731 returned to Paris, utterly untouched by the great works of art which he had seen.* In 1733 he married Marie Jeanne Buseau. After being agree at the Academy in 1731, he, three years later, became a full member, the picture he painted on his reception into that body being the Rinaldo and Armida, now in the Louvre. In May, 1755, he was appointed Director of the Gobelins, and ten years later, on the death of Carle van Loo, succeeded that painter as premier peintre Ju roy. He was the protege of Madame de Pompadour, whose patronage had a very considerable influence on the career of this typical painter decorator of the Louis Quinze period. Twenty-one of his works are in the Wallace Collection, notable among them being the Rising of the Sun and the Setting of the Sun, painted in 1753, and a Portrait of Madame de Pompadour of 1759. These three pictures were originally in the collection of Madame de Pompadour, a portrait of whom is also in the National Gallery at Edinburgh. BOUCHER exhibited at the Salon from 1737 to 1769. He painted in oil and pastel, practised miniature painting, and engraved some of his own designs. BOUCHER'S cleverness and fertility ; his light and rapid execution, and his dainty, though superficial colouring excited the admiration of Paris. He had a happy facility in grouping his figures, and taken altogether was the ablest decorative painter of his time ; but that time was a bad one, and BOUCHER'S art entirely suited it. In the thoroughly artificial and corruptly frivolous life of the French capital under Louis XV., an art founded on nature, or having any high ideal, would have met with no favour, and BOUCHER was more than willing to pander to the general taste, restrained by no manner of scruple. He had his reward in reaping con- siderable wealth by his productions, which, including drawings for the engravers, he poured forth in thousands. He died in the Louvre on May 30, 1770. No. 1090. Pan and Syrinx. Syrinx reclines by the side of a companion nymph whose back is turned to the spectator, her right arm resting on a vase from which water is flowing. Both figures are naked. Pan, whose form is half concealed by river reeds, steals towards them from the left. Near the group hover two amorini. Rocky background. Wood, 12J in. h. by 16 in. w. (0'31 by (HO). Du Bozoir thus describes the effect of Italian paintings on him : " Raphael scmblait fade, Carrache sombre, Michel-Amje bostu." 90 BOUCHER BOUDIN. The following inscription is stamped on the back of this picture Presented by Mrs. Robert Hollond, in BOUDIN (EUGENE), 1824-1898. French School. EUGENE BOUDIN was born at Honfleur in 1824. On his father's death in 1835 he was apprenticed to a printer at Le Havre. Already, advised by Millet and Troyons, he had begun to paint, and with the aid of a scholarship went up to Paris, where he worked for three years at portraits and landscapes. Then he returned to Le Havre and painted Pardons and sailor subjects, gradually developing his sensitive and charming perception of seascape. Among his Salon exhibits were : 1859, Le Pardon de Ste. Anne la Palud ; 1864, Le Plage de Trouville ; 1869, Plage a Mareebasse; 1873, Le Port de Camaret ; 1877, Rotterdam; 1881, La Meuse (for which he gained a 3rd class medal) ; and 1887, Etaples, maree basse. His peculiar gift for la peinture grise was not at first appreciated. In the mid 1870's he was working at Bordeaux, producing, perhaps, his best work. Little by little he became recognised, and his pictures sought after. He settled in Deauville, and later went to the Riviera and Yenice. Corot's phrase that BOUDIN was the " master of skies " is a just one. His sense of delicate veiled opalescence and enveloping clear light is very agreeable. He died in August, 1898, at Paris. No. 2078. Tlie Harbour at Trouville. A view from within the harbour, looking out to the open sea between two black piers, with a white lighthouse at the end of each. Boats are aground on the sand, silted up against the piers, and white clouds pass over the pale blue sky. Wood, 12J in. h. by 15| in. w. (0'31 by (HO). Signed and dated: "'88. E. Boudin" with the title " Entre let jetees Trouville,'" on the back in the artisb's handwriting. Formerly in M. P. van der Veldt's possession. Presented by the National Art-Collections Fund, in 1906. BOUDIN BOURDON. 91 No. 2758. A Squall from the West. The waves of a sullen sea are breaking on the beach where children are playing, dark clouds are spreading over the sky from the west. Canvas, 14 in. A. by 22* in. w. (0'35 by 0'57). Presented by Mr. T. W. Bacon, in 1910. BOURDON (SKBA8TIEN), 1616-1671. French School. SEBASTIEN BOURDON was born at Montpellier on February 2nd, 1616. He was instructed by his father, and exhibited great ability at a very early age, painting a ceiling in fresco in a chateau near Bordeaux in his fourteenth year. He studied afterwards at Paris and later for three years at Eome ; he obtained great reputation in 1643 by his celebrated picture of the Crucifixion of St. Peter, which was originally placed in the Cathedral of Notre Dame, at Paris, but is now in the Louvre. BOURDON was a Protestant and, being anxious to avoid the troubles of the civil wars of the time, went in 1652 to Sweden, where he was appointed by Queen Christina her principal painter. The Stockholm Museum contains examples of his art. On the abdication of Christina he returned to France, and in 1663 again settled in Paris, where he executed many works in different styles, history, landscape, and genre, by which he added greatly to his reputation. He was one of the original twelve ancient of the old academy of painting established at Paris in 1648. The landscapes of BOURDON somewhat resemble those of Salvator Rosa, and have a wild and melancholy character. In bis historical works colour and effect appear to have engrossed more of his attention than form ; his less finished works, says D'Argenville, are his best. BOURDON also executed many masterly etchings, the most celebrated of which are the Seven Acts of Mercy. 13 He was Rector of the French Academy when he died in Paris on May 8th, 1671. No. 64. TJie Return of the Ark from Captivity. A dark rocky landscape, intersected by a large river. In the middle-ground is the "great stone of Abel," and by the side of it is the city Beth-shemesh. The ark is represented in the fore- ground as having crossed the river ; the car having stopped near the " great stone " ; the five lords of the Philistines are on the D'Argenville, Abrege de la Vie des plus fameux Peintrcs, Paris, 1745-62. Gault de Saint-Germain, Lcs Trols Siiclts de la Peinture en France, Paris, 1808. Robert Dumesnil, Le Peintre-Graveur Fran$ait,vol. i. 1835, describes forty-four etchings by Bourdon 92 BOURDON BOUTS. bridge over which the ark has passed ; the Beth-shemites are rejoicing, and returning thanks for its restoration. Engraved by J. C. Varrall, for Jones a National Gallery. Canvas, 41 in. h. by 53 in. w. (1-04 by 1'34). This picture was long in the possession of Sir Joshua Reynolds, and was much admired by him.* Bequeathed by Sir Joshua to Sir George Beaumont, by whom it was presented to the nation in 1826. BOUTS (ALBRECHT), 1460-1549. Netherlandish School. ALBRECHT, the second son of Dirk Bouts, was born probably at Lowen. He was doubtless trained by his father, at whose death he was yet a minor. He married twice, in 1481 and 1491. Molanus, the historian of Lowen, states that he executed several works for the church there, especially an Assumption for the Chapel of Notre Dame, with his own and his second wife's portraits. These pictures have been recognized in the Assumption in the Brussels Gallery (No. 534), and ALBRECHT BOUTS identified with " Le Maitre de 1' Assomption." On this basis other works have been grouped round him The Last Supper, and Jesus in the House of Simon, and a St. Jerome, also at Brussels ; a Holy Family, and a Nativity, at Antwerp. ALBRECHT BOUTS died at Lowen in 1549. Vide Fierens-Gevaert, Les Primitifs Flamands. Tome I. 1908. No. 1083. Christ Crowned with Thorns. Formerly catalogued under Flemish School. Half-length figure, nearly life size, wearing a crimson robe, but otherwise undraped. The hands upraised showing the sacred wounds. Gold background. Wood, 17J in- A. by 14f in. w. (0-44 by 0'37). Bequeathed by Mrs. Joseph H. Green, in 1880. BOUTS (DIERICK), c. 1400-1475. Netherlandish School. Dierick, Dirk, or Thierry BOUTS was born at Haarlem. In error he was sometimes called in the Louvain municipal accounts Stuerbout. He learnt his art in * See J. Burnet: Discourses of Sir J. Reynolds, 1842, p. 253; and R. E. Fry: Reynolds Discourses, 1906, p. 389. BOUTS. 93 Holland, and may be regarded as a follower in the first place of the Van Eycks. At Haarlem he painted a Life of St. Bavon, and a St. Christopher for the church of St. Ursula. It has been suggested that he finished his studies under some Netherlandish master, possibly R. van de Weyden, about 1435-1440. About 1448 he married Catherine van der Bruggen, and settled at Louvain. By this marriage he had four children, of whom Thierry and Albrecht became painters. Traces of his early activity in Louvain have not been widely recognized. It is not until we reach the portrait, No. 943 in this Gallery, of 1462, that a continuous series of his works becomes clear. The same year he painted a triptych, mentioned by van Mander, and now lost, with our Lord in the centre and SS. Paul and Peter in the wings : it was inscribed and dated. About 1465 the St. Erasmus in St. Pierre, Louvain, is dated, and in 1464 Dierick was com- missioned to paint the important Last Supper (St. Pierre, Louvain), his masterpiece. The shutters of this triptych are at Munich The Meeting of Abraham with Melchisedech, and the Gathering of the Manna ; and at Berlin Elijah and The Feast of the Passover. This same year he was appointed portrait painter to the town of Louvain, and in 1468 was commissioned to paint a triptych for the Council Room, a Last Judgment, completed in 1472 and now lost, and a picture in four parts for the Room of Portraits and Pain tings.* Of this he completed two parts, the Legend of Otho in the Brussels Museum. Other paintings attributed to BOUTS are an Adoration of the Kings (Munich), a Martyrdom of St. Hippolytus (St. Sauveur, Bruges), and a triptych of The Crucifixion in the Chapel Royal, Grenada. Dirck BOUTS, certainly one of the greatest of the Netherlandish masters, died at the end of April, 1475, having married for the second time in 1473. Vide Fierens-Gevaert : Lea Primitifs Flamands. Tome I. 1908. No. 664. The Deposition in the Tomb. Formerly catalogued under Roger van der Weyden. Joseph of Arimathaea, St. John, the Virgin Mary, and others. Composition of eight small figures in a landscape ; woody distance. Linen, in tempera, 34 in. h. by 28 in. w. (0'86 by 0'7 1). Purchased in Milan from the representatives of the Guicciardi family, in 1860. No. 774. The Madonna and Child enthroned. Formerly catalogued under Flemish School. On the left kneels St. Peter holding an open book, on which the Virgin has placed her hand ; on the right kneels St. Paul, offering a pink to the Infant Christ. A background of Gothic c.f. Van Even Ancienne icole de Peintura, p. 188. n.i. 94 BOUTS-BRAY. architecture, stained windows on one side behind the throne, a landscape on the other side. Wood, 27i in. It. by 20 in. to. (0'69 by 0'52). Formerly in the Zambeccari Gallery, Bologna. Purchased from the Collection of Sir Charles Eastlake, P.R.A., in 1867. No. 943. Portrait of a Man. Formerly catalogued under Flemish School. Nearly full face, with thin brown hair, and beardless. In a red cap and gown, but showing the hands one laid over the other. To the left an open window, with a view of the country. Oak, 12J in. by 8 in. (0-31 by 0'20). Formerly in the possession of Samuel Rogers, and assumed to be a portrait of Memlinc by himself, wearing the costume of the Hospital of St. John at Bruges. Exhibited at Leeds in 1868 (No. 524), as a work by Memlinc and described as a portrait of that artist. Wynn Ellis Bequest, 1876. No. 2595. The Virgin and Child. The Virgin, wearing a dark blue robe and turned three-quarters to the right, is giving the breast to the Infant Christ, who is seated on a richly brocaded cushion, placed on the window ledge that occupies the foreground. A rich red and gold hanging is in the right background ; on the left through the window are seen the towers of a distant city. Wood. 15J in. A. by 11 in. w. (0-39 by 0'27). Lent to the National Gallery since 1895. In the Spitzer Collection, 1893 ; George Salting Bequest, 1910. BRAY (JAN DE), 1626?-1697. School of Haarlem. JAN DE BKAY'S father, Salomon de Bray, married in Haarlem in 1625. Hence it is assumed that JAN was born c. 1626, at Haarlem. He was taught by his father, and from 1667 to 1684 is frequently named in the guild. In 1669 his first wife died, and in 1672 he remarried, only to be left widower again in 1673. His third marriage was in 1678, to Victoria van der Wiele, who died in two years' time. In 1689 BKAY became bankrupt, and died in 1697 at Haarlem. His earlier pictures are of considerable importance ; his later work, of the eighties, on the other hand is so much poorer that it is difficult to reconcile one with the other. His principal pictures are at Dresden ; Still Life BRAY BEEKELENKAM. 95 (1656) ; in the Andr6 Collection, Paris, a Portrait of an Old Man (1660) ; in the Blaau Collection, at the Hague, a double portrait of Jan Blaen and his Wife (1663) ; at Haarlem the Orphanage Regents and Regentesses (1663) ; the Governors of the Leperhousc (1667); Vulcan and the Cyclops (1683), and the Apotheosis of Prince Frederick Henry (1681). At Berlin a Portrait of a Man (1666) ; at Hampton Court and Nuremburg large groups of bis own family (c. 1669), and at Amsterdam the Governors of St. Luke's Guild (1675). No. 1423. Portrait of a Lady. Head and shoulders three-quarters to the left, with the eyes to the front. Her dress is black, with a white linen collar descend- ing to the shoulders and bordered with a narrow frilling and tied at the top and bottom with fine tape. She wears a close-fitting black cap which conceals the ears and most of the hair. Inscribed on the left 1657. Ouwt 52 jaar ; and signed BRAY. The sitter closely resembles one of the Kegentesses of the Orphanage in the Haarlem group of 1663. Wood, 26 in. h. by 19 in. to. (0'66 by (H9). Sold at Christie's with the Pares Collection, as a Bavesteijn, in 1891 ; catalogued under Ravesteijn, till the signature of Jande Bray was seen, 1912. Presented by Mr. A. Fowell Buxton, 1894. BR.EKEIiENK.AIVI (QoiRYN VAN), c. 1620-1668. School of Leiden. BREKELENKAM was born about 1620 at Swammerdam, near Leiden. In March, 1648, he was a member of the Leiden Guild and married. He remarried in 1656. He passes for a scholar of G. Dou. He painted genre pieces of numerous descriptions, sometimes in the manner of P. de Hooch. He died at Leiden 1668. Pictures by BREKELENKAM are not un- common, most are dated in the 1660's, a few in the fifties, as for example the picture in this collection and An Etcher's Studio at Augsburg (1654). At Berlin is The Card Player of 1648. No. 1329. An Interior with Figures. On the left, a man wearing a brown suit and broad-brimmed hat holds a lighted pipe in his mouth. Opposite him a peasant woman, or servant, clad in a sage-green gown and scarlet bodice with yellow sleeves, raises a stone flagon from a little table on which food and dishes are set. In the background are several articles of rustic furniture. Above, on the left, daylight streams in through a small casement. SS BREKELENKAM BRITISH SCHOOL. Signed : Wood, 20 in. A. by 27 in. w. (0'50 by 0'69). Purchased from Mr. Horace Buttery ; " Walker Fund," 1891. No. 2549. The Tailor's Shop. The interior of a room, the tailor and two of his men are seated on tables at work, near a window on the left ; on the right sits a woman nursing a child in front of the fire-place ; near her in the right foreground a dog lies asleep. Wood, 16f in. h. by 19J in. w. (0-42 by 0'49). Exhibited at Burlington House (Old Masters) in 1902 (No. 216). George Salting Bequest, 1910. No. 2550. Woman Asleep in a Chair. An interior. An old woman seated asleep in front of the fire-place, an open book on her knee. By her side to the right a table covered with viands. Many household accessories. Wood, 16i in. h. by 12 in. w. (0'41 by 0'31). Formerly in the Collection of Mr. H. F. Broadwood, and included in his sale on March 25, 1899 (No. 27). Exhibited Burlington House. 1892 (No. 90). George Salting Bequest, 1910. BRITISH SCHOOL : XVIIxn CENTURY. (See UNKNOWN.) BRITISH SCHOOL : XVIIlTii CENTURY. No. 1097. Landscape. A road in a thickly-wooded country, with buildings seen in the distance. In the foreground a group of rustics. Canvas. 18J in. h. by 24 in. w. (0'46 by 0'61). Presented by the Trustees of the British Museum, 1880. No. 1681. View of St. Paul's from the Thames. Beyond Blackfriars are seen St. Paul's and several City churches with the Monument and the Tower. Canvas, 23f in. h. by 29| in. w. (0'57 by 0'75). Purchased from Mr. H. J. Reynolds, 1899. See also UNKNOWN. ENGLISH, XYIlTH CENTURY. BRONZING. 97 BRONZING (ALESSANDRO). (See AX.Z.ORZ.) BRONZING (ANGBLO), 1502 ? 1572. Florentine School. ANGELO ALLORI, called Angelo di Cosimo, was born at Monticelli, in the neiglibourhood of Florence, about 1502. He is generally spoken of as IL BRONZING, a name by which at times his nephew Cristofano Allori is inexactly known. He became the pupil of Jacopo da Pontormo, some of whose works, left unfinished, BRONZING completed. He executed several works, in fresco and in oil, for the public buildings of Florence and its vicinity ; but he is now, though not a good colorist, more appreciated as a portrait painter, in which capacity he was much employed by the Grand Duke Cosmo I. Many of BRONZINO'S portraits of the Medici family are still preserved at Florence. Of his more important works now remaining the picture of Limbo, or The Descent of Christ into Hades, painted in 1552, in the Gallery of the Uffizi at Florence, is the most celebrated. He was a devoted admirer of Michelangelo, and the intimate friend of Vasari. BRONZING died at Florence on the 23rd of November 1572. He was both poet and painter. He was a member of the Florentine Academy. No. 651. Venus, Cupid, Folly, and Time. An Allegory. Venus with the apple of Discord in her hand is reclining on a piece of blue drapery on the ground, and turning her bead to kiss Cupi l, kneeling behind her ; Folly unconsciously treading on a thorn is preparing to throw a handfull of roses at them ; a Harpy, offering a piece of honeycomb in one hand, is holding her sting behind her in the other ; behind is Time about to cover all with a veil. In the left lower corner are some doves, in the right are human masks. Seven figures, life-size. Wood, 57 in. h. by 45J in. w. (1-44 by 1-15). Originally painted for Francis I., of France.* Subsequently in the Collection at Althorp. Purchased from M. Edmond Beaucousin, at Paris, in 1860. See Vasari, Vile, Ac.. Ed. Le Monnier, vol. xiii., p. 164, where it is described as a picture of singular beauty. un quadra di xintjolare bellezza chcfu mandato in Francia al re Francesco. Vasari's description of the composition is not quite accurate. 17983 G 98 BRONZING. No. 1323. Portrait of Piero de> Medici (called " II Gottoso "). He wears a plum-coloured gown, the front of which is overlaid with a breast-piece of crimson velvet bordered with gold thread and seed pearls. The hair of the head is short and bushy ; the face clean shaven. His right hand, holding a glove, is laid upon his chest. Life-size, bnst length. Dark background. Wood, 22J in. h. by 17| in. w. (0'57 by 0'55). Piero de' Medici (" 11 Gottoso ") was the eldest son of Cosmo, and the father of Lorenzo, II Magnifico. This is a posthumous portrait and obviously executed from Mino da Fiesole's bust in the Bargello at Florence (No. 234). Formerly in the Collection of Conte Galli-Tassi of Florence. Exhibited at Leeds in 1868 (No. 135). Catalogo del R. Museo Nazionale, Firenze, 1898, p. 430. Litta :' Celebri Famiglie Italiane. Vol. IV. Tav. VIII. Bequeathed by Sir William Drake, in 1891. No. 649, formerly attributed to BRONZING, is cata- logued under ROSSI. SCHOOL OF ANG-ELO BRONZING. No. 67O. A Knight of Saint Stephen. Full length, life-size portrait of a knight, wearing on his breast the red cross of the Order of St. Stephen bordered with yellow ; he is seen standing, touching with his right hand a book placed on a richly carved sixteenth century table. Architectural background. Wood, 81i in. h. by 46 in. w. (2-06 by 1-18). Formerly assigned to Bronzino. Presented by Gr. F. Watts, R.A., in 1861. No. 704. Portrait of Cosmo /., Duke of Tuscany. Bust portrait, less than life-size. On beechwood, 8J in. h. by 6 in. w. (0'20 by 0'16). Formerly assigned to Angelo Bronzino. Cosmo I was Duke from 1537 to 1564. Formerly in the Wallerstein Collection, and in the Collection of the Prince Consort. Exhibited at Manchester in 1857 (No. 192). Waagen : Descriptive Catalogue of Pictures belonging to H.R.H. Prince Albert, 1854, p. 14 (No. 20). Presented in 1863 by Queen Victoria, in fulfilment of the wishes of the Prince Consort. BRONZINO-BROUWER. 99 No. 2085. Portrait of Bianca Capello. A life-sized full-faced portrait of a Florentine lady. She wears a high Medici collar, a peaked head-dress of lace, pearl earrings and necklace, and a heavy gold chain set with pearls and rubies, with a cro?s as pendent. Her bodice is amethyst-coloured, slashed and puffed round the shoulders, and ornamented with pearls. Her under sleeves are of white silk embroidered with gold lines. Wood, 22J in. h. by 18| in. w. (0'57 by 0'47). John Samuel Collection, 1906. BRONZING (CRISTOFANO). (See AX.X.ORX.) BROOKING (CHARLES), 1723-1759. English School. Charles Brooking, an English marine painter, of whose life and artistic career but few particulars have been pre- served, was born in 1723, and seems to have held some minor appointment at Deptf ord Dockyard, where he probably acquired a taste for representing sea-coast scenes and shipping, without receiving any technical instruction in art. It seems, however, that he must have had some opportunity of examining Dutch works of this class and forming his style upon them. Naval engagements, merchant craft, and similar subjects appear to have employed his brush or pencil for some years, but as an amateur he derived but little profit from the work. At last his ability attracted the attention of a wealthy patron who befriended him ; but it was too late. Brooking's health had already begun to fail. Among his works may be mentioned "A Sea-scape with Shipping," in the Foundling Hospital, and a " Sea-Piece " at Kensington Palace. He died of decline in 1759. No. 1475. The Calm : A Seashore Scene. In the middle distance several yachts and sailing-boat lies becalmed. On a rock in the foreground three sailors stand conversing, while a third pushes off a boat from a flat sandy beach. From the horizon cloud cumuli rise into a summer sky. Canvas, lOf in. A. by 33 in. w. (0'27 by 0'83). Bequeathed by the Rev. Richard G. Maul in 1896. BROUWER (ADRIAEN), 1606?-1G38. Flemish School. Born at Oudenaarde in 1605-6 ADRIAEN BROOWER went early to Holland, to Haarlem, where about 17983 G 2 100 BROUWER. 1620-23 he was probably Frans Hals' pupil. He seems to have stayed at Haarlem till 1626, when he was a member of the Rhetoricians Club. Traces of a stay in Amsterdam in 1625 have also been discovered. In 1631 BROUWER was a member of the Lucas Guild at Antwerp, where he probably resided till his death. From various clues it has been deduced that he embroiled himself in politics ; he was certainly a prisoner in the State fortress at Antwerp in 1633 and seems to have been released late in that year. He was a member of the Lucas Guild in 1634-35. As a member of a literary club, the Rederijkerskamer, he is mentioned in 1637. At this time he made Rubens' acquaintance and is said to have been his guest for a little while, until his irregularity of life made him impossible in the Master's ordered ceremonious mansion. However that may be, Rubens esteemed BROUWER'S art so highly as to possess seventeen examples. Perpetually involved in money difficulties, and of an impulsively unconven- tional spirit, BROUWER died in 1638, worn out by the excessive strain his way of life imposed. His early works (often conf u&ed with Pieter Brueghel's) are repre- sented by the Peasant's Orgy in the Rijks Museum and various old copies made from them, such as The Dance in the Barn (copied by J. Hals) at Lyons, The Wedding (drawn by Dusart), The Charlatan in the Mannheim Gallery, The Quarrel in the Rijksmuseum, and certain coarsely conceived tavern scenes. In them the colour is strong, the feeling crude. BROUWER'S residence at Antwerp and Rubens' influence materially changed his style ; to this period (1631-33) belong The Card Players (Antwerp), the tavern scences in the Louvre and at Staedel, and various pictures of doctors in private hands. A little later are placed the Barber's Shop and 2he Fight at Munich. To the period 1633-36 are assigned such pieces as the Players, The Brawl at the Cask, and the Peasants Fighting, also at Munich, and most of BROUWER'S landscapes, such as the Landscape with the Shepherd (Berlin), Two Peasants on the Dunes (Vienna Academy) and the signed picture in the Brussels Gallery. His landscapes are rich and varied, rendering moods of solemnity and awe. In his last period local colour is subordinated to a geneial grey tone, and in skill of handling and in actual size these last works are finer and larger than those of his earlier periods The Pinakothek, Munich, shews him best in this phase, in its Singing Peasants, the Host with a Glass of Brandy, and the Sleeping Host. Similar pieces are at the Hague, the Louvre, at Haarlem and the Staedel Museum, Frankfort. Vide Dr. Bode: Rembrandt und Seine Zeitgenossen (Great Masters of Dutch and Flemish Painting). No. 2569. Three Boors Drinking. An interior. A man on the left is lighting his pipe from a char- coal pan, the one in the centre is drinking out of a large pot. On BROUWER BRUEGHEL. 101 the right there is a man asleep. A dog and a large pitcher in the foreground. Wood, 11 J in. h. by 8J in. w. (0-29 by 0-22). George Salting Beque8t, 1910. See also under Rembrandt, No. 72. LENT. A Tavern Scene. Some boors are drinking round a fire and laughing at a man who is teasing a woman, who pulls his hair in revenge. An angry old woman looks at them through a window. Signed " Brouwer ' Wood, 19J in. Ji. by 29$ in. w. (CH8 by 0'74). A drawing for this picture is in the Albertina. Lent by Sir Hickman Bacon, Bart., 1907. BROWNE (HENEIETTE), 1829-1901. French School. Mme. Jules de Saux, nee Sophie de Bouteillier, who painted under the name of HENRIETTE BROWNE, was born in Paris in 1829. She studied under Perin and Chaplin and pro- duced portraits, genre and children pieces. Among her exhibits at the Salon were Reading the Bible (1853), The Puritan (1859), Turkish Children (1864). In the Manchester Gallery is her Brother of the Christian Schools. She received medals of the third class in 1855, 1857 and 1859, of the first in 1861, and of the third for etching in 1863. She died in 1901. No. 1969. A Greek Captive. A pale-faced little girl, in a light-blue gown tied round the waist with a red sash, is seated on a pink shawl with her veil thrown off ; she wears a chaplet of leaves and a red cap, and holds a wreath of the same leaves in her bands, which are folded on her lap. Signed : " Henriette Browne" 1863. Canvas, 36 in. A. by 28 i in. w. (0'91 by 0'72). Bequeathed by Mr. Charles Eraser, in 1905. BRUEGHEL (JAN THE YOUNGER), 1601-1678. Flemish School. The son of Jan Brueghel I., this painter was born at Antwerp in 1601. At the death of his father in 1625 he was already in Italy, where he worked in Milan under Borromeo and where at Genoa he made Van Dyck's acquaintance. When his father died he hurried to Antwerp, through France. He entered the Antwerp Guild in 1625 and married next year. He had eleven children, five of whom became painters. JAN BRUEGHEL worked 102 BRUEGHEL-BRUYN. with Rubens, A. Janssens, Diepenbeck, F. Wouters and other artists, including Coques, with whom he painted a Marthi and Mary Magdalen. He also painted a Paradise, and a Flight into Egypt, which at his death in 1678 were sold for 700 and 150 gulden respectively. Pictures by him are in the Van der Weil Collection, Antwerp (1636), Dresden A Country Inn (1641) and A Toicer by the Sea, and A Wooded Hill Landscape both of 1642. No. 659. Pan and Syrinx. Formerly catalogued under Johann Rottenhammer. The nymph Syrinx, one of the Naiads, is pursued by Pan, and takes refuge among some bulrushes. The god, thinking to grasp the nymph, finds only reeds in his hands ; these he constructed into a rude instrument, hence the name of Syrinx given to the Pan- pipes. Copper, 9 in. h. by 7$ in. w. (0-24 by 0'19). The landscape background appears to be by the hand of " Velvet " Brueghel. Purchased at Paris from M. Edmond Beaucousin. in 1860. BRUYN (BARTHOLOMAUS), 1493-1555 ? School of Cologne. BARTHOLOMAUS BRUYN who is best known for his portraits yet worked largely for the churches. He was born at Cologne or Wesel in 1493, and according to recent investi- gation in Holland, of Netherlandish descent. His earliest picture is a triptych, The Coronation of the Virgin, with the Donor and his wife in the shutters, dated 1515, in a private collection at Cologne. In 1515 he was at Cologne, but his work of that period reflects Netherlandish influence. In his later work Italian influence is clear. In the Kaufmann Collection, Berlin, is a piece by BRUYN dated 1516 ; in 1522 he married, in 1525 he received payment for an altar-piece, in 1529 be contracted to paint an altar-piece for the new High Altar of the Stifskirche St. Victor at Xanten; in 1534 he completed it. In 1546 he was one of the deputies of the Painters Guild, asking pardon of the municipal authorities for certain acts of violence towards the foreign dealers. In 1549 and 1552 BRUYN was on the Town Council, and died in 1555. The influence of Jan Soest, a Haarlem painter, is evident in BBUYN'S early work, and in his portraits, many of which are dated, that of Joos von Cleve. His best period ranges from 1520-1550. No. 2605. Portrait of Dr. Fuchsius. The author of the famous herbal wears a black dress and a flat cap, a white shirt gathered at the neck, and a tippet of brown fur BRUYN BUONINSEGNA. 103 His left hand rests on a green ledge in the foreground. In his right hand he holds a paper with the inscription in German : 2he Word of the Lord endureth for aye. Half-length figure, facing the spectator. Light green background. Wood, 13| in. ft. by 9| in. w. (0'34 by 0'24). Exhibited at the Burlington Fine Arts Club, 1892 (No. 52). Exhibited at Burlington House, 1895 (No. 179). Lent to the National Grallery since 1895. George Salting Bequest, 1910. BUITENWEG (WlLLEM), 1590-1630. School of Haarlem. WILLEM BUYTEWECH, or BCITENWEG, was born in 1590 at Rotterdam. He was married at Haarlem in 1613, and was still there in 1623. Two years later he returned to Rotterdam and died tbere, 1630. He worked in the style of Dirk Hals and Esaias v. d. Velde. producing landscape and genre. Pictures by him are very rare : his etchings are more numerous. His drawings are dated from 1616-1623 ; his etchings 1606- 1621. Some drawings by him are in the Albertina costume pieces, at Rotterdam (Boymans Museum), and in the Teyler Museum at Haarlem ; at Hamburg also he may be studied. No. 2731. Landscape. In the centre, facing the right distance, a grey horse stands ; beside him a dog and a man in red seated on a log towards the right. On the left, some sheep on top of, and below a sandy hillock ; to the right, a goat. A road leads into the picture from the centre ; a wheel lies at its side. Wood, 9$ in. h. by 13 in. w. (0-24 by 0'33). Formerly in the Northbrook Collection. Mackerell Fund, 1910. SUONACCORSO. (See NZCCOZiO.) BUONARROTI. (See MICHELANGELO. BUONFIGLI. (See BONFIGLI. BUONINSEGNA. (See DUCCIO.) 104 BURGUNDIAN SCHOOL CALAME. BURGUNDIAN SCHOOL. No. 2612. Louis XI.^ King of France. The King wears a purple dress and black sleeveless jacket, with green sash, and a cap with gold jewel ; be holds a heart-shaped book, and stands in an archway through which is seen the entrance to a cathedral with the gardens of a palace in the background. Wood, 9 in. h. by 5| in. w. (0'22 by 0-14). Formerly in the H. Magniac Collection, July 2, 1892 (No. 35), when it was assigned to Quentin Matsys. George Salting Bequest, 1910. No. 2613. Philip and Margaret of Burgundy. The panel on the left represents Philip wearing the order of the Golden Fleece, a robe trimmed with ermine and a black cap. He looks three-quarters to the right ; bust length, less than life-size. The right panel represents Margaret of Burgundy wearing a rich robe, a headdress and a necklace. She is seen at bust length less than life-size, turned three-quarters to the left. Two arched panels in one frame, each 8J in. k. by 6 in. w. (0'22 by 0-15). George Salting Bequest, 1910. BUSX. (See CARIANI.) CALAME (ALEXANDRE), 1810-1864. Swiss School. ALEXANDRE CALAME was born at Vevey, Switzerland, in 1810, his father beiug a stone-carver. After his death, CALAME went to Geneva and was apprenticed to a tradesman; but in 1830 he entered the studio of Diday and eventually succeeded him in the head-mastership of his school. He exhibited landscapes of the mountain scenery of his native land at Hamburg and Paris, amongst them Ihe Lake of Four Cantons at the Universal Exhibition of 1855. He was a skilful engraver and lithographer. Peihaps his best known publications are the eighteen Views of Lauterbrunnen and Meyringen and twenty-four Alpine Landscapes. In 1863 he went to Mentone for his health, and died there in the spring of 1864. Pictures by him are to be seen in the Galleries of Basle, Berlin, Berne, ITrankfort, Geneva, Leipsig, and Neuchatel. CALAME-CALLCOTT. 105 No. 1786. TJie Lake of Thun. A recollection of the Lake of Thun, Canton de Berne, the moun- tain is the Blumlis Alp, with an afternoon effect. The mountain is capped with snow and is seen across the lake to the left, trees and rocks on the right. Signed " A. Calame, M, 1854." Canvas, 23 in. A. by 30 in. w. (0'58 by 0'76). Henry Vaughan Bequest, 1900. CAX.CAR (GIOVANNI DA), 1499-1546-50? Venetian School. Johannes Stephan CALCAR, called Giovanni da, was born at Calcar, in Cleve, in 1499. He is said to have gone to Venice in 1536-7, and there to have studied under Titian with such success that his pictures often passed for his master's. Later be went to Naples, setting up as a portrait painter. He died there between 1546 and 1550. Portraits by CALCAR are in the Kaiser Frie in. h. by 51 in. to. (0-92 by 1-29). No. 967. Shipping. Dutch river scene with sailing boats and ferry boat. Canvas, 47 in. A. by 60 in. w. (1'19 by 1-52). Nos. 964-67. Wynn Ellis Bequest. 1876. CAPPELLE CARAVAGGIO. 117 No. 2586. Coast Scene, with a Boat Landing Passengers. Wood, 23 J in. h. by 31 i in. w. (0'59 by 0'79). No. 2587. A Calm. Canvas, 19 in. h. by 19 in. w. (0'48 by 0'48). From the De Zeote and Sir James Knowles Collections. No. 2588. A Dutch Galiot. Canvas, 17 in. h. by 22 in. w. (0'44 by 0'55;. Xos. 2586-88. George Salting Bequest, 1910. CARAVAGGIO (MICHELANGELO), 1569-1609. Roman School. MICHELANGELO AMERIGHI, or MERI'GI, was born at Caravaggio in the Milanese, in 1569, and on this account is generally known as Michelangelo da CARAVAGGIO. His father was a mason. He maintained himself for about five years painting portraits at Milan ; he then went to Venice. From Venice he proceeded to Rome ; but there, owing to his poverty, he could not procure the requisite materials to produce a picture ; he therefore entered the service of the Cavaliere Cesare d'Arpino, who employed him in painting fruit and flowers and other ornamental parts of his own works. CARAVAGGIO at length produced the celebrated picture of 11 Giuoco di Carte, or the Card-players, which was purchased by the Cardinal del Monte. He also painted about this time several oil pictures for the Contarelli Chapel in the Church of San Luigi de' Francesi. His first altar-piece in this chapel, St. Matthew writing the Gospel, was removed by the priests as too vulgar for such a subject : CARAVAGGIO painted a second, which gave satisfaction, and the first was purchased by the Marchese Vincenzo Giustiniani. His masterpiece at Rome is The Pietd, formerly in the Chiesa Nuova de' Padri dell' Oratorio, or Santa Maria in Vallicella, but now in the gallery of the Vatican ; a copy was substituted in the church for the original, and there is a mosaic of it in the Chapel of the Sacrament in St. Peter's. CARAVAGGIO was now fully established; but his temper was violent. Playing at tennis he quarrelled violently and killed his companion. He fled to Naples, whence, after executing a few pictures, he went to Malta. There he obtained the favour of Alof da Wignacourt, Grand-master of Malta in 1601, who sat to him for two portraits. CARAVAGGIO was by him made a Knight of the Cross of Malta. Here again his temper was his enemy ; he quarrelled with one of the knights, and was cast into prison ; escaping he fled to Syracuse. He afterwards visited Messina and Palermo. Having executed a few pictures in those cities, he returned to Naples, where, after a little time, he hired a felucca and set out for Rome, having at length procured the pope's pardon for the homicide. On bis way One of these is in the Louvre (No. 1124). 118 m CARAVAGGIO CARIAXI. however, he was robbed of all his property. Wandering along the coast to Porto Ercole, he was seized with a fever and died in a few days, in 1609, aged only forty.* The followers of CARAVAGGIO have been called Naturalists : many had imitators among the younger painters of the age ; even Guido and Domenichino were not exempt, from the influence. Guercino in part adopted his style, but Bartolomeo Manfredi, Eibera (Spagnoletto), Valentin, and Gerard Honthorst (Gherardo della Notte) became his decided imitators. No. 172. Christ and the two Disciples at Emmaus. A composition of four half-length figures. Christ breaking bread is seated between the two disciples at a table, on which is spread an Italian meal ; the fourth figure behind is the cook or host. Canvas, 55 in. h. by 77 in. w. (1'39 by 1'95). Bellori mentions three pictures of this subject, which were painted by Caravaggio, all slightly different. The first, containing five figures, was painted at Rome, for the Marchese Patrizj, and constituted part of the Borghese Gallery at Rome, until the great dispersion of pictures which took place in Italy about 1798 in consequence of the French occupation of that country. It came eventually into the possession of Lord Vernon. Presented by Lord Vernon in 1839. * C ARI ANI (GIOVANNI), 1480 P-1547 ?. Venetian School. GIOVANNI Busi, called CAEIANI, was a member of an ancient family of Fuipiano in the Valley of the Brembo. He was bornabout 1480 at either Bergamo or Venice, where his father had become resident about 1486. The son was already painting in Venice in 1509.f He is supposed to have become a pupil of Palma Vecchio. In 1514 he painted a Madonna for the church at Lonno. This picture, which was signed and dated 1514, has disappeared. A fine Family Group, signed and dated 1519, is in the Casa Roncalli at Bergamo ; and in the Casa Baglioni in the same town is a Madonna and Donor, signed and dated 1520. These are almost the only known pictures by this master which bear dates. The art of CARIANI is to be best understood in Bergamo, where the Lochis-Carrara (Municipal) Gallery contains ten of his pictures, among them being a Portrait of Benedetto Caravaggio. At Hampton Court there is a Shepherd's Offering (No. 139), which shows Giorgione's influence. His works are in private collections in this country. * Bellori : Vite de' Pittori, Scultori, ed Architetti moderni, Ac., Eome, 1672, pp 201-216. t See Dr. Lad-wig in Supp. to Jahrbucli, 1905, p. 153. CARIANI. 11& Some usually pass as the works of greater painters. Although many of his authenticated works are at Bergamo, Venice seems to have been his place of permanent residence.* In 1537 he was a man of means, and he was still living in November, 1547. One of his last works was the one, now missing, which he presented to the church of Fuipiano in 1541/f Of his personal history very little is known ; his father, also an artist, was living in 1536. No. 1203. The Madonna and Child with Saints. In the centre of the foreground, the Virgin, whose figure is seen at half-length, sits with the Infant Christ on her lap. Her right hand rests on the shoulder of St. Mary Magdalene, who, clad in a robe and mantle of -richly brocaded stuff, kneels in adoration on the left. Behind her stands St. Barbara (?), bearing a lamp and palm branch. On the right St. Joseph, wearing a maize-coloured pallium, rests on his staff, which is represented as blossoming. Below kneels a boy, probably the youthful donor, in a black gown. Mountainous background, with the distant view of a Campanile and other buildings. Canvas, 33 in. h. by 45 in. w. (0-83 by M4). Purchased from the heirs of Signer Enrico Andreossi of Milan, out of the Walker Fund, in 1886. No. 2494. Portrait of an Italian Noble. A man of middle age with long bushy brown hair and brown beard, is seen at half-length turned three-quarters to the left. He is dressed in a robe of gold brocade with crimson lining, under which are seen portions of his blue sleeves ; he wears a black cap. Over his shoulders hangs a heavy gold chain. His hands rest on a table covered with a green cloth. To the left is an open window, through which is seen a landscape. Canvas, 41 4 in. h. by 32f in. w. (1'05 by 0'83). Lent since 1902. George Salting Bequest, 1910. No. 2495. The Virgin and Child. " La Vierge auv Lauriers." The Virgin seated and seen at three-quarter length, her head turned three-quarters to the left, holds the Infant on a cushion on her lap. Behind is a laurel ; to the left a rose bush ; a receding landscape is seen in the background to the right. Wood, 35^ in. h. by 27f in. w. (0'89 by 0'70). From the Leuchtenberg Collection,! there ascribed to ' Barbarelli " (Paasavant, No. 7). George Salting Bequest, 1910. * Dr. Lndwig in Supp. to Jahrbuch, 1905, p. 33. t See an article on " Some Venetian Portraits in English Possession," by Mr. Herbert Cook in the Burlington Magazine, 1906, viii, p. 343. 120 CARIANI CARRACCL ASCRIBED TO CARXANX. No. 41. The Death of St. Peter, Martyr. In the centre, his left arm pointing to the sky, St. Peter is falling backwards, pressed to the ground by his assassin, who stands on the left, profile to the right, a dagger in his right hand raised behind him. Landscape distance on the left, a coppice on the right, towards which another friar flees, pursued. Engraved in Jones's National Gallery. Canvas, 40 in. h. by 57J in. w. (1'02 by 1-46). Formerly in the Collection of Christina, Queen of Sweden. Subsequently in the Orleans Collection. Holwell-Carr Bequest, 1831. * CARRACCX (AGOSTINO), 1557 (?)-1602. Bolognese School. AGOSTINO CARRACCI, the elder brother of Annibale and the nephew of Lodovico Carracci, was born at Bologna in 1557.* His father Antonio was a tailor. He was placed first with a goldsmith, then with Prospero Fontana, the master of Lodovico Carracci, and afterwards with Bartolommeo Passerotti, Domenico Tibaldi, and Cornelius Cort. With his brother Annibale he studied the works of Correggio at Parma and, after visiting Yenice, returned in 1589 to Bologna, where he was the most active teacher in the celebrated school of the Carracci. When Annibale was engaged on his frescoes in the Farnese Palace at Rome, AGOSTINO joined him, and for a time assisted him ; he executed the Triumph of Galatea and the Cephalus and Aurora of that series, the original designs for which are in this Gallery. According to Malvasia, he was not only the painter but the designer of those compositions, and their success appears to have caused the separa- tion of the two brothers ; it was reported that the engraver (for as such AGOSTINO was chiefly known) had surpassed the painter in the Farnese. This is said to have excited the jealousy of Annibale ; differences arose between them, and AGOSTINO went to Parma into the service of the Duke Ranuccio, brother of the Cardinal Odoardo Farnese ; after painting a few pictures, he died there on the 22nd of March, 1602.f AGOSTINO was painter, engraver, poet, and musician, and well versed in the arts and * Malvasia : Fclsina Pittrice, Bologna, 1678, p. 455, places Agostino's birth in the year 1557, ostensibly quoting the baptismal register at Bologna of August 16, 1557. Lanzi, Giordani, and others have followed Malvasia. T Bellori : Le Vite de' Pittori, Roma. 1672. p. 113. gives the inscription on his tomb in the Cathedral of Parma. 'Malvasia: Felsina Pittrice. Bologna. 1678, Torno Primo, p. 407, reprinted the description published by Vittorio Benacci in 1603 of Agostino's funeral, which -was celebrated with great pomp at Bologna by the artists of that school. CARRACCL 121 sciences generally. His best picture is the Last Communion of St. Jerome, which, painted for the Certosa, was transported to Paris by Napoleon, and is now in the Accademia at Bologna.* He is known as a teacher rather than a painter, his paintings being rare. His prints are very numerous ; one of the earliest, largest, and best is The Crucifixion, after Tintoretto's in the Scuola di San Rocco in Venice.f No. 147. Cephalus and Aurora. Cephalus, while on a hunting expedition on Mount Hymettus, is forcibly carried off by Aurora, who was enamoured of him. The aged Tithonus, her husband, is represented in the foreground to the right asleep. J A cartoon, affixed to canvas, 6 ft. 8 in. h. by 13 ft. 4 in. w. (2'03 by 4'05). See also under No. 148, below. Formerly in the Collection of Sir Thomas Lawrence. Presented by the Earl of Ellesmere in 1837. No. 148. The Triumph of Galatea. The sea-nymph Galatea is borne on the ocean by Glaucus, or some other marine deity, preceded by a Triton blowing his horn, and surrounded by Nereids and Cupids on dolphins. Some of the Cupids, bearing torches and bow and arrow, are sporting in the air ; one of them, as if stunned by the noise made by the marine horn of the Triton, holds his hands to his ears. A cartoon, affixed to canvas, 6 ft. 8J in. h. by 13 ft. 7J in. w. (2*04 by 4-14). These cartoons, part of the celebrated collection of drawings belong- ing to Sir Thomas Lawrence are the original designs for the frescoes of the two principal lateral compartments of the vault of the Carracci Gallery, in the Farnese Palace at Rome. Presented by the Earl of Ellesmere in 1837. CARRACCI (ANNIBALE), 1560?-! 609. Bolognese School. ANNIBALE, the younger brother of Agostino, was born at Bologna about 1560.|| His uncle Lodovico Carracci, * Giordani : Catalogo dei Quadri nella Pinacoteca della Pmtiflcia Accademia di Belle Arti in Bologna, 1835, p. 33. t See Q. Gori Gandellini : Notlzie Istorlche deg? Intagliatori, Siena, 1773. Toom Primo, p.227. Heineeken : Dic.tionnaire des Artistes, dont nous avow des Estampes. Leipzig, 1778-90. Ill, pp. 627-649. Bartsch : Le Peintre Graveur, Vienna, 1803-21, -iVIH, pp. 31-173. J Ovid : Met.. VH, 701. The Carracci Gallery has been engraved in whole and in part several times. See Carlo Cesio : Galleria nel Palazzo Farneitc in Roma, Romae, n.d. ; also Pietro Aquila : Galeriae Farncnianae Icones Eomac, Romae, 1686. 8 Malvasia : " Felsina Pittrice," Bologna, 1678, p. 455, states that he Vas bap- tized on November 3, 1560. This year is generally accepted as having wit- nessed Annibale's birth. 122 CARBAGOI, who was five years his senior, was his first and only master. In 1580 be visited Parma, studying the works of Correggio for about three years. It seems that he was joined at Parma by bis brother Agostino, who, however, left ANNIBALE to go to Venice, where they again met, and dwelt a considerable time. ANNIBALE returned to Bologna before 1589 when the three Carracci opened their academy. After executing, together with Lodovico and Agostino, several public and private works in Bologna, ANNIBALE was invited, about 1600, to Rome, by the Cardinal Odoardo Farnese, who, says Bellori, granted the usual table allowance of a courtier, for himself and two attendants, and a monthly salary. He was assisted in the frescoes of the Farnese Palace by Agostino, Lanfranco and Domenichino, then a very young man. The whole works of the Farnese must have been completed by about 1604 ; for, according to a letter of ANNIBALE'S friend, Monsignore Agucchi, he painted scarcely anything during the last five years of his life. He died at Rome, July 15th, 1609, and was buried near Raphael, in the Pantheon. Malvasia says that ANNIBALE was assisted also by Lodovico in the Farnese ; but Lodovico was apparently only a fortnight in Rome, from May 31st to June 13, 1602. The altar-piece and frescoes of the chapel of San Diego, in the church of San Giacomo degli Spagnuoli, were probably completed in 1604 ; all were designed by ANNIBALE, but he painted the altar-piece only ; the frescoes were executed by Albani. ANNIBALE CARBACCI engraved a few plates. The Farnese gallery was preferred by Poussin to all the works in Rome, after those of Raphael. It is superior in form to those executed previously by the Carracci, but is inferior in colour to the works of the Sala of the Signori Magnani at Bologna. ANNIBALE'S portrait, by himself, was in the Orleans Gallery. It is now in the collection of Rosalind, Countess of Carlisle, at Castle Howard, where there are also several other pictures by this artist from the same Gallery, including The Three Marys, in which the eclectic system of the school is apparent. The well-known Butcher's Shop is in the Library at Christ Church, Oxford. No. 9, Christ appearing to fiimon Peter after His Resurrection. On the left, His cross on His left shoulder, His right hand pointing towards the spectator, the Christ advances ; a mantle round his shoulders. St. Peter kneels in profile to the left, in the right corner, his left hand raised to his chin. Wood, 30 in. h. by 21 in. w. (0-76 by 0-53). Engraved by G. Chasteau ; in a large size by G. T. Doo, E. A ., for the series of prints published for the Associated Engravers ; and, small, by T. W. Shaw, in Jones's National Gallery, &c. Buchanan : Memoirs of Painting, 1824, vol. II, p. 5. CARRACOI. 12$ Before the French Revolution, this picture was in the apartments of Prince Aldobrandini in the Borghese Palace at Rome, and is described by Ramdohr in his account of the Paintings and Sculptures of Rome, in 1784.* It was brought to England by Mr. Day in 1800, and passed subsequently into the possession of Lord Northwick and that of Mr, Hamlet. Purchased from Mr. Hamlet in 1826. No. 25. St. John in the Wilderness. A rocky landscape ; St. John reclining upon a skin, holds in his left hand the standard of the Lamb ; with his right he catches water in a cup from a stream which flows from the rocks. Whole figure, less than life-size. Canvas, 65 in. h. by 37 in. w. (1'65 by 0-93). Another version of this picture is in the Madrid Gallery. Engraved by Le Cerf in the Galerie du Palais Royal ; also in John Young's Catalogue of ttie Anger stein Collection; and in Jones's National Gallery under the title of St. John at the Font. Formerly in the Orleans Collection, from which it passed, in 1799, into the possession of Mr. Angerstein. Buchanan : Memoirs of Painting, 1824, vol. I, p. 81. Purchased out of the Angerstein Collection in 1824. No. 56. Landscape, with Figures. A lake or river scene, with much foliage, and mountains in the distance. On the water is a pleasure party ; in the foreground are an angler and another figure conversing. Canvas, 37| in. h. by 52J in. w. (0'95 by 1'33). Engraved by H. Wallis, for Jones's National Gallery. Formerly in the Collection of Prince Cellamare, at Naples, whence it came into the possession of the Rev. W. Holwell-Carr. Holwell-Carr Bequest, 1831. No. 63. Landscape, with a Hunting Party. A rocky and woody landscape, with mountains in the distance, and a party of figures on foot and on horseback ; supposed to represent Prince Giustiniani and attendants returning from the chase ; in the middle distance, to the right, is a villa situated upon a rocky eminence. Canvas, 41 in. h. by 53 in. w. (1'04 by 1'34). Engraved by J. C. Varrall for Jones's National Gallery. Formerly in the Giustiniani Palace at Rome, whence it was procured by the Rev. W. Holwell-Carr. Holwell-Carr Bequest, 1831. * Von Ramdohr : Ueber Malerei und Blldhauerarbe.it in Rom, Leipzig, 1787, 1, 308. 124 CARBACCI. No. 88. Erminia takes refuge with the Shepherds. From the story of Erminia, in Tasso's Jerusalem Delivered. The picture represents that part of the story when Erminia, startled by the sound of pastoral music from the first repose which she had taken after her flight, rises, and attracted by the rustic strains, discovers an old shepherd, who, tending his flock and busy making curd-baskets, is listening the while to the music of three children. Canvas, 58 in. h. by 84 in. w. (1-46 by 2-13). Engraved in John Young's Catalogue of the Angerstein Collection, and by G. Presbury, for Jones's National Gallery. This picture was formerly in the Camuccini Collection at Rome, from which it was purchased by Mr. Irvine in 1804 as a work by Annibale Carracci ; while in the possession of Mr. Angerstein it was attri- buted to Domenichino ; upon the removal, however, of that collection into the present building it was again assigned to Annibale Carracci. As Annibale occasionally employed Domenichino to execute some of his designs, both masters may have had a share in the painting of this picture.* Purchased from the Angerstein Collection, in 1824. No. 93. Silenus gathering Grapes. Two fauns are raising Silenns on a skin to enable him to pluck some grapes from a vine above his head : on each side is a strip- ling boy or young faun climbing the supports of the vine with a similar object. The autumnal colour of the leaves is assisted with gold leaf. Wood, 21i in. / t . by 35 in. w. (0'54 by 0'88). Engraved by W. Bromley, for the series of prints published for the Associated Engravers ; and. on a small scale, by J. Mitchell, for Jones's National Gallery. See under No. 94. This panel, possibly part of the ornaments of a harpsichord, was formerly in the Lancelloti Palace at Rome ; later in the Collection of the Rev. W. flolwell-Carr. Holwell-Carr Bequest, 1831. No. 94. Bacchus playing to Silenus. Such is the title under which Lanzi refers to this picture. Ram- dohr describes it as Pan teaching Apollo to play on the Pipes. Both figures are musicians, for the pipes of Silenus are hanging on the stem of a tree behind him ; and a double flute is suspended to the tree by the side of the younger musician, who has the pipes in his hands, and appears to be watching the effects of his notes upon his companion. Wood, 14 in. h. by 32 in. w. (0-35 by 0'81). * Passeri : Vlte M Pittori, 1772, p. 12. CARRACCI. 125 Engraved by D. Cunego for Gavin Hamilton's Schola Italica Picturae (Piranesi, vol. xxii), under the title of Apollo et Silenus ; and by J. Rolls, for Jones's National Gallery. This and the previous picture were purchased at Rome by Mr. Irvine for Mr. Buchanan in 1804 ; they used to hang in the Lancellotti Palace at Rome together with the Lot and the Susannah of Guido, in this Gallery. No. 94 is described both by Ramdohr and Lanzi as a painting a colla, or in distemper, but it is now saturated with oil. Ramdohr says that the Silenus (No. 93) decorated the top of a harpsichord, and he supposed that the Apollo or Bacchus decorated the front of the same instrument. Lanzi speaks highly of the second picture.* Purchased by Parliament from the Angerstein Collection in 1824. No. 198. The Temptation of St. Anthony in the Desert The Saint, tempted on each side by demons, is reclining on his back, and appears engrossed at the moment by a vision above of the Saviour supported by angels. At his feet is a lion with its forepaw raised. Copper, 19J in. h. by 13J in. w. (0-49 by 0*34). Engraved by G. Audran and by B. Farjat. Formerly in the Borghese Gallery at Rome; subsequently in the Collection of Lord Radstock. Purchased from the Earl of Dartmouth in 1846. No. 2,105. A man with a pointed heard. An oval portrait of a man with moustaches and a small pointed beard. He wears a black dress with a narrow white collar. The light falls perpendicularly and lights up the top of his high forehead. Wood, oval, 9J in. h. by 7 in. w. (0'24 by 0'18). John Samuel Collection, 1906. CARRACCI (LODOVICO), 1555?-1619, The founder of the eclectic school of Bologna, was born at Bologna about I555.f He was placed with Prospero Fontana and on account of his slowness was called by his companions the * Ramdohr : Ueber Malcrel und Bildhauerarbeit In Rom, &c. (1787), vol. iii., p. 75 ; Lanzi : Storia Pittorica fall' Italia, vol. v., p. 76. t Malvasia : Felxina Pittrice, Bologna, 1678, p, 455, states that Lodvico was baptized at Bologna on April 19, 1555. i 126 CARRACCI. ox " II Bue." He afterwards entered the school of Passignano at Florence, and studied the works of Correggio and Parmigianino at Parma, those of Giulio Romano at Mantua, and those of Titian at Yenice. The works of these and other masters afforded the elements of the eclectic style of the Carracci, as expressed in the well-known sonnet of Agostino. c " The school of the Carracci was opened in 1589, and carried on by his two nephews Agostino and Annibale conjointly up to 1600, from which time it was conducted by LoooviCO alone, until his death (Dec. 13th, 1619), said to have been hastened by some errors in the fresco of the Annunciation, in the Cathedral of Bologna, his last work. The frescoes of the Convent of San Michele in Bosco in Bologna, from the life of St. Benedict, com- menced in 1602 after LODOVICO'S short visit to Rome, considered his masterpieces.f There are thirteen pictures by LODOVICO CARRACCI in the Academy at Bologna.J The scholars of the 'Carracci produced a change in all the schools of Italy ; but the qualities of their works are strictly technical or material. They remained as much below the great masters of Rome and Florence in expression, composition, and character, as they may be said to have surpassed them in facility. The most distinguished masters of this school were Domenichino, Guido, Albani, Lanfranco, Spada, and Tiarini. No. 28. Susannah and the two Elders. Susannah is kneeling in the foreground, and is holding back her garment from the rough touch of one of the elders. Apocryphal Book of Susannah. Canvas, 56 in. h. by 43 in. w. (1'42 by 1-09). Engraved by J. H. Watt for the Associated, Engravers ; also by A. L Romanet in Couche's Galerie du Palais Royal, 1786, vol. I ; in John Young's Catalogue of the Aiigerstein Collection ; and in Jones's National Gallery. Formerly in the Orleans Collection, from which it passed in 1799 into the possession of Mr. Angerstein. A repetition is in the Uffizi. Purchased with the Angerstein Collection in 1824. * " Let him who wishes to be a good painter acquire the design of Home, " Venetian action, and Venetian management of shade, the dignified colour of "Lombardy ; the terrible manner of Michelangelo, Titian's truth and nature, " the sovereign purity of Correggio's style, and the just symmetry of a Raphael ; " the decorum and well-grounded study of Tibaldi, the invention of the learned " Primaticcio, and a little of Parmigiacq's grace ; but, without so much study " and toil, let him only apply himself to imitate the works which our Niccolino " has left us here." The last sentence, which is a mere compliment, refers to Niccolb del Abbate. t The designs are preserved in the prints of G. M. Giovannini in II claustro di San Michele in Bosco di Bologna, &c., published in 1694, with descriptions by t Malvasia: Felsina Plttrice : Lanzi : Storia Pittorica, &c.; Belvisi : Elogio Storico del Pittore Lodovico Caracal, 8vo., Bologna, 1825. Giordani : Catalogo dci Quadrt nella Pinacoteca di Bologna. CARRACCI CASTAGNO. 127 No. 86. Entombment of Christ. The body of Christ, wrapped in a sheet, is being lowered into a tomb by torch-light. Copper, 17 in. k. by 13 in. w. (0'43 by 0'33). Formerly in the Corsini Palace at Rome. Subsequently in the Col- lection of Mr. W. Y. Ottley. Bequeathed by Lieut.-Colonel Ollney in 1837. CARUCCX (JACOPO). (See PONTORMO.) CASENTINO (JACOPO Dl). See X.ANDXNX. CASTAGNO (ANDREA DEI,), 1410V-1457. Florentine School. ANDREA DEL CASTAGNO was born in or about the year 1410.* ANDREA was, during his lifetime, known as ANDREA DEL CASTAGNO and ANDREA DI BARTOLO DA CAS- TAGNO.f Vasari tells us that ANDREA was born near Scarperia in the Mugello, in the contado of Florence, at a little farm commonly called II Castagno ; hence his surname. He adds that he became known to Bernardetto de' Medici, who " carried him to Florence and placed him with one of those masters which were then held to be among the best."J Apparently one of CASTAGNO'S earliest works is the Nude Charity, long aince perished, that CASTAGNO painted above the gateway of the Palace of the Vicars of the Republic at Scarperia. CASTAGNO came under the influence of Donatello, who was his senior by about twenty-four years. CASTAGNO late in the year In the past the years 1390 and 1396 have usually been put forward as the date of his birth. t See Mr. Herbert P. Home, in the Burlington Magazine, 1905, vii, pp. 66-69 and pp. 2'.'2-223, concerning the description of Andrea in the register of his Matriculation in the Arte di Medici e Spezialo an "Andrea di Bartolommeo di Simone, painter, del popolo of Santa Maria del Fiore, Florence." J See Vasari : Vite, Ed. 1550, I. 404. His notes on Castagno are in certain respects misleading, but, as Bernardetto de' Medici was born in 1395 and owned property in the neighbourhood of Scarperia, there is nothing impossible in his statement. The Llhro di Antonio Billi (long lost but published by Carl Frey, Berlin, 1892), the Anonimo Gaddiarw (II Codice Magliabechiano, Berlin, 1892, p. 99) and Vasari (Ed. 1550, 1. 416) all agree upon this point. 128 CASTAGNO. 1434 had to paint on the front of the Palazzo del Podesta,now known as the Palazzo del Bargello, the gibbeted bodies of the Albizzi and others who were declared rebels on the recall from banishment of Cosimo de' Medici ; he was, in consequence, familiarly known as " Andreino degli Impiccati," or " Impichati." About 1434 were painted the frescoes in the Convent of San Apollonia at Florence, and, perhaps, the Crucifixion in this gallery (No. 1138). Most of ANDREA'S works have been destroyed, but of those which remain mention may be made of the Last Supper in the Convent of S. Apollonia, of 1434 ; the sepulchral fresco of the equestrian figure in monochrome of Niccolo da Tolentino in the Duomo at Florence, now transferred to canvas and almost entirely repainted ; and nine colossal figures of historical and mythical personages, all that remain of a fresco series which once covered the walls of the great hall in the Villa Pandolfini at Legnaia. Transferred to canvas, they are now in the small gallery of S. Apollonia at Florence.f All these pro- ductions display a masculine, almost rude, force of conception and execution. He introduced portraits of contemporaries in many of his compositions, as, for example, in his (now lost) frescoes in S. Maria Nuova, executed in and after 1451. There is nothing beyond Vasari's assertion to show that ANDREA learnt from Domenico Veneziano the secret of using oil as a vehicle in painting.J CASTAGNO died Aug. 19, 1457. No. 1138. The Crucifixion. In the centre Our Lord hangs on the Cross, at the foot of which the Virgin and St. John stand to the right and left in attitudes of resigned grief. Nearer the foreground are the two. malefactors crucified. Dark sky background. Wood, 11 in. h. by 1 ft. If in. w. (0'27 by 0-34). Purchased at Florence, from Mr. C. Fairfax Murray, in 1883. These Albizzi frescoes were noticed in the Libra di Antonio Billi, in the Anonimo Gaddiano and in the Codice Strozziano, but Vasari (Ed. 1568,1.399), after appropriating the facts, confused these frescoes with the Pazzi frescoes painted by Botticelli in 1479 and were destroyed by II Cronaca in 1495. t These represent, following their original order in the hall, Kilippo Soolari Farinata degli Uberti, Niccolo Acciaiuoli, the Cumseaa Sibyl, Queen Esther Tomyris Queen of the Massagetse, Dante, Petrarch, and Boccaccio. J The story related with circumstantial details by Vasari, that Andrea havincr obtained the secret and being je ilous of the fame of Domenico. assassinated him, was proved to be false by Gaetano Milanesi, who was able to show that Domenico survived his putative murderer by nearly five years. Sec Milanesi in Giornale storico degli Archivi Toscani, anno 1862, Gennaio Marzo, pp. 1, segg., or the same author's edition of the Opere di G. Vasari. published at Florence by Sansoni, 1878, ii., 667-682. See also his Oommentario esame del racconto del Vasari circa la morte di Domenico Veneziano. Domenico Veneziano was buried on May 15, 1461, in San Pier Gattolino. An artist named Domenico di Matteo was, however, murdered in Florence in 1443, and it is possible that the similarity of names gave rise to the tradition, accepted by Vasari, of the assassination of Domenico Veneziano. CATENA. 129 CATENA (ViNCENZo), 1470?-1531?. Venetian School. ViNCENZO DI BIAGIO, known by the surname of CATENA (perhaps, as has been suggested, from a partiality for jewellery), was born at Treviso about 1470. He founded himself on Giovanni Bellini, though he is not proved to have been his pupil. CATENA'S style varied considerably during his life, accord- ing to the influences he underwent, but that of Bellini is at first predominant. In his last phase he is Giorgionesque though never merely copying him.* In this phase he reveals himself as an artist of extraordinary suppleness of mind, never too old to learn or to appreciate new ideals and new sentiments. The drapery in the well-known early picture, signed by him, in the Doge's Palace, representing St. Mark presenting the Doge Lorenzo Loredano to the Madonna, is sharp, thin, and broken, the types being a direct imitation of Bellini. Another early work is the Madonna with Four Saints and a Donor, at Liverpool. In the painting of the Glorification of St. Christina, in the Church of S. Maria Mater Domini, at Venice, we find the broad but angular folds, more generally characteristic of his work, which he no doubt acquired from Giorgione. Many of his unsigned pictures have been wrongly attributed to Bellini and Giorgione. Among such works is the picture of ^-l Warrior adoring the Infant Christ (No. 234) in this collection, which was long attributed to Giorgione ; while the St. Jerome in his Study (No. 694) in this Gallery was formerly attributed to Bellini. He is claimed by some critics as the author of The Circumcision (No. 1455), which is included in this Catalogue under the name of Giovanni Bellini. CATENA made a will in 1531, and no later record of him has be&n discovered. No. 234. A Warrior adoring tlie Infant Christ. On the left the Virgin seated nearly profile to the right, with the Infant Christ on her knees profile to the right ; St. Joseph, also in profile, leans on a low wall in the centre. In the centre a knight in armour, with a kerchief round his head, is kneeling on a carpet profile to the left before the Infant : in the background to the right, behind a parapet wall, an esquire holding the horse of the Knight ; in the distance a hilly landscape, with a church. A little dog seated below the horse's head. Canvas, 61 in. //. by 103 in. to. (1'54 by 2'60). Formerly in the Collection of Mr. Samuel Woodbnrn, by whom, as well as by many others, it was attributed to Giorgione, and entitled Adoration of the Virgin. Purchased at the sale of Mr. Woodburn's Collection, June 24, 1853 (No. 80). '" B. Berenson : " Venetian Painting at the New Gallery," 1895, p. 31. 17983 I 130 CATENA CAVALLINO No. 694. St. Jerome in his Study. The saint, dressed in crimson and blue, is seated on a bench on the right, profile to the left ; he is reading at a desk. On his right, in the background, are two open cupboards containing books, a flask, a candlestick, and other objects ; in the foreground are a sleeping lion, a partridge, a pair of slippers, and a cardinal's hat of the unusual colour blue. Through an open window on the left are seen the sea, some distant hills, and monastic buildings. An emerald green curtain runs round the wall behind the Saint. Canvas, 28 in. h. by 38J in. w. (0-72 by 0-97). Formerly in the Manfrini Gallery at Venice. Purchased from the proprietors of that Collection in 1862. No. 1121. Portrait of a Young Man. Formerly catalogued under Venetian School. A youth, with bushy fair hair covering the forehead and falling round the head and neck, is seen in full face. His features and expression are of a feminine type ; the complexion is pale and the eyes blue. He wears a black doublet and a cap. Bust length ; half-life size. Background of blue sky, flecked with small clouds. Wood, 11 f in. h. by 9J in. w. (0'29 by 0'23). In ebony and tortoise- shell frame. Formerly in the Collection of the Duke of Hamilton as a work by Leonardo da Vinci. Purchased at the Hamilton Palace Sale (No. 344), June 24, 1882. CAVALLINO (BERNARDO), 1622-1654.? Neapolitan School. Born in 1622 CAVALLINO was a pupil of Massimo Stanzioni, who had himself been a scholar of Carracciolo (or Caracciolo), a Neapolitan painter under the influence of Annibale Carracci. CAVALLINO studied also the works of Rubens, Poussin and Andrea Vaccari. He treated both sacred and profane subjects with skill, in a manner which reflected the crossing influences of the eclectic and the naturalistic schools, and which was hardly capable of development into anything more exalted, even had the painter not shortened his life by intemperance. He died about 1654. No. 1157. The Nativity. In the centre the Virgin, in a pale crimson robe and large blue mantle wrapped over her head concealing her hair, kneels in adoration before the Christ, lying in a manger before her. Behind CAVALLINO-CESARE DA SESTO 131 her St. Joseph, leaning on a staff. To the left of the manger are an ox and an ass. On the right of the picture a group of shepherds kneeling and standing. In the foreground, on the left St.Anne(?) kneels on a stone plinth ; while a small white dog at her feet springs at the ox. In the background a half-ruined classical building. Canvas, 59} in. h. by 50 in. to. (1-51 by 1'27). Presented by Mr. Woodford Pilkington, in 1884. CAVAZZOX.A. (See MOBANDO.) CESARE DA SESTO, 1477 ?-l 523. School of Milan. CESARE was born at Sesto Calende, about 1477, and is best known as one of the more successful followers of Leonardo da Vinci. The " Cesare Milanese," who in 1506 was working at Ostia in the Rocca, with Baldassare Peruzzi, was probably CESARE DA SESTO. From 1507 to 1512 CESARE seems to have been at Milan, under Leonardo's influence. In his Vierge aux Balances in the Louvre, the Daughter of Herodias at Vienna, the Adoration of the Kings at Naples, and the St. Jerome in the Cook Collection, Richmond, this influence is paramount. Raphael, on the other hand, is the influence in his large polyptych of 8t. Roch in the Melzi D'Erilbarbo Collection at Milan. It is said that during CESARE'S stay in Rome he was intimate with Raphael ; that he was yet in Rome in 1520 is sug- gested by a drawing in the Louvre, on which are sketches of Raphael's Transfiquration (1519-20). To a lesser extent Michel- angelo and the Venetians are said to have tinged CESARE'S adaptable vision. His later works are a Holy Family at St. Peters- burg, and a Madonna in a Landscape in the Brera. No. 2485. Salome. Full-length figure, less than life-size. She stands on the right of the composition, wears a rich red robe, and holds before her a green mantle. Her right hand points to the bain which stands on a console table on the left, and over it the nude executioner is holding the head of St. John the Baptist. The table is of marble, on supporters representing sphinxes ; the green cloth over it is turned up at the corner, and shows a yellow lining. Wood, 62} in. h. by 31 J in. w. (1-33 by 0-80). An original by Cesare, of identical design, is in the Imperial Gallery. Vienna. A version with three figures was in the Orleans Gallery 1786 (Eng. I, No. 3, Leonardo da Vinci). C.F.JB. is inscribed on the back. George Salting Bequest, 1910. 17983 I 2 132 CHAMPAIGNS. CHA1YIPAICNE (PHILIPPE DE), 1602-1674. French School. This artist was born at Brussels in 1602. He first visited Paris in 1621, and soon afterwards met Nicholas Poussin, with whom he worked under Du Chesne, then first painter to Queen Marie de Medicis, on the decoration of the Luxembourg Palace. In 1627 he returned to Brussels, but was soon afterwards recalled to Paris by the Queen, to complete these decorations. He became one of the original members and a professor of the French Academy of Painting, founded by Louis XIV. in 1648 ; he was ultimately appointed rector. He was the best portrait painter of his time in Paris. Several of his works are preserved in the Louvre ; among them a full-length picture of the Cardinal de Richelieu, his patron, and a very celebrated portrait of his own daughter, A Nun of Port-Royal. His style is somewhat dry, but in the museum at Brussels is a series of paintings of Scenes in the Life of St. Benedict, which show considerable force of colouring and richness of effect. There are four examples in the Wallace Collec- tion. He died at Paris on Aug. 12th 1674. No. 798. Three Portraits of Cardinal de Richelieu. A full face and two profiles ; painted for the Roman sculptor Mocchi that he might make a bust from it, according to the following inscription on the back of the picture : " Ritratto del Cardinale di Richelieu, di Honitu Sciampagna da Brusselles. Lo fece in Parigi per Roma, al Statuario Mocc/ii, quale poi jece la statua la mandd a Parigi." Over the profile on the spectator's right are the words, " De ces deux profiles cecy est le meilleur.'' Canvas, 23 in. h. by 28 J- in. w. (O58 by 0-72). Presented by Sir Augustus Wollaston Franks, in 1869. No. 1449. Portrait of Cardinal de Richelieu. The cardinal in crimson silk with the cross of the Order of St. Louis hung by a blue ribbon round his neck, and a crimson velvet skull-cap, stands at full length facing the spectator; he holds up the skirt of his robe with his left hand, showing the crimson cassock and white lace-bordered surplice beneath ; in his right outstretched hand he holds his scarlet beretta. Behind is a dark curtain and beyond an open archway through which is seen a terrace with trees and sky behind. Canvas, 101 in. h. by 69 in. w. (2-56 by 1-75). Philippe de Champaigne painted several portraits of the great Cardinal. The central head in No. 798 may have been used as a study t for this picture, and closely resembles this. Formerly in the Espagnal Sale 1 868 ; subsequently in the Lyne Stephens sale, May 11, 1895 (No. 361), when it was acquired by the late Mr. Charles Butler who in the same year presented it to this Gallery. CHAMPAIGNS CHARDIN. 133 No. 2291. Portrait of Cardinal Jean F. P. de Retz. He is dressed in a red Cardinal's cape, with white muslin bands, and wears a red skull cap. Half length, three-quarter face to the right. Canvas, 28 in. h. by 22 in. w. (0'71 by 0'55). Bequeathed by Mr. George Fielder in 1908. CHARDIN (JEAN BAPTISTE SIMEON), 1699-1779. French School. JEAN BAPTISTE SIMEON CHARDIN, the son of Jean Chardin, a master-carpenter and upholsterer, was born in Paris, Nov. 2, 1699.* He studied under Pierre-Jacques Gazes, whose studio he soon left for that of Noel-Nicolas Coypel. His ability as a still-life painter was recognised before he was thirty years of age, as he was made a member of the Academic Royale on Sept. 25, 1728.f Uninfluenced by the example of his predecessors and contemporaries in France he practised a frank realism, which with him was under the control of a native re6nement. Until the year 1737 he is supposed to have confined himself to subjects of still life, but from middle age onwards he reproduced scenes from the domestic life of the people, in which he manifests a warm sympathy with his kind, and with children especially. In 1731 he married Marguerite Saintard, who died four years later. From 1755 to 1774 he was Treasurer of the Academic. In 1759 he was appointed tapissier of the Louvre, in that capacity having to hang the pictures in the biennial Salons. From 1752 onwards he received a yearly pension from the King, and from 1757 had rooms in the Louvre.J When over seventy he executed a few life-size portraits in pastel : two of himself and one of his second wife, Francoise Marguerite Pouget, are now in the Louvre, which possesses thirty of his paintings. The collection of Baron Henri de Rothschild includes many notable pictures by this artist. CHARDIN made replicas or variants oi some of his favourite paintings. His only son carried off the Prix de Rome in 1754, but died young. Fragonard, who was awarded the Prix du Rome in 1752, was for a few months in CHARDIN'S studio. Among CHARDIN'S pictures in this country are the Girls at Work in the Dulwich College Gallery, while another version of the " Fontaine " in this Gallery is in the Collec- tion of Sir F. Cook at Richmond. The University of Glasgow Jean Chardin made billiard tables for Louis XIV. See article by Charles Normand in " L'Art," vol. LX, 1901, p. 4. t The two pictures presented and accepted on that occasion are now No. 89 and 90 in the Louvre. t F. Villot: Notice des tableaux du Muset National du Louvre : Ecole Francaixe Paris, 1890, p. 59. For lists of pictures see C. Dayot : " Chardin and Fragonard," Paris, 1907, p. 124. 134 OHARDIN CHARNAY. (Hunterian Museum) includes several admirable works. Long before his death he had achieved a high place in public esteem. His outlook upon nature is at once broad and searching, his sense of tone infallible. He is acknowledged as one of the greatest colourists of the French School. He died Dec. 6, 1779, being then eighty years of age. No. 1258. Study of Still Life. A black bottls and a tumbler half filled with wine : a loaf of bread and a knife placed on the fragment of a newspaper by way of a tablecloth. Signed and dated 1754 : Canvas, 14 in. h. by 17J in. w. (0'36 by 0-43). Presented by Lord Savile, G.C.B., in 1888. No. 1664. La Fontaine. In a kitchen or scullery, in which are a barrel, some logs of wood and various cooking utensils, a woman in a white cap and jacket, with a blue apron and striped skirt, is drawing water from a copper fontaine into a black jug. Through an open door the figures of another woman and a child are partly seen. Canvas, 14 in. h. by 17 in. w. (0'36 by 0-44). A very similar picture, called La Fontaine de Cutvre, of about 1735, is No. 108 in the Louvre (La Caze Collection). A third picture of the same subject belongs to Sir Frederick Cook at Richmond. Purchased from M. G. Sortais, in Paris, in 1898. CHARNAY (ARMAND). (Living Artist.} No. 2290. Le Pare de Sansac, Indre-et- Loire. French School. Beyond an ornamental water on the right is seen in the middle distance a chateau, with a steep slate roof surrounded by trees. A young lady in black is reading a book and advancing towards the spectator. Canvas, 11 in. h. by 15 in. (0'27 by 0'38). Exhibited at the Franco-British Exhibition, 1908 (No. 105). Presented by M. Armand Charnay in 1908. See Whitechapel Art Gallery, Catalogue of Spring Exhibition, 1907 ; and Burli/iglon Hagasint;, May, 1907. CHIMBNTI CHRISTU8. 135 CHXMSNTI (JACOPO). (See EMPOLI.) CHRISTUS (PETRUS), 1410?-1473 Netherlandish School. Born at Baerle, on the southern border of Holland, c. 1410, PETRUS CHRISTUS was a free citizen of Brnges in 1444. Jan van Eyck and R. van der Weyden are clearly reflected in his early work. His first dated picture is of 1446. In 1449 he painted his St. Elias, in the Oppenheim Collection at Cologne, a picture that has been regarded as the direct ancestor of later genre painting. In 1452 he painted a diptych of The Last Judgment, Ike Annunciation, and The Nativity, now at Berlin. The Last Judgment is a copy of the so-called Hubert van Eyck in the Hermitage ; '1 he Annunciation recalls Roger van der Weyden, The Nativity, Robert Campiu. A Madonna (Frankfort) of 1457 is the last dated example of CHRISTUS. He also painted portraits, such as the Man (1446) at Gorhambury, and various others are attributed to him. 2he Deposition, in the Brussels Museum, ascribed to circa 146U, has been attributed to PETRUS CHRISTUS, aa his masterpiece. CHRISTUS died in 1473. See. Fierens-Gevaert : Les Primitifs Flamands ; also W. H. J. Weale : The Van Eycks. No. 696. Portrait of Marco Barbarigo, Venetian Consul in London in 1449. Formerly catalogued under Flemish School. He holds in his hand a letter addressed to himself in London. Half length. He was elected Doge in 1485, and died in 1486, aged 72. Oak, aj in. h. by 6J in. w. (0'24 by 0'16). This picture was assigned to Gerard van der Meere in the National Gallery Annual Report of 1864. Formerly in the Manfrin Gallery, Venice. Purchased from the proprietors of that Collection in 18U2. No. 2593. Portrait of a Man. A youug man seen at half-length and turned three-quarters to his left. He is bare-headed, and stands in a vaulted chamber between a doorway on the left and a round-headed, nnglazed window on the right. He wears a deep scarlet tunic with a furred collar and a black underdress, beneath which is seen the narrow white collar of a linen shirt. Hia hat hangs just below his right elbow aud its long broad scarf partly covers a purse with steel handle and mountings suspended from his girdle. With both hands he holds an open book. On the wall of the chamber and 136 CHRISTUS-OIMA. above his bead is hung a board to which is attached by nails an illuminated sheet of vellum edged with a narrow red riband. The miniature represents the Yernacle, Our Lord's head with its cruciform nimbus and rays. Beneath, in two columns, is a rhymed prayer, written, with the usual abbreviations, in red and black, the first line being : Incipit oratio ad sanctum Veronicam. Wood, 14f in. h. by 10 in. w. (0'37 by 0'26). Formerly in the Northbrook Collection. George Salting Bequest, 1910. * CIMA (GlAMBATTlSTA), 1460 ?-1517 ? Venetian School. GIAMBATTISTA (GIOVANNI BATTISTA) CIMA, called CIMA DA CONEGLIANO, was born about 1459 or 1460, the latter being the more probable date. This painter takes his name from the " Cima," or rocky height of his native place, Conegliano in Friuli, which appears in the landscape background of many of his pictures. He was a pupil of Bart. Montagna, and later became influenced by Giovanni Bellini. His earliest dated work, the Madonna with St. Jerome and St. James, now in the Mnseo Civico at Vicenza, was painted in 1489 for the Church of St. Bartolommeo in that town, and contains many Alvisesque characteristics. In the following year he finally settled in Venice. In 1494 the Baptism in the church of St. Giovanni in Bragora, Venice, was painted. This would appear to be CIMA'S only painting in tempera that has come down to us ; all his other works are in oil. One of his best and earliest pictures is the St. John the Baptist, surrounded by St. Peter, St. Augustine, St. Mark, and St. Jerome, in Sta. Maria dell' Orto at Venice. To the year 1495 may be assigned the St. Mark and the St. Sebastian now in the collection of Mrs. L. Mond. One of CIMA'S noblest works is the Madonna with St. Jerome and St. Louis of Toulouse, now in the Vienna Gallery ; the austere and embrowned form of St. Jerome, and the glowing depth of the colouring, produce a profound impression on the spectator. On Jan. 19th, 1496, he was commissioned to paint the Resurrection in the church of St. Giovanni in Bragora, Venice, which was finished two years later.f Soon afterwards appear to have been painted the Madonna in the collection of Sir Frederick Cook and the magnificent St. Catherine which holds so important a place among the Italian pictures in the Wallace Collection. J The Incredulity * V.Botteon and Aliprandi : Ricerehe intornoalla vita e alleoperedi Giambatti.ita Cima, Conegliano, 1893, p. 31. See also B. Bnrckhardt, Kunstgesclticlitliche Mono- yraphien, " Cima da Conegliano," Leipzig, 19C5, p. 11. t B. Berenson : Lormzo Lotto. 1895, p. 77. I This is the centre panel of a picture, the side vrings with figures of Sf. Sebastian and St. Rock being in the Museum of Stra--sburg ; the lunette repre- senting The Virgin and Child between St Dominic and St. Francin is in the Collection of Mrs. John Edward Taylor in London. CIMA. 137 of St. Tfwmas (No. 816) in this Gallery was apparently finished in 1504, having been commissioned some seven years previously. It may be compared with a picture of the same subject in the Venice Gallery (No. 611). Quite late in his career may be placed the Madonna with St. John the Baptist and Ihe Magdalene now in the Louvre. The Brera, in Milan, contains a St. Peter Enthroned between St. John the Baptist and St. Paul, which is presumably one of the artist's last works and belongs to the year 1516. CIMA'S extant pictures hardly exceed one hundred in number. Lord Brownlow's Santa Conversazione at Ashridge is well known. CIMA'S characteristics are good drawing and proportion, sympa- thetic types of countenance, carefully studied though somewhat angular drapery, fine and brilliant colour, force of light and shade, together with scrupulous finish. To these may be added earnest- ness of feeling, untinged with asceticism. He died about 1517.f His son Carlo was his pupil. No. 30O. The Infant Christ standing on the Knees of the Virgin. The Virgin, seen three-quarters to the left on a marble sent, holds the Child with her right hand, while she supports one of His feet with her left. A hilly landscape, with a town on a hill in the background to the right. Inscribed *10ANNESBAPTISTA*P Wood, 27 in. 7t. by 22J in. to. (0'68 by 0'57). Purchased from M. L. Roussel, in Paris, in 1858. No. 634. Madonna with the Infant Christ standing on her Knees and holding a Goldfinch : The " Madonna del Cardellino" The Infant Christ stands on the knees of the Madonna, who is seen three-quarters to the right. Landscape background with a view of a town to the left and a bridge to the right. Signed : JOANES BAPTISTA CONEOLA*. P : MOANES'BAPTISTA-CONEGLA -P Wood, 20J in. by 17 in. w. (0'">2 by 0'43). Formerly at Powerscourt Castle, and subsequently in the Collection of Mr. William Coningham. June 19, 1849 (No. 41). A very similar and slightly larger picture by Cima is in the Kaifer Friedrich Museum at Berlin (No. 17). Purchased at Paris, from M. Edmond Beaucousin, in 18(iO. * Botteon and Aliprandi : oi>. cit. p. 101. t Ridolfl : Mnraviglie. dell' Arte, Padua, 1835, L, p. 102, gives the date as 1517. Botteon and Aliprandi, . cit. p. 33. show that Cima was living at Coneuliano in 1516, and most probably died there suddenly in September, 1">17, leaving no will. Sec also Uudolf Burckhardt : Cima da ConeI), 1240 ?-1301 ? Florentine School. CIMABUE was one of the earliest Florentines, the precursors of Giotto. He is said to have been trained in the art of Rome. His fame chiefly rested on the Rucellai Madonna, in Sta. Maria Novella, Florence, (on the strength of Vasart's story of the processional triumph 'of this painting), aud on his supposed connection with Dante. Recent research has attributed the Rucellai Madonna to the Sienese Duccio, leaviog to CIMABUE the Madonna and Angels in the Louvre, the Madonna with Angels in the Accademia, Florence, the Frescoes in S. Francesco, Upper Church, choir and transepts, and the Madonna and Angels with St. Francis in the Lower Church, at Assisi. CIMABUE is said to have worked at Rome and later at Florence in the Chapel of S. Michele in Santa Croce. He died about 1301. See Venturi : Storia Dell 'Arte Italiana. V. No. 565. The Madonna, and Child enthroned, Angels adoring. The Virgin is seated, and holda the child sitting on her left knee ; on each side, behind the throne, are three small angels in adoration. Wood, in tempera, gable top, 75 in. h. by 66 in. w. (1-90 by TG7). Ascribed also to the Sienese School, XIV. Century. Described by Vasari as having been attached to a pilaster in the choir of the church of Santa Croce at Florence. It was still in its 140 CIMABUE CLAUDE. place in 1591 ;* but in 1677 it had been deposited in the convent of Santa Croce ;f it remained in the convent until it came into Lombardi- Baldi Collection, Florence ; whence purchased in 1857. CIONC (ANDREA ARCAGNUOLI DI). See ORCAGNA (ANDREA). CIONE (ANDREA DI). See VERROCCHIO (ANDREA). CIVBTTA. See BZ.BS (HERRI MET DE). CX.ACSZ (PIETER), 1600-1661. School of Haarlem. PIETER CLAESZ III was born at Burgstein- f urt, in Westphalia, or Haarlem. He married in 1617 at Haarlem ; bis son, born 1620, was Claes (Nicolas) Berchem. PIETER CLAESZ, whose monogram, seen in the picture described below, has been confused with Cornells Pierson's, Pottenburg's, or Clara Peeters', died at Haarlem, and was buried in the New Church, January, 1661. His work is much in Heda's manner. Dated works by him are A Vanitas (1623) (in 1884 in a private Collec- tion, Amsterdam), pieces at Dresden (1624), Lucca (1627), Rotter- dam (1636), the Hague (1641), and in a private Collection, there, 1657. No. 2592. Fruit piece. Drinking vessels, fruit dishes, a knife, some nuts, strawberries, and a melon are displayed on a table covered with a white cloth. Signed in a monogram, "P.C.," and dated 1649. Wood, 23 J in. k. by 19f in. w. (0'60 by 0-50). Formerly attributed to Heda. George Salting Bequest, 1910. CLAUDE, 1600-1682- French School. CLAUDE GELLEE (or GILLKE), called CLAUDE DE LORRAINE, or LE LORRAIN, and CLAUDE LORRAIN (or * Boochi : Le Bellezze delta Citta dl Fiorenza, p. 153. t Cinelli : Le Bcllezze della Citta di Firenze &c. ampliate cd accresciutc.Flor., 1677 p. 316. CLAUDE. 141 CLAUDIO LORRENESE), was born at Chamagne, in the Duchy of Lorraine. His father, Jean Gellee, was poor. CLAUDE was placed with a pastry-cook. The cooks of Lorraine were then celebrated, and, according to his friend and biographer, Joachim von Sandrart, CLAUDE travelled to Rome in the company of some of these cooks, to seek, like them, employment there. CLAUDE arrived in Rome about the year 1613. He fortunately passed into the service of Agostino Tassi, a Perugian landscape and marine painter, who had been a pupil of Paul Bril. It is not known how long CLAUDE was engaged in the humble capacity of domestic servant to Tassi, but the circumstance of his master being a painter gave a stimulus to CLAUDE'S innate fondness for art. He at first prepared his master's meals and ground his colours for him, but soon became his pupil in art. Tassi's principal works were those of the Lancellotti and Quirinal palaces, executed during the pontificate of Paul V. (1605-21), and CLAUDE was evidently already acting as his assistant in 1617. Whether and for how long CLAUDE was a pupil at Naples of Godfried Wals, a painter of Cologne, is a matter of uncertainty. In 1625 he was at Loreto and Venice. Crossing the Alps, he revisited his native soil, probably with the intention of making it his abode. There is no evidence that he stayed at Munich, as alleged. At Nancy in Lorraine he put himself under De Ruet, court-painter to the Duke of Lorraine, to learn figure painting. He returned to Italy, arriving at Rome on October 18, 1627, having overtaken at Marseilles Charles Errard, who in 1665 was the first to hold the office of Director of the French Academy at Rome. There CLAUDE fell in with the German painter Joachim von Sandrart, a man of sympathetic spirit, who became his intimate friend, and in their frequent wanderings in the neighbourhood of Rome impressed upon him the necessity of studying direct from nature. One of the earliest of CLAUDE'S friends was M. de Buthune, French Ambassador at Rome. Cardinals Giulio Ros- pigliosi and Bentivoglio, who introduced the painter to Urban VIII., were also his patrons. For Urban CLAUDE painted the Village Dance and the Seaport with Setting Sun, now in the Louvre, dated 1639. From this period began his typical pictures. He had, however, already appeared as an etcher, and some of the etchings ascribed to him date from 1634-36. Of his paintings in this gallery the earliest is the Seaport at Sunset (No. 5), signed and dated 1644. To the same year * Joachim von Sandrart, from whose Teuttchc Academte, Ac., or Acadrmla Tfdesca, the above account is taken, was the intimate companion of Claude, and his work w*s published during Claude's lifetime ( 1675) ; it is therefore most pro- bably correct, or at least must be of more authority than the account in the posthumous volume of Baldinucci, who lived at Florence and was probably not even acquainted with Claude. This subject is noticed here, as Baldinucci [WotttU de' Professori del Dixegno, Ac. ) has been represented as contradicting Sandrart's account of Claude's origin. Baldinucci does not contradict Sundrart ; he merely gives a different account of Claude's jonrney to Komc. 142 CLAUDE perhaps belongs the Narcissus and Echo (No. 19). To 1645 tne Cephalus and Procris (No. 2). He preserved sketches of his pictures in a portfolio, and on the backs of some of these draw- ings wrote the dates of the pictures, and the names of the purchasers. This remarkable collection of drawings, known as Liber Veritatis, or the Book of Truth, is now in the possession of the Duke of Devonshire. Besides this book, a lai*ge number of drawings, amounting to over 500, chiefly studies from nature, are preserved in various European collections, public and private. The dated drawings contained in the Liber Veritatis begin with the year 1652, the notes being written in a strange mixture of French, Italian, and Latin.f In the year 1656 was painted the Jacob and Laban, now in the Collection of Lord Leconfield at Petworth, while the David at the Cave of Adullam (No. 6) may be assigned to 1658. In or about the year 1663 CLAUDE was called upon to resist the unjust action at law which was brought against him by Giovanni Domenico, his ungrateful assistant, whose claim he paid in full.J Ten years later the classical Landscape (No. 1018) in this collection was painted. Among the latest of the artist's works in this country is the Jacob and Laban, in the Dulwich College Gallery, probably a work of the year 1676. CLAUDE was extremely slow and careful in his execution. Sandrart says that he often painted for a week or a fortnight on one part of a picture without showing any progress. He always had difficulty in painting or drawing men or animals, and often procured the assistance of Filippo Lauri, Jacques Courtois, A. Both, Francesco Allegrini, or Jan Miel in executing this part of his pictures, but we may be sure that he supervised their work. He must have known Poussin in Rome, where he may have met Velazquez in 1650. CLAUDE'S chief excellence is in aerial perspective and in the management of light ; his very late pictures are less well executed. A great number of his drawings are in the British Museum, the Albertina, Vienna, the Louvre, the University Galleries, Oxford, and in the Duke of Devonshire's Collection at Chatsworth.lj CLAUDE died at Rome in November, 1682, and was buried in the church of S. Trinita de' Monti. In 1840 his remains were removed to S. Luigi de' Francesi. 'He left property valued at about 10,000 scudi to his adopted daughter Agnese and his nephew Jean,^ and to Agnese his Liber Veritatis. * It was engraved by Eichard Earlom, for John Boydell, tinder the following title : " Liber Veritatis; or a Collection of Two Hundred Prints after the original designs of Claude le Lorrain, in the Collection of his Grace the Duke of Devonshire. London, 1777." t Edward Dillon : Claude, 1905, p. 71. J F. Baldinucci : Notizie de' Professori del Disegno, Firenze, 1728, IV. 3R8. Mrs. Mark Pattison : Claude Lorrain, sa Vie ct ses (Eurrcs, Paris, 1884, p. 55. || See article on " Claude," by Roger E. Fry. in EurUngton Magazine, Aug., 1907. IT Mrs. Mark Pattison ("afterwards Lady Dilke) and Signor Bertolotti were fortunate enough to discover, in the Archivio di Stato in Rome, Claude's will, dated November 25, 16fi3, together with the codicil and a notarial deed. See her book on Claude, p. 12. CLAUDE. 143 He devoted much of his time to etching many plates, some forty being known to collectors.* No. 2. Pastoral Landscape : Cephalus and Procris. In the centre a large cluster of trees ; to the left a stream, with cattle wading through it ; a bridge, through which the stream flows and forms a small cascade, and a castellated height behind it in the background to the left. On the right is a far-stretching landscape ; Cephalus is receiving from Procris the presents of Diana, the hound Lelaps, and the fatal dart with which she was subsequently killed. Canvas, 40 in. h. by 51 in. to. (I'Ol by 1-29). Signed : I-V- ROM*. An engraving by R. Earlom is founded on a similar drawing in th Liber Vcritatis, No. 91 ; by J. Browne, for Boydell, in 1779 ; by J. Pye, for the series of prints published for the Associated Engraver* ; and by J. B. Allen for Jones's National Gallery. Buchanan : Memoirs of Painting, 1824, Vol. II., p. 192. This picture was brought to England in the early years of the XlXth century by Mr. Delahante, and shortly afterwards passed into the Angerstein collection, with which it was purchased in 1824. No. 5. A Seaport at Sunset. On the left Italian buildings ; on the right ships lying at anchor ; in the foreground several figures, variously occupied. Towards the middle of the picture, the setting sun is already nearly level with the horizon. * A. P. F. Robert Dumesnil, in Le Peintre-Graveur Franqais, Paris, 1871, VoL XI pp. 129-189, describes forty-two etchings by Claude, and gives fac-similes of eighteen of his signatures, no two of -which are alike. He wrote his Christian name generally in the Italian form Claudio, and sometimes in the Latin form Claudius. His surname is written in a variety of ways ; Qellee seems to be the most frequent. Besides the authorities above quoted, the following may be consulted Pascoli : " Vlte de' Plttori, tieultori, ed Architettl Moderni, Rome, 1736 ; A. J. D d'Argenville : " Abrege de la vie dcs plus fameu.v Feintrex, Paris," 1745 vol. II p. 266-70. 144 CLAUDE. Signed-: CLA/DIO. G*l'V Canvas, 39 in. h. by 51 in. w. (0-99 by 1'29). Very similar to the drawing in the Liber Veritatis, No. 28. Engraved by Earlom. The picture was engraved by J. C. Armytage for Jones's National Gallery, and by E. Goodall for the series of prints published for the Associated Engravers. Buohanan : Memoirs of Painting, 1824, II. 192. This picture was painted for the Cardinal Giovanni Carlo de Medici*. Brought to England early in the XlXth century by Mr. Delahante, it was in the Angerstein Collection, with which it was purchased in 182-if. No. 6. Landscape : David at the Cave of Adullam. The " Chigi Claude." Also called Simon brought before Priam and formerly catalogued as Landscape with Figures. On the right, behind the principal figures, is a broken rocky height, thinly covered with small trees and bushes ; towards the left a very prominent group of trees, before which two warriors are hastening to join the group round David. An extensive and varied distance. Several groups of small figures scattered about the picture. Signed : " CLAUDIO GILLEE L.V. ROM.E, 1658." Canvas, 45 in. h. by 74* in. w. (1-43 by 1-89). Engraved in the Liter Veritatis, No. 145 ; and by J. C. Varrall, for Jones's National Gallery under the title of Simon brought before Priam. This picture was painted for Agostino Chigi, and was, up to the time of the French Revolution, in the Chigi Palace at Rome, whence it passed into the possession of Mr. Sloane, an English banker there ; after his death it was sent to England ; later in the Collection of the Rev. W. Holwell-Carr. Holwell-Carr Bequest, 1831. No. 12. Landscape: Marriage of Isaac and JRebecca. Formerly catalogued under the title of Landscape, with Figures, representing the marriage festival of Isaac and Rebecca. In the centre a broad river with a water-mill in the middle distance to the left, and a more distant bridge leading to a town on the opposite side ; a mountain distance. On each side are large trees ; behind those on the left a waterfall ; in the fore- ground a bridge with cattle drinking below it ; near the centre * Giovanni Carlo de' Medici was born 1611, elected Cardinal 1644, died 1663. See Litta : Famiglie Celebri Italiane. II, xxv. t See footnote to No. 14 by the same artist. CLAUDE. 145 are figures dancing with tambourines ; an inscription on the tree- stump in the centre of the picture : " Manage d'haz avecRebeca" Canvas, 59 in. k. by 79 in. w. (1'49 by 2'006). Signed in the foreground to the right : <#; Engraved in tne Liber Veritatis, No. 113 ; by J. Mason, in 1748 ; by E. Goodall, in 1840, for the series of prints published by J. Pye for the Associated Engravers ; and by J. Henshall for Jones's National Gallery.- This picture and the following one are hung on either aide of the Su,7i rising through Vapour (No. 479) and the Dido building Carthage (No. 498), in accordance with the terms of the bequest of J. M. W. Turner. This picture painted for the Due de Bouillon at Paris, is a repetition, with considerable variations, of the DORIA or PANFILI CLAUDE, known as " II Molino" or Claude's Mill, and is of the same dimensions, There is a print of the Doria picture by F. Vivares. engraved in 1766. and another by F. W. Gmelin, engraved in 1804. Some connoisseurs have pronounced this picture a replica of the DORIA CLAUDE, but a comparison of the above-mentioned prints will show the considerable variations. This picture was subsequently in the Angerstein Collection, with which it was purchased in 1824. No. 14. Seaport : Embarkation oj the Queen of Sheua. The sun is represented a little above the horizon ; in the left foreground, reaching the top of the picture, is a Corinthian ruin, with shipping behind ; on the right a pile of Italian architecture partly relieved by foliage, and the queen and her attendants descending a flight of steps to enter a boat. A ship at anchor near the entrance of the port. Figures in the right foreground, a boat in the centre. Canvas, 59 in. h. by 79 in. w. (1'49 by 2'00). The words JM Heine de Saba ra trover Salomon are written on the steps in the right corner of the picture. 17983 K 146 CLAUDE. Engraved in the Liber Veritatis, No. 114 ; by J. C. Varrall, for Jones's National Gallery ; and by J. Pye. This picture is known as the BOUILLON CLAUDE, from the Due de Bouillon, whose name is inscribed in the left corner, for whom it was painted in 1648. The inscription referred to is : ClA'DF CM- IV- FAI'CT. POVR-SON ALTESSE.-LE..DVC-DE- BVILLON- AROMA- 1 6^' See also under No. 12 by this artist. This picture and No. 12 remained in the possession of the Bouillon family until the French Revolution, when they were bought by Mr. Angerstein.* Purchased with the Angerstein Collection in 1824. No. 19. Landscape; Narcissus and Echo. Trees massed on the left ; on the left of the centre, in the mid- distance, a castle against the sky. A sapling on the extreme right. In the left foreground a nymph asleep ; nearer the centre Nar- cissus looking in a pool. A wooded plain in the middle distance, mountains in the distance. Canvas, 37 in. 7^ by 47 in. w. (0-93 by 1'19). There is an obscure inscription in the left corner. Engraved by Earlom in the Liber Veritati*, No. 77 ; by P. Vivares, in 1743 ; and by W. B. Cooke, in Jones's National Gallery. According to the Liber Veritatis, this picture was painted for some patron in England in 1644. It was formerly in the possession of Mr. P. Delme, from whose Collection it was purchased by Sir George Beaumont, who presented it, with other pictures, in 1826. No. 30. Seaport .< The Embarkation oj St. Ursula. On the left side a perspective view of architecture, a columned portico in front ; on the rigbt ships and trees. In the centre porters laden with bales. The Saint, with a long train of Virgins, is descending a flight of steps to the boats on the left. In the right distance a castle, behind a ship. Canvas, 44 in. A. by 59 in. w. (Ml by 1-49). Signed on the steps to the left, but the signature is not legible. Engraved in the Liber Veritatis, No. 54 ; also by Dominique Barriere, at Rome, in 1665 ; by J. Fittler, in 1787 ; by H. Le Keux, for the series of prints published for the Associated Engraver* ; and, small, in Jones's National Gallery. 3 This would appear to be the Seapiece mentioned in Buchanan's Memoirs of Painting, 1824, II, 192, as having been imported into England by Mr. Delahante, and sold to Mr. Angerstein. Sec alao under No. 5 by the same painter. CLAUDE 147 This picture was painted for Cardinal Poli Barberini* in 1646, and remained in the possession of the Barberini family until 1760, when it was purchased by Mr. Lock, of Norbury Park. Later in the Angerstein Collection, whence it was purchased in 1824. No. 55. Landscape : The Death of Procris. A forest scene. On the left a dead tree. In the middle-ground, among the trees, a town on the border of a small lake ; a deer against the sky is descending towards the lake. In the foreground to the left Procris lies pierced by the fatal arrow from the hand of her husband Cephalus, who, followed by his hound, is hastening to her. Canvas, 15 in. h. by 19 in. w. (0'38 by 0'48). Engraved in the Liber Veritatu, No. 100 ; of the full size, by J. Browne ; and small, by E. Challis, in Jones's National Gallery. Presented by Sir George Beaumont, Bart., in 1826. No. 58. Landscape, with Goatherd and Goats. Sometimes called a Study of Trees. Trees massed on the left and straggling across the canvas, towards the mid-distance ; in the right foreground is a goat-herd, playing the pipes ; goats towards the right. Canvas, 20 in. h. by 16 in. w. (0'52 by 0'40). Engraved by G. A. Chocarne for Jones's National Gallery^ Formerly in the Collection of Lord Londonderry.! Presented by Sir George Beaumont in 1826. No. 61. Landscape, with Figures. This subject is supposed to represent The Annunciation, or" perhaps The Angel appearing to Hagar. The figures are in the foreground to the left beneath an ash ; two tall trees conspicuous on the right. In the middle-ground a winding river, a bridge with a single arch beyond. In the right distance a castle on a square cut rock ; mountains on the left. Canvas, 20 in. h. by 17 in. w. (O'oO by 0-43). Formerly in the Collection of Mr. Duane. A somewhat similar composition is that in the Liber Veritutia, No. 106. Engraved by J. Pye, for the series of prints published for the Associated Engraver* ; and by J. C. Varrall, in Jones's National Gallery under the title of The Annunciation. Presented in 1826 by Sir George Beaumont, with whom, however, this picture was so great a favourite that he requested permission to E. Dillon : Oi>. cit., p. 75, states that on the back of the drawing of this picture, No. 54 of the Liber Veritatls, is inscribed : " Claudia fecit in V. R. quadra facit pour km". Canlinale Poli, xi ritrova dal Icini"'" Girdinale Barberino." t W. Young Ottlcy : Descriptive Catalogue of Pictures in the National Gallery, 1826, p. 81. 17983 K 2 148 CLAUDE CLOUET. have it returned to him for his lifetime ; restored to the National Gallery by his widow in 1828. No. 1018. Classical Landscape. This picture has also been called the Isle of Delos, and Anchises and Aeneas at Delos. On the right are various buildings ; in front two trees and ships at anchor in the harbour. A road and a bridge in the foreground, with figures and animals, and six large figures to the right. A part of the inscription, which is illegible, contains the names Anchises and ^Eneas, and has the date 1673. Canvas, 40 in. h. by 53 in. w. (I'Ol by 1'34). Painted for M. Du Passy le Gout. Wynn Ellis Bequest, 1876. No. 1319. Landscape and View in Rome. On the right an Ionic portico, and a statue set in trees. Ou the left a wooded slope ; beyond, in the middle distance, the church of Sta. Trinita de'Monti and the painter's house. In the foreground, a group of figures ; among them a peasant woman receiving alms. Blue sky with light clouds. Canvas, 23 \ in. h. by 31 in. zo.'(0-59 by 0'80). Purchased from the Count St. Martin d'Aglie, in 1890. CLAYS (PAUL JEAN), 1819-1900. Belgian School. CLAYS, a Belgian marine painter, was born in Bruges ; he was trained in France under Gudin. He worked and died in Brussels. No. 815. Dutch Boats lying in the Roads of Flushing. A number of Dutch sailing-barges and other vessels are becalmed off a low-lying coast, their sails reflected in the glassy water. A heavy sky with dark clouds presages a storm. Signed : P. J. Clays, 1870. Canvas, 29 in. by 43 in. (0'73 by 1-09). Bequeathed by Mr. John Meeson Parsons in 1870. *CtOUET (FRANgois), 1510?-! 572. French School. The surname CLOUET and the alternative appellation JEHANNET, or JANET, are to-day regarded as generic terms rather than as signifying any individual painter whose identity can be determined with complete certainty. CLOUET. 149 JEHAN CLOUET, or JEHANNET, as he was called, geems to have been of Flemish birth or extraction.* He may have been born in France, at Tours, about 1480. He married Jeanne Boucault, the daughter of a goldsmith named Gatien Boucault, a native of Tours. This JEHAN CLOUET, who was painter and varlet de chambre to Francois I, is mentioned in a document as early as 1516, and his name is found in the comptes royaux from 1523 onwards. No reference to him has been found later than 1538, and he probably died in the following year. As he had never been naturalised, his property became forfeit to the King, who, however, restored it to his son, FRANgois CLOUET. This " FRANQOYS CLOUET DICT JANET " seems to have been born between 1510 and 1520. No reference to him is made in the comptes royaux earlier than the funeral in 1547 of Francois I, at whose court he, doubtless, held, like his father, the office of varlet de chambre. On that occasion he was ordered to make an " effigie du dictjeu roy" as a register preserved in the Bibliotheque Nationale records in considerable detail. FRANCOIS CLOUET occupied the position of official painter under Henri II, in whose reign he was " le plus excellent ouvrier de ce n,t.<, I'.KIS, p. 34. t See M. M.a/erolh- in Her,/,' ,/, I'Arl <'lir<'tit, October, 1889; see also F A Qruyer: Mi^n C,,,,,l,\ C l /,i,ntilln : AV/jV,: I//. 160 CODDE CONGA. CODDE (PiETER JACOBS), 1600-1678. School of Haarlem. PIETER CODDE was born in Amsterdam in 1600, and practised there and at Leiden. He is supposed to have been trained at Haarlem by Frans Hals. He married in Amster- dam in 1623. In 1637 CODDE had to complete Hals' group of the Amsterdam Archers' Guild. His pupil was Willera Duyster. CODDE died in Amsterdam in 1678. Pictures by him are at Amsterdam, Berlin, Dresden, Copenhagen, Yienna, and the Hague; the dates on them range from 1628 to 1645. No. 2576. A Dutchman with his Wife and Son in a Room. The man, dressed in black, with white lace collar and cuffs, and wearing a black hat, is seated in an easy posture in the centre of the composition. To the right his wife stands by the chimney- piece, over which is a picture of a " landscape." On the left a boy in buff, pink-lined. In the background to the left a door leads into a bedroom. Signed, in the left foreground, with the painter's monogram. Wood, 19 in. h by 25| in. w. (0'48 by 0'64). George Salting Bequest, 1910. No. 2584. A Lady holding a Mirror. The lady wearing a black dress with mauve-brown under-skirt, white ruff, cuffs and cap, is seated three-quarters to the left ; on her knee a picture or mirror. On the wall beyond hangs a landscape. Behind her an open door, and another picture hangs on the wall to the right ; a cat in the right foreground. Wood, 14f in. h. by 13 in. w. (0-37 by 0'33). George Salting Bequest, 1910. COLOGNE SCHOOL, (See GERMAN SCHOOL.) CONCA (SEBASTIANO), 1679-1764. Neapolitan School. Born at Gaeta CONCA became the pupil of Solimena. His early works are mostly portraits. In 1706 he went to Rome, where he studied the old masters. Pope Clement XI. commissioned him to paint the Church of St. Clements, and afterwards knighted him ; bis reputation in Rome was thus assured. In addition to numerous large undertakings there, be worked for the kings of Spain, Portugal, and Sardinia, and also at Pisa, Siena, Palermo, and Naples, where he died in 1764. His paintings are at Rome, Madrid, Dresden, and Berlin. CONCA CONSTABLE. 151 No. 187O. A Cupid with Keys. On the left, profile to the right, a woman is seated at tnree- quarter length ; her right hand holding a roll of paper rests on a greyhound's neck ; a cupid lying, in the centre, on a rose-coloured drapery, leans against her knee, stroking the hound's head. In the background towards the right, a cupid lies back on clouds, a key in each hand. Cold greenish tone. The woman's hood and robe greenish grey. Canvas, 12J in. h. by 15 in. w. (0'31 by 0'38). Lent by the Victoria and Albert Museum, 1897. CONEGX.IANO. (>'", CIMA.) CONSTABLE (JOHN), R.A., 1776-1837. English School. John Constable, the son of Golding Constable, a -well-to-do miller, was born at Bergholt, in Suffolk, on June llth, 1776. His father had wished him to take orders, but on leaving school at seventeen, he was employed in his father's mills. His early acquaintanceship with John Dunthorne, the village plumber and glazier, who proved to be his life-long friend, led to their painting in the fields together and Constable soon determined to become an artist. He was in London in 1795 and again in 1799, and in February of the latter year entered the school of the Royal Academy, where he was much encouraged by Benjamin West. About that time Constable saw Claude's " Landscape with Figures" (now No. 61 in this Gallery) which then belonged to Sir George Beau- mont. The sight of the picture was regarded by Constable as one of the more important incidents of his life.* In 1802 he exhibited for the first time at the Royal Academy. The altar-pieces he painted for Brantham Church, near Manningtree, in 1804, and for Nayland Church in 1809 are of no great importance, except as showing the range his art covered. He now turned his attention to portrait painting, some of his portraits and very early land- scapes being in the Collection of Sir Cuthbert Quilter. In 1816 he married Miss Mary Bicknell at the Church of St. Martin-in-the Fields. With the year 1817 begins the period of his greatest activity To that year belongs the " Flatf ord Mill," now No. 1273 in this Collection. To the Royal Academy of 1819, in which year * C. 1. Holmes: "Constable and his Influence on Landscape Painting" 190.', p. 63. Also D. S. McColl : " Constable as a Portrait Pointer" (Burl. Mag., Vol. XX., p. 2fi7). 152 CONSTABLE. he was elected an Associate of the Royal Academy, he contributed the. " Scene on the River Stour " (" The White Horse,") now in the possession of Mr. J. Pierpont Morgan. In the following year was exhibited the " Stratford Mill on the River Stour," belonging to Lord Swaythling. In 1821 appeared the " Landscape : Noon," now known in this Gallery (No. 1207) as " The Hay Wain." In April, 1824, it had been sold to a Frenchman who exhibited it at the Salon held in the Louvre in that year, where it was so greatly admired that the artist received a gold medal from Charles X, his art meeting in Paris with the full recognition which had been withheld in England. The "Salisbury Cathedral," of 1823 (Victoria and Albert Museum), was soon followed by the " Dedham Lock " (" The Leaping Horse,'.') of 1825 (Diploma Gallery, Burlington House), and by the " Cornfield," of 1826, in this Gallery. Constable became a full member Feb. 10, 1829, de- feating Francis Danby by one vote. Amongst his latest pictures are the " Opening of Waterloo Bridge," of 1832, now in the collection of Lord Glenconner, the " Valley Farm " (No. 327), of 1835, and the "Cenotaph" (No. 1272), of 1836. He exhibited one hundred and four pictures at the Royal Academy between 1802 and 1837 and thirty-two at the British Institution. Towards the end of his life he lectured on landscape painting. He had four sons and three daughters. His portrait at the age of twenty was painted by Daniel Gardner, and is in the Victoria and Albert Museum, with many of Constable's best paintingg. To form a just appreciation of Constable's art it is essential to realise that he was hampered by the conventions of land- scape art, in accordance with which the tints seen in nature had to be translated into "the brown tones of an old Cremona fiddle." He defied all such conventions so successfully that he has now come to be considered the " most genuine painter of English cultivated scenery, leaving untouched its mountains and lakes." His talent has been acknowledged by many copyists, imitators, and forgers. He died suddenly on April 1st, 1837, and was buried together with his wife, who pre-deceased him, at Hampstead. His palette, bequeathed by Miss Isabel Constable in 1888, is placed in a case at the entrance to Room XVIII. Constable's pictures in this Collection may be dated approxi- mately in the following order : 1805 (No. 1066), 1808 (No. 1818) 1809 (No. 1822), 1811 (No. 1816), 1816 (No. 10G5), 1817 (No 1273), 1821 (No. 1207), 1823 (No. 1813), 1824 (No. 1824, No. 1817), 1826 (No. 1821, No. 130), 1827 (No. 1823, No. 1274), 1828 (No. 1815, No. 1820), 1831 (No. 1814, No. 1819), 1832 (No. 1246), 1833 (No. 1275), 1835 (No. 327), 1836 (No. 1272). No. 13O. The Cornfield, or Country Lane. The field of ripe corn is in the middle distance, between two groups of trees. In the foreground towards the left a boy drinking from a stream ; his sheep, guarded by a doe, are in the CONSTABLE. 153 centre. In the extreme distance across the corn-fields a village church and a few cottages. Signed and dated " John Constable f . London. 1826." Engraved by David Lucas, C. Cousen, R. B. Parkes, and E. Leslie Haynes. Etched by A. Brunet Debaines. Canvas, 56 in. h. by 48 in. w. (1'42 by 1-21). Painted in 1826. The sketch for this picture is No. 1821 in this Gallery. Presented by an association of gentlemen, who purchased it from the painter's executors in 1837.* No. 327. The Valley Farm. In the foreground to the right is a shallow stream, on which is a punt containing a man and a woman. Three cattle are standing in the water ; figures are seen in the distance. This is a view of a farmhouse, known as " Willy Lett's House ;" it is situated on the bank of the Stour, near Flatford Mill, the property of the painter's father, near East Bergholt, Suffolk, The house was painted several times by Constable.f Painted abouti 1835. Signed " John Constable, R.A." Engraved by J. C. Bentley and by G. Sanders. Canvas, 57J in. 7t. by 49 in. w. (1'46 by 1-24). Exhibited at the Royal Academy of 1835 (No. 145) under the title of " The Valley Farm." Robert Vernon Gift, 1847. No. 1065. A Cornfield, with figures. A sketch. In a field of corn, partly reaped and stocked, some peasants are working or resting. The sky-line is formed by farm buildings and trees. Rain -clouds are floating past. Painted about 1816. Canvas, 9J in. h. by 15J in. w. (0'24 by 0-39). Purchased at the sale of Mr. J. H. Anderdon's pictures, May 30, 1879 (No. 107). * The painter's son (Mr. C. G. Constable), in the Art Journal, in 1809, states " I agree with you as to ' The Cornfield ' ' being somewhat of a " ' misnomer ' . . . I would rather it had been called ' A Suffolk " ' Lane.' It w;s taken in the lane loading from East Bergholt ... to " the pathway to Dedham across the meadows, . . . The little church in " the distance never existed ; it is one of the rare instances where my father " availed himself of the painter's license to improve the composition. Dedham " Church has a much larger tower and lies to the right hand outside the " limits of this picture. The scene is greatly changed now ; all the large " trees on the left were cut down some years ago." f Willy Lott, who owned it, was born in this house, and is said to have "passed more than eighty years without having spent four whole days away from it." C. R. Leslie : li Li/',- ,,,i/' ,lhn Constable, If. A., 1896, p. f>5. 154 CONSTABLE. No. 1066. On Barnes Common. In the foreground the banks of a rivulet with two children, one standing, the other seated. Beyond, the high road, along which a stage coach passes rapidly. More distant, a tall wind- mill, a cottage, and some trees. A cloudy sky. Painted about 1805. Canvas, 9J in. h. by 13J in. w. (0'24 by 0-34). Formerly in the Collection of Mr. Thomas Garle, and sold at his sale, May 24, 1862 (No. 66), under the title of " A landscape, with a windmill and a stage coach." Purchased at the sale of Mr. J. H. Anderdon's pictures. May 30, 1879 (No. 109). No. 1207. The Hay-Wain. In the foreground a shallow stream, through which a cart, con- taining two men, is passing. On the left a half-timbered cottage with steep tiled roofs and gabled walls, flanked by oak trees. On the right a fisherman, half concealed by a bush, stands by his punt. In the middle distance green meadows with woodland beyond. Stormy sky, across which cloud cumuli are drifting. Signed and dated, " John Constable, pinxt., London, 1821." Canvas, 50| in. h. by 73 in. w. (I '28 by 1-85). Exhibited at the Royal Academy, 1821 (No. 339), under the title of " Landscape : Noon." Sold to a Frenchman in 1824*, and exhibited at the Salon held in the Louvre, in 1824, when it obtained a Gold Medal. Sold at the sale of Mr. Geo. Young, May 19, 1866 (No. 25). Exhibited at the Burlington Fine Arts Club, 1871 (No. 39). Exhibited at the London International Exhibition, 1874 (No. 62). Exhibited at Burlington House (Old Masters), 1886 (No. 153). The sketch for this picture is in the Victoria and Albert Museum (No. 987-1900:). Henry Vaughan Gift, 1886. No. 1246. A House at Hampstead. In the foreground a pond surrounded by trees and skirted by a road, along which cattle and rustic figures are passing towards the left. In the right-hand corner a horse, on which a man wearing a red jacket is sitting, stands in the water drinking. * The Frenchman had tried to buy the picture from the artist three years before ; Constable now agreed to take 250 for this and another painting, throwing in a third. The effects of this sale were far-reaching. C. J. Holmes : " Constable and his influence on Landscape painting,' 1902, p. 88, CONSTABLE. 155 A house among trees in the middle distance. Cumuli in a blue sky. Painted about 1832. Engraved by H. R. Robertson. Canvas, 13| in. h. by Hi in. w. (0'3i by 0'29). Exhibited at the London International Exhibition, 1874 (No. 143). Exhibited at Burlington House (Old Masters), 1878 (No. 238). Presented by Miss Isabel Constable in 1888. No. 1272. The Cenotaph. A picture of the Cenotaph erected to the memory of Sir Joshua Reynolds, by Sir George Beaumont, in Cole Orton Park, Leicestershire. Surrounded by lofty oaks and beech trees, the colour of whose foliage denotes late autumn. It is flanked by two stone pedestals surmounted by busts of Michelangelo and Raphael. At the base of the Cenotaph is a small pool of water, which a stag is just leaving. The cenotaph is inscribed " REYNOLDS." Painted about 1836. Canvas, 50J in. h. by 42J in. w. (1-28 by 1-07). Bought at the Artist's Sale, May 16, 1838 (No. 71). Exhibited at the International Exhibition, South Kensington, 1862 (No. 286). Bequeathed by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable, in 1888. No. 1273. Flatford Mill. In the left foreground a horse, bestridden by a boy, stands on the towing path, a man adjusting the tow-rope. On the right is an old and dilapidated oak tree, round the trunk of which a streamlet winds between sedgy banks. In the middle distance the river is intersected by a lock, surrounded by trees and farm buildings. Large clouds in the sky. Inscribed : " JO* Constable f 1817." Engraved by David Lucas. Canvas, 39J in. h. by 50 in. w. (1-00 by 1-27). Probably identical with the " Scene on a Navigable River," exhibited at the Royal Academy, 1817 (No. 255). Bequeathed by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable, in 1888. No. 1274. TJie Glebe Farm. A winding lane, passing between two thickly-wooded banks. On the left a large oak tree, casting its shadow on the road, marks the entrance to a steep path. On the summit of the opposite bank a gabled homestead among trees, behind which rises the tower of Langham church. In the foreground is a 150 CONSTABLE. felled tree, near which a child is sitting. On the right a cow drinking from a pool. Blue sky and fleecy clouds. Painted in 1827. Engraved by David Lucas as " The Glebe Farm, Girl at a Spring." Canvas, 25 in. h. by 37 in. w. (0'63 by 0'95). Very similar to No. 1823. Bequeathed by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable, in 1888. No. 1275. View at Hampstead. On the right of the foreground is a rugged cliff, at the base of which two donkeys stand in shelter from the wind. On the left a thickly-wooded hill rises above a pool, in which cattle are drinking. In the middle distance a windmill on rising ground. Beyond is a village surrounded by undulating country. A rainbow in a stormy sky. Painted about 1833. Canvas, 19J in. h. by 29J in. w. (0'49 by 0'74). Bequeathed by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable, in 1888. No. 1813. View on Hampstead Heath. On the right of the foreground is a steep bank, on the top oE which a boy is lying. On the left a wooded slope in the middle distance rises above a pond, in which some men are watering some black horses. The middle of the picture is filled with distant trees, fields, and hedgerows, which take the place of the windmill seen in No. 1275 ; beyond is a great stretch of flat cultivated country. The light breaks in streaks through a stormy sky. Painted about 1823. Canvas, IS in. h. by 19 in. w>. (0-33 by 0'49). This is a different treatment of the same subject as that of No. 127!). Henry Vaughan Bequest, 1900. No. 1814. Salisbury Cathedral. In the right foreground a path leading over a footbridge, which a man is crossing with his dog. Beyond is the river, forded by a waggon and three horses ; the Cathedral and city of Salisbury seen in the distance. On the left tall trees leaning to the left. Painted about 1831. Canvas, 14 in. h. by 20 in. ;. (0'35 by 0'50). Exhibited at Burlington House (Old Masters) in 1886 (No. 1). This is the preliminary sketch, without the rainbow, for the " Salisbury Cathedral from the Meadows.'' exhibited at the Royal Academy, 1831 (No. 9). Henry Vaughan Bequest, 1900, CONSTABLE. 157 No. 1815. A Summer Afternoon after a Shower. On the right is a round hill with meadows intersected by a hedge. A woman and some children are passing through the long grass. Beyond the hill is a windmill, and on the left a wooded plain with a field and red cottage. A heavy thunder cloud on the left, and near the foreground a man on a white horse looking over a hedge. This sketch is said to be a recollection of an effect seen by Constable near Redhill on a journey from Brighton. Painted about 1828. Engraved by David Lucas. Canvas, 13J in. h. by 17 in. w. (0'34 by 0'43). Henry Vaughan Bequest, 1900. No. 1816. The River Stour, near Flatford Mill, after- noon. Formerly catalogued as " The Mill Stream." On the left of the stream stands a group of red-roofed gabled buildings. The stream is arched over in the middle of the picture by tall elms. A boy in a red waistcoat is seen fishing from the bank on the right. Painted about 1811. Engraved by David Lucas under the title of "The River Stour, near Flatford Mill, afternoon." Canvas, 8 in. A. by 11 j in. w. (0'20 by 0'28). This is a study for the "Hay Wain," No. 1207 in this Gallery. Henry Vaughan Bequest, 1900. No. 1817. The Gleaners. A scene relieved against a stormy sky. Two windmills and a house are seen over the rising ground of the field. Two girls are gleaning to the left. Painted Aug. 20, 1824. Canvas, 6J in. h. by 12 w. (0-16 by 0'30). Formerly in the Collection of Captain C. Constable, the painter's son. A. sketch near Brighton. Henry Vaughan Bequest, 1900. No. 1818. View at Epsom. A sketch from nature of an open park-like country, with groups of trees, cattle and horses under a cloudy summer sky. Painted about 1808. Millboard, in oil, 11 in. h. by 134 in. w. (0-27 by 0'34). Henry Vaughan Bequest, 1900. 158 CONSTABLE. No. 1819. Stoke-by-Nayland, Suffolk. A village with a large church, seen beyond a group of trees on the right, under a clouded sky. In the foreground is the figure of a woman carrying a large bundle on her head. Painted about 1831. Canvas, 7 in. h. by 1C in. w. (0'17 by 0-25). Henry Vaughan Bequest, 1900. No. 1820. Dedham. In the foreground is a lock with some figures in a boat, and a man stooping on the right. Dedham church tower, seen beyond the meadows across the river Stour. Painted about 1828. In oil, on paper, 6J in. h. by 10 in. w. (0'16 by 0'25). Henry Vaughan Bequest, 1900. No. 1821. A Country Lane. On the left foreground is a boy lying on his face drinking from a small stream which crosses the road. To the right a girl standing with a pitcher in her hand. Canvas, 7 in. h. by 11 in. w. (0*19 by 0'29). This sketch seems to have served as the motive for the picture of " The Cornfield, or Country Lane " (No. 130), painted in 1826. Henry Vaughan Bequest, 1900. No. 1822. Dedham Vale. A view of the open country round Dedham, with the river Stour winding through it, cloud shadows over the landscape. Dedham church tower is a conspicuous feature in the centre. Painted about 1809. Canvas, 9* in. h. by 11 in. w. (0'24 by 0'29). Henry Vaughan Bequest, 1900. No. 1823. The Glebe Farm. A rough sketch of Langham Church with the glebe farm attached. The subject is almost identical with the finished picture, No. 1274 in this collection, but with a different effect of light and sky. Painted about 1827. Canvas, 23 in. /<. by 31 in. w. (0'58 by 0'78), Exhibited at Leeds, 1868, (No. 1232). Exhibited ac Burlington House (Old Masters), 1886 (No. 30). Henry Vaughan Bequest, 1900. CONSTABLE. 159 No. 1824. Sketch of a Landscape. A blue sky is shown in patches behind a broken mass of bright cumulus cloud, below which darker clouds are moving. A flat field is in the foreground bounded by a long stretch of trees, beyond which is an horizon of low hills partly in cloud shadow. Painted about 1824. Canvas. 4| in. h. by 9 in. to. (O'lO by 0'22). Henry Vaughan Bequest, 1900. No. 2649. Stoke-by-Nayland. A grass field, with trees and bullrushes on the left. In the right middle distance is a cart. Blue sky with clouds. Canvas, 13f in. h. by 17* in. w. (0'34 by 0'44). George Salting Bequest, 1910. No. 2650. Yarmouth Jetty. Formerly called Brighton Pier. The pier is seen in the left distance, and a man is driving towards it a cart drawn by a grey horse. A boat on the shore in the left foreground. Boats sailing to the right Canvas, 12$ in. n. by 19J in. w. (0'31 by 0'50). George Salting Bequest, 1910. No. 2651. Salisbury Cathedral. The river Avon ; a boat in the foreground ; figures on the bank ; beyond the Bishop's Garden and Palace, with the Cathedral in the distance. Canvas 20$ in. h. by 30 in. w. (0'5I by 0'76) George Salting Bequest, 1910. No. 2652* Wey mouth Bay. A sandy shore with rocks in the foreground and a cliff on the right. The bay is seen on the left. Hilly ground in the distance. A cloudy sky. Canvas, 20| in. h. by 29J in. w. (0'52 by 0'74). George Salting Bequest, 1910. No, 2653. Spetchley. Formerly known as Malvern Hall, Warwickshire. A large country house standing in a well-wooded park is seen in the centre distance beyond a lake ; the lake bank in the foreground. Canvas, 19| in. h. by 29* in. w. (0'50 by 0'74). Formerly in the Collection of Mr. J. H. Anderdon. Exhibited at Burlington House (Old Masters) in 1878 (No. 61), George Salting Bequest, 1910. 160 CONSTABLE. No. 2654. Study for Dedltam Vale. A white figure in the foreground. In the middle distance to the right is a wooded hill, and in the distance a church tower. A blue sky with heavy cumulus. Wood, 5 in. h. by 7 in. w. (0-12 by 0'17). George Salting Bequest, 1910. No. 2655. Portrait of Mrs. Constable. She wears a pleated silk muslin dress, a frilled collar, and a black sash. Half length, the head turned three-quarters to the left. Canvas, llf in. h. by 9J in. w. (0'29 by 0'23). George Salting Bequest, 1910. No. 2656. Sea. A quiet sea with distant fishing boats under a grey sky. Labelled on the back : "Painted at Brighton, Sunday, Jan. 1st, 1826, from 12 till 2 p.m. Fresh breeze from S.S.W." Wood, 6f in. h. by 9 in. w. (0-17 by 0-24). George Salting Bequest, 1910. No. 2657. Windmill. A windmill on the brow of a hill, on the side of which corn and poppies are growing. A road on the left. Stormy sky. Canvas, 7f in. h. by 9f in. w. (0'19 by 0'24). George Salting Bequest, 1910. No. 2658. A Hillside, Hampstead. A sandy bank partly covered with grass and gorse to the left, with a distant common on the right with figures. Heavy clouds. Canvas, 7f in. h. by 9f in. w. (0'19 by 0'24). George Salting Bequest, 1910. No. 2659. Trees near Hampstead Church. Three cows are standing at the edge of a pool beneath tall trees. Canvas, 36 in. h. by 28| in. w. (0'91 by 0'73). George Salting Bequest, 1910. No. 266O. Dell at Helmingliam Park. A weathered tree trunk hanging over a quiet pool. Canvas, 24| in. h. by 29| in. to. (0'62 by 0'75). George Salting Bequest, 1910 CONSTABLE COPLEY. 161 No. 2661. Dedham Mitt. The stream occupies the foreground ; on the further bank are seen the water-mill and some houses towards the left with the lock in the centre of the composition. Beyond it is seen the Church tower. On the right are some trees. Canvas, 21 in. h. by 30$ in. w. (0'53 by 0'76). George Salting Bequest, 1910. No. 2662. Leathes Water, Cumberland. The lake lies between green and purple hills. A large stone on the bank in the centre of the foreground. A strong breeze and a windy sky. Wood, 9f in. h. by 15* in. w. (0'24 by 0'39). George Salting Bequest, 1910. No. 2663. Dedham Valley. A flat meadow dotted with cattle lying down. A white cottage near a group of poplars is seen in the middle distance near the centre of the picture ; behind it is a low range of hills covered with arable land and a wood. A grey sky. Wood, 9 in. h. by 15* in. w. (0-22 by 0'38). George Salfcing Bequest, 1910. COPLEY (JOHN SINGLETON), R.A., 1737-1815. British School. John Singleton Copley, historical and portrait painter, was born on July 3rd, 1737, at Boston, U.S.A., his father, an Englishman, and his mother, an Irish lady, having emigrated only a very short time before his birth. In 1774, having already attained distinction as a portrait painter at Boston, he set out for Italy by way of England, never to return to the United States. He established himself in London at the end of 1775, and was elected an Associate of the Royal Academy in the following year, becoming an Academician three years later. Between 1779 and 1783 he painted Ttie Death of the Earl of Chatham, and the Death of Major Pierson. Neither of these pictures was exhibited at the Royal Academy, to which he contributed forty-three paintings. He exhibited eight pictures at the British Institution. Copley died on Sep. 9th, 1815. No. 733. The Death of Major Pierson. Major Pierson was killed in an engagement with some French troops at St. Heliers, Jersey, on the 6th of January 1781. The 17983 L 162 COPLEY. chief incident represented is the carrying of the body of Major Pierson out of the fight ; the figures about this principal group are all portraits. They are, commencing from the left, Captain Clephane leading the charge, Captain Macneil, the black servant shooting the man who shot Major Pierson, Adjutant Harrison supporting the shoulders, the Major, Captain Corbett, Lieutenant Drysdale, Ensign Rowan, Ensign Smith, Captain Hemery, and Lieutenant Buchanan, all but one a captain of the Jersey Militia officers of the 95th Regiment. On the left is a dying serjeant, to the right a group of women flying from the scene ; and in the background is a part of the town, and a distant hill beyond. Engraved by James Heath, for Alderman Boydell, in 1784. Canvas, 97 in. h. by 143 in. w. (2-46 by 3-63). Exhibited at Manchester, 1857 (No. 112). Painted in 1783 for Alderman Boydell, as a companion picture the "Death of Chatham." Purchased at the sale of Lord Lyndhurst's pictures, March 5th. 1864 (No. 90). No. 787. The Siege and Relief of Gibraltar. The incident represented is the repulse of the Spanish floating batteries ; the firing has partly ceased, and the English officers are endeavouring to rescue the sufferers from the burning vessels. Sep. 13, 1782. The composition includes portraits of Lord Heathfield, Lieut.- Gen. Sir Robert Boyd, Major-General Sir William Green, Major- General Picton, Major-General de la Motte, Sir Roger Curtis, and Captain Drinkwater. Engraved by William Sharp. Canvas, 52 in. h. by 74 in. w. (1'32 by 1'88). Formerly in the possession of Lord Lyndhurst. This is a study for the large picture painted for the Corporation of London and now at the Guildhall. Other sketches are in the Victoria and Albert Museum. Purchased from Mr. William Grist in 1868. No. 1072. The Death of the Earl of Chatham. A study for No. 100, now on loan in the House of Lords. Canvas, 24 in. h. by 29 in. w. (0'61 by 0'73). Formerly in the collection of Lord Lyndhurst and sold at his sale, March 5, 1864. Purchased at the sale of Mr. J. H. Anderdon's pictures, May 30, 1879 (No. 113). * See a prospectus of the print from this picture, published by Alderman Boydell ia 1784. COPLEY COQUES. 163 No. 1073. The Death of the Earl of Chatham. A sketch for No. 100. now on loan in the House of Lords. Canvas, 27 Jin. h. by 40i in.w. (0'69 by 1'02). These two canvases are preparatory studies for Copley's great picture of the Death of the Earl of Chatham (No. 100), and represent successive stages in the development of the composition. Formerly in the Collection of the Rev. H. S. Trimmer, March 17, 1860. Purchased at the sale of Mr. J. H. Anderdon's pictures. May 30, 1879 (No. 115). * COQUES (GONZALES), 1618-1684. School of Antwerp. GONZALEZ COQUES was born at Antwerp in 1618. His real name was GONSALVE COCKX. He became tirst the pupil of Pieter Brueghel III, and afterwards of David Ryckaert the Younger, whose daughter he married in 1643. COQUES was received as a master in the Guild of Painters in 1640-41, and served as Dean twice, in 1665-66 and 1680-81. He was an imitator of Van Dyck, and is sometimes called the " little Van Dyck." He is believed to have worked for Charles I. in England.* He also worked for the Elector of Brandenburg and the Arch-Duke Leopold William. GONZALEZ COQUES died at Antwerp on April 18th, 1684. No. 821. A Family Group. A man in a black suit with a white lace collar, two ladies and five little girls are seen in a garden before the entrance to a house ; to the left the youngest child is being taught to walk by being placed on its feet in a go-cart, which is being pushed along by another child ; the eldest girl is playing the guitar to the right. Two little dogs in front ; on the right is a fountain. Canvas, 25 in. k. by 33J in. w. (G'63 by 0'85). Sm. 16. From the collection of Mr. Mettepenning at Antwerp. Imported by Mr. C. J. Nieuwenhuys 1824, sold to Sir Robert Peel. Purchased with the Peel Collection, in 1871. No. 1O11. Portrait of a Lady. Half-length, in a white satin dress, with a red petticoat and blue shawl ; her right hand resting on the head of a lamb, her left on the hilt of a sword. A triumphal arch in the back- ground. On silver, 7 in. h. by 5J in, w. (0'17 by 0'13). Wynn Ellis Bequest. 1876. C. de Bie: Het Gulden Cabinet, published ia Antwerp in 1661, is the authority for this statement, which seems to be correct but is not corroborated. 17983 L 2 164 COQUES COBDELLE. No. 1114. Sight. A young painter, dressed in a Flemish costume of the 17th century, with uncovered head and lotag dark hair, sits at a table, holding a sketch in his right hand and a palette and brushes in his left. The blue baldrick of his sword is seen across his breast. (He is supposed to be a portrait of Robert Van den Hoeck, painter and engraver, a friend of Gonzales Coques.) No. 1115. Hearing. A middle-aged man, wearing a dress of the same period, sits playing the lute close to a table on which a music-book lies. No. 1116. Feeling. A young man, who has just been bled in the arm, sits holding a staff in his left hand, while the blood flows from a lancet wound into a metal dish which he holds to receive it. No. 1117. Smell. A man sits in an easy attitude on a chair, over the back of which he has thrown his left arm, holding a long clay pipe, from which he is smoking. No. 1118. Taste. A young man stands before a table, on which a dish of oysters is placed. A white cloth or napkin is thrown over his left arm. In his hand he holds a large glass goblet, of which he is tasting the contents. Each panel, 9 in. h. by 7f in. w. (C'24 by 0'19). These five subjects were purchased at the sale of the collection of the Vicomte Bernard du Bus de Gisignies at Brussels, in 1882. No. 2527. Charles Mordaunt, Earl of Monmouth and Peterborough (?). The Earl of Peterborough was born 1658 and died 1735 ; the costume of this portrait is circa 1640-50. Half-length ; three- quarters to the left. He wears a silver grey doublet, his own hair, a dark blue bow, and ribbons at the elbow. Wood, 6& in. h. by 4| in. ic. (0 - 16 by 0'12). Formerly Catalogued as by Gonzales. George Saltirg Bequest. 1910. CORDELLE AGII OR CORDEILIAGHI (ANDREA). See PREVITAXiI. CORNEILLE DE LYON CORNELI8Z. 165 CORNEILLE DE LYON. Active c. 1530 V-1550. French School. CORNEILLE was of Netherlandish origin Hardly anything is known of his life and but little more of his work. He is mentioned in Brant6mes Dames Illustres, as having painted Catherine de Medicis and her family. He is represented in the Louvre, and at Versailles, and portraits generically classed under his name are found in private collections. A portrait ascribed to him is in the Hertford House Gallery. Recent criticism has identified CORNEILLE DE LYON with Cornelis van de Capelle, best known by his pictures of Money changers, Misers, &c., in the manner of Roymerswael and Q. Massys. The dates of such paintings are c. 1534, and the origin of this Corneille van de Capelle was the Hague. He seems to have been in France in 1536 and at Lyons in 1544. Vide P. M. Turner and C. H. Collins Baker : S'ories of the French Artists; aho Les Arts, No. 28, 1904, and the Burlington Magazine, xx., vol. vi., and cvii. vol. xx. No. 2610. Antoine de Bourbon. He wears a black satin doublet trimmed with black velvet and a flat black cap. His right hand holding a glove is partly visible. He has a reddish beard and moustache. Half-length figure turned three-quarters to the right and looking out at the spectator. A table covered with tapestry ia partly seen in the right bottom corner. Brown background. Wood, 7J in. h. by 5} in. to. (0-18 by O'H). George Salting Bequest, 1910. No. 2611. A Man in Black. He wears a black doublet and cap ; bust portrait, turned nearly three-quarters to the right, under life-size. L-ght green back- ground. Wood, 6| in. h. by 5| in. to. (0'16 by 0'13). George Salting Bequest, 1910. CORNELISZ (JACOB), 1470?-1533?. School of Amsterdam. JACOB CORNELISZ VAN OOSTSANEN (or JACOB VAN AMSTERDAM) was born at Oostzaan in North Holland before 1470. He was a painter and engraver, and worked at Amsterdam from 1500 till 1533, where he died before Oct. 18, 1533. Prints by him dealing with the " Life of Christ " and other subjects, and dated 1517 and 1518 are still preserved. K. Van Mander : Hct Terender Sclillder*, Amsterdam, 1764, II, 154. 166 CORNELISZ COROT. He was the second master of Jan Schorel, and the father of Dirck Jacobsz. No. 657. Portraits of a Dutch Gentleman and Lady. Probably the Donors of an altar-piece of which these two panels are the wings. They are kneeling with their patron saints, Peter and Paul, standing behind them. Wood, each panel 32 in. h. by 10 in. ?. (0'81 by 0'26). Purchased from M. Edmond Beaucousin, at Paris, in .1860. CORNELISZ. ATTRIBUTED TO. No. Z2O9. Portrait of Edzard /., 2nd Count of East Friesland. He is in armour and wears a large broad-brimmed I black hat, worn very much on one side. There is a small medallion on the brim, bearing the device of an eagle. Under his hat he wears a skull cap covered with network. At each of the intersections of the gold strings of which it is made is a single small pearl. Over his right shoulder he carries a sword, inscribed on the blade : " Victor est qui nomen Domini pugnavit." On the back of the panel is written in modern script : " Ulricus Sirosenius Frisia Orientalis Primus." Wood, 18 in. h, by 13 in. w. (O45 by 0'33). There is a similar portrait, attributed to Lucas van Leyden. : but more probably by Jacob Cornelisz, in the Oldenburg Gallery. Another version, bearing Diirer's monogram and the date 1520. is in the collec- tion of 'the Duke of Rutland, who lent it to the Guildhall Exhibition of 1892 (Xo. 44) ; in it he is holding a richly-ornamented object of gold in his hand, and wearing a yellow robe, the picture being entitled, " Portrait of a Man." Sec Bredius : Gemelde-Galerie im Augmteun' -:u Oldenburg. 1906, p. 9, in regard to a " Bildnis des Graf en edzard des Grossen von Ostfriesland." Presented by Mrs. Charles L. Eastlake. in memory of her husband, in 1907. COROT (JEAN BAPTISTS OAMILLE), 1796-1875. School of Barbizon. COROT was born in Paris in 1796 and brought up in commerce. From a draper's business be emerged at the age of 25 and became a painter, studying first under Michallon. then Bertin, and working much from nature. His earliest work is often hardly reconcilable with that of his most typical period. In 1827 he exhibited for the first time. His earliest drawings are of c. 1822-1825, notes and sketches made in Paris. The same year he went to Italy, there remaining till 1828 ; the drawings of this period, of trees and Italian towns, are masterly in their sense of selection and their delicate perception. He returned to France in 1828, and COROT. 167 for some years worked in Normandy and Fontainebleaa. draw- ing and painting landscape, figures and port-scenes. In 1834 he revisited Italy for a few months. Back in Paris in 1835 he began his first important pieces his Hagar, St. Jerome, Silenus (1838), and Le Soir. In this period, c. 1835-1845, fall most of his figure pieces, such as the Rebecca (1839) and his studies of the nude, such as the Nymphe de la Seine, L' Odalisque Romaine (1843), and his Baptism of Christ, commissioned for the Church of St. Nicolas du Chardonnet, Paris, in 1844-5. In these paintings of the nude, and in his remarkable drawings of the human figure COROT stands on a high level. His landscapes of this period are numerous ; pictures of Venice, Florence, Genoa, Le Chateau dePierrefonds,znd. the paintings of Rozny and Ville-D'Avray. He received medals in 1833, 1848, and 1855. In 1847 he was commissioned to paint a design for tapestry, and executed his Chevreur Italien, in which his more mature manner appears. In the succeeding years he further developed this mood of soft vaporous atmosphere and silvery colour, producing in the 'fifties his Danse dee Nymphes, the Compagnie de Diane, Le Pecheur en Barque, and a series of decora- tive panels for the Chateau de Gruyens. In 1853 he paiuted his Way of the Cross for the Church of Rosny. Portraits and occa- sional figure pieces appeared simultaneously with his ceaseless and prolific output of landscape. About 1855-60 he painted two Bacchantes " au tambourin and a la Panthere ; between 1860-65 his Diano au Bain (1869) and La Nymphe au bord de I'eau, and in 1868-70 his Femme d la Parle. In 1864 his Sonkin de Mortffon- taine, now in the Louvre, was exhibited. Towards the end of his career he painted four panels for the Church of Ville d'Avray, Adam and Eve, the Baptism of the Christ, the Christ in the Garden of Olives, and the Magdalen. Working almost to the end with the devotion to nature and the high probity that had distinguished his career from its outset, he died in Paris February 22nd, 1875, and was buried in Pere-Lachaise, where and at Ville d'Avray a monument is placed to his memory. COROT was not only a painter of pictures, an etcher and a draughtsman. In common with most of the considerable artists he was richly gifted with the human charities, and a man of serious thought. His reputation rests securely not on his more popular and charming pictures so much as on the firm design and depth of emotion his earlier work reveals. See A. Robaut : U(Euvre de Corot. IV tomes. 1905. No. 2135. The Marsh of Arleu.r-du-Nord. A dark grey cloud spreading over the marsh ; open water gleaming in the distance. There is a broken row of trees on the left. Some rough lines in the foreground show that the artist intended to put in a boat with fishermen and nets on the left. Canvas, lOfc in. h. by 22 in. w. (0'26 by 0-55). Inscribed with the cachet : ' Vente Cwot" 168 COROT. Included in the sale of Corot's pictures in 1875 (No. 470), when it was purchased by Fantin-Latour ; subsequently in the collection of Mr. Edwin Edwards. This picture, painted in July, 1871, is one of at least ten pictures in which the locality of Arleux-du-Nord is given in the title. It is referred to in Robaut : Corot, III., No. 2024, as " Marais d 1 Arleux-du-Nord, un matin, temps grin." Bequeathed by Mrs. Edwin Edwards in 1907. No. 2625. The Bent Tree. A bent tree in the centre foreground leaning towards the left. It makes a long fork in the middle. Beneath it a man is in a fishing boat to the left on the edge of a river which runs towards the horizon. In the right middle distance are two women gathering sticks. Signed : " COROT." Canvas, 19 in. h. by 23-f in. to. (0'49 by 0'60). This type of design was a favourite of Corot. A very similar picture is reproduced in Robaut ; II, 1121, painted c. 1855-60. Exhib. at the Beaux Arts, 1875 (202), and Lille, 1881 (1385), lent by M. Duparc. A variant with a cow in it was in the Alex. Young Coll. George Salting Bequest, 1910. No. 2626. Wood Gatherers. Women are gathering sticks by the side of a lake seen to the right. Trees in the middle distance ; beyond, buildings. Signed: " COROT." Canvas, 18| in. h. by 25 in. w. (0'46 by 0'63). George Salting Bequest, 1910. No. 2627. Evening on the Lake. A sailing-vessel and a man wading are seen on the edge of the lake. On the bank to the right are trees. Signed : " COROT." Canvas, 9 in. h. by 14 in. w. (0 24 by 0'35). Formerly in Lord Leighton's Collection. George Salting Bequest, 1910. No. 2628. Noon. A man seated in a wagon drawn by a grey horse is crossing a common towards the right. Two willows in the background to the left and buildings in the distance to the right. Signed : " COROT." Canvas, 10J in. /*. by 13f in. w. (0'26 by 0'34). George Salting Bequest, 1910. No. 2629. A Flood. A man dressed in red stands under some trees in the right COROT CORREGGIO. 169 foreground and looks at the flood running past him on the left ; houses in the middle distance. Signed : " COROT." Canvas, 21 in. h. by 25J in. w. (0'53 by 0'64). George Salting Bequest, 1910. No. 2630. Cows standing in a Marsh. A man stands between two cows in a marsh, on the edge of which to the left grow four willow trees. Buildings dimly seen in the distance. Signed : " Conor." Canvas, 9 in. h. by 13| in. w. (0'24 by 0'40). George Salting Bequest, 1910. No. 2631. The Fisherman's Hut. The fisherman is in the stern of his boat on the edge of a lake towards the left. In the middle distance his hut is seen beneath trees. Signed : " COROT." Canvas, 12| in. h. by 17J in. w. (0'31 by 0'45). Alex. Young Collection. George Salting Bequest, 1910. : CORREGGIO (ANTONIO DA), 1494-1534. School of Parma. ANTONIO ALLEGRI, called IL CORREGGIO from his birthplace, a small town near Modena, and once the seat of a princely family, was born in 1494. His father, Pellegrino, was a cloth merchant and small proprietor. The youth of Antonio is involved in obscurity ; but Antonio Bartolotti, a native artist, is said to have been his first instructor. Recent criticism has, how- ever, shown that in his early youth he came within the influence of Lorenzo Costa and Francesco Francia, while Francesco Bianchi (Ferrari) of Modena is his traditional master ; Mantegna also influenced him. Already in 1514, in his twentieth year, the Minorite Friars of Correggio entrusted him with an important commission. Little is known of CORREGGIO between then and his appearance in Parma in 1518. There, in 1520, he entered into an agreement with the Benedictines of S. Giovanni Evangelistaf * This large altar-piece on panel was painted for the high altar of San Francesco at Correggio. It is now No. 150 in the Dresden Gallery. This early work, the Madonna and Child with Saints, shows the influence of Mantesna, Francia, and possibly Leonardo. See Morelli in Zeitschrift fur Bildende Kunst, Jahrgang X, and in his Italian Painters: Munich and Dresden Galleries, vol. II., p. 147 ; also Berenson : The Study and Criticism of Italian Art, t The subject in the cupola of S. Giovanni Evangelista is the Glory of our Lord. In the spandrilg of the arches are the four Evangelists with their attributes, and the four Fathers of the Church. This work and the paintings in the apsis of the same church, were completed about 1524. 170 CORREGGIO. to paint the cupola and apsis of their church. This great work, of which now only the paintings in the dome remain in situ, and a similar labour in the cathedral, prove CORREGGIO'S powers in fresco. In these compositions, wherein CORREGGIO breaks loose from all the traditions of Christian Art, the fore- shortening of the figures tends to the Academic. It is in his oil paintings chiefly that we must now seek what is most typical of CORREGGIO. These, executed between his twentieth yearf and the time of his death, are scattered over Europe, chiefly in public galleries, a few in private hands. They consist of altar-pieces, smaller sacred subjects, and scenes from Greek mythology. Some of the finest are La Notte of 1529-30 and the Madonna of St. Sebastian of 1525 at Dresden. The Gallery of Parma contains the Madonna with St. Jerome and the Magdalen (II GHorno) of 1523-30, the Madonna della Scodella, of 1530, and the Martyrdom of St. Placidus and St. Flavia, 1526. In the Louvre is the Marriage of St. Catherine (No. 1117). Among the smaller class may be mentioned the early Madonna, called La Zingarella, {The Gipsy Girl) ; the Nativity, in the Uffizi at Florence ; and in this gallery the little Holy Family. Of mythological subjects the most famous is the Jupiter and Antiope in the Louvre (No. 1118), the Danae in the Borghese Palace at Rome ; the Venus, Mercury, and Cupid (No. 10-), in this gallery ; and the Leda at Berlin. In 1520, at Correggio, ANTONIO married Girolama, the young orphan daughter of Bartolomeo Merlini, an esquire of the Duke of Mantua. She b6re him three daughters, and a son, Pomponio, who became a painter. Girolama died towards 1530 ; after which CORREGGIO returned from Parma to his native town, where, on the 5th of March, 1534, he died. He was buried in the church of S. Francesco. CORREGGIO is an isolated phenomenon in Italian art ; we look in vain, after his earliest years of practice, for any true affinity between him and other masters. In his treatment of light and shades and of atmosphere he contributed something new to Italian art. His influence upon later art was more baneful than otherwise. See also C. Ricci : Antonio Allegri da Correggio : His Life, His Friends, and His Times, 1896. T. Sturge Moore : Correggio, 1906. G. Gronau : Correggio, des Meisters Gemdlde in Abbildungen, 1907. No. 10. Venus, Mercury and Cupid, or Mercury in- structing Cupid in the presence of Venus. Mercury in winged cap and sandals is seated on a bank on the right. Cupid is standing by his side, profile to the right. The * The great fresco in the dome oE the cathedral, though commissioned in 1522, was apparently executed between 1526 and 1530. It represents the Assumption of the Virgin. t Early -works are the Holji Family with St. James at Hampton Court (No. 276) and the Chrttt takinn leave of His Mother before the Pawon now in the collection of Mr. E. H. Benson. CORREGG1O. 171 background of dark foliage contrasts finely with the well-rounded nude of the figures. Full length life size figures. Canvas, 61 in. h. by 36 in. w. (1'54 by 0'91). Engraved on a large scale by Arnold de Jode, in 1667. Le Villain, in 1786, engraved for the Conche's Galcrtc dti Palai* f ?:>;/(/!, under the title of Education (h- 1' Amour, another version of this picture. This picture, one of Coreggio's masterpieces, was formerly in the collection of Charles I., for whom it was purchased by Nys from the Duke of Mantua in 1628. In 1639 it was in the " Third Privy Lodging- Room," called also the " Square-Table Room," at Whitehall Palace. It \vas then described as a " Mantua piece."* It was subsequently purchased by the Duke of Alva at the sale in 1649. It then became the property of the Prince of Peace, in whose collec- tion it was at the time of the occupation of Madrid by the French, when in 1808 it fell into the possession of Murat, afterwards King of Naples. At his death it was acquired by the Marquis of Londonderry, together with the " Ecce Homo " in this Gallery (No. 15), from the ex-Queen of Naples, at Vienna. The other version of this picture, formerly in the Orleans Gallery, measured 4 pieds 9 ponces by 3 pieds 4 ponces. Buchanan (' Memoirs," I.. 63), says that it was sold to Mr. Willet, and subsequently passed to M. Erard ; he states that it was an earlier picture than the one in this Gallery, and was '' painted in a much looser and more unfinished manner ; it has suffered considerably, and has been indifferently repaired." Purchased from the Marquess of Londonderry in 1834. No. 15. " Ecce Homo "; Christ presented by Pilate to the People. The greater part of the picture is occupied by the figure of our Saviour, behind whom, to the left, is Pilate, pointing with his right hand to Christ. On the right the head of a Roman soldier, and in the foreground, to the left, the Virgin Mary supported by one of the Maries. Half-length figures. Wood, 38 J in. h. by 31 4 in. ir. (0'97 by 0'80). Engraved in 1587 by Agoetino Carracci, of which print there are several copies ; subsequently by P. Bettelini, and by G. T. Doo, R.A. ; and in small, in Jones's National Gallery. This picture, formerly in the possession of the Counts Prati of Parma, was subsequently long in the Colonna Palace in Rome. It was pur- chased of the Colonna family by Sir Simon Clarke, who. being unable to move it from Italy, sold it to Murat. then King of Naples. His widow sold it in 1834. Purchased from the Marquess of Londonderry in 1834. * G. Soharf : History of Old London, 1867, p. 331. Sir Claude Phillips : Port- folio Monograph, XXV., The Pictmr Oauerv of diaries I., p. 28. 172 CORREGGIO. No. 23. The Madonna of the Basket. The infant Saviour is seated on the lap of the Yirgin, who is dressing Him in a little blue coat. In the background is St. Joseph occupied as a carpenter planing a board. In the fore- ground, to the left, is a small toilet basket, whence this picture is known on the Continent as "La Vierge au Panier" or the " Madonna della Cesta." Wood, 13i i n . ft. by 10 in. w. (0'34 by 0'25). Engraved by Diani Ghisi in 1577 ; by F. F. Aquila in 1691 ; by G. Faccioli ; by A. Romanet for Conche's Galerie du Palais Royal ; by G. T. Doo, R.A., for the Associated Engravers ; and by S. Freeman for Jones's National Gallery. Formerly in tbe royal collection at Madrid, from which it passed, by the gift of Charles IV., to Emanuel Godoy. After falling into various hands during the French invasion of Spain, it was brought to England by Mr. Buchanan in 1813. Purchased from M. Perrier in 1825. No. 2512. The Magdalen. The Saint is seen standing at full length. A blue robe is loosely thrown around her. In her left hand she holds the vase ; her right arm rests on an open book placed upon a rock. Woodland foreground. Canvas, 15 in. h. by 11J in. w. (0'33 by 0'30). George Salting Bequest, 1910. AFTER No. 7. Group of Heads. Ten various views of heads, representing apparently part of a choir of angels. Canvas, 60 in. h. by 42 in. w. *(1'52 by 1'06). Engraved by B. Holl in Jones's. National Gallery. This picture and its companion, No. 37, were formerly in the posses- sion of Christina, Queen of Sweden : they subsequently passed into the Orleans collection, with which they were brought to this country, and were purchased by Mr. Angerstein. They were probably taken to Sweden as part of the plunder of Prague, when that city was captured by the Swedes under Count Konigsmark, July 15, 1648, and the pic- tures collected by the Emperor Rudolph II. were carried to Stockholm. Among these pictures were several by Correggio, which had been pre- sented to the Emperor by Federigo Gonzaga. Duke of Mantua, for whom they had been originally painted. Purchased with other pictures in the Angerstein Collection in 1824. CORREGGIO COSSA. 173 No. 37. Group of Heads and Figures. Eight various views of heads and figures, constituting probably a part of the same composition as its companion piece (No. 7). In the lower part of the picture, to the left, is the head of a lamb. Canvas, 61 in. h. by 42 in. to. (1-54 by 1-06). Engraved by B. Holl in Jones's National Gallery. Purchased with other pictures in the Angerstein Collection in 1824. No. 76. Christ's Agony in the Garden. It is night-time, and our Saviour is lighted directly from Heaven, while the angel is illuminated by the light reflected from our Lord. In the background, to the right, the three disciples are seen asleep, and beyond them is the Jewish crowd, led on by Judas. Wood, 14 in. h. by 16 in. w. (0'35 by 0'40). Engraved by B. Corti in 1640 ; by Volpato ; by S. Cousins ; and others . This picture is an old copy of the original now in the collection of the Duke of Wellington, which is said to have been painted by Correggio for an apothecary to whom he was indebted four scudi ; it was sold shortly afterwards for 500 scudi.* It was subsequently in the collection of Philip IV. of Spain, and was presented by Ferdinand VII to the first Duke of Wellington. Buchanan : Memoirs of Paintiny, 1824, I 64. Purchased with other pictures in the Angerstein Collection in 1824. COSZXIXO. See PIERO. * COSSA (FRANCESCO), 1435?-1477. School of Ferrara. FRANCESCO COSSA, a painter of Ferrara, was born about 1435. He and Cosimo Tura, his elder by about five years, are closely akin. The earliest notice of COSSA, dated 1456, records him as associated with his father Cristofano del Cossa, in colouring the sculptured work of the high altar in the episcopal palace at Ferrara. He was afterwards one of the painters designing and executing the frescoes in the upper hall of the Scbifanoia palace at Ferrara. In 1470 be removed to Bologna, where under the rule of the Bentivogli many painters of Ferrara were employed. It is by his works there that COSSA is recognised : the finest, in the Pinacoteca (No. 64) is the signed picture representing the Virgin and Child with the Bishop St. Petronius. * G. Gori Gandellini : Notizie istortcke degT Intagliatori, Siena, 1771, 1 325. 174 COSSA COSTA. St. John the Evangelist and the kneeling figure of Alberto de' Catanei, one of the donors. The Madonna > in. w. (I'lo by 0*90). Dr. Frizzoni has given reasons for his belief that the personage here represented is neither St. Hyacinth nor. as was once supposed, St. Dominic himself, but St. Vincentius Ferrar, a Spaniard of Valencia who. in 1374, at the age of 17, entered the Dominican order, died in 1419, and, on account of his extraordinary sanctity, was canonized by P. Calistus III., in 1455. (G. Frizzoni. ' Zitr Wiederherstellnng einct altferraresischen Altancerkes" in Zeitsehrift fur bild. Kumt. XXIII. p. 299, 1888.) This painting is, doubtless, the same as that referred to by Vasari as s ' quella (opera) di S. Vincenzio . . . nella cappella de' Griffoni in S. Petronio and erroneously assigned to Lorenzo Costa. This picture, once ascribed to Marco Zoppo, was the centre panel of an altar-piece, the two other parts of which, containing the figures of St. Peter and the Baptist, are in the Brera Gallery at Milan, and the predella, with stories of the life of St. Hyacinth, is in the Picture Gallery of the Vatican. Purchased from the collection of the Marchese Giovanni Costabili at Ferrara, in 1858. COSTA (GIOVANNI), 1826-1903. Italian School. GIOVANNI, or, as his friends called him, NINO COSTA, was born at Rome in 1826. When he began to study Giov. Morelli, Die Werke italic ninchcr Mtistcr, &c., p. 130. finds the monogram - From below, however, even through a good glass, it appears extremely ff; obscure. But the style of the whole design undoubtedly reveals the ^ hand of Cossa. COSTA. 175 art he joined those who rebelled against the academical teaching of the day. When barely twenty-two he joined the Roman Legion to fight the Austrians in the Veneto. He was out also in '49 at San Pancrazio amongst the volunteers of the University Legion. After the fall of the Republic, COSTA retired to the Alban Hills and returned to art, studying the Campagna with Lord Leighton, his devoted friend. In 1859 he joined the Genoese Cavalry, so that after the peace of Villafranca he was, as a suspect, unable to return to Rome, and established himself at Florence, joining a group of youn? artists called the " Macchiaiuoi," and helped to found the "Gazzettino Artistico," a most vehement advocate of ideal art. He was amongst the first of the Italian troops to enter the walls of Rome on 20th September, 1870, and, the dream of united Italy realised, he again took up his brushes. COSTA discouraged the commercial spirit in art and published with Senator Monteverde an appeal for liberty and artistic sincerity. He assisted in the organisation of the "Scuola Etrusca," and in 1885 was placed at the head of the society called "In Arte Libertas." British artists always received a welcome and kindly advice in COSTA'S studio in the Yia Margutta, Rome. He died on the 31st January, 1903, at Bocca d'Arno. No. 1493. Landscape, with a View of the Carrara Mountains. Painted in the district of Bocca d'Arno, Italy, overlooking an undulating plain, with olive trees in the foreground and pine woods in the middle distance. The rising sun has just tinged the peaks of the Carrara range, which rises, pale violet, against the sky. Canvas, 26 in. h. by 61J in. 10. (0'67 by T56). Presented by a body of Subscribers in 1897. COSTA (LORENZO), 1460?-1535. School of Ferrara. COSTA formed one of the main links between the schools of Ferrara and Bologna. Born in the former city c. 1460, he probably studied under Tura and Cossa. In 1483 he established himself at Bologna, where, patronized by the Bentivogli, he remained at least three and twenty years. There many of his principal works still exist ; for example, frescoes in S. Giacomo Maggiore ; altar-pieces in the Cathedral (S. Petronio), S. Giovanni in Monte, and elsewhere. During this period he must have paid more than one visit to * The date of 1460 rests upon the evidence of a Mortuary Register of Mantua, which records the death of Lor. Costa on March 5, 11535, at the age of 75. But Laderchi (La 1'ittura Frrraresit, pp. 40-41) considers that Costa must have been horn in or about 1455. 176 COSTA. Ferrara. At Bologna he formed a partnership with Francesco Francia, whom he perhaps induced to practise painting. On the expulsion from Bologna (1507) of the Bentivogli, COSTA perhaps retired to Ferrara. But in 1509, invited by the Marquis Fran- cesco Gonzaga, whose wife was Isabella d'Este, he went to Mantua, residing there till his death, March 5, 1535. COSTA'S style varied during his long career. His earlier works show the influence of Tura and Cossa ; his later the amenity of Umbrian art, and finally the influence of Francia. A gentle gravity marks his style, but want of force mars what is meant for grace. His figures are seldom planted firmly on the ground ; a fault which he shared with Francia. Barruffaldi gives a long list of painters who issued from the school of COSTA. The best of these, after Francia, was Ercole di Giulio Grandi. No. 629. The Madonna and Child Enthroned with Saints. A large altar-piece in five panels. In the central arched com- partment is the Madonna enthroned on a high pedestal under which is seen a distant landscape. She holds the Infant Christ on her knee who raises His hand in benediction. An angel bends forward in adoration on each side, and below on low seats are two playing musical instruments. In the lower compartments to the right and left are full length figures of St. John the Evangelist and St. Peter, and above are half length figures of St. Philip and St. John the Baptist. Transferred from wood to canvas,* in five compartments. Centre picture 65| in. h. by 29 in. w. (1'66 by 0'73). Side pictures 21 in. A. (0-54) and 43 in. h. (1'09) by 22 in. //, (0'57). Signed LAVREN'WS COS FA F Formerly over the principal altar of the Oratorio del le G-razie, at Faenza. In 1780 it formed part of the Hercolani Collection in Bologna,f from which it passed, in 1837, into the possession of Mr. Wigram, at Rome. In 1848 it became the property of M. Van Cuyck, who sold it in the following year to M. Reiset, from whom it was purchased in 1859. No. 2083. Portrait of Battista Fiera of Mantua. The tutor of the children of Baldassare Castiglione. He wears a brown jacket and a black cap, and stands behind a grey parapet. * It is painted on fine linen, rcnso, which was attached to wood ; this renso is now lined with canvas in the place of the original tavola ; it was transferred at Antwerp in 1848. t It is described in the Hercolani Catalogue by Calvi, Versl e Prose, &c., Bologna, 1780, p. 10, as the best of Costa's pictures on wood (in tavola) ; Calvi terms it uno stuporc. This picture is noticed also as an admirable example of the master, by Rio, in his life of Leonardo Da Vinci, Art Chretien, vol. ii. COSTA COTES. 177 A life-sized, three-quarter face, bust portrait of a clean-shaven man, with reddish hair and three warts upon his left cheek. Wood, 19| in. ft. by 14 in. u: (0'50 by 0'36). Engraved as the frontispiece to a book entitled " Baptistae Fierae Hiintnani Mcdle'i .si/a aetate Clarlsglmi Coena notit illiistrata a, Carolo Arantio Rhodigino, Patavli. lyplt Sebastiani Sardi, 1649." Under the engraving is the name " Baptista Fiera Mantuanns. Theologus. Medicus, et Poeta." John Samuel Collection. 1906. COTES (FRANCIS), B.A., 1725-1770. English School. Francis Cotes, an English portrait-painter of considerable merit, was born in 1725. He became the pupil of George Knapton, and, like his master, worked in crayons as well as in oil-colour. Walpole in his " Anecdotes ot Painting " com- pares Cotes's crayon studies to those of Rosalba, and it is said that Hogarth preferred him as a portrait-painter to Reynolds. He was one of the original thirty-six members of the Royal Academy which was founded in 1768. In 1769 he contributed seven pictures and in the following year eleven, all his pictures being portraits. He had exhibited the " Portrait of Paul Sandbv " at the Society of Artists in 1761. The house which he built'in Cavendish Square was subsequently occupied by Romney and Sir M. Archer Shee. The " generic likeness " which his portraits bear to those of Reynolds and Gainsborough is merely superficial. He died in the prime of life on July 20, 1770. No. 1281. Portrait of Mrs. Brocas. She is dressed in a white silk gown open at the chest, and embroidered with gold thread, and a full-sleeved grey silk robe edged with brown fur. She wears crystal ear-drops, and her copious black hair is entwined at the top of her head with a string of beads. Life-size, seen to the waist ; three-quarter face turned to the left. Green background. In a painted oval. Canvas, 29J in. h. by 24J in. w. (0'74 by 0'62). Presented by Mr. George Holt in 1889. No. 1943. Portrait of Paul Sandby, R.A. The artist is represented with his legs crossed, seated at an open window, making a sketch. His right hand holds the porte-crayon ; * Hodgson and Eaton: ' TJte Royal Academy and its Members," 1905, p. 87. 17983 M 178 COTES COTMAN. in his left hand which leans on the window sill is a sheet of paper placed on a closed book. He wears a light-coloured coat with gilt buttons and frogged with gold braid, open in front and a soft shirt with a lace fall and ruffles, knee breeches, and ribbed blue stock- ings. The face is clean shaven and youthful, and his hair is tied back with a' ribbon. The figure is relieved against the white panelled shutters behind him, while the face shows light against the dark trees outside. Inscribed on the back of the canvas, " Paul Sandby, aged 34." Paul Sandby, B.A. (1725-1809), called the " Father of the Water Colour Art," was the younger brother of Thomas Sandby, R.A.* Three pictures by him are in the National Gallery of British Art ; some fine drawings are in the British Museum. Canvas, 49J in. A. by 39 in. w. (T25 by TOO). Bequeathed by Mr. W. A. Sandby in 1904. COT1VXAN (JOHN SELL), 1782-1842. Norwich School. John Sell Cotman was born at Norwich on May 16, 1782, and was educated at the Free Grammar School. It was originally intended that he should follow his father's business, that of a linendraper, in London Lane. The boy, how- ever, showed such a decided taste for art that this intention was abandoned, not without reluctance on his father's part. Young Cotman went to London, where he spent some years in study, applying himself especially to the illustration of architectural subjects, which he painted in water-colours and etched with great skill. Between 1800 and 1806 he exhibited thirty pictures at the Royal Academy. In 1807 the Norwich Society of Artists was founded, and shortly afterwards Cotman returned to his native town, where he contributed no less than sixty-seven pictures to the Exhibitions, several being portraits. The sale of his works was not very remunerative, and an early marriage rendered it necessary that he should give lessons in drawing and painting. Thus he had access to the country houses round Norwich, and could fill his portfolio with studies of architecture and landscape. Leaving Norwich he went to Yarmouth, where he made the acquaintance of Mr. Dawson Turner, a distinguished antiquary, with whom he subsequently became associated in literary work. In 1811 Cotman published the first of a series of etchings illustrating the " Architectural Antiquities of Norfolk " and " Engravings of Sepulchral Brasses." In 1817 he accompanied Dawson Turner on a tour in Normandy, which he revisited in 1818 and 1820. The result was a work entitled "The Architectural Antiquities of Normandy," published in two folio volumes, for which Dawson * H. M. Cundall : " A History of Water-Colour Printing" 1908. p. 32. COTMAN. 179 Turner supplied the letterpress. In 1825, Cotman, who by this time had returned to live in Norwich, became an Associate of the London Society of Painters in Water Colours, to whose Exhibition he constantly contributed for many years. In 1834, having been appointed teacher of drawing at King's College School, he removed to London. A few years later he entered into an arrangement with Mr. Bohn, by which his early studies were re-published with considerable additions in a collected form. Cotman painted in oil as well as in water-colours, but it is as a water-colour artist and etcher that his name is best known. He is in the front rank of English landscapists. He formed with Crome and other painters of his native country a local coterie, which is still remembered as the "Norwich School," and has exercised considerable influence on British art. He exhibited nine pictures at the British Institution in 1810 and 1823. One of his finest oil paintings is the " Town in Holland," once in the Collection of Sir Cuthbert Quilter. Cotman's health declined after he took up his residence in London. He suffered severely from mental depression, and died on July 28th, 1842. See Lawrence Binyon : Crome and Cotman. No. 1111. Wherries on the Yare. Formerly catalogued as " River Scene." Two boats sailing down the river towards the right under a slack wind. In the nearer one several men are seated in the stern or are leaning over the boat's side. Grey sky, with cloud cumuli, rising from the horizon. Canvas, 21 in. h. by 30J in. w. (0-54 by 0'77). This picture was included in the Cotman Sale of 1834, when it bore the title of " Wherries on the Yare." Purchased from Mr. William Cox in 1882. COTMAN, ASCRIBED TO. No. 1458. A Galiot in a Gale. An angry sea with foam-crested waves, over which a fishing boat with full sail scuds before the wind. In the stern are three men, one of whom is steering. The deck is protected by an awning. In the distance, towards the right of the scene, rise lofty cliffs, at the base of which lies a village. Seagulls swoop around the boat. Above is a stormy sky. This attribution is generally questioned ; Copley Fielding has been suggested. See the Burlington Magazine, GIL, Vol. xix. Canvas, 43 in. h. by 51J in. w. (1'09 by 1*38). Exhibited at Burlington House (Old Masters), 1882 (No. 14). Purchased at the sale of the Collection of Mr. James Price, June 15, 1895 (No. 68), under the title of "A Grand Marine Subject." 17983 M2 180 COUBBET COX. COURBET (GUSTAVE), ] 819-1877. French School. COURBET was born at Ornans. He began the study of jurisprudence, but at the age of twenty went to Paris and worked ia the studio of David d'Angers. He was one of the naturalistic school and his early pictures were severely criticised, but now five of his paintings are in the Louvre, including the large Interment at Ornans, painted in 1850. In 1871 his democratic tendencies led him to join the Communists ; he bad charge of the Museums, and took a leading part in the destruction of the Column in the Place Vendome. On the fall of the Commune he was imprisoned and fined. He retired to Switzerland, where he died at La Tour-de- Peilz. No. 2767. The Sea. A calm sea under a placid sky seen from a sandy shore. Signed in red, G. Courbet, on the low-growing herbage to the right. Canvas, 17 in. It. by 22 in. w. (0'43 by 0'38). Presented in memory of William Lomas, IS) II. COX (DAVID), 1783-1859. English School. Cox was born at Deritend near Birmingham on April 29, 1783, son of a whitesmith. He began work in his father's trade, but was not strong enough and was apprenticed in 1798 to a maker of lockets and brooches, which he adorned with miniatures. His master dying soon he had to find work elsewhere, and becoming colour-grinder to the scene-painter of the Birmingham Theatre, soon rose to assist in the painting, and on one occasion designed and executed all the scenery for a new play ; but he was much disappointed to find the authorship attributed to an imaginary London artist. In 1804 he came to London, and worked tempo- rarily in the scenic department of Astley's. He received a few lessons in water colour by the kindness of John Varley, and sold his drawings at a few shillings each, sketches in Wales (1805 and after). In 1808 he married Mary Ragg, the daughter of his landlady, and settled in a cottage at Dulwich. earning a scanty income by teaching and making sketches. North Wales was his favourite haunt, especially Bettws-y-Coed ; but he also worked in Derbyshire, the Lakes and other parts of England, and in Northern France. He was elected a member of the Society of Painters in Water Colours in 1813. He was about this time appointed drawing master to the Military College at Farnham, but gave it up and went to live at Hereford in 1814, where he taught in Miss Croucher's school. He returned to London in 1827, and finally retired to Harborne near Birmingham in 1841. where he died on COX. 181 June?, 1859. In 1839 he took a few lessons iii oil from William Miiller ; fifty-seven of his pictures were exhibited in Liverpool in 1875, and a large number are in the Birmingham gallery, the bequest of Mr. J. H. Nettlefold. Forty-two water colour drawings were bequeathed to the Print Boom by Mr. John Henderson, and there are twenty-two belonging to the Victoria and Albert Museum. His friend Edward Radclyffe the engraver, began a series to be called the "Cox Liber Studiorum," but he died after publishing only three plates. Cox himself published " A Treatise on Landscape Painting and Effect in Water Colours, &c." (1814), illustrated by soft ground etchings and coloured aquatint ; in 1816 " Progressive Lessons;" in 1820 " Views of Bath ; " in 1825 his "Young Artists' Companion." Cox developed in water colour a free handling expressive of sun and breeze, a parallel in some ways to Constable's work in oil. Several special exhibitions of his works have been held : at the Manchester Art Treasures Exhibition, 1857 ; at Hampstead, 1858 ; at the Gros- venor Gallery, 1889 ; at Manchester, 1870 ; Liverpool Arts Club, 1875 ; again at Manchester, 1877 ; and Birmingham, 1890.* No. 2665. Moorland Road. In a cart drawn by a white pony are seated a man, and a woman in a red shawl making their way along a road leading across a moor. Blue sky with heavy cumulus. Signed in the left bottom corner, " David Cox, 1851." Canv&, lOf in. h. by 14 in. to. (0'27 by 0'35). George Salting Bequest, 1910. No. 2666. Grossing the Common. A man, accompanied by bis dog, is walking across the common to the right towards some cattle. Cloudy sky and windy weather. Canvas, 10* in. h. by 13J in.w. (0-26 by 0*34). George Salting Bequest, 1910. No. 2667. The Road across the Common. View of a wide common with the sea in the distance. The fore- ground is occupied by a peasant seated on a brown horse, with a white horse and a dog at its side. He is conversing with a girl in a pink dress and white sun-bonnet. Blue sky with cloud cumuli. Signed and dated in the left bottom corner, " David Cox. 1833." Canvas, 7$ in. h. by 9* in. w. (0'19 by 0'24). George Salting Bequest, 1910. * Hall : " Biography ;" Solly: " Memoir:" Monkhouse : in u D.N, B." 182 COX CRANACH. No. 2668. River Scene, with boys fishiny. Two boys at the side of a road fishing in a river. A winding path leads through the centre. In the distance are cattle. Birds are flying in the sky. Wood, 7i in. h. by 9f in. if. (0-19 by 0'24). George Salting Bequest. 1910. COTXGNOXiA (BERNARDO DA). (See ZAGANEX.X.X.) * CRANACH (LUCAS), THE ELDER, 1472-1553. School of Saxony. LUCAS CRANACH the Elder, whose family name is uncertain, is commonly called LUCAS CRANACH, from his birthplace Kronach, in Upper Franconia, where he was born on October 4, 1472. He was the pupil of his father. He was painter, engraver on copper and wood and designer. CRANACH. who accompanied Frederick the Wise on his pilgrimage to the Holy Land, took up his residence at Wittemberg. In 1502-04 CRANACH was in Vienna, in 1508 in the Netherlands. CRANACH lived at an eventful period ; his principal wojks were painted between 1506 and 1540 ; he was the intimate ft/end of Luther and painted his portrait several times ; he is said to have brought about the marriage of Luther and Catherine Bora, of which he was one of the witnesses. CRANACH was twice burgo- master of Wittemberg, in 1537 and 1542. After his death a medal was struck in his honour, with his portrait on one side, and on the other the arms granted to him by the Elector Frederick the Wise in 1508, viz., a crowned winged serpent on a gold ground. This device was, with certain modifications between 1509 and 1537, the ordinary mark used by CRANACH on his pictures and prints. From 1550 to 1552 he was at Augsburg and Inns- bruck. He was court painter to three Saxon Electors, and so much attached to John Frederick, the Magnanimous, that when that prince was taken prisoner after the battle of Muhlberg in 1547, CRANACH preferred sharing his five years' captivity at Innsbruck to accompanying Charles V. to the Netherlands. They returned to Wittemberg in 1552, when CRANACH retired to Weimar, where he died on the 16th of October, 1553. He is well repre- sented in the Berlin. Vienna, Munich, Boston and New York Galleries. No. 291. Portrait of a Young Lady. In a red dress with slashed and puffed sleeves, gold chain, CRANACH CBEDI. 183 and necklace ; her gloves slashed for rings. Small figure, half- length. Wood, 14 in. h. by 10 in. w. (0'35 by 0'25). The painter's mark, the crowned serpent or dragon, is seen in the lower corner to the spectator's left. Formerly in the collection of the Earl of Shrewsbury. Purchased at the sale at Alton Towers (No. 259), July 8th, 1857. No. 1925. Portrait of a Man. An elderly man with thin fair hair and clean-shaven face. He wears a dress of black cut-velvet. His right hand rests on his hip, and the left is posed on a large purse with a steel clasp which hangs from a black leather belt. He is possibly a member of the Luther family. On the back is written " Francis von Sichingeri." Two coats of arms are shown on the dark background to right and left at the top of the picture. Under the shield to the left is the painter's crest, the dragon with a crown, and the date 1524. Wood, 15f in. h. by 10J in. to. (0-39 by 0'25). In the possession of a Dr. Luther, 1778. Presented by Mr. John P. Heseltine in 1903. * CREDZ (LORENZO DI), 1457-1537. Florentine School. LORENZO DI ANDREA D' ODERIGO CREDI was born at Florence in 1457. He was the fellow pupil of Leonardo da Yinci and Pietro Perugino, in the School of Verrocchio. He owes his celebrity to his paintings ; it appears, however, that he was skilled in sculpture also, since his master, Verrocchio, expressed a desire in his will (in 1488) that LORENZO might be employed to finish the colossal equestrian statue of Bartolommeo Colleoni at Venice, which Verrocchio had left incomplete. CREDI was a prolific, if not a very inspired painter, as his pictures still preserved in the Uffizi, show. He worked also at Pistoia. He is distinguished for his careful execution and elaborate finish. His colouring tends to crudeness and hardness ; the flesh-tints are pallid and monotonous. When children are introduced (and most of LORENZO'S subjects necessarily include the "Bambino"), their forms, though studied with care, and almost painfully worked out in detail, are puffy and clumsy ; the * Lorenzo was the son of a certain Andrea, and grandson of Oderigo di Andrea di Credi a goldsmith. See Operc di O. Vasarl edited by G. Milanesi, Vol. IV., pp. 563-4, notes. Vasari's story that the name of Lorenzo's family was Sciarpelloni seems to have no foundation. 184 CREDI CR1VELLI. heads crabbed, and wanting in infantile charm. Beautiful drawings by him are in many Collections. He died at Florence on January 12, 1537. No. 593. The Virgin and Child. . The Virgin holding the Child to her breast is seated under a portico in a garden Through the columns and arches is seen a landscape : the angel with Tebit approaching up the garden walk. Wood, 27J in. * by 19J in. ?. (0-69 by 0-49). Formerly in the possession of the Cavalieri llancini of Florence. Purchased at Florence from the Lombardi-Baldi Collection, in 1857. No. 648. The Virgin adoring the Infant Christ. The Child is resting on a pillow on the ground ; the Virgin is kneeling before him in adoration. Landscape background, with a ruin, and the angel appearing to the shepherds in the distance. Wood, 34 in. It. by 23 in. w. (0'86 by 0-59). Formerly in the Northwick Collection, at Thirlstane House, Chelten- ham, August 3rd, 1859 (No. 579). Purchased from il. Edmond Beaucousin, at Paris, in 1860. No. 2490. Costansa de 1 Medici. She stands with her left arm resting on a grey marble ledge on which lie some pins, three rings on a little white velvet bolster and a pendant. She wears a square-cut close-fitting lilac gown laced m front and the elbows are slashed with white. She wears a white cap, and a thin black cord is round her neck. A wooded landscape is seen in the distance. On the ledge is the inscription : " GHOSTANZA DE MEDICIS IOAN FKANCISCHVS DOMINI FRANCICI DE GHAETANIS UXOR." Wood, 22f in. /(. by 14f in. w. (0'57 by 0'37). Lent to the Gallery since 1895 as a work by Domenico del Grhir- landaio. George Salting Bequest. 1910. * CRI VELLI (CARLO), EQUES 1430 ?-1493 ?. Venetian School. By descent and probably by birth a Venetian, CARLO CRIVELLI was born presumably about 1430. Little is known of his history. Marked affinities of style connect him with Bartolomeo Vivarini, his exact contemporary and fellow CEIVELLI. 185 pupil under Antonio da Murano and Squarcione. Otherwise his own strong individuality gives him an unique position in Italian art. About 1468 he settled at Ascoli in the Marches of Ancona, and in that neighbourhood spent the rest of his life. Perhaps his earliest work is the Madonna in the collection of Sir Frederick Cook. Of bis dated pictures the first is the ancona in five compartments painted for the church of S. Silvestro at Massa Fermana, and now in the Municipio there ; it is signed and dated 1468. The Dead Christ (No. 602) in this Gallery was presumably painted about 1472, to which year belongs the Virgin and Child, now in the collection of Mr. R. H. Benson.f The large ancona (No. 788) in this Gallery is dated 1476, and shows CRIVELLI'S fondness for altar-pieces composed of many separate arched panels. Ten years later was painted the Annunciation (No. 739) in this Gallery ; it may be considered the artist's masterpiece. In 1490 CRIVELLI was knighted by Prince Ferdinand of Capua, and from that time he was careful to add to his signature the title of MILES, which is seen in the inscription of three pictures in the National Gallery.J The Madonna delta 1 Rondine (No. 724) appears to have been executed in 1490. The Coronation of the Virgin, in the Brera, is dated 1493, and is one of his more important works. It shows him still in possession of his highest powers ; later than this no date is found. CARLO had a relation (believed to be a brother) and pupil in Vittorio Crivelli. Petrus Alamanus was another of his pupils. Some independent but mediocre paintings by Vittorio, dated 1481-90, are extant.|| In CARLO CRIVELLI'S works may be found, in quaint combina- tion, morose asceticism, passionate grief, verging on caricature, true pathos, occasional grandeur of conception and presentment, knightly dignity and infantile gravity or playfulness. Gold and the introduction of gilt and silvered ornaments in high relief ; varied marbles, oriental carpets, fruit and flowers in canopies and festoons or scattered singly about enhance the richness of the whole effect. The brilliancy, seldom impaired by time, of pic- tures by CRIVELLI is due to the employment of tempera, a medium to which he, like Mantegna, exclusively adhered. Beautiful examples of CRIVELLI are in the Cook, Benson, and Victoria and Albert Museum Collections. No. 602. The Dead Christ supported by Angels. Two child angels, standing on the edge of the tomb, support the body of Christ. Small full-length figures. Wood, in tempera, 28J in. h. by 22 in. w. (0*72 by 0-55). B. Berenson : "Study and Criticism of Italian Art," 1901, p. 101. The attitude of the Child shows that it is the centre panel of an ancona. { The original document conferring the title is preserved by the Municipality of Ascoli. $ Crowe & Cavalcaselle : " Painting in North Italy," London, 1871, 1. 95, refer to this as " the last work of a disagreeable but most talented painter." IIRidolfl: "Le Marm-iglic, delT Arte," Padua, 1835, I., p. 102: Baldassare Orsini, Ovtda PAteoU," Perugia, 1790; Carbon i : " Hemorlc tntorno i Litttrati e gll Artisti Ascolant," Ascoli, 18$), p. 119. 186 CEIVELLI. Signed : CAROLVS- CRfVELLVS-VENETVS-PfNSfT^ This is part of an altar-piece, which originally consisted of a " Virgin and Child " and a " St. Francis," in the Brussels Gallery, eight panels in the collection of Colonel H. Cornwall Legh, of High Legh, and four panels which have been lost. It was formerly in the church of the Frati Conventuali Rif ormati at Monte Fiore. . near Fermo. Purchased at Borne, from Cavaliere Vallati, in 1859. No. 668. The Beato Ferretti. The Blessed G-abriele Ferretti, Superior of the Franciscans in the March of Ancona, kneels in a rocky landscape in adoration ; a vision of the Virgin and Child, surrounded by the Mandorla, in the heavens ; on the ground before him is an open book. In the foreground to the right is a church by the side of a road leading to a town in the distance. In the foreground to the left are two ducks on a piece of water, near which are lying a pair of clogs ; across the upper part of the picture hangs a festoon of fruit. See G-. McNeil Rushforth : Carlo Crivclli, 1900, p. 87. Wood, in tempera. 55 in. Ji. by 34| in. 10. (1'40 by 0'87). Signed : Purchased from Mr. Alexander Barker in 1861. No. 724. TJie Madonna and Child enthroned, with St. Jerome and St. Sebastian : " The Madonna della Rondine." The Madonna, wearing sumptuous robes and rich jewels, nurses the Christ who holds an apple in his left hand ; a coral charm round his neck. On the upper ledge of the throne a swallow is perched. The front of the step below the Virgin is decorated with festoons of fruit. The escutcheon of the Odoni family (cheeky of eight argent and gules ; on a chief or, a demieagle displayed sable, crowned and beaked or, langued gules) is painted on the front of the step on which stands St. Jerome and St. Sebastian. CRIVELLI. 187 In the predella are St. Catharine ; St. Jerome in the wilderness ; the Nativity ; the Martyrdom of St. Sebastian ; and St. George and the Dragon. Wood, in tempera ; altar-piece 4 ft. 11 in. h. by 3 ft. 6 in. w. (1-49 by 1-07) ; predella panels 11' in. h. (0'29) by 8 in. (0-21), 13 in. (0-33), H in. (0'36), 13 in. (0-33), and 8 in. (0'21) w. In its original frame. Signed : Painted for the Odoni Chapel in St. Francesco at Matelica. Purchased from Conte Lnigi de Sanctis, of that town, in 1862. No. 739. TJie Annunciation. The scene takes place in an interior court and in a house decorated with elaborate architectural ornament. On the right the Virgin is seen through an open door, kneeling in prayer. From a glory above issues a golden ray of light which pierces the wall of the house and is directed towards the Virgin, above whose head hovers the dove, the symbol of the Holy Spirit. Behind the Virgin in a recess is her bed, and on a shelf are a round box, plates, and a decanter. In the open court, the Angel of the Annunciation, raising his right hand in benediction and holding a lily in his left, kneels before the window. By his side kneels the youthful St. Emidius, the patron saint of Ascoli, holding a model of the city. In an open loggia above the Virgin are seen a peacock, birds caged and at liberty, a tapestry, and pots of flowers. At the top of a flight of steps in the left middle distance is a small group of men and a child who with a poet in the centre alone perceives the mystic event. The court is closed by a richly- decorated arch, through and on which are seen other figures, the city wall in the distance. Poplar, in tempera, 82J in. h. by 58* in. w. (2-09 by T47). Signed OPUS CAROLI CRIVELLI VENETI. 1486. On the front of the step at the bottom of the picture, between three escutcheons, the words LIBERTAS ECCLESIASTICA.* The coat of arms to the left, on the face of the step, is that of Prospero Caffarelli, Bishop of Ascoli at the time. The escutcheon in the centre contains the coat of arms of Pope Innocent VIII., the reigning Pontiff, and in that to the right are the arms of the city of Ascoli. In the fore- ground a cucumber and an apple. * Commemorating the charter given in 1482 by Pope Innocent VIII conferring on the citizens of A*coli the right of self-government. 188 CRIVELLI. It was originally painted for the convent of the Santissima Annun- ziata at Ascoli. where it was still preserved in 1790.' In 1811 it was removed by order of the Italian Government to Milan, and deposited in the Brera.f After 1815 it passed into private hands and formed part of the Solly Collection, from which it was acquired in 1847 by Lord Tannton. Waagen : " Treasures of Art in Great Britain" 1854, Vol. II., p. 419. Presented by Lord Taunton in 1864. No. 788. The Madonna and Child enthroned, with Saints: " The Demidoff Altar-piece." An altar-piece in three tiers and thirteen compartments. Lower Tier (five full-length figures on separate panels). In the centre the Madonna, wearing a jewelled crown and seated on a marble throne, holds the Infant Christ, who is asleep in her lap. Inscribed below the throne OPUS KAROLI CRIVELLI VENETI 1476. Wood, oli in. h. by 25 in. w. (1-30 by 0'63) ; arched top. On the inner panel to the le'f t is St. Peter, wearing . pontifical robes and the triple tiara ; portions of his robes are enriched in relief and studded with imitation pearls and other jewels : in his right hand he holds a book and two keys raised in relief, in his left is his pastoral staff. On the outer panel to the left is St, John the Baptist, with cross and scroll bearing the words " Ecce Agnus Dei, ecce gui [tollit peccata mundi]." On the inner panel to the right is St. Catherine of Alexandria, her right hand resting on a wheel, in her left the palm of martyrdom. On the outer panel to the right is St. Dominic, seen in profile, who holds in his left hand a book and a lily. Each of the four side panels 48 in. 7<. by 1<> in. w. (1'21 by (MO) ; arched tops. Middle Tier (four half-length figures on separate panels). On the inner panel to the left, St. Andrew the Apostle, with cross and book. On the outer panel to the left, St. Francis with the Stigmata. On the inner panel to the right, St. Stephen, a book in his right hand, and stones, the emblems of his martyrdom, on his head and shoulders. On the outer panel to the right, St. Thomas Aquinas, with a book and the model of a church. Each panel 23 in. h. by 16 in. w. (O58 by 0'40) ; arched tops. Upper Tier (four small full-length figures on separate panels). In the centre, (over the canopy of the Virgin), left, the Archangel Michael, with a sword in his right hand, tramples on the Dragon ; in his left hand he holds a pair of scales, in which he weighs two small nude figures of a man and a woman against Baldassare Orsiai : Descrizione delle Pitture, &c., Delia Insigne Cittct di Ascoli- Perugia. 1790, p. 183. t G. McN. Rushforth : Carlo CriveUi, London, 1900, p. 89 ORIVELLI. 189 a weight placed in the lower scale. In the centre, right, St. Lucy, with the palm of martyrdom in her right hand, and a dish containing her eyes in her left. In the panel to the left of this centre pair of Saints is St. Jerome, wearing his cardinal robes, and carrying in his left hand the model of a church. In the panel to the right of this centre pair of Saints is St. Peter, Martyr, his head cleft with a chopper and a sword run through his breast. Each of the four panels 85 in. h. by 10 in. w. (0'88 by 0'26) ; arched tops. The height of the whole altar-piece is 16 ft. (4-87), the width 10 ft. G in. (3-19). The Lower and Middle Tiers of this altar-piece were formerly in the old church of San Domenico, at Ascoli. They were seen there by a traveller during the eighteenth century. The church of San Domenico was rebuilt in 1776, and Orsini mentions some of the subjects as being in the sacristy in 1790.t They afterwards came into the possession of the Cardinal Zelada, at Rome, who seems to have added the upper pictures by the same master, and thus formed the present large altar-piece. It was seen while in the collection of Cardinal Zelada at Rome by Seroux D'Agincourt, who engraved the compartment of the Madonna and Child.J It was subsequently in the Rinuccini Collection, in Florence, from which it passed, in 1852, into that of Prince Anatole de Demidoff and was placed in the private chapel of his villa of San Donate, near Florence, where it was placed in its present frame. Purchased at Paris, from Mr. G-. H. Phillips, in 1868. No. 807. The Madonna and Child enthroned ivith Saints. The Madonna is nursing the Infant Christ ; to the left St. Francis ; to the right St. Sebastian ; fruit decorates the marble throne : flowers scattered in the foreground. The Donatrix, a small figure of a Dominican nun, is kneeling between St. Francis and the base of the throne. Wood, in tempera, 69 in. h. by 57 irAw. (1'75 by 1'46). Signed on a blue ground : OPUS . CABOLI . CBIVELLI . VENETI . MILES. 1491. On the face of the step 011 which the figures are placed is the inscription : ALMAE CoNSOLATiONis MATRI MARIAE PBIORES Pos- TEBOSQ MlSERATA SUOS . ORADEA JoAMNIS AERE PROPRIO NOtt MODICO DICAVIT. [To Mary, the Gracious Mother of Consolation, and Marche-ie Amieo Ricci : " Memorie Stortehe di-Ue Arti, Av, di-Ua 3/Vimj d> Ancoiui," Macerata, 18S4, Vol. I., p. ail. t Baldaaaare Orsini : " Dtucrixlone dellc litture, iLv., Delia Inxiunc Cittudi Ascoli," Perugia, 1870," p. 45. J J. B. L. G. Seroux D'Agincourt : "Hixtoire de I' Art /.ar us Monument, planclio csxxviii, Paris, 1821',. 190 CRIVELLI CROME. out of pity for the past and future members (of the convent) Oradea Joamnis dedicated this picture at her own expense, which was not inconsiderable.] Waagen : " treasures of Art in Great Britain" 1854, Vol. IV., p. 93. Purchased by Richard, second Marquis of Westminster, in 1841, at Rome. Presented by Elizabeth Mary. Marchioness of Westminster, his widow, in 1870. No. 9O6. The " Immaculate Conception." The Virgin, wearing a mantle of blue and gold, is standing in a marble recess, looking up towards the Almighty and the Holy Ghost in the form of a dove ; two angels bear a scroll, and support a crown over her head. On the scroll are the words, Ut inmente Dei ab initio concepta fui ita et facta sum. To the left is placed a painted majolica jug containing carnations and red and white roses ; to the right is a glass vase, in which is a lily. Wood, in tempera, 75 in. h. by 36 in. w. (1 90 by 0'91). Signed and dated in the foreground to the left : KAEOLI . CHRIVELLI . VENETI . MILITIS . PINSIT. 1492. Formerly in the chapel of the Malatesta family, in the church of San Francesco, at Rimini. Purchased at the sale of Mr. Alexander Barker's pictures, (No. 64) June 6, 1874. No. 907. St. Catherine and St. Mary Magdalene. St. Catherine, with a wheel, is seen to the left ; St. Mary Magdalene, with a pot of ointment, to the right. Small full- length figures. Wood, in tempera, each panel 14 in. h. by 7} in. w. (0'36 by 0'18). Exhibited at Leeds in 1868 (No. 13 and No. 15). Purchased at the sale of Mr. Alexander Barker's pictures, (No. 63), June 6, 1874. CROIVIE (JOHN), 1768-1821. Norwich School. John Crome was born at Norwich on Dec. 22nd, 1768. He is commonly called OLD CROME, to dis- tinguish him from other younger painters of the same name and family. He was brought up as a coach-painter, and was appren- ticed to Francis Whister, coach and sign-painter, of Norwich. He became a drawing master, devoting his leisure time to making sketches in oil, chiefly in the vicinity of his native city. He exhibited thirteen pictures at the Royal Academy between 1806 and 1818. Having founded the Norwich Society in 1803, he was a contributor to its first exhibition, held in 1805, and continued to exhibit down to the year of his death. He was the master of George Vincent and James Stark. Old Crome and Robert Ladbrooke CROME. 191 married sisters. About 1783 he knew Beechey very well, during that artist's residence in Norwich. Crome's "Heath : Sunset" is in the Edinburgh Gallery. On the day he died Old Crome charged his eldest son, John Berney Crome, never to forget the dignity of art. " John, my boy," said he, " paint, but paint for fame ; and if your subject is only a pigsty dignify it." His dying words were " Hobbema, my dear Hobbema, how I have loved you."* Crome died on April 22nd, 1821. No. 689. View on Household Heath, near Norwich. An extensive view of undulating moorland. In the foreground to the left are large weeds, docks, and thistles. In the middle distance there is a group of cattle ; two figures are seen on a rising knoll to the right. Canvas, 43 in. h. by 71 in. w. (1'09 by 1'80). Said to have been cut in two, and rejoined, with figures added by Bristowe. Sold by Crome's widow for 12 ; perhaps bought by J. B. Ladbrooke ; bought from him by Mr. Barnes Freeman ; sold to Mr. Colls ; finally bought from exors. of Mr. W. Yetts (by whom it was lent to the International Exhibition, 1862) in 1862. Purchased from Mr. William Yetts in 1862. No. 897. A View at Chapel-Fields, Norwich. An avenue, down which figures and cattle are passing ; an old woman is seated at a stall on the left, other figures are seen on the right. Canvas, 29 in. h. by 43 in. w. (0'73 by 1-09). Formerly in the Collection of Mr. William Spratt. Bequeathed by Mr. Henry F. Chorley in 1872. No. 926' A Windmill an Household Heath, near Norwich. On the rising ground to the left a windmill ; two donkeys on the edge of a gravel pit in the middle ground to the left. In the centre a man on a pony is passing by a sign-post through a gateway. On the right are trees and bushes. Wood, 43 in. *. by 36 in. w. (1'09 by 0'91). Formerly in the Collection of Mr. Thomas Churchyard, of Wood- bridge, 1844. In the Collection of Mr. Joseph Gillott, (No. 206), April 26, 1872. Purchased out of the Lewis Fund, from Mr. Tennant, (No. 93A), July 3rd, 1875. W. K. Dickea : " Norwich School of Painting," 1905, p. 137. See also Lawrence Bin yon : Crome & Cjtman. f This picture would appear to have been bought at the John Berney Crome Sale of 1831 by Joseph Stannard. The canvas was apparently " in two pieces badly put together not framed nor on a stretcher." On the other hand, it is said to have been cut down the middle by a picture dealer, who was thus able to sell it as two pictures, and that the two pieces were repurchased and reunited. W. F. Dickes : " Norwich School of Painting" 1905, p. 106. See also Redgrave: ".1 Century of Painters of the Englith School" 2nd edition, 1890, p. 321. 192 CROME. No. 1O37. Slate Quarries. A Welsh landscape, looking down upon a lake, on the edge of which are a few houses ; mountains in the distance, from which fleecy clouds are rising. In the foreground, which is the rocky brow of a hill, a few figures are introduced. Canvas, 52 in. h. by 62 in. to. (1-32 by 1'57). Purchased from Mr. W. Fuller Maitland, M.P., out of the Wheeler Fund in 1878. No. 1831. Brathay Bridge, Westmoreland. A stream spanned by a stone bridge in the foreground of the picture. The bridge is in deep shadow and serves to unite two fine masses of trees on either side of the stream. Beyond the bridge is a lake with hilly country in the distance. Two men are fishing from the bridge, and two figures, one on horseback, are crossing it. The sky is sunny, with white clouds. Canvas, 18 in. h. by 25| in. w. (0'46 by 0'74). Exhibited at Norwich, 1806. Exhibited at Burlington House (Old Masters), 1 871 (No. 45), under the title of " Brathey Bridge, Cumberland." Exhibited at Burlington Fine Arts Club, 1871 (No. 25). Bequeathed by Mr. Henry Vaughan in 1900. No. 2642. A Fresh Breeze. Two sailing boats are under weigh in a choppy sea. White cliffs and other boats in the distance. Canvas, lo in. h. by 19 in. ic. (0'39 by 0'18). George Salting Bequest. 1910. No. 2644. Heath Scene. View over a wide expanse of heath, with some figures on a road which crosses it : a house surrounded by trees is seen in the middle distance. Blue sky with clouds. Wood, 21i in. h. by 28i in. w. (0-5* by 0-72). George Salting Bequest, 1910. Xo. 2645. Moon-rise on the Marshes of the Tare. The moon just above the horizon in the middle of the picture is rising between a cottage with a sharply projecting gable and two wherries with their sails set. On the right of the cottage is a wind- mill, on the left another wherry ; a distant windmill is seen across flats to the left. A winding river leads to the left, and on it is a boat with a seated figure in the foreground. Canvas, 27 in. h. by 43J in. w. (0'69 by MO). George Salting Bequest. 1910. CROME CTJYP. 19$ No. 2674. TJie Poringland Oak. The picture of an oak tree mirrored in a solemn pool in which four boys are bathing. In the distance, on the left, a cottage and a few trees ; luminous clouds float in a serene evening sky. Crome's three sons are amongst the bathers. The youngest, Michael Sharp Crome, was born in 1813, when Michael Sharp after whom he was named was staying in (Drome's house ; this helps to date the picture. It is said to be the picture painted in 1818, and exhibited in the Crome Exhibition of 1821. It was also exhibited at the British Institution in 1824 under the title : " Study from Nature, Poringland, Norfolk." Canvas, 48 in. A. by 38 J in. w. (1'23 by 0'97). From the Collection of the Rev. C. J. Steward, who left directions in hia Will that the picture was to be valued by Messrs. Christie, Manson and Woods, and offered for sale to the National Gallery. Purchased from the Rev. C. J. Steward's Executors out of the Temple-West Fund in 1910. CROIVEE (JOHN BERNAY), 1793-1842. Norwich School. The eldest son of John Crome, was born at Norwich in 1793. He first exhibited in his native city and helped his father, whom he succeeded as a teacher. From 1811 to 1842 he contributed six of his works to the Royal Academy. He travelled frequently on the Continent. His pictures were similar in style to those of his father but his latter works were chiefly moonlight effects, somewhat coarse in execution. Two of his drawings " A Study of Flowers," and " Near Lincoln " are in the British Museum. He resided for some years at Yarmouth where he died in 1842. No. 2643. Moonlight. Figures in a boat on a river, on the further bank of which is a house. A windmill in the distance seen across the water. A man is seated on the bank on the right. Canvas, 10 in. h. by 12* in. w. (0'25 by 0'31). George Salting Bequest, 1910. CUTP (AELBERT), 1620-1691. School of Haarlem. Of all the Dutch Masters CUYP was most versatile in his production. Portraits, of persons and animals ; land- scapes filled with the glow of high summer, winter pieces, night 17983 N 194 CUYP. pieces and animal-genre, all found him ready. But his versatility is equalled by his unevenness of pitch. His early paintings, not unnaturally, are laboured and insignificant : his late works are too often i( pedantic and unpleasing." Thus the majority of his pictures are not equal to bis reputation. On the other hand, his master- pieces are unapproached in their kind. He was born at Dordrecht in October, 1620, and studied under his father, Jacob Gerritsz Cnyp, e " thus early acquiring intimacy with his craft. His pictures date from 1639 ; simple views of the coast or dunes, and a little later, stretches of the Rhine or Maas, with Dordrecht in the distance. They are swiftly sketched almost in monochrome, and with little detail, in the manner of G-oyen and P. Molyn ; they show, however, an individual perception of plein air. At this time, too, he painted large studies of animals and fowls, and portraits, mostly of children, in a hard dry manner. These portraits are inferior to the landscape studies, and from them we see how long CUYP strove to acquire his ultimate mastery. On July 30, 1658, he married Cornelia, widow of J. van den Corput. With the 'fifties he developed his full powers ; from about 1655 till the close of the 'sixties they were at their best. In that period CUYP painted his finest pieces, saturated with golden light, filled with golden air ; pictures that rank him with Claude. After his marriage he produced many portraits for the country nobility round Dordrecht ; painting his patrons and their horses. The equestrian portraits are not CUYP'S best work. In addition, tempted perhaps by Wouwermans' success, he turned out pieces of genre, horses in the stable or at reviews. These, too, being dull in tone and colour, are not among his triumphs. Certain others of his pictures suggest Jan Both as an influence, others Rem- brandt's landscape. There are no pictures of his that can safely be dated after 1675. CUYP'S attitude towards light is almost unique among the Dutch Masters. For a parallel with his sense of golden diffusion of sunlight we have to turn, on the list of Old Masters, to Claude. CUYP'S success in his own day was pronounced ; in addition he married a rich wife. Siie died in 1689 ; he survived her but two years and was buried at Dordrecht, November 6, 1691. See also W. Bode : Great Masters of Dutch and Flemish Painting and Hofstede de Groot's Catalogue of Dutch Painters, vol. II. No. 53. Landscape, with Cattle and Figures ; Evening. To the right, a man in a red coat, on a grey horse, questions a woman, and points across to the left ; his back to the spectator. * Jacob Cuyp was born December, 1594 ; he married November, 1618, u nd died in 1651 or 1652. He studied under Abraham Bloemart, and occupied himself chiefly with portraiture. A third painter of the Cuyp family Benjamin * cob Ge (1612-1652), supposed to have been a nephew of Jacob Qerritz, also resided principally at Dort ; in his art he affected the style of Rembrandt. (See the valuable communications on the Cnyp family by Q. H Veth, in " Oud Holland," Vol. II., 1884, pp. 233. 234, 250, 256, seqq ) CUYP. 195- Two cows, some sheep and a dog complete this group, which is- relieved against a sloping hill. On the left a river ; on the far bank three horsemen watering their beasts. A sunny atmosphere fills the scene. Golden tone. Canvas, 51 in. k. by 78 in. w. (1-29 by 1-98). Signed De Groot's Catal., No. 426. Formerly in the possession of Sir Lawrence Dundas, 1794. Acquired with the Angerstein collection in 1324. No. 797. A Man's Portrait. Bust, life size, three-quarters to the right ; a small skull-cap^on his head. Background deep brown to the left, gradating to light grey on the right. Golden grey tone. Signed uuk Wood, octagon, 27 in. h. by 23J in. w. (0-68 by 0-59). De Groot's Catal., No. 109. In 1801, in the collection of Mr. Bryan, described wrong-ly as a portrait of Cuyp himself. Sold 1804 ; the Champernowne sale, London, 1820, and from 183-1 to 1868 in Mr. Bulkeley Owen's Collection. Purchased from Mr. C. Nieuwenhuys in 1869. No. 822. Horseman and Cows in a Meadow ; Evening* A mounted man, his back to the spectator, talks with a herdsman, who, standing on the right, gazes into the left distance, towards a church spire ; behind him is a boy. To the left a dog, and a man asleep on the ground. Golden silvery tone. Signed, A. Cuyp. Canvas, S2 in. h. by 424 i"- *> (0'82 by 1-07). De Groot's Catal., No. 827. Formerly in the possession of Messrs. Woodburn and Sir R. Peel (1834). Peel Collection, in 1871. 17983 N 2 196 CUYP. No. 823. River Scene with Cattle. A broad river, probably the Maas ; a herdsman with cattle watering on the bank ; to the left a boat with two anglers - several small sailing boats in mid stream. Grey-golden tone. Signed A. Cuyp. Wood, 18 in. Ti. by 29 in. w. (0'45 by 0'73). De Groot's Catal., No. 391. Formerly in the possession of Mr. Joseph Barchard (1822), and in Sir R. Peel's Collection before 1834. Peel Collection, in 1871. No. 824. Ruined Castle in a Lake. The ruined brick castle of Ubbergen rises from the still water ; in the background a lofty hill ; some figures on the opposite side of the lake. In the foreground to the right a horseman, a shepherd and some sheep. Golden tone. Wood, 12i i n . 4. D y 21 in. w. (0-31 by 0'53). A sketch for this picture is in the Albertina, with the castle's name. De Groot's Catal., No. 176. Formerly in the De Preuil Sale (1811) and imported into this country by 51. La Fontaine Lapeyriere (1817) Sales in Paris, and from him passed into Sir R. Peel's hands in 1834. Peel Collection, in 1871.* No. 960. The Windmills. In the foreground a milkmaid walks along a dyke towards the- town in the middle distance ; on her right, on lower ground, a horseman, probably added later, and further to the right cattle standing in a marsh. On the left two ponds, and a large thatched cottage. In the middle distance a canal, a timber wharf and shed behind a stockade. Beyond, towards the centre of the picture, three windmills and a cathedral are conspicuous. Grey- golden tone. Signed in the centre A. CUYP. Canvas, 44J in. h. by 76 in. w. (1-12 by 1-94). De Groot's Catal, No. 428. Wynn Ellis Bequest. 1876. No. 961. CattU and Figures. In the foreground are four cows ; to the right a woman pours milk from a small barrel, through a funnel, into a large-bellied brass can. A child holding a dog watches her, and behind them, high against the clear golden sky are two shepherds and one sheep. In the background Dordrecht, the cathedral, town hall and two mills. Conventional oak branches and large leaves fill the immediate fore- giound. Golden tone. Known as " The Large Dort." Canvas, 62 in. h. by 78 in. w. (1"57 by 1'98). De Groot's Catal., No. 368. Formerly in the Collections of Lord Bristol, Lord Coventry, and Wynn Ellis. Wynn Ellis Bequest. 1876. * Smith's Catalogue Eaisonne, v. CUYP. 197 No. 962- Cattle and Figures, Dort. Evening. Five cows and a herdsman in a meadow, Dordrecht in the distance. Golden brown tone foreground, silvery and grey tone distance. Known as " The Small Dort." Signed A. CDYP. Wood, 26J in. h. by 39 in. w. (0-67 by 1-00). De Groot's Catal., No. 342. In the Rendlesham Sale, London, 1806